Nearfield monitors without subwoofers are a tricky subject. Only a few systems are really able to generate a balanced sound, especially below 80 Hz, and if this should be the case, you are almost in the midfield range with corresponding 10-inch woofers. Since in the course of music production development only a few professional studios still have correspondingly large control rooms, subwoofers belong to the basic equipment of every studio, especially in the budget and home recording area. In order to provide even the ambitious newcomer with a controlled bass range for little money, the KRK company has launched an S-series of three different woofers, of which the smallest version, the KRK 8S2, is available for us to test.
The construction of the KRK 8S2
The KRK 8S2 is a further development of the KRK S-series, which should be located in particular in the improved frequency response. Already the first impression of the KRK 8S2 lets an association to the KRK sales hit Rokit arise, caused by the housing design and the yellow colored 8" glass-aramid fabric woofer. With dimensions (H x W x D) 362 mm x 339 mm x 294 mm and a weight of 11.8 kg, there are by all means even smaller representatives in the 8-inch and less range, such as the Eve Audio TS 107 ( https://www.amazona.de/test-eve-audio-ts107-subwoofer/ ), but the outer presentation lends itself especially to control rooms with severely limited dimensions.
While the big brothers 12S2 (12-inch woofer) come along with 220 watts, or 10S2 (10-inch woofer) with 160 watts "continuous load", the KRK 8S2 must be content with a power of 109 watts from a Class D power amplifier. This should be quite sufficient for small control rooms, especially since the woofer was not designed to acoustically illuminate a larger control room accordingly impulsive. The frequency response of the woofer, on the other hand, arouses curiosity, especially since the KRK 8S2 covers a range of 35 - 133 Hz according to the manufacturer. For an 8-incher just over 100 watts, this is a very ambitious undertaking; even a clean low end of 40 Hz would represent a decent performance. The maximum level is stated at 112.8 dB.
The Chinese-made cabinet is made from a combination of plastic in the front and MDF panels in the middle, and is impeccably finished. The appearance is visually appealing and fits in with the various KRK product lines. Like many other products, which have also been provided with a smooth and matte surface, the KRK 8S2 tends to accumulate fingerprints, so if the woofer, which can be seen more or less as a cube, is moved more often, always keep cleaning cloth within reach. The speaker is protected from external influences by a very massive front grille, whereby the bass reflex port is located below the grille, which radiates to the front. As we know, however, this point plays a rather subordinate role, since the bass radiates circularly from the speaker into the room anyway. The case sits on a continuous rubber plate, which was glued to the bottom of the case.
If you turn to the back of the case, you'll find all the control and adjustment elements there. Already at first sight one recognizes that the KRK 8S2 has an extensive arsenal of control and input possibilities for a product of its price class. First of all, it should be noted that in addition to the balanced XLR and TRS connectors, the product also has the unbalanced RCA connector pair, which is important for the consumer sector, and this both as input and output.
Below the 12 sockets in total, there is a connection socket that can be used to deactivate the subwoofer by means of a jack foot switch. The right area of the rear panel is rounded off by an operation LED, the On / Off switch and the power plug socket. On the left side, we are greeted by 2 controls and 6 switches, which have the following functions from top to bottom:
Volume control: controls the overall volume of the woofer
Crossover: lets you choose between 4 different frequencies (70 Hz, 80 Hz, 90 Hz, 100 Hz)
Input Sensitivity: input sensitivity of the woofer, can be selected between Normal and High (recommended for home electronics)
Polarity: Phase switch, to counteract any counter-phase cancellations that may occur
Standby: switches the woofer into standby mode after 30 minutes of inactivity for power saving reasons
Ground Lift: prevents ground hum loops
The KRK 8S2's volume control is also finely dialed, making it easy to fine-tune the woofer. A 0 dB or similar. One looks in vain, here it is only the woofer between "Min." and "Max." to add by ear. On the other hand, you have to use a lot of force when selecting the crossover frequency to get it to switch, but the resistance is reduced after turning the knob a few times.
The KRK 8S2 in practice
If we switch on the woofer, the two-color LED on the back shows us an orange signal, which changes to green when the level is applied. On the front, a white LED shows us the activation of the system. As test material I have taken various reference recordings, reference mixes, various individual instruments and some productions, which I have created myself, to get as comprehensive a sound impression as possible.
First of all, it is necessary to find the optimal crossover frequency depending on the satellites, which turned out to be not so easy. In my studio 2 are 2 pcs Eve Audio SC 204, which are normally protected with an Eve Audio TS 107 downwards. To the same the KRK 8S2 was connected to take over the function of the TS 107. In order to take over the sound material below the comparatively small 4-inch "woofers" of the Eve Audio satellites as comprehensively as possible, the 100 Hz setting left the best impression, but the woofer tended to boom quite quickly in this setting. Even changing the placement, or activating the phase inversion could not prevent this.
This changed immediately when I set the crossover frequency to 90 Hz, better yet to 80 Hz. Here the woofer rounded off very nicely downwards, but left a frequency hole in the area of the just mentioned bass range. This could be compensated by taking the satellites a bit more into the "bass duty", which could be implemented very well with the Eve Audio. The result was an all-around satisfactory frequency coverage down to the low bass range.
Sonically, the KRK 8S2 is comparatively soft. The speaker never seemed overpowered, even though I only used moderate volumes, as is usually the case in a Studio 2. What gives me a little food for thought is the tendency to boom in small rooms. The woofer does its job flawlessly, but there is a certain point in volume where the KRK 8S2, depending on the room dimensions and its geometry, starts to give in to a subtle drone. Skillful positioning can push this effect back, but who in a small control room has the opportunity to experiment spatially with the placement of a woofer.
As expected, the system does not like placement close to a wall or below the desk, both of which only lead to the aforementioned undifferentiated reproduction. If, on the other hand, the KRK 8S2 is placed freely in the room and the corresponding acoustic construction has been carried out, the system is convincing all the way, especially if the retail price is taken into consideration. The eight-incher also holds its own very bravely as far as the "real" low bass range is concerned. Even if the construction can't move the corresponding amount of air of a 10 or 12 inch speaker, the speaker manages in cooperation with the cabinet to convey a good acoustic overview of everything that's going on in the bass range and possibly spoils the clean bass reproduction over a large monitor or in the live area.
In summary, the KRK 8S2 can be given a good report card. The subwoofer does what it is supposed to do and will also be a favorable addition, especially with inexpensive satellites, to prevent bass-heavy mixes.
Conclusion
With the KRK 8S2, the manufacturer offers an inexpensive subwoofer that offers a lot of quality for the money. The setting options are extensive, the basic sound is good, and the workmanship is impeccable. If you are looking for a budget and home recording supplement for your near-field monitors for better control in the bass range for little money, you should definitely test the woofer.
Additional informations:
Nearfield monitors are critical tools in professional audio production environments, designed to provide accurate and detailed sound reproduction. These specialized speakers, also known as studio monitors, are optimized for close-range listening and are widely used in recording studios, mixing rooms, and post-production facilities. This report aims to provide an in-depth overview of nearfield monitors, including their purpose, design characteristics, technological advancements, and their significance in professional audio monitoring.
Purpose and Design Characteristics: The primary purpose of nearfield monitors is to provide an accurate representation of audio content. They are specifically designed for nearfield listening, where the listener sits in close proximity to the speakers, typically within a few feet. Unlike consumer-grade speakers, nearfield monitors prioritize precision and transparency over coloration and exaggerated bass response.
Nearfield monitors are typically active speakers, meaning they have built-in amplification, allowing for better control and integration of the speaker components. They often feature a two-way or three-way design, comprising a woofer for low-frequency reproduction and a tweeter for high-frequency reproduction. Some models also incorporate a dedicated mid-range driver for enhanced clarity in the critical mid-frequency range.
To minimize unwanted resonances and improve accuracy, nearfield monitors employ a variety of design elements, such as acoustic damping materials, optimized cabinet shapes, and precision-tuned crossovers. These features contribute to a more linear frequency response, reduced phase distortion, and improved imaging capabilities.
Technological Advancements: Nearfield monitors have benefited from technological advancements, allowing for enhanced performance and accuracy. Some notable advancements include:
Driver Technology: Manufacturers have developed specialized drivers using advanced materials and designs. This includes using lightweight yet rigid materials for the diaphragms to reduce distortion and improve transient response.
b) Amplification and DSP: Built-in amplification has become increasingly sophisticated, with manufacturers incorporating digital signal processing (DSP) capabilities. This allows for precise control over the speaker's frequency response, equalization, and room correction, resulting in more accurate sound reproduction.
c) Waveguide and Directivity Control: Advanced waveguide designs and directivity control technologies help optimize the dispersion of sound, resulting in improved stereo imaging and a more consistent listening experience within the sweet spot.
d) Room Calibration: Some nearfield monitors now offer room calibration features, either through dedicated hardware or software. This enables users to compensate for room anomalies and achieve more accurate monitoring, regardless of the acoustic characteristics of the listening environment.
Significance in Professional Audio Monitoring: Nearfield monitors play a crucial role in professional audio monitoring, offering several key benefits:
Accuracy and Transparency: Nearfield monitors are designed to provide a faithful representation of the audio content, allowing engineers and producers to make precise judgments regarding the mix, tonal balance, and spatial placement of elements within the soundstage.
b) Critical Listening Environment: Nearfield monitoring setups create an optimized listening environment where the sound arrives directly without significant reflections or room coloration. This helps engineers detect subtle details, stereo imaging, and transient responses accurately.
c) Consistency: Nearfield monitors are designed to produce consistent and reliable results across different listening environments. This allows engineers to create mixes that translate well to various playback systems, such as consumer speakers, headphones, and car audio systems.
d) Workflow Efficiency: The detailed and accurate sound reproduction of nearfield monitors speeds up the mixing and mastering process. Engineers can make informed decisions quickly, leading to efficient workflows and high-quality results.
