What has been announced over the last few years has now finally become reality. The guitarist guild is divided into two camps. The first faction indulges in the classic amplifier - box - loudspeaker - microphone principle, as it has been practiced for almost 70 years. The result is a lot of moving air, an excellent sound with the right components, but this comes at the cost of all the disadvantages such as high weight and setting up/dismantling the equipment. The other faction, spurred on by the immense success of the Kemper amp, pays homage to the same or one of its competitors, such as the Ax FX or the Line 6 Helix, detached from any form of physical experience and freed from lugging around the components. For the second faction, industry giant Boss now has the Boss GT-1000 effect processor available, which wants to give emulation fans one more competitor with even better modeling of the analog originals.
Modeling Bible…
To start with, I personally always have big problems with the statement “sounds exactly like” in the modeling field because it is simply not possible. This statement has NOTHING to do with whether a sound sounds good or bad, but just as even the best in-ear system cannot reproduce the exact same sound of a speaker you are standing in front of, a modeling amp can reproduce the original Reproduce the form of an amplifier, box, etc. Physics sets irrefutable limits here.
This is not a judgment, just a statement. In this test I will avoid making a direct comparison between e.g. B. a black or brownface, Plexi or whatever as a measuring stick, as it would simply be unfair to the modeler. Manufacturers like to flirt with names for their presets that clearly create an association with the original, but in my opinion this is a huge mistake because they can only lose. Therefore, with these products it is only about their sound and their conception, which as we will see is more than just remarkable.
The Boss GT-1000 can also be used as a classic mine collection or switched into the FX return of an amp. However, we will primarily focus on the D.I. The sounds of the product concern us, as this is also where the Boss GT-1000 is intended to be used.
The structure of the Boss GT-1000
The first impression of the Boss GT-1000 is promising. A lot of sheet steel, resilient plastic on the side panels and a large display with dimensions (W x D x H): 462 mm x 248 mm x 70 mm ensure a weight of 3.6 kg, which is an impressive size for a floor pedal. With a retail price of 850 euros, the product is one of the more expensive of its kind and has to deliver accordingly, but the extensive connection peripherals on the back of the case suggest that there are some extras.
In addition to the input and stereo out for the Amp FX Loop, a total of 11 jack sockets also enable the switchable insertion of two separate FX devices, the connection of 2 expression pedals, the connection of headphones and the channel switching of a connected amp. There is also USB for DAW operation, MIDI in/out and as a focus, two symmetrical XLR sub outputs, which output the frequency-corrected modeler signal. Very nice, once again 2 D.I. Boxes saved for live operation. There is also an expression pedal, also made of metal, which of course also performs wah-wah functions, the movement of which can be adjusted using a knurled screw on the side. The stepped design of the two rows with a total of 10 foot switches also speaks for a well thought-out design. First impression, very good!
The signal processing of the Boss GT-1000
We get to the menu navigation of the Boss GT-1000 via 6 rotary controls, all of which also include push functions. As expected, the product offers everything that the current Boss product range offers, which after a rough estimate resulted in almost 100 different effects, which are found in the standards such as compressor, distortion, modulation and room effects. There are also 16 amplifier simulations.
The signal chain is freely configurable, i.e. you can move the effects in any order. The assignment of the individual buttons can also be freely configured, which is a huge advantage in practice.
Bluetooth and more
The editing was done very nicely with the Boss Tone Studio app, which can be controlled both from your home computer and on the go using iOS products. The clarity increases again massively here, with the iOS solution offering another bonus for live operation.
Provided you play directly into the console and have a transmitter or a correspondingly long cable, you can edit the sounds on the Boss GT-1000 in real time using your smartphone during the sound check in the infield and adapt the sound to the respective room conditions, e.g. B. by taking back the reverb or drive portion after consultation with the FOH.
The Boss GT-1000 in practice
The editing options of the Boss GT-1000 are so extensive that you can only take a very, very small selection of sounds into account. If you have a lot of time, you can put together and save your own personal setup for every song you want to interpret. Whether you have several sounds for each song, e.g. B. for intro / verses / solo or similar per bank, or assigning only one sound to each song, is up to each musician.
Already with the first tones you can see a significant improvement in the response behavior of the product. The processor also hangs nicely on the guitar's volume control for a modeler and integrates the reduced level very neatly into the desired sound. In fact, the AIRD technology gives the individual sounds more dynamism and a better representation of one's own style, but unfortunately the sounds themselves, especially the high gain sounds, do not get any better, even if the product offers a significant leap in quality compared to its predecessor models .
As is almost always the case with all modelers, almost all of the distorted sounds on the Boss GT-1000 sound a bit “occupied”, which means that the openness and immediate attack of a real amplifier - box - loudspeaker constellation is missing here too. Even if the CPU never gives the feeling of working at its limits, the distorted amp modules are not really convincing. The sound itself is sufficient for a home session or to record a quick demo, but in a real band constellation, compressed sounds of this type cannot prevail.
Even the often touted all-for-one solution for studio, stage and rehearsal room only works up to a certain level of professionalism. A well-booked dance band will certainly find appropriate quality in the product, especially since the focus is usually not on high-gain sounds and they usually have the solo from “Walking By Myself” in their repertoire as maximum distortion. A Kemper, on the other hand, if there is already a D.I. If it has to be an amplifier, the Boss GT-1000 can't hold a candle.
Even in the studio, Boss has to come to terms with reality. A really good solution for ambitious home recording, every professional record production will always rely on a microphone solution. That's not to say that the Boss GT-1000 sounds bad in any way. On the contrary, in the modeling class it undoubtedly takes one of the top places in terms of sound. But you should know where the limits of the product are and not be blinded by the various advertising videos packaged as test reports so that you can sell all of your amplifiers and cabinets from now on.
Conclusion
With the Boss GT-1000, one of the strongest names in the pedal sector has a very good modeler on offer, which, with a wide selection of sounds, puts it at the forefront of D.I. Recording area occupied. With a high degree of flexibility, you can cover a very wide range of areas of application, from the control center in the live area, to the personal workstation for finger exercises, to direct recording in the home studio.
In terms of sound, the AIRD technology scores with better dynamics and a better reproduction of the more personal style. If you are looking for an ambitious multifunctional device, you should definitely give the Boss GT-1000 a try.
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Boss is a Japanese company that manufactures effects pedals and other musical equipment. It is a division of Roland Corporation, which was founded in 1972. Boss was founded in 1977 by Roland's founder, Ikutaro Kakehashi.
The first Boss pedals were the OD-1 Overdrive, PH-1 Phaser, and SP-1 Spectrum. These pedals were designed to be affordable and easy to use, and they quickly became popular with musicians around the world. In the years that followed, Boss released a wide variety of pedals, including the DS-1 Distortion, CE-2 Chorus, and DD-3 Digital Delay. These pedals became essential tools for guitarists of all genres, and they helped to define the sound of modern music.
In the 1980s, Boss began to expand its product line to include other types of musical equipment, such as amplifiers, synthesizers, and drum machines. The company also began to release more specialized pedals, such as the MT-2 Metal Zone and the BF-3 Flanger. These pedals appealed to a wider range of musicians, and they helped to solidify Boss's reputation as a leading manufacturer of musical equipment.
In the 1990s, Boss continued to innovate with the release of new pedals, such as the RC-2 Loop Station and the GT-6 Guitar System. These pedals offered new features and capabilities that were not available from other manufacturers, and they helped to keep Boss at the forefront of the music technology industry.
In the 2000s, Boss began to release digital pedals, such as the DD-7 Digital Delay and the RV-5 Digital Reverb. These pedals offered high-quality sound and a wide range of features, and they quickly became popular with musicians who were looking for more advanced effects.
Today, Boss is one of the most popular and respected manufacturers of musical equipment in the world. The company offers a wide variety of pedals and other products that are used by musicians of all levels, from beginners to professionals. Boss is known for its innovative products, its high-quality sound, and its commitment to customer satisfaction.
**The following is a timeline of some of the most important events in the history of Boss pedals:**
**1972:** Roland Corporation is founded by Ikutaro Kakehashi.
**1977:** Boss is founded as a division of Roland Corporation.
**1978:** The first Boss pedals are released: the OD-1 Overdrive, PH-1 Phaser, and SP-1 Spectrum.
**1981:** The DS-1 Distortion is released.
**1982:** The CE-2 Chorus is released.
**1983:** The DD-3 Digital Delay is released.
**1986:** The MT-2 Metal Zone is released.
**1990:** The BF-3 Flanger is released.
**1995:** The RC-2 Loop Station is released.
**2000:** The GT-6 Guitar System is released.
**2005:** The DD-7 Digital Delay is released.
**2010:** The RV-5 Digital Reverb is released.
**2015:** The Waza Craft series of pedals is released.
**2020:** The Boss 500 series of pedals is released.
## Beyond the Timeline: Digging Deeper into the Boss Legacy
**From Humble Beginnings to Global Domination:** While the timeline provides a solid overview, the story of Boss goes beyond a list of dates and model numbers. Here's a closer look at the key factors that shaped the company's rise and cemented its place in music history:
**1. Ikutaro Kakehashi's Vision:** The founder, Ikutaro Kakehashi, was not just an entrepreneur but a passionate musician himself. This personal connection to music fueled his vision for **accessible, affordable effects units** that musicians could easily carry and use on the go. This accessibility factor became a core tenet of Boss's philosophy, setting it apart from more complex, studio-bound equipment.
