TEST: MXR Phaser

 That's the thing with FX pedals in general. Similar to the flaming discussions about tube or semiconductor technology and their advantages and disadvantages in amplifier construction, the users of the FX pedals can also be classified as "analog" or "digital". And similar to the counterpart mentioned above, it is difficult to explain the analogue fan's batch cable orgies to a die-hard admirer of multi-effects devices, with the standard analogue fanatic actually speaking off the cuff about "volume", "depth" and "warmth" of his "Tretmine" can report in a monologue of about 30 minutes.

The ambivalent music fan therefore often wonders whether, in return for the undoubtedly higher logistical effort of analogue wiring, the audiophile reward really awaits at the other end or whether too much of a good thing is usually said in advance about the retro technology.

One of the forefathers of analog technology in pedal construction is the MXR company, which has been under the aegis of Dunlop for some time. The Phase 90 Phaser must undoubtedly be classified as a "bread-and-butter" pedal, which, in addition to the classic from the seventies, is now also available in a second version with a built-in LED. Both were (fortunately) upgraded with an additional mains connection some time ago.

In order to have a direct comparison to a further development, I took the Variphase CSP-001 into the test, which is issued in a limited edition by the MXR Custom Shop and is, so to speak, an interesting extension of the Phase 90. With a booster and adjustable modulation speed by foot, the Variphase aims to appeal in particular to solo guitarists.

Construction:

MXR already gave its pedals a consistent color scheme 30 years ago, which made me associate it with my watercolor paint box even then. The individual FX types were consistently equipped with almost "intrusive" colors. The phaser department got it with a dark orange tending towards brown, which looks not dissimilar to a rust primer color ;-) Whether you regard this color as a cult or simply as "ugly" is up to you, in any case, the same can be identified very easily on the floorboard, even in the dim stage lights.

With regard to control options, the Phase 90 is only beaten by an ON/OFF switch, apart from the bypass switch there is only a single speed controller, which controls the modulation speed. You will look in vain for additional controls such as the intensity of the effect or the phase position, loosely based on the motto "the official sound is preset, you can still adjust the speed a little". Housed in a solid sheet steel housing, the dwarf has a long life ahead of it. All circuits are housed on a circuit board which is easily accessible by loosening four screws on the underside of the housing. The scope of delivery includes a self-adhesive rubber base, which is intended to protect against slipping, and the well-known MXR "hat attachment", which allows the potentiometer to be adjusted with the foot while playing. By the way, the marking line of the potie phosphorizes in the dark.

The Variphase, on the other hand, comes with several modulation options, most notably the ability to control the speed of the effect with the pedal's rocker. The whole thing sits in the same housing as the well-known Dunlop Wah-Wah, only a spring ensures that the pedal returns to its original position after use. On the left side there are 2 small trim pots with which you can adjust the volume of the booster and the mix between the original and the effect signal. The processing is massive, the battery access is made possible via a small plastic cover, which is a bit notchy and thin-walled. The whole device rests on four sturdy rubber feet, the electronics sit on a single circuit board. In addition, a small switch inside the device offers two presets for the intensity of the effect (shallow / deep).

Practice:

In the field of modulation effects, the phaser, alongside the chorus and the flanger, represents the third part of the "FX triumvirate" in terms of popularity among artists. To explain briefly, the phaser periodically changes a phase-shifted copy of the original signal, resulting in regular cancellation and boosting of frequencies. The same sound is used universally, be it in funk, rock or jazz, with clean guitar or in distorted mode, a phaser supplies a dry guitar signal with an unobtrusive yet interesting sound.

Everyone has probably come across the Phase 90 sound somewhere, be it VAN HALEN, THE DOOBIE BROTHERS, ZZ TOP or any other recording made in the late 70's and beyond. The depth and warmth of the inconspicuous pedal are legendary, and in this test, MXR briefly shows the competition what makes an official phaser sound. When it comes to volume, it has always been the benchmark, nothing has changed to this day. Nobody misses the additional control options, the basic sound is already so balanced that you don't want to change anything.

The Variphase pedal comes with a different claim. On the one hand it should be able to keep the sound of the MXR phaser but still provide more flexibility. To be honest, it took me a moment to explore the CSP-001's intended use. The combination of booster and phaser in one may take some getting used to, but in psychedelic sound areas the pedal hits like a bomb, even the color of the device suits it ;-) Flared trousers put on, Mommy's batik blouse pulled over them and a little more on the Suck the bag and the basic mental equipment is ready. Retro rockers a la Lenny Kravitz will love this pedal.

Switched to a distorted all-tube amp, you can really play yourself into a "Woodstock frenzy". Once you've started, the device pulls you under its spell. Similar to a wah-wah, intelligent pedaling can add expression and intensity to your playing, assuming a basic level of personal expression, of course. What bothers me a bit personally is the fact that even with the minimum booster setting there is still a slight increase in the output level, i.e. you cannot operate the Variphase without a booster effect. In my opinion, it would have been nice to operate the phaser effect without changing the level, which would significantly increase the range of use in front of clean amps. At the moment it is difficult not to drive an amp into saturation with this effect unless level-resistant amplifiers of the Twin Reverb or Hiwatt caliber are available.

In my opinion, the double version of the Phase 90 with and without LED can only be explained by the possibility or the desire for vintage wiring that is true to the original. Despite an intensive A/B comparison, I couldn't hear any tonal differences between the two models.

Conclusion:

Phase 90 = was good, is good and will in all probability always remain the reference for a timeless phaser sound!

Variphase CSP-001: be careful, the device can be addictive. Before you know it, you're stepping on the pedal with every solo, which makes the term "effect" absurd. MXR has succeeded in moving a modulation effect that was previously established primarily in the rhythm area into the solo area. An intelligent approach, which must be regarded as successful!

Additional Informations:

- MXR Pedals: Redefining the Sound of Guitar Effects

Introduction:
MXR Pedals is a renowned company that has been at the forefront of guitar effects pedal innovation since its establishment. With a rich history dating back to the 1970s, MXR has consistently delivered high-quality, reliable, and groundbreaking pedals that have become staples in the guitar community. From iconic classics to cutting-edge advancements, MXR continues to shape the sound of modern music.

History and Legacy:
MXR Pedals was founded in 1972 by Keith Barr and Terry Sherwood, who aimed to create high-quality effects pedals that were both affordable and accessible to musicians. The company quickly gained popularity for its innovative designs and reliable construction. In 1987, MXR was acquired by Jim Dunlop, a move that further solidified the brand's influence and commitment to producing exceptional guitar effects.

Diverse Product Line:
MXR Pedals offers a diverse range of guitar effects pedals, catering to a wide variety of musical styles and preferences. Their product lineup includes classics like the Phase 90, Dyna Comp, and Carbon Copy Delay, which have become industry standards and have been used by countless guitarists around the world.

In addition to their classic pedals, MXR continues to innovate and introduce new products. They have expanded their range to include distortion, overdrive, modulation, delay, reverb, and many other types of effects pedals. Each MXR pedal is meticulously designed and engineered to deliver outstanding sound quality, ease of use, and durability, ensuring that they meet the demands of professional musicians.

Innovation and Technological Advancements:
MXR Pedals has consistently pushed the boundaries of guitar effects technology, introducing innovative features and advancements that enhance the tonal possibilities for guitarists. For example, the MXR Carbon Copy Analog Delay introduced the "bucket brigade" circuitry, replicating the warm and organic tones of vintage analog delays.

MXR has also embraced digital technology to create versatile pedals, such as the MXR Reverb and MXR Digital Delay, which offer a wide range of customizable sounds. Their collaboration with renowned artists and engineers has resulted in signature pedals, like the MXR EVH Phase 90 and MXR Joe Bonamassa FET Driver, which capture the unique tones of these guitarists.

Durability and Reliability:
MXR Pedals are known for their rugged construction and reliability. The company takes pride in ensuring that each pedal is built to withstand the rigors of live performances and studio use. MXR uses high-quality components, robust enclosures, and reliable footswitches, resulting in pedals that are road-worthy and can withstand the test of time.

Artist Collaborations:
MXR has a rich history of collaborations with renowned guitarists and bassists. By working closely with artists like Eddie Van Halen, Slash, Zakk Wylde, and Dimebag Darrell, MXR has developed signature pedals that capture the unique tones and playing styles of these musicians. These collaborations have not only brought attention to MXR pedals but have also contributed to their ongoing innovation and development.

Pedalboard Solutions:
MXR recognizes the importance of pedalboard organization and has introduced various products to help musicians optimize their setups. They offer pedalboards, power supplies, patch cables, and other accessories designed to simplify cable management and ensure efficient operation of multiple pedals.

Awards and Recognition:
MXR Pedals' commitment to excellence and innovation has garnered significant recognition within the music industry. They have received numerous awards, including Guitar World's "Gold Award" and Guitar Player's "Reader's Choice Award" for their outstanding products. These accolades serve as a testament to the quality and impact of MXR pedals in the guitar community.

Conclusion:
MXR Pedals has been instrumental in shaping the sound of modern music through their innovative and reliable effects pedals. With a rich history of groundbreaking designs and collaborations with legendary artists, MXR continues to be a trusted name in the guitar effects industry. Whether it's classic analog tones or cutting-edge digital versatility, MXR pedals consistently deliver exceptional sound quality, durability, and ease of use. As they continue to push the boundaries of guitar effects technology, MXR remains a go-to choice for musicians seeking to enhance their sonic palette and create unforgettable music.

- Phaser Effects Pedals: Shaping Tones with Envelopes of Modulation
Introduction: Phaser effects pedals have played a significant role in shaping the sounds of popular music for several decades. These versatile and captivating pedals produce a swirling, sweeping modulation effect that adds depth, movement, and a touch of otherworldliness to guitar and instrument tones. From classic rock to funk and beyond, phaser pedals have become an essential tool for musicians seeking to explore new sonic landscapes.
How Phasers Work: Phaser effects pedals employ a principle known as phase shifting to create their distinctive sound. The audio signal is split into two paths, with one path being delayed slightly compared to the other. The delayed signal is then modulated by a low-frequency oscillator (LFO), which varies the phase relationship between the two paths. As a result, certain frequencies are emphasized or canceled out, creating a series of peaks and notches in the frequency spectrum. The interaction of these peaks and notches produces the characteristic "swooshing" sound associated with phaser pedals.

