TEST: Danelectro LH4 BB

 Anyone who knows me knows that I have made one or two enemies for myself by telling the truth more often than is good for me. The truth is that the visual attitude of the Danelectro company captivated me when I saw their instruments for the first time on a TV show about 35 years ago, but by no means made me a fan of their extravagant shapes .

The body shape, which is sometimes reminiscent of Emperor Nero's lyre (“Burn, Rome, Burn!”), polarizes right up to the stand-up collar and at first glance only allows for the two thumb positions from the Colosseum.

But the truth is that with every year that passed, my taste slowly changed and I currently find the curves of the “cardboard colleagues”, which sometimes take getting used to, very distinctive. It's strange how everything changes in an artist's life.

By the way, the LH4 BB bass I have is a truly “old” friend. I discovered the design in question in the above-mentioned TV show with the group “The Who”, where bassist John Entwistle played a Danelectro bass.

Legend has it that Danelectro was the only company at the time to equip its basses available in Europe with unpolished strings. Entwistle was so excited about this sound that he wore out the strings to the point where he couldn't do it anymore. However, when they started to break, he bought more Danelectro basses, but only to get the unpolished strings due to a lack of distribution channels.

That's what I call consistency, coupled with a good portion of luxury ;-)


Construction:

Masonite. The building material, which almost exclusively and equally anachronistically represents Danelectro, originally comes from boat building and is a type of fiberboard, which is attached to a plywood frame and creates the body of the instrument. That means the instrument is hollow.

The instrument has a maple neck that is comfortable to grip and has a rosewood fingerboard with 24 medium jumbo frets. The body is attached using 4 medium-sized screws. The fingerboard markings are white plastic dots.

In keeping with the style of its heyday, the “Swinging Sixties”, the LH4BB only has a medium scale length of 76 cm, which takes away some of the low and high end of the instrument, but in return makes it extremely easy to play.

In addition to fiberboard and “Bodies From Outer Space”, the third trademark of the company founded by Nathan Daniel in 1947 should not be missing: the Lipstick pickups. Born more out of necessity at the time by buying up an overproduction of lipstick tubes, the pickups are still at the forefront in terms of aesthetics, even if the construction tends to be very microphonic due to their large air pockets.

Two representatives of this category, controlled by a master volume control, a master height control and a three-way switch, do their job on this instrument. A small, transparent striking plate protects the surface against excessive punctures due to excessive use of the pick. By the way, the instrument is manufactured in Korea.

A simple but effective bridge construction, which rests on just three screws, allows individual adjustment of the individual riders.

4 tuning mechanisms, whose diameter would be more likely to be assigned to the guitar bearing, perform an unexpectedly smooth operation on the black lacquered headstock. In general, the current models have made up a lot of ground compared to their forefathers when it comes to hardware, as detailed solutions made of wood were often used in those days, whereas today solid steel ensures more strength and better sound.

P.S. I still have to get used to the painted trash can on the back of the headstock, which according to the waste law now has to be attached to every instrument. Another example of stupid legislation in the great incompetence round...


Practice:

A hint of blue metallic sunburst hits the eyeball as the instrument is stripped of its foliage. Tastefully and cleanly executed, I like it. The neck and headstock, however, are painted opaque black.

In terms of playing technology, the Longhorn knows how to convince within seconds, as the medium-scale bass offers more of the handling of a baritone guitar than the physicality of the top dog Longscale, which is sometimes associated with hard work.

It is extremely easy to handle, even complex runs in the lowest positions. Especially the third guitarist, who was forcibly recruited by the ego-ridden lead guitarist (“You're learning bass!”), will be happy to find a scale length that proves to be significantly more homely than the 84 cm plus giants in the conversion process to the low-frequency range.

In terms of sound, the LH4BB can, as expected, due to its vintage orientation, be used both in the “fingerstyle-neck-pickup-we-muffle-our-way-through-the-sixties” and in the “plektron-Bert-Kämpfert-Knackbass-I-am-almost-so-loud”. “Like-the-singing” sound is completely convincing.

Of course he has to admit defeat to many other representatives of his craft when it comes to pressure, punch and attack, but anyone who grew up in a beat era has other priorities than the ultimate low tone beyond the 150 Hertz mark.

Played while sitting, the bass exudes an unusual lightness, as all the notes are significantly closer to the human torso than usual. This helps you play in a relaxed manner; you are inclined to call a travel bass your own.

However, when the belt is used, the clouds darken a little on the horizon. Due to the neck strap pin being located far back, the Danelectro tends to be quite top-heavy, but you get used to it quite quickly.


Conclusion:

Once again, Danelectro never tires of polarizing. Actually, it is tedious to discuss the advantages and disadvantages of the construction; experience has shown that even this test report will reach fewer bass players than the instrument deserves, the bias towards the optics is too great.

But if you manage to overcome your bias or if you are even one of the fans of the “boat building guild”, you will find an instrument that does exactly what it is supposed to do for little money. The spirit of a highly creative but long-ago decade is included for free.

Anyone who likes vintage in general, plays in a real oldies band or has promised their valuable free time to the 12-stroke engine will find an ideal fulfillment assistant in one of the great classics of the beat era.

And I also like the color...

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Additional Informations:


In the annals of musical history, certain instruments stand out not just for their sound but for the stories behind their creation. Among these, the bassline of Danelectro Guitars holds a special place. Born out of innovation and necessity, its journey reflects the ingenuity and creativity inherent in the world of musical instrument design. This article delves into the rich tapestry of events and influences that led to the development of Danelectro's iconic bassline.