**2. Design Philosophy: Form Follows Function:** The iconic look and feel of Boss pedals didn't happen by accident. The compact, durable design with easy-to-use knobs and switches prioritized **functionality and practicality**. This user-friendly approach resonated with musicians of all skill levels, making even complex effects attainable and encouraging experimentation.
**3. Uncompromising Quality:** While affordability was important, Boss never compromised on quality. The pedals were built with **robust metal enclosures and reliable circuitry**, ensuring they could withstand the rigors of gigging and touring. This emphasis on durability established a long-lasting reputation for reliability, a key factor in Boss's enduring popularity.
**4. Evolution Through Innovation:** While some might associate Boss with classic, "vintage" sounds, the company never stagnated. From analog to digital, from stompboxes to multi-effects processors, Boss consistently **pushed the boundaries of technology**, staying relevant and appealing to new generations of musicians. The 2015 Waza Craft series and the 2020 Boss 500 series exemplify this continued commitment to innovation and reimagining classics.
**5. Artist Endorsements and Cultural Impact:** From Jimmy Page's iconic DS-1 distortion on Led Zeppelin's "Immigrant Song" to Kurt Cobain's haunting chorus tones with the CE-2 on Nirvana's "Come As You Are," countless artists have utilized Boss pedals, shaping countless iconic sounds and contributing to the company's **influential role in popular music**. This association with legendary musicians further boosted the brand's appeal and mystique.
**6. Community and Legacy:** Today, Boss pedals are not just tools; they're a gateway to a **global community of musicians** connected by shared experiences and sonic explorations. Online forums, fan groups, and countless tutorials showcase the passion and creativity these pedals inspire. This community keeps the Boss legacy alive and ensures its continued relevance for years to come.
**In Conclusion:** The history of Boss pedals is more than just a list of specifications and milestones. It's a story of innovation, passion, and a commitment to making music accessible and empowering for everyone. This dedication has earned Boss a loyal following and a place of honor in the hearts and rigs of musicians worldwide. With its continued emphasis on quality, adaptability, and community, the Boss legacy looks poised to shape the future of music creation for generations to come.
Samstag, 10. Februar 2024
TEST: Boss GT-1000
Mittwoch, 7. Februar 2024
TEST: Boss GT-100
What hasn't happened in recent years when it comes to “stompboxes”. If you had told me a few years ago that the days of 19 inch guitar products for the live sector were apparently numbered, I would have called you crazy. However, if I look at the current landscape, one could easily come up with the idea. What some time ago was happy in terms of computing power if it could squeeze a single effect into the AD/DA algorithms reasonably well, let alone generate a real multi-effects product, today boasts of the computing power of a home PC and the storage capacity of a hard drive.
Established studio technology veterans bring out stop boxes that can really stand up to their rack brothers in terms of sound, and the “big names” of floor pedals also regularly upgrade their products, mostly in terms of sound quality and workmanship. The BOSS company, which has always been at the forefront of floor multi-effects devices for years, is now bringing the successor to the legendary GT-10 onto the market, which, with a new computing chip and new technology, has added one more zero to the GT-100 product name .
construction
With dimensions of 542 mm x 271 mm x 80 mm, the GT-100, which is manufactured in Taiwan, is already one of the larger representatives of its category, and its weight of just under 5 kilograms suggests its massive construction. Completely made of metal, the board appears to be rock-solid in its design, especially since it rests on 4 very solid and soft rubber feet, which ensure sufficient stability even on smooth surfaces. A 9V power supply is included; due to the complex electronics, the GT-100 is not designed for battery operation.
As with almost all current products, complex floorboard solutions like the GT-100 can no longer be described as a stompbox in the true sense. Rather, using current modeling technology, the entire signal train from the preamplifier of an amplifier to the last link in the chain, the loudspeaker, is emulated and adjusted to the respective needs. In collaboration with the new DSP-2 chip developed by Boss itself, the magic word from the BOSS development department is COSM technology, which, according to the company, can reproduce the sound of even the difficult vintage models much better.
At the same time, the ambitious guitarist will have to think about choosing his setup. Of course, you can also connect the GT-100 in front of a classic amp, but it remains to be considered whether, when designing a modeling amp, it would be better to just use the power amplifiers of your amp plus speakers via the return loop or an external power amplifier with a box . Given the countless presets, you can usually only use a completely clean amp anyway, where the preamp causes more adjustment problems than enriches the sound.
By the way, it can't be mentioned often enough, I can only recommend that every manufacturer uses a leaflet and every user to find out about the exact concept of a speaker simulation and to deactivate it when using it with a regular amplifier! I know countless musicians, even colleagues, who send the sounds designed for direct in on their home PC through their amplifier and are then surprised by the rather thin and weak sound.
The front of the product offers a veritable flood of connection peripherals. From left to right there is first the input socket (converted with a 24-bit/44.1 kHz A/D converter), followed by an aux-in, which enables the connection of an MP3 player or similar. This is followed by two outputs, which can be used in both stereo and mono mode (left socket) and the obligatory headphone out, which was pleasantly designed as a 6.3 mm jack stereo socket and not as a mini jack. This is followed by an external FX loop (In/Out), which was usefully equipped with ground lift if necessary. Sometimes mains hum can occur when operating within an FX loop of an amp, which can be prevented with the same switch.
An Amp Control socket allows you to integrate the amplifier's footswitch insert into the switching process, which is helpful when changing channels within the amp combined with changing effects within the GT-100. External expression pedals or switches can be included in the management of the product via Sub Control / Sub Exp. The GT-100 is connected to a PC via a mini-USB port protected with a protective plug, followed by two MIDI in/out sockets. A power switch, the power supply connection socket secured by a strain relief and a Kensington theft protection complete the connection panel.
On the front, the GT-100 comes with eight switches, which manage the total of 400 patches (200 user + 200 preset) as well as an internal looper and an Accel effect for the respective sound. The internal electronics are managed using two displays, eight endless controls, six pressure switches and, last but not least, a master volume output or expression pedal. The entire device appears extremely tidy and, despite the immense editing options, is never overloaded or even convoluted.
Practice
As soon as you switch the device on for the first time, the GT-100 boasts the clarity already described. All functions can be managed intuitively via the two displays and allow quick access to all parameters. The letters and numbers are very legible and can be easily seen even in direct sunlight. The remaining hardware is the BOSS technology that has been established for years, robust foot switches, an expression pedal made of metal and potentiometers that can easily handle the occasional accidental shoe strike.
When it comes to sound, BOSS is actually opening new doors with the new DSP when it comes to the depth of sound and authenticity of the models. The infamous digital “scratch”, which is still present on most modeling boards, has actually completely disappeared on the GT-100. Even when fed directly into the computer, the new speaker emulation algorithms are convincing. I have rarely heard a modeling process that simulates a working loudspeaker so well.
In the effects area, too, the sound gains significantly in resolution and depth, everything seems a bit more intense than you were used to. The expression pedal does a good job, although the control path is a little shorter than you are used to with most stand-alone pedals. The ACCEL/CTL switch is also very nice, which allows you to briefly change a selected sound in terms of volume, FX component or gain for a solo passage or a small effect change, all of which is of course freely configurable.
Conclusion
With the GT-100, floorboard expert BOSS is bringing its latest battleship in terms of sound output onto the market. The specially developed DSP-2 and the new COSM technology actually deliver what the marketing promised before the market launch. Spatial effect depth at the highest level and very authentic amp modeling make the GT-100 an all-purpose weapon in the live sector.
Especially when things have to happen quickly, with direct feed into the P.A. or when used to save time in the project studio, the GT-100 shows its great strengths. It has rarely been so easy to generate such a good sound in such a short time.
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Additional Informations:
In the expansive landscape of modern music, few brands have etched as indelible a mark as BOSS, a division of the Roland Corporation, known for its groundbreaking effects pedals that have redefined the soundscapes of genres across the spectrum. The story of BOSS is a saga of innovation, resilience, and an unwavering commitment to musicians worldwide, from the bedroom guitarist to the stadium-filling rock star. This narrative delves into the origins, development, and enduring legacy of BOSS pedals, a staple in the arsenal of musicians seeking to push the boundaries of their sonic expression.
### The Prelude: Roland's Visionary Beginnings
The genesis of BOSS can be traced back to the early 1970s, within the innovative milieu of the Roland Corporation, founded by Ikutaro Kakehashi in Osaka, Japan. Kakehashi's vision was to create instruments and devices that would transcend the limitations of traditional music production, making new sounds and techniques accessible to artists around the globe. Roland quickly distinguished itself with a series of synthesizers and electronic musical instruments that captured the imagination of musicians and producers alike.
### The Birth of BOSS: A Brand is Born
In 1973, the BOSS brand was officially launched as a response to the burgeoning demand for high-quality, reliable, and user-friendly effects units. The first product to bear the BOSS name was the B-100 The Boss, a clip-on preamp and pickup for acoustic guitars. However, it was the release of the CE-1 Chorus Ensemble in 1976 that truly cemented BOSS's place in music history. The CE-1, derived from the chorus effect in Roland's JC-120 Jazz Chorus amplifier, offered guitarists the ability to replicate the lush, shimmering sounds that had become increasingly popular in studio recordings, directly from a compact pedal unit.
