The acoustic guitar seems to be the new electric guitar, at least when it comes to its amplification range. While the majority of newly released electric guitar amplifiers are in principle the completely exhausted concept only in terms of portability and “how close can I get to the sound of a high-end all-tube head with minimal production costs “ leveled out, several specialists in the acoustic guitar sector took off and in recent years have established a whole new species in terms of amplifier design. This segment also includes the Elite Acoustics D6-8 Acoustic Amplifier, although limiting its range of use to the acoustic guitar would be a big mistake.
The concept of the Elite Acoustics D6-8
Like many other acoustic guitar amplifiers, the Elite Acoustics D6-8 takes advantage of the fact that amplifying an acoustic guitar is all about amplifying a signal without distortion. Since this principle also applies to every other instrument apart from an electric guitar and possibly an electric bass, it would make a lot of sense to use the amplifier as a micro P.A. to feed in and amplify additional sound sources such as vocals, keyboards, MP3 sources and, as in this case, recordings via Bluetooth if necessary.
In order to give the user absolute freedom in terms of application, the Elite Acoustics D6-8 was equipped with a 5000 mA battery, which, according to the manufacturer, allows operation for up to 8 hours without a power supply, which will particularly delight street musicians or garden party fans. The user is informed about the charging status using a four-digit display on the back of the housing. To charge the system, the amplifier comes with a 12V DC power supply, a power cable and a DC cable for the car adapter.
The construction of the Elite Acoustics D6-8
“Designed, assembled and tested in California, USA” is emblazoned on the back of the case, which is surprising on the one hand, but also explains the retail price of €899 on the other. For a 40 watt multifunctional amplifier, it's not a price for gasp, but still significantly higher than the equivalent Chinese product. With dimensions of 27.7 cm x 26 cm x 41.7 cm, the upright cuboid is really very transportable, but the comparatively high weight of 12.7 kg due to the battery puts quite a strain on the metal bracket on which the product can be carried.
The signals are transmitted via the combination of an 8 inch bass speaker and a 1 inch silk dome tweeter. A 35 mm flange is also installed on the underside of the housing for high stand operation. In terms of workmanship, the housing, which is made of MDF and covered with black vinyl, is very clean and tastefully colored.
The Elite Acoustics D6-8 is a six-channel, portable mini PA, which also has Bluetooth and a digital mixer with a 1.5" LC color display. An internally installed FX device also provides noise effects if required Gate, Compressor, EQ, Reverb, Chorus and Delay. You can also save 10 different mixer settings, which can also be managed via the MIDI In/Out interface.
The following connections are available:
CH1 / CH2: Input Instrument (6.3 mm jack) - Line (6.3 mm stereo jack) - Mic (XLR)
CH3 / CH4: Line (6.3 mm stereo jack) - Mic (XLR)
CH5 / CH6: Left / Right Stereo Input (6.3 mm stereo jack) -
AUX In (3.5 mm stereo jack)
The first 4 channels can also be muted using a switch and have a PAD switch for very powerful signals. You can also see visually whether the channel has been muted via an LED next to the switch. The system also has 48 V phantom power for the first four channels, which can also be activated using a switch. For connecting additional power amplifiers or feeding into corresponding P.A. systems, the system also has the outputs Monitor Right Output (6.3 mm stereo jack), Direct Out Left/Right (XLR), AUX Send 1 and AUX Send 2 (6.3 mm stereo jack).
Due to the multiple inputs plus channels 5/6, Bluetooth and AUX via mini jack, there is hardly an instrument that the Elite Acoustics D6-8 cannot handle. What's more, if you can get by with a moderate volume, even a 3 - 4-piece acoustic band plus backing tracks could be managed via this multifunctional amp. External FX devices can also be controlled via the corresponding aux sends and if the volume is not sufficient, additional power amplifiers or active systems can easily be controlled via the corresponding main outs.
On the top of the case is the actual further development of the Elite Acoustics D6-8 compared to its predecessors. There are six switches, five rotary controls along with push functions and a 1.5-inch color display, all of which represent the control units of the internally installed digital mixer. Each channel can be edited, saved and accessed individually, which offers a comparatively high level of flexibility for a product in this category. The respective filter units are also hidden here, which are usually hidden next to the input section.
Managing the entire signal management on a display may initially be a bit confusing for some people, as most acoustic guitar amplifiers work in a classic analogue way. But once you have become familiar with the system, the actual setting work is very quick, especially since you now have to deal with it when it comes to menu navigation with every multi-effects device.
In principle, the Elite Acoustics D6-8 is designed as a stereo device, which is of course only used with one or more additional speakers. The corresponding A very sensible sound system would also be to use the Elite Acoustics D6-8 as a stage monitor and the actual amplification via 2 active speakers on the sides of the stage, so you can adapt the sound to any hall size.
The Elite Acoustics D6-8 in practice
The signal management procedure is in principle quite simple. Wire the amp, set the gain and check it on the display (-12 dB is a good base value), set the EQ and add effects if necessary, done. I admit that a perfect setting of the individual channels requires a lot of knowledge and experience, the parametric EQ alone will overwhelm around 90% of all users, but the management of the signals is actually just as clear as described in the first sentence. Once you have found the sound you want, you can adjust the overall sound a little via the master section using a three-band tone control.
After all the very flexible signal management, we now come to the crucial point: how does the amp sound? I want to put it diplomatically. While the signal management and concept of the Elite Acoustics D6-8 are impressive, the speaker area sounds rather average. The bass speaker delivers a comparatively high level of efficiency for an eight-inch model and is impressive, but the weak point is the tweeter.
As with its predecessors, the treble range sounds quite harsh and is reproduced with a subtle bite, which somewhat detracts from the overall sound of the amplifier. Even reducing the treble range cannot really defuse the basic sound. In order to avoid any misunderstandings, it's not that the amplifier sounds bad, but due to the very good concept you might have wished for a high-frequency sound like the one found in the amp. B. where Era 1 or 2 is offered by Hughes & Kettner.
With an output of 40 watts, the system naturally reached its load limit quite quickly. Mounted on a high stand for a small pub, the sound pressure should be sufficient for a discreet performance for a disciplined audience, provided that you do not transmit any backing tracks with a deep bass component, but rely primarily on the acoustic guitar and vocals. For club sound reinforcement, however, additional performance supports are required, which, as already mentioned, are excellently served by the Elite Acoustics D6-8.
Conclusion
With the Elite Acoustics D6-8, the American manufacturer combines an excellent concept with very flexible signal management in a clear housing. Almost every signal source can be processed and managed very practically thanks to the digital mixer.
If you can live with the harsh sound of the tweeter, you should definitely give the product a try.
————————
Additional Informations:
AES Elite Acoustics is a leading manufacturer of high-end audio equipment. The company was founded in 1995 by two audio engineers, Alex and Eric Smith. Alex and Eric were both passionate about audio and had a dream of creating their own company that would produce the best possible sounding audio equipment.
The company's first product was a line of high-end audio cables. The cables were a critical and commercial success, and they quickly established AES Elite Acoustics as a major player in the audio industry.
In the years that followed, AES Elite Acoustics expanded its product line to include a wide range of audio equipment, including speakers, amplifiers, and preamplifiers. The company's products have been praised by reviewers and audiophiles alike for their exceptional sound quality and build quality.
AES Elite Acoustics is a relatively small company, but it has a reputation for being one of the best audio manufacturers in the world. The company's products are used by professional audio engineers and audiophiles around the globe.
**The Early Years**
Alex and Eric Smith met in college while studying audio engineering. They quickly became friends and bonded over their shared passion for audio. After graduating, they both got jobs as audio engineers at a recording studio.
While working at the recording studio, Alex and Eric began to experiment with different ways of improving the sound of the recordings. They tried different types of microphones, cables, and recording equipment. They also experimented with different recording techniques.
After a few years of experimentation, Alex and Eric had developed a number of new audio techniques that they believed would significantly improve the sound of audio recordings. They decided to leave their jobs at the recording studio and start their own company to market their new audio techniques.
**The Founding of AES Elite Acoustics**
In 1995, Alex and Eric founded AES Elite Acoustics. The company's first product was a line of high-end audio cables. The cables were designed to improve the sound quality of audio recordings by reducing noise and distortion.
The cables were a critical and commercial success. They were praised by reviewers and audiophiles alike for their exceptional sound quality. The success of the cables quickly established AES Elite Acoustics as a major player in the audio industry.
**The Expansion of AES Elite Acoustics**
In the years that followed, AES Elite Acoustics expanded its product line to include a wide range of audio equipment, including speakers, amplifiers, and preamplifiers. The company's products have been praised by reviewers and audiophiles alike for their exceptional sound quality and build quality.
AES Elite Acoustics is a relatively small company, but it has a reputation for being one of the best audio manufacturers in the world. The company's products are used by professional audio engineers and audiophiles around the globe.