1. The Genesis of Danelectro:
To understand the birth of Danelectro's bassline, we must first explore the origins of the company itself. Founded in the late 1940s by Nathan Daniel, Danelectro Guitars emerged during a transformative period in American music. Daniel, a skilled craftsman and innovator, sought to provide high-quality instruments at an affordable price point, catering to aspiring musicians who couldn't afford the premium offerings of established brands.

2. The Context of Post-War America:
The post-World War II era was marked by a burgeoning interest in popular music, fueled by the rise of rock and roll and the advent of television. As musical tastes evolved, so did the demand for instruments that could produce the distinctive sounds of the era. Danelectro seized this opportunity, leveraging innovative designs and cost-effective manufacturing processes to carve out a niche in the competitive musical instrument market.

3. The Birth of the Danelectro Bassline:
Central to Danelectro's success was its commitment to pushing the boundaries of instrument design. In the early 1950s, the company introduced its first electric bass guitar, which would lay the foundation for the iconic bassline that would follow. Drawing inspiration from traditional bass designs while incorporating unique features, Danelectro's bass guitars quickly gained popularity among musicians seeking a distinct and versatile sound.

4. Innovative Design Features:
What set Danelectro's bassline apart were its innovative design features, which combined functionality with aesthetic appeal. The use of lightweight materials such as masonite and poplar wood allowed for a comfortable playing experience without sacrificing tone quality. Additionally, Danelectro pioneered the use of lipstick pickups, which imparted a unique sonic character to their instruments, characterized by warmth and clarity.

5. Cultural Impact and Legacy:
As Danelectro bass guitars found their way into the hands of musicians around the world, they left an indelible mark on popular music. From the throbbing basslines of rock and roll classics to the funky grooves of soul and R&B, Danelectro's instruments became synonymous with the sound of an era. Moreover, their affordability and accessibility democratized music-making, empowering countless aspiring musicians to realize their creative potential.

6. Evolution and Adaptation:
Over the years, Danelectro has continued to innovate and evolve, adapting its bassline to meet the changing needs and tastes of musicians. From reissues of classic models to the development of new designs incorporating modern technology, the company remains committed to honoring its heritage while embracing the future. Today, Danelectro bass guitars continue to inspire musicians of all genres, carrying forward a legacy of innovation and excellence.

7. Influence on Musical Styles:
The impact of Danelectro's bassline extends beyond its technical specifications; it has profoundly influenced various musical styles and genres. In the realm of rock music, Danelectro bass guitars have been favored by legendary bassists such as Jack Casady of Jefferson Airplane and John Entwistle of The Who. Their distinctive sound, characterized by punchy lows and clear highs, helped shape the sonic landscape of rock music in the 1960s and beyond.

8. The Sound of Motown:
In addition to rock, Danelectro bass guitars found a home in the vibrant world of Motown and soul music. Musicians like James Jamerson, the iconic bassist for Motown Records, relied on Danelectro instruments to lay down the infectious grooves that defined the Motown sound. The combination of the Danelectro bass's unique tonal characteristics and Jamerson's virtuosic playing style contributed to countless hit records and cemented its place in music history.

9. DIY Culture and Customization:
One of the hallmarks of Danelectro's bassline is its appeal to DIY enthusiasts and tinkerers. The simple yet robust design of Danelectro bass guitars makes them ideal candidates for customization and modification. From swapping out pickups to refinishing the body, musicians have long enjoyed the opportunity to put their personal stamp on their instruments. This DIY ethos has fostered a vibrant community of Danelectro enthusiasts who share tips, tricks, and mods online, further enhancing the legacy of the brand.

10. Enduring Popularity and Collector's Appeal:
Despite the passage of time, Danelectro bass guitars continue to enjoy widespread popularity among musicians and collectors alike. Vintage models fetch premium prices on the collector's market, driven by their historical significance and timeless appeal. Moreover, Danelectro's commitment to quality and affordability ensures that its instruments remain accessible to musicians of all skill levels and backgrounds, ensuring that the legacy of the bassline will endure for generations to come.

11. Collaborations and Special Editions:
In recent years, Danelectro has collaborated with artists and designers to create limited-edition bass guitars that pay homage to its rich heritage. These special editions often feature unique finishes, custom hardware, and signature pickups, offering collectors and fans a chance to own a piece of musical history. Furthermore, these collaborations serve as a testament to Danelectro's ongoing relevance and its ability to adapt to changing trends while remaining true to its roots.

12. Conclusion: A Continuing Legacy of Innovation
As we reflect on the enthralling journey of Danelectro's bassline, one thing becomes abundantly clear: its story is far from over. From its humble beginnings in post-war America to its enduring legacy in today's music scene, the Danelectro bassline continues to captivate and inspire musicians around the world. Whether on stage, in the studio, or in the hands of collectors, Danelectro bass guitars stand as a testament to the power of innovation, creativity, and passion in the world of musical instrument design. As we look to the future, one can only imagine the new chapters that await in the ever-evolving saga of Danelectro Guitars and its iconic bassline.

