TEST: Fulltone GT 500

 “You get what you see” Mike Fuller probably said to himself one day and realized that his Fulltone GT500 with its gray hammered look was visually far behind what he wanted to convey acoustically. Gray might suit a compressor or EQ, but definitely not a booster or distortion pedal. No sooner said than done, the result was an aggressive rally red with white applications, which clearly highlighted the quality of the kick. But what exactly is the Fulltone GT500?

Conception

In principle, the Fulltone GT500 is a combination of a booster / overdrive and a distortion pedal, i.e. two pedals in one housing. The special feature is that you can determine the order of the effects using a mini switch. Imagine that you first have the distortion in the signal path so that you can increase it with the booster in solo mode if necessary, or you first want an overdrive as the basic tone so that you can then blow it with the distortion pedal in solo mode. You could also take a good-sounding clean amp and pimp it up with the Fulltone GT500 to create a three-channel amp with a solo function. Sounds exciting? It is!

The Booster / Overdrive function indicates its operational readiness with a green LED. A volume and a drive control regulate the volume and the level of distortion. There is also a two-band tone control consisting of bass and treble. You can already tweak the final sound a lot here. A dynamic all-tube amp will react incredibly powerfully to the boost function alone. For example, it is always an experience how low-impedance single coils, with the help of a high-quality booster, suddenly degenerate into a first-class crunch monster in addition to their characteristic clean sound.

To the right of it is the distortion unit with a red LED, conceptually the same but equipped with an additional mid control. And it has it all. In contrast to the otherwise used OP amp filters, a wah-wah uses a coil, which has a significant effect on the sound. That's not enough for those who might like the small letters F.E.T. If you noticed it under the product name, you can already imagine the next explanation.

In contrast to the usual ICs that are used in common NF applications, the Fulltone GT500 is based on discrete FET transistors along with 2 MOSFETs and a standard type. Short version: while the “normal” transistors are controlled by the current flow, FETs are controlled by the voltage, which results in a “softer” sound. Maybe some of you remember Eddie van Halen's guitar setup in the eighties, who, in addition to his Marshall for the dry sound, used 2 MOSFET power amplifiers from H/H for the right/left effect signal for this very reason .

The pedal is operated either via an internal 9V battery or a power supply, which can have between 9 - 18 volts, which brings us to the next special feature of the device. Using different voltages has a massive impact on the sound. In short, the higher the voltage, the higher-pitched and more aggressive the sound of the pedal becomes. By the way, the workmanship of the pedal is excellent, the true bypass switch, for example, is only screwed to the housing and the sheet steel used will stand up to even the notorious staggering and stumbling frontmen on stage.

Practice

If you leave the booster's drive control in the lower range (12 o'clock and less), you only achieve a subtle "refreshment" of the clean sound. Then the subtle crunch begins, which, in cooperation with the tone control, really gives even slightly weaker-looking amps a boost. The distortion unit, on the other hand, as expected, has a slightly stronger gain, with the very effective tone control, especially the mid control, ensuring a lot of shades in the sound. Not to mention the very “musical” sound of the FETs, it’s really incredible how different the transistors sound.

The highlight, however, is the “fatting” of the distortion pedal by the booster, which offers the ultimate lead sound. It is very worthwhile to think a lot about the respective controllers. “Blowing” the amp preamp through the downstream booster is also a real joy, but you should keep the feedback in mind.




Conclusion

With the Fulltone GT500, Mike Fuller has an excellent double pedal on offer that will impress many guitarists. The pedal, handcrafted in the USA, impresses with its wide variety of sounds, excellent workmanship and a sophisticated circuit that fully utilizes the strengths of the rarely used field effect transistors.

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Additional Informations:

Introduction:
Fulltone Pedals stands as a testament to the enduring pursuit of sonic perfection in the world of guitar effects. Founded by Michael Fuller, Fulltone has carved out a unique niche in the industry, renowned for its commitment to craftsmanship, attention to detail, and uncompromising sound quality. The journey of Fulltone is a fascinating narrative of one man's passion for music and electronics, evolving into a globally recognized brand synonymous with premium guitar effects. Let's delve into the rich tapestry of Fulltone's history, tracing its humble beginnings to its current status as a benchmark for excellence in the realm of effects pedals.

The Genesis:
The roots of Fulltone Pedals trace back to Michael Fuller's early fascination with guitars and electronics. Born in 1958, Fuller grew up immersed in the vibrant music scene of the 1960s and 1970s, where iconic guitarists and groundbreaking innovations in sound were shaping the landscape of rock music. Inspired by the likes of Jimi Hendrix, Eric Clapton, and Jimmy Page, Fuller developed a deep appreciation for the expressive potential of the electric guitar.

Fuller's journey into the world of electronics began in his teenage years when he started experimenting with building guitar pedals. Motivated by a desire to capture the elusive tones of his musical heroes, he delved into the intricacies of circuitry, learning through trial and error. These formative experiences laid the groundwork for what would eventually become Fulltone Pedals, as Fuller honed his skills as a craftsman and developed a keen ear for tone.

The Birth of Fulltone:
In 1991, Michael Fuller officially founded Fulltone Sound Products, setting up shop in Southern California. Armed with a vision to create effects pedals that not only replicated vintage tones but also pushed the boundaries of sonic innovation, Fuller embarked on a journey of entrepreneurial endeavor. The early years were characterized by relentless experimentation and a steadfast commitment to quality, as Fuller handcrafted each pedal with meticulous attention to detail.

One of Fulltone's earliest breakthroughs came with the introduction of the Full-Drive overdrive pedal in 1994. Drawing inspiration from classic overdrive circuits while adding his own modifications and refinements, Fuller created a pedal that struck a chord with guitarists seeking versatile, amp-like overdrive tones in a compact stompbox format. The Full-Drive quickly gained acclaim among musicians and established Fulltone as a rising force in the competitive world of effects pedals.