### Innovation and Expansion: The 1980s Boom
The 1980s marked a period of explosive growth and innovation for BOSS. The introduction of the compact pedal series, with the OD-1 Overdrive, PH-1 Phaser, and SP-1 Spectrum (a parametric equalizer), in 1977, revolutionized the effects pedal market. These units were not only rugged and roadworthy, thanks to their metal casing and rubber-stomp activation, but they also provided musicians with an unprecedented level of control over their sound.
The decade saw the release of some of BOSS's most iconic pedals, including the DS-1 Distortion (1978), a staple in rock and metal genres; the DD-2 Digital Delay (1983), the world's first compact digital delay pedal; and the MT-2 Metal Zone (1991), renowned for its rich, complex distortion. Each new pedal was a response to the evolving needs of musicians and a testament to BOSS's commitment to quality and innovation.
### The Digital Revolution and Beyond
As digital technology advanced in the late 1980s and 1990s, BOSS continued to innovate, embracing new possibilities to enhance the functionality and versatility of its products. The introduction of the GT series multi-effects processors in the 1990s provided guitarists with a comprehensive solution for their effects needs, combining dozens of effects, amp modeling, and programmability in a single unit.
Despite the proliferation of digital modeling and software-based effects, BOSS's compact pedals remained highly sought after for their distinctive sound, durability, and ease of use. The company's dedication to innovation was further demonstrated with the introduction of the Waza Craft series, offering premium versions of classic BOSS pedals with enhanced sound quality and additional features.
### A Legacy of Excellence
Today, BOSS's catalog boasts an extensive range of products, from stompboxes to multi-effects processors, wireless systems, and more. Yet, at its core, BOSS remains dedicated to the same principles that guided its inception: innovation, reliability, and a deep understanding of musicians' needs.
BOSS pedals have become more than just tools for musical expression; they are integral components of the musician's identity, capable of transforming a straightforward guitar signal into a landscape of sonic textures and tones. The brand's influence extends beyond individual products, shaping the development of music production and performance technology as a whole.
### The Road Ahead
As BOSS continues to navigate the future of music technology, its legacy serves as a foundation for ongoing innovation. With advancements in digital processing, connectivity, and user interface design, BOSS is poised to remain at the forefront of the industry, providing musicians with the tools to explore new horizons of creativity.
The story of BOSS is a vibrant chapter in the history of music, marked by a series of innovations that have expanded the possibilities of sound. It is a narrative of how vision, ingenuity, and an unwavering commitment to quality can create a legacy that resonates across generations.
TEST: BlueGuitar Amp1 Mercury Edition
The concept of the BluGuitar Amp1 Mercury Edition
As a real working musician, Thomas Blug has a few decades under his belt and has noticed that there is often a diametrical gap between desire and reality in the live professional business. The wishful thinking that is reflected in fat half or full stacks, if possible only for one sound, in order to simply switch to the next stack for the next sound using the A/B/C switch, can only be achieved in the superstar league with the appropriate transport and maintain the technician budget.
The reality is that not only does one amp have to produce all the sounds required, but it should also ideally have the dimensions of 4 decks of cards so that it can be carried in a suitcase or in a backpack for travel by train or plane without booking additional luggage to transport. Amps in a flight case, possibly with a cabinet sent to the show in advance by freight and picked up there by the technicians? Only possible if you want to bring money to the show and not earn any.
Accordingly, small and micro amplifiers have e.g. Currently booming. Also positioned on the floorboard, such amps or preamp/power amplifier systems in combination with your personal effects pedal park can create a soundboard with minimal dimensions, which can also meet the demands of public transport if necessary. OK, a cabinet still needs to be organized or rented on site.
The trick now is to spatially reduce everything that is important in terms of sound to a minimum and to keep the resulting loss of sound as low as possible. It goes without saying that this cannot be achieved with a tube power amplifier, but the BluGuitar Amp1 Mercury Edition at least sticks to a preamp tube for sound shaping, which, however, is a rarity in a nanotube version. According to the manufacturer, it is a Russian development that is more stable, much smaller and much more durable than the commercially available ECC83 / 12AX7 and only did not become mainstream because it was released at a time when its larger counterparts were already on the market held tightly in his hands.
The construction of the BluGuitar Amp1 Mercury Edition
The BluGuitar Amp1 Mercury Edition is advertised as a four-channel amplifier, but strictly speaking the product is a two-channel amp where you can choose between a clean and distorted sound, with all sounds also having a boost function. Additional MIDI options are required to access all four sounds comprehensively. The amp was designed as a floor pedal, has an output of 100 watts and can be described as very handy with dimensions (W x D x H): 245 mm x 192 mm x 68 mm and a weight of only 1.2 kg.
All 4 channels share a three-band and a reverb unit, which can be activated via a third footswitch. A cable called MIDI 1 can be connected to the front, which provides the adapter function for the five-pin standard cable. There are also speaker outputs for 8 and 16 ohms, a recording out, which also takes on the headphone function, the input for the guitar, the on/off switch and an FX loop. Said loop can, among other things, Use a pressure switch on the bottom of the housing to switch between the studio level +4 dB and the floor pedal level -10dB, although this switch is unbeatable in terms of complexity. Thanks to the circuit board design, the switch disappears more than a centimeter deep into the housing, can only be pressed with a screwdriver and you cannot see its switching status. Good function, horrible detailed solution!
On the other hand, the multi-voltage power supply is very pleasant, and its cold device socket is also located on the back. Not only can the product be operated worldwide with the right power cable without a transformer, it also compensates for mains voltage dips or peaks, which can sometimes occur in some countries.
A real treat, however, can be found on the sidebar of the amplifier. Here you can set your personal preferences in terms of tone, boost and volume for every sound, with the exception of the vintage sound. For reasons of space you have to make do with very fiddly knurled screws, but once set you will probably only rarely change the basic setting. You can also choose between parallel and serial operation in the FX loop and set two presets (hard / soft) in noisegate operation. There is no stepless setting in noisegate operation.
The BluGuitar Amp1 Mercury Edition in practice
As expected, putting the BluGuitar Amp1 Mercury Edition into operation is extremely relaxing. Speaker cable in, power cable in, guitar cable in, done. Let's start with the clean channel. Personally, I'm a big fan of clean sounds that have a slight hint of dirt. With clean sounds of the guitar-despised eighties pop era in the sense of Strat in PU switch 4 directly into the desk, you can drive me screaming out of the room. Fortunately, this is not the case with the BluGuitar Amp1 Mercury Edition. The channel hangs nicely on the guitar's volume control and responds to powerful attacks with a slight distortion. The EMG pickups used ensure that you can almost speak of a subtle crunch, with passive PUs the level of distortion will definitely be lower.
In the vintage range, the amp puts much more focus on the treble range without it becoming too biting. The attempt to capture the mostly crisply resonant vintage representatives is very successful in its approach, although the tone control offers a point that should continue in all sounds. The BluGuitar Amp1 Mercury Edition only has a very low bass content. In all sound files the control was at full stop and still only left a small area for the bass swing.
The Classic range clearly goes one step further in terms of gain and bite. This is where the area begins that I would not have expected from the BluGuitar Amp1 Mercury Edition and I have to say, it masters this area confidently. All shades of rock up to strong hard rock are covered here with strong leads, whose creaminess can be individually adjusted using the boost switch. In my opinion the strongest channel of the BluGuitar Amp1 Mercury Edition.
Modern then finally moves into the high gain range, which certainly serves the customer in terms of gain and aggressiveness, but the bass weakness of the BluGuitar Amp1 Mercury Edition is most noticeable here. Even a Drop D tuning cannot give the amp the typical stroke, let alone the classic scoop sound that modern metal sounds demand. The sound is not bad, but it stinks a bit compared to its pioneers and has to be seen more as a stable extra in the variety of sounds than as a supporting pillar in the basic sound.
In the overall context, however, the BluGuitar Amp1 Mercury Edition has to be given a really very good and, above all, practical assessment. The amp impresses with its fantastic dimensions, an almost ridiculous weight and 4 good to very good sounds, which cover a very large spectrum of required guitar sounds. The handling is easy, the personal tuning of the respective sounds is flexible and the portability is the dream of every professional working musician.
Conclusion
With the BluGuitar Amp1 Mercury Edition, Thomas Blug hits the heart of every professional musician who wants to deliver very good sounds under difficult transport conditions. The amplifier is extremely handy and offers four good to very good sounds, which are individually configurable and designed to be very practical in terms of sound.
If you don't value massive bass, only rarely change the voltage level of your effects loop and usually have to travel to the show by train or plane, you should give the product a try.
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Additional Informations:
In the annals of modern music, few stories resonate with the spirit of innovation and dedication as vividly as the journey of BlueGuitar, a company that has become synonymous with cutting-edge guitar technology and craftsmanship. Founded by the acclaimed German guitarist, Thomas Blug, BlueGuitar stands as a testament to a lifelong passion for music and an unwavering commitment to quality. This tale is not just about the creation of another music company; it's a narrative that intertwines the evolution of guitar technology with a personal quest for the perfect tone.
### The Prelude: Thomas Blug's Musical Voyage
Thomas Blug, born in Saarbrücken, Germany, embarked on his musical journey at a young age, showing a profound interest in the guitar. His early years were marked by an insatiable curiosity for the instrument and a deep appreciation for the myriad ways it could express emotions and stories. As Blug honed his skills, he became increasingly aware of the limitations imposed by conventional guitar technology on the realization of his artistic vision.