TEST: Danelectro Baritone

 "So what is that"? Almost all of my colleagues react one way or another when they see the Danelectro Longhorn Baritone guitar for the first time. Hardly any other body shape polarizes as much as the classic Longhorn shape from the American manufacturer. In fact, the striking shape due to the very long horns of the upper and lower cutaways has to be included in the range of body forefathers immediately after the giants from Gibson and Fender. Especially in the golden electric guitar years of the 50s and 60s, Danelectro guitars and basses were a trademark in contemporary music, as their sounds can be heard on thousands of surf titles.

John Entwhistle from The Who also bought several Danelectro basses at the time, but only because roundwound strings were not yet available on the British market at that time and the only way to get these strings in the UK was to buy a Danelectro bass , which came with these same strings. Not bad either, buying a new bass when the strings are worn out sounds like “selling a car when the ashtray is full...” ;-)

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 above-mentioned peak phase, the company was unable to stay on the market and was closed again in 1969. In 1990 the label was rediscovered and reactivated.

But why baritone guitar? What kind of strange thing is that anyway? At the time of its construction, the instrument was seen as a hybrid between a standard guitar and a bass. Your tuning normally corresponds to a guitar tuned a perfect fourth lower and is therefore designed with B-E-A-D-F#-B. Concise guitar or bass lines were often doubled with such an instrument in order to transfer them to the next higher or lower voicing. In the age of downtuning (which has now become mainstream...), these instruments can now boast a completely different feature that is usually sorely missed with a short (625 mm) or long (648 mm) standard scale: string tension.

The mostly unsuccessful attempt to add something like “tension” to the (formerly) E string using a 013 set with a dropped B tuning is achieved worlds better with the 760 mm long baritone scale length.
Even very deep tunings retain a clear definition and can be clearly located in the sound structure. The inconsequential “chattering” that is produced by almost all seven-string guitars or “four-semitone-lower-and-more tunings” comes to an end with such an instrument; here, even with extreme “basement tuning”, you can really get hands on with the instrument again hip, trendy, popular.



Construction:

One of the great special features of Danelectro is the body material from which the instrument is built. The bodies of the instruments are hollow and are made from 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 wrong with this design. However, if you are looking for crisp lines with a high level of assertiveness, primarily played with the plectrum, you will find a good partner in this design.

The neck of the instrument is made of maple and has a medium-strength “D” profile, the fingerboard is made of rosewood and has medium-strength jumbo frets. The neck was screwed onto the body a little carelessly with a slight overhang, you won't find seamless transitions or detailed fine work, here only a neck was connected to a body! The saddle is screwed from the headstock and made of aluminum. Six encapsulated and chrome-plated tuners do an impeccable job and can easily cope with the significantly increased string tension. 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, there is a second feature that has always made Danelectro instruments stand out from the crowd: the “Lipstick” pickups. Visually as if it had come from a designer's design, the history of the pickup's origins is rather mundane. In order to keep production costs low, the company bought large stocks of over-produced lipstick tubes in order to place its Alnico pickups in them. 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 switching of the instrument is quite spartan, a three-way switch and a master volume and a rather ineffective master tone fader have to suffice to carry out all switching operations. To protect the high-gloss finish, a small, transparent pickguard with two screws is attached to the body


Practice:

Danelectro polarizes! It has always been that way and will always remain that way. The latent “cardboard character” that the instrument exudes makes it an unparalleled cult object with tonal charm and independence for some, while others simply consider it a cheap instrument without the necessary punch. The fact is that Danelectro is unparalleled in its area of application. In the clean range, the instrument is absolutely convincing, especially since its hollow sound makes it relatively easy to locate it in the sound structure. Even in moderately crunchy areas, the Longhorn works with its head held high, but as the gain increases it runs out of steam in terms of sound culture and sensitivity. But this was to be expected, as the entire retro design is designed for a clearly defined area of use.

From a technical point of view, the significantly longer scale length is surprisingly easy to play. Although the fret spacing is naturally larger than with the standard scale length, the changeover phase is surprisingly quick. When it comes to chord strumming and moderate lead passages, there are actually no problems at all, only fast runs in the lower registers are a little more difficult than usual. As expected, the bends also have to be carried out with a greater amount of force, on the one hand because of the string tension, and on the other hand because the distance that you have to cover on the fretboard for a half note or full note bend is different due to the longer scale length.


Conclusion:

You can say what you want, this instrument has something. It feels good, has a lot of spirit and is guaranteed to be noticed by everyone visually and acoustically. In addition, with this moderate selling price, the inclination towards a second instrument is obvious; you can definitely expand your tonal range with the Longhorn Baritone.

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Additional Informations:

Danelectro guitars were known for their unique sound and appearance. The company's use of Masonite, a type of hardboard, for the bodies of its guitars gave them a distinctive look and sound. Danelectro guitars were also known for their lipstick-tube pickups, which produced a warm, mellow tone.

Danelectro guitars were popular with a wide range of musicians, including Jimmy Page, Duane Eddy, and Link Wray. The company's guitars were also used in a number of classic films, including "The Wild One" and "Rebel Without a Cause."

In the 1960s, Danelectro began to experience financial difficulties. The company was sold in 1969, and went out of business in 1971. However, the Danelectro name was revived in the 1990s, and the company is now once again producing guitars.

**The Early Years**

Nathan Daniel was born in 1912 in New York City. He was a self-taught engineer, and began building his own amplifiers in the early 1940s. In 1947, he founded Danelectro Corporation, and began selling amplifiers to music stores.

