TEST: Chapman Guitars ML1 Modern Baritone

 It's an interesting, albeit diametrically opposed, development in the guitar sector in recent years. On the one hand, especially with modern styles, you can hardly find a guitar that is still tuned in standard mode; on the other hand, the very popular downtunings are only very rarely used by baritone guitars, which are naturally designed for this range were designed for. Why is that? Is it really just due to the larger dimensions and the associated physical challenges or are there other reasons why many guitarists, even in the Drop A range, prefer to use the comparatively short standard scale length rather than the ambitious baritone scale length. In order to clarify this question, among other things, we are testing the Chapman Guitars ML1 Modern Baritone Rainstorm today, which might give us one or two answers.

The construction of the Chapman Guitars ML1 Modern Baritone Rainstorm

Maybe once again, why baritone guitar? The easiest way to explain the approach is with the structure of the string instruments within a classical orchestra. Imagine your standard electric guitar is the violin. The approach is now to transport the more or less the same string tension to lower registers. To ensure this, the diameter and length of the strings are increased, easily seen in violas and cellos. Exactly this principle also applies to a baritone guitar, which is reflected in the Chapman Guitars ML1 Modern Baritone Rainstorm in a scale length of 711 mm, i.e. approx. 63 mm longer than the long scale length of a standard electric guitar. This ensures that even with the standard baritone tuning B-E-A-D-F#-B, the strings do not appear limp and wobbly.

Chapman Guitars has most of its instruments built in Indonesia, whose factories have become the standard for inexpensive, yet high-quality instruments in recent years. With a retail price of 889 euros, the Chapman Guitars ML1 Modern Baritone Rainstorm is in the middle price segment and has to assert itself against several competitors. When it comes to the choice of wood, Chapman Guitars relies on a tried and tested mix, consisting of a mahogany body (the number of parts could not be determined due to the opaque finish), a four-screwed, matt lacquered neck made of maple and a very light fingerboard made of Macassar ebony. An exception is the ceiling made of comparatively soft poplar wood, which was mirrored and prepared very elaborately in terms of painting and staining various knotholes.

The ceiling is very thin and is only used for visual reasons; the diameter is too small to have an effect on the vibration behavior. In order to give the body a little more visual structure, a side binding was attached, which follows the shape of the armrest very nicely. When it comes to body shape, the Strat shape was once again used, although the rib milling is quite close to the original, while the armrest was a little more subtle. There are also 2 intensive millings on the lower cutaway for better playability of the instrument in high registers.

Due to the baritone construction, you can primarily tell from the neck dimensions that it is a different instrument than a regular electric guitar. The satin finish neck has a subtle C-shape that fits well in the hand. The fingerboard radius of 350 mm should also suit most users, as it has a good middle ground between low action (large radius) and ergonomic grip (small radius).

Electrical and hardware

In some of my previous tests of Chapman Guitars, the in-house pickups often didn't fare particularly well. I don't know to what extent other customers have noted this as a point of criticism and to what extent this may have led to them turning away, but the fact is that the Chapman Guitars ML1 Modern Baritone Rainstorm is now equipped with Seymour Duncan pickups. These are a Seymour Duncan Sentient in the neck position and a Seymour Duncan Pegasus in the bridge position, both pickups with Alnico magnets. Both pickups can be split using the push/pull function of the treble control, and the instrument also has a master volume control as a second control. In order to be able to switch the pickups, the Chapman Guitars ML1 Modern Baritone Rainstorm has a rather difficult 3-way blade switch, which enables the neck, neck bridge and bridge standards. In combination with the push-pull function of the treble control, there are 6 different sound combinations.

The hardware of the Chapman Guitars ML1 Modern Baritone Rainstorm is completely black. Once again the Chapman String-Through Hardtail is used, in which the strings are led through the body and countered on the back of the body. The advantage of this construction: the string tension is better transferred into the body, which mainly leads to better sustain behavior. Disadvantage of this construction: the strings are bent twice by 45 degrees, which increases the risk of string breakage and the associated string breakage. For optimal tuning stability, the manufacturer has equipped the instrument with locking mechanisms, which is reflected, among other things, in faster string changes.

The Chapman Guitars ML1 Modern Baritone Rainstorm in practice

From the very first grips you notice that, despite the longer scale, the instrument fits very well in the hand. The combination of neck and body harmonizes very well in terms of vibration; I couldn't find any dead notes or other vibration resistance. The transient response is necessarily a little slower due to the longer strings, but that's what physics dictates. However, you can counteract this by adding thicker strings to achieve an appropriate attack with the higher string tension. The very brave can also try my baritone signature set https://www.thomann.de/de/pyramid_axel_ritt_signature_baritone.htm, but the tension was calculated for a 760 mm scale length, so that the string tension on the Chapman Guitars ML1 Modern Baritone Rainstorm will be slightly lower.

However, given the really good vibration data and the very good workmanship, there were two points that didn't convince me, although in fairness I have to say that one point is probably due to my personal playing style. We're talking about the fact that if you play a little harder, the high B string tends to get caught under the bobbin of the neck pickup due to the larger deflection and can't find its way back onto the fingerboard until you pry the string out of the bobbin with your finger. I am aware that, due to my very hard touch, this problem will probably only occur to a few other guitarists, but I still recommend checking the instrument for your personal playing style if necessary.

Let's come to my subjective weak point of the guitar and this is (again) to be found in the pickups. While the original pickups from Chapman's own production used to sound a bit treble-heavy and pointed, the built-in Seymour Duncan pickups unfortunately go in the other direction, i.e. they have a fairly dull basic sound, especially in the humbucker setting. Unfortunately, this problem cannot be seriously solved by increasing the treble/presence, as this only increases the “scratchiness” of the sound, but not the midrange, which is somewhat underexposed here.

It is of course impossible to say what motivated Chapman Guitars to choose these pickups, but I am quite sure that the instrument would have performed much better with the Seymour Duncan standards such as the Jeff Beck model. Be that as it may, there must have been a reason and I really don't want to get involved in company politics. Since the instrument is otherwise convincing across the board, I would personally include two additional pickups in my budget for the sake of simplicity and everything should be fine.

The sound files were created with a Hughes & Kettner Triamp MKIII, a Marshall 412 cabinet with Celestion G12 75T and 2 pcs. Made Shure SM57. In the clean and crunch area, first in split mode, then in serial humbucker circuit.

Conclusion

With the Chapman Guitars ML1 Modern Baritone Rainstorm, the British manufacturer with Indonesian production has a very well-made and vibration-friendly instrument in its portfolio, which is convincing in almost every respect. The special features of the baritone concept were well captured and implemented very well.

Only the low-pitched and uninspiring sound of the two Seymour Duncan pickups detracts from the overall impression a little, but that doesn't change the overall very good impression of the instrument.

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Additional Informations:


Chapman Guitars is a British guitar company founded in 2009 by Rob Chapman. The company started out as a one-man operation, with Rob designing and building guitars in his spare bedroom. However, Chapman Guitars quickly grew in popularity, and Rob soon found himself unable to keep up with demand.

In 2011, Rob moved Chapman Guitars to a larger workshop in Southend-on-Sea, England. This allowed him to increase production and expand his team. Chapman Guitars continued to grow rapidly, and in 2014, the company moved to its current headquarters in Rayleigh, Essex.

Today, Chapman Guitars is one of the most respected guitar brands in the world. The company's guitars are used by professional musicians all over the globe, and they have been praised for their quality, playability, and sound.

**The Early Years**

Rob Chapman was born in 1979 in Southend-on-Sea, England. He started playing guitar at the age of 13, and he quickly became a proficient player. In his early twenties, Rob began working as a guitar teacher, and he also started a YouTube channel where he gave guitar lessons and reviews.

Rob's YouTube channel quickly became popular, and he soon had a large following of guitarists from all over the world. In 2009, Rob decided to use his platform to launch his own guitar company. He called it Chapman Guitars.

The first Chapman guitar was the ML1 Pro. It was a modern take on the classic Les Paul design, and it was packed with features that were not typically found on guitars in its price range. The ML1 Pro was a huge success, and it helped to put Chapman Guitars on the map.

**The Growth of Chapman Guitars**

In the years that followed, Chapman Guitars continued to grow and evolve. The company released a number of new models, including the ML2 Pro, the Ghost Fret, and the T Series. Chapman Guitars also began to offer a wider range of options, such as different body woods, pickup configurations, and finishes.

As Chapman Guitars grew, it also began to attract the attention of professional musicians. A number of well-known guitarists, such as Rabea Massaad, Plini, and Yvette Young, began to use Chapman guitars. This helped to further increase the company's popularity.

**Chapman Guitars Today**

Today, Chapman Guitars is one of the most respected guitar brands in the world. The company's guitars are used by professional musicians all over the globe, and they have been praised for their quality, playability, and sound.

Chapman Guitars offers a wide range of guitars to suit all budgets and playing styles. The company's guitars are available in a variety of body shapes, pickup configurations, and finishes. Chapman Guitars also offers a number of left-handed models.

In addition to guitars, Chapman Guitars also offers a range of accessories, such as amps, pedals, and cases. The company also has a thriving online community where guitarists can share tips, tricks, and ideas.

**The Future of Chapman Guitars**

Chapman Guitars is a company that is constantly looking to the future. The company is always innovating and developing new products. Chapman Guitars is also committed to providing excellent customer service.

With its focus on innovation, quality, and customer service, Chapman Guitars is well-positioned for continued growth in the years to come.

**Here are some of the key factors that have contributed to the success of Chapman Guitars:**

* **High-quality products:** Chapman Guitars are known for their quality construction, materials, and sound.
* **Innovative designs:** Chapman Guitars offers a number of innovative features that are not typically found on other guitars.
* **Affordable prices:** Chapman Guitars offers high-quality guitars at a fraction of the cost of many other brands.
* **Strong online presence:** Chapman Guitars has a strong online presence, which allows it to connect with guitarists all over the world.
* **Excellent customer service:** Chapman Guitars is committed to providing excellent customer service.