History and Evolution: The history of phaser effects pedals dates back to the late 1960s when companies like Maestro and Electro-Harmonix introduced some of the earliest commercial phaser designs. These early models, such as the Maestro Phase Shifter and Electro-Harmonix Small Stone, utilized analog circuitry and were favored by guitarists seeking to add a psychedelic touch to their sound.

Over the years, phaser pedals have evolved with advancements in technology. Modern phaser pedals often feature additional controls for adjusting the depth, rate, and resonance of the effect, allowing for more precise control over the modulation characteristics. Digital phaser pedals have also emerged, offering a wide range of customizable settings and the ability to recreate vintage analog tones.

Classic Phaser Sounds: Phaser effects pedals have been utilized across various musical genres, leaving an indelible mark on countless iconic recordings. Some classic phaser sounds include:
"Barracuda" by Heart: The song's signature guitar riff is enhanced by a subtle phaser effect, adding a unique dimension to the tone.

"The Rover" by Led Zeppelin: Jimmy Page used a phaser pedal to create the swirling, hypnotic sound that defines the song's intro.

"Do I Do" by Stevie Wonder: The funky rhythm guitar part features a prominent phaser effect, contributing to the song's groove.

Versatility and Applications: Phaser pedals offer a wide range of sonic possibilities, making them suitable for various musical styles and instruments. While commonly associated with electric guitars, phasers can also be used with keyboards, bass guitars, and even vocals to add movement and depth to the sound. They are particularly effective in funk, rock, and psychedelic genres, but can also find their place in ambient and experimental music.
Phaser Controls and Parameters: Modern phaser pedals often feature a range of controls that allow users to shape the effect to their liking. These controls may include:
Speed/Rate: Adjusts the speed of the modulation effect, determining how quickly the phase shifting occurs.

Depth: Controls the intensity or strength of the effect, determining the range of the sweeping modulation.
Feedback/Resonance: Influences the emphasis or intensity of the peaks and notches in the frequency spectrum, allowing for more pronounced or subtle phaser sounds.
Stages: Some phaser pedals offer selectable stages, allowing users to choose between different numbers of phase shifting stages, resulting in varying degrees of intensity and complexity.
Notable Phaser Pedals and Manufacturers: Several manufacturers have made notable contributions to the world of phaser pedals. Some iconic models include:
Electro-Harmonix Small Stone: A classic analog phaser known for its warm, liquid-like sound.

MXR Phase 90: A compact, simple yet highly effective phaser that has become a staple on countless pedalboards.

Boss PH-2 Super Phaser: Known for its versatility and ability to produce both subtle and pronounced phaser effects.
Strymon Mobius: A high-end digital phaser pedal that offers a wide range of phaser types and advanced control options.

Conclusion: Phaser effects pedals have carved a prominent place in the sonic landscape of music, providing guitarists and musicians with a versatile tool for shaping tones and adding movement to their sound. From the early analog designs to the modern digital offerings, phaser pedals continue to captivate musicians with their unique modulation effect. Whether used subtly or dialed up for psychedelic sweeps, phaser pedals remain an essential component in the arsenal of creative musicians seeking to explore new sonic territories.

TEST: MXR MC402

 In recent times, it has become more than just popular to bring together two or more well-known names in the music field and thus take advantage of the universally known synergy effect. MXR, itself one of the founding fathers and big names in the field of ground effect devices has decided in the course of this development to cooperate with a no less famous name in the guitar field. We're talking about Bob Bradshaw, probably the most famous designer of custom guitar pedalboards on the planet. According to the company, Bradshaw's company Custom Audio Electronics (CAE) wanted to make his products accessible to a larger circle of interested parties and reached an agreement on this with the MXR company.

Bradshaw himself has a wealth of experience in the field of guitar pedals, as he has built custom control centers for countless illustrious and wealthy names such as David Gilmore, Steve Lukather and Eric Clapton, which can connect and combine just about any amp with any cabinet and any FX device. With artists like Gilmore, as seen on the last Pink Floyd tours, stage systems can come out that fill a 7.5 ton truck to the roof with equipment.

Funnily enough, Bradshaw recently attracted attention as Steve Lukather's guitar roadie. A prototype sound system was to be tested live during a tour and was supervised by Bradshaw himself, taking on the job of guitar tech at the same time. Lukather will probably never do this arrangement again, all trade magazines only wanted to interview Bradshaw, Lukather himself went almost empty-handed in terms of interviews during this tour ;-)

The booster / line driver MC-401 and its variant MC-402 extended by an overdrive are available for testing.

Construction:

An overdrive pedal in the classic sense will probably be familiar to every reader, it is after all the simulation of an overdriven tube, but what please is a booster / line driver?

Let's briefly put ourselves in the situation of a guitar signal, which is sent from a passive pickup on the journey towards the amplifier. The high impedance signal first passes through a higher or lower quality instrument cable before it has to pass through a few other floor or 19" effects, which are also connected with higher or lower quality cables or connectors, to finally reach the input of the amp. In addition, there may still be some classics of the Tretminen guild in the effects chain, which do not yet have true bypass and send the guitar signal through the entire on-board electronics even when deactivated. I myself have never used a floor tuner live until the introduction of true bypass / respectively bufferamp, despite the practical use, simply because no tuner of its time released the guitar signal without sound loss.

What is still present at the amp afterwards is sometimes only a tired copy of what the pickup has fed into the signal path several meters of cable before. Especially with inferior cable goods (spend 3.000,- € for a Paula and then wire everything else with 5,- € discount cables....) the result sometimes turns out to be a thin, treble-damped and undynamic sound, which nips any playing pleasure in the bud. For a realistic retro sound (I remember a Hendrix backline where 3 Marshall heads were connected in series with ultra-thin patch cables stretched tightly across the stage.....) this adventurous mixture may well have its appeal and raison d'être, but the majority of artists will be rather averse to this sound.

This is where our colleague Booster comes in, whose field of application is twofold. Switched between guitar and amp, it is able to increase the level of the guitar signal and to "blow" old-school all-tube amps (keyword "without master") properly. (No, we're not talking about Jenna Jameson....), which increases both the subjective pressure, the inherent compression and also the distortion. Switched behind the effects chain, the booster acts as a catch-up amplifier, giving the signal back some of the tonal sparkle it lost in advance on its way through the pedals' innards.

MXR floor pedals have always had something of "unbreakable" about them. These representatives also leave an extremely solid impression. A massive, black metal housing and stable plastic controls are very tough and forgive even the most impetuous processing with such shoes. The devices are operated either with a 9V battery or an external power pack, the standard connections are on the front or side. Massive switches round off the overall impression and give hope for a long life expectancy. The two switches are designed as true bypasses, i.e. when deactivated, the guitar signal is routed around the internal electronics.

The classic MXR knobs have a narrow strip on the top for better control of their setting, which fluoresces in the typical green-yellow color in dimmed light. The markings don't glow particularly brightly, but they don't require any power supply either.

Practice:

OK, then let's put the devices into operation. Oh my goodness, does anyone have sunglasses? That's not an LED on the top of the case, that's a headlight! I've never seen an LED this bright in my life, and a very attractive blue that lights up the booster section when activated. The LED of the overdrive section, on the other hand, comes in a standard red with no glare, these two lights are really easy to tell apart even in poor lighting conditions on stage.

At 0 db boost, the volume of the signal does not initially change, but the signal is already "refreshed" as mentioned above. The signal becomes clearer, richer in treble and cuts through the band context much better, especially with clean sounds. With increasing boost, the downstream amp slowly begins to distort, depending on the type of amp with a very dynamic, interactive crunch. I used a VOX AC15 in the sound samples, here you can see very nicely how, in addition to the degree of distortion, the compression of the signal also increases with increasing boost.

If you take the overdrive into play, the sound changes significantly. MXR has developed a typical "American" overdrive with Bradshaw, the semiconductor configuration of which is in stark contrast to the British overdrive. Bradshaw can't deny his time in the eighties and has given the MC-402 the typical "softener" that adorned countless platinum rock productions almost 2 decades ago. While the British overdrive is almost always accompanied by a touch of scratchy and sometimes acrid sound, the American variant is clearly less aggressive in terms of aggressiveness and places its emphasis more on a sustained, rather flattering sound.

If you are looking for the typical MXR sound a la distortion + or similar, you will not find it here. Bradshaw has put his own unmistakable sound stamp on the devices, which remains clearly audible in every setting. Trying out is the order of the day, as an FX pedal always has to be tested in a personal setup. What produces phenomenal results in one configuration simply sounds pathetic in the next equipment park.


Conclusion:

Noun is omen! Wherever it says Bradshaw, there's sound culture in it. The MC-401 is an unobtrusive but effective sound enhancer, and I really liked the "bellows" it had. Plug in the vintage amp, crank it up and push it with the right boost level, done. If you still sound insignificant, you should look for a capable guitar teacher. Anyone looking for a moderate solo sound in the direction of Lukather etc. will find a suitable partner in the MC-402 combination.

Additional Informations:

Bob Bradshaw Audio: Pioneering Custom Guitar Systems for Professional Musicians
Introduction: Bob Bradshaw Audio is a renowned company that has revolutionized the world of guitar systems and signal routing for professional musicians. Founded by Bob Bradshaw, an industry pioneer and guitar tech extraordinaire, the company has set the standard for custom-designed, high-end guitar rigs that enhance the performance and creativity of musicians on stage and in the studio.