Danelectro's amplifiers were quickly successful, and the company soon became one of the leading manufacturers of amplifiers in the United States. In 1954, Danelectro decided to expand its product line and begin producing guitars.

**The Danelectro Guitar**

The first Danelectro guitar was the Model 59. It was a solid-body guitar with a single lipstick-tube pickup. The Model 59 was followed by a number of other models, including the Model 66, the Model 1000, and the Shorthorn.

Danelectro guitars were known for their unique sound and appearance. The use of Masonite for the bodies of the guitars gave them a distinctive look and sound. Masonite is a type of hardboard that is made from wood fibers. It is a relatively inexpensive material, and it is also very durable.

Danelectro guitars were also known for their lipstick-tube pickups. Lipstick-tube pickups are small, single-coil pickups that are mounted in the body of the guitar. They produce a warm, mellow tone that is perfect for a variety of musical styles.

**The Rise of Danelectro**

Danelectro guitars quickly became popular with a wide range of musicians. In the 1950s and 1960s, Danelectro guitars were used by some of the biggest names in music, including Jimmy Page, Duane Eddy, and Link Wray.

Danelectro guitars were also used in a number of classic films. The Model 59 can be seen in the 1959 film "The Wild One," and the Model 66 can be seen in the 1955 film "Rebel Without a Cause."

**The Fall of Danelectro**

In the 1960s, Danelectro began to experience financial difficulties. The company was sold in 1969, and went out of business in 1971. There were a number of factors that contributed to Danelectro's demise.

One factor was the rise of competition from other guitar manufacturers. In the 1960s, Fender and Gibson began to produce guitars that were more expensive than Danelectro guitars, but were also of higher quality.

Another factor was the changing tastes of musicians. In the 1960s, many musicians began to prefer guitars with a brighter, more aggressive sound. Danelectro guitars were not able to compete with these guitars.

**The Revival of Danelectro**

In the 1990s, the Danelectro name was revived by a new company called Danelectro Corp. The new company began producing guitars that were based on the original Danelectro designs.

The new Danelectro guitars were a success, and the company quickly became one of the leading manufacturers of reissue guitars. In 2006, Danelectro Corp. was acquired by the Music Group (now known as Ernie Ball Music Man).

**Danelectro Today**

Danelectro is still producing guitars today. The company offers a wide range of guitars, including reissues of classic models, as well as new models. Danelectro guitars are still popular with a wide range of musicians, and they continue to be used in a variety of musical styles.

## Deep Dive into Danelectro Models:

**1. The Model 59:** This solid-body, single-pickup wonder was the first commercial electric guitar Danelectro offered in 1954. Its features and impact are worth unpacking:

* **Unique Design:** Made entirely from Masonite, a then-unconventional material, it had a distinctive "lipstick tube" pickup and a sleek, almost futuristic look that set it apart from traditional wooden guitars.
* **Sound Characteristics:** The Masonite construction gave it a warm, mellow tone with less sustain than wooden guitars, but perfect for twangy surf rock and bluesy riffs. The lipstick tube pickup provided a smooth, even response, further contributing to its character.
* **Notable Players:** The Model 59 attracted players like Jimmy Page (Led Zeppelin), Link Wray (songwriter of "Rumble"), and Dick Dale (king of surf rock). Its affordability and unique sound made it a favorite among beginners and established musicians alike.

**2. The Model 66 U2:** This hollow-body beauty, released in 1956, offered a distinct contrast to the Model 59:

* **Construction:** Featuring a masonite top and back with a maple core, it resonated like a semi-acoustic guitar, producing a richer, fuller sound with more sustain.
* **Versatility:** The dual lipstick tube pickups allowed for tonal variations, making it suitable for jazz, blues, and even rockabilly styles. Players could switch between pickups or combine them for a wider sonic palette.
* **Famous Users:** Lonnie Mack (rockabilly pioneer), Bruce Springsteen (early recordings), and John Lennon (on The Beatles' "Revolution") all utilized the Model 66 U2's sonic versatility.

**3. The Longhorn:** This eye-catching bass, introduced in 1956, boasted an unorthodox, long-horned body that turned heads:

* **Design Innovation:** The Longhorn's body shape wasn't just for aesthetics; it improved balance and weight distribution, making it comfortable to play. The single lipstick tube pickup delivered a punchy, focused bass sound.
* **Genre Influence:** The Longhorn became synonymous with early rock and roll, thanks to players like Jerry Garcia (Grateful Dead) and Jack Casady (Jefferson Airplane). Its unique look and tone contributed to the rawness and energy of those early rock sounds.

These are just a few examples, and each Danelectro model has its own story to tell. By exploring their design choices, sonic characteristics, and impact on specific music genres, we gain a deeper appreciation for the innovative spirit and lasting legacy of Danelectro guitars.

SPECIAL: Smartphone / Tablet Brackets

 When the author of this article was in his musical formative phase, music stands on a stage were only ever clearly assigned to one musical genre, classical music with the corresponding orchestral musicians. Perfect notists, who were forbidden any personal expression in the game, read the score like a novel and therefore did not need to memorize any passages. Impressive, but without a personal touch. Perhaps the area could be expanded to include dance musicians who had to be proficient in accompanying artists or who, due to an extremely high repertoire, needed support here and there with the lyrics or certain phrases.