Expansion and Innovation:
Buoyed by the success of the Full-Drive, Fulltone expanded its product lineup in the following years, introducing a diverse range of pedals catering to various sonic needs. From the iconic OCD (Obsessive Compulsive Drive) distortion pedal to the lush tape echo emulation of the TTE (Tube Tape Echo), Fulltone continued to push the envelope of what was possible in the realm of guitar effects.

What set Fulltone apart was not just the sound of its pedals but also the uncompromising build quality and attention to detail. Fuller's insistence on using premium components, rugged enclosures, and hand-wiring techniques ensured that each Fulltone pedal was a testament to craftsmanship and reliability. This dedication to excellence earned Fulltone a devoted following among professional musicians and enthusiasts alike, cementing its reputation as a brand synonymous with quality and innovation.

Navigating Challenges:
Like any business, Fulltone faced its share of challenges along the way. From economic downturns to shifting market trends, the company had to adapt and evolve to survive in an ever-changing industry. However, Fuller's unwavering passion for music and his commitment to his craft saw Fulltone weathering the storms and emerging stronger on the other side.

In 2008, Fulltone encountered a significant setback when its factory in Korea, where some of its pedals were manufactured, was destroyed in a fire. While this could have spelled disaster for many companies, Fuller saw it as an opportunity to reassess and reevaluate Fulltone's manufacturing processes. Determined to maintain the highest standards of quality control, he made the bold decision to bring all production back to the United States, where each pedal could be meticulously handcrafted under his direct supervision.

Legacy and Impact:
Today, Fulltone Pedals stands as a testament to Michael Fuller's relentless pursuit of sonic excellence and his unwavering commitment to craftsmanship. With a product lineup that spans over two decades and continues to grow, Fulltone has left an indelible mark on the world of guitar effects. Countless musicians, from bedroom players to arena-rocking legends, rely on Fulltone pedals to shape their signature sounds and inspire their creativity.

Beyond its commercial success, Fulltone's legacy lies in its role as a catalyst for innovation and sonic exploration. By marrying vintage inspiration with modern ingenuity, Fulltone has pushed the boundaries of what is possible in the realm of effects pedals, inspiring a new generation of builders and musicians to chase their sonic dreams.

Certainly, let's dive deeper into some key milestones and pivotal moments in Fulltone's journey, as well as explore the ethos that underpins its enduring legacy.

Milestone Moments:

1. **Expansion of Product Line**: Throughout the years, Fulltone has continually expanded its product line to meet the evolving needs of musicians. From overdrive and distortion pedals to modulation effects, delays, and reverbs, Fulltone offers a comprehensive range of pedals designed to inspire creativity and elevate tone.

2. **Collaborations and Special Editions**: Fulltone has collaborated with renowned artists and musicians to create signature pedals tailored to their unique sonic preferences. These collaborations not only highlight Fulltone's commitment to innovation but also serve as a testament to its close relationship with the musical community.

3. **Innovative Designs and Circuitry**: Fulltone has never been content with resting on its laurels, constantly pushing the boundaries of pedal design and circuitry. Whether it's incorporating rare NOS (New Old Stock) components, developing proprietary technology, or refining classic circuits, Fulltone's commitment to innovation shines through in every pedal it produces.

4. **Recognition and Awards**: Over the years, Fulltone has garnered widespread acclaim and recognition within the music industry. From glowing reviews in guitar magazines to prestigious awards for excellence in design and sound quality, Fulltone's reputation as a leader in the field of effects pedals is firmly established.

5. **Community Engagement and Support**: Fulltone has cultivated a strong sense of community among its customers, fostering engagement through social media, forums, and events. This close connection with its user base not only provides valuable feedback for product development but also reinforces the sense of belonging and camaraderie among Fulltone enthusiasts.

The Ethos of Fulltone:

1. **Quality Craftsmanship**: At the heart of Fulltone's ethos is a commitment to quality craftsmanship. Each pedal is meticulously handcrafted using the finest components and time-tested construction techniques, ensuring reliability, durability, and uncompromising performance.

2. **Attention to Detail**: From the circuitry and components to the aesthetics and packaging, Fulltone pays meticulous attention to every detail. This dedication to perfectionism ensures that every aspect of the pedal, both in form and function, is thoughtfully considered and executed to the highest standards.

3. **Passion for Tone**: Above all, Fulltone is driven by a passion for tone. Every pedal is designed not just as a utilitarian tool but as a conduit for artistic expression, capable of inspiring players to unlock new sounds and explore new sonic territories. This unwavering commitment to sonic excellence is the driving force behind everything Fulltone does.

4. **Authenticity and Integrity**: Fulltone prides itself on being true to its roots and maintaining a sense of authenticity and integrity in everything it does. Whether it's staying true to vintage-inspired designs or standing behind its products with exceptional customer service, Fulltone remains steadfast in its commitment to honesty and transparency.

5. **Continual Innovation**: Finally, Fulltone believes in the power of continual innovation to drive progress and push the boundaries of what is possible in the world of guitar effects. By embracing new technologies, refining classic designs, and listening closely to the needs of musicians, Fulltone remains at the forefront of pedal innovation, shaping the future of tone for generations to come.

In conclusion, the story of Fulltone Pedals is one of passion, innovation, and unwavering dedication to sonic excellence. From its humble beginnings to its status as a global leader in the industry, Fulltone's journey is a testament to the enduring power of craftsmanship, creativity, and community. As long as there are guitarists with a thirst for sonic exploration, Fulltone will continue to inspire and innovate, leaving an indelible mark on the world of music.

TEST: The Whisky Guitar

 There are stories that are so strange that you can only smile. What's special about some of these stories, however, is that despite their absurdity with a tendency towards the ridiculous, sometimes there is a spark in them that can start an entire bushfire.

