TEST: Danelectro 59

 Yes, who would have expected that. When Danelectro reappeared on the scene in the early 1990s, I wouldn't have thought it possible that "The Godfather Of Surf" would come out of the starting blocks so strongly again. Up to now I hadn't paid too much attention to the "cardboard guitars", but due to the clever and regular product maintenance, the name was reinitiated from year to year in order to finally confront even the last ignorant person with its existence.

In addition, the company has at least two trademarks that can be described as unique worldwide, a point that would make even the protagonists of the “overseas high-price faction” lick their fingers. The green lady is screwed, glued and “glued” as is almost always the case in this price segment in China.

The company, founded in 1947, has an eventful history behind it. Initially established as an amplifier manufacturer for Sears and Mongomery Ward, the company began building its own instruments in 1954. Despite the heyday of electric guitar manufacturing at the time, the company was unable to stay on the market and was closed again in 1969. In 1990 the label was rediscovered and reactivated.



Construction:

Dar Watzmann is coming! I'm sorry, what? Well, you can hardly imagine the shock I got when I peeled the instrument out of its packaging (cardboard box with foam sheet). Somehow a chemical reaction seemed to have affected several plastic parts during transport. An uneven discoloration of the pickguard and a streaky "contamination" of the side panels made me suspect something bad and, horrified, I contacted sales, only to be told the reassuring words: "Lean back and relax, that's what you want." Danelectro calls this “vintage” of the sales manager.

Wanted? Vintage? Guys, with all my love, if it's vintage, then also in a way that you can recognize it as vintage and not with the rudimentary look of a diffused Pattex remnant. It's all a matter of taste, but in my opinion rather counterproductive, especially since the rest of the instrument impresses with the usual Danelectro features.

As always with Danelectro, this body is hollow and is made up of a poplar wood frame laminated with Masonite. Masonite is a type of plastic that was also used to make boats at the time. This construction has the advantage that the weight of the instruments is very limited; no instrument exceeds the 3 kilogram limit. Of course, on the other hand, this design significantly limits the sustain of the instrument; if you expect singing and standing tones, you are completely at the wrong place with this design. However, if you are looking for crisp lines and percussive chords with a high level of assertiveness, you will find a good partner in this construction.

The neck of the instrument, which is attached to the body with 4 screws and equipped with a double-action truss rod, is made of maple and has a “male” “D” profile, the fingerboard is made of rosewood and has medium thickness Jumbo frets provided. The saddle is screwed from the headstock and made of aluminum. Six encapsulated and chrome-plated tuners do an impeccable job, although the previous “vintage orientation” is quite attractive here with a matt surface. The bridge construction allows for individual height adjustment of the individual riders and is attached to the body with a total of three screws.

In addition to the unusual body construction, Danelectro has of course also mounted its characteristic "Lipstick" pickups on the 59'Dano, which was actually created at the time by purchasing an overproduction of lipstick tubes due to the minimization of production costs. All you can see is the elegant chrome-decorated brass casing, no magnets or coils can be seen, which gives the concept a very dignified appearance. The pickups are fixed in height from the back with 2 screws each.

The instrument's circuitry is quite spartan; a three-way switch, a master volume and a master tone panel must be sufficient to carry out all switching operations.


Practice:

Anyone who puts a Danelectro in their recording studio or rehearsal room has to deal with one or two verbal statements, especially when it comes to a pastel-colored greenie like the 59' Dano. The palette ranges from an edgy (quote) “Yuck” to “what have you got there?” to “that’s crazy”.

Even without being amplified, the guitar has a fairly high basic volume due to its hollow body. Various factors already indicate the final amplifier sound. The hollow, percussive sound will most likely be reflected later in the electrified sound. And right, after the Danelectro is connected to the amplifier, the full sound spectrum is revealed.

Crisp in the mids, thinned out in the bass and a strong over-presence in the highs, just as you would expect. The bridge pickup in particular “bites” really hard. Its thin basic sound, coupled with low output power and a very close placement to the bridge, make a suitable equalizer setting a real challenge. The neck pickup, which is set quite far back, is much more appealing to me and can now handle the high frequencies tastefully. The use of both pickups is also very successful in terms of sound technology, which is why the bridge pickup also collects points in the B grade.

Stylistically, the 59'Dano scores particularly well in the clean and distorted areas. Their assertiveness within an average frequency fiasco within a band rehearsal or gig is very high and ensures easy location of the guitar playing. A pronounced “twang” paired with a rudimentary “pop” causes the instrument to repeatedly emerge from the tonal mass.


Conclusion:

To be honest, I could never imagine a Danelectro in a massive flight case. Like his brothers and sisters, the 59' Dano exudes a carefree attitude that is rarely found. Somehow you have the feeling that you have found the electrified counterpart to the acoustic touring guitar. Put it in a reasonably sturdy bag, strap it to your back, a small travel amp, battery-operated of course, and off you go on vacation. You might think I'm crazy, but this is always a Danelectro association, which I also associate with the 59'. Long-haired lout joins Beach Boys ;-)

The guitar has something, whatever it may be. Away from the high-end mania, you'll find a spontaneous rock-pop-surf comrade in the 59', which is about as casual as a holiday flirt. The instrument also knows how to please as a second guitar with its high degree of independence.

One thing is definitely certain, you can hardly stand out more than with a Danelectro in this price category. As an entertaining eye-catcher, boat builder's favorite has once again left everything behind, so you can even forgive him for his “vintage attempt” ;-)

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Additional Informations:

Danelectro Guitars holds a unique place in the annals of musical instrument history. From its humble beginnings in the mid-20th century to its enduring influence on guitar design and popular music, the company's journey is one of innovation, resilience, and artistic expression. In this comprehensive article, we delve deep into the fascinating origin story of Danelectro Guitars, tracing its evolution, pivotal moments, and lasting impact on the world of music.

The Birth of Danelectro:
The story of Danelectro Guitars begins in the late 1940s when Nathan Daniel, a visionary entrepreneur and inventor, founded the company in New Jersey, USA. Drawing on his background in electrical engineering and a passion for music, Daniel set out to create affordable yet high-quality instruments that would inspire aspiring musicians and seasoned professionals alike. Thus, Danelectro was born, with a mission to democratize access to musical expression through innovative guitar design.

Innovative Design Philosophy:
One of Danelectro's defining features was its unconventional approach to guitar construction. In an era dominated by traditional solid-body guitars, Nathan Daniel sought to challenge the status quo with bold and innovative designs. The company's early instruments, such as the U1 and U2 models introduced in the 1950s, featured lightweight masonite bodies, lipstick tube pickups, and distinctive aesthetics that set them apart from the competition. These guitars offered a unique blend of affordability, playability, and tonal versatility, making them popular choices among musicians of all genres.

Iconic Models and Signature Sounds:
Throughout the 1950s and 1960s, Danelectro continued to innovate and expand its product line, introducing iconic models like the DC-59, the Longhorn bass, and the 12-string electric guitar. These instruments not only showcased Danelectro's commitment to innovative design but also contributed to the sonic landscape of popular music. From surf rock to country, blues, and beyond, Danelectro guitars left an indelible mark on countless recordings and performances, thanks to their distinctive tone and character.

The Silvertone Connection:
In addition to producing guitars under its own name, Danelectro forged partnerships with other companies to manufacture instruments under different brand names. One of the most notable collaborations was with Sears, Roebuck and Co., which marketed Danelectro-built guitars under the Silvertone brand. These guitars, sold through Sears' mail-order catalog, helped expand Danelectro's reach to a broader audience and solidify its reputation for quality and affordability.

Enduring Influence and Legacy:
Although Danelectro experienced various ownership changes and business challenges over the years, its legacy endured, fueled by a passionate community of musicians, collectors, and enthusiasts. In the late 1990s, the brand experienced a resurgence in popularity, thanks to a renewed interest in vintage instruments and a growing appreciation for its retro aesthetic and unique tonal character. Today, Danelectro guitars continue to be sought after for their distinctive sound, playability, and affordability, inspiring a new generation of players and keeping the spirit of innovation alive.

Innovations in Guitar Technology:
Beyond its iconic designs, Danelectro made significant contributions to guitar technology, particularly in the realm of effects pedals. In the 1960s, the company introduced the Danelectro Reel Echo, a tape echo unit that became a staple of studios and stages around the world. This innovative pedal offered musicians a compact and affordable alternative to traditional tape echo machines, revolutionizing the way they approached live performance and recording.

Revival and Rebirth:
In recent years, Danelectro has experienced a resurgence in popularity, thanks in part to its commitment to honoring its heritage while embracing modern advancements in guitar design and manufacturing. The company has reissued classic models, introduced new designs, and expanded its product line to cater to the diverse needs and preferences of today's musicians. With a focus on quality, affordability, and innovation, Danelectro remains a beloved and iconic brand in the world of electric guitars.

Exploring Danelectro's Impact on Music Culture:
Danelectro Guitars not only shaped the sonic landscape of popular music but also became cultural icons in their own right. Musicians from various genres gravitated towards Danelectro instruments for their distinctive sound, unique aesthetics, and affordability. In the world of rock and roll, artists like Jimmy Page of Led Zeppelin and Syd Barrett of Pink Floyd famously wielded Danelectro guitars, infusing their music with the instruments' characteristic twang and grit.