The Visionary Behind Bob Bradshaw Audio: Bob Bradshaw, a highly respected figure in the music industry, began his career as a guitar technician, working with renowned artists such as Eddie Van Halen and Steve Lukather. Through his hands-on experience and deep understanding of the needs of professional guitarists, Bradshaw identified the need for comprehensive, custom-designed guitar systems that would allow musicians to achieve their desired tones with ease and precision.

Custom Guitar Systems: Bob Bradshaw Audio specializes in designing and building custom guitar systems that integrate amplifiers, effects pedals, and switching systems into cohesive, easy-to-use rigs. These rigs are tailored to the specific needs and preferences of each musician, taking into account their playing style, tonal requirements, and performance environment.

The company's systems incorporate state-of-the-art technologies and advanced signal routing capabilities, enabling guitarists to seamlessly switch between different amplifiers, effects, and settings with minimal effort. These custom rigs not only provide musicians with unparalleled tonal possibilities but also offer exceptional control and flexibility, empowering them to focus on their artistry without technical distractions.

Innovative Signal Routing and Switching Solutions: One of the key aspects of Bob Bradshaw Audio's custom guitar systems is their pioneering signal routing and switching solutions. The company utilizes advanced technologies and proprietary designs to ensure pristine signal integrity and minimal noise interference throughout the signal chain.
Bradshaw's systems feature programmable switching units, allowing guitarists to create complex preset configurations and control multiple aspects of their rig with a single footswitch or MIDI controller. This level of control simplifies on-stage performances and studio sessions, eliminating the need for extensive pedalboard setups and manual patching.
Integration of Rack Effects and Amplifiers: Bob Bradshaw Audio's custom guitar systems excel in integrating rack-mounted effects processors and amplifiers seamlessly. Bradshaw's expertise in signal routing enables guitarists to control their entire rig, including rack effects, amplifiers, and even virtual effects software, from a centralized control unit.

The company's systems offer versatile options for integrating different types of effects units, such as digital modelers, analog effects, and vintage gear. This integration provides musicians with the freedom to explore a vast range of sonic possibilities and experiment with different tones effortlessly.

Collaboration with Artists: Bob Bradshaw Audio has collaborated with numerous world-class guitarists and musicians, tailoring their guitar systems to meet the unique requirements of each artist. By working closely with renowned players, the company has gained invaluable insights into the demands of professional musicians, refining their designs and constantly pushing the boundaries of what is possible in guitar rig engineering.

Impeccable Craftsmanship and Reliability: Bob Bradshaw Audio is renowned for its impeccable craftsmanship and attention to detail. Each custom guitar system is meticulously built to the highest standards, utilizing top-quality components and materials. The company's commitment to quality ensures that their systems are not only reliable and road-worthy but also capable of withstanding the rigors of extensive touring and performing.

Industry Recognition and Legacy: Bob Bradshaw Audio's custom guitar systems have earned widespread acclaim and recognition within the music industry. Numerous professional guitarists have relied on Bradshaw's designs to achieve their signature tones and deliver exceptional performances. The company's contributions have left an enduring legacy, shaping the way modern guitarists approach their rigs and inspiring the development of new technologies in the field of guitar system engineering.

Conclusion: Bob Bradshaw Audio stands as a true pioneer in the realm of custom guitar systems. Through his visionary designs and meticulous craftsmanship, Bob Bradshaw has transformed the way professional guitarists approach their rigs, providing them with innovative solutions for signal routing, switching, and control. With a commitment to excellence and a deep understanding of musicians' needs, Bob Bradshaw Audio continues to push the boundaries of guitar system engineering, empowering guitarists worldwide to explore new sonic territories and realize their artistic visions.

TEST: MXR EVH Phase 90

 Guitar Hero. Guitar hero. My goodness, how often has this expression been used by professionally inferior journalists to describe guitarists with rather average technical skills. But if you turn to the experienced critics, the circle of artists really worth mentioning will quickly narrow down to a manageable number. Even if the personal top 10 sometimes varies greatly, there will always be one person among the top 3, as long as you extend the time period to the eighties and don't just get stuck in the sometimes pentatonic boredom era of the late sixties. We are talking about Edward van Halen.

Even if not the inventor of the matter, his name stands for the cultivation of the tapping technique, which in the course of the decade 1980 - 1990 was used to excess by EVERY guitarist of rock and metal. Guitarists of the rock and metal genre copied. Who could not tap at his time was not a guitarist, basta! And as always when a stylistic device is consumed in excess, the fashion wave broke off abruptly and was replaced by the consistent counter-movement "life-is-bad-no-one-understands-me-I-want-to-die" grunge whine department.

I remember well how little Axel sits in front of his vinyl record player and desperately tries to play the figures of "Eruption" in alternate picking and gets one top-searching fit after the next because his playing doesn't sound at all like on record. In addition, Eddie always turned his back to the audience during his solos in order to keep his new technique to himself as long as possible, so it was anything but easy to get to know the hitherto completely unknown technique.

The son of Dutch immigrants living in the USA was initially supposed to become a classical pianist, so the decision to transfer a two-handed tapping technique to the fretboard of a guitar was probably closer than if a traditional guitarist had embarked on such a concept.

Construction:

Although endowed with fundamental harmonic knowledge, EVH approached the tools of his trade with a sometimes unexpected anachronism regarding his equipment. While his colleagues cultivated and cared for their instruments, Eddie's guitars always had the habitus of a perpetual construction site, on which a pickup was apparently just replaced with a drill and jigsaw two minutes before the gig. Sometimes a few wires were hanging out of the side or plastic covers were not even mounted again.

The visually most striking change was the "stripe outfit", which EVH stuck at the time on his "of all manufacturers something" (mainly Kramer) picks. Take a red painted Powerstrat, glue black and white stripes of different thicknesses in arbitrary angles on the guitar, ready is a unique specimen. Eddie would not have dreamed at the time that the Fun Edition should be his optical trademark, which should later be found on his amps, respectively cabinets again.

In terms of sound, EVH was mainly associated with his famous "Brown sound", it is a modified Marshall head, which was driven with a voltage converter in an "unfavorable" voltage range and thus cause the tubes to a highly compressed and very soft clipping (unfortunately, these do not last long and wear out faster than average ...).

In addition, Eddie brought two ground effects that had been somewhat forgotten by the introduction of digital technology back into the focus of the listener, the Phase Shifter 90 and the Flanger 117 from MXR. To pay homage to his person, MXR has now brought out the above pedals in the typical EVH livery as a signature model. With this, Eddie should have risen to the most "signaturesiert" artist. In addition to guitar, amp, box, pickup, plectrum and strings are now added pedals, actually missing only the EVH cable. From such a marketing campaign you can see the market value of an artist.

Both devices immediately convey the well-known MXR heavy-duty character. All components of the stomp boxes are very solid and very well made, even if the base plate of the Phase 90 has a small deformation in the form of an inward bump. Probably the sheet metal was not yet completely cooled down during the processing, the functionality does this no harm. The 117 has 4 strong rubber feet, which secure it against slipping, the Phase 90 comes with a stickable foam pad. Ultimately, however, both would very likely end up on a pedalboard coated with Velcro or similar anyway, so this area is rather secondary (are there actually still guitarists who wire their pedals in free flight and place them individually on stage?).

The Phase 90 could hardly be more spartanly equipped, only a Speed knob controls the speed of the effect. Model 117 comes with "Manual" (intensity), "Speed", "Width" and "Regen." much more variable, which is indispensable for a flanger. Concerning the power supply caution is advisable. While the Phase 90 is content with the standard 9V supply, the 117 has inherited the legacy from its time of origin 20 years ago. The same must be operated with 2x 9V batteries or one needs a today rather unusual 18V power supply. As a signature version, the two devices have, in addition to the eye-catching paintwork, a push switch each, with which you can choose between a "Vintage" and "Modern" sound (Phase 90) and the preset of the Van Halen title "Unchained" (117), regardless of the knob settings.

All of the knobs have the typical MXR plastic tops included which can be slipped over the knobs if needed to adjust them on the fly with your foot. Simple, but effective, whereby the use of all 4 "presences" is rather counterproductive with the 117ner, by uniform height one reaches the two inside lying regulators rather badly. All controls have phosphorescent lines on the knobs and are quite easy to make out in dim light.



Practice:

Phase 90: Immediately after switching on the effect, MXR's currently popular "glare grenade" comes into play in the form of an extremely bright blue LED. Nobody overlooks this illumination. Sonically, the Phase 90 does exactly what is expected of it. A round phase shift, powerful enough to assert itself but never obtrusive or even clinical. When the Vintage switch is activated, the MXR slips into a slightly "muddy" sound character, very suitable for retro sounds. Personally, I like "Modern" a bit better because of the transparency, but it's all a matter of taste.

Flanger 117: If there was a name for official flanger foot pedals, it was MXR 20 years ago and still is today. Some other pedals have more aggressiveness or bite, but sonically no one makes the 117 something. Round in the overall sonic appearance equipped with a high degree of warmth, so a flanger must sound, maybe you really need 18 volts in the supply voltage for this sound. The Unchained preset works perfectly, although I like a little more "regeneration" on the far right in the style of "And The Cradle Will Rock" better, but preset is preset.


Conclusion:

Our Signature Stomp Boxes already look peppy. They sound authentic, make a good impression in terms of workmanship and have exactly the analog flair that various other manufacturers have been panting after for years. Whether the above features are worth the higher price of about 15% (117), respectively 30% (Phase 90) compared to the standard versions, everyone must decide for themselves.

The quality is right, then as now, only the plastic tops of the controllers I found better 20 years ago, then they were still made of softer hard rubber.

Additional Informations:

MXR Pedals: Redefining the Sound of Guitar Effects

Introduction:
MXR Pedals is a renowned company that has been at the forefront of guitar effects pedal innovation since its establishment. With a rich history dating back to the 1970s, MXR has consistently delivered high-quality, reliable, and groundbreaking pedals that have become staples in the guitar community. From iconic classics to cutting-edge advancements, MXR continues to shape the sound of modern music.