Detached from my role as an Amazona author and producer, like every other guitarist, there is an inventor in me. We all know the technology, sound, practicality, etc., but the real challenge remains the magic of the wood our instruments are made of. Dismissed by self-proclaimed “experts” as “incidental” when it comes to sound shaping, legions of guitarists have been digging into the matter for decades so that they can get something out of the last molecule of the neck or body.

Oscillation using loudspeakers or the cryo process are just a few methods of getting to the bottom of the structure in order to improve it. Unfortunately, I can't avoid a touch of self-promotion to explain my idea, so please forgive me for the following explanation.

The history …

My band GRAVE DIGGER has had its own, award-winning whiskey on the market since 2014. One day, in a whiskey mood, I asked myself whether the sound of a wood would change if it was soaked in Grave Digger Whiskey for about half a year. As every whiskey lover knows, whiskey reacts intensively with the wooden barrel in which it is stored during its maturation, so why shouldn't a comparable process be implemented with tonewoods?

Said and done. For the experiment I was able to get the Ziegler distillery, which also produces GD Whiskey and Europe's largest manufacturer of instruments, the Framus / Warwick company to implement the idea. Three special barrels were fitted with plexiglass bottoms for visual inspection, the corresponding neck and body parts were sunk into the whiskey on stainless steel arms and brought out again six months later. If you want, you can watch the bottling on YouTube at this link: https://youtu.be/Hx128Qd4X3s.

In addition to three barrels full of excellent whiskey (but that's another story), the resulting necks and bodies also came out, from which 2 electric basses and an electric guitar were built. In order to determine whether the “whiskey guitar” would really make a significant difference in sound, we needed an identical model, which was also carved from the same trunk.

The Framus company then went to work and built two exactly the same Panthera Surpreme II (http://framus.de/de/Framus---Products--Gitarren-und-Ampere--E-Gitarren--Custom-Shop-- -Masterbuilt--Basic-Guitar-Models--Panthera--Panthera-II-Supreme--Panthera-II-Supreme--6-Saiten--Images.html) instruments resemble a pair of twins, which are similar except for the whiskey bath nothing distinguishes. I got both instruments last week to compete against each other in a tough shootout. Well then, is it all nonsense or the philosopher's stone?

Test setup

Let's start with the test setup. In order to ensure the most neutral possible reproduction, I only chose one amp, which is known for its very flexible sound shaping in the all-tube range. We're talking about the Hughes & Kettner Triamp MK III. Channels 1A, 1B, 2A, 2B and 3B were used. The amp was driven at high volume (master and volume at 12 o'clock each), but without driving the power amp into saturation too much in order not to distort the compression behavior and the response of the guitar.

When it comes to cabinets, I switched through different cabinets in terms of tonal coloring on my Ampete 88S and got stuck in the combination of neutral sound paired with practical use with a Marshall 4x12, built in the mid-eighties with Celestion 65 watts (they weren't called vintage back then). Only an SM57 was used as a microphone. The entire cabling was done using Cordial cables; a Silent model was used as the instrument cable because of the frequent replugging between the instruments. No boosters or other sound-changing pedals were used.

The sound files were neither normalized nor edited in any way in order to be able to make a direct comparison in terms of volume. Therefore, the files are a lot quieter than you are used to from other sound files. It is therefore advisable to listen to the files as loudly as possible, but without your speakers or the power amplifier reaching saturation!

When you listen to the sound files, you will notice that there are sometimes dramatic differences in terms of volume, compression, frequency response, etc. But to top it off, I would like to point out that only about 50% of the sound differences could be captured via the MP3's; the sound difference directly in front of the loudspeaker was many times greater than you can hear in the MP3's .

First I played the guitars without an amp, which already showed a completely opposite vibration behavior of the woods. Even without amplifying, you could see a faster response and a more consistent vibration behavior. I would never have expected that the differences across the amp would be so different.

Sound files Almost Clean

The two sound files were played with 2 passes each in the Neck / Parallel / Bridge pickup position. A direct comparison reveals several differences in the sound.

1.) The whiskey version has significantly louder output, even though the same pickups were used at exactly the same distance from the strings.

2.) The whiskey version has a higher low-mid content, less angular highs and generally a more balanced sound. This effect is particularly noticeable when hitting hard.

3.) The whiskey version sounds significantly more compressed and fatter in its basic sound, swings in faster and has a more even decay behavior.


Sound files Light Crunch

These files were mainly played with the fingers, which generates less dynamics.

1.) The regular version “bites” comparatively aggressively in the highs, which is no longer the case with the whiskey version. Instead, the midrange is boosted like a perfect multiband compressor and tastefully cushions the subtle scratching.


Sound files Heavy Crunch

In these sound files, the midrange is particularly emphasized, which best represents the sonic difference. In my opinion the best sound files to perceive the tonal differences.

1.) In the range around 1 kHz and approx. 2.5 kHz, the whiskey version experiences an incredible boost, which gives it significantly more assertiveness.

2.) The compression behavior of the whiskey variant is excellent. Not like a regular compressor that erases the dynamic peaks, but a kind of internally built-in compressor that only focuses on the midrange.


High gain sound files

1.) The whiskey version has a significantly higher bass content and almost manages to catch up with active pickup representatives such as EMG in terms of frequency response.

2.) Despite the higher output, the whiskey variant does not drift into mud and remains defined in its tone formation.

3.) Here too, a clear, tasteful treble reduction in the whiskey version, without the sound appearing musty.


Sound files sustain

An open dropped D chord to check the decay and oscillation duration of the strings.

1.) The whiskey version is again significantly louder and has a better sound spectrum.

2.) The vibration period of the strings of the whiskey version is approx. 20% longer


Summary

There are not many moments in a writer's life when one can be present at the initiation of a sensation. I've had this pleasure twice in my life, once when I tested the first Kemper amp and when I did this A/B comparison of the two guitars. I'm truly speechless when it comes to putting the tonal differences into words.