In the surf rock genre, Danelectro guitars played a central role in defining the genre's signature sound. Bands like The Ventures and Dick Dale utilized Danelectro models to create the reverb-drenched tones and energetic melodies that became synonymous with surf rock's sun-soaked aesthetic. The shimmering, percussive qualities of Danelectro's lipstick tube pickups became a hallmark of surf rock recordings, inspiring countless musicians to chase after that quintessential surf sound.

Danelectro's influence extended beyond rock and surf to encompass a wide range of musical styles. In country music, artists such as Duane Eddy and Willie Nelson embraced Danelectro guitars for their twangy, twirling tones that perfectly complemented the genre's rootsy sensibilities. Blues players, too, found inspiration in Danelectro instruments, harnessing their gritty, expressive sound to convey the raw emotion and soulful expression of the blues.

The affordability and accessibility of Danelectro guitars also played a crucial role in democratizing music-making, allowing aspiring musicians from all walks of life to access high-quality instruments without breaking the bank. This democratization of music equipment helped fuel the proliferation of garage bands and home recording studios, empowering countless individuals to explore their creativity and share their music with the world.

Danelectro's Enduring Appeal:
Despite the passage of time and changing trends in the music industry, Danelectro Guitars have maintained a devoted following among musicians, collectors, and enthusiasts. The brand's vintage instruments have become sought after collectibles, prized for their historical significance, unique design features, and iconic status in popular culture. Guitarists continue to seek out Danelectro guitars for their distinctive sound, playability, and retro charm, ensuring that the brand's legacy remains alive and well in the 21st century.

In recent years, Danelectro has embraced its heritage while embracing modern advancements in guitar design and manufacturing. The company has introduced reissues of classic models, such as the '59M NOS+ and the '64, faithfully recreating the vintage aesthetics and tonal characteristics that made the originals so beloved. Additionally, Danelectro has expanded its lineup to include new designs and innovative features, appealing to a new generation of players while honoring the brand's rich legacy.

Conclusion:
The story of Danelectro Guitars is a testament to the enduring power of innovation, creativity, and cultural influence. From its humble beginnings in the post-war era to its status as a beloved and iconic brand in the world of electric guitars, Danelectro has left an indelible mark on music culture. Through its innovative designs, signature sounds, and commitment to accessibility, Danelectro has inspired generations of musicians to explore their creativity, push the boundaries of musical expression, and forge their own musical identities. As the company continues to evolve and adapt to the ever-changing landscape of the music industry, one thing remains certain: the legacy of Danelectro Guitars will continue to resonate with musicians and music lovers for generations to come.

TEST: Crown XLS 2500

 Easy easier easiest. When UPS recently delivered me a package that was clearly identifiable as a power amplifier based on its external appearance, I once again asked myself whether the contents of the package had not been accidentally forgotten. It still amazes me how much weight has been saved in recent years thanks to Class D technology, especially in the area of power amplifier technology.

No company can ignore this development, even traditional companies like Crown, which are part of the Harman Group's sales fleet, are almost completely saying goodbye to the beloved toroidal transformer. With the XLS series, the manufacturer offers high performance with very low weight, which are two unbeatable arguments, especially in the area of portable loudspeaker systems, as long as functionality and headroom do not suffer. I have the 2500 model for testing, which is also the most powerful test model in the XLS series.




construction

The XLS 2500 comes with standard 2U dimensions and actually weighs just 4.9 kilograms, while the competition usually weighs 3 to 4 times as much. A power amplifier rack with, for example, 4 units would be reduced from around 70 kilograms to just 16 kilograms! In terms of performance, the stereo power amplifier offers 2x 775 watts/4 ohms, 2x 440 watts/8 ohms and 2x 1200 watts/2 ohms, in bridge mode 1550 watts at 8 ohms, 2400 watts at 4 ohms. Unfortunately, it was not possible to find out where the product was manufactured, and it is relatively difficult to obtain further information about the product, such as the slew rate.

Due to the technical complexity of modern power amplifiers, the number of special circuitry solutions and their trademarks has recently increased massively. For example, the XLS 2500 has the patented DriveCore technology, which is intended to optimize the interaction with the alternating current, or the also protected PureBand Crossover System. Finally, the Peakx limiter used internally also shines in the best trademark style, all with the American TM trademark.

Visually, nothing today reminds one of the black powerhouses of the past decades, and Crown is no exception. The brushed aluminum frame used on the front, in combination with flawless workmanship, is also appealing for a product that usually lives an unnoticed existence in a power amplifier rack and only becomes a thing when it fails to operate.

Sufficiently screwed side wings and the 19 inch screw options on the back that are common with powerful power amplifiers give the product the necessary stability in the rack. However, I recommend operating the product exclusively in a rack for reasons of stability, as the general sheet metal thickness is sufficient but not excessively massive. Only the potentiometer knobs of the level controls sit a bit wobbly on their axes, a point that can, however, be ignored.

The front of the product is characterized by an opulent intake opening, which is responsible for cooling the product. The power amplifier is cooled exclusively via air circulation, which sucks in the air at the front and removes it at the back. In addition to the usual level controls and a five-digit LED display, which provides information about the signal display, -10 dB, -20 dB, clip and thermal compression functions, the XLS series has a menu display in which different components of the integrated processing functions are displayed using three push buttons set and have checked. The on/off switch is also on the front.

On the back, the product has all relevant inputs and outputs plus a few special features. In addition to the standard jack or XLR, RCA plugs (one per channel) are also available on the input side. Speakon, screw terminal connections for bare wire or banana plugs are available on the output side.

The product is delivered from the factory in stereo bypass mode. Of course, operation in bridge mode or crossover mode is also possible, with the latter being managed via the menu control. 71 crossover frequencies between 50 Hz and 3 kHz combined with a state-variable Linkwitz-Riley filter are available for the PureBand Crossover system. Alternatively, the system can also be operated in high-pass or low-pass mode.


Practice

A simple test reveals one of the big advantages of the XLS 2500 after just a short time. The ventilation system is one of the best I have ever experienced. Despite the maximum power requirement, it takes almost 10 minutes for the ventilation to move at all, and then it is so quiet that you have to explicitly check how the fan is working. Even after twice the time, the product remains almost cold, which indicates an excellent working point in terms of power output/waste heat.

With 2.27 cubic meters of air flow per minute, the air flow is actually moderate and is hardly noticeable due to the large ventilation opening, which looks quite similar to an American road cruiser. In terms of sound, the XLS 2500 proves to be neutral, just as befits a modern power amplifier. Everything is fine, no problems whatsoever.



Conclusion

The Crown XLS 2500 leaves a very good impression. In addition to a visually appealing design and ambitious performance features, the product impresses with its extremely low weight of less than 5 kilograms and very good, respectively quiet cooling, which also makes the product interesting for acoustically sensitive installations such as theaters or lectures.

Due to its low weight, the product will primarily be used in the transportable sector, with an average weight saving of almost 70% compared to similar products. In terms of processing technology, the power amplifier meets all the requirements for long-term use; only the relatively thin ventilation panel on the front suggests operation in a rack. If you look long enough, you may find a point of criticism about the design, but for me personally, “unfortunately” I only have the maximum number of points!

A very good product!

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Additional Informations:


In the realm of professional audio equipment, few names command as much respect and recognition as Crown Amplifiers. Renowned for their exceptional sound quality, reliability, and innovation, Crown has solidified its position as a leader in the industry. However, the journey to prominence was neither swift nor straightforward. This article delves into the rich and multifaceted history of Crown Amplifiers, tracing its roots, pivotal moments, and technological breakthroughs.

Early Beginnings:
The story of Crown Amplifiers traces back to 1947 when Clarence C. Moore, an engineer with a passion for audio electronics, founded the company in Elkhart, Indiana. Initially named International Radio and Electronics Corporation (IREC), the company focused on manufacturing high-fidelity audio components for both professional and consumer markets. Moore's dedication to quality and innovation laid the groundwork for what would become Crown's enduring legacy.

Pioneering Innovation:
One of Crown's early breakthroughs came in 1953 with the introduction of the DC300 amplifier. This groundbreaking device marked the industry's transition from tube-based amplification to solid-state technology. The DC300 offered unprecedented power and reliability, setting new standards for audio performance in both recording studios and live sound reinforcement applications. Its success established Crown as a trailblazer in the field of amplifier design.

Expansion and Diversification:
Throughout the 1960s and 1970s, Crown continued to expand its product line and cement its reputation for excellence. The company diversified its offerings to include power amplifiers, preamplifiers, mixers, and signal processors, catering to the evolving needs of audio professionals worldwide. Crown's commitment to innovation was evident in products like the Macro-Tech series, which introduced advanced features such as Power Factor Correction (PFC) and Grounded Bridge topology, further enhancing performance and reliability.

Enduring Excellence:
Despite changes in ownership and market dynamics over the years, Crown remained steadfast in its pursuit of excellence. In 2000, the company became part of the Harman International family, a move that provided access to greater resources and expertise while preserving Crown's distinctive identity and commitment to quality. Under Harman's stewardship, Crown continued to push the boundaries of audio technology with innovations like the DriveCore™ amplifier platform, which offered unprecedented power density and efficiency.