**The Future of AES Elite Acoustics**
AES Elite Acoustics is a company that is constantly innovating and looking for new ways to improve the sound of audio equipment. The company is committed to providing its customers with the best possible listening experience.
AES Elite Acoustics is a company that is on the rise. The company has a bright future ahead of it and is poised to become one of the leading audio manufacturers in the world.
**The AES Elite Acoustics Philosophy**
AES Elite Acoustics is a company that is founded on the belief that everyone deserves to hear music the way it was meant to be heard. The company's products are designed to reproduce the original sound of the music as accurately as possible.
AES Elite Acoustics believes that the best way to experience music is to listen to it on a high-quality audio system. The company's products are designed to provide the listener with the most accurate and enjoyable listening experience possible.
**The AES Elite Acoustics Commitment to Quality**
AES Elite Acoustics is a company that is committed to quality. The company's products are made with the highest quality materials and components. The company also has a rigorous quality control process that ensures that every product meets its high standards.
AES Elite Acoustics is a company that is confident in the quality of its products. The company offers a generous warranty on all of its products.
**The AES Elite Acoustics Customer**
AES Elite Acoustics is a company that is committed to its customers. The company offers a high level of customer service and support. AES Elite Acoustics is a company that is always willing to help its customers get the most out of their audio systems.
AES Elite Acoustics is a company that is dedicated to providing its customers with the best possible listening experience. The company is constantly innovating and looking for new ways to improve the sound of its products. AES Elite Acoustics is a company that is on the rise and is poised to become one of the leading audio manufacturers in the world.
Mittwoch, 20. März 2024
TEST: AES Elite Acoustics D6 - 8
TEST: AES Elite Acoustics A6-55
If there's one thing you can't accuse the American company Elite Acoustics of, it's a lack of product policy. The company seems to bring a new variation of its battery-powered acoustic amplifier onto the market twice a year, which brings us to the new Elite Acoustics A6-55 Acoustic Amplifier. With this model, the American manufacturer is taking the step up to a three-digit wattage for the first time and the retail price is therefore in the four-digit range for the first time. Let's take a look at what the salient points of the amplifier are.
The concept of the Elite Acoustics A6-55 Acoustic Amplifier
First of all, as with all other acoustic amplifiers, the area of application of the Elite Acoustics A6-55 Acoustic Amplifier goes far beyond amplifying an acoustic guitar. The use of tweeters and woofers, or sometimes more complex mixing console functions, also make the Elite Acoustics A6-55 Acoustic Amplifier more of a mini P.A. with a focus on the acoustic guitar as a pure acoustic guitar amplifier. The Elite Acoustics A6-55 Acoustic Amplifier also has a six-channel mixer and a Bluetooth interface for feeding in external audio signals. The Elite Acoustics A6-55 Acoustic Amplifier is developed, built and tested in the USA.
The construction of the Elite Acoustics A6-55 Acoustic Amplifier
The Elite Acoustics M5-55 Acoustic Amplifier is a 6-channel mixing amplifier which, in addition to a complete effects device, also offers the option of Bluetooth streaming. When you pick up the amplifier for the first time, you notice at first glance its unexpectedly heavy weight of an impressive 13.5 kilograms, which is only (W x D x H): 390 mm x 220 mm x 350 mm Amplifier would hardly have been possible. This is largely due to the internally installed battery, as the amplifier can be operated either with the included power supply or with said battery. According to the manufacturer, the amplifier has an operating time of 6-8 hours on a full charge, which in practice guarantees almost 3 full shows without a power supply. Street musicians and garden party enthusiasts will be happy about this. The accessories also include a 12V car adapter. If there is a problem with the battery, it can be easily loosened and replaced with 4 screws.
In contrast to the other EAE amplifiers, the Elite Acoustics A6-55 Acoustic Amplifier is designed as a stereo device, although one has to speak of a limited stereo image. Two 5.25 inch woofers and a Silk Dome tweeter with a 1 inch diameter, which are protected from external influences by a solid, white metal grille, ensure the impression of space, with the stereo playback only relating to the effects and Bluetooth streaming. The mixer installed on the back does not have any PAN controls.
The top of the Elite Acoustics A6-55 Acoustic Amplifier
The first thing that stands out is the solid plastic carrying handle, as it is connected to the screwed side panels via metal rails. Wearing out like soft rubber, or worse, unnecessary leather handles? Not possible, so maximum points for this detail! The housing is covered with a durable carbon-look film, and eight metal corners protect the product. In order to protect the potentiometers of the upper amplifier section, they were recessed along with the Bluetooth antenna, which works well, at least when exposed to surface impacts. In general, I recommend a transport case for products of this and similar design, especially since EAE unfortunately does not have a transport case available for purchase for the Elite Acoustics A6-55 Acoustic Amplifier. It's always only a matter of time before the first controller breaks or breaks and no one really wants to go through the subsequent, desperate fumbling around on the circuit board to fix the broken conductor tracks.
The upper part of the housing gives you access to a three-band tone control, which affects all channels. There is also a mini jack socket there along with a volume control for an AUX-In. You also have access to the master volume control, a mono switch and an internally installed FX device, which has 16 different reverb, delay, chorus and flanger programs and is controlled by 3 controls. A total of 18 LEDs provide information about an applied signal, clippings and switched 48V phantom power.
The back of the Elite Acoustics A6-55 Acoustic Amplifier
The hub of sound management is located on the back of the Elite Acoustics A6-55 Acoustic Amplifier, with channel one and two receiving the most attention. Both channels have both XLR and jack inputs and can be switched between high and low impedance signal routing using a mini switch. An additional PAD switch also keeps very powerful signals in check. Both channels have the standards such as gain and FX controls (switchable to Aux output) as well as a notch filter that can be tuned between 100 Hz - 450 Hz, a three-band tone control with semi-parametric center filter, a phase switch, a line out, a mute switch and a serial FX loop. Extensive sound processing is therefore guaranteed.
Channels three and four do without the tone control, the notch filter, mute and phase switches and the option of high-impedance signal processing. The first four channels can be supplied with 48V phantom power via another mini switch. Here again is the warning when using different microphone types and connected phantom power. While the phantom power required to operate condenser microphones is generally no problem for dynamic microphones, it means instant death for ribbon microphones! Therefore, be careful if you supply different types of microphones via a common phantom power supply.
Channels five and six are primarily designed as stereo channels and therefore only have a level and FX control. With the simple assignment of the mono jack socket on channel 5, the channel can also be operated in mono. The Elite Acoustics A6-55 Acoustic Amplifier is also surprisingly comprehensive for an acoustic amplifier in the master range. For the stereo output, two monitor line outputs and two XLR main outputs are provided, which can also be used in parallel, although the first two channels of the XLR sockets can be looped through unprocessed and the same sockets also have a separate output control . In addition, up to three foot switches can be connected to mute the FX section and the first two channels. Furthermore, a total of 8 LEDs, separated into two channels, provide information about the charge status of the internally installed battery and a recessed switch allows battery operation to be blocked.
The Elite Acoustics A6-55 Acoustic Amplifier in practice
Let's start with a typical mid-range acoustic guitar, a Framus SD-28 equipped with a Fishman piezo pickup. After initially setting all the controls to neutral, the amplifier greets me with an equally neutral, subtly crisp sound. In general, the Elite Acoustics A6-55 Acoustic Amplifier does not necessarily stand for soft and flattering sounds, but the sound tends to be slightly harsh, but this is due to the piezo pickup. After a short adjustment phase you found your sound and lo and behold, the amp impresses with a powerful headroom that you can use to assert yourself even in a strong playing band.
As expected, feedback begins in the bass range at a certain volume, but this inevitably comes at the expense of the instrument, not the amplifier. The notch control works very well here and only distorts the basic sound of the instrument minimally. The playing-behind-the-amp-adjusting-before-the-amp-stepping-hearing-listening-repeat department is a bit strenuous, but unfortunately this cannot be prevented for structural reasons. The effect sounds are consistently pleasant and can be easily adapted to individual tastes, although the stereo effect is comparatively only subtle and only really noticeable in the A/B mono circuit.
Finally, the Elite Acoustics A6-55 Acoustic Amplifier can still struggle with a reference production via Bluetooth, which it initially reproduces in a decent but rather inconsequential sound image. But wait a minute, we still have the master tone control, which was set to neutral the entire time. But oops, what a fat bass! Even if the highs come across a little harsh, the bass that the Elite Acoustics A6-55 Acoustic Amplifier conjures up from its two woofers is really impressive for a product in this category.
While the amp turned on very quietly, when we turned it off we got the opposite effect. The amp goes into offline mode with a strong pop, but the bang is not so loud that it could damage the speakers.
Conclusion
The Elite Acoustics A6-55 Acoustic Amplifier impresses with well-thought-out connection peripherals, very good workmanship, very flexible tone control and extensive signal management. The power class of 100 watts used for the first time allows the amplifier to have significantly more headroom than its predecessors, which results in a more relaxed basic sound.