**If you are looking for a high-quality, affordable guitar, then Chapman Guitars is definitely a brand worth considering.**

TEST: Chapman Guitars ML3 Std Bea Mensis

 It's the same thing with signature instruments. The ultimate for the manufacturer is a guitar that represents the ultimate in mainstream in terms of shape and design and is also played by a well-known musician in all styles of music. The problem is, this guitar already exists in the form of the Les Paul, which, in collaboration with Gibson, brought almost the best-selling guitar of all time onto the market in 1952, only topped by Leo Fender's ingenious budget option, the Stratocaster. But what if neither the manufacturer of the instrument nor the artist supported has overcome insider status? This doesn't have to mean anything, as you can see with the Chapman Guitars ML3 Std Bea Mensis.

Who is Bea Mensis?

I have to admit that until today I was completely unaware of Chapman Guitars and only realized that the company was based in the UK when I saw the print on the box. This fact alone is a special feature, because in contrast to what is probably the richest history when it comes to all-tube amps, there is comparatively almost nothing happening on the island when it comes to instrument making. I would even dare to say that the UK is probably one of the lowest places in the EU rankings when it comes to electric guitar making, maybe even the last. OK, Luxembourg... But maybe Chapman Guitars can change that.

I was surprised to see that the Chapman Guitars ML3 Std Bea Mensis was listed under “Signature Instruments” on the manufacturer's website, only to find out that the artist supported was not called Bea Mensis, but rather Rabea Massaad, which I didn't know either said. A look at YouTube showed a stocky gentleman with a fuzzy head and revealed that he was a member of a band called “Dorje” (that doesn’t tell me anything either…). Unfortunately, I couldn’t find any live performances by the band anywhere, although I could find some playalongs by Rabea Massaad for the studio recordings. Well, a name-dropping bandwagon looks different, which is perhaps why the artist's name doesn't even appear in the instrument's type designation.

The construction of the Chapman Guitars ML3 Std Bea Mensis

A look at the box in which the instrument was delivered reveals a very interesting instrument that you can never tell was made in Indonesia. The retail price of €749 also seems incredibly inexpensive if you rely on the first impression. When it comes to the body, it becomes clear very quickly who was the inspiration here, although the telephoto copy only shows the rough outline of the instrument. In contrast to the almost lumpy-looking original, the Chapman Guitars ML3 Std Bea Mensis has several tasteful shapes in the armrest, stomach rest and cutaway area.

Weighing just under 3.2 kilograms, the instrument is within the average weight range and should not put too much strain on even the most delicate of souls. The body is made of alder and has a flamed maple top. In combination with the natural binding, a visually appealing design. The color of the body is described by the manufacturer as “transparent black”, but to me it is more of a grayish blue. Well, it's all a matter of definition. By the way, the finish is matt, which once again means that it's best to always carry a microfiber cloth with you in your gig bag/guitar case. 15 minutes of playing time and the entire body is covered in fingerprints. Unfortunately it cannot be prevented, but if you have the foresight, a polishing cloth is included in the scope of delivery.

The neck with the attached reversed headstock is made of maple, although the dark coloring suggests the “roasted” treatment, which has recently become very popular with maple necks. According to the specs, the fingerboard is made of ebony, although it is a comparatively bright version that varies greatly in color. The manufacturer is very reserved with fingerboard markings; only a curved infinity symbol was embedded in the 12th fret. Otherwise, you only have the inlays on the side of the neck for orientation. The neck is screwed four times and the base of the neck has been rounded off for better handling in the high registers.

Two in-house humbuckers are used as pickups, with the neck pickup being designed in the form of mini rails. Both pickups are switched via a 3-way switch, while the tone control also allows switching to single coil mode using the push-pull version. When it comes to hardware, the Chapman Guitars ML3 Std Bea Mensis relies on a hardtail with strings passed through the body and 6 locking mechanisms manufactured in-house. The belt pins are once again from Schaller. All hardware is considered black, but is a dark nickel.

The Chapman Guitars ML3 Std Bea Mensis in practice

When you pick up the Chapman Guitars ML3 Std Bea Mensis for the first time, the guitar appears quite “feminine”, i.e. everything is a touch “rounder” than other instruments in this class. Especially when you consider the original stick from the USA, which, as Keith Richard shows you here https://youtu.be/AJ_P1vfZYo4, can easily get even a pushy fan off his feet.

What also catches the eye from the first notes is the excellent vibration behavior that the Chapman Guitars ML3 Std Bea Mensis exhibits, which is probably largely due to the roasted neck. The often used “twäng”, which has been associated with this body shape for decades, is also sufficiently present, although not quite to the same extent as in a good version of the original. But you should also keep in mind that this instrument was not designed for country sounds, but is more interested in heavy music.

Particular attention should be paid to the Chapman Guitars ML3 Std Bea Mensis pickups, which in my opinion will be very polarizing. The bridge pickup must be considered dominating everything. The Chapman Henchman pickup is not only a ceramic pickup with a very high DC resistance of 15 kOhm, it is also comparatively high-pitched, which is really surprising given the high number of windings. Everyone has to find out for themselves whether they like this sound, but you quickly run the risk of developing an unpleasant circular saw sound very quickly, especially if you work with speaker simulations that tend to drift into scratchiness, as you do in the following Video by Rabea Massaad can be heard very well.

https://youtu.be/l3iCRPnNa2I

Detached from personal taste, the neck pickup with its comparatively moderate 8.5 kOhm hardly has a chance, especially since the pickup lacks a bit of character, which is really difficult in the immediate vicinity of the “rough block” in the bridge position. Interestingly, the bridge pickup leaves an exceptionally good impression in the clean area. The sound is extremely voluminous and can also be convincing in the subtle crunch range, but only in humbucker mode. If you switch the pickup to single coil, the pickup quickly becomes unpleasantly biting and thin. Especially with the Chapman humbuckers, it is once again obvious how difficult it is to build a split pickup that is convincing in both humbucker and single-coil operation. With a good all-tube amp, however, you can also generate very good sounds from the unusual pair.

In terms of playing technology, however, the instrument is convincing across the board. The neck, defined as a C-shape, is extremely easy to hold in the hand, the attack and release behavior in combination with a very good attack is exceptionally good and, as already mentioned, the sustain is far above what you would normally expect from a screw-on neck construction may. Here you are almost at the full neck level, which really impressed me. Otherwise there is really nothing wrong with this instrument. However, I would be interested to know how they manage to deliver such high manufacturing quality for such a price in Indonesia.

Conclusion

With the Chapman Guitars ML3 Std Bea Mensis, the British manufacturer offers a lot of instrument for the money. For less than 800 euros you get an instrument which, if manufactured outside of a low-wage country, would in many respects cost a four-digit sum in the ambitious price segment.

The workmanship is excellent, the individual components are very good, and the visual presentation is appealing. Everyone has to find out for themselves to what extent they can get used to the sound of the built-in pickups. In my opinion, there might still be some room for improvement here, but this is a purely subjective opinion without any general validity.

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Additional Informations:


Chapman Guitars, a prominent name in the world of electric guitars, has captivated musicians worldwide with its blend of quality craftsmanship, innovative design, and community-driven ethos. Founded by British guitarist and YouTube personality Rob Chapman, the company has carved out a unique niche in the competitive guitar market. Let's delve into the captivating story of how Chapman Guitars came to be, tracing its origins, pivotal moments, and enduring impact on the music industry.

**Origins and Vision**

The story of Chapman Guitars begins in the early 2010s when Rob Chapman, a seasoned guitarist and entrepreneur, recognized a gap in the market for high-quality, affordable instruments that catered to the needs and preferences of modern players. Armed with a vision to democratize the guitar-making process and empower musicians to express themselves creatively, Chapman set out to create a brand that prioritized innovation, accessibility, and community engagement.

**Crowdfunding and Collaborative Design**

One of the defining moments in Chapman Guitars' history came with the launch of its first guitar model, the ML-1, through a crowdfunding campaign on the popular platform, Kickstarter. Embracing a collaborative approach to design, Chapman invited his online community of guitar enthusiasts to provide input and feedback throughout the development process, ensuring that the final product reflected the collective wisdom and expertise of its future users.

The campaign was a resounding success, surpassing its funding goal and garnering widespread attention within the guitar community. This early triumph solidified Chapman Guitars' reputation as a brand that valued transparency, inclusivity, and customer engagement, setting the stage for future endeavors and collaborations.

**Innovative Design and Quality Craftsmanship**

Central to Chapman Guitars' appeal is its commitment to innovative design and meticulous craftsmanship. Drawing inspiration from classic guitar models while incorporating modern features and improvements, Chapman guitars offer a perfect balance of vintage charm and contemporary performance.

From the versatile ML-1 to the sleek and ergonomic ML-3, each Chapman model is carefully engineered to meet the diverse needs and preferences of today's guitarists. Whether it's the resonant tonewoods, precision hardware, or hand-wired electronics, every aspect of a Chapman guitar is crafted with precision and attention to detail, ensuring exceptional playability, tone, and reliability.

**Community Engagement and Endorsements**

At the heart of Chapman Guitars is its vibrant and passionate community of musicians, affectionately known as the "Chapman Family." Through social media platforms, online forums, and community events, Chapman has fostered a sense of camaraderie and belonging among guitar enthusiasts, encouraging collaboration, creativity, and mutual support.

Moreover, Chapman Guitars has collaborated with prominent artists and musicians to develop signature models that reflect their unique playing styles and sonic preferences. From the versatile ML-1 Rob Scallon signature model to the high-performance ML-2 Norseman designed in collaboration with guitarist and composer Rabea Massaad, these signature guitars showcase the brand's commitment to innovation and artistic expression.