But that was it when it came to the music stands, which always entailed a certain degree of stiffness. Rock music, for example, with music stands, completely unthinkable, downright blasphemy. The horror was all the greater when I first saw Wolfgang Niedegen, singer of the group BAP, on stage in front of him with a wooden music stand that seemed to cover half of his body, from which he was reading his lyrics, since it was apparently not possible for him to learn them by heart.

Those days are long gone. All forms of smart devices have long since made their way onto the stage, especially since 90% of all drum sets have a MacBook on the side from which the artists play their backing tracks, although they are not able to perform them live. In addition, a tablet today only takes up a fraction of the space that was previously taken up by music stands and, in addition to their main function as a textual support, these same devices have long since developed into a kind of digital control center in some areas, where amplifiers can be controlled remotely . can regulate your personal mix on the in-ear remotely via the digital console.

Today we want to take a look at the current products from the three largest providers in the area of smartphone / tablet holders and address the respective areas of application of the holders. Our three providers are the company Gravity Stands, which is one of the brands of the Adam Hall Group, the company Hercules Stands, which is a brand of the Taiwanese company KHS Musical Instruments Co. and the top dog from Wertheim in Germany, König & Meyer. The focus of the test is on attaching it to or on a microphone stand, but we will also look at table mounts, which should be of interest to both instrumentalists and podcasters in the table or keyboard area.


The basic orientation

All mobile device holders struggle with the same problem.

1.) Weight:

The products must be as light as possible. If the device were to exceed a certain weight, there would not only be a risk of a tripod tipping to the side, the device would also run the risk of moving downwards during the performance, as the respective holders may not be able to support the additional weight .


2.) Stability:

The products must be as stable as possible. The constant assembly and dismantling of the product and the very tight tightening of the screws always put a lot of strain on the product, so the metal and plastic materials have to be of a much higher quality than is generally the case.


3.) Transportability:

The products must be easy to transport, which means that they should have as many folding and bending elements as possible, which can be folded up so that the product can be transported in a small bag, but on the other hand can also be locked firmly again as quickly as possible , which means you don't have to fix too many joints every time for an upcoming performance.


4 Compatibility:

The respective holders must be able to accommodate different dimensions in terms of width, height and, above all, depth. For example, many devices are transported in a protective cover, which requires a high level of flexibility in the area of depth recording.


So, as test devices for the recording ability there is a current iPhone 15 in a slim protective case, an older iPhone X in an Otterbox case and an iPad Air in a massive protective case. We'll start with the smartphone holders. You can choose from brackets that are screwed onto a regular tripod or products that come with their own tripod.


The brackets in detail

K&M smartphone holders

The K&M smartphone holders 19761 and 19762 represent the simple variant of a smartphone holder that is also known from car holders. They allow a smartphone with a width of 4.5 - 9 cm to be held using a simple fold-out function in the foot area A ball joint allows a 360 degree rotation, although a real headstand cannot really be recommended due to the only one-sided, lower support despite the side clamps. The big advantage of these products is that they are easy to use, as you can lock the smartphone with one hand if necessary. The version 19762 is screwed directly onto a standard tripod with a 3/8" connection, while the version 19761 allows clamping for a tube diameter of 10 - 30 cm.

The 19755 version, on the other hand, with a height of 130 - 180 mm and a depth of 15 mm, is aimed at particularly tall or wide smartphones that require a stable hold on all 4 sides. The smartphone is much more secure in the recording due to the 4 holders, but this version has the disadvantage that, unlike the models 19761 and 19762, you cannot use the main camera because it is covered by the holders.

The holder of the model 19755 is also available in the 19756 version as a table tripod, which can be used both in the office and on stage in the backliner area or on a keyboard, with the color changing from the pure black of the 19755 to a black/gray mixture changed. In this case, however, I would refrain from using a touchscreen control, as the underside of the table tripod is not rubberized and can be moved relatively easily. However, if the smartphone is controlled via Bluetooth, for example by a foot switch, you can of course view and use the product as a purely visual element.

The same holder is also used on the 19759 smartphone tripod, which allows a height of 600 - 1,400 mm and can therefore be placed very well on stage as a standalone solution. Here, too, the smartphone can be easily removed from the holder by simply folding the clamping device, which is located on the back of the holder, backwards using your thumb. This action can also be easily carried out with one hand.

A little fun on the side. All three brackets contain a black tube as a connecting piece of the very high-quality metal elements in classic K&M style, which at first glance looks like metal, but at second glance turns out to be plastic, which is very stable and which can be bent in all directions . I was really surprised when I unpacked the products and spent several minutes thinking about how I should bend a piece of metal.


Hercules Stands smartphone holders

The company Hercules Stands takes a slightly different approach with its HCDG-207B smartphone holder. The holder in the classic yellow / black Hercules “wasp layout” is suitable for smartphones with a diagonal of 12 - 17.5 cm. The system can be attached to 3 cm tables, round and rectangular bars, and the case or holder for the smartphone does not have to be removed. The weight of the holder is only 320 g and can withstand a maximum load of 1 kg. The system works with a simple spring tension and must be operated with two hands.

An interesting plus point of the system is an integrated “cold shoe” adapter, which is particularly useful for extended audio or video recordings. A "cold shoe adapter" or "cold shoe mount" is a mount that is located on the top of a mounting plate. It is called "cold" because it does not have its own power source. The additional devices are connected to the camera via cable. There are many options for mounting devices ranging from external microphones to another mini camera like Gopro.