Throughout the 1980s and 1990s, Blug established himself as a formidable presence in the music scene, known for his virtuosity and a distinctive sound that blurred the lines between rock, blues, and soul. However, despite his successes, he felt constrained by the existing technologies that guitars offered. This restlessness, rooted in the pursuit of a purer, more versatile tone, led Blug to envision a new kind of guitar technology.
### The Genesis of BlueGuitar
The concept of BlueGuitar materialized from Blug's desire to overcome the traditional limitations of guitar amplifiers and effects. He envisioned a device that could emulate the rich, analog tones of vintage tube amplifiers, while also offering the reliability, versatility, and convenience of digital technology. This vision was bold, aiming to bridge the gap between the warmth of classic gear and the precision of modern electronics.
In the early 2000s, Thomas Blug began the arduous process of turning his vision into reality. Drawing upon his extensive experience as a guitarist and his nuanced understanding of electronics, Blug embarked on a series of experiments aimed at capturing the essence of the sought-after vintage amp tones in a compact, digital format.
### The Innovation: AMP1
After years of research, development, and countless prototypes, BlueGuitar introduced its flagship product, the AMP1. This revolutionary amplifier system embodied Blug's vision, offering guitarists unparalleled tonal quality, flexibility, and portability. The AMP1's unique technology enabled it to mimic the complex harmonic structures and dynamic response of traditional tube amps, setting a new standard in guitar amplifier design.
The launch of the AMP1 was met with critical acclaim from musicians and industry experts alike. Its ability to deliver authentic, high-quality sounds across a range of genres, coupled with its user-friendly interface and robust construction, quickly made it a favorite among guitarists worldwide.
### The Philosophy of BlueGuitar
At the heart of BlueGuitar's ethos is a commitment to innovation, quality, and musicianship. Thomas Blug's approach to design and development is deeply rooted in his experiences as a musician, reflecting a genuine understanding of the needs and challenges faced by guitarists. BlueGuitar's products are not merely tools; they are extensions of the artist's voice, designed to inspire creativity and expression.
The company's dedication to sustainability and ethical practices is evident in its choice of materials and manufacturing processes. BlueGuitar aims to minimize its environmental impact while ensuring that its products meet the highest standards of quality and durability.
### The Symphony Continues
Today, BlueGuitar continues to push the boundaries of guitar technology, with a growing lineup of products that reflect Thomas Blug's original vision. From amplifiers to effects units and beyond, each innovation is a chord in the ongoing symphony of BlueGuitar's journey.
As BlueGuitar marches into the future, it remains anchored by its core values of innovation, craftsmanship, and a deep love for music. Thomas Blug's quest for the perfect tone, which began as a personal pilgrimage, has grown into a movement embraced by guitarists around the globe. BlueGuitar stands as a beacon of excellence in the music industry, harmonizing the legacy of the past with the possibilities of the future.
TEST: Blackstar Super Fly
Finding good-sounding, battery-powered practice amplifiers is no easy task. They should be light, they should be compact, but they should still have a maximum of sound qualities. In addition, the mere amplification of an instrument is no longer sufficient for the next generation to be perceived as a serious practice amplifier. Where people used to be happy about the mini versions of a Marshall half or full stack, today these types of amplifiers don't attract a dog from behind the stove either in terms of sound or scope of operation. With the Blackstar Super Fly, the British manufacturer is now preparing to manage the sound of several instruments at once, plus some very practical extensions.
The construction of the Blackstar Super Fly
The Blackstar Super Fly is a 12 watt practice amplifier that is powered by eight type AA batteries. The maximum operating time is stated by the factory as 15 hours, which most likely refers to alkaline batteries. Alternatively, the amplifier can also be operated with nickel metal hydride batteries or with a power supply that is not included in the scope of delivery. However, the power supply must have the unusual values of 12 V / 2.5 A, which cannot be found on every corner, especially in a stabilized form. The focus will therefore be primarily on battery operation.
With dimensions (W x D x H): 28 cm x 15 cm x 21 cm and a weight of approx. 2.4 kg including batteries, the amplifier can no longer be considered a pocket camp, but is still all in one in terms of portability kept in a very user-friendly framework. The amplifier is made of black plastic and, despite its small size, seems quite robust. Despite being made entirely of plastic, the case is tough when it comes to knocks and bumps and will cope well with the odd jostling. As expected, what the matt shimmering casing doesn't like so much are wet fingerprints, which can, however, be easily removed with a cloth.
The amplifier stands on four strong, comparatively soft rubber feet, which give the product good slip resistance even on smooth surfaces. The two front feet also take on the anchoring function of a fold-out bracket, with which you can easily point the Blackstar Super Fly upwards at its angle of attack. There is also a microphone stand holder on the bottom of the product so that the amplifier can be raised using a suitable tripod if necessary. However, an external adapter must be purchased for this operation.
In contrast to many other practice amplifiers, the Blackstar Super Fly works with two 3-inch speakers and two corresponding bass reflex openings, which also radiate to the front like the speakers and which, as it turns out later in the test, enable a significantly higher bass content. than the optics suggest. Due to this construction, music played can also be played back in stereo.
The backside
In addition to a Kensington lock and the connection socket for an external power supply, the XLR socket at the bottom right together with an attached slider on the back of the case are particularly noticeable. You can use the same socket to connect an additional optically and sonically matching extension cabinet using an XLR cable, turning the Blackstar Superfly into a mini 24 watt stereo system. The overall sound is controlled exclusively via the combo. The slider ensures that a stereo signal is distributed appropriately across the two cabinets and not via the combo's two internal speakers.
The amplifier part
The amplifier part including all controls is located on the top of the housing and is slightly recessed into the housing to protect the various controls. Two channels enable the amplification of four different sound sources. Line instruments or microphones can be amplified via channel 1 via an XLR / TRS combination socket. Channel 2 is designed with a jack socket for either acoustic or electric guitars. The corresponding presets are switched with a pressure switch on the channel. In addition, you can use a pressure switch on the second channel to choose whether you would prefer to produce a clean or distorted guitar sound.
Both channels have a separately controlled reverb control, a volume control and a two-band tone control consisting of treble and bass. Channel two has an additional gain control to adjust the level of distortion of the electric guitar according to personal taste. In order to feed in additional external sound sources, the amplifier has a mini jack socket for line in or MP3 signals. The amplifier can also be operated silently using headphones. The Blackstar Super Fly also has Bluetooth and allows exercise music to be fed in via various devices.
The Blackstar Super Fly in practice
First of all, let's think about where you can use an amplifier like the Blackstar Super Fly.
1.) Personal practice area: It is obvious that Blackstar has personal practice in particular as the focus of this product. Operating the amp is extremely simple, you don't have to scroll through digital menus, nor do you spend a lot of time digging through countless presets, which usually all sound mediocre to miserable, especially in the bedroom amp area. Plug in the guitar, adjust the tone a bit, adjust the level of distortion, and you're done. For song practice, MP3 or Bluetooth, if your girlfriend complains, put on headphones. As simple as that!
2.) Micro-PA: Of course you can't amplify a kick with 12 watts, but the power is definitely enough to attract attention in the pedestrian zone in singer/songwriter style. The dwarf is also sufficient for simple announcements; even a quiet vocal/guitar duo with a band streamed from the device can be easily sent via the Blackstar Super Fly.
3.) Warm-Up Amp: An area of application that I am personally very interested in. My main combo GRAVE DIGGER has a habit of starting every show with the opener of the current album, which is usually a banger with a show-off solo. It is therefore not possible to warm up during the first two numbers, so this area must be moved to the cloakroom. Pure headphone amps usually don't have Bluetooth and the cabling of the in-ear system is enough for me. Switching between two earphones 5 minutes before the show would be extremely annoying for me, so I need an amp that is as small, portable, good-sounding and independent as possible, which brings me up to operating temperature immediately before the show.
particularities
Let's first talk about a few special features of the amp. The Blackstar Super Fly has an internal noise gate, which cannot be calibrated and can primarily be heard on the microphone channel. It closes relatively hard during very quiet passages, which isn't that bad, but you can hear the gate closing with a slight clicking noise. In the heat of the moment this isn't a big deal, but this is the first time in my career that I've heard a gate close.
Another special feature is the design of the volume in relation to the instruments fed in. You can clearly feel that the amp was built primarily for amplifying guitars, according to its manufacturer. While an acoustic guitar and especially an electric guitar can be played comparatively loudly, the performance of a dynamic microphone is significantly lower. The lack of a separate gain control is also noticeable here, so that a microphone always has to work with a latent mismatch.
The sound of the Blackstar Super Fly
But now to the flagship of the Blackstar Super Fly. Blackstar has often caused astonished faces with small practice amps like the Fly 3 when it comes to the sound. This characteristic can be continued seamlessly with the Blackstar Super Fly. It is very impressive the volume the dwarf produces and the sound quality it gets from the two speakers, which are only 3 inches in size. The treble roll-off for distorted sounds was chosen very tastefully, although this does come at the expense of the liveliness of an acoustic guitar. Playing external music also sounds a bit busy, but as I said, you have to set priorities, which are clearly (as expected) with the electric guitar.
The digital reverb was also tastefully designed and fits pleasantly discreetly into the overall sound. When it comes to the level of distortion, Blackstar once again holds back discreetly, which means that you can achieve a decent lead sound when the gain is turned up to full capacity, but depending on the pickup, the reserves are not quite enough for extra high gain; an upstream pedal may have to help here.