**Expansion and Global Reach**

Over the years, Chapman Guitars has expanded its product line to include a diverse range of instruments, amplifiers, and accessories, catering to guitarists of all skill levels and musical genres. From affordable entry-level guitars to premium custom-shop models, Chapman offers something for everyone, ensuring that players can find their perfect instrument within the Chapman lineup.

Furthermore, Chapman Guitars has established a strong global presence, with distribution channels spanning across Europe, North America, Asia, and beyond. Through strategic partnerships with retailers, distributors, and online platforms, Chapman has made its products accessible to musicians worldwide, further cementing its status as a leading player in the guitar industry.

**Legacy and Future Endeavors**

As Chapman Guitars continues to evolve and grow, its commitment to innovation, community engagement, and quality craftsmanship remains unwavering. From its humble beginnings as a passion project to its current status as a global brand, Chapman Guitars has stayed true to its founding principles while embracing new opportunities and challenges along the way.

Looking ahead, the future of Chapman Guitars appears bright and promising, with a dedicated team of designers, craftsmen, and musicians working tirelessly to push the boundaries of guitar design and performance. With a loyal fan base, a spirit of creativity and collaboration, and a relentless pursuit of excellence, Chapman Guitars is poised to leave an indelible mark on the music industry for years to come.

TEST: Carl Martin Plexitone

 I seriously doubt that Jim Marshall would ever have expected the gigantic success of his amplifier, which he achieved due to the constant whining from the big names of the scene at the time, such as: B. Pete Townsend simply made it by copying a Fender Bassman 1:1 and inflating the performance. It's hard to imagine how many technical coincidences were involved that the saturated power amplifier sag produced the legendary sound, which to this day remains one of the eternal top 5 all-tube sounds and which has already been used by countless programmers in the IR copying department drove me crazy. With the Carl Martin Single Channel PlexiTone, another warrior ventures into the fray to get closer to the legendary, but anything but easy-care tone.

Where is the problem?

It is probably generally clear that the various Marshall models, which are called “Plexi”, get their nickname from the front panel, which was initially made of Plexiglas and later made of sheet metal. However, the fact that models with completely different sounds are also listed under this name reveals a problem that one is not immediately aware of. In fact, there is no such thing as THE Plexisound, especially since the large manufacturing tolerances of the individual components of the time made every amp sound different anyway. This means that when it comes to sound, you can only move within a rough framework of parameters that the majority of the Plexi family fulfills.

Furthermore, since today's youth usually find a master volume all-tube amp too big, too heavy and too expensive, they would probably be scared away with a non-master amp. The idea that such an amp only reveals its sweet spot at a final volume close to physical harm reduces its practicality in any club to almost zero. A small side note: the “English setting” (everything at 10), which is often used for potency reasons, is absolute nonsense. Even a Plexi sounds completely crappy in this area. As soon as the power amp leaves the saturation with a subtle sag aspect and goes into real distortion itself, an amp just sounds "broken" and can perhaps still be used for punk rock, but no longer for the sweet, highly compressed legendary tone.

The art and challenge for every product that is committed to the “Plexisound” is, above all, to reproduce the saturated EL34 characteristics, together with the slightly collapsing sound behavior of the driver stage, etc., at a moderate volume, or in terms of sound to get as close as possible. Because we can all agree on one thing: a 1:1 copy is never possible, it's just a matter of getting close to the original. Now then, on to the Plexitone pedal.

The conception of the Carl Martin Single Channel PlexiTone

The Carl Martin Single Channel PlexiTone is a further development of the Plexitone Lo-Gain variant, which was almost in the booster corner, and the original Plexitone in its large version. In collaboration with Youtuber Pete Thorn, the pedal was given a slightly different basic sound in which the highs and basses were reduced a little and in return the mids were boosted a little more. (“It’s all in the middle!”).

Another special feature is that the Single Channel Plexitone now has a 9V DC connection for practical reasons. For sound reasons, the previous model still had the impractical 12V power supply, which was responsible for a large part of the sound, but was not supported by the majority of power supplies. This problem was solved by feeding in 9V, but transforming the voltage internally back up to 12V so as not to suffer any loss in sound. Higher voltages usually also offer higher headroom and therefore higher dynamics, which is also the characteristic of a high-quality all-tube amp.

In terms of feel, the pedal leaves a good impression. The housing is solid and was designed in the typical ocher-gold color, probably to increase the association with the Marshall panel. The Carl Martin Single Channel PlexiTone is advertised as a distortion pedal, but is designed as a typical overdrive, i.e. H. As expected, even at maximum drive level, the pedal never reaches the dimensions of a distortion pedal. But the pedal is not designed for that. The pedal's control options are also in the typical overdrive department with level, drive and tone. Plus a power supply input on the front and the on/off switch, and you're done.

The Carl Martin Single Channel PlexiTone in practice

In order to capture the sound of the Carl Martin Single Channel Plexitone in its entirety, you must pay particular attention to the amp/cabinet combination used. Anyone who believes that they have finally found the final Plexisound with the pedal before their Kemper or similar will unfortunately have to be disappointed. As expected, it's not about squeezing the complexity of the Plexi sound into a pedal in any way, but rather it's about driving a good-sounding amp, preferably an all-tube amp, at a moderate volume into a Plexi mode below the pain range.

So what's better than using an amp that's very close to the original Plexi? For this purpose I took my 1976 Marshall Model 1987 (Non-Master) and adjusted its sound so that it did NOT distort, but only generated a touch of saturation. Of course, the cabinet used was a Marshall 412 with Vintage 65s from Celestion installed. The whole thing was removed with 2 pieces. SM57 replicas called MS57 from FAME.

It is also important to find the right guitar for the pedal. This time I intentionally didn't use the active EMG pickups that I usually like to use, but instead opted for a Strat Lim. Ed. from 1994 and a standard Paula from 2014, neither of which are vintage giants, but good tools for a moderate mainstream sound. In order not to distort the sound, nothing was edited, nothing was mixed, nothing was improved, nothing was optimized.

To make a long story short, the Carl Martin Single Channel PlexiTone sounds really great. I had fun and compared the sound with my Plexi, which I drove to saturation, and the result is truly impressive. The pedal really manages to recreate both the feel and the classic compression behavior very well, provided you give the pedal a chance to spread out in front of a very good sounding amp.

Many will ask, why have the Plexitone when I already have a good sounding amp? Shouldn't I work better with a load resistor to curb the amp? Well, a load resistor has a very strong influence on the interaction with the speaker. It's a matter of taste, of course, but I've never been impressed with the sound of a load resistor if you want to route playback primarily through the loudspeaker.

Here I find the Carl Martin Single Channel PlexiTone approach much more interesting, as its sound is particularly impressive on vintage amps. Two more words about the regulation. Be careful with both the level and the tone controls. The 12 o'clock position otherwise chosen by the manufacturers regarding level in / out = the same volume is already at around 10.30 o'clock for this pedal, i.e. H. At 12 o'clock the amp is already blowing properly. The tone control should also be used discreetly, unless you prefer the classic 60s bite sound. What is considered appropriate for a Paula is quite good for a Strat.

Depending on the guitar/amplifier setup, the sound result varies from good to great, so if the sound is not within the desired range, it is probably not the pedal that is to blame, but the general conditions.

Conclusion

With the Carl Martin Single Channel PlexiTone, the USA-based company has a very special but excellent overdrive in its range that masters the great challenge of Plexi Sound adaptation very well. The overdrive, which is specially designed for the power amplifier saturation, saves many tonal Plexi attributes in the moderate volume and thus allows a practical volume without the band members and FOH having to raise the white flag.

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Additional Informations:

**The Genesis of Carl Martin Pedals: A Journey Through Innovation**

Carl Martin Pedals, a renowned name in the realm of guitar effects, has a rich history intertwined with innovation, passion, and a commitment to quality. Founded by Carl Martin, a Danish musician and electronics enthusiast, the company has left an indelible mark on the world of music with its exceptional range of pedals. Let's delve into the fascinating journey of how Carl Martin Pedals came to be, tracing its origins, key milestones, and enduring legacy.

**Origins and Early Beginnings**

The story of Carl Martin Pedals traces back to the late 1980s when Carl Martin, fueled by his passion for music and electronics, embarked on a quest to create high-quality guitar effects pedals. Born and raised in Denmark, Martin's journey into the world of music began at a young age. He honed his skills as a guitarist, exploring various genres and styles while developing a keen interest in the technical aspects of sound manipulation.

Driven by his desire to enhance the sonic capabilities of his guitar, Martin delved into the world of electronics, immersing himself in the intricacies of circuitry and signal processing. His relentless experimentation and meticulous craftsmanship soon yielded promising results, as he began crafting his own custom-designed pedals in his workshop.

**Innovations and Breakthroughs**

One of the defining characteristics of Carl Martin Pedals is its relentless pursuit of innovation. Martin's early creations garnered attention for their exceptional sound quality, durability, and innovative features, setting a new standard in the industry. Among his notable innovations was the implementation of dual-mode circuits, allowing players to switch between different tonal characteristics with ease.

Another breakthrough came in the form of the Hot Drive'n Boost pedal, which combined the warmth of a vintage overdrive with the versatility of a clean boost. This pedal quickly gained popularity among guitarists worldwide, earning praise for its dynamic range, responsiveness, and ability to enhance the overall tone of any amplifier.

**Expansion and Growth**

As demand for Carl Martin Pedals grew, so did the company's reach and reputation. Martin's commitment to quality and innovation resonated with musicians of all genres, from aspiring beginners to seasoned professionals. In response to this burgeoning demand, the company expanded its product line, introducing a diverse range of pedals catering to various sonic preferences and playing styles.

From overdrives and distortions to delays, reverbs, and modulation effects, Carl Martin Pedals offered something for everyone. Each pedal was meticulously designed and handcrafted, ensuring unparalleled performance and reliability on stage and in the studio. This dedication to craftsmanship earned the company a loyal following and solidified its position as a trusted name in the world of guitar effects.