However, the HCDG-207B can only demonstrate its full flexibility with the Podcast Arm HCDG-107B. In addition to mounting on a desk, it can also be clamped to round or square tubes, such as a keyboard stand. The arm can also be used with the tablet holder described later. In addition to the fact that the position of the clamp and the thread can be swapped as desired, so that the podcast arm can be attached to the surface with either the long or the short arm side, I particularly liked the “TightVice” holder Both arms can be fixed in a 360 degree position with just one screw, which extremely speeds up the assembly and dismantling of the product.


Now let's move on to the area of tablet holders.

K&M tablet holders

We'll start with the K&M 19743 Tablet PC Holder, a universal tablet holder with a clamping mechanism for all tablets measuring approximately 10" to 16". A special feature of the tablet is that the tablet holder is made of bio-based plastic. These plastics contain a proportion of over 50% to 100% of renewable plant raw materials and, by using renewable raw materials, help to conserve oil reserves and reduce CO2 emissions. Once again, K&M is committed to producing its products in the most environmentally friendly way possible; the company has been known for years for its recycling operations, its avoidance of pollutants in its products and for the treatment of its process water to drinking water quality. More information about bio-based plastics can be found at: biokunststoff.k-m.de.

The clamping range of the tablet PC holder is between 158 and 280 mm. According to the manufacturer, the holder is particularly suitable for using tablets with a protective cover or case up to a thickness of 18 mm, which is indeed the case. Even my iPad, which is in a very thick protective case, could be placed on the holder without me having to remove the protective case. The holding arm with clamping prism is suitable for clamping to pipe diameters up to 30 mm. As an additional side guide, K&M uses a perforated steel bracket, which ensures upright operation. If possible, attaching the metal bracket should be combined with a quick look at the operating instructions, as you need to press an inconspicuous plastic pressure lever for the “ratchet lock”. After that, the system is rock solid. The same holder is also available in the 19765 version, which comes without a steel bracket on the side and is only designed for upright operation.

If you don't want to attach your tablet to a microphone stand, but would rather have it placed in its own stand, you're on the right track with the 19789 model, where the 19765 model comes with its own stand. The tripod, which was designed specifically for tablet use, is extremely solid and, with a 300 mm diameter and 4.5 kilo cast gray cast base, offers great stability, which means that almost nothing will sway even at the full support height of 1,430 mm.




Gravity Stands tablet holders

The company Gravity Stands also has two interesting tablet holders in its range, both of which shine with very interesting details. At the very front is the MA TH 01 B holder, which in the typical gravity green / black offers a continuously adjustable clamping range of 150 to 295 mm and is suitable for pipe diameters of 15 - 35 mm using a solid fastening clamp. The tablet is fixed with two triangular holders made of plastic, while in the background a tubular steel construction locks all joints centrally using a single adjusting screw thanks to the Vari-Arm system, which also speeds up assembly and dismantling. Despite the steel construction, the product weighs only 0.662 kg and can be easily transported in any bag.

With the MA T TH 01, however, the range includes a plastic holder that can attach both a smartphone and a tablet to a microphone stand if necessary. This is particularly helpful if, for example, you need a device to read text and want to use the other device as a control unit for products in the background. In single operation, both the tablet unit and the smartphone unit can be attached to the microphone stand at a 360° angle using a ball joint. However, if you want to use dual mode, the smartphone unit is latched onto the lower part of the holding arm using a small tab and then holds the smartphone in landscape format below the holder, while the tablet unit can be locked at the front in normal 360° operation. as you need it for your business. The tablet unit is controlled with two tabs on the back of the holder, with the top tab locking the height of the tablet while the bottom tab sets the width of the two lower arms. Although the product is “only” made of plastic, it gives a very stable and durable impression, which is not the case with many plastic products from other manufacturers.



Hercules Stands tablet holder

With the HCDG-307B, Hercules Stands has a tablet holder in its portfolio, which at first glance attracts attention primarily due to the solid design of the metal arm, which can be attached not only to tables, round and rectangular bars up to 3 cm thick , but can also be swiveled twice over 360 degrees using 2 screws. Tablets or large smartphones with a width/height of 15.5 - 33 cm can be inserted. The tablets are held by two strong spring mechanisms, which have to be pulled apart with two hands, meaning that inserting the tablet into the holder requires a bit of practice at the beginning. What I really like about the system is the fact that you can rotate the four holding points by 360 degrees and, depending on what kind of product you want to attach to the holder, you can use the long sides, cross sides or the corners with them Breakpoints optimally reached. The product also impresses with its very compact dimensions and can be transported in the smallest bag. If you are willing to separate the actual plastic holder from the metal arm, the product can be folded even smaller.


Finally, I have the 23874 tablet PC holder bundle on offer, which, however, is primarily suitable for stationary operation or for FOH or monitor space, due to the gas pressure spring, tablets from 10" to 16" with a Weight of up to 8 kg can be positioned. Here too, a “biobased” holder is used. The clamping range of the tablet PC stand holder is between 158 and 280 mm, although thanks to the table clamp (up to 85 mm thick), the entire holder can be mounted comparatively quickly. USB-C and Lightning connectors can also be guided through the arm, leaving a tidy impression, especially since the entire system can be continuously adjusted in height up to 350 mm when the gas pressure spring is correctly adjusted and can also be rotated between portrait and landscape format.