Global Impact:
Crown's influence extends far beyond its headquarters in Elkhart, Indiana, reaching every corner of the globe. The company's products have been integral to some of the world's most iconic sound reinforcement installations, from concert venues and stadiums to theaters and houses of worship. Crown amplifiers are prized for their robust construction, exceptional sound quality, and unmatched reliability, making them the preferred choice of audio professionals everywhere.

Looking Ahead:
As Crown Amplifiers enters its eighth decade of operation, the company remains committed to pushing the boundaries of audio technology and providing solutions that empower audio professionals to achieve their creative vision. With a legacy built on innovation, reliability, and uncompromising quality, Crown continues to set the standard for excellence in professional audio amplification.

Innovative Engineering:
One of the defining characteristics of Crown Amplifiers is their relentless pursuit of engineering excellence. Throughout its history, the company has introduced numerous technological innovations that have redefined the capabilities of audio amplification. For example, in 1975, Crown unveiled the groundbreaking PSA-2 Power Amplifier, which featured the industry's first use of complementary symmetry output circuitry. This innovation significantly improved efficiency and reduced distortion, setting a new standard for amplifier performance.

Strategic Partnerships:
Crown's success can also be attributed to strategic partnerships and collaborations with leading industry players. In the 1980s, Crown formed a strategic alliance with JBL Professional, a renowned manufacturer of loudspeakers and sound reinforcement systems. This partnership led to the development of integrated audio solutions that seamlessly combined Crown's amplification technology with JBL's speaker systems, delivering unparalleled performance and reliability.

Market Expansion:
Throughout the latter half of the 20th century, Crown focused on expanding its presence in global markets. The company established a network of distributors and authorized dealers worldwide, enabling it to reach customers in diverse industries and geographic regions. Crown's commitment to customer service and support played a crucial role in its international expansion, fostering long-term relationships with audio professionals and organizations around the world.

Technological Advancements:
In the 21st century, Crown continued to innovate with the introduction of digital signal processing (DSP) technology in its amplifiers. The XTi series, launched in 2004, integrated powerful DSP capabilities into Crown's amplifier platforms, allowing users to fine-tune and optimize audio performance with unprecedented precision. This marked a significant shift in the industry towards digital audio processing, paving the way for more flexible and efficient sound reinforcement systems.

Sustainable Practices:
In addition to technological innovation, Crown has demonstrated a commitment to sustainability and environmental responsibility. The company has implemented eco-friendly manufacturing processes, reduced energy consumption in its facilities, and adopted recyclable materials in its product packaging. Crown's efforts to minimize its environmental footprint reflect its dedication to corporate social responsibility and its recognition of the importance of sustainable business practices.

Community Engagement:
Beyond its commercial endeavors, Crown has been actively involved in supporting the audio community through educational initiatives, training programs, and industry events. The company has sponsored workshops, seminars, and trade shows aimed at sharing knowledge, fostering professional development, and promoting best practices in audio engineering and sound reinforcement. Crown's engagement with the audio community underscores its role as a trusted partner and resource for audio professionals worldwide.

Looking Forward:
As Crown Amplifiers looks to the future, it remains focused on innovation, quality, and customer satisfaction. The company continues to invest in research and development to pioneer new technologies and advance the state of the art in audio amplification. With a legacy built on a strong foundation of engineering excellence and a commitment to meeting the evolving needs of its customers, Crown is poised to continue shaping the future of professional audio for years to come.

In conclusion, the story of Crown Amplifiers is a testament to the transformative power of innovation, collaboration, and a relentless pursuit of excellence. From its humble beginnings in the mid-20th century to its status as a global leader in professional audio technology, Crown has consistently pushed the boundaries of what is possible in sound reinforcement. As the company looks ahead to its next chapter, one thing is clear: the legacy of Crown Amplifiers will continue to resonate with audio professionals and enthusiasts alike for generations to come.

TEST: Crafter D8

Asians are a funny bunch when it comes to naming companies. Well, the common Western European lacks any ability to pronounce an Asian name correctly, but let's be honest, how many Asian companies with a name typical of the country are there actually, if you leave Sony out of the equation? Who would suspect an Asian company behind seemingly Mediterranean names like Ibanez or Aria?

I had a similar experience with the Crafter guitar I was testing. Well, of course I've already revealed everything, but the company name certainly doesn't sound Korean. What many musicians don't know, however, is the fact that many Asian companies have a tradition in instrument making that goes back more than a hundred years. In terms of wealth of experience, the West is in fact no match for the East.

Crafter's origins date back almost four decades. Founded by a single man, HyunKwong Park, in the early 1970s, he and four employees began building guitars for the Korean market in the basement of his home. In 1986, junior boss In-Jae Park founded his own label Crafter. 60,000 (!!!) guitars now leave what is probably Asia's most modern instrument factory every year. Just imagine the number, based on a 6 day week, this is almost 200 guitars per day!

For testing, I have the DE-8/N from the SUNG-EUM Music Imperium, a guitar that looks like an old friend to me due to its visual appearance.


construction

In terms of size, the Crafter DE-8/N is a typical dreadnought, which has been provided with a cutaway to make it easier to play at higher altitudes. The top is made of solid Engelmann spruce, an originally fast-growing tonewood from western North America, but primarily slow-growing wood from higher-altitude growing regions is used to make instruments.

The rosette of the sound hole was decorated with a narrow border. In terms of color, it appears to be abalone, but unfortunately I was unable to find out whether this is the case or whether it is a true-color copy made of plastic. To protect the top from excessive use of the pick, a nicely curved pickguard was glued to the top.

The back, sides and neck of the instrument are made of mahogany, and rosewood was used for the fingerboard and bridge. In terms of shaping, the neck has a moderate “D”, not too thin, but not a massive beating either, just a good “average”. A simple binding was attached to the frame edges at both the ceiling and base ends. Except for the neck, the instrument is painted in a high gloss. The paintwork is applied cleanly without any inclusions or noses, and the entire production meets all requirements, only in the lower binding there was a small, colored inclusion in the cutaway bend.

Even a look inside the body reveals no defects in terms of workmanship. Despite CNC manufacturing, nothing is frayed when it comes to the wood and there is no glue leak when it comes to putting it together, everything is done very cleanly. The instrument has a continuous plastic bridge, which, however, is slightly offset to the rear in favor of intonation on the B and E strings. Six smooth-running, encapsulated 3:3 tuners with kidney-shaped plastic pegs do a flawless job, and the long scale length of just under 65 cm was chosen as the scale length.


A combination of L.R.Baggs, the LR-T Pro system, was chosen as the pickup together with the built-in tuner. In addition to a three-band tone control and a volume control, it also has a scoop slider that can be adjusted up to -6 dB (a bass reduction to prevent feedback problems during live use) and a phase switch to reduce a feedback signal.



Practice

What does the ambitious guitarist do first when he picks up the guitar? Logically, he tunes his instrument. A small “Oho” effect sets in as soon as you put the integrated tuner into operation. The tuner shows the user the way using two small, somewhat difficult to see arrows, and then switches from an orange background lighting to a strong green when the mood is correct. A very nice detailed solution, visually tastefully integrated and very easy to see even in poor lighting conditions.

Unamplified, the instrument's high-pitched basic sound is noticeable, coupled with dynamics that are unexpected for this price range. The depth of the sound is still a little brittle, but this will certainly subside after the instrument has had the necessary break-in time. What may sound a little sharp when playing solo, depending on your personal taste, is convincing with increased assertiveness when playing as a band. Especially when the mid-heavy high-gain board of a humbucker guitar completely seals off the low-mid range, the DE-8 is light and airy with its “high-heavyness” above the typical guitar range and therefore knows how to hold its own very well in the overall sound.

When it comes to pickup operation, the L.R.Baggs system has the typical piezo sound, which means a rather thin basic sound, which, with appropriate equalizer support, can hold its own in the sound of a rock band. When set flat, the sound of the pickup is definitely not convincing, but with a corresponding increase in the bass and treble ranges, the sound loosens up significantly.

For a guitar in this price range, the pickup system sounds surprisingly good, although the pickup will only be used in the live segment. As with many other piezo pickups, the highs in particular are designed to be too hard and brittle for studio use, unless you want to quickly put together a demo.

However, if the guitar is recorded completely acoustically with appropriate microphones, the individual components of the guitar can also impress in the studio. Here the guitar can show off its strengths in the form of dynamics and sound culture, which are in a good midfield.



Conclusion

The Crafter DE-8/N is a recommended acoustic guitar from the highly competitive mid-range segment with a retail price of €500. The workmanship, sound culture and the components used are in good relation to the price and make the instrument appear to be a valuable purchase.

When it comes to pickup, a system was chosen with a L.R.Baggs LR-T Pro, which cuts a good figure especially in live operation with various features such as phase position and scoop function.

A good guitar at a good price.