Considerations and Best Practices: To maximize the effectiveness of nearfield monitors, certain considerations and best practices should be followed:
Room Acoustics: Ensuring a well-treated and acoustically controlled listening environment minimizes the impact of room resonances and reflections, optimizing the accuracy of monitoring.
b) Speaker Placement: Positioning the nearfield monitors at an appropriate height and angle, along with proper listener positioning, creates an optimal listening triangle and improves stereo imaging.
c) Calibration and Positioning: Utilizing room correction systems or manual calibration tools can further refine the frequency response and compensate for room anomalies.
d) Reference Listening: Regularly referencing mixes on other audio systems, such as headphones or secondary monitors, helps ensure the mix translates well across different playback environments.
Conclusion:
Nearfield monitors are essential tools in professional audio production, providing accurate and detailed sound reproduction in critical listening environments. With advancements in driver technology, amplification, DSP, and room calibration features, nearfield monitors continue to evolve, enabling engineers and producers to create high-quality mixes that translate well across various playback systems. By prioritizing accuracy and transparency, nearfield monitors have become indispensable for professionals seeking precise control over their audio productions.
Dienstag, 30. Mai 2023
TEST: KRK 852
TEST: Korg Pandora PX50
At that time still divided into four different basic units, the successor, the PX4, merged the instrument groups bass and guitar, which is also continued in the Pandora PX5D that I have for testing. Well then, let's see what the little jack-of-all-trades for the vest pocket has to offer and if you can find your way through the menu navigation, which will be a real challenge with the manifold collection of possibilities in the smallest space.
Design
In principle, the PX5D is a combination multi-effects unit with a combined amp/speaker modeling concept, which in 2010 is also happy to take on more advanced functions such as a USB interface, which one would not have expected from the tiny device at first glance. Despite the production in the low-wage country China, Korg has almost doubled the price of the product, which is now made of aluminum, to almost 300 Euros compared to its plastic predecessor, which can only be justified to the user by a significant increase in practicality. In any case, the flat case already exudes much more esprit visually than its plastic predecessor. With dimensions of 118 x 20 x 75 mm, the product is also very handy.
Powered by two AA batteries, the product is supposed to last seven hours according to factory specifications, which can be called adequate. Unfortunately, a 4.5 volt power supply is not included with the product and must be purchased separately for just under 30 euros (for example, the Korg NT-4). Optionally, the device can also be operated via the USB port in terms of voltage. However, Korg adds other accessories to the Pandora, such as a USB cable for the direct connection to the home PC, an adapter cable with which 2 footswitches can be configured for start/stop and another function, and a CD-ROM containing the recording software Ableton Live Lite 6. However, the product is also recognized by standard recording tools such as Garageband, Cubase and Logic.
With 180 effect and amp models with a storage capacity of 200 programs (100 presets / 100 users), Korg rides a rich program in terms of presets. In addition, the device has 128 rhythm patterns with a total of 744 variations in the various musical styles. Also built in is a phrase trainer, which can store up to 80 seconds of audio material, a tuner with mute function and a transpose function for the sampled audio material.
Practice
So, what does the PX5D do in the life of a strung musician? Quite simply, it makes practicing easier or it supports the creative process! The same constant should always be kept in mind when examining the product. The world is full of contemporaries who, as soon as they hear a technical term, raise their expectations immeasurably and then have to be brought back down to earth by third parties. A multifunctional device is no substitute for a recording process where the interface alone costs well over five times as much.
Even though the product has 18 virtual guitar amp simulations, 10 bass emulations and 6 synth sounds, all of which offer a usable basic sound, professional productions cannot be implemented with the little box (unless you consider the last Metallica record to be a professional production). On the other hand, the handling of the Pandora is pleasantly problem-free after a short training period and quickly brings usable results in terms of songwriting and pre-productions.
Sonically, the factory sounds can hold their own well within their field of application, even if their virtual birth hours are always perceptible for fine ears. As almost always, clean sounds can convince better than their distorted colleagues, which can not be compensated even by the strong use from the effects battery. But hey, I myself resorted to purely virtual sound generation for pre-production during songwriting for the new GRAVE DIGGER album, not without using classic miking for the final guitars, of course.
In terms of connections, the Pandora has standard jack sockets for input and output respectively, mini jack for feeding an audio signal and applying the footswitches. Output also provides the option of connecting headphones. The internal phrase sampler has a good recording quality, but only records the recorded material in mono. You can decide for yourself whether you want to feed an external signal via aux-in or use the internal rhythm guide.
With the help of the included recording software, you can record the played or sampled material on your PC on up to two tracks and edit it further. If a driver is not on the included CD-ROM, it can be downloaded from www.korg.com.
Conclusion
Smaller and smaller, finer and finer. It's remarkable what designers can fit into a very small space these days thanks to microtechnology. With the Pandora PX5D, Korg has a small, thoroughly decent-sounding effects unit with amp/speaker emulation on the market, which delivers good and practical settings in many situations.
If it's a matter of comparatively uncomplicated recording of one's own compositions, quick archiving of a fleeting idea or controlled practicing, the PX5D manages to do justice to its conception in a surprisingly uncomplicated way. Nevertheless, you first have to get used to the somewhat unfamiliar menu navigation of the product, without a users manual nothing works here.
Once you have overcome this hurdle, the PX5D turns out to be a small helper, which provides good services in many situations and finds a place in almost every pocket. It's just a pity that Korg doesn't include a power supply with the product, especially since 4.5 volts is only a common value in the multi-voltage wall wart range, while 90 percent of all power supplies romp around in the 9 volt range. Sometimes I can't get rid of the impression that they simply want to sell an additional power supply over the unusual value….
Additional informations:
- Korg Inc. is a renowned global company that specializes in the design, manufacturing, and distribution of music technology products. Founded in 1962 by Tsutomu Katoh and Tadashi Osanai, Korg has become one of the most influential and innovative companies in the music industry. This report aims to provide a detailed overview of Korg, including its history, product range, technological advancements, market position, and future prospects.
Company History and Evolution: Korg's journey began with the development of electronic rhythm machines and organs. However, it gained significant recognition in the early 1970s when it introduced the Minikorg, the world's first portable synthesizer. This breakthrough innovation established Korg as a pioneer in the synthesizer market. Over the years, Korg continued to innovate, launching iconic products like the MS-20, M1, Triton, and Kronos synthesizers, which have influenced countless musicians and shaped the sound of popular music.
Product Range and Technological Advancements: Korg offers a diverse range of products catering to musicians of all levels and genres. Their product portfolio includes synthesizers, digital pianos, keyboards, workstations, electronic drums, guitar effects processors, tuners, and audio recording equipment. Korg has consistently been at the forefront of music technology, integrating cutting-edge features and advancements into their instruments.
In recent years, Korg has embraced digital technology and software integration, allowing musicians to explore new sonic possibilities. They have developed innovative products such as the Volca series of compact synthesizers, the Prologue and Minilogue analog synthesizers, the Krome and Kross workstations, and the Pa series arranger keyboards. Additionally, Korg's software offerings include synthesizer plugins and mobile apps that provide musicians with versatile tools for music production.
Market Position and Industry Influence: Korg has established a strong market presence and a loyal customer base globally. The company's commitment to quality, reliability, and innovation has earned it a reputation as a trusted brand among musicians, producers, and sound engineers. Korg's products are widely used in various musical genres, including electronic music, rock, jazz, and classical. Their instruments have become staples in studios, live performances, and home setups, reflecting the company's significant impact on the music industry.
Collaborations and Partnerships: Korg has collaborated with renowned musicians and artists to create signature products and expand their product offerings. Notable collaborations include partnerships with artists like Jordan Rudess, Richard D. James (Aphex Twin), and Tony Banks (Genesis). These collaborations have resulted in the development of unique instruments and sound libraries, further solidifying Korg's position as an innovative company.
Sustainability and Corporate Social Responsibility: Korg demonstrates a commitment to sustainability and corporate social responsibility. The company emphasizes eco-friendly manufacturing processes and has implemented measures to reduce its environmental impact. Korg also supports various community initiatives, music education programs, and charitable organizations, fostering a positive social impact within the music community.
Future Prospects: As technology continues to evolve, Korg is well-positioned to capitalize on emerging trends and maintain its industry leadership. The company's focus on digital integration, software development, and expanding its product range ensures that Korg remains relevant and adaptable to changing market demands. With its rich history, commitment to innovation, and dedication to customer satisfaction, Korg is likely to continue shaping the future of music technology.
Conclusion: Korg's extensive history, commitment to innovation, and diverse product range have established it as a prominent player in the music technology industry. The company's contributions have revolutionized music production, and its instruments are beloved by musicians worldwide. With a strong market presence, ongoing technological advancements, and a dedication to sustainability, Korg is poised for continued success in the ever-evolving music industry.
- Audio Multi-Effect Processors (AMEPs) play a crucial role in the world of sound engineering and music production. These powerful devices offer a wide range of effects and processing capabilities to enhance and shape audio signals. This report aims to provide an in-depth overview of AMEPs, including their functionality, types, applications, technological advancements, and their impact on the audio industry.
Functionality and Types: AMEPs are designed to manipulate audio signals by applying multiple effects and processing techniques simultaneously or in a sequential chain. These processors typically consist of various modules that include effects such as reverb, delay, modulation, compression, EQ (equalization), pitch shifting, harmonization, distortion, and more. Users can customize the order and settings of these effects to achieve the desired sound.
There are two primary types of AMEPs: hardware-based and software-based. Hardware AMEPs are physical devices that can be rack-mounted or come in compact pedal formats. They offer tactile controls, dedicated signal routing options, and often feature high-quality analog circuitry for superior sound processing. Software AMEPs, on the other hand, are virtual plugins that run on computers or digital audio workstations (DAWs). They provide the convenience of in-the-box processing, offering a vast array of effects and customizable parameters.