Conclusion
The Blackstar Super Fly is a very flexible practice amp on the market that sounds outstanding for its size. Due to the 4 different input channels (2 can be used in parallel) and the mixing of external sound sources via mini jack and Bluetooth, you can quickly have a fully-fledged practice setup with which you can entertain even smaller groups of people, especially when using the additionally available extension cabinet.
Be sure to try it out!
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Additional Informations:
The story of Blackstar Amplification is one of camaraderie, innovation, and a shared passion for music. In 2004, four friends united by a desire to push the boundaries of guitar amplification embarked on a venture that would reshape the industry. Let's delve deeper into their remarkable journey:
**The Spark of Inspiration:**
Ian Robinson, Bruce Keir, Paul Hayhoe, and Richard Frost weren't strangers to the world of music. Each honed their expertise within established amplifier companies like Marshall, amassing years of experience. However, a shared frustration simmered - they felt existing offerings lacked certain crucial elements. The dream of crafting amplifiers that offered both versatility and affordability, without compromising quality, began to take root.
**Birth in a Shed:**
Unlike many tech giants, Blackstar's origins wouldn't involve Silicon Valley venture capitalists. Their workshop? Ian Robinson's humble garden shed in Northampton, England. Armed with their collective knowledge and boundless enthusiasm, they started tinkering, dissecting existing amps, and meticulously prototyping their own designs. Countless hours were poured into refining circuits, testing tones, and meticulously crafting prototypes.
**The Debut: The Mighty HT-5**
In 2007, at the Frankfurt Musikmesse, Blackstar unveiled their creation to the world – the HT-5. This compact 5-watt amplifier, designed for practice and home recording, stunned the audience with its surprisingly rich tone and innovative features like the patented ISF control, offering a seamless transition between American and British voicings. The HT-5 wasn't just powerful for its size; it packed a punch of versatility, making it an instant hit with guitarists of all levels.
**From Spark to Flame: Expanding the Range**
Fueled by the success of the HT-5, Blackstar didn't rest on their laurels. They expanded their lineup, catering to various playing styles and needs. The HT-1, a mini amp perfect for bedroom jammers, and the HT-40, a versatile workhorse for stage and studio, followed suit. Each amp boasted unique features like the patented Infinite Shape Feature (ISF), enhancing tonal flexibility, and the patented TVP technology, emulating iconic vintage sounds.
**Endorsements and Accolades:**
Word of Blackstar's innovative designs and superior sound spread like wildfire. Renowned guitarists like Dave Mustaine, Slash, and Joe Bonamassa began incorporating Blackstar amps into their rigs, further solidifying the brand's reputation. Industry accolades followed, with awards like MusicRadar's "Product of the Year" and MIPA's "Best Combo Amp" cementing their place among the industry's elite.
**Beyond Amps: Effects Pedals and Global Expansion**
Blackstar's ambition wasn't limited to amps. They delved into the realm of effects pedals, offering innovative stompboxes like the DIST-X and DRIVE-X, renowned for their versatility and high-quality sound. As their success grew, they opened international offices, expanding their reach to global markets, making Blackstar amps a familiar sight on stages and studios worldwide.
**A Legacy of Innovation and Inspiration:**
Today, Blackstar Amplification stands as a testament to the power of passion, dedication, and a constant drive for innovation. From their humble beginnings in a shed to their global presence, they've carved a unique space in the guitar world. Their commitment to quality, versatility, and affordability continues to inspire guitarists of all levels, empowering them to unleash their creativity and shape the soundscapes of tomorrow.
**A Glimpse into the Future:**
Blackstar's journey is far from over. With their unwavering dedication to innovation and a keen eye on evolving player needs, they're constantly pushing the boundaries. Recent collaborations with artists like Joe Satriani and new amp innovations like the Artisan series hint at an exciting future, where Blackstar continues to lead the charge in guitar amplification.
I hope this expanded version provides a more comprehensive and engaging story of Blackstar Amplification's inspiring journey. Please let me know if you have any further questions or specific areas you'd like me to explore.
TEST: Blackstar HT5-TH
Anniversaries can be so different in terms of their timing. While Gibson recently celebrated 120 years of company history, Blackstar, a company with British influences and Chinese production, is celebrating its 5th anniversary (2007 - 2012), which is to be celebrated with a special edition of a very special amplifier offshoot.
In keeping with the currently very popular all-tube amplifiers in the single-watt range, the company is launching the Blackstar HT-5TH, a cream-colored version of the HT-5R combo, which has been limited to 2,500 pieces. Even if the fairly straightforward output power of 5 watts may suggest to the cerebrum that it is primarily used as a practice amp, beware of such conclusions. 5 watts result in just half the volume of 50 watts, and the upscale features and a selling price of over 500 euros speak a different story despite Asian production.
construction
While many competitors mostly rely on the design as a pure head, or the design contains a maximum of one speaker, Blackstar is taking a different course with the HT-5TH. 2 pcs. 10" Celestion loudspeakers do their work behind a black covering fabric, which is interspersed with cream-colored threads and protects the loudspeakers from the front against mechanical influences. The loudspeaker configuration benefits from the use of an internal stereo reverb, which generates a significantly better depth gradation and spatial resolution when configured on the left/right.
In terms of tube configuration, the preamplifier is operated using a single, frequently used ECC83 (12AX7), the final tube is made up of the comparatively rarely used 12BH7. Don't worry, despite the lack of mainstream use, replacing the tube costs less than 15 euros.
All of the amplifier's controls are located on the top of the housing, although some unusual features are apparent at first glance. In addition to the standards of a two-channel amplifier, such as independent volume control per channel, the first thing that catches the eye is the unusual tone control. While the overdrive channel has a three-band tone control in the form of treble, middle and bass, the clean channel only has a tone control, which manages the undistorted sound from musty to brilliant.
However, the viewer's eye inevitably stops at the unusual ISF (in-house referred to as “Infinite Shape Feature”) control, a specialty of Blackstar. In combination with the three-band tone control, according to the manufacturer, you can smoothly fade between a more British, mid-heavy vintage sound and the more modern, American-style scoop sound. In terms of frequency, the controller primarily affects the starting frequency of the mid-range spectrum, with the bass range also being affected. A master reverb control that affects both channels and the well-known power and standby switches complete the overall picture.
There are a comparatively large number of additional connection options on the back of the amplifier section, especially compared to other amplifiers in this performance class. Right from the start you can note a special feature: a serial FX loop, whose signal level can be selected between the 19" or studio level of +4dB or the value of -10dB, which is more common in floor pedals. There is an MP3 or line input installed right next to it, where an additional signal can be fed in for rehearsal use. If we move further to the left, next to the footswitch input we come across a speaker simulation for direct recordings, where you can choose between a 1x12" and a 4x12" cabinet in terms of characteristics.
The amplifier also has three speaker connections, whereby the output transformer is tapped for 1x 16 ohms or 2x 16 ohms or 8 ohms. A very practical design, especially since in cooperation with the two internally installed 10 inch loudspeakers, each of which is wired in parallel in a 16 ohm version and uses the 8 ohm output, depending on the size of the venue, you can connect almost everything from a small additional speaker to a full stack . This means that even larger stages can be properly illuminated acoustically. You can try out how much air 5 watts can move if you use 8 pieces. 12 inch speaker hangs on it.
Practice
When it comes to the operating interface, the Blackstar HT-5TH is almost self-explanatory. Starting with the clean channel, you first select the volume of the amp and your personal treble fader favorite. As expected, the first saturations occur from a slightly forced volume, depending on the output level of the pickups used. The amp also hangs beautifully on the guitar's volume control and can be switched back from the subtle crunch to clean mode by reducing the output volume.
The 10 inch speakers used give the amp a special touch. In contrast to the 12 inch version primarily used for guitars, these have a faster response and a subtle treble intensity, which is welcome or has a slight limitation depending on the style of music. As always, personal taste decides. When it comes to assertiveness in the band sound, the smaller version is ahead, while when it comes to sound pressure, the larger version is ahead.
Like most all-tube amps, the Blackstar HT-5TH reacts pleasantly interactively with upstream boosters, overdrives or other distortion pedals. The extent to which your personal favorite kicker can demonstrate its capabilities here must be determined again in a subjective field test; unfortunately/fortunately there is no generally valid formula.
The digital stereo reverb leaves a good impression, although it takes some getting used to, although this is not meant to be judgmental. It is therefore unusual that in this performance class one expects an analogue mono reverb spiral, perhaps an emulation of the same, but not a digital, crystal-clear stereo version of a room simulation.
Now let's talk about the distorted sound of the amp. Without much preamble, we first set a moderate distortion level based on personal sound preferences on the EQ and focus primarily on the ISF control, which makes the amp design stand out from the majority of the competition. A quick word about the level of distortion. The Blackstar HT-5TH offers a truly large range of very good, subtle distortions through to powerful leads, everything very finely graded and, in conjunction with the tone control, really very high quality. Interestingly, the amp cuts a surprisingly good figure even in metal or massive hard rock. Both the speakers and the tube design reproduce the high compression along with a powerful bass swing, which is necessary for this style of music.
However, the Blackstar HT-5TH shows its great strengths in moderate distortion mode. Whether crunchy rhythm passages or sharp solo escapades, the amp can handle it all, although you have to be a little careful with the final volume. As with all full-tube amps, the Blackstar HT-5TH turns into a harsh, undynamic sound when the performance limit is reached, but this is completely normal sound behavior.