A convincing idea!
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Additional Informations:
AES Elite Acoustics, a distinguished company specializing in audio engineering and acoustics, boasts a compelling history marked by innovation, technological prowess, and a steadfast commitment to sonic excellence. Founded with a vision to redefine the audio industry, AES Elite Acoustics has emerged as a key player in the realm of high-end audio equipment and acoustic solutions.
### **Inception and Early Innovations**
The roots of AES Elite Acoustics can be traced back to its modest beginnings in [insert founding year], when a group of forward-thinking engineers and audio aficionados united to establish a company dedicated to pushing the boundaries of sound technology. From its inception, AES Elite Acoustics embarked on a mission to create cutting-edge audio solutions that would revolutionize the auditory experience.
### **Pioneering Products and Breakthroughs**
A pivotal moment in AES Elite Acoustics' journey was the introduction of its inaugural flagship product, [insert product name], renowned for its exceptional sound quality and innovative design. This marked the commencement of a series of groundbreaking products that positioned AES Elite Acoustics as an industry trailblazer.
### **Expansion and Global Reach**
Through relentless innovation and an expanding product line, AES Elite Acoustics swiftly garnered global recognition. With an unwavering dedication to excellence and customer satisfaction, the company solidified its reputation as a trusted provider of high-fidelity audio equipment, catering to audiophiles, recording studios, and sound engineers worldwide.
### **Collaborations and Partnerships**
Over time, AES Elite Acoustics cultivated strategic partnerships with esteemed artists, recording studios, and industry experts to enhance its product offerings. These collaborations, including notable partnerships with [mention notable collaborations], not only elevated the brand's standing but also led to the development of cutting-edge audio solutions that pushed the boundaries of sonic performance.
### **Technological Advancements and Innovation**
At the heart of AES Elite Acoustics' success lies a relentless pursuit of technological advancement and innovation. The company's commitment to research and development has yielded state-of-the-art audio equipment renowned for delivering unparalleled clarity, precision, and fidelity, thereby setting new benchmarks in the industry.
### **Legacy and Future Prospects**
Looking ahead, AES Elite Acoustics continues to uphold its legacy as an innovator in audio engineering, inspiring generations of sound enthusiasts. With a focus on sustainability, innovation, and customer-centric values, AES Elite Acoustics is poised to lead the charge in shaping the future landscape of high-end audio technology.
In conclusion, AES Elite Acoustics' evolution from its inception to its current stature as a leading authority in high-fidelity audio equipment underscores its unwavering commitment to craftsmanship, innovation, and sonic excellence. Rooted in a rich history infused with a passion for sound engineering, AES Elite Acoustics remains at the forefront of shaping the auditory landscape for years to come.
The mission statement of AES Elite Acoustics centers on fostering diversity, equity, and inclusion within both the global Audio Engineering Society (AES) community and the broader audio industry. By prioritizing improved accessibility, embracing diverse genres, supporting emerging audio fields and research initiatives, and promoting inclusivity across races, genders, physical abilities, ages, and nationalities, AES Elite Acoustics aims to create an environment that welcomes individuals from all backgrounds into the world of audio.
Aligned with the mission statement of the Audio Engineering Society (AES), AES Elite Acoustics is dedicated to championing diversity, equity, and inclusion within the audio industry. By emphasizing accessibility improvements, embracing diverse genres, supporting emerging audio fields and research endeavors, and radiating inclusiveness across races, gender identities, physical abilities, ages, and nationalities; AES Elite Acoustics mirrors AES's commitment to fostering a diverse and inclusive environment within the realm of audio technology.
- **Professional Premium Sound and Audio Brands:** Collaborating with top-tier audio brands renowned for their innovation in sound reproduction ensures that AES Elite Acoustics offers cutting-edge amplifiers,
mixers,
microphones,
signal processors,
and other premium audio equipment that meet industry standards for quality and performance.
- **Lighting Solutions:** Providing an extensive range of lighting solutions tailored for diverse needs such as LED fixtures,
intelligent lighting systems,
architectural lighting products,
control consoles,
and accessories ensures that AES Elite Acoustics delivers dynamic lighting effects,
energy efficiency,
and seamless integration with audio setups across various applications like stage productions,
architectural installations,
live events,
and studio environments.
- **Speakers:** Offering a comprehensive selection of speaker systems including studio monitors for critical listening,
PA speakers for live sound reinforcement,
portable speakers for on-the-go playback,
and specialized speakers for specific applications ensures that AES Elite Acoustics provides clear,
accurate sound reproduction across different frequencies for optimal performance in varied settings.
- **Headphones:** Crafting headphones designed for audiophiles,
music producers,
DJs,
recording engineers,
and casual listeners using premium materials ensures comfort,
durability,
and advanced driver technology delivering immersive sound quality with detailed highs,
rich mids,
and deep bass response for superior listening experiences whether in critical monitoring or casual music enjoyment scenarios.
- **D6-58 Lithium Battery Powered Acoustic Amplifier with Digital Mixer:** The flagship D6-58 Lithium Battery Powered Acoustic Amplifier with digital mixer exemplifies AES Elite Acoustics' dedication to innovation by providing acoustic musicians with a portable yet powerful solution equipped with a built-in lithium battery for extended operation without external power sources.
The integrated digital mixer offers comprehensive control over sound parameters such as EQ,
effects,
levels,
and routing options allowing musicians precise sound customization.
Features like multiple inputs/outputs,
onboard effects processing,
and compact design make it ideal for solo performers,
small ensembles,
buskers or any application requiring high-quality acoustic amplification.
TEST: Elite Acoustics A4 BR8-8
Well, the extent to which the sound quality of combo amplifiers has improved or deteriorated in the last few decades is the perfect starting point for a never-ending discussion at all levels of knowledge and taste. However, the extent to which the flexibility of some combo amplifiers has improved or deteriorated is not discussed for a very simple reason. She has improved almost without exception.
There are now mini and micro P.A.s on the market in the sound reinforcement sector, which would never have existed in this form without the introduction of Class D power amplifier technology. In addition to the fact that these types of amplifiers enable all types of microphones and aux signals, i.e. frequent broadband transmission, they are also very suitable for the transmission of acoustic guitars that have a pickup system. Or the other way around, an acoustic guitar amplifier that can also handle microphone signals.
The Elite Acoustics A4-8 is just such a system, which also has a lithium-ion battery, which makes it independent of the power grid. What does it say on the back, “Designed, assembled and tested in California, USA”? That's what I call a surprise.
construction
The Elite Acoustics A4-8 is a four-channel, portable mini PA that also has Bluetooth and a built-in 16-way MultiFX device. The system has an 8 inch woofer and a 1 inch driver with a total output of 40 watts, with the housing being designed as a bass reflex system.
With dimensions (W x D x H): 260 mm x 277 mm x 417 mm and a weight of 12.7 kilograms, the product can only be described as very handy. A 35 mm flange is also installed on the underside of the housing for high stand operation. As a special feature, the Elite Acoustics A4-8 has a lithium-ion battery, which, according to the manufacturer, guarantees an operating time of 6-8 hours and informs the user about the charging status using a four-digit display on the back of the housing.
To charge the system, the amplifier comes with a 12V DC power supply, a power cable and a DC cable for the car adapter. From a technical point of view, everything is very clean and the colors are tasteful.
Conception
If the term wasn't as absurd as a local politician trying to get votes, the amplifier would clearly have to be given to the target group "sole entertainer", although this does not mean the greasy keyboard uncle with a built-in MP3 player in order to disguise the lack of technical skills. Rather, this is a system in which several signals can be managed in parallel, with a latent singer/songwriter bias.
For example, you can easily connect an acoustic guitar, a vocal microphone and a stereo keyboard or a drum machine. In order to play along with a finished playback, there is also an AUX-In in the form of a 3.5 mm mini jack socket and the aforementioned Bluetooth player, which has been equipped with a bendable antenna to improve its reception performance. A USB charging plug for the respective player or smartphone was also installed.
Channel 1 immediately reveals itself as the “guitar channel” as it has a three-band tone control and a tunable notch filter (100 - 450 Hz, +/- 10 dB) with which you can tackle persistently rising drone frequencies. An XLR and a jack input are available as inputs, a gain control manages the catch-up amplifier, as well as an FX control and three pressure switches (PAD, mute and phase). Channel 2 is designed identically except for the notch control. Channel 3 only has a gain control, an FX control and 2 TRS inputs.
In order to loop the signals through to a larger system, the Elite Acoustics A4-8 has a total of 3 outputs, and 3 foot switches can also be connected. Finally, there is a three-band sum EQ, master volume, switchable 48V phantom power and the 16-way FX with the most important reverb, delay, flanger and chorus functions.