The whiskey version does everything we guitarists have been looking for for decades all by itself. In direct comparison to its untreated sister, which already sounds very good, the whiskey version is louder, has a more balanced frequency response, compresses like a knife straight away, has approx. 20% better sustain and impresses with a faster response and a brilliant sound decay behavior.

I would even go so far as to say that storing it in Grave Digger whiskey achieves exactly what the industry has been trying to do for decades. You can make a brand new guitar sound like a 40 year old, perfectly balanced vintage model! One could even speak of the Holy Grail!

Of course, some readers will want to deny any objectivity in this review, but the sound files speak for themselves. And please remember that the effect in front of the amplifier is many times higher. In addition, for reasons of reputation, I would never even dare to throw around such big words if the whole thing later turned out to be a tepid marketing measure.

I would like to recommend that every reader get their own opinion of the instrument, but the whiskey version was sold off the stand at the Guitar Summit and is now ending up in private hands. However, I am quite sure that the fantastic sound behavior will stimulate some thoughts about how such a sensation can be made available to even more guitar fans.

Conclusion

I'm speechless …

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Additional Informations:

**Unveiling the Intricate Interaction between Whisky and Oak Casks During Maturation**

The process of whisky maturation is a fascinating journey that takes place within the confines of oak casks, where the spirit undergoes a transformative journey, acquiring its complex flavors, aromas, and character. In this detailed exploration, we delve into the intricate interplay between whisky and oak casks during maturation, unraveling the chemical reactions, influences, and nuances that shape the final product.

**1. The Role of Oak Casks in Whisky Maturation**

Oak casks play a pivotal role in the maturation of whisky, serving as vessels that impart flavor, color, and texture to the spirit over time. The choice of oak cask and the conditions of maturation can significantly influence the final character of the whisky, making cask selection a crucial decision for distillers seeking to craft exceptional spirits.

**2. Extraction of Flavor Compounds**

During maturation, whisky interacts with the wood of the oak cask, leading to the extraction of various flavor compounds present in the wood. These compounds include vanillin, lignin, tannins, lactones, and other volatile organic compounds, each contributing distinct flavors and aromas to the whisky.

**3. Chemical Reactions**

The interaction between whisky and oak casks involves a series of complex chemical reactions that occur over time. One of the most significant reactions is esterification, where acids present in the whisky react with alcohols and other compounds in the wood to form esters, which contribute fruity and floral notes to the whisky's flavor profile.

Other reactions, such as oxidation, hydrolysis, and polymerization, also play a role in shaping the whisky's character by breaking down and rearranging molecules within the spirit and the wood of the cask.

**4. Influence of Toasting and Charring**

The level of toasting and charring applied to oak casks before filling can have a profound impact on the maturation process and the resulting whisky. Toasting caramelizes sugars in the wood, creating flavors of caramel, toffee, and spice, while charring introduces charred wood flavors and activates carbon filtration, which helps remove impurities from the spirit.

**5. Maturation Environment**

The environmental conditions in which whisky matures, including temperature, humidity, and airflow, can also influence the interaction between the spirit and the oak cask. Warmer temperatures accelerate chemical reactions, leading to faster maturation and greater extraction of flavor compounds from the wood. Conversely, cooler temperatures slow down the maturation process, allowing for more gradual development of flavors and aromas.

**6. Duration of Maturation**

The length of time that whisky spends maturing in oak casks is another critical factor that affects its final character. Longer maturation periods allow for more extensive interaction between the spirit and the wood, resulting in deeper, richer flavors and a more complex profile. However, excessive maturation can also lead to over-oaked flavors, where the wood dominates the whisky's character, necessitating careful monitoring by distillers to achieve the desired balance.

**7. Finishing Casks and Flavor Enhancement**

In addition to primary maturation in oak casks, many whiskies undergo a secondary maturation process known as finishing, where they are transferred to alternative casks, such as sherry, port, or wine barrels, for a period of additional aging. Finishing casks impart unique flavors and aromas to the whisky, complementing and enhancing its existing character with nuances derived from the previous contents of the cask.

**8. The Art and Science of Maturation**

Whisky maturation is both an art and a science, requiring a delicate balance of craftsmanship, expertise, and patience to achieve optimal results. Distillers must carefully select and prepare oak casks, monitor environmental conditions, and make informed decisions about maturation duration and finishing techniques to create whiskies of exceptional quality and character.

**9. Appreciating the End Result**

The culmination of the maturation process is a whisky that reflects the unique interplay between spirit and wood, offering a symphony of flavors, aromas, and textures that captivate the senses and delight the palate. From the delicate sweetness of vanilla and caramel to the rich complexity of dried fruits, spices, and oak, each whisky tells a story of its journey through the cask, inviting enthusiasts to savor and appreciate its nuanced beauty.

**10. Conclusion**

The interaction between whisky and oak casks during maturation is a captivating dance of chemistry, flavor, and craftsmanship that results in the creation of some of the world's finest spirits. Through a delicate balance of extraction, chemical reactions, and environmental influences, distillers harness the transformative power of oak to craft whiskies of exceptional quality, character, and depth. As enthusiasts around the globe raise a glass to toast the fruits of this labor, they celebrate not only the craftsmanship of the distiller but also the enduring legacy of whisky maturation—an art form that continues to captivate and inspire generations of connoisseurs.

TEST: Framus Morrigan

 It's sometimes quite strange with the string stretchers' guild. Solidbody electric guitars have been built for almost 60 years now and both old guys and young people still divide almost the entire range of instruments into “more Fender-like” or “more Gibson-like”. Only very rarely have third manufacturers managed to create a concept in the 6 decades that could escape the product omnipotence of the two protagonists.