In summary, I was really surprised at how much the quality of all three providers has improved in recent years. You can clearly see that a lot of brainpower and development work was put into the products by the respective engineers, because the mounts I found from other providers in this area a few years ago basically had the quality of hobby products, which were neither durable nor long-lasting stable yet structurally appropriate for the professional sector. What I found here are all high-end products, which have a high level of stability, very good workmanship, interesting detailed solutions and, above all, a solid design, which is definitely recommended today due to the constantly evolving application possibilities .

All very good products, with K&M getting another extra point for their environmental protection.

SPECIAL: Rehearsal Room Part 1

 Hardly any other topic in music is as comprehensive in terms of style and the personal orientation of the musicians as the topic of rehearsal space or finding a rehearsal room. No matter what kind of creative output you want to present to the listener, music is inevitably linked to the propagation of sound waves and when it comes to enjoyment or inedibility, every person has a completely different idea of what they want to expose to their hearing and what they don't. In short, you need a location where you can give free rein to your creativity, free from external disruptive influences.

In this special we want to talk about the search for a rehearsal room and the special features of such a room. Another special deals with the acoustics of a rehearsal room, its equipment and the technical implementation. But first of all, how do you even get a rehearsal space?

The fairy tale of the perfect rehearsal room

I don't know about you, but throughout my career I've always had to make more or less compromises when it comes to a rehearsal space. The problem is rooted in the fact that on the one hand there can be infernal volumes that need to be mitigated and on the other hand there are musicians who do not have much financial flexibility to pay for this rehearsal room, especially at the beginning of their career or the journey to the same.

That's why when I was a teenager there was always the saying “no matter how dirty, dirty or moldy a room is, you can still rent it out as a rehearsal room”. I rehearsed in the attics of disused grain mills with 83 steps, had a storage room next to a pigsty closed by the veterinary office and, as a highlight, rehearsed in walled-off rooms under a railway line, including an undetected water intrusion, so that the mattresses from behind were moldy in all fungal colors. It goes without saying that none of the rooms had heating and that in the winter the rooms were laboriously heated with gas burners, which swallowed up all the oxygen.

Looking back, I can only shake my head when I think about what they had to put themselves through at the time, but there was simply no other alternative than to bite into these more than just sour apples. The “culprit” of this problem is quickly identified, although in this case it was inevitably the drums. E-drums didn't exist yet and if you wanted to even remotely reproduce the stage volume, an unbelievable volume immediately developed in the rooms, which were usually far too small, which made any form of differentiated listening impossible.

This is in no way meant to be reproachful, as acoustic drums were invented at that time in order to generate the highest possible volume. If you go and accuse this instrument of being too loud, you are doing more than just injustice to this instrument and its users.

We will discuss the extent to which virtual solutions can provide a remedy here in another special. Today it's all about where and how to find a rehearsal room where high volumes are possible without getting on other people's nerves too much.


1.) Rehearsals in private rooms

Even if it is hard to believe, the majority of all rehearsals can be held in private rooms. If we assume a free-standing building that has the appropriate minimum distances from neighboring houses, acoustic instruments such as acoustic guitars, double bass, moderate percussion instruments and unamplified vocals, for example, move within a sound level range of up to 90 dB. This corresponds to the noise of a busy street or a lawnmower.

If this room has normal masonry and modern double or triple glazing, the noise emitted to the outside is not a problem within the legal framework, provided you stick to the midday rest period. In Germany there is no nationwide regulation for midday rest, but many municipalities and cities have their own regulations that specify a rest period over midday. These local regulations are usually set out in the respective noise protection regulations or municipal statutes. The midday rest period is intended to allow citizens to have an undisturbed rest and, above all, limits noisy activities that could disturb the neighborhood, such as music.

The typical lunchtime rest time is between 1:00 p.m. and 3:00 p.m., but can vary depending on the location. In some areas, the nap time may be 12:00 p.m. to 2:00 p.m. or another time slot. It is important to find out about the specific regulations regarding midday rest from the relevant municipality or city administration, as these can vary from place to place. In addition, rental agreements or house rules may also contain special agreements on rest periods that must be adhered to by the residents of an apartment building or residential complex. The same applies to the night quiet, which usually applies from 10 p.m. to 6 a.m., but can also vary depending on the municipality.

If the ensemble forces you to work at higher volumes, most people are drawn to the basement of their house. What seems better at first glance can turn out to be a fallacy at second glance, since you also have to completely hermetically seal a basement room in order to benefit from sound insulation. Even a slightly leaky window or a poorly closing door with a tiny gap allows the sound to “squeeze through” and destroy the supposedly better location in the ground.

What many musicians don't know or shy away from because of the perceived effort involved is the room-in-room construction, which, if implemented correctly, can make even a rented apartment on the second floor so "quiet" that you can no longer hear drums acoustically in the neighboring apartment can perceive. The room-in-room principle is based on building a second room in an existing room and acoustically decoupling it from the outside room, i.e. the ceiling, walls, floor, windows and doors are actually installed twice and separated from each other by vibrating connections.

The result is that the inner space in which the high volume takes place begins to vibrate, but cannot pass this vibration on to the outer space. This means that the sound is dead in the space between the two rooms and does not reach the outside. All professional recording studios are built according to this principle in order to be able to withstand extremely high volumes 24-7 without disturbing the neighbors or other residents.

But be careful, even a single nail that penetrates both walls will destroy the entire construction by acting as a sound conductor. There is a variety of relevant specialist literature available to buy and there are also some very good video tutorials on YouTube from which you can learn the basics.