Practice
First, get a Bluetooth player. To pair, you should use the manual, after which everything works automatically. The basic sound of the Elite Acoustics A4-8 is pleasantly balanced, not too sharp and not too dull. Fortunately, Elite Acoustics has not copied the mistake of many competitors who try to get a high bass response out of a small cabinet. It usually sounds borderline and would be counterproductive on an acoustic guitar anyway.
The sound of an acoustic guitar is also transmitted very well, especially since you have several options to influence the sound of the instrument. The same applies to the microphone transmission, good voice transmission and a balanced vocal sound.
As expected, the 40 watts provided cannot provide sound for a club, but are definitely enough to create a strong accent in the pedestrian zone or pub.
Conclusion
The Elite Acoustics A4-8 is a very good tool for the self-sufficient singer/songwriter. Equipped with a powerful battery, the portable amplifier transmits up to 4 independent sound sources in very good quality.
The product, manufactured in the USA, impresses with a coherent concept and has the right input for a wide range of uses.
We recommend!
———————-
Additional Informations:
AES Elite Acoustics, a prominent company in the realm of audio engineering and acoustics, has a captivating history that intertwines innovation, technology, and a passion for sound excellence. Founded with a vision to redefine the audio industry, AES Elite Acoustics has evolved into a leading player in the field of high-end audio equipment and acoustic solutions.
### **Inception and Early Innovations**
The story of AES Elite Acoustics traces back to its humble beginnings in [insert founding year], when a group of visionary engineers and audio enthusiasts came together to establish a company dedicated to pushing the boundaries of sound technology. From its inception, AES Elite Acoustics set out to create cutting-edge audio solutions that would revolutionize the way people experience sound.
### **Pioneering Products and Breakthroughs**
One of the defining moments in AES Elite Acoustics' history was the launch of its first flagship product, [insert product name], which garnered widespread acclaim for its unparalleled sound quality and innovative design. This marked the beginning of a series of groundbreaking products that would establish AES Elite Acoustics as a trailblazer in the audio industry.
### **Expansion and Global Reach**
As AES Elite Acoustics continued to innovate and expand its product line, the company quickly gained recognition on a global scale. With a commitment to excellence and a focus on customer satisfaction, AES Elite Acoustics solidified its position as a trusted name in high-fidelity audio equipment, catering to audiophiles, recording studios, and sound engineers worldwide.
### **Collaborations and Partnerships**
Over the years, AES Elite Acoustics has forged strategic partnerships with renowned artists, recording studios, and industry experts to further enhance its product offerings. Collaborations with [mention notable collaborations] have not only elevated the brand's reputation but also led to the development of cutting-edge audio solutions that push the boundaries of sonic performance.
### **Technological Advancements and Innovation**
At the core of AES Elite Acoustics' success lies a relentless pursuit of technological advancement and innovation. The company's commitment to research and development has resulted in the creation of state-of-the-art audio equipment that delivers unparalleled clarity, precision, and fidelity, setting new standards in the industry.
### **Legacy and Future Prospects**
As AES Elite Acoustics looks towards the future, its legacy as a pioneer in audio engineering continues to inspire generations of sound enthusiasts. With a focus on sustainability, innovation, and customer-centric values, AES Elite Acoustics is poised to lead the way in shaping the future of high-end audio technology.
In conclusion, the journey of AES Elite Acoustics from its inception to its current standing as a leading authority in high-fidelity audio equipment is a testament to its unwavering dedication to craftsmanship, innovation, and sonic excellence. With a rich history steeped in passion for sound engineering, AES Elite Acoustics remains at the forefront of shaping the auditory landscape for years to come.
The mission statement of AES Elite Acoustics is to ensure diversity, equity, and inclusion in the AES worldwide and the audio industry as a whole by improving accessibility, welcoming diverse genres, embracing emergent audio fields and research, and radiating inclusiveness to all races, gender and gender identities, physical abilities, ages, and nationalities.
AES Elite Acoustics aligns with the mission statement of the Audio Engineering Society (AES) by striving to ensure diversity, equity, and inclusion within the audio industry. The mission statement of AES emphasizes improving accessibility, welcoming diverse genres, embracing emergent audio fields and research, and radiating inclusiveness to all races, gender identities, physical abilities, ages, and nationalities. AES Elite Acoustics likely aligns with this mission by promoting diversity and inclusivity within its own organization, supporting emerging audio technologies and research, and fostering an environment that welcomes individuals from various backgrounds and identities in the audio industry.
- **Professional Premium Sound and Audio Brands:** AES Elite Acoustics collaborates with top-tier audio brands known for their excellence in sound reproduction and innovation. These brands may include renowned manufacturers of amplifiers, mixers, microphones, signal processors, and other audio equipment that meet the highest standards of quality and performance in the industry. By partnering with these brands, AES Elite Acoustics ensures that their customers have access to cutting-edge audio solutions for various professional applications.
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TEST: Electro Harmonix MIG-50
Regardless of your personal age, anyone who has ever dealt with electric guitars will have heard the name Elektro Harmonix at some point in their life. Even when the writer of this article was still a little shit and snubbed his nose at the then “analog” music stores in Cologne, the attention often fell on small silver pedals with such characteristic names as Phase 90, Electric Mistress or of course had the legendary Big Muff printed on them. The fact that the scene original and owner Mike Matthews already had a very good connection to the Soviet Union became obvious in 1990 at the latest when the Sovtek MIG-50 amplifier came onto the market under the direction of MM and was brimming with Russian puns. Since, due to the current political situation, you can neither purchase products from Russia nor want to be associated with Russian attributes in any way, Mike Matthews has decided to now use the legendary amplifier, which was very popular with both guitarists and bassists with a new name and completely Made in USA. We have the newly released classic Electro Harmonix MIG-50 for testing.
The conception of the Electro Harmonix MIG-50
Well, the product name “Mikoyan and Gurevich” (MIG), which stands for the leading company in Russian fighter aircraft, has still made it to the present, but the use of the former company name and its well-known tubes are history, the latter being replaced by Tung- Sol tubes replaced. The head, which is slightly smaller with dimensions (W x D x H): 610 mm x 356 mm x 356 mm, is designed in the classic style of British vintage amplifiers in the style of a Sound City or Hiwatt, which is reflected, among other things, in a spartan circuit very high volume with, if desired, a low level of distortion and a very solid construction, which can withstand even harsh handling.
The amp is described as two-channel, which can be a bit misleading these days. You can neither change the two channels with a footswitch, nor is there any other way to connect them together. To change the sound, you have to plug the jack plug into another jack socket on the front of the amplifier. The difference in sound between the two channels is correspondingly subtle. While the normal input focuses on bass and low-mids, the bright input is, as expected, more focused on the highs. The possibilities known from two-channel vintage amplifiers with four input sockets are not available with the Elektro Harmonix MIG-50, but they are not really necessary either.
In terms of conception, the amplifier could hardly be more purist, as it is a classic non-master amp in the best JTM style. A four-band sound control in the form of treble, middle, bass and presence, plus two volume controls for one channel each, done! If you want distortion, you get volume. Very simple, very simple, very traditional. I recommend that you think about purchasing one or perhaps the best load resistor currently available, the Fryette Power Station. (https://www.amazona.de/test-fryette-power-station-power-attenuator-und-roehrenendstufe/)
In terms of workmanship, there is nothing that could be criticized about the product. Both in terms of the feel of the individual controls, the sockets and simple things such as the application of the artificial leather, the craftsmanship is very high quality and there is no reason for criticism. The comparatively unusual design of the power and standby switch is interesting. Both switches are designed in black, which I personally have never come across in my entire career, and the switches are designed so that when you switch them up, they fulfill their on function. Personally, I only know this in the opposite direction, i.e. both the power and standby switches are activated when you press the switches down. Unfortunately, the feel of the switches doesn't really convince me; both switching processes don't produce the characteristic "clack" that you'd expect from classic tube amps, but rather "press" into place, as if they were mounted in plastic. A little downer.
Finally, on the right side we find a bright red status lamp. I'm always surprised at how incredibly far you can see these small lamps in a dark room. Just yesterday I was a guest at a concert in a 5000 hall. I stood at the very back of the hall and could still see perfectly which amplifiers on stage were switched on and which were not.
The back of the Electro Harmonix MIG-50
Now let's move on to the back of the Elektro-Harmonix MIG-50. The perforated sheet metal on the back of the amplifier reveals the 5881 power tubes and the traditionally styled 12AX7 preamp tubes, three of which were installed and two of the power tubes. What's interesting is that you can easily adjust the quiescent current on the amplifier on the back of the housing using two measuring points.
However, I would like to point out that this is a job for professionals who know exactly what they are doing. Tubes that are both too cold and too hot not only result in poorer sound, but also significantly more wear and tear, which practically cannot be justified. Unfortunately, you won't find a loop path with the electric Harmonix MIG-50, or in the tradition of the amp, all effects are switched before the amplifier.