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Additional Informations:


Established in 1972, Crafter Guitars has emerged as a distinguished player in the world of acoustic instrument manufacturing, renowned for its unwavering commitment to quality, innovation, and artistic craftsmanship. The illustrious journey of Crafter Guitars traces its origins to the bustling metropolis of Yeongcheon, South Korea, where a small team of visionary artisans embarked on a quest to redefine the standards of acoustic excellence. Over the decades, Crafter has transcended boundaries, captivated audiences, and earned accolades for its meticulous attention to detail, superior tonal properties, and innovative design concepts. Delving into the enthralling narrative of Crafter Guitars unveils a rich tapestry of ingenuity, resilience, and artistic passion that continues to resonate with musicians and enthusiasts worldwide.

### Origins and Early Beginnings:
Crafter Guitars' journey commenced in 1972, against the backdrop of a burgeoning musical landscape characterized by a burgeoning demand for high-quality acoustic instruments. Founded by HyunKwon Park, Crafter began as a modest workshop in Yeongcheon, South Korea, where Park's visionary leadership and uncompromising dedication to craftsmanship laid the foundation for the company's enduring legacy. Drawing upon a rich heritage of woodworking traditions and a deep-seated passion for music, Park and his team embarked on a quest to craft instruments of unparalleled quality and sonic excellence.

### Evolution and Expansion:
As Crafter Guitars garnered acclaim for its exceptional instruments, the company embarked on a trajectory of expansion and innovation, driven by a relentless pursuit of excellence and a commitment to pushing the boundaries of acoustic instrument design. In the ensuing years, Crafter's reputation as a purveyor of fine guitars continued to soar, propelling the company onto the global stage and earning the admiration of musicians and aficionados alike.

### Strategic Partnerships and Collaborations:
Crafter Guitars' ascent to eminence was further catalyzed by strategic partnerships and collaborations with industry luminaries and renowned artists. By leveraging the expertise and insights of seasoned professionals, Crafter honed its craft, refined its designs, and introduced a slew of innovations that set new benchmarks for acoustic instrument performance and playability. Collaborations with acclaimed musicians not only bolstered Crafter's credibility but also served as a testament to the company's unwavering commitment to serving the needs of musicians at every level of expertise.

### Craftsmanship and Quality Control:
At the heart of Crafter Guitars' success lies a steadfast commitment to craftsmanship and quality control. Each Crafter instrument is meticulously crafted by skilled artisans who imbue every piece of wood with care, precision, and attention to detail. From the selection of premium tonewoods to the final assembly and setup, Crafter maintains rigorous quality control standards to ensure that each instrument meets the exacting specifications and discerning expectations of musicians worldwide. This unwavering commitment to quality has earned Crafter Guitars a reputation for excellence and reliability, making it a trusted choice among professionals and enthusiasts alike.

### Innovation and Technological Advancements:
Crafter Guitars' relentless pursuit of innovation has been a driving force behind its continued evolution and success. By embracing cutting-edge technologies and manufacturing techniques, Crafter has pushed the boundaries of acoustic instrument design, introducing groundbreaking features and proprietary innovations that enhance playability, tonal versatility, and overall performance. From advanced bracing patterns and neck joint designs to proprietary pickup systems and ergonomic enhancements, Crafter continues to innovate, ensuring that its instruments remain at the forefront of acoustic excellence.

### Sustainability and Environmental Stewardship:
In an era marked by growing environmental awareness and concern, Crafter Guitars remains committed to sustainability and environmental stewardship. Recognizing the importance of responsible resource management, Crafter sources its tonewoods from sustainably managed forests and implements eco-friendly manufacturing practices to minimize its ecological footprint. By prioritizing sustainability and ethical business practices, Crafter Guitars seeks to preserve the natural beauty of the world's forests while ensuring the longevity of its craft for generations to come.

### Global Reach and Community Engagement:
With a global network of distributors and dealers spanning continents, Crafter Guitars has established a formidable presence in the international market, reaching musicians and enthusiasts in every corner of the globe. Beyond mere commerce, Crafter fosters a vibrant community of musicians and enthusiasts through various outreach initiatives, events, and educational programs. By engaging with its audience and nurturing meaningful connections, Crafter Guitars transcends the role of a mere manufacturer, evolving into a cultural institution that celebrates the transformative power of music and craftsmanship.

### Conclusion:
In conclusion, Crafter Guitars' journey from humble beginnings to global prominence stands as a testament to the enduring power of vision, passion, and perseverance. Through decades of relentless innovation, unwavering dedication to craftsmanship, and a steadfast commitment to quality and sustainability, Crafter has carved a niche for itself as a leading purveyor of fine acoustic instruments. As the company continues to push the boundaries of acoustic excellence and inspire musicians around the world, Crafter Guitars remains poised to shape the future of acoustic instrument design and redefine the standards of sonic excellence for generations to come.

TEST: Cort KX 300

 If you wanted to throw a question along the lines of “Name me an Asian guitar maker”, 99.9% of all participants addressed would probably answer with the name “Ibanez”. Perhaps the name ESP or perhaps even Schecter or Yamaha would be mentioned here and there, but the manufacturer Cort would certainly not be mentioned. It would be wrong to say that the Korean manufacturer is one of the largest guitar producers in the world. Many musicians will not realize that the Korean manufacturer's production machines are responsible for far more instruments than the headstock of the instruments suggests. For example, the manufacturer works as an OEM producer for the companies Fender, Schecter, Ibanez and G&L. With the Cort KX 300 Etched Black Red we now have another model from the Korean manufacturer, which is clearly out of the ordinary, especially visually.

The construction of the Cort KX 300 Etched Black Red

If you want to be successful in the commercial sector in Korea, you have to fight very hard. You can therefore assume in advance that the instrument will not fall below a minimum level of quality. Furthermore, it also suggests that the company, which emerged from the Cor-Tek company in 1973, still exists today, although in 2007 a few very black marks were left on the manufacturer's vest in the form of worker uprisings due to inhumane working conditions. Back to the actual instrument.

Let's go straight into the details when it comes to the appearance of the instrument. An ash top was attached to the Strat-like mahogany body, which appears to have been sandblasted. The resulting depressions were colored red, while the remaining surface remained black. All other sides of the body, such as the back or sides, were also finished in matt black, which also have subtle recesses in the wood structure. Although cleanly executed, the bright white binding looks a bit “plastic-like”, which is probably due to the retail price of €549 for the instrument, which is made in Indonesia.

The 4-fold screwed neck consists of 3 strips and was once again provided with the currently very popular Pau Ferro as fingerboard wood, a wood that is said to have the vibration properties of rosewood, but which is a little lighter and, above all, has no problems in the area of species protection. In order to design the headstock according to the Cort trademark, 2 small pieces of wood were added to the bottom area, so that the headstock consists of a total of 5 strips of wood.

The instrument has a long scale length of 648 mm and 24 frets. The entire hardware is made of the slightly darker shimmering Black Nickel, consisting of 6 encapsulated tuners and a hardtail bridge, with the strings being led through the body.

The pickups

Particular attention should be paid to the built-in pickups. These are EMG RetroActive Super77 humbuckers in the black/red coil arrangement, which visually harmonize perfectly with the instrument. The question arises as to which came first, the chicken or the egg, maybe Cort designed the color scheme of the instrument around the layout of the pickups, who knows.

If the typical EMG 81 / 85 combination had been mounted on the instrument, the equally typical Hard'n'Heavy Powerstrat would have been complete, but things turned out differently. The special thing about the Super77 pickups is the fact that EMG, who have turned very successfully to the passive pickup market in recent years, have also used a passive humbucker as a basis, but have equipped it with an internally installed preamp. The pickup has the same advantages of the legendary active representatives cast in synthetic resin in the form of very low background noise and low impedance, but in return it has the resonance behavior of a passive pickup. A 9V battery is also required for the active circuit, which can be accessed via a flap on the back of the body.

In the Super77 version, EMG has taken the typical guitar tone of the seventies as a starting point, that high-pitched and very dynamic tone that depends very much on the volume control of the respective instrument. The sound of the seventies with an instrument layout of the eighties? Maybe the coloring just fit way too well... ;-) Otherwise, one volume control, one tone control, both relatively stiff in the speed dome version, a three-way switch, done.

The Cort KX 300 Etched Black Red in practice

First of all, if you don't like fingerprints on your instrument, you will only want to touch the Cort KX 300 Etched Black Red with gloves. Matte black has the unpleasant characteristic of depicting every “groper” directly on the surface. Nothing can be seen on the ceiling, but the back is completely “bapped” within a short time. Long live the cleaning cloth!

Unamplified, the Cort KX 300 Etched Black Red conveys a very high-pitched basic sound. Once again, the fact that the neck is primarily responsible for the overall sound of an instrument can also be clearly understood with this instrument. The screwed neck construction supports the fast attack and the bridge construction, which has no friction losses, works in conjunction with the other components to generate an astonishing sustain, which is only minimally slowed down by very few resonance peaks. A very good first impression.

When connected to the amplifier, you then receive confirmation of what the dry test has already specified. For a double humbucker constellation, the Cort KX 300 Etched Black Red sounds unusually lively, without lacking in pressure. The instrument's response is fast and crisp and allows for moderate level implementation even in the clean range. Some instruments that are delivered with the EMG classics sometimes have problems not overrunning the amp, which is not the case with the Super77. You can clearly hear the preamp, which has a very positive effect in terms of linearity and coloring.