**Enduring Legacy**

Today, Carl Martin Pedals continues to uphold its legacy of excellence, with a commitment to innovation, quality, and craftsmanship. While the company has grown and evolved over the years, its core values remain unchanged. Every Carl Martin pedal is still crafted with the same attention to detail and passion for music that drove Carl Martin himself all those years ago.

Moreover, the company's dedication to customer satisfaction and support has endeared it to musicians around the globe. Whether it's providing expert advice, troubleshooting technical issues, or simply sharing in the joy of creating music, Carl Martin Pedals remains deeply invested in the success and happiness of its customers.

In conclusion, the story of Carl Martin Pedals is a testament to the power of passion, innovation, and craftsmanship. What began as a humble pursuit of sonic perfection has blossomed into a world-renowned brand synonymous with quality and excellence. As Carl Martin Pedals continues to push the boundaries of guitar effects technology, one thing remains certain: the journey is far from over, and the best is yet to come.

**A Closer Look at Carl Martin Pedals' Product Line**

Central to the success of Carl Martin Pedals is its exceptional range of guitar effects, each meticulously designed and handcrafted to deliver unparalleled performance and tone. Let's take a closer look at some of the flagship products that have helped define the company's legacy:

**1. Hot Drive'n Boost**

The Hot Drive'n Boost pedal is perhaps one of Carl Martin's most iconic creations, renowned for its versatility and tone-shaping capabilities. Combining the warmth of a vintage overdrive with the clarity of a clean boost, this pedal offers a wide range of sonic possibilities, from smooth bluesy tones to searing rock leads. With intuitive controls for drive, level, and tone, the Hot Drive'n Boost empowers guitarists to sculpt their perfect sound with ease.

**2. EchoTone**

The EchoTone pedal represents Carl Martin's foray into the realm of delay effects, offering pristine digital delay with analog warmth and character. Featuring intuitive controls for delay time, feedback, and level, this pedal allows guitarists to dial in everything from subtle slapback echoes to expansive ambient textures. With its high-quality signal processing and built-in tap tempo function, the EchoTone is a versatile tool for adding depth and dimension to any performance.

**3. Quattro**

For guitarists seeking maximum versatility in a compact package, the Quattro pedal offers a comprehensive solution with four essential effects in one unit. Combining overdrive, distortion, delay, and reverb, this pedal covers a wide range of sonic territory, from vintage-inspired tones to modern ambient textures. With independent controls for each effect and the ability to save presets, the Quattro is a powerhouse of creativity for guitarists of all styles and genres.

**4. Octa-switch**

Rounding out Carl Martin's lineup is the Octa-switch, a versatile pedal switcher designed to streamline the organization and control of multiple effects pedals. With eight individual loops and programmable presets, this pedal allows guitarists to create complex signal chains and switch between them seamlessly. Whether it's organizing a pedalboard for live performance or optimizing a studio setup for recording, the Octa-switch offers unmatched flexibility and convenience.

In addition to these flagship products, Carl Martin Pedals offers a diverse range of effects pedals, including modulation effects like chorus, flanger, and tremolo, as well as specialty pedals like the Andy Timmons Signature Compressor and the Headroom Spring Reverb. Each pedal is crafted with the same attention to detail and commitment to quality that has become synonymous with the Carl Martin name, ensuring a lifetime of musical inspiration and enjoyment for guitarists around the world.

TEST: Carl Martin Acoustic Gig

 What a misery it used to be with live amplification on an acoustic guitar. In old videos you can still see the tense playing style of many acoustic guitarists, how they remain comparatively rigid in front of an SM58 or something similar that is fastened in a quick position in order to at least get some debriefing effect. With the introduction of the piezo pickup in the bridge inlay (I seem to remember that Ovation was the big dog here at the time) this pitiful practice changed rapidly, but only to a certain extent, as the appropriate amplification had not yet been developed. So it was time to send it to the wedge or PA via the DI box/monitor desk and hope that there was enough signal for a good performance, both to one's own ear and to the audience. These days are also long gone, as you can see from the Carl Martin Acoustic Gig multi-effects pedal available for testing.

A pedal for all occasions?

“Why not just use the clean channel of my amp?” some users will rightly ask themselves. “Why is there always such fuss when amplifying the acoustic guitar?” Well, the only thing an acoustic guitar has in common with an electric guitar are the (regularly used) 6 strings, otherwise the alignment in terms of sound, playing style, Handling and effects management couldn't be more diametrically opposed.

In addition to the fact that an A guitar should ALWAYS remain as clean as possible, you also have to face the latent problem of soaring feedback in the bass range! and the transmission of completely different frequencies than with a distorted electric guitar. While in the electric guitar sector you make use of the inertia of a 12 inch loudspeaker, for example, which has its peak between 2-3 kHz and drops to its knees at the latest at 4 kHz, to keep the caustic highs of a distorted guitar in check , exactly these frequencies are vital for a crisp sound on an A guitar. Nothing works without a separate tweeter.

So you can go and buy a special acoustic amplifier that already has the right equipment for high-quality signal transmission, or you can buy a special acoustic effects pedal that transforms an active speaker or floor monitor into an acoustic amp. We are dealing with just such a pedal today.

The construction of the Carl Martin Acoustic Gig

First of all, where do we actually use the Carl Martin Acoustic Gig? Of course, you can also use the pedal to record an acoustic guitar in the studio, but if a sound engineer comes to you with this solution, he is either just lazy or doesn't have high-quality microphones. Even the very best, internally installed pickups on an acoustic guitar only come close to the sound of high-quality large-diaphragm microphones, which is why the Carl Martin Acoustic Gig is primarily used on the stage.

And you can see that on the pedal too. The housing, made in China, is extremely solid and consists of a plastic tub covered with a steel frame, which protrudes slightly on the right and left so that you can lift the pedal better. The two elements are screwed together with six Phillips screws. Four large, rectangular rubber feet ensure a stable hold. In the effects area, the pedal has a complex three-band tone control with a compressor, an echo and a reverb area, as well as three other effects plus a tuner, the operating status of which is all displayed with a separate LED. The effects in detail:

Mute: When the mute switch is activated, the internal tuner is activated and shown on a large display.

3 Band Parametric Preamp: Carl Martin goes all out here and demands a lot of specialist knowledge from the user. In addition to a level control, which adjusts the signal strength of the filter when activated, three freely adjustable frequencies can each be raised or lowered by 15 dB. NOTE: With targeted reduction and simultaneous level correction, you can usually achieve a better sound, especially in the midrange, than by increasing a frequency. With three small level controls you can now freely select the bass range (20 Hz - 500 Hz), midrange (220 Hz - 5.1 kHz) and high frequency range (1.5 kHz - 16 kHz). The versatility it offers definitely has the quality of a studio filter, but it also offers plenty of opportunities for mismatching. If you haven't worked extensively with a parametric EQ yet, you may want to get some help from experienced colleagues in advance.

The fact that the frequency ranges overlap already shows the practical thinking of the developers. Regarding 20 Hz, it should go without saying that this frequency range can of course only be used as a high-pass filter. Please NEVER come up with the idea of wanting to boost anything in the double-digit Hz range on an A guitar! The entire EQ can be removed from the signal path with a push switch. The Carl Martin Acoustic Gig also has a phase switch in case unpleasant standing waves or frequency cancellations occur.

Boost: As the name suggests, you can continuously adjust the volume increase of up to 12 dB for solo passages.

Reverb: A reverb control that has the special feature of adding a few chorus modulations when the amount is higher.

Echo: A delay effect that can be adjusted in delay volume, number of repetitions and sound of the repetitions. The speed can be adjusted using a tap switch with your foot and converted into dotted eighths using a pressure switch.

Compressor: Still one of the most important effects on the acoustic guitar, adjustable in compression and level. Finer gradations such as threshold, ratio, attack and release have been combined in one controller to make it easier to use.

The front of the Carl Martin Acoustic Gig

In addition to jack input and output, the Carl Martin Acoustic Gig also offers an XLR DI output for feeding into the PA. An additional serial FX loop also offers the option of looping external processors into the signal path. Finally, there is the power supply input socket, which processes any DC voltage from 9 - 12 volts and which ensures a maximum power consumption of 500mA. The voltage is looped through an output socket using the daisy chain method and can also supply other pedals with power if the power supply features are designed accordingly.

In practice

Let's tune the instrument first. The tuner is easy to read, but in my opinion there would have been enough space for an LED display with more than three digits. Next we look at the equalizer, which, let's say this much, turns out to be the absolute highlight of the pedal. The basic sound of the preamp plus the EQ can be described as very successful. The frequencies grip well, don't bite, but have enough assertiveness in the band context. If you know how to use an appropriate filter and can hear the final sound of the instrument, it is a real pleasure to work towards the final sound.

The compressor does a good job, but I miss the ratio control a little. During strong forte passages, the compressor works almost like a limiter, which limits the natural dynamics somewhat. However, the controller works perfectly for uncomplicated, quick volume adjustment. The fixed reverb sound sounds a little artificial, but otherwise does its job well. Adjusting the delay time using just your foot may seem a bit unusual at first impression, but it shows that it is very practical. A delay only really makes sense in a rhythmic context, so the tap function is to be welcomed.

Although all switches fulfill their function well, I personally would have preferred switches of a higher quality for a product over the 600 euro mark, which were a little softer and less fiddly in their switching process. All of this is balanced out by the great preamp / parametric three-band tone control, which in itself is worth the retail price.

Conclusion

With the Carl Martin Acoustic Gig, the Danish manufacturer offers an upper-class acoustic guitar multi-effects pedal. Excellent workmanship with the currently best combination of preamp / parametric three-band tone control available in an acoustic guitar floor pedal make the pedal a clear favorite when it comes to professional amplification of an acoustic guitar.