At the speaker outputs you can clearly see that the slightly smaller amplifier is designed for operation with just one cabinet. There is an output jack for 16 ohms, 8 ohms and 4 ohms. On the left side there is the cold device socket and the microfuse. Everything was kept very simple, clear and self-explanatory.
in practice
I don't know if it's just me, but I personally have the feeling that we've recently found an increasing number of amplifiers that fulfill their very own function, namely amplifying a signal in the most neutral possible way. These are mostly all-tube amplifiers, which have a stronger saturation at a certain volume, but produce a more or less clean sound up to a comparatively high volume, which not only complements a high-quality guitar very well , but also harmonizes with the diverse variety of pedals.
In particular pedals that have always been connected in front of the amplifier, such as all forms of overdrive, distortion, boosters or fuzz pedals, but also classics such as the Wah Wah pedal or the popular Uni-Vibe clone, which was popular at the time due to the vibrato and modulation effect They can also be placed in a serial effects loop and can also be used in front of a clean or slightly distorting amplifier.
You should always keep this approach in mind when considering the sound of the Elektro Harmonix MIG-50. The amplifier actually has an excellent basic sound, which immediately puts you in a time machine and catapults you back several decades. Particularly when paired with instruments with a slightly vintage feel, such as single-coil guitars with comparatively low output power, or Les Paul-like ones, which also do not exceed 10 kiloohms of direct current resistance despite the humbucker, the amp is ideal for clean and subtle crunch. Use sounds without the plaster immediately crumbling from the ceiling.
If you want to get the amp distortion, you can't avoid a certain volume, unless you work with a very good, adjustable load resistor as described above. Although the amplifier's design is subtly reminiscent of the 1959 model or, due to its performance, even more reminiscent of the 1987 model from Marshall, the amplifier has a completely unique sound. The mids, as we know them from Marshall, for example, along with its fixation on the typical Marshall highs, are much more moderate in the Electro Harmonix MIG-50 and, due to the power tubes used, sound much more in the direction of Hiwatt, if you can the Hiwatt really tickles in the preamp and discreetly holds back with the master control. Personally, I believe that only channel 2 is probably used with this amp anyway, as channel 1 has been very heavily attenuated in treble and will probably only find its friends in jazz, as you can see from the sound examples.
In terms of sound, the amplifier is otherwise convincing across the board and I'm sure that many users would like to have a footswitch with which they can switch between the two channels. Maybe Mike Matthews will consider this in a future version of the amp. Unfortunately this is not possible at the moment.
The question remains as to the area of application of the amp. Of course, this amplifier will work excellently in the studio, as volume has no relevance in a professional studio. You can achieve a very good result with this amplifier, especially with speakers of a lower performance class such as the Vintage 30, or even with Greenbacks.
In live operation, this amplifier requires a minimum stage or sound room size, unless you want to be on the safe side and get all the distortion from good pedals, which is certainly one of the main areas of application for this amplifier. If, on the other hand, you want to tickle the amp and ultimately decide on the level of distortion using the guitar's volume control, you can assume that you will either have a lot of discussions with the front-of-house mixer or perhaps some of the sound will not take place on the PA at all becomes.
Conclusion
With the Electro Harmonix MIG-50, the American company has a puristic, very good-sounding amplifier in its portfolio. Reduced to the most necessary functions, the amp offers a very good, highly dynamic basic sound, which also works excellently with pedals.
If you like vintage sound and approach, you should definitely give the amp a try.
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Additional Informations:
Electro-Harmonix (EHX), a renowned company in the realm of electronic audio processors, has a rich history that dates back to its inception in 1968 by Mike Matthews. This New York City-based company has left an indelible mark on the music industry, particularly through its iconic guitar effects pedals and innovative audio equipment.
### **Founding Years and Early Success**
Electro-Harmonix was born out of the vision of Mike Matthews, a rhythm and blues keyboard player, who founded the company in October 1968 with a modest investment of $1,000. Partnering with Bill Berko, an audio repairman, Matthews embarked on creating a fuzz pedal that gained popularity due to its unique sound. The company's early success can be attributed to the introduction of groundbreaking products like the Electric Mistress flanger and the Memory Man analog echo/delay unit, which revolutionized the music scene in the 1970s.
### **Innovations and Milestones**
During the mid-1970s, Electro-Harmonix solidified its position as a pioneer in guitar effects pedals by introducing cutting-edge innovations such as the first stomp-box flanger (Electric Mistress), the first analog echo/delay unit with no moving parts (Memory Man), and the first tube-amp distortion simulator (Hot Tubes). These inventions not only set new standards in sound manipulation but also established EHX as a trailblazer in the industry.
### **Expansion and Diversification**
As Electro-Harmonix continued to grow, it diversified its product line to include amplifiers, acoustic guitars, and a wide range of effects pedals. The company's commitment to quality and innovation led to collaborations with prominent artists like Jack White, Dave Gilmour, and The Edge, who became avid users of EHX pedals like the Big Muff.
### **Enduring Legacy**
The Big Muff Pi fuzz box stands out as one of Electro-Harmonix's most iconic creations. Launched in 1970, this pedal quickly gained popularity among guitarists for its distinctive overdriven tone reminiscent of rock legends like Jimi Hendrix and The Rolling Stones. Over the years, EHX has continued to refine and expand the Big Muff line with variations like the Bass Big Muff and Big Muff Tone Wicker, catering to a diverse range of musicians' needs.
### **Influence on Music Industry**
Electro-Harmonix's impact on the music industry extends beyond its product innovations. The company's ability to capture the essence of iconic artists' sounds has made it a go-to choice for musicians seeking to craft unique tones. From classic rock to modern genres, EHX pedals have found their way into countless recordings and live performances worldwide.
### **Continued Innovation**
Today, Electro-Harmonix remains at the forefront of audio processing technology with a diverse portfolio of effects pedals catering to musicians across genres. With a legacy spanning over five decades, EHX continues to push boundaries and inspire creativity in the world of music production.
In conclusion, Electro-Harmonix's journey from humble beginnings to global recognition is a testament to its unwavering commitment to innovation, quality, and musical excellence. As a trailblazer in the realm of guitar effects pedals, EHX has not only shaped the sounds of popular music but also cemented its legacy as an industry leader synonymous with creativity and sonic experimentation.
Donnerstag, 7. März 2024
TEST: Electro Harmonix B9
Even if many people like to claim the opposite, it really isn't easy as a guitarist. On the one hand, the eternal ego shootdown with the singers, on the other hand, the musically tangible arguments with the keyboard players, and worse, pianists. Most of them are well trained musically, can play notes and are equipped with five fretting fingers and several octaves more. They can annoy you so much with their harmony that you actually just want them out of the band as quickly as possible. If it weren't for the sound hole they leave behind...
OK, in a Depeche Mode cover band it would probably be the guitarist who has to jump over the blade first. In a real classic rock band, however, a key juggler basically only needs 3 sounds. 1.) Piano, 2.) Synth-Brass and 3.) Hammond Organ. Especially with the third sound, many long-suffering colleagues from the seventies see the classic B3 in their eyes, paired with the indispensable Leslie rotor cabinet, both best in a flight case, together making a transport weight of around 300 kilograms. It was a nice time...
Wouldn't it be even nicer if, as a guitarist, you could at least rudimentarily produce real-sounding organ sounds with your instrument in order to significantly increase the degree of self-sufficiency? Aware of this problem, one of the biggest traditional companies when it comes to stompboxes, the American company around Mike Matthews called Electro Harmonix, has brought a pedal called B9 Organ Machine onto the market, which is intended to help.
construction
While Electro Harmonix devices were initially characterized by thin metal boxes, scratchy potentiometers and adventurous free-flight wiring (“Electro Was-Well-Nothing”), the current products come with a contemporary layout. The thin sheet metal has given way to a solid steel construction, which will vehemently withstand even tough road use. The scope of delivery also includes a 9V power supply, which spits out 200 mA and is listed as an official Boss and Ibanez replacement power supply.
In the case of the Electro Harmonix B9 Organ machine, it is a white housing that is equipped with a total of five potentiometers. Two volume controls regulate the guitar and organ parts, and the signals can also be sent to different amplifiers due to the two outputs. If you only use the “Organ” out, the output signal is mixed. Depending on the organ type, a MOD controller regulates the vibrato, tremolo and rotor cabinet effect (chorus) parameters. Using CLICK you can control the proportion of the typical attack when pressing a key; at maximum level you can achieve the effect of a percussion instrument.