However, the pickups can generate the real highlights in the crunch and lead areas, which, as already mentioned, has to do with the excellent interaction with the amplifier with variable volume control settings. To show how much the pickups depend on the volume control, I created two sound files, which initially work with almost 20% control and then work up to 100%. You get the impression that up to around 80% the control path corresponds to a regular passive pickup, and then in the last few meters it is topped up with a kind of subtle booster. This means that an ambitious crunch sound can be reduced to almost clean, or a decent lead sound at a crunch level.

The seventies character of the pickups always remains in the foreground, i.e. the guitar easily maintains the classic “Höhennöhl” even with higher gain passages. Very suitable for classic rock, AOR and of course for any oldie band whose material is primarily drawn from the decades 60 and 70.

Of course, the Cort KX 300 Etched Black Red can also do high gain, but in a modified form. Even with maximum gain, the passive character of the pickups is always retained and therefore produces a sound that has a resonance frequency above the classics 81 / 85 etc. and does not have anywhere near the high degree of their own compression. The sound remains more dynamic and is better understood in detail. So a lot of what would otherwise be pure metal in the EMG cosmos suddenly becomes much more hard rock. Very nice if you're looking for a little less pounds and a little more character.

Conclusion

With the Cort KX 300 Etched Black Red, the Koreans have an instrument on the market that offers a lot of quality for a moderate price. The elaborate look and especially the EMG RetroActive Super77 humbucker pickups offer far more than what you would otherwise expect from an instrument under the €600 mark. If the unusual look doesn't bother you, perhaps even excites you, if you find your tonal ideals in the most innovative decade of guitar sounds, and if you don't mind minor blemishes like the somewhat uninspired binding, you should definitely give the instrument a try.

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Additional Informations:

Cort Guitars stands as a beacon of innovation and excellence in the world of guitar manufacturing, renowned for its meticulous craftsmanship, cutting-edge designs, and unwavering commitment to quality. Delving into the technical intricacies of Cort's diverse portfolio reveals a tapestry of features and innovations that cater to the discerning needs of musicians across genres and skill levels. From classic designs to avant-garde innovations, Cort's repertoire exemplifies a harmonious fusion of tradition and innovation.

### Electric Guitars:
Cort's electric guitar lineup encompasses a myriad of models tailored to suit diverse playing styles and preferences. At the heart of these instruments lies a commitment to tonal versatility, playability, and aesthetic appeal. From the timeless allure of the Stratocaster-inspired G-Series to the contemporary sophistication of the X-Series, Cort electric guitars boast an array of features designed to inspire creativity and elevate performance.

#### Pickup Configurations:
Cort electric guitars are equipped with a variety of pickup configurations, ranging from traditional single-coil and humbucker setups to more specialized configurations tailored for specific tonal palettes. Whether it's the punchy articulation of single-coil pickups or the warmth and sustain of humbuckers, Cort ensures that each instrument delivers a distinctive sonic character suited to the player's preferences.

#### Hardware and Electronics:
Precision-engineered hardware and electronics are integral to the performance and functionality of Cort electric guitars. From high-quality tuning machines and locking tremolo systems to advanced electronic controls and switching options, Cort guitars are designed to deliver unparalleled tuning stability, intonation, and sonic versatility, empowering musicians to explore a myriad of tones and techniques with confidence and precision.

#### Neck Construction and Profile:
The neck construction and profile play a pivotal role in shaping the playing experience of Cort electric guitars. Utilizing a combination of premium tonewoods and ergonomic design principles, Cort crafts necks that strike the perfect balance between stability, comfort, and playability. Whether it's the fast and fluid feel of a slim "C" profile or the vintage-inspired charm of a chunky "V" profile, Cort offers a diverse range of neck options to cater to every player's preference.

### Acoustic Guitars:
Cort's acoustic guitar lineup embodies a harmonious marriage of tradition and innovation, blending time-honored craftsmanship with modern design sensibilities. From entry-level models to professional-grade instruments, Cort acoustic guitars are crafted with precision and care, delivering exceptional tone, playability, and aesthetic appeal.

#### Tonewoods and Construction:
Cort acoustic guitars are meticulously crafted from a diverse array of tonewoods, each chosen for its unique sonic properties and aesthetic characteristics. Whether it's the warm and resonant tones of mahogany, the crisp and articulate sound of spruce, or the rich and complex timbre of rosewood, Cort sources the finest materials to ensure that each instrument exhibits a balanced and expressive voice.

#### Body Shapes and Sizes:
Cort offers a wide range of body shapes and sizes to accommodate players of all preferences and playing styles. From the intimate comfort of a parlor guitar to the robust projection of a dreadnought, Cort acoustic guitars are available in a variety of shapes and sizes to suit every player's needs. Additionally, Cort's innovative Bevel Cut design provides enhanced comfort and ergonomics, allowing players to enjoy extended playing sessions without fatigue or discomfort.

#### Electronics and Amplification:
For players who demand amplified performance, Cort acoustic guitars are available with advanced onboard electronics and amplification systems. From discreet preamp and pickup systems to full-featured onboard EQ and tuner units, Cort ensures that acoustic-electric players have access to a range of options to suit their specific performance requirements, whether on stage, in the studio, or at home.

### Bass Guitars:
Cort's bass guitar lineup showcases a commitment to innovation, versatility, and playability, catering to the needs of bassists across genres and skill levels. From traditional four-string models to extended-range instruments, Cort bass guitars deliver a powerful low end, exceptional clarity, and effortless playability, empowering bassists to anchor the rhythm with confidence and authority.

#### Scale Length and String Configuration:
Cort bass guitars are available in a variety of scale lengths and string configurations, allowing players to tailor their instrument to suit their preferred playing style and tonal palette. Whether it's the thunderous punch of a four-string bass or the extended range and versatility of a five or six-string instrument, Cort offers a range of options to accommodate the diverse needs of modern bassists.

#### Electronics and Tone Shaping:
Equipped with advanced electronics and tone shaping controls, Cort bass guitars provide bassists with the tools they need to sculpt their sound with precision and finesse. From passive pickups and simple tone controls to active EQ circuits and onboard preamps, Cort basses offer a wealth of sonic possibilities, allowing players to dial in the perfect tone for any musical scenario.

#### Ergonomics and Playability:
Comfort and playability are paramount considerations in the design of Cort bass guitars. Featuring ergonomic body contours, slim-profile necks, and smooth-playing fingerboards, Cort basses are engineered to provide maximum comfort and playability, allowing players to perform with ease and confidence for hours on end.

### Conclusion:
In conclusion, Cort Guitars' diverse portfolio represents the pinnacle of technical innovation, craftsmanship, and sonic excellence. From electric guitars imbued with tonal versatility and ergonomic design to acoustic guitars crafted with premium tonewoods and meticulous attention to detail, Cort instruments embody the perfect union of form and function. With a commitment to pushing the boundaries of what's possible, Cort continues to inspire musicians around the globe, empowering them to unleash their creativity and express themselves with passion and precision.

TEST: Cort Luce L450C

 While a few years ago it was still a rarity to be able to purchase an acoustic guitar with a pickup, this ratio has been reversed in recent years. Even guitars in the lower price ranges usually offer a simple piezo pickup, which can usually only be adjusted in the basic parameters of volume and treble.

Aware of this, the Korean company Cort is taking the opposite approach with the Cort Luce L450C, foregoing the system mentioned above and using this approach to immediately endear itself to me. With a retail price of under 300 euros, the company has its sights set on young musical talent, or beginners to Western music. In this price segment, in my opinion, it makes no sense at all to squeeze a cheap-sounding pickup system into the instrument under price pressure. Rather, one should try to use the sales price to optimize the acoustic properties, which is what the Cort company is doing here.

Even if the name Cort is not necessarily the first synonym that comes to mind when thinking about the acoustic guitar world, the Asian manufacturing facilities can already look back on a remarkable history of over 50 years and have also manufactured many instruments as commissioned work from renowned manufacturers such as for example G&L, Schecter or Ibanez. But something is different, somehow the guitar is so dark, and it isn't even painted in color...


construction

Ah yes, Cort was probably able to buy the mahogany planks in bulk here. Not only the back and sides were made from tropical wood, the top also appears in a beautifully fine-pored, matt lacquered red-brown, which is considered an exception in acoustic circles. Why actually? Well, softwoods such as the well-known Sitka spruce are often used for the top, because with appropriate bracing the top lacks the necessary stability to counteract the high tension of the strings.

On the other hand, the wood must be soft enough to transfer the string vibration into a ceiling vibration without any loss of damping. Remember, the top of an acoustic guitar works like a speaker. String makes the top vibrate, top makes air vibrate, vibrating air comes out of the sound hole. Here you can prepare yourself for a sound that deviates from the mainstream without me even touching the instrument once. I'm curious.

When it comes to decorations, the instrument is very simple. There are no plastic decorations or even natural bindings to be seen on either the fingerboard or the edges of the top or bottom. Only on the headstock below the company logo and as a rosette around the sound hole can you see some optical decorations made of plastic and abalone, which is made from abalone snails, on the Cort Luce L450C. Since the neck was made from a single piece of mahogany and even the rosewood fingerboard has a comparatively high proportion of red in the coloring, one could confidently call the instrument built in China a redhead.