Applications: AMEPs find applications across various domains in the audio industry. In professional music production studios, they are essential tools for shaping the sound of recordings. Sound engineers use AMEPs to add spatial depth, create unique textures, correct imperfections, and achieve artistic effects. AMEPs are also widely used in live sound setups, allowing sound engineers to enhance the audio quality and provide engaging effects during live performances.
Additionally, AMEPs have gained popularity among musicians, both in the studio and on stage. Guitarists, keyboardists, and other instrumentalists use AMEPs to modify their instrument's sound, simulate different amplifiers, and create complex soundscapes. AMEPs have also found their way into the DJ and electronic music scenes, enabling artists to manipulate and modulate audio in real-time.
Technological Advancements: AMEPs have evolved significantly over the years, thanks to advancements in digital signal processing (DSP) technology. Initially, hardware AMEPs were limited by the available processing power and memory, which restricted the number and complexity of effects. However, with the advent of digital technology, processors became more powerful, allowing for a broader range of effects and more sophisticated algorithms.
Software AMEPs have also witnessed substantial advancements, taking advantage of the increasing processing power of modern computers. Real-time processing, low-latency performance, and highly accurate emulations of analog hardware have become key features of software AMEPs. Additionally, many software AMEPs now support plugin formats such as VST, AU, and AAX, making them compatible with a wide range of DAWs.
Impact on the Audio Industry: AMEPs have had a profound impact on the audio industry, revolutionizing the way sound is created, recorded, and performed. These processors have empowered sound engineers, musicians, and producers with a vast palette of sonic possibilities. They have become essential tools in the production process, enabling users to experiment, innovate, and push the boundaries of creativity.
The availability of software AMEPs has democratized access to high-quality effects processing. Musicians and producers no longer need to invest in expensive hardware units, as software AMEPs offer similar capabilities at a fraction of the cost. This accessibility has allowed a broader range of artists to explore sound design and produce professional-quality recordings.
Future Trends: As technology continues to advance, the future of AMEPs looks promising. We can expect further improvements in processing power, allowing for even more complex and realistic effects. Additionally, advancements in artificial intelligence (AI) may lead to intelligent AMEPs that can analyze audio content and suggest appropriate effects and processing settings.
Integration with emerging technologies such as virtual reality (VR) and augmented reality (AR) may also play a role in the evolution of AMEPs. These technologies could provide immersive audio experiences and innovative ways of interacting with sound.
Conclusion: Audio Multi-Effect Processors have become indispensable tools in the audio industry, offering a versatile range of effects and processing capabilities. Whether in hardware or software form, AMEPs have significantly impacted music production, live sound, and the creative process of musicians and sound engineers. With ongoing technological advancements and the potential for future innovations, AMEPs will continue to shape the way we perceive and manipulate sound.
Freitag, 26. Mai 2023
TEST: Koch Amps Little Gristle
The paths to successful brand placement always seem inscrutable. There are companies that have been shining with outstanding products for decades and still have the touch of an "insider tip" attached to them. The company Koch Amps from the Netherlands must undoubtedly be counted in this category. On the market for almost 34 years and blessed with numerous high-end amplifiers in the areas of blues, rock and hard_n_heavy in the portfolio, the Dutchmen convince almost every guitarist who has ever connected his instrument to the products Twintone, Powertone, Classictone or Studiotone. With the signature amp "The Greg" for exceptional guitarist Greg Koch (not related by marriage or related to company founder Dolf Koch), the company gained a greater reach among musicians, but still comparatively few guitarists know that, for example, the Powertone Head can compete with the best hard'n'heavy heads in terms of sound. The fact that the Koch company has always had a strong connection to puristic all-tube amps can be seen not least in the company's latest offshoot, the Koch Amps Little Gristle, which draws attention to itself in several respects.
The construction of the Koch Amps Little Gristle
Anyone who takes a quick look at the "little cartilage" is undoubtedly reminded of the big American "F", which is the only company in the world to have achieved world fame in both instrument and amplifier construction. It's really hard to launch a tweed covered cabinet and not let the Bassman, Twin, Deluxe, Champ or other products roll by in your mind's eye. In contrast to the Fender protagonists, the cover fabric of the Koch Amp Little Gristle looks a bit shinier, as if it were covered with a subtle protective layer. This fabric is probably a little easier to clean than the Fender fabric, which absorbs any form of dirt.
A look at the control panel, which was installed in the "more comfortable" front view, clearly shows which customer group the Koch Amps Little Gristle was designed for. Just 4 controllers control the all-tube combo, which comes up with only one 12AX7 preamp tube and a single-ended EL34 as a power tube, with one controller already controlling the internally installed reverb spiral. You can hardly design an amp more puristically, Gristle (preamplifier), Tone (tone control), More (power amplifier), done. The preamp can be boosted a little via a mini switch, but that's it with the control options. A triode / pentode circuit can be used to tickle 12 or 4 watts out of the amp, which, however, generates significantly more noise than the numbers suggest. Don't forget, a 12 watt amp is only half as loud as a 120 watt amp! Especially in 12 watt operation, the maximum volume is easily sufficient to fill a typical club stage with sound and to keep up with a moderately playing drummer in terms of dynamics.
If you want to operate the amp without speakers, you also have the option of deactivating the internally built-in 8 ohm / 12 inch speaker from our own production when the speaker cable is pulled, protecting the amp from underload via an internal power soak and using a speaker simulation. In terms of weight, the combo is comparatively light for an all-tube amp. With dimensions of 54 cm x 27.5 cm x 46 cm (W x D x H) and a weight of 16.25 kg, the combo is comparatively easy to transport. The massive carrying handle does its part to enable the combo to be lifted without major problems. Time will tell to what extent the tweed fabric can withstand normal everyday transport, but I can only recommend getting at least a padded cover for the combo. The ambitious musician will anyway buy a hood case for the amp, in which a tube amp is still best to transport.
In terms of workmanship, the Koch Amps Little Gristle is at the highest level. Nothing that was done half-heartedly in any way, or eliminated for cost reasons, even though it was needed for optimal performance. The entire concept is coherent and picks up the intended target group where it would like to be picked up. But how exactly does the amp do that?
The Chef Amps Little Gristle in action
As I said, anyone who offers a user interface like that of the Koch Amps Little Gristle assumes that the artist knows what to expect. So if you wanted to squeeze the area of application of the Koch Amps Little Gristle into one style, the bottom line would be the word "Blues". Why is this the case, or what makes a good blues amp?
Well, several components are responsible for a good blues tone, apart from the musician's technical skills. On the one hand, there is no need for a high gain structure, which is why the Koch Amps Little Gristle only comes with a single preamp tube. Gain reserves that are too high compress the sound too much and, with a single-channel device, result in a sound that is too one-dimensional, which cannot necessarily be controlled with the volume control on the guitar. Here it is better to use your favorite overdrive pedal, which will very likely harmonize very well with the Koch Amps Little Gristle. The spartan design and the all-tube construction offer a very good basis for booster and overdrive pedals of all kinds.
Second, a good blues amp requires the highest possible dynamics in the amp, preferably paired with a slight crunch in the peak area, which can then be adjusted down to clean with the volume control on the guitar. This is where the Koch Amps Little Gristle scores particularly well, especially when you have found your personal optimum match between the preamp and power amp. It's really amazing what you can do with just these two controls and how much this tuning affects the sound. If you set this amp according to the motto preamp > find gain factor > power amp > find final volume, as is often the case with high gain amps, you lose a lot of the sound quality that the amp offers.
My personal approach was actually the opposite of the global approach, i.e. I had my maximum sonic yield by turning the power amp to full stop, choosing a middle position with the tone control and choosing the final volume with the Gristle control. It's really incredible how dynamically the Class A works in this setting, especially if you choose a dynamic playing style and know how to use the guitar's volume control. The result was an almost soft saturation with a greatly increased sustain, which even moved the neck pickup of a Strat to a greatly extended clean tone without losing dynamics.
The third characteristic of a good blues tone is the direct and unembellished interaction with the guitar and its characteristics. Of course, different instruments also sound different when connected to the amplifier in terms of overall sound, but if you have the opportunity to test an amp like the Koch Amps Little Gristle in a direct A/B comparison with the clean channel of a multi-channel all-tube combo, you should definitely do so do once. Rarely is it possible to perceive the diametrically opposed tonal alignment of woods, scales and hardware, for example between a Strat and a Paula, as intensely as with this amp perceive on the Koch Amps Little Gristle.
If one can perceive a disadvantage of this direct and unadulterated sound at all, then it is the also unembellished reproduction of all playing errors and imperfections of the artist, which are otherwise often hidden in the preamp gain. If the sound drowns you here, no more stacking will help you bring the selected note home with hanging and choking. But woe betide you hit the tone with full power, then the amp develops a penetrating power like a steam hammer.
Conclusion
With the Koch Amps Little Gristle, the Dutch company has a very high-quality single-channel amplifier in its range, which convinces in many respects. The puristic all-tube amp has all the attributes you could wish for from a real blues amp and pushes them to the limit. High dynamics and a very large interaction between instrument and amplifier characterize the sound culture of the combo and thus enable a very direct playing feeling for the musician.
If you are looking for a high-quality single-channel combo, you should definitely try the Koch Amps Little Gristle.
Additional informations:
Koch Amps is a revered name in the world of guitar amplification, known for their commitment to craftsmanship, innovation, and delivering exceptional tone. In this comprehensive review, we will explore the history, philosophy, notable product offerings, and the impact of Koch Amps on the music industry, showcasing their contributions to the art of guitar amplification.