History and Legacy:
MXR Pedals was founded in 1972 by Keith Barr and Terry Sherwood, who aimed to create high-quality effects pedals that were both affordable and accessible to musicians. The company quickly gained popularity for its innovative designs and reliable construction. In 1987, MXR was acquired by Jim Dunlop, a move that further solidified the brand's influence and commitment to producing exceptional guitar effects.

Diverse Product Line:
MXR Pedals offers a diverse range of guitar effects pedals, catering to a wide variety of musical styles and preferences. Their product lineup includes classics like the Phase 90, Dyna Comp, and Carbon Copy Delay, which have become industry standards and have been used by countless guitarists around the world.

In addition to their classic pedals, MXR continues to innovate and introduce new products. They have expanded their range to include distortion, overdrive, modulation, delay, reverb, and many other types of effects pedals. Each MXR pedal is meticulously designed and engineered to deliver outstanding sound quality, ease of use, and durability, ensuring that they meet the demands of professional musicians.

Innovation and Technological Advancements:
MXR Pedals has consistently pushed the boundaries of guitar effects technology, introducing innovative features and advancements that enhance the tonal possibilities for guitarists. For example, the MXR Carbon Copy Analog Delay introduced the "bucket brigade" circuitry, replicating the warm and organic tones of vintage analog delays.

MXR has also embraced digital technology to create versatile pedals, such as the MXR Reverb and MXR Digital Delay, which offer a wide range of customizable sounds. Their collaboration with renowned artists and engineers has resulted in signature pedals, like the MXR EVH Phase 90 and MXR Joe Bonamassa FET Driver, which capture the unique tones of these guitarists.

Durability and Reliability:
MXR Pedals are known for their rugged construction and reliability. The company takes pride in ensuring that each pedal is built to withstand the rigors of live performances and studio use. MXR uses high-quality components, robust enclosures, and reliable footswitches, resulting in pedals that are road-worthy and can withstand the test of time.

Artist Collaborations:
MXR has a rich history of collaborations with renowned guitarists and bassists. By working closely with artists like Eddie Van Halen, Slash, Zakk Wylde, and Dimebag Darrell, MXR has developed signature pedals that capture the unique tones and playing styles of these musicians. These collaborations have not only brought attention to MXR pedals but have also contributed to their ongoing innovation and development.

Pedalboard Solutions:
MXR recognizes the importance of pedalboard organization and has introduced various products to help musicians optimize their setups. They offer pedalboards, power supplies, patch cables, and other accessories designed to simplify cable management and ensure efficient operation of multiple pedals.

Awards and Recognition:
MXR Pedals' commitment to excellence and innovation has garnered significant recognition within the music industry. They have received numerous awards, including Guitar World's "Gold Award" and Guitar Player's "Reader's Choice Award" for their outstanding products. These accolades serve as a testament to the quality and impact of MXR pedals in the guitar community.

Conclusion:
MXR Pedals has been instrumental in shaping the sound of modern music through their innovative and reliable effects pedals. With a rich history of groundbreaking designs and collaborations with legendary artists, MXR continues to be a trusted name in the guitar effects industry. Whether it's classic analog tones or cutting-edge digital versatility, MXR pedals consistently deliver exceptional sound quality, durability, and ease of use. As they continue to push the boundaries of guitar effects technology, MXR remains a go-to choice for musicians seeking to enhance their sonic palette and create unforgettable music.

TEST: MXR Blowtorch

 Distortion! Sure. Distortion for electric guitar! Also clear. Quite a few different distortors for electric guitar as boosters, overdrive, distortion and fuzz, running into the thousands worldwide! Logical. Distortion for electric bass.......Ähm, yes there should also be....
The somewhat clumsy introduction to this article is intended to give the interested reader a brief impression of how the selection compares in terms of guitar distortion versus bass distortion. If the ambitious six-stringer can hardly make a decision because of all the choices, the low-frequency colleague faces the diametrical problem. Although you can find a fuzz hidden in almost every bass multi-effects unit, the effect usually leads a rather meager existence, usually in the category of "extra" or "we still had some space on the board".

Really self-confident in the style of "shout it out loud, I am a bass distortion pedal and I am proud!" one finds only very rarely a floor pedal. Why is that? Well, there are several factors that have to be taken into account.

The technical reason: an electric bass interferes with other acoustic ranges due to its lower frequency range. If you distort a low tone, it sounds completely different from the sound of a guitar one octave higher. The sound quickly becomes muddy and is more noticeable for its opacity and indistinguishability than for any enrichment of the sound yield. Moreover, you can't adopt the design of a guitar effects pedal 1:1. Nearly all guitar distortion pedals, depending on the manufacturer, cut the bass range marginally to rigorously and thin out the sound massively. For a guitar, this may make sense depending on the musical range, but for the bass, this approach is tantamount to a death sentence.

The technical reason for this is that placing a bass properly in the soundstage is one of the most difficult tasks that a sound engineer has to solve within a production. On the narrow frequency-technical line between kick, a down-tuned guitar and the notorious and dreaded left hand of a trained pianist, you have to find every frequency band and adjust it if necessary in order not to lose the vibrating string in tonal no-man's land. Generating additional harmonics and undertones here makes the bass lose even more of its uniqueness and the disaster takes its course.

The sales aspect: let's not kid ourselves, 99% of all people on this planet are not even remotely able to hear what a bassist is playing, let alone that they even know what a bassist is ("the one with the long guitar neck....") Even among bassists only one out of three can tell off the cuff what the bassist is playing on the record, the rest takes refuge in the keynote. At the latest with the first slash chord it's over, who doesn't know the infamous cover band bass figures of "Highway To Hell". You can imagine what a product manager gets to hear when he arrives at his employer with an FX pedal for bassists, even more, especially for solo bassists. The market is very small. The boss will be afraid that he will not even get the raw material costs for the steel housing back in. By the way, if China continues to buy up the entire raw materials market worldwide, the case will probably be the most expensive part of each instrument in a few years.....

All the nicer that a few manufacturers still dare to develop a niche product, in this case the Blowtorch from MXR, a fuzz especially for bass players.

Construction:

The "blowtorch" comes in a solid zinc die-cast housing, deliberately kept in "rough" with a brushed surface, visually a successful first impression. In terms of detail processing, a few small quirks have crept into the Blowtorch. The bottom and top sections don't really want to come together with 100 percent accuracy of fit, so the nicely rounded edges of the top section are contrasted by a few corners of the bottom section. Not that this is a real problem, but it would have gone a bit "smoother". To generate a better performance, the Blowtorch is powered with 18V, either via two 9V blocks or an appropriate power supply. A plastic foil, which shields the two 9V blocks inside against the electronics, is not exactly a high-end solution, but serves its purpose. Everything else about the Blowtorch, as with all MXR products, makes a very solid and durable impression. Once again, MXR uses its phophoric knobs, six of them in number, teasingly arranged in a semicircle, in addition to a true bypass switch.

In addition to the expected volume and gain controls, a three-band tone control consisting of bass, treble and a midrange control divided into three center frequency bands (250 Hz, 750 Hz, 2 KHz) is used. In addition to the input, the box has two outputs, a looped "Thru" control and the main output, on which the Blend control puts a stepless mixing ratio between the original signal and the distorted signal. This allows you to very nicely adjust the degree of harshness between the distorted signal and the unprocessed signal, or you can route the output signal directly to two different amplifiers. On the right side is an On/Off push button switch, which generates an additional 12 db boost for extreme fuzz attacks. Finally, there is a very bright blue LED on top, which provides information about the switching status.


Practice:

The first thing that presents itself to the ear as soon as you activate the device is nothing! Nothing in the sense of noise or otherwise stored noise, the Blowtorch has an excellent signal-to-noise ratio. Even when wildly turning the Treble control, the noise remains almost below the audible limit, a truly excellent value. Carefully I screw on the tone control and I do well with it. Oh dear, woe betide anyone who ever properly screws the volume control, paired with the bass and midrange control on a loudly adjusted amp and then times properly in langt. In this case, you can immediately visit the speaker dealer of your choice.



The Blowtorch drives an immensely strong level increase especially in the low frequency bands, so you should feel your way carefully through the brutality of the device and not let your gut feeling run free. But once you have found your way of working, you will be spoiled with an excellent tone control. All controls are tastefully placed where they should be and give the device but very high sound variety. In addition, the increased operating voltage ensures a highly effective performance, which is reflected in particular in the bandpass filters.

 

MXR succeeds in distorting the bass tone to the hilt without the infamous bass cut. Even at maximum distortion, the sound does not lose depth and can remain true to its field of application. However, anyone hoping to get a warm growl along the lines of an SVT or a Hiwatt will unfortunately be disabused. The Blowtorch is a real fuzz, that is, here it is about the extreme cases of distortion. At the latest when the side-mounted Boost is activated, you can easily drive your woofer in Zerrorgien of a Minimoogs. It's a pity that the switch is located very close to the input jack, making it much more difficult to operate during operation with the foot.
 

Conclusion:Bassists of all countries unite, who likes solo playing and would like to give it to his guitarist properly (tonally) will find in the Blowtorch a brutal thug, which does not lack assertiveness. Especially in a trio, where the bass player is given a greater harmonic responsibility, you can set accents with the Blowtorch that are quite impressive.

Therefore, try it out and see how much Billy Sheehan is slumbering in you.

Additional Informations:

MXR Pedals: Redefining the Sound of Guitar Effects
Introduction: MXR Pedals is a renowned company that has been at the forefront of guitar effects pedal innovation since its establishment. With a rich history dating back to the 1970s, MXR has consistently delivered high-quality, reliable, and groundbreaking pedals that have become staples in the guitar community. From iconic classics to cutting-edge advancements, MXR continues to shape the sound of modern music.

History and Legacy: MXR Pedals was founded in 1972 by Keith Barr and Terry Sherwood, who aimed to create high-quality effects pedals that were both affordable and accessible to musicians. The company quickly gained popularity for its innovative designs and reliable construction. In 1987, MXR was acquired by Jim Dunlop, a move that further solidified the brand's influence and commitment to producing exceptional guitar effects.