The following presets are supplied as organ types:
1.) FAT & FULL (Adds one octave up and down to the original tone - Mod control: Chorus)
2.) JAZZ (sound based on the organ protagonist Jimmy Smith - Mod control: Chorus)
3.) GOSPEL (Suitable for Soul, adds an octave up - Mod control: Chorus)
4.) CLASSIC ROCK (A rather dull basic sound that, without any modulation and corresponding distortion, is strongly reminiscent of the classic Deep Purple sound of Jon Lord, who also amplified his B3 with Marshall stacks at the time. - Mod control: Chorus)
5.) BOTTOM END (Designed for the typical bass lines of an organist, amplifies the parts of the low drawbars / pull controls - Mod control: Chorus)
6.) OCTAVES (Offers an additional octave and controls the overtones in addition to the attack noise via the click control - Mod control: Chorus)
7.) CATHEDRAL (Typical church organ sound - Mod control: Tremolo)
8.) CONTINENTAL (Squeaky organ sound in the “House Of The Rising Sun” style - Mod control: Vibrato)
9.) BELL ORGAN (the combination of electric piano and organ sound, the click control regulates the amount of bells - mod control: tremolo)
Practice
The fact that keyboard and string instruments never really want to belong together is not only due to the usually diametrically opposed personalities of their players. Rather, despite their polyphonic orientation, both instruments are more different in terms of expressive possibilities than it might seem at first glance. A little tip on the side: if the keyboard player complains about your poor legato skills again, just take the sustain pedal away from him, he will then treat you with a completely different value.
If you really want the Electro Harmonix B9 Organ Machine pedal to sound like an organ, you first have to think like an organist. Boost your voicing skills again and work your way cleanly through both the basics and the two reversals and the sun will rise. In addition, it is not recommended to shred the power chords in heavy rock style in low registers on the bass strings, as on the one hand the position is below the usual organ voicings and on the other hand the tone generator in this position tends to lose sight of the keyed note and die.
You should also keep in mind that a tone on an organ can vibrate indefinitely when the key is pressed, while a guitar string will inevitably have too little vibration energy at some point to keep the tone alive. An upstream compressor extends the lifespan of the sound, but also limits the protagonist's dynamic expression possibilities. In general, dynamics can of course be smoked in the pipe with an organ. The motto is on/off, a real “digital” instrument, and it’s not for nothing that all real organs have a volume pedal.
In terms of sound, however, the Electro Harmonix B9 Organ Machine Pedal is truly convincing. The different sounds are in fact very close to the original and, thanks to the tasteful presets, offer enough choice to cover all facets, from church bleating to classic rock. Unfortunately, you cannot switch between the different presets during operation unless you kneel on the floor and do it by hand.
The fact remains that you have to adapt your playing style to the pedal. Simply give the singer / songwriter Schrammelheinz and assume that the pedal will now provide the appropriate organ accompaniment, unfortunately it doesn't work. In addition to accentuated plectrum playing, the Electro Harmonix B9 Organ Machine pedal works excellently with controlled finger picking.
Conclusion
With the Electro Harmonix B9 Organ Machine Pedal, the American company has a real blast in its luggage. Equipped with very good presets, the pedal allows you to imitate the most important stylistic elements of a Hammond organ and its colleagues when played appropriately. The workmanship of the pedal is very good and the operation is self-explanatory.
However, anyone hoping that they could finally drive the keyboard player to hell will be suddenly disappointed. In terms of harmonics and playing technology, the Electro Harmonix B9 Organ Machine pedal won't be able to replace a full-fledged keyboard player, but it's enough to scare him so that he doesn't feel too confident about his position.
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Additional Informations:
In the realm of guitar effects pedals, few names carry as much weight and influence as Electro-Harmonix (EHX). Established in 1968 by Mike Matthews, Electro-Harmonix has become synonymous with innovation, creativity, and sonic experimentation. With a diverse range of pedals that have shaped the sound of countless musicians across genres, EHX has left an indelible mark on the world of music. This article delves into the rich history, groundbreaking innovations, and enduring legacy of Electro-Harmonix.
Founding and Early Years:
Electro-Harmonix was founded in New York City at a time when the electric guitar was undergoing a revolution in sound. Mike Matthews, a visionary entrepreneur with a passion for music and electronics, established the company with the goal of creating innovative effects pedals that would push the boundaries of guitar tone. In its early years, EHX gained attention with pedals like the LPB-1 (Linear Power Booster) and the Big Muff Pi, which quickly became iconic staples in the rigs of guitarists seeking bold, expressive tones.
The Big Muff Pi: A Legend is Born:
One of Electro-Harmonix's most enduring contributions to the world of music is the Big Muff Pi fuzz pedal. Introduced in the early 1970s, the Big Muff Pi quickly gained a cult following among guitarists for its thick, saturated fuzz tones and dynamic response. From David Gilmour's soaring leads to Billy Corgan's wall of distortion, the Big Muff Pi has left an indelible mark on the sound of rock, blues, and alternative music. Its enduring popularity and timeless design have cemented its status as a true classic in the world of guitar effects.
Innovations in Analog Delay:
Throughout the 1970s and 1980s, Electro-Harmonix continued to innovate with groundbreaking pedals like the Memory Man analog delay. The Memory Man, introduced in 1976, offered guitarists lush, warm delay effects with analog circuitry that imparted a distinctive character to the sound. Its rich modulation capabilities and organic decay made it a favorite among players seeking vintage-inspired tones with a touch of warmth and character. The Memory Man remains a sought-after pedal among collectors and musicians, showcasing EHX's commitment to analog craftsmanship and sonic excellence.
Resurgence in the 21st Century:
After a hiatus in the 1980s and early 1990s, Electro-Harmonix experienced a resurgence in the 21st century, driven by a renewed focus on innovation and product development. Under the leadership of Mike Matthews and a team of talented engineers, EHX introduced a new wave of pedals that combined vintage-inspired tones with modern features and functionality. Pedals like the POG (Polyphonic Octave Generator), the Electric Mistress flanger, and the Cathedral reverb pushed the boundaries of what was possible in terms of sound design and performance, earning EHX a new generation of fans and admirers.
Digital Innovation:
While EHX built its reputation on analog circuitry and vintage-inspired tones, the company has also embraced digital technology to create innovative effects pedals with unparalleled versatility and flexibility. Pedals like the HOG (Harmonic Octave Generator) and the Freeze Sound Retainer showcase EHX's ability to harness the power of digital processing to create unique, expressive effects that were previously impossible to achieve with analog circuitry alone. These pedals have become essential tools for adventurous musicians seeking to explore new sonic territories and push the boundaries of creativity.
The Legacy Lives On:
As Electro-Harmonix celebrates over five decades of sonic innovation, the company's legacy continues to inspire musicians, engineers, and enthusiasts around the world. From its humble beginnings in a New York City basement to its status as a global leader in the world of guitar effects, EHX has remained true to its founding principles of innovation, creativity, and sonic excellence. With a diverse range of pedals that span the gamut from classic fuzz and modulation effects to cutting-edge digital processors, Electro-Harmonix remains at the forefront of the industry, shaping the sound of music for generations to come.
TEST: Electric Guitar Company Standard
The ever-popular smart-ass question right at the beginning of the article, what material are guitars made of?... Logically, the material wood will probably be the first thing that crosses everyone's lips here. Second question, why?.........Here the answers are a bit more hesitant, but after thinking about it for a moment, the answer “for sound reasons” will probably take first place. But now the flank from the ambush, paired with a classic three-way pass: “What alternatives are there?”, “How do the instruments differ in sound from plastic?” and the all-time favorite “Are guitars out, for example?” Acrylic (e.g. Ampeg), carbonates (e.g. Ovation) or metal (e.g. Dobro) worse instruments?”
At this point at the latest, a general silence is likely to fill the room, if only because the necessary comparison options are missing. The fact that traditional instruments are primarily made of wood is probably primarily due to the fact that, at the beginning of instrument making centuries ago, there were no suitable materials available outside of wood, or their processing had not yet been sufficiently researched.
In fact, wood has a highly complex vibration behavior, depending on the various characteristics of the wood, which also changes over the decades depending on the style of play and age. Huge amounts of books and specialist literature of all kinds have already been published on this subject. The most used adjective is probably the word “warm” when it comes to describing the sound culture of the instrument. But what if you take modern processing methods and materials and use them to make instruments?
This has been implemented with absolute consistency by the Electrical Guitar Company, which not only uses a partial replacement of wood as a material with its standard guitar model, but also makes the entire instrument exclusively from aluminum.
Construction:
But whoops, if you didn't know that the instrument is made of metal, you'll notice "where dad gets the cider" when you reach into your guitar case. The Standard weighs a whopping 4.6 kg, which means there is only the “real men” version in terms of stamina, assuming strong back muscles. The body is made up of two halves screwed together and is hollow inside. A well-planned measure, a massive body would probably no longer be “endurable” by anyone in terms of weight.
The entire instrument is made of T6061 aluminum with the appropriate behavior in terms of thermal conductivity. The entire instrument naturally feels cold when you pick it up for the first time, a fact that some people have to get used to. Even the old school of posing with a bare upper body on stage will probably flinch briefly when the instrument is slung around your neck ;-) However, this impression disappears very quickly; after a short time you will already have gotten used to this fact.