Although the body size of the instrument is just below a dreadnaught, it is comparatively delicate, which is probably also thanks to the slim neck. The majority of players will quickly become comfortable with a middle ground between D and C profiles, especially since the effort required to play them is fortunately kept within narrow limits. With a scale length of 643 millimeters and 20 vintage frets, the Cort Luce L450C also has the standard dimensions of an acoustic guitar.

I particularly liked the encapsulated Grover mechanics, which were really easy to turn and had a consistent control path. In addition, the wing ends made of black plastic adapt very well to the glued-on bridge, which is also made of black and which fixes the six strings with string clamps made of light-colored plastic. The bridge is length-compensated and has the backwards offset on the high E and B strings that is typical of steel-string acoustic guitars.

Practice

The first time you pick up the instrument is actually very uncomplicated. No excessive bulges that hinder the handling of the guitar, no excessive dimensions that put undue strain on the fretting hand. The look and feel of the guitar is appealing and the dimensions are appropriate. The only thing that gives me a bit of a headache is the unusual placement of the top strap pin. Although the instrument hangs comparatively balanced on the strap, playing in high registers is more or less affected depending on the position of the hand.

If you now replace the factory spin with a lockable variant from Schaller or Loxx, for example, which inevitably involves an extended protrusion of the locking construction, the playability can be seriously affected from around the tenth fret. In my opinion, a placement at the bottom of the base of the neck would have been the better option.

As already mentioned, I was very excited to hear the first note due to the wooden construction. I really wasn't disappointed. The guitar sounds significantly richer in highs and mids than you would expect from a comparable guitar with a spruce top. In particular, the characteristic mahogany midrange is omnipresent in the basic sound. The advantage is a quick response and a high degree of enforceability within a band or an acoustic ensemble.

The disadvantage of this choice of wood is a slight lack of bass parts, which makes the instrument appear somewhat thinner when used solo in direct comparison with similar instruments. This fact should be treated in a neutral way, as every musician has their own definition of their preferred sound, but should be taken into account in their preferred playing style. Visually, however, the Cort Luce L450C leaves nothing to be desired. The fine-pored wood structure of the mahogany tree is presented at different cutting angles across the entire instrument, creating partly standing and partly lying rings.


Conclusion

With the Cort Luce L450C, the Korean manufacturer has a very good entry-level or second guitar in its range for under 300 euros. Without using an inferior pickup, the company concentrates on a visually very attractive and technically easy-to-play guitar made in China, which offers a very high and mid-range sound due to the predominant use of mahogany as the tonewood.

Impeccable workmanship and the use of high-quality tuning mechanisms also ensure a stress-free introduction to playing the western guitar, which is otherwise quite strenuous.

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Additional Informations:


Cort Guitars is a South Korean manufacturer of guitars, basses, and amplifiers. The company was founded in 1973 by Jack Westheimer and Yung H. Park. Cort is one of the largest guitar manufacturers in the world, and its products are sold in over 80 countries.

**The Early Years**

Jack Westheimer was an American businessman who had a passion for guitars. In the 1960s, he began importing guitars from Japan to the United States. In 1973, he partnered with Yung H. Park, a Korean businessman, to found Cort Guitars.

The early years of Cort Guitars were marked by rapid growth. The company quickly established a reputation for producing high-quality guitars at affordable prices. In the 1980s, Cort began to expand its product line to include basses and amplifiers.

**The 1990s and Beyond**

The 1990s were a decade of continued growth for Cort Guitars. The company introduced several new product lines, including the Earth series of acoustic guitars and the Curbow series of electric guitars. Cort also began to produce guitars for other brands, such as Fender, Squier, and Ibanez.

In the 2000s, Cort Guitars continued to expand its global reach. The company opened new factories in Indonesia and China. Cort also began to sponsor major music festivals and events, such as the NAMM Show and the Musikmesse.

Today, Cort Guitars is one of the largest guitar manufacturers in the world. The company's products are sold in over 80 countries. Cort Guitars is known for its high-quality products, affordable prices, and excellent customer service.

**Cort Guitars: A Timeline**

* 1960s: Jack Westheimer begins importing guitars from Japan to the United States.
* 1973: Jack Westheimer and Yung H. Park found Cort Guitars.
* 1980s: Cort expands its product line to include basses and amplifiers.
* 1990s: Cort introduces the Earth series of acoustic guitars and the Curbow series of electric guitars. Cort also begins to produce guitars for other brands.
* 2000s: Cort opens new factories in Indonesia and China. Cort begins to sponsor major music festivals and events.
* 2010s: Cort continues to grow and expand its global reach. The company introduces several new product lines, including the G290FAT and G260FAT electric guitars.
* 2020s: Cort celebrates its 50th anniversary. The company continues to be a leading manufacturer of guitars, basses, and amplifiers.

**Cort Guitars: A Legacy of Innovation**

Cort Guitars has a long history of innovation. The company has been responsible for several groundbreaking developments in the guitar industry, including:

* The introduction of the Earth series of acoustic guitars, which are known for their high quality and affordable prices.
* The introduction of the Curbow series of electric guitars, which are known for their unique design and comfortable playability.
* The development of the CFX pickup system, which is known for its natural sound and wide frequency response.

Cort Guitars is committed to innovation, and the company continues to develop new products and technologies. Cort is a leading manufacturer of guitars, basses, and amplifiers, and the company's products are used by musicians all over the world.

**Cort Guitars: A Global Company**

Cort Guitars is a global company with headquarters in Seoul, South Korea. The company has factories in Indonesia, China, and Vietnam. Cort's products are sold in over 80 countries.

Cort Guitars is committed to providing high-quality products to musicians all over the world. The company has a strong reputation for quality, and its products are backed by a comprehensive warranty.

**Cort Guitars: A Commitment to Quality**

Cort Guitars is committed to quality. The company uses only the finest materials and construction methods in its products. Cort's guitars are inspected and tested at every stage of production to ensure that they meet the company's high standards.

Cort Guitars is also committed to customer service. The company offers a comprehensive warranty on its products, and it has a team of customer service representatives who are available to answer questions and help customers with any problems they may have.

**Cort Guitars: The Future**

Cort Guitars is a leading manufacturer of guitars, basses, and amplifiers. The company is committed to innovation, quality, and customer service. Cort is a global company with a bright future.

**Some of the most popular Cort Guitars models include:**

* Earth70
* Earth100
* AD810E
* SFX-ME
* G

TEST: Cort KX508MS II

 If you want to experience the wide range of human facial features, give a regular 6-string guitarist an 8-string guitar, possibly in a multiscale version. The emotions that can be seen on the person's face range from curiosity to enthusiasm to desperation to disgust. But one thing is certain: the person you're talking to, unless he/she is an experienced 8-string player, will definitely pick up the instrument like a crate of beer; the tactile differences are already too great upon first contact. One of these “frequency range monsters” is available to us for testing today in the form of the Cort KX508MS II Marina Blue Burst.

The concept of the Cort KX508MS II Marina Blue Burst

If there is a guitar company that has always attracted attention with its good quality, but has never risen above the status of a "gray mouse" due to the lack of its own "signature model", it is the South Korean company Cort. Nevertheless, the company enjoys a very good reputation, especially since it has already manufactured for companies such as Hohner and Kramer in its 50-year history. The legendary ax bass by stage performer Gene Simmons was also made by Cort.

All the more interesting is the fact that Cort is consciously venturing into an extreme niche with the Cort KX508MS II Marina Blue Burst, especially since the instrument, which is manufactured in Indonesia, is comparatively inexpensive with a retail price of only 899 euros despite the high-quality components at first glance . Although an eight-string instrument in the guitar sector is no longer on another planet in terms of popularity thanks to the respectable success of the band Meshuggah and the technical high-end prog of the band “Animals As Leaders”, but with the best will in the world you can't speak of it as mainstream .

The reason can be found in the fact that by extending the frequency spectrum downwards by a small seventh, the function of the bassist becomes obsolete and thus massively interferes with the traditional band structure. Their perfection is in fact achieved in “Animals As Leaders”, in which two 8-strings alternately share the bass/guitar function, thus creating an extremely dense sound field in a trio setting.

Ultimately, all 8-strings fight against the natural physics of a vibrating string. If you want to have the tight sound of a medium scale bass, you have to deal with a scale length of approx. 760 mm, at least in the bass range, which, however, results in significant compromises in the playability of the classic guitar range in the treble strings. On the other hand, if you stick with the classic long scale length of 648 mm, the low F # string, even with very thick diameters, will slop around on the fretboard as if you had hung up a clothesline.

In order to reduce these problems, Cort uses the multiscale scale length of 673 mm (treble strings) - 711 mm (26.5" - 28"), which entails a corresponding alignment of the saddle and the bridge construction. This achieves a comparatively balanced vibration behavior, which also benefits a regular 6-string guitar. The second problem with an 8-string guitar is the diametrical alignment between a fingerboard that can still be grasped in contrast to the distance between the strings between the individual strings. Here too, a compromise must be found, which Cort specifies in the form of a nut width of 56.5 mm. Although the strings are now much closer together than on a six-string, there are still some hanging guitar stands where the neck dimensions prevent you from getting the instrument into the stand. Should If you use such a tripod, be sure to test it out beforehand.