2.) Rehearsals in public buildings

Another way to get rehearsal rooms is in public buildings, such as youth centers, schools or community centers.

Even if you have the problem here that you may have to make compromises regarding opening times and access options, you still have the advantage that if the responsible priest, teacher or leader is a fan of your music, you can get a very cheap one, usually too well-kept space can come.

In return for the space, which could sometimes even be used for free, there were only one or two concerts per year in my time where you had to play with your band at some performance for free.

In return, you not only had a clean room, some of which even had a cleaning staff, but the institutions were insured and what should not be forgotten: the instruments were comparatively safe and were at least largely secured against theft or vandalism.

The disadvantage of these rooms is that the respective rooms are usually acoustically comparatively unsuitable for louder types of music. Converting the room in terms of acoustic conditions is also usually difficult, as in most cases the rooms are handed over as they are and have to be returned in this format.

Structural measures that are not easy to remove are usually not necessary in such rooms, which means that you may have to make do with a reverberant room, which has a negative impact on the overall sound.



3 rehearsals in rented rooms

However, the majority of rehearsal rooms will probably be managed through regular rental agreements. The shades that can arise here range from small hobby rentals with no intention of making any profit to highly professional ones.


a.) Rehearsal room rental on a friendly basis

Everyone probably knows someone who has a space that they don't really need. Be it an old garage, an old barn, a cellar or storage room that he would like to make available as a rehearsal room in a friendly environment.

This has advantages and disadvantages.

The advantages are that you are probably well served with very little money in the form of a flat rate electricity fee or other small charges and you may have a room that is close by and can be accessed relatively quickly for little money.

The disadvantage is that everything that is in the realm of friendship can turn around at some point. I once had this case many years ago, when the landlord regularly said in the evening after the third beer that he absolutely had to intervene in the rehearsal room, be it as a spectator, listener or advisor and of course you couldn't just throw him out due to the incredibly favorable conditions. Difficult situation that everyone probably has to sort out for themselves.

The question of liability, for example in the event of burglary, theft, fire or other things, should also be clarified with the landlord to see to what extent his insurance applies in this regard, or you should take out additional insurance yourself.

b.) Rehearsal room rental in a commercial context

When it comes to renting out space commercially, the situation is basically the same as on the open housing market. Every tenant tries to get a room as cheaply as possible and every landlord tries to get as much money out of the landlord as possible. This is no different when renting rehearsal rooms.

Many years ago I once had the situation near Mannheim when a huge warehouse was divided by a professional investor into many small rehearsal room plots, including a large parking lot and a small attached music store.

The system was great in principle, but the plots were only separated by simple plaster walls. This means that as soon as the next room made even a little bit more noise or the drummer played a little more dynamically, you had to shout in your own room to make each other understandable. As expected, insulating the walls with simple carpets or similar didn't bring any improvement at all.

The risk of theft is also always a problem when there is a large concentration of rehearsal rooms. I don't know how many times we've had a microphone stolen simply because someone went to the bathroom and didn't lock the rehearsal room or left the door open.

On the plus side, with a commercial landlord you have the advantage that there is a minimum of comfort and hygiene. A commercial rental definitely includes sanitary facilities, water access and usually also protection in terms of distribution boxes for electricity, etc. This is all the more important because central heating is rarely available in commercial areas and in winter you often have to protect 2 oil radiators plus a backline in terms of fuse distribution. In this context, it is also important to pay attention to the agreed electricity supply. Is there a flat rate or does the room have a separate meter?

In addition, a commercial provider usually has appropriate parking space, so that you can easily load and unload your equipment when an upcoming gig.

Many people will probably be familiar with the bunkers from the Second World War that still exist in the Rhine-Main area and the Ruhr area, and whose demolition would have cost so many millions that it was decided to turn these reinforced concrete monsters into rehearsal rooms. These are now managed by professional landlords and are actually rented primarily to music bands.

As long as you keep the ventilation flaps closed, the issue of noise in such rooms is of course no problem at all with 1.50 m reinforced concrete ceilings, walls and floors. But you have a perpetual ventilation problem in these rooms. Another problem is the fact that you can never, I emphasize, never really get a room like this warm and you would leave the heating running for what feels like a year. In addition, the rooms are always slightly musty because almost 90 years of moisture have accumulated in the cracks.

Everyone has to find out for themselves to what extent they feel comfortable in such spaces. I spent many years in rooms like this and learned to appreciate and hate many things at the same time.


4.) Rehearsals in the rehearsal/recording studio

Probably the most luxurious way to rehearse is to work in one of the recording rooms of a recording studio or a rehearsal studio. This is particularly useful if, for example, you are preparing for a tour or just holding spontaneous rehearsals, which also means that you can quickly set up and dismantle your equipment.

For my part, I often rehearsed in the former Abbey Road Institute, now Studio 301, a very good, highly professional studio, which I was able to access because I knew the owner and one of the institute's teachers very well.

The big advantage here is of course to be found in the professional sound insulation and the professional acoustics of the room, but you also have to always keep in mind that you have to go behind the regular recording studio operation, i.e. H. You always have to coordinate your rehearsal and working times with the studio company.

In the second part of the rehearsal room special, we will cover everything that a rehearsal room has to offer in terms of operation, acoustics and technology once you have finally found your dream room.

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.