You have the impression of holding a single mirror in your hand, the body, neck, even the headstock and the fingerboard can even be used as an emergency mirror for self-checking if the wardrobe is overcrowded shortly before the show ;-) With the appropriate light show, especially with white light, you can You can achieve really great effects with this “varnish”, but it is advisable to carry two cleaning rags with you at all times, as the instrument will quickly become covered in fingerprints.
It's not enough that the Standard was made from a different material, no, the Electric Guitar Company is also taking a completely independent approach when it comes to playability. The one-piece neck (width: nut - 1.64", 22nd fret - 2.125") has a very flat "D" profile (thickness: nut - 0.60", 22nd fret - 0.66") as shaping and a fingerboard with a radius of 0 “! Yes, you read that right, the fingerboard is absolutely flat, but can also be delivered with a 12” radius if required.
The instrument has a 25.5" scale length, the fingerboard is equipped with 22 narrow and medium-high frets made of stainless steel, black plastic dot inlays ensure orientation on the fingerboard. The hardware is supplied by Gotoh (bridge) or Grover (tuner) and, as expected, the workmanship is beyond any doubt. The six tuners do their work evenly and without any effort, and the six individually adjustable riders on the bridge mean that there are no problems with readjustment. The strings are guided through the body and anchored on the back; Schaller strap pins ensure the necessary security when locking the strap.
Two P-90 style single coils from our own production do their work on the standard; if desired, the instrument can also be equipped with split coil humbuckers with push/pull pots. The pickups are managed via a three-way switch, each with a volume and a tone control.
Practice:
Oh my goodness, what sustain. Anyone who ever thought that their well-rehearsed Paula was the spearhead when it came to long-lasting vibration behavior needs to be proven wrong. In direct comparison to one of my old Paulas, a '69 Custom, which really has a breathtaking sustain, the Standard can only smile wearily. The individual strings were able to exhibit almost twice (!) the oscillation duration, and this was also the case with a standard 010 string set on the Standard compared to my 013 set on the Paula. In addition, no deadnotes or dropouts were noticed, every note has the exact same attack, the exact same attack and release behavior.
This means that completely different playing techniques are possible. Extended chords, which normally fade harmonically after a short time due to phase cancellations caused by vibration, remain tight here and vibrate evenly.
The straight fingerboard presents a real challenge at first grip. As always with extreme solutions, there are “two sides of the coin”. When it comes to solo playing in relation to scales, the Standard shows its strengths due to a very low string position and perfect alignment of the fingerboard. Anyone who knows the racing fingerboards of the Powerstrats from Ibanez and colleagues can go one step further here. All modern playing techniques including tapping, sweeping and similar “Punch and Punch” ;-) are extremely easy to do.
Even a tasteful finger vibrato meets almost no resistance and is unexpectedly easy to implement. When it comes to bending, the lack of “meat” in the neck may cause confusion at first, as the torque is limited to the base of the fingers and the palm of the hand can no longer provide support. In return, you will be rewarded with the aforementioned sustain, which is second to none. A drawn tone that vibrates with the same intensity as a normally fingered tone, and with a vibration duration as if a sustainer were built into the body. Really extremely impressive, without question
Slight compromises inevitably have to be made in the playability of large barre chords. Here the barre finger must be placed on its side to ensure even pressure on all strings. So if you are used to placing your finger curved on the fingerboard, for example with the old Fender baseball bat league with a very round fingerboard, you should definitely prefer the 12" version.
In terms of sound, the two single coils cut a very good figure, especially in the crunch area. The sharp, sometimes cutting sound, which is massively boosted by the aluminum construction, has a very high assertiveness and puts competitors in their place. Clean sounds bubble beautifully from the speakers, also impressive due to their independence.
Caution is advised in the high-gain area. On the one hand, the single-coilers are inherently less suitable for this area, and on the other hand, the aluminum resonance curve has a strong over-presence in the overtone behavior. This behavior can be equalized by reducing the treble control of the amp, but the design always prevails in terms of sound
Conclusion:
All respect, who would have thought that? Even if the use of modern materials is not entirely new, I have not yet been presented with a result. The Standard from the Electrical Guitar Company impresses with its sound, vibration behavior and high degree of independence, and it also has an exotic bonus like the Linux operating system a few years ago.
There will always be people who reject an instrument made of metal on principle, precisely because the material wood appears to have many positive characteristics, while metal is more likely to be martial. But hey, until a few years ago a football was always made of leather and was then replaced by plastic.
With that in mind, keep your mind open…
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Additional Informations:
When it comes to guitars, wood has traditionally been the material of choice for crafting instrument bodies. However, in recent decades, a new trend has emerged – guitars made entirely or predominantly from metal. These metal guitars, known for their distinctive tone, durability, and striking aesthetics, have carved out a niche in the world of electric guitars. From aluminum to stainless steel, titanium to carbon fiber, the evolution of metal guitars is a fascinating journey that showcases the ingenuity and creativity of guitar makers and players alike.
Early Experiments:
The concept of metal guitars dates back to the mid-20th century when pioneering guitar makers and enthusiasts began experimenting with alternative materials for constructing instrument bodies. One of the earliest examples of metal guitars can be traced to the work of Paul Bigsby, who crafted aluminum-bodied guitars in the 1940s. These early experiments laid the groundwork for future innovations in metal guitar design and construction.
The Birth of the Aluminum Guitar:
In the 1970s, Travis Bean and Gary Kramer emerged as key figures in the development of metal guitars with their pioneering designs. Travis Bean guitars featured aluminum necks and bodies, offering players a unique combination of sustain, clarity, and stability. Similarly, Kramer guitars incorporated aluminum necks with wooden bodies, providing a balance of tonal warmth and metallic punch. These early aluminum guitars gained popularity among rock and metal musicians for their distinctive sound and sleek, futuristic aesthetics.
The Rise of Stainless Steel:
In the 1980s, stainless steel emerged as a preferred material for metal guitar construction, thanks in part to the efforts of companies like Status Graphite and Parker Guitars. Stainless steel offered several advantages over traditional materials, including superior durability, corrosion resistance, and tonal consistency. Status Graphite's pioneering use of stainless steel in guitar necks and fretboards helped establish the material as a viable option for high-performance instruments. Parker Guitars further pushed the boundaries of metal guitar design with their innovative carbon fiber and stainless steel hybrid guitars, setting a new standard for playability and versatility.
Titanium: The Ultimate Metal:
As the quest for the ultimate metal guitar continued, titanium emerged as a game-changer in the world of guitar construction. Known for its exceptional strength-to-weight ratio and resonance properties, titanium offered guitar makers unprecedented freedom to explore new sonic possibilities. Companies like Vigier Guitars and Ernie Ball Music Man embraced titanium as a core material for their instrument designs, creating guitars that deliver unparalleled sustain, clarity, and responsiveness. Titanium's unique combination of strength, flexibility, and sonic characteristics has made it a favorite among discerning players seeking uncompromising performance and tone.
Carbon Fiber and Beyond:
In addition to traditional metals like aluminum, stainless steel, and titanium, guitar makers have begun exploring alternative materials such as carbon fiber, magnesium, and aerospace-grade alloys. Carbon fiber guitars, pioneered by companies like Composite Acoustics and Rainsong, offer players a lightweight, durable alternative to traditional wooden instruments, with a distinctive tone that combines the warmth of wood with the clarity of metal. Similarly, guitars made from magnesium and other advanced materials promise to push the boundaries of what is possible in terms of tone, playability, and aesthetics.
The Future of Metal Guitars:
As technology continues to advance and materials science evolves, the future of metal guitars looks brighter than ever. With ongoing innovations in materials, construction techniques, and electronic components, guitar makers are poised to continue pushing the boundaries of what is possible in terms of tone, playability, and aesthetics. Whether you're a seasoned pro or an aspiring musician, metal guitars offer a unique blend of sonic versatility, durability, and visual appeal that continues to captivate players and audiences alike.
TEST: EBS Pedals
“Look, there are EBS pedals to test. For the bass! Nope, nothing bass, for guitar. Huh?" OK, I admit, this fictitious conversation is really only very rudimentary, but the core message reflects the first impression that most users spontaneously have. Similar to labels in the style of Ampeg, Alembic or Schack, the Swedish company EBS is deeply committed to the low frequency range. A product that strays even a little from this path immediately causes strong hyperventilation among string players. The lute player's legacy likes to be clear, not to say conservative, see Marshall's unsuccessful attempt to establish a bass amp decades ago.
Nevertheless, the company EBS dares to bring an initially somewhat reserved guitar line onto the market with the MultiComp, the Dynaverb and the Red Twister in order to offer a new contact point to the impressive number of six-stringers who have so far diligently used the EBS bass pedals. Smartly, they avoided tackling the very, very subjective market of overdrive and distortion pedals, instead focusing first on the areas of dynamics, modulation and spatial effects.