History and Legacy: Koch Amps was founded in the Netherlands in 1988 by Dolf Koch, a passionate guitarist and engineer. The company began as a small operation driven by a desire to create amplifiers that captured the essence of vintage tube tones while incorporating modern features. Since its inception, Koch Amps has grown to become a respected and sought-after brand among guitarists worldwide.
Craftsmanship and Quality: At the core of Koch Amps' philosophy is an unwavering commitment to craftsmanship and quality. Each amplifier is meticulously handcrafted using premium components, ensuring exceptional build quality, durability, and reliability. From the selection of high-grade transformers to the careful wiring and assembly, Koch Amps exemplifies the highest standards of craftsmanship in their amplifiers.
Innovative Technologies: Koch Amps has been at the forefront of innovation, constantly pushing the boundaries of guitar amplification technology. They have introduced several groundbreaking features and advancements, including:
a. Power Scaling: Koch Amps was one of the pioneers in incorporating power scaling technology in their amplifiers. This feature allows guitarists to achieve power tube saturation and breakup at lower volume levels, offering the dynamic response and tone of cranked tubes at any volume.
b. Switchable Impedance: Many Koch amplifiers feature switchable impedance options, enabling players to match the amplifier's output to different speaker cabinets. This flexibility ensures optimal performance and tone with a variety of setups.
c. Integrated Effects: Koch Amps has integrated high-quality effects, such as reverb and tremolo, into some of their amplifier models. This innovation provides guitarists with convenient access to essential effects without the need for additional pedals.
Notable Amplifier Models: Koch Amps offers a diverse range of amplifier models, each designed to cater to different playing styles and tonal preferences. Some noteworthy models include:
a. Jupiter Series: The Jupiter series represents the flagship line of Koch amplifiers, offering a wide range of tonal options and features. Models like the Jupiter Combo and Jupiter Head deliver boutique-quality tones, from crystal-clear cleans to high-gain aggression.
b. Studiotone Series: The Studiotone series embodies versatility and portability without compromising on tone. These compact amplifiers are ideal for studio recording and smaller gigs, providing a range of tones from pristine cleans to classic overdrive.
c. Twintone III: The Twintone III is a dual-channel amplifier that combines vintage British and American voicings, offering players a palette of tones suitable for various genres. Its versatility and intuitive controls make it a popular choice among guitarists seeking tonal flexibility.
Artist Collaborations and Endorsements: Koch Amps has garnered the respect and admiration of renowned guitarists who have chosen to endorse and use their amplifiers. Artists such as Greg Howe, Frank Gambale, and Orianthi have collaborated with Koch Amps to create signature models, showcasing the company's commitment to working closely with musicians and tailoring their amplifiers to meet the demands of professional players.
Impact on the Music Industry: Koch Amps has made a significant impact on the music industry by providing guitarists with amplifiers that combine vintage tonal characteristics with modern features and reliability. Their commitment to craftsmanship, innovation, and attention to detail has earned them a dedicated following among players across various genres. Koch Amps' amplifiers have found their way onto the stages and studios of numerous professionals, contributing to iconic recordings and live performances worldwide.
Conclusion:
Koch Amps stands as a testament to the fusion of precision engineering and passionate artistry in guitar amplification. Through their unwavering commitment to craftsmanship, innovative technologies, and collaboration with renowned artists, Koch Amps continues to redefine the standards of tone, inspiring guitarists to explore new sonic frontiers. With their diverse range of amplifiers, each delivering exceptional tone and performance, Koch Amps has cemented its place as a trusted name among guitarists seeking quality, versatility, and unparalleled craftsmanship.
TEST: Koch Amps JUP45-H + KCC112
You know what I really like about product development in amplifier technology in recent years? The softening of the individual camps, which used to be characterized by bitter trench warfare, or in other words, a Dutch head like the Koch JUP45-H plus the matching box KCC112-GS60 would have caused a few decades ago still disbelieving head shaking. Why, some of you might ask.
Well, the hybrid technology used at that time was still in its infancy and provided more than half-baked results. The different transistor and tube elements were often combined in the wrong order and caused a scratchy distortion with a transistor preamp, combined with a lead-heavy tube power amp, which in 212 combo design often scratched at the 40 kilogram mark. Terrible!
It seemed to make much more sense to reverse the construction methods, since this way one already had the much warmer sounding distortion of a 12AX7. However one would have saved with a pure transistor output stage each quantity of weight, however in the same breath some Saturisation of the achievement glass shovel destroyed. What to do said Zeus. Well, as with the Valvetronix series from Vox, Koch takes a single ended power amp tube in the form of a 12AX7, uses its sound characteristics and hangs a MOS-FET power amp behind it to be able to produce enough power.
To put it bluntly, we are dealing with a very quiet all-tube amplifier, which is blown up to 50 watts via a transistor power amplifier, depending on the impedance of the speakers. The whole thing, however, with a comparatively low weight and the regular replacement of the power tubes is also saved. We are curious about that.
Head
The Koch JUP45-H is a three-channel top with the dimensions (WxHxD): 54 x 27.5 x 23.2 cm, whereby the three channels share a three-band tone control. The same tone control can be varied in the center frequencies via a Contour switch. One channel each ("Cool" - clean channel, "Hot" - lead channel) have a separate gain and volume control, whereby the lead channel can be set a little hotter in the gain via a boost switch.
In addition to a reverb control, which emulates a reverb spiral on a digital level, there is also a so-called "dimmer" control in the master area, which controls the final volume of the head. Koch Amps advertises with the description that due to the patented ATR circuit you can achieve a final stage saturation at any volume level.
Visually, the Koch JUP45-H presents itself in a very nice vintage green, which also features a matching brown faux leather handle. The slightly yellowed-looking knobs, which have also been trimmed to look old, can be read well even from a comparatively long distance. 4 steel corners provide the necessary protection during transport, four strong rubber feet provide the necessary stability.
On the back, a massive perforated plate prevents unauthorized objects or incompetent fingers from entering the amp's inner workings. They wouldn't be able to do much damage, though, since apart from a transformer and the two tubes, nothing sticks out of the amp's electronic inner workings. Anyway, one gets the impression that the dimensions of the amp are more due to the admittedly very pretty optical concept than they would be a spatial necessity. The actual components would only take up about half of the available space.
In terms of connections, the Koch JUP45-H has a serial FX loop, 2 speaker outputs, which can manage all common impedances from 4 to 16 ohms, a frequency-corrected output for recording purposes and a connection for the included, very massive 2-way footswitch. If necessary, the channels can also be switched manually by means of a switch here. Koch has built a very nice variation regarding the footswitch. By means of a mini switch you can set whether the second switch should activate the boost function or the reverb unit. Finally, on the left side, the mains plug and a microfuse, done!
In terms of volume, the power output decreases with the impedance of the connected speaker, as is usual with all transistor power amps. If 50 watts can still be generated at 4 ohms or 2x8 ohms, this drops to 45 watts at 8 or 2x16 ohms and drops further to 35 watts at 16 ohms. With a tube power amplifier this is compensated by different taps on the transformer, in addition, a tube power amplifier is short-circuit-proof, however, a transistor power amplifier is protected against no-load operation without load resistor. You can't have everything.
Cabinet
As a suitable addition in terms of loudspeakers, the Koch JUP45-H was accompanied by the Koch KCC112-GS60 speaker cabinet, which has the impedance of 8 ohms that is often used for small cabinets. It is a cabinet that comes with a bass reflex port in the form of a slot under the front cover and has a 12-inch speaker that can handle 90 watts RMS. Visually, the cabinet was also given a green cloth with silver / black front cover plus a brown leatherette handle. Very nice. Eight steel corners and four strong rubber feet complete the overall picture.
Practice
Anyone who has kept an eye on the Dutch company in the past will have quickly noticed that the strengths of the various Koch Heads and Combos are to be found in rock and blues. Not that products like the Powertone or Supernova can't satisfy high-gain fanatics, but in the final analysis Koch always prioritizes its tuning a tad more on the ultimate tone of its amps than on the degree of half-wave cut. For maximum interaction with the artist, only all-tube amps from the halls of Holland's most successful amp manufacturer have found their way to the customer.
Aware of this, you have to launch a very sophisticated product in order not to alienate your core clientele and still reach new groups of buyers with the weight, price and maintenance advantages of a hybrid amp. To say it in advance, Koch has done everything right. This is immediately noticeable in the basic sound of the "Cool" channel. The sound is warm and clean, with the emphasis on the adjective warm. Ultra-clean, sterile sounds are fortunately not to be elicited from the Koch JUP45-H, there always remains the touch of ear candy.
However, you can also elicit very nice crunch sounds from the Cool Channel with appropriate gain application. Here it is truly worthwhile to follow his play instinct a little and to act with gain and volume accordingly. In the Hot Channel, the distortion level increases accordingly and delivers from light crunches to a proper rock board all the sounds that the standard gain program so offers. The sound remains nicely transparent even in powerful regions and sprays just the right portion of "Everybodys Darling", paired with enough independence.
The Boost function actually activates a booster that doesn't change much more in the sound character and only increases the gain portion for wonderfully standing, long decaying tones. "Yeah, ok, that's all well and good", I can already hear the first people saying, "but what's special about it now"? Well, for one thing, we're talking about a hybrid amp with European manufacturing under 600 euros, and most importantly, the Koch JUP45-H actually manages to generate that sound at ALL volumes.
The dimmer control bears its name truly not without reason. The entire sound spectrum can be transported with this control in all volume ranges, from the popular bedroom amp up to the big stage. You can drive the power amp very nicely into saturation and still reduce the volume to a minimum. Great!
Conclusion
With the Koch JUP45-H and the matching KCC112-GS60 speaker, the Dutch company has an excellent combination on offer. For just under 1,000 euros retail price, you get a very good, vintage-oriented head/cabinet solution that manages to transport its excellent basic sound into all volume ranges.