If you can't take a high-quality acoustic amplifier with you to your gigs for transport reasons, you should definitely take a look at the pedal, it's worth it!

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Additional Informations:

The tale of Carl Martin Pedals is a narrative steeped in the tradition of craftsmanship, innovation, and an unwavering commitment to quality. Founded in Denmark, a country known for its rich design heritage and acoustic excellence, Carl Martin has grown from a modest enterprise into a revered name within the global music industry, particularly among guitarists and bassists seeking premium effects pedals.

### Beginnings and Philosophical Foundations

The inception of Carl Martin dates back to the early 1990s, when founder Søren Jongberg sought to bridge the gap between the guitarist's need for superior sound quality and the technological limitations of existing effects pedals. Jongberg's vision was clear: to craft effects pedals that combined the sonic richness of studio-quality processing with the durability and simplicity required for live performance. This vision was rooted in a deep appreciation for music, an understanding of the musician's craft, and a commitment to excellence that would become the hallmark of the Carl Martin brand.

### Crafting the Sound: The Early Innovations

Carl Martin's initial foray into the effects pedal market was marked by the release of the Hot Drive'n Boost, a pedal that quickly gained acclaim for its warm, tube-like overdrive and versatile boosting capabilities. This early success was a testament to Jongberg's meticulous approach to design and sound quality, setting the stage for future innovations.

Following the Hot Drive'n Boost, Carl Martin continued to expand its lineup with a series of pedals that addressed specific needs of guitarists, from the Compressor/Limiter, recognized for its studio-quality compression, to the PlexiTone, which offered the coveted tones of classic rock in a compact format. Each pedal was designed with the musician in mind, combining intuitive controls with a breadth of sonic possibilities.

### The Distinctive Carl Martin Approach

What sets Carl Martin apart in the crowded field of effects pedal manufacturers is not just the quality of its sound, but also its approach to design and production. Carl Martin pedals are characterized by their robust construction, ensuring they can withstand the rigors of touring, and their user-friendly interface, making it easy for musicians to dial in their desired sound.

Moreover, Carl Martin has been at the forefront of incorporating high-quality, regulated power supplies into their pedals, a feature that contributes to the pedals' consistent performance and noise-free operation. This attention to detail reflects the brand's philosophy that to truly enhance a musician's performance, every aspect of the pedal, from its sound to its functionality and reliability, must be of the highest standard.

### Collaboration and Community

A pivotal aspect of Carl Martin's development has been its collaboration with musicians. The company has always valued the feedback and insights of guitarists from various genres, allowing them to refine existing products and inspire new creations. This collaborative approach has led to the development of signature pedals, such as the Andy Timmons Signature Compressor/Limiter, designed to meet the exacting standards of the artists themselves.

Furthermore, Carl Martin's engagement with the music community extends beyond product development. The company is known for its active participation in music trade shows, workshops, and online forums, where they share their expertise and engage with musicians. This community-focused approach has helped Carl Martin not only to build a loyal customer base but also to stay attuned to the evolving needs of musicians.

### Expansion and Evolution

Over the years, Carl Martin has not rested on its laurels. The company has continuously sought to innovate, expanding its product range to include multi-effects units, power supplies, and even amplifiers. Each new product category has been approached with the same commitment to quality and innovation that defined Carl Martin's early pedals.

One notable innovation is the Quattro, a multi-effects pedal that combines several of Carl Martin's most popular effects into one unit, offering guitarists a versatile and high-quality effects solution. The development of such products reflects Carl Martin's understanding of musicians' needs for both versatility and quality in their gear.

### The Legacy and Future of Carl Martin

Today, Carl Martin stands as a testament to the enduring value of quality, innovation, and collaboration in the music industry. The brand's dedication to crafting pedals that enhance the musical experience has earned it a place on the pedalboards of amateur and professional musicians around the world.

Looking to the future, Carl Martin remains committed to its founding principles while also embracing new technologies and trends in music production. With a legacy of excellence and a forward-looking approach, Carl Martin is poised to continue its journey as a pioneer in the world of guitar effects, contributing to the music landscape with tools that inspire creativity and elevate performances.

TEST: Bugera 1990

 Sometimes it's really difficult to explain to an outsider why product X has almost five times the price of product Y, although at first glance it only differs marginally from the first. Since Germany's consumer circle in particular has been characterized in recent years by the fact that customers focus 90% of their attention on the selling price, a real culture of “cheap, cheaper, cheapest” has established itself. In hardly any other country in the first world is the “stinginess is cool” mentality as important as in the former land of poets and thinkers.

Therefore, the all-tube head from Bugera, with its street price of just under €400, is guaranteed to fall on more than fertile ground in this country. Even if the name suggests that the company is based in the Mediterranean, the price mentioned above makes it clear from the start that the product must be 100 percent designed and manufactured in China, as in no other country on earth can be produced more cheaply.

In terms of company technology, Bugera is a 100 percent Behringer subsidiary. Let's see whether the top part can also convince in terms of sound with a selling price where you can only get a set of power tubes plus an output transformer from other manufacturers.



construction

The Bugera 1990 is a two-channel all-tube head. Three ECC83 in the preamp and 4 pcs. 5881 or 6L6 in the power amplifier do their work here. If necessary, the power tubes can be switched from pentode to triode operation, which results in the power being halved from 120 watts to 60 watts. In addition to a power cable, the amplifier's scope of delivery also includes a 2-way foot switch for channel changing and the on/off function of the built-in reverb device.

In addition to a simple gain control for the clean and lead areas, the 1990 has a four-band tone control and separate master volume and reverb controls for both channels. If a footswitch is not available, the channel can also be changed using a pressure switch on the front of the housing. Unfortunately, all of the rotary controls were not counteracted on the housing, they run relatively sluggishly and there is a lot of play in the control. In my opinion it is only a matter of time before a hairline crack appears in the interior of the amplifier.

The impedance slider on the back of the case is also unpleasantly noticeable due to its awkward guidance and wobbly positioning. Sorry guys, this needs to be remedied, too quickly the wrong tap is on the output transformer and the amp dies with a puff of white smoke. In addition to the power amplifier mode selector switch, the head also has two speaker outputs, a linear and a frequency-corrected line out, an adjustable FX loop and the input socket for the footswitch. Oh yes, I had forgotten the cold appliance plug and main fuse.

If necessary, the power cable can be wound up using two right angle plates. Not a bad idea! The entire case was covered with a very durable synthetic leather, which is close to the textured paint. The whole thing is supported by four medium-soft rubber feet.


Practice

Bugera praises the 1990 as a “British Bite”, which initially raises a small question mark regarding the power tube configuration, as the British sound is directly linked to a duet or quartet of EL34 power tubes. In fact, the British orientation only applies to a limited extent; the American 6L6 orientation, which has a rather soft touch, prevails too much.

In the clean channel, the 1990 delivers a very nice, crisp basic sound, which hardly becomes saturated even at high volumes. This means that funky sixteenth-note licks can also be heard in higher volume regions and impress with a neutral and fast attack when you are in pentode mode. In triode mode, the response drops a little and saturates much earlier due to the circuitry, but this doesn't mean a deterioration in the sound, just a different interpretation.

In the lead channel, the preamp goes into the distorted area quite early and only offers rudimentary real crunch sounds. You can clearly feel the focus on a lead channel with high distortion reserves, but this also comes at the expense of dynamics. The distorted sound is quite powerful, especially with a 4x12" cabinet, but very quickly falls into a slightly muddy basic character, which is still quite strongly compressed even when the volume is reduced using the volume potentiometer.

Since the Bugera Hall is not generated via a reverb spiral, the spatial impression of an external effects device is much more massive than you are used to with other amplifiers. Whether you like this reverb is a matter of individual taste, but if you are looking for a typical spring reverb, you won't find it with the 1990. However, anyone who likes something a little more opulent will welcome this orientation.

All in all, the 1990 can be said to have a decent basic sound, although it still ultimately lacks a differentiated, detailed reproduction or even a personal touch.


Conclusion

It wouldn't be fair to give the Bugera a bad report. On the contrary, especially for this price, you would have to give a good certificate even to a product that would sound significantly worse than the one in 1990. With a retail price of probably under €400, where even single-channel Marshalls cost almost three times as much, one can only rationally take one's hat off to such high quality craftsmanship.

Anyone who has ever dealt with the free market economy either professionally or privately can understand that something has to be left behind with such an “unrealistic” price comparison. It's not about small structural defects, but rather about wage costs, social security contributions and environmental protection, which, as is well known, take little or no place in China.

Even if the customer gets a hell of a lot of amplifiers for a hell of a lot of money, I personally find such a low sales price questionable, but everyone has to decide for themselves. Personally, I honestly can't explain how an amplifier in this category can be built profitably for this course. If you were to price the amp 50% higher and mention in the product description that you pay 30% of the retail price to protect the worker and protect the environment, the amp would be an absolute blast!

Sound files: Jackson Kelly XL, Bugera 1990, Marshall 260 Watt 4x12", SM57, TLAudio Dual Valve Preamp, Mackie VLZ console, Protools 888 converter.

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Additional Informations:

The story of Bugera Amps is a fascinating journey through innovation, passion for music, and the relentless pursuit of tone perfection. Founded as a part of the MUSIC Group (now Music Tribe), Bugera has become synonymous with high-quality, affordable tube amplifiers that capture the essence of vintage sound while incorporating modern features. This detailed exploration dives into the origins, development, and defining moments of the Bugera brand, shedding light on its commitment to bringing exceptional sound to musicians worldwide.

### The Genesis of Bugera

Bugera's story begins in the early 2000s, a time when the quest for authentic, vintage tube amp tones was clashing with the realities of modern production costs and technological advancements. At the heart of Bugera's inception was the vision of Uli Behringer, founder of the MUSIC Group. Behringer, an accomplished musician and sound engineer, recognized a gap in the market for high-quality tube amplifiers that were accessible to the average musician. The primary goal was to recreate the rich, warm tones of classic amps from the 1960s and 1970s without the exorbitant price tag or the maintenance challenges that often accompanied vintage gear.