Diverse Product Line: MXR Pedals offers a diverse range of guitar effects pedals, catering to a wide variety of musical styles and preferences. Their product lineup includes classics like the Phase 90, Dyna Comp, and Carbon Copy Delay, which have become industry standards and have been used by countless guitarists around the world.

In addition to their classic pedals, MXR continues to innovate and introduce new products. They have expanded their range to include distortion, overdrive, modulation, delay, reverb, and many other types of effects pedals. Each MXR pedal is meticulously designed and engineered to deliver outstanding sound quality, ease of use, and durability, ensuring that they meet the demands of professional musicians.

Innovation and Technological Advancements: MXR Pedals has consistently pushed the boundaries of guitar effects technology, introducing innovative features and advancements that enhance the tonal possibilities for guitarists. For example, the MXR Carbon Copy Analog Delay introduced the "bucket brigade" circuitry, replicating the warm and organic tones of vintage analog delays.

MXR has also embraced digital technology to create versatile pedals, such as the MXR Reverb and MXR Digital Delay, which offer a wide range of customizable sounds. Their collaboration with renowned artists and engineers has resulted in signature pedals, like the MXR EVH Phase 90 and MXR Joe Bonamassa FET Driver, which capture the unique tones of these guitarists.

Durability and Reliability: MXR Pedals are known for their rugged construction and reliability. The company takes pride in ensuring that each pedal is built to withstand the rigors of live performances and studio use. MXR uses high-quality components, robust enclosures, and reliable footswitches, resulting in pedals that are road-worthy and can withstand the test of time.

Artist Collaborations: MXR has a rich history of collaborations with renowned guitarists and bassists. By working closely with artists like Eddie Van Halen, Slash, Zakk Wylde, and Dimebag Darrell, MXR has developed signature pedals that capture the unique tones and playing styles of these musicians. These collaborations have not only brought attention to MXR pedals but have also contributed to their ongoing innovation and development.

Pedalboard Solutions: MXR recognizes the importance of pedalboard organization and has introduced various products to help musicians optimize their setups. They offer pedalboards, power supplies, patch cables, and other accessories designed to simplify cable management and ensure efficient operation of multiple pedals.

Awards and Recognition: MXR Pedals' commitment to excellence and innovation has garnered significant recognition within the music industry. They have received numerous awards, including Guitar World's "Gold Award" and Guitar Player's "Reader's Choice Award" for their outstanding products. These accolades serve as a testament to the quality and impact of MXR pedals in the guitar community.

Conclusion: MXR Pedals has been instrumental in shaping the sound of modern music through their innovative and reliable effects pedals. With a rich history of groundbreaking designs and collaborations with legendary artists, MXR continues to be a trusted name in the guitar effects industry. Whether it's classic analog tones or cutting-edge digital versatility, MXR pedals consistently deliver exceptional sound quality, durability, and ease of use. As they continue to push the boundaries of guitar effects technology, MXR remains a go-to choice for musicians seeking to enhance their sonic palette and create unforgettable music.

TEST: Music Man Sterling Axis AX 40

 Music Man USA is known everywhere for very high quality, to the chagrin of some also accompanied by a corresponding pricing. In order to be able to grant the less well-heeled musician access to the model policy of the American manufacturer, the company has launched a product line under the Sterling label, which minimizes production costs by manufacturing in Indonesia and pushes the copies into the three-digit euro range. A subsequent final inspection nevertheless takes place in the USA to bring the manufacturing quality to the best possible conclusion.

The Axis AX 40 model I have for testing is based on the signature model designed by Eddie Van Halen in his time and is ready to take over the most important trademarks of the guitarist, who has since moved to Peavey for economic reasons. In addition to the above model, Sterling offers six other models in this series, consisting of the sister model AX20, a classic Silhouette shape, the Petrucci model and some copies of the famous Stingray Bass models.


Design

Eddie van Halen in his time, like many other musicians before and after him, tried to design a guitar that contains a mixture of the most important Gibson / Fender components, coupled with a good portion of Superstrat. The result is actually a quite unique visual and acoustic fusion of the aforementioned protagonists, which stands out from the broad mass of clone wars. The guitar uses almost exclusively components and trademarks from the own Music Man house, which saves quarrels on the lawyer front and avoids dissolute license fees.

As with the American model, the body of the instrument is made of basswood and is accordingly light and vibrant. The body is covered with a beautifully grained maple veneer, but this is only for optical reasons, as it is clearly too thin for the sound. As is very popular with Music man in general, the maple neck was attached to the body in a five-way screw joint.

The glued-on fingerboard accommodates 22 frets, after which the neck pickup was placed under the imaginary 24th fret, as expected. As a small historical Gibson homage, the in-house manufactured A-5 pickups were made as a zebra version with differently colored coil bodies. The headstock was laid out in the patented 4:2 alignment, thus adopting American specifications, as did the truss rod accessible at the lower end of the neck.

Control-wise, the guitar is extremely spartan, with only a single volume knob available. Funnily enough, this potentiometer was still equipped with a "Tone" knob on the original Eddie Van Halen signature version. Eddie said laconically at the time that the tone would change if he worked with the volume knob, although he is absolutely right, especially in distorted mode. First the half waves have to be cut off before the volume changes.

The guitar is equipped with a Sterling double-locking vibrato system, which as expected emulates the Floyd Rose system. Even if the shape doesn't directly suggest it, construction-wise the instrument's entire approach latently aims in the Superstrat department. This is not surprising, since it was Leo Fender himself, who after selling his company and name rights as a rich man, founded the company Music Man in 1972, in order to continue to work as a designer.


Practice

When you pick up the instrument for the first time, everything seems a bit smaller than you're used to on comparable instruments. Nevertheless, the guitar has the long 64.8 centimeter scale length and conveys the very own playing feeling of the same scale length. Despite the unique body shape, the guitar conveys a familiar feeling already at the first walking attempts. Due to the unusually deep lower cutaway and the soft transition at the neck root, the instrument can indeed be played comfortably up to the highest registers. Also, in true Fender style, the guitar nestles against the performer's body without any edges or corners.

Starting with the bridge pickup in undistorted mode, the instrument scores with a crisp and characterful basic sound, while the neck pickup is softer and warmer to the touch due to the altered amplitude pickup of the strings. The pickups interact very nicely with the musician's respective playing technique and do not impose a narrowly defined sound spectrum on the artist. As the distortion level increases, the guitar moves into the range that was assigned to it by the original designer of the instrument.

This is also the reason for the choice of wood. Who does not know the mahogany problem, that the in my opinion best hard rock sound wood of the world always shows a tendency to "mud" from a certain degree of distortion. Due to the basswood/maple combination, this problem does not exist at any time with the AX 40. Even at high gain levels, the sound remains transparent and allows the artist to offer subtle playing in the hammer-on-pull-off range without rising above a minimal amount of power.

As expected, the vibrato system does its job without any problems. Discreet pitch modulation can be realized just as well with this construction as massive dive bombs including strings-off-fretboard effect.


Conclusion

With the Sterling series, Music Man manages the balancing act between lowering production costs and maintaining the most important house trademarks. The AX-40 is a very well crafted and highly individual sounding craftsman instrument, which was tailored to Eddie Van Halen in his time and has preserved his most important trademarks to this day.

The instrument offers a multi-faceted fundamental sound and allows Music Man fans to purchase their desired instrument at a reasonable price without making significant sacrifices to top-line American-made instruments. The concept of Indonesian manufacturing alternating with American final inspection gives the product an extra dose of quality assurance, which benefits the final instrument and therefore the end customer.

Additional Informations:

- Music Man: Revolutionizing the Music Industry with Innovation and Excellence
Introduction: Music Man is a renowned company that has made significant contributions to the music industry since its inception. Founded in [year] by [founder's name], the company has consistently demonstrated a commitment to innovation and excellence. With a diverse range of musical instruments, amplifiers, and accessories, Music Man has earned a reputation for producing high-quality products that meet the needs of musicians across the globe.

History and Background: Music Man's journey began with a vision to create instruments that combine traditional craftsmanship with modern advancements. The company's early years were marked by extensive research and development, ensuring that each product reflected the founders' passion for music. Through dedication and perseverance, Music Man quickly gained recognition for its exceptional instruments, which soon became favorites among professional musicians.

Product Range: Music Man boasts an extensive product range that caters to musicians of all levels and genres. Their flagship offerings include electric guitars, bass guitars, and acoustic guitars, each crafted with meticulous attention to detail. These instruments are renowned for their superior playability, tone versatility, and durability.

In addition to guitars, Music Man produces a range of bass amplifiers, guitar amplifiers, and speaker cabinets that are highly regarded for their exceptional sound quality and reliability. The company's amplification solutions cater to the needs of professional musicians, providing them with powerful tools to deliver their best performances.
Furthermore, Music Man offers a wide array of accessories such as guitar straps, instrument cables, and strings, all designed to enhance the overall playing experience and ensure musicians have everything they need to excel.

Innovation and Technological Advancements: Music Man has always been at the forefront of technological advancements in the music industry. The company continuously explores new materials, manufacturing techniques, and design concepts to improve the performance and playability of their instruments. For instance, Music Man pioneered the use of innovative pickup configurations, such as the dual humbucking pickups and active electronics, revolutionizing the tonal possibilities for guitarists and bassists.
Moreover, Music Man has embraced computer-aided design (CAD) and computer numerical control (CNC) manufacturing processes, allowing for precise shaping and construction of instruments. These advanced techniques ensure consistent quality and enable Music Man to push the boundaries of instrument design.

Artist Collaborations: Music Man's commitment to excellence is further reflected in their collaborations with renowned musicians. The company has partnered with some of the world's most influential guitarists and bassists to develop signature instruments that meet the specific demands of these artists. By working closely with musicians such as [artist names], Music Man has created instruments that combine technical expertise with artistic vision, resulting in instruments that inspire players and push the boundaries of musical expression.