The annoying "quiet-sounding-it-doesn't" can be confidently left at the checkroom. A blessing in small clubs for the musicians as well as for the FOH and the audience!
Absolutely test!
Additional informations:
Koch Amps is a revered name in the world of guitar amplification, known for their commitment to craftsmanship, innovation, and delivering exceptional tone. In this comprehensive review, we will explore the history, philosophy, notable product offerings, and the impact of Koch Amps on the music industry, showcasing their contributions to the art of guitar amplification.
History and Legacy: Koch Amps was founded in the Netherlands in 1988 by Dolf Koch, a passionate guitarist and engineer. The company began as a small operation driven by a desire to create amplifiers that captured the essence of vintage tube tones while incorporating modern features. Since its inception, Koch Amps has grown to become a respected and sought-after brand among guitarists worldwide.
Craftsmanship and Quality: At the core of Koch Amps' philosophy is an unwavering commitment to craftsmanship and quality. Each amplifier is meticulously handcrafted using premium components, ensuring exceptional build quality, durability, and reliability. From the selection of high-grade transformers to the careful wiring and assembly, Koch Amps exemplifies the highest standards of craftsmanship in their amplifiers.
Innovative Technologies: Koch Amps has been at the forefront of innovation, constantly pushing the boundaries of guitar amplification technology. They have introduced several groundbreaking features and advancements, including:
a. Power Scaling: Koch Amps was one of the pioneers in incorporating power scaling technology in their amplifiers. This feature allows guitarists to achieve power tube saturation and breakup at lower volume levels, offering the dynamic response and tone of cranked tubes at any volume.
b. Switchable Impedance: Many Koch amplifiers feature switchable impedance options, enabling players to match the amplifier's output to different speaker cabinets. This flexibility ensures optimal performance and tone with a variety of setups.
c. Integrated Effects: Koch Amps has integrated high-quality effects, such as reverb and tremolo, into some of their amplifier models. This innovation provides guitarists with convenient access to essential effects without the need for additional pedals.
Notable Amplifier Models: Koch Amps offers a diverse range of amplifier models, each designed to cater to different playing styles and tonal preferences. Some noteworthy models include:
a. Jupiter Series: The Jupiter series represents the flagship line of Koch amplifiers, offering a wide range of tonal options and features. Models like the Jupiter Combo and Jupiter Head deliver boutique-quality tones, from crystal-clear cleans to high-gain aggression.
b. Studiotone Series: The Studiotone series embodies versatility and portability without compromising on tone. These compact amplifiers are ideal for studio recording and smaller gigs, providing a range of tones from pristine cleans to classic overdrive.
c. Twintone III: The Twintone III is a dual-channel amplifier that combines vintage British and American voicings, offering players a palette of tones suitable for various genres. Its versatility and intuitive controls make it a popular choice among guitarists seeking tonal flexibility.
Artist Collaborations and Endorsements: Koch Amps has garnered the respect and admiration of renowned guitarists who have chosen to endorse and use their amplifiers. Artists such as Greg Howe, Frank Gambale, and Orianthi have collaborated with Koch Amps to create signature models, showcasing the company's commitment to working closely with musicians and tailoring their amplifiers to meet the demands of professional players.
Impact on the Music Industry: Koch Amps has made a significant impact on the music industry by providing guitarists with amplifiers that combine vintage tonal characteristics with modern features and reliability. Their commitment to craftsmanship, innovation, and attention to detail has earned them a dedicated following among players across various genres. Koch Amps' amplifiers have found their way onto the stages and studios of numerous professionals, contributing to iconic recordings and live performances worldwide.
Conclusion:
Koch Amps stands as a testament to the fusion of precision engineering and passionate artistry in guitar amplification. Through their unwavering commitment to craftsmanship, innovative technologies, and collaboration with renowned artists, Koch Amps continues to redefine the standards of tone, inspiring guitarists to explore new sonic frontiers. With their diverse range of amplifiers, each delivering exceptional tone and performance, Koch Amps has cemented its place as a trusted name among guitarists seeking quality, versatility, and unparalleled craftsmanship.
TEST: Koch ATR-4502
So dear children, take good care, I've brought you something! Uncle Axel again tells anecdotes from a decade when the hair was still toupeed, the skirts were short, the heels were high and in Los Angeles anyone who could hold a guitar the right way round (he didn't even have to know how to play it) was a superstar. Once again, it's all about the wild times of the eighties, when, in addition to some very questionable color schemes in the instrument area, one or the other concept was developed, which had to be classified at least in the area of innovative, but sometimes also in the drawer of trend-setting.
To the last mentioned area must be counted in any case the burgeoning 19-inch concept, which is based on the fact that not only the rapidly growing effects area should be screwed into a suitable rack, but also the upstream preamps, along with downstream power amplifiers find a new home in it. The advantage was obvious: complete flexibility in the choice of components, freely configurable and optimally protected for transport in an appropriate case. The fact that the practice did not always turn out so simple even with meticulous signal routing, in particular with regard to persistent hum loops, we leave here once generously under the table. The diametrical fashion wave of vintage amps in the nineties abruptly ended the presence of refrigerator-sized racks on the stages of this world, but did not change anything about the logical and practical concept, which still holds its own today, especially in the second stage row.
So it is not surprising that some renowned manufacturers continue to carry one or the other product of this series in their catalog, respectively develop it further. One of these companies is the Dutch company Koch Amps around mastermind Dolf Koch, which is gaining more and more followers in the scene due to its long breath and outstanding products.
Construction
The Koch ATR-4502 requires only a single height unit in the rack and also has a 2-fold fan construction, which makes it possible to keep no height unit free both above and below the housing for overheating reasons. As an operating concept, a hybrid technology was chosen, which is already used in the very popular Jupiter series. The speech is of 2 pieces 12AX7 double triodes, which take over the sound behavior of a tube, with a transitor output stage switched behind it for the power output.
The power amplifier is designed in stereo and can supply in stereo mode any speaker between 4 - 16 ohms, in mono mode between 8 - 16 ohms with juice. As power data in mono mode 90 W (8 ohms), 70 W (16 ohms), in stereo mode 2x 50 W (4 ohms), 2x 45 W (8 ohms), 2x 35 W (16 ohms) are mentioned. According to the transistor design, the power output decreases with increasing number of ohms, but the transformer does not blow when no load is applied. Unfortunately you can't have everything. The weight of the Koch ATR-4502 turns out to be very pleasant due to the output transformers saved by the hybrid design with only 5.5 kilograms, which is just about one fifth of the weight of a 19 inch power tube.
On the front side, in addition to the On/Off switch and 14 angled ventilation slots, there are 2 volume controls for the two power blocks and 2 voicing controls per channel, which can be used to boost the bass (Depth) or the treble (Presence). On the rear side, the Koch ATR-4502 has 2 input sockets, which can be individually lowered by -10dB each in the input sensitivity, in addition to the cold device plug and the input openings of the fans. A total of 6 output sockets allow any conceivable speaker combination in mono and stereo, here maximum flexibility is announced. The product is supplied with 2 screwable rack brackets and 4 self-adhesive rubber feet for stand-alone operation.
Practice
The practical part of this test is quickly dealt with. The power amplifier sounds very good indeed! Through the intelligent use of the 12AX7, the product manages to reproduce the compression behavior of a tube power amplifier over large parts 1 : 1, only at high volumes you notice due to the different reaction to the return current of the speaker that it is not the big bottles a la EL34 or similar. The response is lively, the tonal orientation open with a touch of compression.
Depending on the preamp connected in front of it, one can still influence the personal tuning somewhat with the two voicing switches. One or the other will miss the execution in the form of resonance or presence knobs, I for my part could not determine any impairment in this regard.
Conclusion
With the Koch ATR-4502, the Dutch manufacturer carries an absolute top product in its catalog. Equipped with low weight, very good workmanship and a sound that maintains the attributes of tube compression, the product finds its place between various cheap homes on transistor basis and the 30 kilogram monsters in full tube construction.
A very strong product for the musician who wants to combine minimum weight with maximum sound. Highly recommended!
Additional informations:
- Koch Amps stands as a renowned and revered brand in the world of guitar amplification, acclaimed for their dedication to crafting exceptional tube amplifiers that capture the essence of vintage tones while incorporating modern features. In this comprehensive review, we will delve into the history, craftsmanship, innovative technologies, and notable product offerings of Koch Amps, showcasing their significant contributions to the realm of guitar amplification.
History and Legacy: Koch Amps was founded in the Netherlands in 1988 by Dolf Koch, a passionate guitarist and engineer. With a vision to create amplifiers that reproduced the classic tones of iconic vintage amps, Koch embarked on a journey that would establish the brand as a leader in the industry.
Craftsmanship and Quality: Koch Amps is renowned for its unwavering commitment to craftsmanship and quality. Each amplifier is meticulously handcrafted using premium components, ensuring exceptional durability and reliability. From the circuitry to the cabinet construction, Koch Amps exemplify the highest standards of craftsmanship, delivering products that are built to last and inspire musicians for years to come.
Innovative Technologies: Koch Amps has consistently pushed the boundaries of innovation, incorporating cutting-edge technologies to enhance their amplifiers' performance and versatility. Some notable advancements include:
a. Power Attenuation: Koch Amps was among the first to introduce built-in power attenuators in their amplifiers. This technology allows players to dial in the desired power output, enabling them to achieve coveted tube amp tones at lower volume levels, making them suitable for both studio and stage use.
b. Dynamic Valve Reactor (DVR): The patented DVR technology implemented in Koch Amps' amplifiers ensures that the power amp section faithfully replicates the response and dynamics of classic tube amplifiers, even at lower volume levels. This innovation captures the organic, touch-sensitive feel that guitarists crave from vintage amps.
c. Switchable Channels and Voicings: Many Koch amplifiers offer multiple channels and voicings, allowing players to seamlessly switch between clean, crunch, and high-gain tones. This versatility makes Koch amps suitable for a wide range of playing styles, from blues and rock to metal.