### Crafting the Sound

To achieve this ambitious goal, Bugera assembled a team of skilled engineers and craftsmen passionate about music and sound. This team embarked on a journey to dissect what gave vintage tube amps their characteristic warmth and depth. They studied classic circuit designs, vacuum tube technology, and the nuances that contributed to the legendary sounds of rock, blues, and jazz. Bugera's approach was both reverent and innovative; they sought not only to replicate classic tones but also to refine and enhance them for contemporary musicians.

### The Technology Behind the Tone

At the core of Bugera amps are high-quality vacuum tubes, which are essential for producing the amp's signature sound. Bugera's commitment to quality led them to source the best tubes from around the world and to implement rigorous testing procedures to ensure reliability and performance. However, Bugera's innovation wasn't limited to just utilizing traditional tube technology. The company also integrated modern features like built-in reverb, effects loops, and multiple channels, offering musicians greater flexibility and control over their sound.

### The Launch and Evolution

Bugera officially entered the market in the mid-2000s, making a bold statement with its initial product lineup. The brand quickly gained attention for its Vintage series, which captured the essence of classic British and American tube amps. The V5, V22, and V55 models, in particular, were praised for their authentic tones, versatility, and affordability, making high-quality tube sounds accessible to a wider audience.

Following the success of the Vintage series, Bugera expanded its offerings with the Infinium technology. This innovative feature extended the life of power tubes and allowed for easier maintenance, addressing one of the common concerns associated with tube amp ownership. The Infinium technology not only reflected Bugera's commitment to innovation but also its dedication to improving the musician's experience.

### Overcoming Challenges

Bugera's journey has not been without its hurdles. Early on, the brand faced challenges related to quality control and reliability. However, Bugera took these challenges seriously, implementing stringent quality assurance processes and continuously improving its designs. This commitment to excellence helped Bugera rebuild trust with musicians and establish itself as a reliable brand in the competitive world of guitar amplification.

### The Present and Future

Today, Bugera stands as a testament to the power of passion and innovation in the pursuit of musical excellence. The brand's product lineup has grown to include a wide range of amplifiers, from compact practice amps to powerful heads and combos suitable for live performances and recording. Bugera continues to push the boundaries of tube amp technology, incorporating features like smartphone integration and digital modeling to meet the evolving needs of modern musicians.

### Nurturing the Community and Expanding the Reach

As Bugera's product line and reputation for quality grew, so did its community of dedicated users. From bedroom guitarists to touring professionals, musicians of all levels found something to love in Bugera amps. This diverse user base has been instrumental in shaping the brand's direction, with feedback and artist endorsements fueling further innovation and refinement of Bugera products. The company's engagement with its community, through social media, forums, and music trade shows, has helped it stay connected to the needs and desires of musicians, ensuring that its products continue to resonate with and inspire its audience.

### Embracing Technological Advancements

In an era where digital modeling and solid-state technology continue to advance, Bugera has skillfully navigated these changes by integrating modern features into its tube amps without sacrificing the authentic tube tone that is its hallmark. This blend of old and new has allowed Bugera to appeal to a broad spectrum of musicians, from purists seeking the unadulterated sound of a vintage tube amp to tech-savvy players looking for the convenience and versatility of modern features.

### Sustainability and Future Directions

As environmental sustainability becomes increasingly important in the manufacturing and music industries, Bugera has begun to explore how it can contribute to a more sustainable future. This includes examining more eco-friendly production methods, reducing waste, and ensuring that products are built to last, reducing the need for frequent replacements. Looking forward, Bugera is committed to balancing its passion for vintage sound with a responsibility to the planet, ensuring that its amplifiers can be enjoyed by generations to come.

### Education and Empowerment

Recognizing the importance of education in the music community, Bugera has invested in resources and initiatives to help musicians better understand and utilize their gear. From comprehensive online tutorials and manuals to interactive workshops and clinics, Bugera aims to empower users to explore and maximize the potential of their amplifiers. This educational approach not only helps musicians achieve their desired sounds but also fosters a deeper connection between the player and their instrument.

### The Legacy of Bugera

The legacy of Bugera is not just in the products it creates but in the impact it has on the music world. By making high-quality tube amplification more accessible, Bugera has played a role in democratizing the pursuit of great tone, allowing more musicians to express themselves through their sound. The brand's journey from a vision to a respected name in the music gear industry exemplifies the transformative power of innovation, dedication, and a deep love for music.

### Conclusion

As Bugera looks to the future, it remains guided by the principles that have shaped its past: a commitment to quality, innovation, and the music community. With each new product and initiative, Bugera continues to write its story, one that resonates with the timeless appeal of tube amplification and the endless pursuit of sonic perfection. In a world where music continues to evolve, Bugera stands as a beacon for those who seek the warmth, depth, and soul of the classic tube sound, ensuring that this cherished sonic heritage continues to inspire and elevate the music of tomorrow.

TEST: Boss WL Series

 Despite guaranteed stable signal transmission, the instrument cable has a difficult time on stages around the world these days. What was considered exquisite special equipment for the better-off just a few years ago has now even found its way into the hobby sector thanks to digital radio with all its advantages and disadvantages due to constantly falling retail prices.

With the WL series consisting of the models Boss WL-20, Boss WL-20L and Boss WL-50, Japan's finest in terms of stompboxes now wants to conquer the area of low budget guitar transmitters and has thought about a few interesting ideas.

“But my cable sounds much better…”

Opinions still differ on the basic sound of the various transmitters. Over the decades, the human ear has become so accustomed to the natural induction of the instrument cable that the sound of some transmitters appears to the user as too “clinical” or “sterile”. In order to prevent this argument, Boss has implemented various approaches that, depending on the area of use, are intended to help the listening impression by using a guitar cable simulation.

The Boss WL-20 model was designed for the electric guitarist. It includes a new technology called “Virtual Cable” and is intended to emulate the height attenuation of a 3 meter cable. It is recommended for electric guitars or electric basses with passive pickups.

The Boss WL-20L model is identical to the Boss WL-20, but does not have a “virtual cable” circuit. This model is recommended for active pickups or acoustic guitars with preamps etc. The operating time for both WL-20 models is given as 12 hours.

The third model, the Boss WL-50, goes one step further. It has the dimensions of a Boss standard floor pedal and can be placed at the beginning of the effects chain. It charges the guitar transmitter at the same time and has a “Virtual Cable” emulation that can be switched off if necessary, which can also be switched between long and short. In addition, it can be operated with 2 type AA batteries if necessary. The operating time is specified as 10 hours, which ensures good independence from electricity, for example for street musicians.

Concept and structure of the Boss WL series

WL-20 / WL-20L

The Boss WL-20 / WL-20L comes with very compact dimensions of (W x D x H): 87 mm x 25 mm x 38 mm and weighs only 60 grams in a robust-looking plastic housing and consists of a receiver and a transmitter. The receiver can be recognized by its slightly larger dimensions, a second LED and a 6.3 mm socket, behind which an interesting detail is hidden. Both components can be charged via a Micro USB port, or you can plug the transmitter into the receiver via the said socket and let both devices charge together via just one port. Any standard smartphone USB charger can be used as a charger. A USB cable is included.

Up to 14 radio links should be able to be operated in parallel, which search for their frequencies independently. For this purpose, the two components are also plugged into one another and then search for a free frequency range in the 2.4 GHz range within 10 seconds. So far, so simple. With a latency of just 2.3 ms, you can concentrate on your timing in peace; there is no noticeable delay here.

WL-50

Due to its use on the pedalboard, the Boss WL-50 offers a few extras that are not available on its sister models. Of course, the integrated charging slot proves to be particularly practical, where not only is the transmitter charged, but it also finds a nice place to park during transport. Furthermore, as with many floorboard tuners, a daisy chain circuit can be used for additional pedals in the power supply area if necessary.

Experience has shown that you should check in advance to see what power suckers are at the back of the effects chain. Overdrive and distortion usually work in the double-digit milliamp range, but a decent reverb can also draw around 500 mA and the power supply via daisy chain can often go to its knees. The housing makes a simple but stable impression; there are no rubber feet or rubber pads to prevent slipping on smooth surfaces. If necessary, you can also connect your instrument via a regular input socket.

The sound of the Boss WL series

When it comes to sound, the WL series leaves a really good impression. Compared to a high-quality 3 meter cable, the Boss WL-20 has just a tiny bit more treble and is a little less dependent on the guitar's volume control, in this case a 57'LP Gold Top, than the cable. The sound is marginally more compressed, but you only notice this if you sit in front of the speaker like a man possessed and devote yourself to the very hard A/B comparison.

The situation is similar with the WL-20L, although you can actually no longer hear any difference in the sound of a guitar equipped with EMG pickups. Here too, a tiny bit more compression, which in practice is no longer noticeable on a noisy stage anyway.

The cable simulation that can be switched in the WL-50, however, behaves a little differently than you are used to with a cable. The simulation acts like a treble stop in the upper treble range, which is also the case with a longer cable, but without the interaction of the cable. The height diaphragm works absolutely evenly, which is not the case with a cable. You can't say it's better or worse here, it just sounds different.


Compromises on the Boss WL series

Now let's move on to the other side of the coin, where you can't really speak of a problem. However, you have to keep in mind that there are a few drawbacks to be taken into account with the Boss WL series, and not just with it.

On the one hand, there is the frequency band of 2.4 GHz, which is used by almost all providers in this price range due to its unrestricted usability. Anyone who has ever played on larger stages or had to play in difficult rooms knows the problem. For my part, I had to play on the Full Metal Cruise last week with a 2.4 GHz transmitter on the theater stage in the belly of an ocean liner, or I wanted to, but unfortunately it couldn't be implemented. Countless signal drops due to the strong interference forced me to resort to a cable again.