One of those exceptions was the emergence of the so-called “Powerstrats” at the end of the 1980s. Gibson just shot themselves in the foot by selling their company to the Norlin Group and the subterranean manufacturing quality that came with it, and Fender, despite having the most popular body shape of all time with the standard triple single coil configuration, was unable to satisfy the new emerging metal invasion in terms of sound. This was the starting point for companies like Kramer, ESP, Schecter, Charvel and many others, who at the time cleaned up the traditional guitar market with Strat shapes, powerful pickups and sometimes elaborate graffiti finishes.

The Framus Morrigan Custom I have can be assigned to this segment. With a slightly Strat-like shape and a powerful Seymour Duncan pickup set, the instrument starts exactly where you would expect.


Construction:

The body of the Morrigan Custom is made from basswood (linden). The neck made of maple (standing annual rings!) is, like the majority of Framus instruments, attached to the body using the patented bolt-in process. The fingerboard is made of deep black Tigerstripe Ebony, matching the black finish of the instrument, with 22 jumbo frets neatly embedded on it. The instrument has a long scale length (648 mm) and a fairly flat 12” fretboard radius. The so-called “Sharkfin” inlays are used as fingerboard inlays, an optical decoration that was first discovered on Jackson guitars in the mid-eighties.

For the first time with the Morrigan, Framus is introducing an innovation regarding the tuning mechanisms. To date, all instruments have been delivered with the 3-left-3-right construction on the headstock; this is the first time that the 6-in-line principle has been used. Due to the clamping saddle of the original Floyd Rose vibrato, locking mechanisms were omitted. The well-known Floyd Rose bridge construction works according to the patented knife edge principle with its well-known advantages (tuning stability) and disadvantages (loss of sustain). The strap is attached to the in-house security locks, and the entire hardware of the instrument is black.

There is also a new feature in the pickup assembly. Dave Mustaine, protagonist of the band Megadeth, which has degenerated into a one-man company, was the inspiration for the so-called Live Wire Set, which bases the signal processing on a Class A circuit and uses the popular SH-2/SH-4 as a sound reference combination has. The circuitry is very straight forward; a three-way switch allows the two pickups to be selected individually plus their parallel connection.

The shaping of the guitar is also worth mentioning. Here everything was milled to ensure an ergonomic playing feel, even in rather unusual areas. First of all, we have the ever-popular “beer belly milling” on the back, along with a generous recess at the neck transition for friction-free playing in high registers. In my opinion, the marginal recess on the lower cutaway towards the ceiling was also successful, which guarantees the fourth finger the freedom it needs for excursions beyond the 20th fret. The slanted ceiling flanks, which each take up about a third of the ceiling, are unusual but useful. If the lower bevel has more visual reasons, because it is symmetrical to the upper bevel, it replaces the often practiced forearm milling to ensure a comfortable arm rest.


Practice:

Look, when you pick up the instrument for the first time, you are surprised by its unexpectedly high weight. I have almost 4 kg of fighting weight in my hands, it's an instrument with chest hair! What may put too much pressure on one or another pussy's shoulders is compensated for with an unexpectedly long sustain for a Floyd Rose-equipped guitar.

Anyone who didn't know that the instrument was built specifically for the hard and heavy groups will know where the big deal is when it's put into operation via an amplifier. The Live Wire Set has a very high output power, which makes creating clean sounds on the amp a real challenge. In some cases you actually have to turn down the volume control a little to be able to enjoy the pearly, undistorted sounds, such is the high level of the system's basic output. In the distorted area, the Morrigan is convincing across the board. The Class-A preamp set has a very high inherent compression from the factory, which gives the compression of a distorted sound even more density. Whether ex-drug nose Mustaine even appreciates this circuitry effort, let alone perceives it acoustically, remains to be seen; the fact is that the concept sounds very powerful.

In terms of gameplay, Morrigan makes it really easy to show off your creativity. A moderate C-shaping of the neck does not allow for excessive exertion, and the frets, which are neatly shaped using PLEK technology, create a pleasant playing feeling. But BE CAREFUL, we are dealing with jumbo frets here! What creates a legato feeling on the one hand and creates bends with great ease, needs to be handled with great discipline on the other. Always remember to have your string pressure completely under control, with the 009 factory set, excessive string pressure turns into an intonation debacle with a tonal deviation of up to 50 cents in a fraction of a second! But if you always keep this in mind, the instrument will thank you for being easy to play in all positions.


Conclusion:

Heavy Metal Is The Law! ;-) The Morrigan Custom is black, aggressive and has a powerful sound and leaves no doubt as to which genre it was designed for. In the tradition of the Powerstrats, Framus is pushing into the realm of Ibanez & Co. with this model and is preparing to leave a real mark on the “tall men in black clothes” clientele. However, you shouldn't make the mistake of reducing the instrument to the metal area, as this would be doing the instrument an injustice. The Morrigan also knows how to impress in the rock sector, depending on the amplifier used, so test it out and form your own opinion!

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Additional Informations:

**Unveiling the Genesis of the Powerstrat: A Comprehensive Journey into its Origins**

The Powerstrat, a revered variant of the iconic Fender Stratocaster, holds a unique position in the realm of electric guitars. Its emergence, evolution, and enduring influence have contributed significantly to the sonic landscape of modern music. In this detailed exploration, we embark on a comprehensive journey to uncover the fascinating history behind the Powerstrat, tracing its origins, examining its distinctive features, and unraveling its impact on musicians and the industry.

**1. The Legacy of the Fender Stratocaster**

Before delving into the Powerstrat's genesis, it's essential to acknowledge the formidable legacy of its predecessor, the Fender Stratocaster. Introduced in 1954, the Stratocaster revolutionized the electric guitar world with its sleek design, versatile tonal capabilities, and innovative features such as the tremolo bridge and three single-coil pickups. Its iconic double-cutaway body shape, contoured for comfort and playability, quickly became synonymous with the electric guitar itself, earning the Stratocaster a place of honor among musicians of all genres.