Notable Amplifier Models:
a. Jupiter Series: The Jupiter series represents the flagship line of Koch amplifiers, delivering a harmonically rich, vintage-inspired sound with modern versatility. Models like the Jupiter Junior and Jupiter Combo offer a range of power outputs and features, allowing players to dial in their desired tone and volume.
b. Studiotone Series: The Studiotone series embodies the perfect balance between power and portability. These compact amplifiers pack a punch, offering tube-driven tones suitable for studio recording and smaller gigs. The Studiotone Combo and Studiotone Head exemplify the versatility and high-quality sound that Koch Amps is known for.
c. Twintone III: The Twintone III is a dual-channel amplifier that combines classic British and American voicings. With its versatility and lush, harmonically rich tones, the Twintone III has become a favorite among players seeking a wide range of tonal options.
Artist Collaborations and Endorsements: Koch Amps has earned the respect and admiration of numerous renowned guitarists who have chosen to endorse and use their amplifiers. Artists such as Greg Howe, Paul Gilbert, and Scott Henderson, among others, have collaborated with Koch Amps to create signature models that reflect their tonal preferences and musical styles. These artist partnerships further validate the quality and performance of Koch amplifiers.
Impact on the Music Industry: Koch Amps has made a significant impact on the music industry by providing musicians with amplifiers that faithfully capture the timeless tones of vintage amps while incorporating modern features. Their dedication to craftsmanship, innovation, and versatility has empowered guitarists to shape their signature sounds and express their musicality across a wide range of genres.
Conclusion:
Koch Amps has established itself as a respected and influential brand in the realm of guitar amplification. Through their commitment to craftsmanship, innovative technologies, and collaborations with renowned artists, they have consistently delivered amplifiers that capture the essence of vintage tones while providing modern features and versatility. With their exceptional build quality and unwavering dedication to authentic tube amplification, Koch Amps continues to inspire and empower guitarists worldwide.
- 19-inch guitar power amps have revolutionized the world of professional guitar amplification, providing guitarists with a dedicated solution for delivering high-quality, powerful, and reliable amplification on stage and in the studio. In this comprehensive review, we will explore the features, benefits, applications, and notable models of 19-inch guitar power amps, highlighting their significance in achieving optimal guitar tone and performance.
Overview and Benefits: 19-inch guitar power amps are rack-mounted units designed specifically to amplify the signal generated by a guitar preamp or processor. They offer several key benefits, including:
a. Power and Headroom: 19-inch power amps provide ample power to drive guitar speakers, delivering clean headroom and the ability to produce loud, dynamic performances without distortion or loss of tone.
b. Signal Fidelity: These power amps are engineered to faithfully reproduce the tonal characteristics of the preamp or processor, ensuring accurate representation of the guitarist's desired sound.
c. Durability and Reliability: Built for professional use, 19-inch power amps are constructed with robust components and reliable circuitry, allowing them to withstand the rigors of touring and regular live performances.
d. Rack Integration: Being rack-mountable, these power amps can be easily incorporated into a professional rig, providing a streamlined and organized setup.
Power Ratings and Configurations: 19-inch power amps come in various power ratings, typically ranging from 50 watts to 1000 watts or more. They are available in different configurations, including mono, stereo, and multi-channel options, allowing guitarists to adapt to different performance setups and speaker configurations.
Connection Options: These power amps offer a range of connection options, including balanced XLR, unbalanced 1/4-inch TS, and Speakon connectors. This versatility enables seamless integration into different setups and ensures compatibility with various audio systems.
Applications: 19-inch guitar power amps find application in a wide range of scenarios, including:
a. Live Performances: These power amps provide the necessary amplification for live performances, enabling guitarists to project their sound to larger audiences with clarity, power, and reliability.
b. Studio Recording: 19-inch power amps are utilized in professional recording studios to capture the pure tone and dynamics of a guitar signal, delivering pristine audio quality for recordings.
c. Integration with Modeling Systems: Guitarists using digital modeling systems or software-based guitar rigs often pair them with 19-inch power amps for amplification, combining the flexibility of digital processing with the authentic power and feel of a dedicated power amp.
Notable 19-Inch Power Amp Models: Several notable manufacturers offer exceptional 19-inch guitar power amps, each with its own unique features and sonic characteristics. Some prominent models include:
a. Mesa/Boogie 2:90: Renowned for its legendary tone and robust build quality, the Mesa/Boogie 2:90 power amp offers stereo or mono operation, delivering 90 watts per channel.
b. Peavey Classic 50/50: The Peavey Classic 50/50 power amp is highly regarded for its reliability and warm tube-driven sound. It provides 50 watts per channel in stereo mode.
c. Marshall EL34 100/100 Dual Monoblock: This power amp from Marshall offers two independent channels with 100 watts per side, utilizing EL34 power tubes for that classic British rock tone.
d. EVH 5150III EL34: Designed in collaboration with Eddie Van Halen, the EVH 5150III EL34 power amp delivers the iconic high-gain sound associated with Van Halen's signature tone.
Future Trends and Advancements: As technology continues to advance, 19-inch guitar power amps are expected to evolve further, incorporating features such as digital connectivity, built-in effects, and advanced power management options. Additionally, advancements in power amp design, including Class D amplification, may offer more compact and lightweight options without compromising on sound quality and power.
Conclusion:
19-inch guitar power amps serve as an essential component in professional guitar rigs, delivering the necessary power, tone, and reliability required for live performances and studio recordings. With their robust construction, versatile connectivity options, and compatibility with various preamps and processors, these power amps empower guitarists to unleash their creativity and achieve their desired sound with precision and authority.
TEST: Keeley Hydra
The pedal market is already a thing for itself. What used to come with the standard bread-and-butter effects in the form of a single effect, has nowadays already partly more functions than representatives of the 19-inch department just a few years ago. Among the double effect pedals is also the Keeley Hydra, which is presented to us for testing, which comes up with a combination of tremolo and reverb.
The concept of the Keeley Hydra
Corporate identity is gone, at least if you look around the boutique sector. In the past, giants like Boss or Ibanez had a strict guideline regarding the layout of the individual pedals, but today you are allowed to do whatever you like, or rather, whatever comes to mind visually. Such a partially heavy LSD-infused layout is spared us in the Keeley series, although the optical diversity of the pedals around the American Robert Keeley also includes several housing shapes.
At least one other pedal uses the same dimensions according to the Keeley website, whereby the Keeley Hydra probably takes the cake in terms of dual functions. Each of the 5 knobs on the top of the case has a primary and secondary function, which you can switch between by pressing the Color switch. Although this concept inevitably lacks a bit of clarity, this handling is ultimately a sensible implementation when it comes to maximum flexibility with minimal dimensions.
As in the amplifier sector, the maxim "use every square inch" has long since prevailed in the pedal sector, which on the one hand has led to the flood of mini pedals in recent years and on the other hand has brought more and more multiple pedals onto the scene. The combination of a modulation effect like the tremolo and a room effect like the reverb makes perfect sense, since both find their place in clean amps before the preamp and in the extended gain range in the serial FX loop, thus saving a pedal on your board.
The Temolo, a rare guest on the floorboard?
If you are wondering why the tremolo effect is significantly less represented in your selection in contrast to the great forerunners of modulation effects such as, e.g., chorus, flanger, and even phaser, you should consider its range of application. Apart from some extreme "flutter settings", where the effect is literally used as an effect, the tremolo effect only makes sense if it presents its modulation curve exactly in the tempo of the song being played, i.e. the tremolo effect sets the tempo and the drummer has to follow it, which entails a certain timing security of the drummer (Lars Ulrich is already ruled out ...) and a very good monitoring situation.
The construction of the Keeley Hydra
The Keeley Huydra pedal comes in a tasteful baby-blue solid metal case, which has a structure on the top, reminiscent of a WLAN field strength overkill. There are no rubber feet or similar anti-slip measures, the manufacturer assumes use on a floorboard. With a supply voltage of 9V and a power consumption of just 115 mA, which is downright ridiculous for a device of this series, any number of power supplies should be able to be found as a provider.
The fact that the Hydra pedal is not only designed for operation with a guitar is shown, among other things, the true stereo design, whereby the product can be operated in mono, mono-stereo and stereo-stereo modes if required. Two additional input jacks also allow for remote control via an expression pedal and external footswitches. The pedal, which is manufactured in the USA, is perfectly crafted and conveys a very high-quality impression with its massive switches and heavy-handed controls.
2 footswitches allow On / Off operation of the two effects, with the duration of activation having an effect on the operation. Holding the Temolo switch for longer than 1 second switches the unit to TAP mode, which allows it to match the song tempo. In addition, a flashing LED indicates the speed. If you practice the same procedure on the Reverb Switch, the current reverb tail is frozen, allowing for a seemingly endless reverb time. In addition to the You-Get-What-You-See setting, 3 more sounds can be stored internally and visually indicated with an LED.
In addition, Keeley also provides the options to modify the bypass operation according to one's preferred method of operation. You can choose between a buffer mode, a true bypass and also the kill bypass is possible, consumer heart, what more do you want.
A small mini-switch in the upper center field of the housing lets you choose between Sine (sine wave), Harmonic (harmonic wave) and Vibrato modes for the tremolo. The same applies to the reverb section, which offers a choice of Spring (spring reverb), Plate (plate reverb) and Room (room sound). Those who are already flapping their ears will probably finally hoist the white flag at the double functions of the five knobs. The following controls are possible.