The structure of the Cort KX508MS II Marina Blue Burst

If you want to classify the Cort KX508MS II Marina Blue Burst into a category, you would have to fall back on the Powerstrat category. The body made of the African, comparatively soft Okume wood seems a bit small, but this is due to the excessively large dimensions of the neck, pickups and bridge construction. For visual reasons, a poplar ceiling veneer was glued on, which was painted in a kind of matt blue-green-yellow burst. The neck is screwed four times and consists of three strips of maple and 2 strips of amaranth, the fingerboard made of relatively light Macassar ebony. Teardrop inlays were used as fingerboard markings, which are located up to the 12th fret on the top and from the 13th fret on the underside of the fingerboard. The fingerboard has 24 frets. In order to quickly adjust the neck, the truss rod was made accessible from the body. In order to keep the headstock as stable as possible, a wooden thickening was placed on the opposite side of the saddle.

The hardware of the Cort KX508MS II Marina Blue Burst in the form of eight clamp tuners and eight individual riders with a string guide through the body is made of a mixed color of black / nickel and can be seen in one direction or the other depending on the incidence of light.

For the pickups, Cort once again relies on a Fishman Fluence Modern humbucker set, which comes in the form of 2 huge, diagonally installed soap bars. The usual pickup selection can be implemented using a three-way switch. The master volume and mastertone controls are designed as a push/pull version and allow you to switch between the two modes Modern and Vintage, as well as a single coil tap. The operating voltage required for the active electronics is supplied by a 9V battery, which is accessible via a plastic plate on the back of the guitar.

The Cort KX508MS II Marina Blue Burst in practice

When you pick up the Cort KX508MS II Marina Blue Burst for the first time, you notice two points in particular, apart from the slight confusion at first glance about the many strings. On the one hand, the combination of the flattened neck and the fingerboard radius of 400 mm (15.75"), which makes the neck appear almost like a plank, and the really very thin set of strings from 009 - 080, which gives you a very "floppy" despite the multiscale fingerboard “ approach offers. Imagine taking the A string of a regular medium scale electric bass and tuning it down to E, this is approximately the string tension that the low F# string on the D'Addario NYXL0980 offers.

I was able to easily pull the F# string up by a minor seventh (10 semitones) using bending, which gives an approximate impression of the string tension. It was correspondingly difficult for me to play the two low strings without the strings hitting both the fretboard and the pickups every time I played them. At least with this set of strings you have to completely change your playing style in order not to be overwhelmed by clicking noises. However, I am sure that this and the associated intonation problems of the vibrating string can be managed with correspondingly thicker sets of strings. I would recommend at least a 090 string on the F# string. By the way, the closer you get to the treble strings, the more defined the sound becomes, until finally, at the latest on the G string, a clean and defined tone is created due to the extra long scale length.

In terms of sound, the Cort KX508MS II Marina Blue Burst offers a lot of quality for the stated retail price. The playability is good for an 8-string guitar, especially since the multiscale fretboard interferes significantly less with your personal playing style in terms of fingering technique than you might expect at first glance. It should be clear to everyone that the instrument is not a regular electric guitar + 2 additional strings, but rather an independent type of instrument, so it is not surprising that you first have to learn a new instrument before you can use it 100% follows the brain's commands.

I'm not entirely sure whether the unusual body wood or the overall construction of the instrument is responsible for a unique sound that I didn't expect. The overall sound of the instrument is relatively high-mid-heavy, so that the low-mid and bass boost that one would have expected with this design was missing in practice. Everyone has to find out for themselves to what extent this more or less suits their personal taste; the attached sound files should help.

Another special feature is of course the fact that the damping technology that was developed on a 6-string guitar has to be revised again for an 8-string guitar. I myself had a bit of difficulty with a proper damping technique, especially with the bass strings, but it's probably just a question of practice.

Conclusion

With the Cort KX508MS II Marina Blue Burst, the South Korean manufacturer has a good and affordable eight-string guitar in its portfolio. The components used are of high quality and anyone who would like to get a taste of the world of djent can do so for a comparatively small course with this instrument.

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Additional Informations:

Since its inception in 1960, Cort Guitars has burgeoned into a titan within the global guitar manufacturing industry. With a legacy spanning over six decades, Cort has consistently delivered instruments of exceptional quality, catering to the diverse needs of musicians worldwide. The enthralling saga of Cort's rise to prominence is a testament to innovation, perseverance, and an unwavering commitment to craftsmanship.

### Origins:
Cort's journey commenced in the picturesque city of Seoul, South Korea, where a small team of dedicated luthiers harbored a shared vision of crafting world-class guitars. In 1960, Jack Westheimer, an American entrepreneur with a profound appreciation for musical instruments, recognized the burgeoning potential of Korean craftsmanship and established the Yoo-Ah guitar company. This marked the nascent stage of Cort Guitars, laying the foundation for its eventual ascent to eminence.

### Evolution and Expansion:
Under Westheimer's astute guidance, Yoo-Ah steadily evolved, rebranding as Cor-tek in 1973 and later adopting the name Cort in 1987. Embracing a philosophy of continual improvement, Cort ventured into collaborations with renowned musicians and industry luminaries, amplifying its creative prowess and refining its manufacturing processes.

### Strategic Partnerships:
Cort's ascent was catalyzed by strategic partnerships with prominent brands and artists. In the 1980s, an alliance with Matt Raines, a seasoned American guitar designer, propelled Cort onto the global stage. This collaboration yielded a series of groundbreaking innovations, including the introduction of the "Superstrat" design, characterized by its sleek contours and versatile tonal palette.

### Technological Advancements:
Throughout its trajectory, Cort remained at the vanguard of technological innovation, integrating cutting-edge techniques to enhance instrument performance and playability. Notably, Cort pioneered the application of computer-aided design (CAD) and computer numerical control (CNC) machining, revolutionizing the precision and consistency of guitar production.

### Global Reach:
With a steadfast commitment to quality and innovation, Cort rapidly expanded its global footprint, establishing a network of manufacturing facilities and distribution channels across Asia, Europe, and North America. This strategic expansion facilitated greater accessibility to Cort instruments, fostering a burgeoning community of musicians and enthusiasts worldwide.

### Collaborations and Endorsements:
Cort's enduring legacy is punctuated by collaborations with an illustrious cadre of artists, whose indelible imprint adorns signature Cort models. From the iconic designs of Jeff Berlin and Frank Gambale to the refined craftsmanship of Matthew Bellamy's signature guitars, Cort's roster of endorsees reflects a diverse spectrum of musical genres and sensibilities.

### Commitment to Sustainability:
In tandem with its pursuit of excellence, Cort remains steadfast in its commitment to environmental sustainability and corporate responsibility. By implementing eco-friendly practices and sourcing ethically harvested tonewoods, Cort strives to mitigate its ecological footprint while safeguarding the planet's natural resources for future generations.

### The Digital Age:
In the digital age, Cort continues to innovate and adapt, leveraging emerging technologies to engage with a global audience of musicians and enthusiasts. Through interactive online platforms and immersive virtual experiences, Cort fosters community engagement and empowers aspiring musicians to unleash their creative potential.

### Conclusion:
As Cort Guitars traverses the annals of time, its narrative emerges as a paragon of resilience, ingenuity, and artistic expression. From humble beginnings in Seoul to global acclaim on the world stage, Cort's trajectory epitomizes the transformative power of passion and perseverance. With each meticulously crafted instrument, Cort embarks upon a timeless journey, resonating with the melodies of generations past, present, and yet to come.

TEST: Chapman Guitars ML3 Modern

 It is surprising how much the popularity of instrument manufacturers is subject to fashion trends and coincidences. The British manufacturer Chapman Guitars has not yet been able to make it into the mainstream despite consistently good instruments at moderate retail prices. Why? Nobody knows. Even the well-frequented Facebook page only has 2 Facebook groups with just 2,000 - 3,000 users worldwide, which is also a mystery to me. Will the Britten only remain one of the two major flagship areas in the amplifier market? After all, with the Chapman Guitars ML3 Modern Red Sea, the manufacturer is once again trying to take advantage of the opportunity to draw attention to itself.

The concept of the Chapman Guitars ML3 Modern Red Sea

In order to achieve a retail price of €549, the manufacturer, like all competitors in this price segment, has to switch to Asian production. In recent years, Indonesia has become the top dog here and has overtaken the former guitar monopoly China, at least in this manufacturing segment. Unfortunately, I wasn't able to find out which factory Chapman Guitars has its instruments built in, but in recent years I haven't come across an Indonesian-made instrument whose quality wasn't significantly higher than the advertised retail price. Unfortunately, as is usual in this price category, the instrument is only delivered in a cardboard box with EPS rigid foam elements, which means that a high-quality gig bag or case must be included in your financial planning when purchasing.

This shouldn't be too difficult, as Chapman Guitars is relying on a type of "Powertele" with the ML3 series, the body shape of which, in contrast to the sprawling shapes of Explorer or Flying V and their adaptations, shouldn't cause any problems. What was slightly irritating, however, was the perception of the regular long scale length of 648 mm. I could have sworn that it was an extra-long scale length, the reversed headstock combined with the high bridge lengthens the impression so much. It was only after measuring that I was finally convinced.