Sustainability and Social Responsibility: In recent years, Music Man has actively embraced sustainability and social responsibility as core values. The company takes steps to minimize its environmental impact by implementing eco-friendly manufacturing processes and utilizing responsibly sourced materials. Additionally, Music Man supports music education programs and initiatives aimed at nurturing young talent and ensuring access to music education for all.

Customer Satisfaction and Support: Music Man places great emphasis on customer satisfaction and provides excellent customer support. The company offers comprehensive warranties on their products and maintains a dedicated support team that promptly addresses customer queries and concerns. Their commitment to customer satisfaction has earned them a loyal customer base, as musicians trust the brand to deliver exceptional instruments and support.

Awards and Recognition: Over the years, Music Man has received numerous awards and accolades for their contributions to the music industry. These accolades serve as a testament to the brand's commitment to excellence and innovation, further solidifying their reputation as a leading manufacturer of musical instruments and amplification solutions.

Conclusion: Music Man's relentless pursuit of innovation, dedication to quality, and commitment to customer satisfaction have firmly established them as a respected and influential player in the music industry. With their diverse range of instruments, amplifiers, and accessories, Music Man continues to shape the musical landscape, inspiring musicians worldwide and leaving an indelible mark on the history of music. As the company looks to the future, we can expect Music Man to continue pushing boundaries, introducing new technologies, and setting new standards for excellence in the world of music.

- Eddie Van Halen: A Guitar Legend who Redefined Rock Music
Introduction: Eddie Van Halen, born on January 26, 1955, in Amsterdam, Netherlands, is widely regarded as one of the greatest guitarists in the history of rock music. As a co-founder and lead guitarist of the iconic band Van Halen, Eddie Van Halen revolutionized guitar playing, leaving an indelible mark on the music industry with his unparalleled skills, technical innovations, and infectious stage presence.

Early Life and Musical Influences: Eddie Van Halen was born into a musical family, with his father, Jan Van Halen, being a clarinetist, saxophonist, and pianist. Eddie and his brother Alex Van Halen, who would later become the drummer of Van Halen, grew up in a household filled with music. Eddie's early exposure to classical music and his father's jazz influences played a significant role in shaping his musical sensibilities.

Formation of Van Halen and Musical Success: In the early 1970s, Eddie and Alex Van Halen formed the band Van Halen, initially known as Mammoth. With the addition of David Lee Roth as the lead vocalist and Michael Anthony on bass, Van Halen quickly gained attention for their electrifying live performances and explosive sound.

The self-titled debut album, "Van Halen," released in 1978, catapulted the band to stardom. Eddie's guitar work on tracks like "Eruption" showcased his virtuosity, blending lightning-fast finger tapping, innovative techniques, and a distinctive tone that set him apart from his contemporaries. The album went on to become a massive success, establishing Van Halen as one of the most exciting rock acts of the era.

Technical Innovations and Guitar Playing Style: Eddie Van Halen's guitar playing style was a revelation that pushed the boundaries of what was considered possible on the instrument. He popularized the two-handed tapping technique, in which both hands are used to create rapid and intricate patterns on the fretboard. This technique, prominently featured in songs like "Eruption" and "Spanish Fly," showcased Eddie's unparalleled dexterity and set a new standard for guitar virtuosity.

Furthermore, Eddie's innovative use of the Floyd Rose tremolo system allowed for radical pitch changes and dive bombs, adding a dynamic element to his playing. His unique tone, characterized by a combination of powerful humbucking pickups, a distinctive "brown sound," and his signature "Frankenstein" guitar, further contributed to his legendary status.
Musical Contributions and Legacy: Eddie Van Halen's contributions to rock music extend beyond his technical prowess as a guitarist. His songwriting skills, along with the band's infectious energy, resulted in a string of hit albums, including "Van Halen II," "Women and Children First," "Fair Warning," and "1984." These albums produced iconic tracks such as "Runnin' with the Devil," "Jump," and "Panama," solidifying Van Halen's status as one of the most influential rock bands of all time.

Eddie's influence can be felt across generations of guitarists who were inspired by his innovative techniques, melodic sensibilities, and showmanship. His impact on the development of hard rock and heavy metal guitar playing cannot be overstated, and his contributions have shaped the sound and style of countless musicians.

Collaborations and Solo Work: In addition to his work with Van Halen, Eddie Van Halen collaborated with various artists, leaving his mark on their songs. Notable collaborations include his guitar solo on Michael Jackson's "Beat It," which became a defining moment in both artists' careers. Eddie also released a solo album, "Eruption," in 1999, which showcased his versatility as a musician and featured collaborations with renowned artists like Brian May and Steve Lukather.

Personal Challenges and Philanthropy: Despite his immense talent and success, Eddie Van Halen faced personal struggles throughout his life, including battles with substance abuse and health issues. He was diagnosed with tongue cancer in the early 2000s, and despite undergoing treatment, he tragically passed away on October 6, 2020.
Throughout his life, Eddie remained committed to philanthropy, supporting various charitable causes, including cancer research, music education programs, and children's charities. His generosity and passion for giving back continue to inspire others to make a positive impact through music.

Awards and Recognition: Eddie Van Halen's contributions to music have been widely recognized and honored. He received numerous awards, including multiple Grammy Awards for his exceptional guitar work and contributions to the music industry. Eddie's impact on popular culture is evident through his induction into the Rock and Roll Hall of Fame in 2007, cementing his status as an influential figure in rock music.

Conclusion: Eddie Van Halen's unparalleled guitar skills, technical innovations, and charismatic stage presence transformed the landscape of rock music. With his innovative playing style, he inspired countless guitarists and pushed the boundaries of what was considered possible on the instrument. Eddie's contributions to Van Halen's discography and his collaborations with other artists showcased his versatility as a musician.
While Eddie's untimely passing left a void in the music world, his enduring legacy lives on through his groundbreaking music, his influence on future generations of guitarists, and his philanthropic endeavors. Eddie Van Halen will forever be remembered as a true guitar legend, whose impact on rock music will continue to resonate for generations to come.

TEST: MOTU Microbook 2

 What started years ago with the introduction of smartphones, which can already do most of the work of a full-blown PC today, continues seamlessly in pretty much all areas of electronics. We are talking about the miniaturization of individual components within a signal path. This development does not stop at audio interfaces, which is why small and mini interfaces have become a real hit in recent years.

This is no coincidence, especially since the importance of mobile recording has increased considerably in recent times, even in professional environments. With a powerful laptop under the arm, a mini-interface in the vest pocket and a basic assortment of cables and microphones, a large part of the recordings can be converted to hard disk or stick. The American company MOTU, which was able to celebrate success with the Microbook some time ago, is also keeping up with current developments and is launching its direct successor on the market with the Microbook 2.



Construction

A solid, black metal case emerges from the packaging, which is made up of a base, a lid and a frame, all very sturdily designed and cleanly manufactured. The handy 14 cm x 3 cm x 9 cm (length x height x width) product is manufactured in the USA. You won't have any transport problems with these dimensions, but the Microbook doesn't have any rubber feet, which would give it a higher stability.

All of the Microbook's ports are located on the front and back of the frame. These include an XLR microphone input, optionally with 48V phantom power, a high-impedance guitar input (both optionally with -20 dB PAD) and a headphone output (finally no mini jack) on the front. On the rear is USB 2.0 for connection to the PC, an SPDIF digital output (duplicates the main out), mini-jack stereo, 2x main out jack, 2x line in jack and mini-jack stereo line out. Internal conversion is 24 bit, sample rates are 44.1, 48, 88.2 and 96kHz.

The minimum requirement for operation is a PowerPC G4 CPU 1 GHz or a 1 GHz Pentium-based PC, which is easily surpassed by today's PC standards. It's nice to know that you can still use the older second computer from the rehearsal room in an emergency. In addition to the hardware, the product comes with the programs CueMix FX (8-way digital bus) and AudioDesk, which allows almost latency-free mixing and monitoring. Furthermore, the Microbook is compatible with all common recording programs via Core Audio, respectively Wave and Asio drivers. The built-in engine provides a 7-band parametric equalizer and compressor, a tuner and a test tone generator.

Compared to its predecessor, the Microbook, the Microbook II now finally has corresponding control options on the input side. On the top of the housing there are two endless knobs, which have additional pressure functions. In terms of LED chains, one must unfortunately be content with 4 (Input Mic and GTR) or 3 LEDs (Line In, Main Out and Line Out) due to the small housing dimensions. The Microbook is operated without a power supply and draws its power from the USB port. The scope of delivery includes a printed manual (German), a software/driver CD, a USB cable and an XLR jack adapter.


Practice

The Microbook II really cuts a fine figure in practical use. The "dwarf haptics" alone can't diminish a certain "joy of playing", despite all professionalism. A practical and professional interface, which actually fits into a jacket pocket, enriches the personal working atmosphere immensely. With a work colleague's laptop in the luggage, the recording is set up faster than a guitarist can tune his guitar.

Of course, we have a free-lying metal case without slip resistance plus a cable tangle at a 180 degree angle, but as I said, assembly and disassembly in record time plus absolute spatial freedom with the appropriate battery power of the computer. On the road with guitar on vacation, in the middle of the meadow the official follow-up riff of "Smoke On The Water" in your head? Bored after the soundcheck, sitting in the nightliner and working on the songs for the new album instead of xbox? No problem with MOTU and Co.

MOTU's setup is also very uncomplicated according to the Plug_And_Play principle. A few steps and the system is up and running and does its job. In terms of sound, both the microphone and guitar preamp please with a pleasant neutral sound. Here the user benefits from the great experience in terms of preamplifiers, which MOTU can book on the credit side. Coloration-free and very low-noise, the preamps manage to prepare the wide range of input signals in a high-quality manner, be it an instrumental, line or microphone signal.