Primary control:
- Rate: Controls the speed of the tremolo effect.
- Depth: Adjusts the depth of the volume reduction of the tremolo effect.
- Dwell: Controls the length of the reverb in the Reverb effect.
- Color: Adjusts the sound of the reverb.
- Mixer: Adjusts the mix ratio between dry and wet in the reverb section.
If you hold down the Color knob, you can access the secondary function of the knobs:
Trem Sync: Sets the stereo output of the tremolo to PAN (pan), Sync (sync) or Wet / Dry (effect On / Off).
Trem Level: Controls the output level of the tremolo.
Wet / Dry: Sets the stereo output of the reverb effect to either stereo reverb or wet / dry
Reverb Modifier: Modifies the reverb effect according to the selected mode. In Spring it controls the age of the spring, in Plate it controls the "shimmer" portion, and in Room it controls the room size.
The Keeley Hydra in practice
According to the extensive control possibilities, it is truly no surprise that the sound variety would be really very inadequately described with the adjective "extensive". The single effects in themselves are already very much exhausted in their possibilities, in their combination the possibilities are potentiated many times over, especially since the order of the effects can also be switched.
In general, each effect can be attested an excellent basic sound and that over the entire bandwidth. While large rooms are perceived tastefully as always very subjective by the listener, it is with the Hydra pedal especially the small rooms, which convince with a very great authenticity. The age of the springs in the spring range is also very well done for a digital emulation, the old springs slurp nicely diffuse out of the speaker and spread the so well known, latent muddy spring reverb of old vintage amps, mainly from Fender. The same applies to the shimmer effect in the plate reverb range, that overtone reverberation that is characteristic of a plate reverb, among other things. Very nice for experimental sounds and flat layer effects.
Remains to mention that the pedal for the quality offered with manufacturing in the U.S. calls up a comparatively very low retail price, especially if you plan to purchase two individual pedals in the form of a tremolo and a reverb pedal. Both effects can be tuned in the sum even partially better than two individual pedals and you also save a lot of space on the floorboard. No matter how hard you try, there is simply no point of criticism to be discovered about the pedal. Every area, starting with the haptics over the processing, respectively conception up to the sonic implementation is of the highest quality and can hardly be surpassed in any form.
Definitely one of the great highlights in the modulation / room effects area in recent years, unconditionally recommended!
Conclusion
With the Keeley Hydra pedal, the American company around Robert Keeley has a very hot iron in the fire. If you are looking for two effects in the form of tremolo and reverb, you would do well to put this pedal at the front of your research list.
The pedal convinces in every respect, be it processing, conception or sound and combines for a very moderate price with simultaneous production in the USA two effects in one housing, which convince both on their own, as well as in their combination with each other sonically across the entire range.
Definitely test once, it's worth it!
Additional informations:
Keeley Electronics stands as a prominent name in the realm of guitar effects pedals, renowned for its commitment to innovation, uncompromising quality, and superior tone. In this comprehensive review, we will explore the history, ethos, notable product offerings, and the impact of Keeley Pedals on the music industry, showcasing their contributions to the art of sonic craftsmanship.
History and Founding: Keeley Electronics was founded in 2001 by Robert Keeley, an accomplished guitarist and engineer with a passion for pushing the boundaries of guitar effects. Starting as a small operation out of a garage, the company quickly gained recognition for its dedication to producing high-quality effects pedals that catered to the needs of discerning musicians.
Commitment to Quality: From its inception, Keeley Electronics has focused on delivering exceptional build quality and attention to detail in each of their pedals. The company prides itself on using premium components, employing meticulous hand-wiring techniques, and conducting rigorous quality control measures to ensure that every pedal meets the highest standards of craftsmanship and reliability.
Innovation and Unique Features: Keeley Pedals have become synonymous with innovation, introducing groundbreaking features that have set new benchmarks in the industry. Some notable examples include:
a. Keeley Compressor: Keeley Electronics revolutionized the compressor pedal market with their highly regarded compressors, known for their studio-grade transparency, enhanced sustain, and versatility. Their "Blend" knob, found on many compressor models, allows players to dial in the perfect balance between their dry and compressed signal.
b. Keeley Mod Workstation: The Mod Workstation pedal exemplifies Keeley's dedication to versatility and creativity. This multi-effects unit combines various modulation effects, such as chorus, phaser, flanger, and rotary speaker, in one compact pedal, empowering guitarists with an extensive tonal palette.
c. Keeley D&M Drive: In collaboration with renowned guitarist Dan Steinhardt, Keeley Electronics introduced the D&M Drive, a dual overdrive and boost pedal that offers a wide range of tones, from smooth and transparent overdrive to saturated and dynamic boost, all in one compact enclosure.
Signature Pedals and Artist Collaborations: Keeley Electronics has collaborated with numerous renowned artists to develop signature pedals tailored to their unique tonal preferences. This partnership approach has resulted in the creation of pedals such as the Eddie Heinzelman Verb o Trem, the Robert Keeley DDR Drive Delay Reverb, and the Neutrino Envelope Filter, among others. These signature models reflect the expertise and tonal sensibilities of the artists they are designed for, adding a personal touch to Keeley's extensive lineup.
Noteworthy Pedal Offerings: Keeley Electronics offers an extensive range of effects pedals, catering to a wide array of playing styles and tonal preferences. Here are a few standout models:
a. Caverns Delay/Reverb: This pedal combines lush reverb with versatile delay, featuring intuitive controls and a cavernous ambient sound that adds depth and atmosphere to any guitar tone.
b. Dark Side Workstation: The Dark Side Workstation is a powerful multi-effects unit that emulates the iconic sounds of the legendary Pink Floyd. It integrates fuzz, modulation, and delay/reverb effects, allowing players to capture the essence of David Gilmour's iconic tones.
c. Red Dirt Overdrive: Keeley's Red Dirt Overdrive delivers a wide range of vintage and modern overdrive tones, from subtle grit to saturated distortion. Its flexible tone shaping options and dynamic response make it a favorite among guitarists seeking versatile overdrive capabilities.
Impact on the Music Industry: Keeley Electronics' relentless pursuit of sonic excellence and dedication to innovation have had a significant impact on the music industry. Their pedals have found their way onto the pedalboards of countless professionals, shaping the sound of iconic recordings and live performances across various genres. Keeley's commitment to quality, attention to detail, and inventive designs have set new standards for the guitar effects industry, inspiring other manufacturers and pushing the boundaries of what is possible in the realm of guitar tone.
Conclusion:
Keeley Electronics has established itself as a trailblazer in the world of guitar effects pedals, delivering superior craftsmanship, innovative features, and exceptional tone. With their commitment to quality, versatile offerings, and collaborations with renowned artists, Keeley Pedals continues to leave an indelible mark on the music industry, empowering guitarists worldwide with the tools to express their creativity and achieve their sonic aspirations.
TEST: Keeler Pull
I am such a little skeptic. Sometimes I even have to be careful that I don't get a whiff of bias. Yes, I admit it, with certain products, which have certain construction features, there is a tendency to assign a fluctuating percentage of evaluation already before the introduction of the actual test.
Good for the one who nevertheless surrenders himself to objectivity in the last consequence and surrenders himself like a novice, without prejudices to the actual sound yield. What does this introduction have to do with the actual test? Well, I'm a tube-man! Not only in terms of amplifier technology in the actual sense, but also with effects devices of any kind, the small glass bulbs were personally in terms of saturation or dynamic behavior compared to their semiconductor colleagues usually a step ahead in terms of sound.
Of course there are legends a la Tube Screamer or OD-1, about which whole volumes of books have been written and which have been used excessively by well-known artists, so you really can't assume a general valuation. Only I personally have in case of doubt in direct comparison mostly missed the transistor the second place and preferred for my live operation the glass piston.
Especially concerning the distortion range, a representative of the semiconductor league has it therefore always at first sight a little bit more difficult with me than if it is equipped with a small mica. But as I said, objectivity will prevail this time as well!
On to another round of the boutique department. Keeler Designs hands me a nondescript pedal labeled "Pull", of its mark to be classified in the category of overdrive pedals.
Construction
As usual with Keeler Design, the "Pull" also comes with a general spartanity. Three controls (Volume, Texture, Tone), input, output, power connector, blue LED, off! Hm, truly not much, you would think, but well, we know that from other overdrive pedals as well.
Internally, components are not stingy, for example, only very massive jack sockets and a high-quality true bypass switch are used. As usual with Keeler pedals, nothing can be said about the overall circuitry, since all the electronics are on a circuit board that has been completely covered with synthetic resin. Too bad, but this is the only method to defend against copyists.
Visually, it's once again "disco time" ;-). While the colleague "Push" still called the exalted violet his own, brother "Pull" comes analog in blue metallic, not without two huge, ugly, but unfortunately legally required CE and disposal stickers on the bottom. Fortunately, you can peel them off.
Practice
According to Rob Keeler, the "Pull" was the first pedal he developed. Decisive for this must have been in his function as a guitarist the constant discussion with the FOH about the stage volume used (which guitarist does not know this discussion....). So the goal was to design a pedal that would only "improve" the sound, not "change" it.
A lofty goal, because in general you use pedals to "blow up" your sound, which partly serves its purpose, but also usually goes hand in hand with a change in the sound. But what if you are generally satisfied with your sound, but only get it from a certain volume or just want to "pimp" it a bit?
This is where the Pull comes in, which in principle does "nothing at all"! Huh? Has the ride now again not heard the shot? Au Contraire, mon Ami. If you switch the "Pull" between guitar and amplifier and turn all controls to 12 o'clock, nothing really happens at first when the circuit is activated, i.e. the FX sound and the original sound are identical.