The second show took place outdoors, which enabled good signal flow, but only up to a maximum of 10 - 15 meters. After that it’s closing time here too. So anyone who thinks they want to leave the stage in the direction of the audience or something similar with flashy shows must be clear about the radius of their area of operation. You can expand the radius a little, e.g. B. places his tuner on the edge of the stage in the middle of the stage and connects it to the amp with a cable. But if you plug the receiver directly into the amp, depending on the size of the stage, you won't even reach the other side of the stage, mind you, all with a direct optical connection. If even one drum set is in the way, the range of motion becomes slightly smaller.

This means that you can still get around easily with the radio link in a club without major broadcasting systems, but you also have to take into account the horde of cell phone users who pound on the 2.4 GHz range during the show. Remember, 300 visitors equals 300 more stations in your frequency band.

For me personally, however, the main problem with the WL series is the protruding plastic body on Paula class guitars with the socket in the frame. What can be solved quite easily with a Strat, brings with it some problems with Paula-type guitars, both visually and in terms of handling. People can have different opinions about the appearance of a guitar, but if a plastic body that is almost 6 cm deep protrudes from an instrument made of wood, it looks anything but charming, especially since the body does not look like a guitar. B. with the XVive U2 at least something can be folded away.

The problem only really becomes noticeable when you want to use the wireless gaming feel for appropriate shows. In fact, it is only a matter of time before an artistic performance causes either the transmitter or, even worse, the entire input socket to break from its anchorage. In my opinion, you shouldn't use the WL series if you think you have a rampant in your ranks.


Conclusion

With the Boss WL series, Japan's leading manufacturer of FX pedals offers three uncomplicated, good-sounding guitar radio routes. If you want to quickly replace your cable with more freedom of movement, are not a proven showman and are not planning to use it on large stages, you should give the products a try.

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Additional Informations:



Boss is a brand of effects pedals and other musical equipment manufactured by Roland Corporation. The company was founded in 1973 by Ikutaro Kakehashi, who also founded Roland. Boss pedals are known for their durability, reliability, and wide range of sounds. They have been used by some of the most famous guitarists in the world, including Jimi Hendrix, Eric Clapton, and Eddie Van Halen.

The history of Boss pedals can be traced back to the early 1970s, when Kakehashi was working on a new type of guitar amplifier. He wanted to create an amp that would be more portable and affordable than the large, expensive amps that were available at the time. Kakehashi also wanted the amp to have a variety of built-in effects, so that guitarists could create a wide range of sounds without having to use separate pedals.

In 1973, Kakehashi released the Roland JC-120 Jazz Chorus amplifier. The JC-120 was a hit with guitarists, and it quickly became one of the most popular amps in the world. The amp's built-in effects, including chorus, reverb, and vibrato, were particularly popular, and they inspired Kakehashi to develop a line of standalone effects pedals.

In 1977, Boss released its first three pedals: the OD-1 Overdrive, the DS-1 Distortion, and the PH-1 Phaser. These pedals were an instant success, and they quickly established Boss as a leading manufacturer of effects pedals.

In the years that followed, Boss released a wide range of pedals, including the CE-1 Chorus Ensemble, the DD-3 Digital Delay, and the MT-2 Metal Zone. These pedals became essential tools for guitarists of all genres, and they helped to shape the sound of modern music.

Today, Boss is one of the most popular brands of effects pedals in the world. The company's pedals are used by guitarists of all levels, from beginners to professionals. Boss pedals are known for their durability, reliability, and wide range of sounds. They are an essential part of the modern guitarist's toolkit.

**Some of the most popular Boss pedals include:**

* OD-1 Overdrive
* DS-1 Distortion
* PH-1 Phaser
* CE-1 Chorus Ensemble
* DD-3 Digital Delay
* MT-2 Metal Zone

**Boss pedals have been used by some of the most famous guitarists in the world, including:**

* Jimi Hendrix
* Eric Clapton
* Eddie Van Halen
* Jimmy Page
* Stevie Ray Vaughan
* Kurt Cobain

**Boss pedals are known for their:**

* Durability
* Reliability
* Wide range of sounds
* Affordability

**Boss pedals are an essential part of the modern guitarist's toolkit.** They are used by guitarists of all levels, from beginners to professionals. If you are looking for a high-quality, reliable effects pedal, Boss is a great option.

**Here are some of the reasons why Boss pedals are so popular:**

* **Durability:** Boss pedals are built to last. They are made from high-quality materials and are designed to withstand the rigors of touring and everyday use.
* **Reliability:** Boss pedals are known for their reliability. They are built to last and are backed by a comprehensive warranty.
* **Wide range of sounds:** Boss pedals offer a wide range of sounds, from classic overdrive and distortion to more experimental effects.
* **Affordability:** Boss pedals are affordable, making them a great option for guitarists of all budgets.

## Digging Deeper into the History of Boss Pedals: From Innovation to Icon

While the previous article provides a solid overview, here's an even deeper dive into the history of Boss pedals, packed with more details and insights:

**Early Innovations and Market Disruption (1973-1980s):**

* **Birth of a Brand:** Ikutaro Kakehashi's vision for portable, affordable amps with built-in effects led to the JC-120 and the subsequent birth of Boss in 1973.
* **Compact Revolution:** 1977 marked a turning point with the release of the OD-1, DS-1, and PH-1 pedals. Their small size, robust build, and affordable price challenged the bulky, expensive rack effects then favored by professionals.
* **Pioneering Technology:** The DD-2 (1983) became the first mass-produced digital delay, opening doors for affordable, high-quality time-based effects. Boss continued pushing boundaries with innovative pedals like the VB-2 Vibrato (1982) and the GE-7 Graphic Equalizer (1979).
* **Collaboration and Artist Endorsement:** Early endorsements from renowned guitarists like Eddie Van Halen and Jimmy Page catapulted Boss pedals to iconic status. Strategic collaborations with Ibanez (TS-9 Tube Screamer) and MXR (M101 Distortion+) further widened their appeal.

**Expansion and Diversification (1990s-2000s):**

* **Multi-Effects Units:** Responding to changing trends, Boss introduced multi-effects units like the ME-50 (1991) and GT-3 (1996), offering diverse effects and processing power in a single unit.
* **Digital Dominance:** The DD-5 (1994) and DD-6 (1999) solidified Boss's leadership in digital delays, while advancements like COSM modeling technology on pedals like the GT-10 (2002) expanded sonic possibilities.
* **Boutique Appeal:** Recognizing the popularity of boutique pedals, Boss released limited-edition "Waza Craft" versions of classic pedals like the OD-1W and DS-1W, capturing vintage tones with modern refinements.
* **Expanding Palette:** Beyond stompboxes, Boss ventured into loopers with the RC-20XL (1998) and modulation effects with the MD-2 (1999), cementing their position as a comprehensive effects solutions provider.

**Adapting and Innovating in the Digital Age (2010s-Present):**

* **Embracing Digital:** The Katana Artist amplifier (2016) embraced digital modeling technology, offering versatile amp tones and onboard effects in a compact format.
* **Blending Analog and Digital:** The DD-200 (2017) and the MD-500 (2017) combined classic Boss tones with advanced digital features, showcasing the brand's ability to adapt to modern demands.
* **Connecting Musicians:** The Blues Cube series amps (2018) integrated wireless technology, reflecting the focus on digital connectivity and ease of use.
* **Future-Proofing:** The GX-100 (2021) offered powerful multi-effects processing with USB audio interface capabilities, catering to modern players who integrate recording and digital workflows.

**Beyond Pedals: A Legacy of Impact:**

* **Shaping Genre Sounds:** Boss pedals have played a crucial role in shaping the sounds of rock, blues, alternative, and countless other genres. The DS-1's distortion fueled heavy metal, while the CE-2 chorus defined countless 80s pop tracks.
* **Democratizing Effects:** By making high-quality effects accessible and affordable, Boss empowered musicians of all levels to explore sonic possibilities previously reserved for professionals.
* **Enduring Design and Philosophy:** The distinctive stompbox design and commitment to rugged construction have become synonymous with Boss. This "built-to-last" philosophy and user-friendly controls further contributed to their enduring popularity.

TEST: Boss Waza Tube Amp Expander

 One thing you have to hand it to Boss, you won't get bored with one of the biggest trademarks in the instrument sector. Even if not all of the new products of recent times have been a hit in terms of sound, the Asian company certainly cannot be accused of standing still when it comes to product policy. With the Boss Waza Tube Amp Expander, Boss ventures into an area that is brimming with tonal mines! You are planning nothing less than the complete volume and sound management of a full tube amp live and in the studio without the structurally-related sound losses beyond the sonic peak. Can you set an ambition higher? I do not think so.

The concept of the Boss Waza Tube Amp Expander

Through the new editions of various Boss floor effects under the “WAZA” label, the trademark, which should not be confused with Danish crispbread, has earned a good reputation among guitarists. Aware of this, Boss has also given this slogan to its new product, which presents itself as a Swiss army knife in terms of tube amplifier management.

The main selling point is a newly designed load box whose functionality goes far beyond the usual load boxes and is intended to minimize their main problems. More on that later. The product also offers an FX loop and a speaker simulation for direct input plus effects such as compressor, EQ, delay and reverb. The microphone type simulation and its distance from the speaker can also be varied and managed in up to 10 rigs using an app on the computer.

The load box of the Boss Waza Tube Amp Expander

Sometimes it is very important to read a single sentence of a product description to the end. I admit, when I heard the words “load box in front of a vintage amp,” I secretly felt my internal shutter drop. How often in my life have I listened to the full-bodied announcements from various manufacturers, who always advertised with the argument of “identical sound at room volume” and how often they all failed miserably.