When you open the user interface of the CueMix FX, you realize for the first time that the Microbook II is a DAW. Five fully parametric bands plus a high or low pass and a digital compressor are visually impressive and can be managed intuitively. Be careful, fully parametric is a lot of wood and can quickly lead to counterproductive results, especially if the Q value is operated incorrectly.

In order to work with further effects, Mac users can use the included program Audio Desk, which turns out to be a full-fledged sequencer program. A test run is definitely worthwhile, although the inclined user will probably rather get involved with Garageband or Logic. The included audio analysis tools do their part to ensure that irreparable errors don't find their way onto the hard drive in the very first recording step.



Conclusion

Once again, a representative from the "dwarf department" of the traditional company MOTU convinces with very good inner and outer values. Latent weaknesses of the predecessor, such as the lack of control options in the input area, have been corrected, and already existing strengths have been expanded. Sonically, the MOTU Microbook II provides a good basis for further signal processing due to its good preamps. If you are looking for a compact and portable interface for mobile use, you can look forward to good measurement values and an independent and compact design with this product.

Even if you may not believe it at first glance, the Microbook II is a full-fledged DAW that will find its place in the highly competitive market due to a combination of very good software and hardware.

Additional Informations:

- Comprehensive Report on MOTU Audio
Introduction MOTU Audio, short for Mark of the Unicorn Audio, is a renowned company specializing in professional audio and music production equipment. Founded in 1980 by Dave Roberts and Bob Moses, MOTU Audio has established itself as a leading manufacturer of audio interfaces, digital mixers, MIDI controllers, and software for music production.

Product Range MOTU Audio offers a wide range of products designed to cater to the needs of musicians, producers, and audio engineers. Some of their flagship products include:

Audio Interfaces: MOTU Audio provides a variety of audio interfaces, such as the 828es, 8A, and UltraLite-mk4. These interfaces offer high-resolution audio, low latency, and extensive connectivity options, making them suitable for both studio and live performance settings.

b. Digital Mixers: MOTU Audio's digital mixers, such as the UltraLite AVB and Stage-B16, combine the power of a mixer, audio interface, and wireless control into a compact and versatile device. These mixers offer flexible routing, DSP processing, and intuitive control interfaces, making them ideal for both studio and live sound applications.

c. MIDI Controllers: MOTU Audio produces MIDI controllers like the MIDI Express XT and MIDI Express 128, which provide comprehensive MIDI connectivity and routing capabilities. These controllers are designed to streamline MIDI workflows, allowing users to integrate hardware and software instruments seamlessly.

d. Software: In addition to hardware, MOTU Audio develops software solutions like Digital Performer, a professional digital audio workstation (DAW). Digital Performer offers a robust set of recording, editing, mixing, and mastering tools, making it a popular choice among musicians and audio professionals.

Innovation and Technology MOTU Audio has a strong focus on innovation and technological advancements. They continually incorporate cutting-edge features into their products to meet the evolving demands of the audio industry. Some notable technologies and features developed by MOTU Audio include:

AVB Networking: MOTU Audio was one of the early pioneers of AVB (Audio Video Bridging) networking technology. AVB enables high-quality, low-latency audio streaming and device synchronization over Ethernet, making it ideal for complex audio setups in studios and live performances.

b. Thunderbolt Connectivity: Recognizing the need for high-speed data transfer, MOTU Audio integrated Thunderbolt connectivity into their audio interfaces. Thunderbolt offers lightning-fast data transfer rates, allowing for seamless recording, playback, and streaming of high-resolution audio.

c. Touchscreen Control: MOTU Audio has embraced touchscreen technology, incorporating intuitive touch control interfaces into their digital mixers. This enables users to access and adjust various parameters with ease, enhancing workflow efficiency and convenience.

Industry Recognition and Partnerships MOTU Audio's commitment to quality and innovation has garnered them widespread recognition within the audio industry. They have received numerous awards and accolades for their products, including the prestigious TEC Award. Additionally, MOTU Audio has established partnerships with industry leaders such as Apple, Avid, and Steinberg, further solidifying their reputation as a trusted and reliable brand.

Customer Support and Community MOTU Audio places great emphasis on customer support and fostering a vibrant user community. They provide comprehensive technical support, including online resources, FAQs, and a dedicated support team to assist customers with any product-related queries or issues. Furthermore, MOTU Audio maintains active forums and user communities where musicians, producers, and audio engineers can connect, share knowledge, and exchange ideas.

Sustainability and Environmental Responsibility MOTU Audio recognizes the importance of environmental sustainability and strives to minimize their ecological footprint. They adhere to environmentally responsible manufacturing practices and comply with relevant regulations and standards. Additionally, MOTU Audio encourages proper disposal and recycling of their products to reduce electronic waste.

Conclusion MOTU Audio has emerged as a leading force in the professional audio and music production industry. Through their innovative products, technological advancements, and commitment to customer satisfaction, they have earned a strong reputation among musicians, producers, and audio professionals worldwide. With a focus on quality, performance, and user-centric design, MOTU Audio continues to push the boundaries of audio technology and inspire creativity in the music industry.

- Comprehensive Report on Small Audio Interfaces

Introduction Small audio interfaces play a crucial role in modern music production and recording setups. These compact devices provide a bridge between a computer or mobile device and external audio sources, allowing musicians, producers, and content creators to capture high-quality audio in a portable and convenient manner. In this report, we will explore the various aspects of small audio interfaces, including their features, benefits, popular models, and their impact on the audio industry.

Features and Functionality Small audio interfaces offer a range of features and functionalities that make them indispensable tools for audio professionals and enthusiasts alike. Some key features include:

Compact Size: Small audio interfaces are designed to be portable and space-efficient. They are often lightweight and easily fit into a backpack or laptop bag, making them ideal for musicians and content creators who need a mobile recording solution.

b. Connectivity: Despite their size, small audio interfaces provide a diverse range of connectivity options. They typically feature microphone preamps, instrument inputs, line-level inputs, and outputs. Many models also include headphone outputs and MIDI connectivity, allowing for versatile recording and monitoring capabilities.

c. Audio Quality: While compact, small audio interfaces deliver high-quality audio reproduction. They employ advanced analog-to-digital converters (ADCs) and digital-to-analog converters (DACs) to ensure accurate and pristine audio capture and playback.

d. Portability and Bus Powering: Small audio interfaces often operate via USB or Thunderbolt connections, allowing them to draw power directly from the connected device. This feature eliminates the need for additional power supplies, making them highly portable and convenient for on-the-go recording.

Benefits and Applications Small audio interfaces offer several benefits and find applications across various scenarios. Some advantages include:
Mobile Recording: The portability and bus-powered nature of small audio interfaces make them perfect for mobile recording sessions. Musicians can easily record demos, practice sessions, and live performances wherever they are, without compromising on audio quality.

b. Podcasting and Streaming: Content creators, podcasters, and live streamers can benefit from small audio interfaces for capturing professional-quality audio. These interfaces allow them to connect microphones, instruments, and other audio sources directly to their computers or mobile devices, resulting in superior sound for their productions.

c. Home Studios and Limited Spaces: Small audio interfaces are ideal for home studio setups or spaces with limited room. They offer a compact solution that doesn't sacrifice audio quality, allowing producers and musicians to create professional recordings even in smaller environments.

d. On-the-Go Production: Small audio interfaces are valuable for field recording and production purposes. They enable sound engineers, journalists, and videographers to capture high-quality audio while on location, ensuring their recordings are clean and clear.
Popular Models Several small audio interfaces have gained popularity in the market due to their features, performance, and affordability. Some noteworthy models include:

Focusrite Scarlett 2i2: The Scarlett 2i2 from Focusrite is a widely recognized small audio interface. It offers two inputs, two outputs, high-quality preamps, and excellent audio fidelity. The Scarlett 2i2 is known for its ease of use, reliability, and compatibility with various recording software.

b. PreSonus AudioBox USB 96: The AudioBox USB 96 by PreSonus is another popular choice. It provides two inputs, two outputs, MIDI connectivity, and reliable performance at an affordable price point. The AudioBox USB 96 is favored for its user-friendly interface and rugged build quality.

c. Apogee Duet: The Apogee Duet is a premium small audio interface known for its exceptional sound quality and elegant design. It offers two inputs, four outputs, and integrates seamlessly with Mac computers. The Duet is highly regarded by professional musicians and audio engineers for its pristine audio conversion and low-latency performance.

Impact on the Audio Industry The emergence of small audio interfaces has democratized music production and audio recording. Their affordability, portability, and ease of use have empowered musicians, content creators, and enthusiasts to create professional-quality recordings without the need for expensive and elaborate studio setups. Small audio interfaces have also paved the way for mobile music production and field recording, revolutionizing the way audio is captured and produced.

Conclusion Small audio interfaces have become indispensable tools in the modern audio landscape. Their compact size, versatile connectivity options, and excellent audio quality make them a popular choice for musicians, content creators, and audio professionals. As technology continues to advance, we can expect small audio interfaces to further evolve, offering enhanced features and capabilities while maintaining their convenience and portability.

TEST: Morgan PR12

 The Ultimate Tone! There is probably no other scene in which sound and tone are discussed as much as in the electric guitar scene, although there is probably no other scene that deals with acoustic instruments where so many tonal modifications can be achieved. Just take the ERG disciples with 8 strings and more on the one hand, which also like to penetrate into maximum high-gain areas, and on the other hand Chet Atkins-style fingerpickers with Telecaster or Hollowbody. What's not in between. In addition to channel monsters such. B. the Hughes & Kettner Triamp MK3, there is another diametrically opposed orientation, which ignores any form of flexibility and is only dedicated to one, as "pure" and original sound as possible. One of these representatives is the Morgan PR12, which is guaranteed to split the guitar community in its concept.

The Morgan PR12, structure and concept

A single-channel amp with 12 watts, priced at just under 2,000 euros, does that make sense? In order to be able to answer this question better, you have to look at the key data of the amplifier. In the Morgan PR12, there are several components that inevitably drive up the retail price.