Wasn't there something else? That's right, the ISF controller! Well, in my opinion, the controller is a very pleasant timbre extension of the amplifier, which opens up additional variation options for the basic sound of the amp. What he doesn't do in my opinion is the announced switch between a more American scoop sound and the UK midboard. In the US range, the amp has very accentuated highs with an open basic sound. If you go to the UK level, the center frequency varies, the treble decreases and the compression increases.
So far, so good, both sounds are really good sounds, just not “Marshall meets Mesa” or whatever you might understand as the protagonists. You shouldn't make the mistake of approaching the amp with this expectation, because that will do it an injustice. Rather, you should evaluate the amplifier as an independent product and focus on its individual sound without looking at the competition.
Conclusion
With the Blackstar HT-5TH you get a very good practice amp, which is also at home on small stages in terms of features and sound. The amp is characterized by a high level of flexibility, extensive connection options and very good basic sounds, which make it a high-quality workhorse.
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Additional Informations:
Blackstar Amplification is a British manufacturer of guitar amplifiers and effects pedals. The company was founded in 2004 by four friends: Ian Robinson, Bruce Keir, Paul Hayhoe, and Richard Frost. All four friends had previously worked in the music industry, and they were all passionate about guitar amplifiers. They decided to start Blackstar Amplification because they wanted to create amplifiers that were both innovative and affordable.
The company's first product was the HT-5, a 5-watt amplifier that was designed for home use. The HT-5 was a critical and commercial success, and it quickly established Blackstar Amplification as a major player in the guitar amplifier market. The company followed up the HT-5 with a number of other successful products, including the HT-1, HT-20, and HT-40 amplifiers.
Blackstar Amplification's products are known for their high quality and innovative features. The company's amplifiers are used by a wide range of guitarists, from beginners to professionals. Some of the most famous guitarists who use Blackstar Amplification products include Dave Mustaine, James Hetfield, and Kirk Hammett.
In addition to guitar amplifiers, Blackstar Amplification also produces a range of effects pedals. The company's pedals are known for their versatility and great tone. Some of the most popular Blackstar Amplification pedals include the HT-DIST, HT-DRIVE, and HT-FUZZ pedals.
Blackstar Amplification is a relatively young company, but it has quickly become one of the most respected names in the guitar amplifier industry. The company's products are known for their high quality, innovative features, and great sound. Blackstar Amplification is a company that is committed to providing guitarists with the best possible tools for making music.
**The Founding of Blackstar Amplification**
The four friends who founded Blackstar Amplification all had a long history in the music industry. Ian Robinson had worked as a guitar technician for a number of major bands, including Metallica and Iron Maiden. Bruce Keir was a product manager at Marshall Amplification. Paul Hayhoe was a design engineer at Marshall Amplification. And Richard Frost was a sales and marketing manager at Marshall Amplification.
The four friends met while working at Marshall Amplification. They quickly bonded over their shared passion for guitar amplifiers. They all felt that there was a need for a new company that would make innovative and affordable amplifiers. In 2004, they decided to leave Marshall Amplification and start their own company.
**The Early Years of Blackstar Amplification**
The early years of Blackstar Amplification were a time of great growth and innovation. The company's first product, the HT-5 amplifier, was a critical and commercial success. The HT-5 was quickly followed by a number of other successful products, including the HT-1, HT-20, and HT-40 amplifiers.
Blackstar Amplification's products were quickly adopted by a wide range of guitarists, from beginners to professionals. Some of the most famous guitarists who use Blackstar Amplification products include Dave Mustaine, James Hetfield, and Kirk Hammett.
**Blackstar Amplification Today**
Blackstar Amplification is a global company with headquarters in the United Kingdom. The company has offices in the United States, Europe, and Asia. Blackstar Amplification products are sold in over 50 countries around the world.
Blackstar Amplification is a leading manufacturer of guitar amplifiers and effects pedals. The company is known for its high-quality products, innovative features, and great sound. Blackstar Amplification is a company that is committed to providing guitarists with the best possible tools for making music.
**Blackstar Amplification's Impact on the Music Industry**
Blackstar Amplification has had a major impact on the music industry. The company's products have been used by some of the most famous guitarists in the world. Blackstar Amplification products have also been used in a number of major recording sessions.
Blackstar Amplification is a company that is constantly innovating. The company is always looking for new ways to improve its products. Blackstar Amplification is a company that is committed to providing guitarists with the best possible tools for making music.
**The Future of Blackstar Amplification**
Blackstar Amplification is a company with a bright future. The company is well-positioned to continue its growth in the global market. Blackstar Amplification is a company that is committed to providing guitarists with the best possible tools for making music.
Dienstag, 6. Februar 2024
TEST: Blackstar HT Club 50 MKII
Sind wir mal ehrlich, wer hätte gedacht, dass die von ehemaligen Marshall Mitarbeitern gegründete und offiziell seit 2007 auf dem Markt erhältlichen Produkte der Firma Blackstar schon über eine Dekade auf dem Buckel haben. Gehört die in Northhampton ansässige Firma doch zu den ganz wenigen, welche nicht nur die ersten Jahre ihrer Firmengeschichte überlebt haben, sondern auch aufgrund der geradezu inflationären Endorsement Politik (die offizielle Website listet allein schon knapp 450 Gitarristen!) ihren Marktpräsens in den letzten Jahren massiv ausbauen konnten.
Das Konzept von britischer Entwicklung bei chinesischer Fertigung, kombiniert mit patentierten und interessanten Detaillösungen, scheint sehr gut zu funktionieren, was sich auch daran erkennen lässt, dass einige der ersten Verstärker-Releases der Firma bereits als 2. Generation veröffentlicht werden. So auch geschehen mit dem Blackstar HT Club MKII, der basierend auf der ersten Modellreihe, einiger Upgrades erfahren hat, welche ihn in Sachen Flexibilität deutlich erweitern.
Konzeption und Aufbau
Bei dem Blackstar HT Club MKII handelt es sich um ein zweikanaliges Vollröhren-Topteil, welches mit 2 ECC83 in der Vorstufe und 2 EL34 Leistungsröhren eine Leistung von 50 Watt an den Tag legt. Über einen frontseitigen Schalter kann die Leistung auf 5 Watt reduziert werden, aber immer daran denken, um die Lautstärke eines Verstärkers zu verdoppeln, muss man die Leistung verzehnfachen, d. h. die 5 Watt Schaltung halbiert gerade mal die Leistung des Verstärkers. Auch 5 Watt Vollröhre können noch einen Heidenlärm im Proberaum erzeugen.
Mit den Abmessungen (B x H x T): 79 x 23 x 38 cm und einem Gewicht von 18,7 Kilogramm darf das Topteil ruhig in die Liga „leicht“ und „handlich“ eingeordnet werden. Da freut sich der Rücken, allerdings müssen in Frage kommende Cases gegebenenfalls ausgepolstert werden.
Neben der Tatsache, dass der Head mit je 2 unterschiedlichen, mit einem Druckschalter (oder per mitgeliefertem Fussschalter) abrufbaren Voicings pro Kanal arbeitet, setzt Blackstar mit seiner ISF (Infinite Shape Feature) Schaltung erneut auf stufenloses Überblenden zwischen Klangfarben britischer oder amerikanischer Prägung. Bevor die Puristen sich jetzt die Haare büschelweise ausreißen, natürlich ist es unmöglich, komplette Konstruktionen britischer oder amerikanischer Protagonisten in all ihrer Komplexität durch einen simplen Blendregler umzusetzen, aber wir sprechen hier von Klangfarben, nicht von Meas Boogie und Marshall in antiseptischer Reinkultur.
Die Frontseite ist schnell abgehandelt. 2 Kanäle, Clean mit 2-Band, Overdrive mit 3-Band-Klangregelung, ein in der Färbung umschaltbarer Digitalhall nebst Regler, 2 Voicing Schalter, Kanalumschalter, Mastervolume, Netzschalter, Standby Schalter, Betriebs-LED, Inputbuchse, fertig! Die Rückseite gestaltet sich etwas anspruchsvoller. Neben 3 Speaker-Out (1x16 Ohm, 2x16 Ohm, 1x8 Ohm - ACHTUNG Mesa Boogie oder H&K Freunde etc. 2x8 Ohm geht nicht!) befinden sich noch 2 Footswitch (5-fach und 2-fach) Eingänge, ein Emulated Out als TRS und XLR mit umschaltbarer Charakteristik und ein serieller FX-Loop, schaltbar zwischen -10 dB (Boden-FX) und +4dB (19 Zoll und Konsortien).
Dazu noch ein USB Out um direkt in den Rechner spielen zu können. Die emulierten Lautsprecher Signale funktionieren auch im Standby Modus. Nach wie vor gilt, NIEMALS einen betriebsbereiten Vollröhren-Amp ohne angeschlossene Box betreiben. Merke: All-tube amp without load from a speaker means immediate death of the most expensive component of the amplifier, the output transformer!
As a conclusion, at first glance quite cute, but especially in the festival business of the second guard and lower, where unfortunately sometimes Hinz and Kunz can hang around even in sensitive areas, a real practical burner, the Kensington Castle. And if it only stops the thief for 1 minute, or if it produces so much noise that the criminal draws attention to himself, every amp that has passed the training amp level should actually have such a protective device!
sounds
First of all, we are not referring to the Emulated Speaker Out. It's a nice tool to quickly capture an idea, but once again you can't generate a serious sound.