**2. The Emergence of the Powerstrat Concept**

The concept of the Powerstrat emerged in response to the evolving needs and preferences of guitarists in the late 20th century. As musical styles shifted towards heavier genres such as hard rock, heavy metal, and progressive rock, players sought instruments capable of delivering a more aggressive, high-gain sound. While the traditional single-coil pickups of the standard Stratocaster excelled in delivering sparkling cleans and bell-like tones, they were often perceived as lacking the punch and sustain required for heavier styles of music. Thus, the idea of the Powerstrat was born—a Stratocaster modified with humbucking pickups and other enhancements to unlock its full sonic potential in high-gain settings.

**3. Customization and Experimentation**

The early days of the Powerstrat saw guitarists experimenting with various modifications and customizations to achieve the desired balance of power, clarity, and sustain. One of the most significant modifications involved replacing the standard single-coil pickups with humbuckers—dual-coil pickups known for their higher output and noise-canceling properties. This simple yet effective alteration transformed the Stratocaster's tone, imbuing it with a thicker, more aggressive sound that was well-suited to the demands of heavy rock music.

In addition to pickup upgrades, Powerstrats often featured other modifications such as aftermarket bridges, locking tuners, upgraded electronics, and alternative wiring schemes to further enhance their performance and playability. These modifications allowed players to tailor their instruments to suit their individual playing styles and sonic preferences, resulting in a diverse array of Powerstrat configurations and variations.

**4. Influential Players and Signature Models**

As the Powerstrat gained popularity among guitarists seeking a heavier, more aggressive sound, influential players began to adopt and endorse modified Stratocasters tailored to their specific needs. These signature Powerstrat models, bearing the names of renowned guitarists, served as showcases for the capabilities of the modified instrument and further fueled its popularity among players and fans.

One of the most notable examples is the "Superstrat" designed by Eddie Van Halen, which featured a custom-built Stratocaster body with a humbucking pickup in the bridge position, a Floyd Rose tremolo system, and other enhancements inspired by Van Halen's innovative playing style. Other notable players who popularized the Powerstrat concept include Yngwie Malmsteen, Ritchie Blackmore, and Dave Murray, each of whom contributed to the evolution and proliferation of modified Stratocasters tailored for high-gain performance.

**5. Evolution and Commercialization**

As the demand for Powerstrat-style guitars continued to grow, guitar manufacturers took notice and began offering production models that incorporated many of the modifications and features associated with the modified Stratocaster. Companies like Fender, Charvel, Jackson, and Ibanez introduced a range of Superstrat models designed to appeal to players seeking the enhanced playability and versatility of the modified instrument.

These production Powerstrats often featured double-locking tremolo systems, high-output humbucking pickups, slim neck profiles, and other features designed to meet the demands of modern guitarists. While purists may argue that the true essence of the Powerstrat lies in its customized and personalized nature, the availability of production models has made the high-performance Stratocaster more accessible to a wider audience of players.

**6. Enduring Legacy and Influence**

Today, the Powerstrat continues to be a staple of the electric guitar landscape, cherished by players for its versatility, playability, and distinctive tone. Its impact can be felt across a wide range of musical genres, from hard rock and heavy metal to fusion, progressive rock, and beyond. Whether wielded by virtuosic shredders, blues-rock maestros, or experimental innovators, the Powerstrat remains a versatile tool in the arsenal of contemporary guitarists, capable of delivering a wide range of tones and textures with ease.

**Conclusion**

The Powerstrat stands as a testament to the enduring spirit of innovation, experimentation, and customization in the world of electric guitars. From its humble beginnings as a modified Stratocaster to its widespread commercialization and continued evolution, the Powerstrat has left an indelible mark on the sonic landscape of modern music. As players continue to push the boundaries of guitar performance and tone, the Powerstrat remains a symbol of creativity, versatility, and sonic exploration, ensuring its place in the pantheon of legendary electric guitars for generations to come.

TEST: Framus Mayfield

 “Semi-acoustic”! “Electric Spanish Style”! Now let's have some fun and let an interested but inexperienced artist explain the above construction methods to a newcomer to the industry. What comes out of this is hard to beat in terms of confusion.

In the interests of fairness, one must also admit that the commercial names are more than unfortunate. Is a “semi-acoustic” guitar only half acoustic? So is a solid body a “non-acoustic” instrument? Complete nonsense, a solid wood guitar follows the acoustic theory just like a lute, but in the evolution of names, especially in the above-mentioned segment, they really haven't covered themselves with glory.

Especially since even seasoned musicians sometimes have massive problems assigning clarity to the semi-acoustic guitar in terms of sound and preferred area of use. While the solid or hollow construction is stylistically more than occupied, the semi-acoustic guitar floats sonically between the worlds in a technical nirvana and if it weren't for one or two protagonists like Chuck Berry or various sleaze boys along with the in-house “Rüpel-Rock”, the ES style would probably only be taken seriously in the fusion area.

Here it has already established itself as a “must-have”, especially since its independent combination of resonance body and sustain block can fully demonstrate its advantages in this segment.

A representative that has been leading the high-end segment alongside the “father” Gibson for several years is the Mayfield model from the German manufacturer Framus. I have the custom version in Burgundy Red for testing.


construction

When you take the Mayfield Custom out of the case, you are overwhelmed with the flair of a “classic” guitar. “You never get a second chance to make a first impression” is probably what the team around Hans Peter Wilfer said to themselves and gave the Mayfield Custom an impressive maple outfit. The two-part, matched top and bottom parts and even the sides are made of AAA maple and, along with the F-holes, have been given a celluloid binding.

The wide, not too strong maple neck is glued in and has a very light Tigerstripe Ebony fingerboard on which 22 jumbo frets do their job. They were perfectly dressed using PLEK technology, and mother-of-pearl inlays are used as fingerboard inlays. At 24.75 inches (62.8 cm), the instrument was equipped with the traditional short scale length.