Turning down the volume of an all-tube amp is very easy. Simply solder a few load resistors in series, provide cooling, and you're done. What is completely left behind, however, is the interaction of the amplifier with the loudspeaker, which, depending on the deflection / size / wattage / magnets, generates chaotic return currents, which, in conjunction with the amplifier's output stage, create a kind of give-and-take. Every component interacts with every other component, which is castrated with a simple load resistance and is accompanied by an equally eggless sound. What horrible sounds we didn't have in the eighties. have to experience.

Aware of this, Boss offers a circuit called “Reactive Load”. The Boss Waza Tube Amp Expander should not only be able to continuously minimize the output volume of the amplifier if necessary, but also be able to vary the resonance of different cabinets and speakers using the Resonance-Z and Presence-Z controls. According to the manual, various 4x12" cabinets can be built with Celestion Vintage 30, Greenbacks, G12T-75 or even Fender and Vox combos with corresponding 10" Alnicos or Jensen speakers. The built-in 100 watt power amplifier then raises the volume-reduced signal back to the final stage or rehearsal room volume.

I admit, the product information makes you curious. If the announcements come true, at least the philosopher's stone would be found live. I can already see whole hordes of FOH's from Boss populating the venues on their knees, thanking me, because the guitarists' eternal argument "it only sounds good loud" would finally be banished to the leftover ramp from the day before yesterday. My equipment arsenal includes, among other things: exactly a Boss preset (Marshall JCM 800 + Marshall 4x12" Closed + Celestion G12T-75), so I'm very curious to see how the Boss Waza Tube Amp Expander reproduces the original in the A/B comparison. However, I'm also very curious to see what a G12T-75 sounds like when it's supposed to simulate a Vintage 30. Despite all the euphoria, a touch of skepticism just won't go away.

Incidentally, the principle of the load box can also be reversed. A cute Fender Tweed Champ e.g. B. with its 5 watt output power can also be inflated to 100 watts using this principle and can therefore stand up to a dynamic drummer if necessary.

The front of the Boss Waza Tube Amp Expander

It goes without saying that you can't get the currents of a full tube amp under control with digital technology alone, which also explains the heavy weight of 6.8 kg. By the way, Boss once again shows its practical sense by giving the Boss Waza Tube Amp Expander extra high rubber feet. The product will probably sit primarily on the head and manages to stay above the carrying handle thanks to the high feet. I love practical details! However, Boss also supplies 2 rack wings so that the product can also fit in a 2U rack if necessary.

The panel with the load box and its three controls starts on the far left. Further to the right is the selector switch for the 10 different rigs, which can also be accessed with a foot switch. There is also a reverb control that can choose between 3 different rooms via software. The FX loop, the effects, a solo circuit and the amp itself can be activated or deactivated using 4 push buttons. A Line Out control manages the output level to the FOH / Studio Mixing Desk and a Phones control takes care of the volume of the headphone amplifier. Then the ON/OFF switch plus operating LED, done.

The back of the Boss Waza Tube Amp Expander

The back of the Boss Waza Tube Amp Expander is also very extensive. In particular, the line out section and the FX loop area have been extensively reworked in every respect in order to accommodate any form of floor pedals or 19" technology in the signal path. MIDI In / Out along with 3 footswitch inputs manage all switching processes that manage the different presets.

The Boss Waza Tube Amp Expander in practice

So, the tension is high as I put together my setup for the sound files, especially since flagship guitar YouTuber Tom Quayle doesn't leave out any superlatives in a nearly 9-minute Boss promotional video to describe the Boss Waza Tube Amp Expander as the hottest thing since the establishment of the Kemper algorithm to praise. However, I have to admit that the sound files in the promotional video made me a bit skeptical.

Well, let's take an original Marshall JCM 800, model 2204 and put a Marshall 4x12" with a Celestion G12T-75 on the back, the same preset that Boss uses, among other things. want to emulate in its factory settings. A nice average sound setting, gain at full stop, master at 12 o'clock. The whole thing is microfinished with 2 pieces. SM57 according to the Fredman method, i.e. everything once through the entire standard department. The sound is corresponding. With a Fame Ironfinger Forum IV (https://www.amazona.de/test-fame-forum-iv-e-gitarre/) as a signal generator, the sound is open, powerful, highly dynamic with the classic, throaty basic sound that this combination represents , in fact the blueprint of the New Wave of British Heavy Metal. Iron Maiden, Saxon, Judas Priest, you name it. Now the question is, can the Boss Waza Tube Amp Expander authentically recreate this sound with its DSP power?

The short answer: no

The long answer: In direct comparison to the original, the Boss Waza Tube Amp Expander also struggles with the same problems as all other reducers. The sound is less dynamic, more opaque and, above all, less powerful. What may not be perceived as strongly in the rehearsal room or on stage in a band context becomes even more apparent in the A/B comparison in the studio. As soon as the DSP starts working, the sound loses its character.

This doesn't have to mean that the sound delivered is bad, it just doesn't match the quality of the original. And here, in my opinion, the dog is biting its own tail. When it comes to bringing good to very good sounding amps to the stage or studio, there is a whole armada of excellent sounding amps that offer great sound at moderate volume even on small club stages. Boss, on the other hand, has targeted the admittedly difficult group of vintage amp nerds as its target group and I think there could be problems there.

Of course, I was also interested in the sound of the other speaker emulations, but unfortunately that didn't really change my mind. Take the example of emulating a Celestion Greenback in the “Classic Stack” preset and compare it with the G12T-75 from the “Brit Stack”. In the original, there are worlds of sound between the speakers; here the two sounds sound almost the same. You can't turn a G12T-75 into a greenback at the push of a button. To be clear, the Boss Waza Tube Amp Expander produces good sounds, most of which are far beyond what other manufacturers sell as emulation, but it fails in its ambitions.

For the sake of completeness, I also included 2 presets from the rig's factory settings. Everyone should make their own sound assessment.

Conclusion

With the Boss Waza Tube Amp Expander, the Asian manufacturer has set itself a very high goal, which is not quite achieved. The product cannot live up to the claim of taking away the immense volume at the tonal peak from a vintage amp and saving the sound components 1:1 into a moderate volume; the DSP mixes too much with a “rug over the speaker” and one Reducing the dynamics in the event. There is no question that the Boss Waza Tube Amp Expander is the best-sounding reducer of its kind to date, so everyone should find out for themselves whether the product is right for them.

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Additional Informations:

The story of Boss pedals, a name synonymous with robustness, innovation, and the shaping of musical sounds across genres, is deeply intertwined with the evolution of electronic music gear. This tale begins in the early 1970s, a period marked by rapid technological advancements and a burgeoning interest in electric guitar effects.

Boss is a brand name under Roland Corporation, founded by Ikutaro Kakehashi in Osaka, Japan, in 1972. Roland's inception was driven by Kakehashi's vision of creating new and innovative electronic musical instruments. Before Boss pedals came into existence, guitar effects were either built into amplifiers, like reverb and tremolo, or were large, cumbersome units that were not easily integrated into a musician's portable setup.

The genesis of Boss pedals can be traced back to the development of compact, easy-to-use, and reliable stompboxes that allowed musicians to alter their sound in real-time with their feet. The first breakthrough came in 1976 with the release of the B-100 The Boss, a preamp with clip-on pickup. However, it was the introduction of the CE-1 Chorus Ensemble in 1976 that truly marked Boss's entry into the effects pedal market. The CE-1, derived from the Roland JC-120 Jazz Chorus amplifier's built-in chorus effect, offered guitarists a lush, swirling chorus effect in a standalone unit for the first time.

Building on the success of the CE-1, Boss sought to innovate further. In 1977, Boss released the OD-1 Overdrive, the PH-1 Phaser, and the SP-1 Spectrum (a parametric equalizer), marking the first use of the now-iconic compact pedal design. This design was revolutionary, offering a robust, user-friendly format that could withstand the rigors of touring while providing guitarists with new sonic possibilities. The OD-1, in particular, became a staple for guitarists seeking to push their amps into warm, natural-sounding overdrive without excessive volume.

The compact pedal format was a hit, leading to the expansion of Boss's lineup. Throughout the late 1970s and 1980s, Boss introduced pedals that would become industry standards, including the DS-1 Distortion (1978), the SD-1 Super Overdrive, the CE-2 Chorus, and the DD-2 Digital Delay—the world's first compact digital delay pedal. Each pedal introduced innovations in sound processing technology, from the analog warmth of overdrive and distortion to the crystal-clear repeats of digital delay.

The DD-2 was a landmark product, utilizing the same technology as Roland's SDE-3000 rack unit but at a fraction of the size and cost. This pedal demonstrated Boss's commitment to bringing professional-quality effects to a wider audience, a philosophy that has guided the company since its inception.

In the 1990s, Boss continued to innovate, introducing the MT-2 Metal Zone, which became infamous for its aggressive distortion, and the TU-2 Chromatic Tuner, one of the first compact pedal tuners that became essential on many guitarists' pedalboards. The TU-2, in particular, showcased Boss's understanding of musicians' needs beyond effects, offering precise tuning in a durable, easy-to-use format.

Entering the 21st century, Boss didn't rest on its laurels. The company embraced digital technology to create pedals like the DD-7 Digital Delay, which offered more delay time and modes than ever before, and the RC loop station series, which revolutionized live performance for solo artists and experimental musicians.

Behind every pedal, from the earliest overdrives to the latest digital innovations, lies Boss's commitment to quality, reliability, and sound. This commitment has made Boss pedals a mainstay on pedalboards around the world, used by beginners and professionals alike.

The story of Boss is more than just a tale of technical innovation; it's a narrative about understanding and responding to the needs of musicians. Boss pedals have become integral to the sound of countless genres, from rock and metal to funk and electronic music. As we look to the future, Boss continues to innovate, ensuring that whatever new sounds emerge, Boss pedals will be at the forefront, shaping the music of tomorrow.