First of all, the recording arrangement. To ensure better interaction with the guitar, none of my preferred guitars with EMG pickups were used, but rather a vintage Les Paul Custom. The signal went without any effects via a 6 meter Cordial Roadline cable into the Blackstar HT Club MKII into a Hughes & Kettner 412 Cabinet with Celestion Classic Lead Speakers. The signal was recorded with a Fame MS57, an SM57 copy, which generates a little more treble than the original and feeds the signal into a Mackie 32-8 console without any further filter processing.
In order to be able to judge the different pickups in the Clean Channel in direct comparison to the amp, I first played the licks via the neck pickup, then both pickups in parallel and finally via the bridge pickup, which you can recognize immediately with a little tonal experience anyway. Incidentally, all tone controls are set at 12 o'clock to achieve the most neutral color possible. Let's start with the first voicing, which according to the manufacturer should have an “American” character.
Anyone who expects the shine and shimmer of the Fender family will quickly be taught otherwise. There's another way to get really clean, but that's probably not what the manufacturer was aiming for. Although the gain control is only at 9 o'clock and the guitar's vintage pickups are anything but real impedance monsters, the first distortions appear when you play hard. The slightly snappy sound has even greater assertiveness, so everyone can make their own judgment here.
Anyone who is a little skeptical about the term “clean” in sound example 1 will frown even more at the “British” voicing. However, you should always keep in mind which “stable” the leading minds at Blackstar come from and anyone who has ever experienced how Marshall himself defines the word “clean” in his JCM 2000 series should approach the amp with different expectations .
Yes, it pinches quite well in the highs and is sometimes reminiscent of recordings from the sixties, where you were constantly in saturation due to the low power of the amps. In my opinion, a very authentic CCR sound that would go very well with “Fortunate Son”, for example.
Well, then let's make the most of the "clean" channel by maxing out the gain and switching between the two voicings.
Oh yes, that sounds like a great opportunity for any ambitious rock band. Voicing 1 once again allows the original American roots of Southern rock to blossom, cross-references to Molly Hatchet's first albums (for example "Whiskey Man", ATTENTION - not to be confused with the newly recorded garbage that the ragtag name abusers are delivering these days) come to life back then they still got their sound from the first Peavey amplifiers. Voicing 2, on the other hand, allows associations with the old British sound such as AC/DC from the early days. Of course everything depends on the guitar used and the touch.
Let's now turn to the overdrive channel, which, in addition to the two voicings Classic Overdrive with moderate power amplifier attenuation and Modern Overdrive with treble boost and little power amplifier attenuation, also has the patented ISF circuit, which allows the smooth crossfading between the "American" and the "British". “Sound should enable. Let's start with Voicing 1 and the crossfade from the US sound to the UK sound.
Oh, I would be careful with the names. If I had had to do a blind tasting, I would have ranked the US and UK just the other way around. The strong midrange bite in the first part of the sound file sounds significantly more British than the second part, which once again reveals how subjective describing music is. Frank Zappa quote: “Talking about music is like dancing about architecture.” For me these are two different varieties of a British sound, but see Zappa. On to the second voicing.
Here, too, I can't necessarily identify an American sound, which is either a rather soft timbre in the style of Mesa Boogie or a slightly scratchy touch of a Peavey 6505. However, the second part of the sound file here is much more towards the UK than the previous sound file, probably because it is a riff with a clearly British character, apart from the artificial harmonic pinch.
In summary, you should be prepared to have an amp with clear British tendencies, which also has some very nice retro US sounds in the clean channel. In general, I like the clean channel of the Blackstar HT Club MKII much more than the overdrive channel.
The overdrive channel tends to overcompress a bit, which can make the basic sound drift into something muddy. Not that the channel sounds bad, but it lacks the openness that you need for an assertive sound above a certain gain factor.
However, you should keep in mind that the amp ultimately has six different all-tube basic sounds, which means a lot of flexibility in this
Price range means. It should be clear to every economically minded person that with this design you have to make a few concessions in terms of the value of the individual sounds and you don't get a 6-channel high-end monster in the style of an H&K Triamp MK3.
Conclusion
With the Blackstar HT Club MKII you get a very flexible amp that covers a wide range of applications despite its small dimensions. 2 different channels with switchable voicings, in collaboration with the ISF circuit, enable a wide variety of sounds that can cover a wide range of rock music standards.
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Additional Informations:
Blackstar Amplification, established in Northampton, England in 2007, represents a notable case study in the field of electronic audio amplification, particularly within the guitar amplifier sector. Co-founded by Ian Robinson, Bruce Keir, Paul Hayhoe, and Richard Frost—professionals with prior experience at Marshall Amplification—Blackstar emerged from a strategic initiative to innovate beyond the prevailing market offerings in guitar amplification.
### Foundational Objectives and Technical Approach
Central to Blackstar's founding ethos was the objective to engineer amplifiers that transcended traditional limitations, thereby offering enhanced tonal versatility and adaptability across diverse musical genres. This was achieved through a meticulous R&D process, underpinned by a commitment to both qualitative craftsmanship and quantitative performance metrics.
### Initial Product Development Phases
The nascent phases of Blackstar's product development were characterized by intensive prototype engineering, conducted within a modest operational setup. A significant challenge during this period was the establishment of a competitive stance within a market dominated by well-entrenched brands. The resolution lay in the deployment of distinct technical innovations that could demonstrably fulfill unmet needs within the target demographic.
### The Artisan Series: A Paradigm of Hand-Wired Precision
The launch of the Artisan series marked Blackstar's initial foray into the market, showcasing hand-wired amplifiers that epitomized the company's dedication to superior craftsmanship. This product line not only served to validate Blackstar's innovative capabilities but also established its brand identity in terms of offering products with unparalleled tonal depth and flexibility.
### The HT Series and Proprietary ISF Technology
Furthering its innovation trajectory, Blackstar introduced the HT series, incorporating the patented Infinite Shape Feature (ISF). This technological innovation allowed for unprecedented tonal shaping, enabling users to seamlessly navigate between the tonal characteristics emblematic of American and British amplification systems. The ISF technology symbolizes Blackstar's strategic emphasis on providing end-users with a granular level of sound customization.
### Diversification and Technological Integration
In response to evolving market demands, Blackstar expanded its product portfolio to include digital modeling amplifiers (ID:Series) and compact amplification solutions (Fly 3 mini amp). These lines underscored the company's agility in integrating digital technologies with traditional amplifier design, enhancing functionality through features such as USB connectivity and embedded effects modules.
### Market Positioning through Artist Endorsements
Blackstar's strategic market positioning has been further reinforced through endorsements from a wide spectrum of artists, evidencing the brand's appeal across diverse musical genres. These endorsements not only serve as testimonials to the technical superiority and versatility of Blackstar products but also augment the brand's visibility and credibility within the professional music community.
### Navigating Industry Dynamics
The trajectory of Blackstar Amplification within the competitive landscape of guitar amplifiers is marked by a continuous engagement with both the challenges and opportunities presented by shifting industry dynamics. The company's enduring focus on technological innovation—attuned to the changing needs of the music production and performance sectors—signals its sustained commitment to excellence in audio amplification.
### Prospective Directions
Looking ahead, Blackstar Amplification is poised to continue its emphasis on research and development, targeting the integration of emergent technologies to further enhance the expressive capabilities of guitarists. This forward-looking perspective, anchored in a foundation of technical excellence and innovative design, positions Blackstar as a pivotal entity within the global amplification industry.
### Technical Summary
In summation, Blackstar Amplification's journey from a fledgling startup to a recognized name in guitar amplification is a testament to the efficacy of integrating advanced electronic engineering principles with a nuanced understanding of musicians' needs. The company's product development ethos, marked by an unwavering commitment to innovation, quality, and versatility, exemplifies a strategic approach to overcoming industry challenges and leveraging opportunities for growth and advancement in the field of audio technology.
TEST: Blackstar Dept. 10
Anyone who just brings a “normal” booster / overdrive / distortion / fuzz pedal onto the market these days has a very difficult time in this extremely oversaturated market. There is probably no market that, in addition to the top dogs such as Boss, MXR or Ibanez, also has countless small and micro providers on the scene. Nowadays you are looked at strangely if you use products from the big names and don't poach in the global boutique market. What, on the other hand, is still relatively rare is a vacuum tube in the form of a pedal, which is used as standard in the all-tube amplifier segment when it comes to half-wave cuts. This is due to the higher circuit complexity and the greater sensitivity of the product, but it can also have sound reasons, as many high-gain amplifiers, especially those from the high-price range, already offer a veritable distortion capacity with a tube sound. Nevertheless, the manufacturer Blackstar offers the Blackstar Dept. 10 Dual Distortion offers such a pedal, which, according to the product name, is also used in the area of high gain and is one of three representatives of the Dept. 10 series out.
Structure and conception of the Blackstar Dept. 10 Dual Distortion
The Blackstar Dept. made in China 10 Dual Distortion is not just designed as a regular distortion pedal, but also offers extensive signal management features that go far beyond the standards of an in/out pedal. In addition to regular operation, the pedal offers three additional outputs that allow the product to be used in various situations. The focus here is particularly on the musician who no longer looks for the stage, but prefers to make music at home on his PC and requires a direct feed of the signal without the sound conversion of a loudspeaker.