Not to forget the trademark of the semi-acoustic construction, the sustain block, a solid piece of wood, in this case again maple, which, due to the connection between the top and back, on the one hand reduces the feedback sensitivity of the instrument immensely and on the other hand the sound adds a characteristic level of percussiveness that distinguishes the instrument from a full-resonance guitar.

The tried and tested Seymour Duncan SH2 / SH4 combination is used as pickups, 2 humbuckers with chrome caps, each of which can be individually adjusted with a screw in the black plastic frame. To protect the top against massive pick abuse, a semi-floating, three-piece pickguard was mounted on the Mayfield.

The tuning mechanisms used were once again the in-house Locking Machine Heads, which can be locked with either a screwdriver or a coin. As always, the Framus headstock is arranged in 3:3 and reduces the bending of the string at the saddle thanks to an offset hole in the mechanics. At the other end of the string guide, a Tone Pros Tune-o-Matic bridge and a matching stop tailpiece do their work.

A toggle switch, which is large by Framus standards, allows the classic neck / both pickups / bridge combination, with all pickups always connected in series. A left-handed version is also available for an additional charge, and the model is also available in other colors, which can be viewed impressively on the Framus website.

With a weight of 3.1 kilograms, the Mayfield is a real lightweight despite its dimensions due to the largely hollow construction and allows you to endure the infamous six-hour dance events (some packing always comes at 1 a.m., generally shortly after you've already dismantled half of it, banging in a hundred bucks). on the table and shouts: “Come on boys, Spanish Eyes again”).


Practice

Yes, that's maple! From the very first notes, the Mayfield leaves no doubt as to which type of tree was primarily used here. Fast in response, crisp in tone and concise in tone development, just as you would expect from a traditional semi-acoustic guitar.

The instrument sounds very balanced across the entire spectrum, simply “rounded” and knows how to skilfully stake its claim. What also amazed me was the extensive sustain that the guitar displayed, as I had previously been used to this type of vibration behavior primarily from solid bodies in the “4 kilograms and more” department.

It is also interesting that a brand-new instrument already exhibits this high level of sound culture, which normally only occurs after a few months of individual playing. Slightly throaty, sometimes also nasal, the Mayfiled has a high level of assertiveness in the band context, without squawkingly drawing attention to itself through an over-presence of a certain frequency range.

When it comes to playability, the “pleked” neck is impressive with its strong dimensions. Even though neck shaping is a highly individual matter and my preferred “Neanderthal shaping” is really not for everyone, even the “average user” will have no problems with this neck.

The choice of pickup was successful, both the SH2 and the SH4 are convincing with their powerful timbre and moderate output in this combination and offer a very good basis for a characterful tone.


Conclusion

It shows again and again that experience cannot be compensated for. Framus, which has been working with the semi-acoustic construction principle for decades, also benefits from a corresponding company history. The best example is the Mayfield Custom, which, with its flawless appearance, excellent playability and excellent sound, can easily take the cake or two out of the American competition in the Electric Spanish segment.

Even if some people generally reject a pricing policy above the 3,000 euro mark, I would like to point out how much handwork goes into the instrument made in Germany (!).

Maximum yield for the eyes and ears, full marks!

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Additional Informations:

**Exploring the Origins and Evolution of the Gibson ES Series**

The Gibson ES (Electric Spanish) series stands as an iconic collection of semi-hollow and hollow-body electric guitars that have left an indelible mark on the world of music. From their inception in the 1930s to their continued relevance in the modern era, the ES series represents a fusion of craftsmanship, innovation, and sonic excellence. In this comprehensive article, we delve into the fascinating history and evolution of the Gibson ES series, tracing its roots, exploring its key models, and examining its enduring legacy.

**1. The Birth of the Electric Spanish Guitar**

The concept of the electric guitar was born out of the desire to amplify the sound of the traditional acoustic guitar, particularly in the context of big band and jazz music of the early 20th century. In 1936, Gibson introduced the ES-150, often hailed as the first commercially successful electric guitar. Designed in collaboration with pioneering jazz guitarist Charlie Christian, the ES-150 featured a single-coil pickup mounted on a hollow-body archtop design, setting the stage for the future of electric guitar innovation.

**2. The Golden Era of the ES Series**

Throughout the 1950s and 1960s, Gibson continued to refine and expand its ES series, introducing a diverse range of models that catered to the evolving needs of musicians across different genres. The ES-335, introduced in 1958, revolutionized the guitar industry with its semi-hollow construction, which combined the warmth and resonance of a hollow-body guitar with the feedback resistance of a solid-body instrument. The ES-335 quickly became a favorite among blues, rock, and jazz guitarists alike, thanks to its versatile tone and comfortable playability.

**3. Innovation and Experimentation**

In the following decades, Gibson continued to innovate within the ES series, introducing new features and designs to meet the demands of changing musical trends. The ES-345 and ES-355, introduced in the late 1950s, added upscale appointments such as stereo output and Varitone circuitry, catering to the needs of professional musicians seeking greater tonal versatility. Meanwhile, models like the ES-330 and ES-175D offered more affordable alternatives for players on a budget, without compromising on quality or performance.

**4. Enduring Classics and Contemporary Innovations**

In the 21st century, the Gibson ES series remains as relevant as ever, with a diverse lineup of models that appeal to a wide range of players. Classic models like the ES-335 and ES-175 continue to be mainstays in the Gibson catalog, cherished for their timeless design and unparalleled tone. Meanwhile, newer additions to the ES series, such as the ES-339 and ES-275, offer modern players enhanced playability and versatility, thanks to innovations in construction, electronics, and hardware.

**5. The Legacy of the ES Series**

The Gibson ES series holds a special place in the hearts of guitarists and music enthusiasts around the world, thanks to its rich history, iconic designs, and legendary tone. From the smoky jazz clubs of the 1930s to the stadium stages of the 21st century, ES guitars have played a vital role in shaping the sound of popular music across genres. Whether you're drawn to the vintage charm of a classic ES-335 or the contemporary performance of a modern ES model, there's a Gibson ES guitar that embodies the spirit of innovation, craftsmanship, and sonic excellence that defines the series.