But if you turn the knobs now, you cause a high interaction with the amp and achieve a kind of "frequency fusion" depending on the guitar and amp used. The signal changes, but even my trained ears, which in their 20-year function as sound engineers have heard really every guitar sound, can not readily tell WHAT exactly is going on sonically.
On the one hand, a slight increase in gain takes place, but without immediately feeding the amp of a classic booster with a higher output signal. This also does not drive the preamp of the amp into saturation and the dynamics are preserved. So you can continue to work very nicely with the volume control of the guitar, without a catch-up effect of a booster to undo this again.
The "Texture" and "Tone" controls actually only serve to sound out the "sweet spot" of the used guitar / amp combination. Once you have found it, you have succumbed to the pedal, you just don't want to turn it off anymore. Like a junkie on the needle, or like the Western industrial nations on the oil, you stick to this sound and make it a permanent part of your sound within a very short time.
However, it is very decisive which combination you call your own, or what you use live or in the studio. Although there are only three inconspicuous controls, usually only exactly one sound hits the optimum between guitar and amplifier and can not be transferred to other combinations. As I said, the pedal does "nothing" except improve the sound....
Well, for crystal clear, clean sounds in the eighties style this "low gain overdrive", as its official type designation is called, will not be used, that probably explains itself, but as soon as even a "hint" of gain enters the stage, one is immediately inclined to operate the pedal's relay.
Conclusion
Yes, and then came Keeler...... It's hard to put into words sonically something that, on the one hand, is so subtle that a majority of the listener will hardly notice it, and yet, within a very short time, molds itself into an absolute "must-have". Despite my reticence towards semiconductor technology, I'm actually at a loss for words here.
I have no idea what Rob Keeler has glued in his resin mass, I can only say that it is unparalleled! Similar to the analogy of using a simple cable (sound ok), then using a top cable (sound subjectively marginally better), then back to the simple cable (sound suddenly crap, because within seconds you have become accustomed to the sound of the top cable), the pull changes the sound initially only in small steps, which, however, when the pedal is subsequently deactivated, is equivalent to a castration of the original sound.
Similar to a loudness circuit on a stereo system, the pedal makes the amp sound "bigger" and "more voluminous", especially at moderate volumes, without letting the transparency of the signal go to the dogs by increasing the compression. Rarely has a distortion, or shall we say booster, signal captivated me as much as the Pull from Keeler Designs.
Even if the price really hurts and should actually cause a small point deduction, here there is only maximum score, non-negotiable, sorry!
Additional informations:
- Keeler Pedals has emerged as a leading brand in the realm of guitar effects pedals, offering a diverse range of meticulously crafted devices designed to enhance the sonic possibilities for guitarists and musicians. In this detailed review, we will explore the key features, performance, build quality, and overall user experience of Keeler Pedals, delving into their acclaimed models and their impact on the music industry.
History and Background: Keeler Pedals was founded in 2010 by Tim Keeler, a passionate guitarist and engineer with a vision to create exceptional effects pedals that surpass industry standards. With a commitment to excellence and innovation, Keeler Pedals quickly gained recognition for its unique designs and uncompromising quality.
Design and Build Quality: One of the standout features of Keeler Pedals is their distinctive design aesthetics. The pedals boast a sleek, minimalist appearance, often featuring bold and captivating artwork. The build quality is exceptional, with robust construction using high-quality materials, ensuring durability for both studio and live performance settings.
Range of Pedals: Keeler Pedals offers a diverse lineup of effects pedals, catering to various musical genres and playing styles. Let's explore some of their noteworthy models:
a. Drive Pedals:
The Abbey Drive: A versatile overdrive pedal known for its warm and smooth tone, capable of producing subtle bluesy grit to searing lead tones.
The Merman Overdrive: A transparent overdrive pedal that preserves the natural dynamics of the guitar, ideal for players seeking a dynamic response.
b. Modulation Pedals:
The Neapolitan Chorus: A lush analog chorus pedal with rich, warm tones, featuring versatile controls for depth, speed, and modulation character.
The Aurora Phaser: A versatile phaser pedal offering a wide range of classic and modern phasing effects, with intuitive controls for versatility.
c. Time-Based Effects:
The Eccos Delay/Looper: A feature-packed delay and looper pedal, offering pristine digital delay sounds, tap tempo, and up to 8 minutes of looping capabilities.
The Helios Reverb: A high-quality reverb pedal, ranging from subtle ambience to vast, atmospheric soundscapes, with a user-friendly interface.
Performance and Sound Quality: Keeler Pedals have garnered a reputation for their exceptional sound quality and performance. The pedals are known for their transparency, preserving the natural tone and dynamics of the instrument while adding character and depth. Each pedal is carefully voiced to provide a unique sonic signature, inspiring creativity and musical expression.
Innovative Features: Keeler Pedals continually pushes the boundaries of guitar effects, integrating innovative features that set them apart from competitors. Some notable features include:
a. The Tone Condenser: This unique circuitry ensures that the pedals respond dynamically to the nuances of the player, providing a highly touch-sensitive and responsive experience.
b. Hybrid Power: Keeler Pedals incorporates hybrid power technology, allowing their pedals to be powered via standard 9V power supplies or USB power banks, making them suitable for both stage and studio use.
c. Flexi-Switch Technology: Many Keeler Pedals utilize Flexi-Switch technology, enabling seamless switching between momentary and latching operations, expanding the range of creative possibilities.
User Experience and Support: Keeler Pedals prides itself on providing an exceptional user experience. The pedals feature intuitive controls and clear labeling, making them accessible to both beginners and experienced players. The company also offers comprehensive user manuals, tutorial videos, and prompt customer support, ensuring that users have the necessary resources to maximize their pedal's potential.
Conclusion:
Keeler Pedals has solidified its position as a trailblazer in the realm of guitar effects pedals, offering an extensive range of meticulously designed devices that cater to the needs of diverse musicians. Their commitment to innovation, sound quality, and user experience has garnered them a loyal following. With their unique features and exceptional build quality, Keeler Pedals continue to shape the sonic landscapes of contemporary music, inspiring guitarists worldwide.
- Overdrive pedals have become an integral part of the guitarist's arsenal, providing a versatile means of adding warmth, grit, and harmonically rich overtones to their sound. In this comprehensive review, we will delve into the world of overdrive pedals, exploring their history, types, key features, notable models, and their impact on guitar tone and musical expression.
History and Evolution: The concept of overdrive in electric guitar tone originated in the 1950s and gained popularity as guitarists sought to emulate the natural breakup and harmonic saturation of tube amplifiers at higher volumes. Initially, players would achieve overdrive by pushing their amplifiers to the point of distortion. Over time, the demand for a controllable and portable solution led to the development of overdrive pedals.
Types of Overdrive Pedals: Overdrive pedals can be broadly categorized into three types based on their circuit designs:
a. Tube-Based Overdrive: These pedals utilize vacuum tubes (valves) to produce the overdriven sound, emulating the warm and dynamic characteristics of tube amplifiers. They often exhibit a more organic and responsive feel.
b. Solid-State Overdrive: These pedals employ transistor-based circuitry to generate overdrive tones. They tend to offer a cleaner, more focused overdrive and are often characterized by their transparency and clarity.
c. Digital Overdrive: Digital overdrive pedals utilize digital signal processing (DSP) technology to replicate the sound of overdriven tubes or solid-state circuits. They offer a wide range of tonal options and can emulate various classic and modern overdrive sounds.
Key Features of Overdrive Pedals: Overdrive pedals incorporate various features that contribute to their versatility and usability:
a. Gain Control: This knob determines the amount of overdrive or distortion applied to the signal, allowing players to achieve anything from subtle breakup to saturated and aggressive tones.
b. Tone Control: The tone knob adjusts the frequency response of the overdriven signal, enabling players to shape the overall tonal character. Some pedals offer additional EQ controls for further tone shaping.
c. Level Control: The level (or volume) knob controls the overall output level of the pedal, ensuring unity gain or boosting the signal to cut through the mix.
d. Additional Controls: Many overdrive pedals feature extra controls such as presence, midrange, and bass knobs, allowing for fine-tuning and customization of the pedal's tone.
Notable Overdrive Pedal Models:
a. Ibanez Tube Screamer: A legendary overdrive pedal known for its smooth midrange boost and iconic "808" and "TS9" versions. It has been a staple on countless pedalboards across genres.
b. Fulltone OCD: Renowned for its dynamic response and wide gain range, the Fulltone OCD offers rich overtones and excellent touch sensitivity, making it a versatile choice for various musical styles.
c. Boss BD-2 Blues Driver: With its warm and bluesy overdrive, the BD-2 has become a favorite among blues and rock guitarists, delivering a smooth and harmonically complex tone.
d. Klon Centaur: Considered a holy grail of overdrive, the Klon Centaur provides transparent and dynamic overdrive, adding a touch of magic to the guitar's tone and responsiveness.
e. ProCo RAT: Originally designed as a distortion pedal, the ProCo RAT gained popularity for its versatile overdrive capabilities. It offers a wide range of tones, from mild breakup to aggressive distortion.
Impact on Guitar Tone and Musical Expression: Overdrive pedals significantly impact guitar tone and musical expression by adding texture, sustain, and harmonically complex overtones to the sound. They allow players to explore a wide range of tonal possibilities, from subtle vintage-style breakup to aggressive and saturated distortion. Overdrive pedals not only enhance the character of different guitar and amplifier combinations but also respond to the player's touch and playing dynamics, enabling expressive and nuanced performances.
Conclusion:
Overdrive pedals have revolutionized the world of guitar tone, offering guitarists a means to shape their sound and add richness, warmth, and harmonics to their playing. With a diverse range of types and models available, players have endless options for achieving their desired overdrive tones. Whether it's vintage-inspired breakup, modern saturation, or anything in between, overdrive pedals continue to be an essential tool for musicians seeking to unlock new levels of creativity and sonic expression.