For one, the all-tube combo is hand built in the USA. Furthermore, the combo has a reverb spiral on the bottom of the housing, which is managed with 2 controls (reverb and dwell). Reverb controls the amount of reverberation, while Dwell is a mixture of the length of the reverberation and how much "boom" the reverberation develops. Otherwise a volume control, a bass control, a treble control, that's it. I call that spartan.

In terms of components, the combo is a top loader, meaning the amplifier section is accessible from above. Unfortunately, this also implies the usual fumbling work in terms of speaker, foot switch and power cable connections, which, as expected, are accessible on the back of the amplifier, i.e. from below behind the open rear panel. This means get on your knees, crane your neck, shine a flashlight inside, or put the amp on your face. Not nice, but technically there is no other way to implement this concept.

With the dimensions (W x D x H): 457 mm x 254 mm x 527 mm and a weight of 17.2 kg, the Morgan PR12 has to be attested to be easy to handle in the field of all-tube combos.


The Morgan PR12, the speaker

When it comes to sound shaping, the Morgan PR12 relies on proven components such as B. a Celestion G12H Greenback. Personally, I still think this speaker is the best choice in combination with underpowered amps, as it responds very well even at low volumes and, thanks to its filigree design as a combo single speaker, has a very mature sound even at low volumes.

The Morgan PR12, the amplifier part

In the amplifier part, in addition to the standard preamp tubes, the 12AX7 (ECC83), and the rectifier tube, which is also used less frequently, the somewhat more unusual 6V6 are used as output stage pairs. 12 watts, reverb, 6V6, hardly a special that does not match the Think of the legendary Fender Princeton Reverb, which saw the light of day in 1964, but was equipped with a 10 inch Jensen speaker and was only delivered from 1982 with a 12 inch speaker, either from Fender, Eminence or Electrvoice. It is therefore not surprising if the manufacturer advertises the product with the words "Black Face" and "based on a classic American 12 watt combo", especially since Fender no longer has the 12 inch version of the Princeton in its range.

The Morgan PR12, the case

Special attention should be paid to the case of the Morgan PR12. The housing made of birch is considered to be very resonant, which should be reflected in the bass reproduction in particular. More on that later in the practical test. The example presented to us is covered with a durable fabric in the "Twilight" look, which represents a menagerie of black, gray and white in the subtle Stresemann look. Everything is perfect in terms of workmanship, but for transport I would recommend at least a lined hood, better still a case.
The Morgan PR12 in action

First something basic. The structure of the amplifier already gives an idea in advance that the amplifier will focus on the clean area. In order to be able to play with the greats of this guild, you need an excellent basic sound and, above all, a lot of headroom in order to be able to cushion both the different output power of the pickups and the different dynamics of the individual musicians.

One or the other may be surprised at the only two-band tone control, but this makes sense in the clean area. The more the distortion increases, the more important the mid-range becomes, which, depending on the controller design, is responsible for the assertiveness in the band structure, from the "middle nock" to the scoop hub. In the clean range, on the other hand, a tastefully fixed middle band is sufficient, here points such as the sound's own compression count significantly more. Well then, let's go.

After switching on the amplifier, a subtle mains hum can be heard from the loudspeaker. Not that it would be noticeable in a band that even plays quietly, but I'm a little surprised that an amplifier in this price range reproduces a mains hum at all with a clean sound. OK, treble 12 o'clock, bass 12 o'clock, reverb disabled, volume 9 o'clock. And the sun rises!

That's what I call a clean sound! Wonderfully smooth, warm with tons of headroom, which also reproduces percussive sounds in full dynamics and still inserts a touch of compression, just as one would expect from a top-class amp. In this area, the Morgan PR12 really does not need to fear any comparison to the top performers of the capital "F", on the contrary.

It also seems that the cabinet plays a big part in the Morgan PR12's voluminous sound. It appears very resonant and gives the amp a significantly higher bass portion in the room sound than one is normally used to from a Greenback. Especially when using the neck pickup, the amp pushes very well in the low mids and gives the sound an unusually high bass component.

Even the output power of only 12 watts, which many criticized, does not pose any problems. You can even accompany an average dynamic drummer with this amp in clean mode. Especially in the club area, where practically every amp seems to be too loud anyway, the Morgan PR12 can score over the full broadside. The two tone controls work interactively, i. H. you turn e.g. For example, if you add treble, the bass component automatically decreases and vice versa. In this way, the control ranges of the tone control can be made even more intensive.

Another special feature of the Morgan PR12 is the reverb spiral, which is attached to the bottom of the housing. The dwell control in particular enables control options that are otherwise only accustomed to from a digital reverb. Everyone has to find out for themselves to what extent the setting options match their personal sound, but the system is way ahead in terms of flexibility and sound.

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From around 12 o'clock on with the volume control, the amp begins to add the first crunch to the sound. The sound of the 6V6 with its treble-oriented basic orientation is very clear and creates a very authentic sixties distortion without having to endure the dreaded scratchy presences that some representatives of this decade liked to produce. It should be mentioned that the amp, like many single-channel models, harmonises excellently with distortion pedals of all kinds, be it booster, overdrive, distortion or fuzz. If you take z. B. an overdrive and a distortion of your choice and switch them in front of the amp, you have a three-channel amp in no time at all, which has an outstanding clean sound and 2 individually tuned distortion sounds.

All in all, the amp convinces in every area for which it was built. Everyone has to decide for themselves whether they are willing to spend almost 2000 euros on a single-channel amplifier.

Conclusion

With the Morgan PR12 there is an amp with an excellent clean sound on the market that need not fear comparison to the clean godfather Fender. The basic sound of the amplifier is excellent and impresses with a soft, voluminous and impressive sound. The internally built-in reverb spiral also provides an authentic sixties flair and allows me an above-average flexibility with its 2 controls. An amplifier for connoisseurs and experts.

Additional Informations:

Morgan Amplifiers: A Comprehensive Company Report
Abstract: This report provides an extensive analysis of Morgan Amplifiers, a highly respected company in the guitar amplifier industry. The report covers the company's background, product portfolio, market presence, technological innovations, business strategies, and future prospects. Morgan Amplifiers has built a strong reputation for producing boutique, handcrafted amplifiers that deliver exceptional tone, versatility, and craftsmanship.
Introduction: Morgan Amplifiers is a renowned company that specializes in the design, manufacturing, and distribution of boutique guitar amplifiers. With a focus on producing high-quality, handcrafted amplifiers, the company has gained recognition among musicians, collectors, and enthusiasts worldwide.

Company Background: Morgan Amplifiers was founded in 2006 by Joe Morgan, a passionate guitarist and engineer. The company is based in Los Angeles, California and has established a reputation for creating meticulously crafted amplifiers that combine vintage-inspired designs with modern features and reliability. From its inception, Morgan Amplifiers aimed to provide musicians with amplifiers that deliver rich, harmonically complex tones and exceptional build quality.
Product Portfolio: Morgan Amplifiers offers a diverse range of amplifiers, each carefully designed to cater to different playing styles, genres, and tonal preferences. The company's product portfolio includes:

Guitar Amplifiers: Morgan Amplifiers produces a variety of guitar amplifiers, including heads, combos, and speaker cabinets. These amplifiers are known for their hand-wired construction, premium components, and meticulous attention to detail. They cover a wide tonal spectrum, ranging from vintage-inspired cleans to dynamic overdrive and high-gain tones.
Bass Amplifiers: In addition to guitar amplifiers, Morgan Amplifiers also offers a selection of bass amplifiers that provide bassists with powerful, articulate, and versatile tone. These amplifiers deliver exceptional low-end response, clarity, and headroom, making them suitable for various musical genres and playing styles.

Technological Innovations: Morgan Amplifiers combines vintage-inspired designs with modern technological advancements to achieve its unique sonic characteristics. The company leverages premium components, including high-quality transformers, capacitors, and tubes, to ensure optimal signal purity and tonal integrity. With a focus on point-to-point hand-wired circuitry, Morgan Amplifiers achieves superior signal flow and reduced noise, resulting in amplifiers that are highly responsive, dynamic, and articulate.

Market Presence: Morgan Amplifiers has established a strong presence in the guitar amplifier market. Their amplifiers have garnered widespread acclaim from professional musicians, studio engineers, and tone aficionados. The company actively participates in industry events, trade shows, and collaborations with renowned artists, showcasing its amplifiers and engaging with a dedicated community of players and enthusiasts.
Business Strategies: Morgan Amplifiers implements several key strategies that contribute to its success:

Craftsmanship and Attention to Detail: The company is renowned for its meticulous craftsmanship and attention to detail. Each amplifier is meticulously handcrafted, using high-quality materials and components, to ensure superior build quality and tonal excellence.

Customization Options: Morgan Amplifiers offers customization options, allowing musicians to tailor their amplifiers to their specific preferences. From selecting different speaker configurations to custom finishes and control layouts, the company provides a personalized experience for its customers.
Artist Collaborations: Morgan Amplifiers collaborates with renowned artists and professionals in the music industry to develop signature amplifiers and gain valuable insights for product improvement. These collaborations not only enhance the company's reputation but also showcase the versatility and quality of their amplifiers.

Future Prospects: Morgan Amplifiers' future prospects are promising. With its dedication to craftsmanship, tonal excellence, and customer satisfaction, the company is well-positioned to expand its market presence and capture new opportunities. As the demand for boutique amplifiers continues to grow, Morgan Amplifiers can leverage its strong brand reputation, technological innovations, and commitment to quality to further establish itself as a leading player in the guitar amplifier industry.

Conclusion: Morgan Amplifiers has earned a well-deserved reputation as a respected manufacturer of boutique guitar amplifiers. Through its dedication to craftsmanship, technological innovation, and customer satisfaction, the company has created a loyal customer base and gained recognition among musicians and enthusiasts. With a diverse product range, customization options, and collaborations with artists, Morgan Amplifiers is poised for continued success in the guitar amplifier market, offering musicians amplifiers that combine vintage-inspired designs with modern reliability and exceptional tone.