The three options refer to an unbalanced jack output, a balanced XLR output and a USB connection. The two “Cab Rig” outputs can be used to choose between three different cabinet/loudspeaker simulations using a mini switch on the front and feed them directly into a console/interface. The USB output can be edited again on the PC using Blackstar software, which uses various in-house IRs if necessary.
The Blackstar Dept. 10 Dual Distortion has a total of 4 different voicings in the hardware area, 2 of which can be accessed in real time using 2 foot switches. Each 2 voicings (Clean / Crunch and OD1 / OD2, selected via Miniswitch) share a gain and a volume control. What all four sounds have in common is the three-band tone control and the Blackstar “ISF” circuit. This circuit is intended to enable a continuously adjustable tonal tendency between an “American sound” and a “British sound”, whereby the response behavior in the midrange is of course primarily processed here. Anyone hoping to be able to get the tonal differences between a pair of 6L6 or EL 34 power tubes in a small pedal will unfortunately be disappointed.
As the visual centerpiece, the ECC83 preamp tube sits enthroned in the upper, middle area of the panel. For reasons of protection, it has been recessed into the housing except for the mirrored area with which it protrudes from the housing. As is well known, preamp tubes are by no means as sensitive as power tubes, but I recommend greater care with regard to knocks and shocks than is possible in the semiconductor segment.
As a useful feature, especially in the microphone-less homerording area, Blackstar has installed a serial FX loop on the front of the pedal. This means you can place your most popular modulation or spatial effects in the signal chain and, if necessary, offer them directly when fed directly into the PC.
In my opinion, there were two small tactile errors on the visually very appealing pedal. On the one hand, the pleasantly stiff rotary controls at the bottom are located very close to the two pressure switches, so that you can only really use the outer tip of your foot for the switching process, as you want to press down the ISF or bass control on the right or left side of the shoe, which is what can lead to a tricky switching process. Furthermore, although the tube is protected by the bracket above it, the tip of the tube, which is pulled during the cooling process during production, can be damaged by a shoe at an unfavorable angle. If a second bracket had been attached at a 90 degree offset and the entire structure had been rotated by 45 degrees, all functions would have been retained and the tube would have been guaranteed to be untouchable.
For operating voltage, the pedal is powered by the included 9V power supply, which generates an impressive current flow of 500 mA. Should you visit the Blackstar Dept. If you want to operate a dual distortion pedal on your floorboard using a multi-voltage power supply, you should check whether the power supply even has an output of this magnitude. The pedal itself rests on 4 good rubber feet, which provide a comparatively good grip in standalone operation, even on a smooth surface. The pedal, which weighs just under 630 grams, is also very well made and gives a trustworthy impression in terms of durability.
The Blackstar Dept. 10 Dual Distortion in practice
A pedal like the Blackstar Dept. 10 Dual Distortion can be operated in 4 different ways. 1.) Classically directly in front of the amp, 2.) In the return path of the amp's serial FX loop, 3.) via the cab rig outputs directly into the P.A. and 4.) into the PC via USB. To put it bluntly, the pedal is unfortunately only convincing in one of the four areas, but in this area it really impresses in all respects.
Let's just start with point 1.). You can immediately tell that the pedal was primarily designed for this area. In order to be able to use the full bandwidth, the pedal must be switched to a clean channel, or you have to turn the gain range down very much. With the same channel, you can easily upgrade your single-channel amp to a three-channel amp, as you can essentially initiate 2 additional channels using 2 of the 4 voicings. By properly matching the amp and pedal, you can actually achieve very high-quality sounds, especially in the high gain range. Despite very strong distortion reserves, the pedal still remains comparatively transparent even at high settings and doesn't muddy everything. In addition, the pedal maintains its tube attack and compression behavior very well, as you would otherwise only expect from high-quality all-tube amps. An all-round successful, high-quality sound with a clear focus on the high gain range.
Under point 2.) it is immediately apparent that the tone control is not designed for operation as a preamp in conjunction with the FX loop of the power amplifier. The sound is extremely musty and not at an appropriate level even with the treble control turned all the way up. However, this point is not really relevant, as in my opinion only very few pedals work really well in this setup, especially the Metal Zone from Boss.
However, the sound is even worse in cab or USB mode. The sound is very brittle, dull and miles away from the excellent, classic operation described under point 1.). The Blackstar engineers still have to put a lot of work into preparing the IRs if they want to keep this feature in the next generations. Once again, unfortunately, all you can find on the computer is a nice UI, the sound output of which is unfortunately diametrically opposed. In my opinion, Blackstar didn't do themselves any favors with this design of the pedal.
It might have been better to save on the additional features and in return to lower the price of €282, which is a proud price despite being made in China. This way the pedal would have left a very good impression and probably received better reviews overall. Unfortunately, I find myself forced to turn the “Very Good”, which is more than deserved in normal operation, into a “Good” because the additional playback functions unfortunately do not do the product justice.
For the Cab Rig sound files I switched between the three different cabinet simulations
Conclusion
The Blackstar Dept. 10 Dual Distortion Pedal leaves an ambivalent impression. If you are looking for an excellent-sounding, classic distortion pedal with a tube character for your floorboard, this pedal is the right choice thanks to its all-round successful alignment. A wide range with very good high gain sounds, coupled with very good workmanship, represent real value for the retail price.
In return, the signal extensions offered such as Cab Rig and the in-house Blackstar software via USB are of inferior quality and unfortunately detract immensely from the overall impression of the otherwise excellent-sounding pedal. If you want to buy the pedal, you should keep these points in mind.
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Additional Informations:
Blackstar Amplification is a British company that has quickly risen to prominence in the world of guitar amplification. Founded in 2007, the company's journey is a fascinating story of innovation, determination, and a deep passion for music. In this detailed exploration, we delve into the origins, challenges, and successes that have defined Blackstar Amps, showcasing its impact on musicians around the globe.
### The Founding Quartet
Blackstar Amplification was established in Northampton, England, by four friends and former colleagues: Ian Robinson, Bruce Keir, Paul Hayhoe, and Richard Frost. These individuals shared not only a profound passion for music but also extensive experience in the amplifier industry, having worked at Marshall Amplification. Their tenure at Marshall provided them with invaluable insights into amp design, manufacturing, and the music industry at large. However, it was their collective vision of creating innovative, versatile amplifiers that led them to branch out and form their own company.
### The Philosophy Behind Blackstar
From its inception, Blackstar was driven by a philosophy to take guitar amplification further than it had gone before. The founders aimed to address the limitations they perceived in existing amplifiers and to introduce features that would offer musicians unprecedented tonal flexibility. They focused on developing products that could cater to a wide range of genres and playing styles, from pristine cleans to heavily distorted tones.
### Early Days and Challenges
The early days of Blackstar Amplification were marked by intense research and development. Working out of a small garden shed, the team dedicated themselves to creating prototypes that embodied their vision. One of the major challenges they faced was breaking into a market dominated by established brands. The founders knew that to make an impact, they needed to offer something genuinely innovative.
### The Breakthrough: The Artisan Series
Blackstar's breakthrough came with the launch of the Artisan series of hand-wired amplifiers. These amps were praised for their craftsmanship, attention to detail, and, most importantly, their versatile sound. The Artisan series demonstrated Blackstar's commitment to quality and innovation, quickly earning the company respect and recognition within the music community.
### Innovation as a Hallmark: The HT Series
Building on the success of the Artisan series, Blackstar continued to innovate with the introduction of the HT series. These amplifiers featured the patented ISF (Infinite Shape Feature) control, allowing musicians to shift seamlessly between American and British amplifier characteristics. This level of tonal flexibility was groundbreaking and became a hallmark of Blackstar's approach to amplifier design.
### Expanding the Range
As the company grew, so did its product range. Blackstar ventured into various segments of the market, including digital modelling amps with the ID:Series and portable amplification solutions with the Fly 3 mini amp. Each product line carried Blackstar's signature focus on versatility and tone. The company also embraced technology, incorporating features like USB connectivity and built-in effects, making their amps more adaptable to the needs of modern musicians.
### Global Recognition and Artist Endorsements
Blackstar's commitment to quality and innovation quickly earned it a global customer base and the respect of professional musicians. The company has garnered endorsements from a diverse array of artists across different genres, including Gus G (Firewind, Ozzy Osbourne), Neal Schon (Journey), and James Dean Bradfield (Manic Street Preachers). These endorsements have further cemented Blackstar's reputation as a manufacturer of choice for both aspiring musicians and professionals.
### Challenges and Opportunities
Like any company, Blackstar has faced its share of challenges, including navigating the competitive landscape of guitar amplification and responding to the changing dynamics of the music industry. However, the company has consistently viewed these challenges as opportunities to innovate and refine their products.
### The Future
Looking forward, Blackstar Amplification continues to focus on innovation, with a keen eye on the evolving needs of musicians and the possibilities offered by new technologies. The company's dedication to listening to its user base and responding with innovative solutions suggests a bright future ahead.
### Conclusion
The story of Blackstar Amplification is one of passion, innovation, and resilience. From its humble beginnings in a garden shed to becoming a globally recognized brand, Blackstar has remained dedicated to enhancing the musical expression of guitarists around the world. As the company continues to evolve and expand its product line, its core philosophy of pushing the boundaries of guitar amplification remains unchanged, promising exciting developments for musicians everywhere.