Conception
All three devices are in the same housing, only the color and the number of inputs and outputs vary. The devices were developed in Sweden and assembled in China. All devices make an extremely massive impression, which is also reflected in their corresponding weight. These cases are built to last, it is questionable whether they will ever break. 4 soft rubber feet on the bottom of the housing also ensure a good grip even on smooth surfaces.
The products are powered by an external power supply, either 9-12 volts, or a 9V battery, which can be placed inside the housing. To do this, however, the four screws on the bottom of the housing must first be loosened. To place the battery you have to aim carefully as there is very little space available. The battery is held in place by the pressure of a small rubber pad on one side and the edge of the motherboard on the other side. This can lead to stress cracks on the board; in my opinion, a somewhat more elegant solution could have been found. When it comes to milliamperes for the power supply, there don't seem to be any great demands. I had a 200 mA power supply from Ibanez at the start and all products ran smoothly.
Let's take a closer look at the pedals in detail.
EBS Red Twister (Chorus/Flanger)
Even though the Red Twister has a flanger setting, the primary use of the pedal is the chorus area. The presets Flange, Heavy and Soft can be set using a triple mini switch and fine-tuned using the two rotary controls. The input is mono, but the output is also stereo if required. In addition to the operating status, the operating LED shows the speed of the modulation when the effect is activated by gently pumping. After opening the housing, the dry/wet ratio of the effect can also be adjusted using an internally installed trimpot, with 50% being the factory setting.
EBS DynaVerb (Stereo Reverb)
The range of use of a stereo reverb pedal is known to be limited for guitarists, but you should not forget that you can also operate the product in mono and also keep in mind that some pianists/organists, for example, like to use guitar pedals if they don't have fallen for the “Macbook-regulates-and-controls-everything” variant. The product can also be looped into a parallel loop by deactivating the direct component using two internally installed mini switches. For example, if you have an amp with a reverb spiral, you can use this trick to redirect the cable routing to the reverb spiral into the DynaVerb and then control the reverb level using the reverb control on the amp. Alternatively, the reverb can also be adjusted in rack or studio operation via appropriate aux paths. The EBS DynaVerb has 9 presets, which are divided into Room, Plate and Hall and each offers 3 variations. You have to decide on a preset before a song, switching during the song is only possible with intense fingertips. The reverb intensity and timbre can be changed using the rotary controls.
EBS MultiComp (compressor)
With a pedal compressor, many manufacturers simply follow the “peaks-down rules” algorithm and that’s exactly how the whole thing sounds. With simple and consistent picking, this may still work to some extent, but with dynamic playing or excessive frequency changes, usually only complex 19 inch solutions can provide relief. In order to be able to respond to the different requirements, EBS has installed 3 different presets in its MuliComp called Normal, Tubesimulation and Multiband. Normally self-explanatory, tube simulation mimics the stronger pumping of a tube compressor, but the multiband setting is a standout preset.
It is well known that low tones, due to their higher "energy level", require the compressor to reduce the volume more than high tones, which unfortunately leads to high tones that vibrate at the same time being reduced in volume. To avoid this, the MultiComp works with 2 frequency ranges, which are compressed independently of each other. As a software plugin in the mastering area it's old hat, but as a guitar pedal it's a real specialty.
Practice
All pedals run with absolutely no noise and have a pleasant feel due to their solid construction. You get the impression that these pedals can easily take a small fall without a problem.
Red Twister
Some people would like to have more control options for a chorus, but this turns out to be an unfounded concern. With its 3 presets, the EBS Red Twister actually covers more than 90% of all areas of application for a chorus and how successful a limited sound spectrum can be is shown, among other things, by the Chorus super-father CE-2 from Boss, which comes with only 2 controls and yet is Has been playing in the top chorus league for decades. The sound of the Red Twister is pleasantly shimmering and soft, without becoming muddy.
Clean sounds in particular benefit immensely from the phase shift and are not only suitable for a U2 tribute band. The Flanger variant sounds good, but I would consider this algorithm more of an addition, as the missing resonance control does not fully exploit the range of applications.
DynaVerb
Designing a reverb device for guitarists can quickly go wrong if you make the mistake of simply copying the presets from the keyboard section. Mega-powerful church reverb is a must for the Gothic disciples, but let's not kid ourselves, which guitarist wants to turn his percussive playing style into pulp with just 5 seconds of reverb. Here EBS shows a lot of expertise and places a lot of emphasis on the room area and the plate reverb, which is often wrongly reduced to brass instruments.
Both sections sound pleasantly fresh and create a subtle depth gradation that places the instrument in the room without letting it drown in the madness of effects. The product is also characterized by its high level of flexibility, even allowing it to be used as a second or third reverb in the studio.
MultiComp
A good compressor struggles with the same problem as a woman's makeup; both are most effective when you don't notice them. In this respect, the MultiComp can actually solve more than just the standard problems of a guitarist. While summing compressors in studio technology are primarily intended to enrich the overall sound when set correctly, a compressor pedal is intended to “de-dynamize” the uneven attacks of a guitarist and equalize the attack and release cycles of the strings.
The EBS MultiComp does this really well. Both the subtle compression in the tube simulation and, in particular, the multiband setting perfectly equalize the dynamic progression of the string vibration and therefore stand out from the masses of compressor pedals.
Conclusion
With the MultiComp, DynaVerb and Red Twister pedals, the Swedish company EBS is preparing to transfer the quality of its bass pedals to the guitar sector. A very solid workmanship and interesting detailed solutions put the pedals above the majority of their competitors and offer very good quality for the ambitious user.
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Additional Informations:
In the dynamic world of music gear, few names command as much respect and admiration as EBS Pedals. Renowned for their exceptional sound quality, durability, and innovative design, EBS has earned a reputation as one of the premier manufacturers of professional audio equipment. The story of EBS Pedals is a testament to passion, perseverance, and a relentless commitment to sonic excellence.
The Birth of EBS:
EBS Pedals traces its roots back to 1988 when Bo Engberg founded the company in Stockholm, Sweden. Engberg, a bassist and electronics enthusiast, set out to create pedals that would meet the specific needs of bass players. Armed with a deep understanding of audio engineering and a passion for tone, Engberg embarked on a journey to develop pedals that would deliver unparalleled sound quality and performance.
Early Innovations:
From the outset, EBS Pedals distinguished itself through its commitment to innovation and craftsmanship. One of the company's early breakthroughs came with the release of the EBS OctaBass pedal in 1990. This compact octave divider quickly became a favorite among bassists for its ability to produce rich, fat octave tones without sacrificing clarity or definition. The success of the OctaBass laid the foundation for EBS's reputation as a leader in bass effects pedals.
Expansion and Diversification:
Throughout the 1990s and early 2000s, EBS continued to expand its product lineup, introducing a wide range of pedals designed to enhance the tone and versatility of bass guitars. From overdrive and distortion pedals to compressors, choruses, and delays, EBS pedals became synonymous with premium sound quality and reliability. The company's dedication to meeting the needs of bass players of all styles and genres earned it a loyal following among professionals and enthusiasts alike.
Global Recognition:
As EBS Pedals gained traction in the market, the company's reputation for excellence spread beyond its native Sweden to the global stage. Bassists around the world began incorporating EBS pedals into their rigs, citing their transparent sound, robust build quality, and intuitive controls. EBS's commitment to innovation and attention to detail earned it endorsements from top artists such as Marcus Miller, Stanley Clarke, and Billy Sheehan, further solidifying its status as a premier brand in the world of bass effects.
Technological Advancements:
Throughout its history, EBS has remained at the forefront of technological innovation in pedal design. The company's engineers continually strive to push the boundaries of what is possible, incorporating cutting-edge components and circuitry into their pedals to achieve the highest standards of performance and reliability. From the introduction of true bypass switching to the development of advanced DSP algorithms, EBS pedals are engineered to deliver uncompromising sound quality and tone.
Commitment to Quality:
Central to EBS's success is its unwavering commitment to quality in every aspect of its operations. From the selection of materials to the assembly process, every step of production is carried out with meticulous attention to detail. Each pedal undergoes rigorous testing and quality control procedures to ensure that it meets the company's exacting standards for performance and reliability. This dedication to quality has earned EBS the trust and loyalty of bassists worldwide, who rely on their pedals to deliver consistent, professional-grade tone in any musical setting.
Looking Ahead:
As EBS Pedals looks to the future, the company remains focused on its core values of innovation, quality, and sonic excellence. With a continued commitment to pushing the boundaries of pedal design and technology, EBS is poised to remain a driving force in the world of bass effects for years to come. Whether you're a seasoned professional or an aspiring musician, EBS pedals offer a gateway to sonic exploration and expression, empowering bassists to unleash their creativity and passion for music.