Woods, hardware and electrical

In the area of wood construction, we all meet old friends, but they are far removed from the first series of electric guitars in the world. The Chapman Guitars ML3 Modern Red Sea only has the body shape and the scale length in common with a Tele; everything else could hardly be more diametrically designed. Although the Chapman Guitars ML3 Modern Red Sea also has a screwed, one-piece maple neck with a slightly rounded neck pocket on the body, a mahogany body and an ebony fingerboard are not normally found on a classic Tele. In order to generally increase playing comfort, the instrument was also given rib shaping on the back of the body.

The instrument has 24 frets, which are designed as jumbo frets and is therefore forced to move the neck pickup slightly back from the popular area below the 24th fret. Many users probably won't notice this at all in terms of sound, but in a direct comparison I prefer the classic pickup positioning. The fingerboard markings are very reserved and only include simple dot inlays on the fingerboard itself plus the neck side and an infinity symbol on the 12th fret. The neck uses a pleasant C-shaping, which should appeal to the majority of users.

The fact that it is very important to Chapman Guitars to optimize playing comfort right up to the highest registers can also be seen in the shaping in the cutaway of the instrument, which is referred to as the “spoon cut”. In fact, the comparatively small incision results in significantly greater playing comfort in the last 3 positions and is nevertheless designed so subtly that the vibration behavior of the instrument does not suffer. Despite the moderate retail price, the instrument has a medium-light binding, which gives the instrument a significantly “woodier” look. However, this is not the classic fake binding of a corresponding maple top, which was only glued on as a veneer for optical reasons. The same thing would not be possible at this retail price.

With a little imagination, you can actually interpret the waves of a lake in the grain of the flamed maple veneer and its very cleanly highlighted stain, so the instrument has a nice connection to the model name. To what extent you like the finish, each user can decide for themselves.

The entire hardware as well as the back finish of the instrument was finished in black, with Chapman Guitars working with in-house tuners in the 18:1 ratio and the bridge with the Strings Through Body variant again takes a hint towards Tele. Many colleagues attribute this bridge construction to a significant share of the legendary “Twang” sound, without being able to really substantiate it physically. However, I have to admit that all of the twang-heavy instruments in my portfolio also have this bridge construction.

When it comes to pickups, Chapman Guitars is once again relying on an in-house development called “Chapman Sonorous Zero” and switched with a 3-way blade switch. The pickups have ceramic magnets and offer a slightly increased direct current resistance of 10.5 kOhm (neck) and 12.5 kOhm (bridge). In order to increase the variety of sounds, you can tap into the coils using a push/pull potentiometer in the tone area and operate them in single coil mode.

The Chapman Guitars ML3 Modern in practice

I've written about it many times, but it's very striking how comparatively high quality comes from Indonesia these days compared to the retail price. The Chapman Guitars ML3 Modern is no exception in this regard. Even when not amplified, the instrument exhibits very good vibration behavior, with an unusually long sustain despite a screwed neck. The twang factor mentioned above can also be perceived with a little imagination and leaves a very good first impression. The entire workmanship is impeccable, not an unclean spot in terms of the paint, not an unclean dressing on the frets or anything similar. Even the factory setting for the string position impresses with its optimal adjustment, a point that in the past could not even begin to be expected with inexpensive instruments.

Connected to the amplifier, the in-house pickups take the lead and immediately stand out in the humbucker position due to their strong high-mid presence, among other things due to the ceramic magnets. Fortunately, the pickups do not “scratch” but remain stuck in their peak in the midrange, which gives the tone a subtly nasal sound with a high level of assertiveness. The output power of the bridge pickup allows for real high gain attacks and still manages to give the instrument a typical character due to the passive design, like other instruments from the Chapman Guitars portfolio.

The neck pickup is also in no way inferior in terms of tonal output and offers a good, warm basic sound, which is particularly convincing in the clean and slightly crunchy range, although in my opinion it lacks the last bit of character due to the offset position both in solo operation seems to be missing in the parallel arrangement with the bridge pickup. However, this is to be viewed purely subjectively.

While the humbucker operation of the Chapman Guitars ML3 Modern can undoubtedly be described as very good, the instrument unfortunately loses massively in both volume and sound quality in the single coil. Of course, no one will expect the sound volume of a pickup that has been optimized purely for single coil operation from a split humbucker, but unfortunately this single coil operation does not represent any added value for the instrument. The sound is unfortunately very thin, biting and without any assertiveness, so I would have Manufacturer foregoes this option in advance. Well, if you don't like the sound, you don't have to use it.

The conclusion is definitely a very good instrument with an excellent price/performance ratio, which, as an unusual Powertele adaptation, should attract interested looks here and there.

Conclusion

With the Chapman Guitars ML3 Modern, the British manufacturer has a good instrument with a very good price/performance ratio in its portfolio. The workmanship is very good, the sound is far above the expected quality, and the detailed solutions are practical.

If you don't need the unfortunate single coil sounds, you can get a more than decent instrument for just over 500 euros, which offers significantly more in terms of sound than what the retail price would suggest.

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Additional Informations:


Chapman Guitars has gained prominence in the music industry for its diverse range of high-quality instruments that cater to the needs and preferences of modern guitarists. From sleek and ergonomic designs to versatile electronics and premium hardware, Chapman guitars offer a perfect blend of innovation, performance, and affordability. In this comprehensive guide, we'll delve into the various models offered by Chapman Guitars, exploring their unique features, technical specifications, and sonic capabilities.

**1. ML Series**

The ML Series stands as one of the flagship lines of Chapman Guitars, known for its versatility, playability, and exceptional tone. These guitars feature a familiar double-cutaway design with a contoured body for enhanced comfort and access to upper frets. Available in various configurations, including solid-body and semi-hollow models, the ML Series offers something for every guitarist.

* ML1 Pro Traditional:
  - Body: Mahogany
  - Neck: Maple, set-neck construction
  - Fingerboard: Ebony
  - Pickups: Chapman Stentorian humbuckers
  - Bridge: Tune-o-matic with stop tailpiece

* ML3 Modern:
  - Body: Swamp ash
  - Neck: Maple, bolt-on construction
  - Fingerboard: Pau Ferro
  - Pickups: Chapman Sonorous Zero single-coils (neck and middle), Chapman Venus Witch humbucker (bridge)
  - Bridge: Chapman String-through hardtail

**2. Ghost Fret Series**

The Ghost Fret Series exemplifies Chapman Guitars' commitment to pushing the boundaries of guitar design and aesthetics. These guitars feature a distinctive offset body shape with aggressive contours and bevels, providing a modern and edgy aesthetic that stands out on stage. With high-output pickups and versatile electronics, the Ghost Fret Series is well-suited for players seeking powerful tones and expressive playability.

* Ghost Fret Pro:
  - Body: Mahogany
  - Neck: Maple, set-neck construction
  - Fingerboard: Ebony
  - Pickups: Chapman Primordial Zero humbuckers
  - Bridge: Chapman String-through hardtail

**3. ML-7 Series (Seven-String Guitars)**

For guitarists looking to explore the depths of low-end frequencies and extended range playing, Chapman Guitars offers the ML-7 Series. These seven-string guitars feature a longer scale length and extended range pickups, allowing players to delve into heavier genres like metal and djent while maintaining clarity and articulation.

* ML-7S:
  - Body: Mahogany
  - Neck: Maple, set-neck construction
  - Fingerboard: Ebony
  - Pickups: Chapman Titan 7 humbuckers
  - Bridge: Chapman String-through hardtail

**4. Traditional Series**

Inspired by classic guitar designs of the past, the Traditional Series pays homage to timeless instruments while incorporating modern features and improvements. These guitars boast vintage aesthetics, premium tonewoods, and traditional hardware, making them ideal for players who appreciate the nostalgia of vintage guitars combined with modern reliability and performance.

* ML2 Modern Traditional:
  - Body: Mahogany
  - Neck: Mahogany, set-neck construction
  - Fingerboard: Ebony
  - Pickups: Chapman Mojo Hand single-coils (neck and middle), Chapman 62 humbucker (bridge)
  - Bridge: Chapman String-through hardtail

**5. Baritone Series**

For guitarists seeking to explore lower tunings and expanded sonic possibilities, Chapman Guitars offers the Baritone Series. These guitars feature an extended scale length and specialized pickups, allowing players to achieve rich, resonant tones with enhanced clarity and definition in the lower register.

* ML1 Baritone:
  - Body: Mahogany
  - Neck: Maple, set-neck construction
  - Fingerboard: Ebony
  - Pickups: Chapman Stentorian Baritone humbuckers
  - Bridge: Chapman String-through hardtail

**Conclusion**

From the versatile ML Series to the edgy Ghost Fret Series and the extended-range ML-7 Series, Chapman Guitars offers a diverse lineup of instruments to suit every style and preference. With a commitment to quality craftsmanship, innovative design, and community engagement, Chapman Guitars continues to push the boundaries of guitar-making while empowering musicians to unleash their creativity on stage and in the studio.