**6. The Evolution of Design and Construction**

One of the key aspects of the Gibson ES series' enduring appeal is its evolution in design and construction techniques over the decades. From the early hand-carved archtops of the 1930s to the precision-crafted instruments of the present day, Gibson has continuously refined and perfected the art of building electric guitars. In the early years, ES guitars were typically constructed using laminated maple for the top, back, and sides, providing a balance of resonance and feedback resistance. As technology and manufacturing processes advanced, Gibson introduced innovations such as the use of solid center blocks in semi-hollow models like the ES-335, which helped reduce feedback while preserving the characteristic warmth and sustain of a hollow-body guitar.

**7. Endorsements and Cultural Impact**

Throughout its history, the Gibson ES series has been associated with some of the most influential musicians of the 20th and 21st centuries, further cementing its cultural significance. From blues legends like B.B. King and Freddie King, who famously wielded ES-335s nicknamed "Lucille," to rock icons like Chuck Berry and Eric Clapton, whose fiery performances on ES guitars helped define the sound of rock 'n' roll, the ES series has left an indelible mark on popular music. In addition to individual endorsements, Gibson has also collaborated with artists and bands to create signature ES models, such as the Trini Lopez and Dave Grohl DG-335, further expanding the series' appeal and cultural impact.

**8. Collectibility and Vintage Market**

As with many iconic instruments, vintage Gibson ES guitars have become highly sought after by collectors and enthusiasts, commanding premium prices on the vintage market. Vintage ES models from the 1950s and 1960s, in particular, are prized for their craftsmanship, tone, and historical significance. Factors such as originality, condition, and provenance play a significant role in determining the value of a vintage ES guitar, with rare and well-preserved examples fetching astronomical sums at auctions and private sales. The allure of owning a piece of music history, combined with the inherent quality and playability of vintage Gibson instruments, ensures that the demand for vintage ES guitars remains strong among collectors and players alike.

**9. Modern Production and Quality Control**

In recent years, Gibson has made concerted efforts to improve its production processes and quality control standards, ensuring that each Gibson ES guitar meets the highest standards of craftsmanship and playability. By investing in state-of-the-art manufacturing facilities, implementing rigorous inspection protocols, and hiring skilled craftsmen and women, Gibson has reaffirmed its commitment to excellence and customer satisfaction. Modern Gibson ES guitars benefit from advancements in materials, technology, and engineering, resulting in instruments that offer exceptional tone, playability, and reliability straight out of the box.

**10. Looking Towards the Future**

As Gibson continues to evolve and innovate, the future of the ES series looks brighter than ever. With a renewed focus on quality, craftsmanship, and innovation, Gibson is poised to build on the legacy of the ES series and introduce new models that push the boundaries of electric guitar design and performance. Whether it's reimagining classic designs for the modern era or developing entirely new concepts and technologies, Gibson remains committed to meeting the needs of today's players while honoring the timeless tradition of the Electric Spanish guitar. As the journey of the Gibson ES series continues, one thing is certain: its influence and impact on the world of music will endure for generations to come.

**Conclusion**

The Gibson ES series stands as a testament to the enduring legacy of one of the world's most iconic guitar manufacturers. From its humble beginnings in the 1930s to its continued relevance in the modern era, the ES series represents the pinnacle of craftsmanship, innovation, and sonic excellence. Whether you're a seasoned professional or an aspiring musician, a Gibson ES guitar offers the perfect blend of tradition and innovation, ensuring that its rich history and legendary tone will continue to inspire players for generations to come.

TEST: Framus Idolmaker

 Anyone who starts today with the personal ambition of developing a new guitar shape can be prepared for a few sleepless nights, especially if it is not an extreme shape from the metal genre or a new collection for ZZTOP. Pretty much every visually appealing shape has been offered in many variations over the last 70 years, so that a real realignment seems almost impossible. The initiative of the Framus company must be valued all the more, as it has a comparatively independent form in its portfolio with the Idolmaker model and does not come across as a mixture of a battle axe, morning star or cigar box. With the Framus Masterbuilt Idolmaker 5'R Emerald Green Transparent Satin, we have an instrument from the Masterbuild series to test, which, with a retail price of just under €8,300, is also right at the top of the price range.

The concept of the Framus Masterbuilt Idolmaker 5'R Emerald Green Transparent Satin

The American guitarist Stevie Salas, who, among other things, is known to the public for his work as a sideman for Rod Stewart, Mick Jagger and Justin Timberlake, and is considered to be the godfather of the idol maker form. According to rumors, other people contributed significantly more input to the body shape, but hey, someone has to be the driving force in front of the cart, or someone who gives the name to the outside world. Ultimately, the bottom line is a very unique double-cutaway shape, which has a touch of “Firebird with curves”. However, what is particularly noticeable in the more exclusive models from Framus is the 3-D look/haptics, which is also used on the Panthera model, for example. The body, which in this case is made of alder, is flanked by a 2 cm thick AAAA maple top, which was partly milled continuously and partly offset depending on the shape of the wave. A very complex process, which in the Masterbuild variant means that only one Luthier takes complete responsibility for the instrument and that the instrument is manufactured entirely in Germany.

The entire body has a slightly curved shape on both the front and back, which is vaguely reminiscent of violin shaping. In order to maintain the visually strong presence of wood throughout the entire instrument, the lid of the electrical compartment is also made in a matching wood grain.

The construction of the Framus Masterbuilt Idolmaker 5'R Emerald Green Transparent Satin

The Framus Masterbuilt Idolmaker 5'R Emerald Green Transparent Satin has a glued-in, one-piece neck made of maple, which is equipped with a fingerboard made of light rosewood. The fingerboard has very small inlays made of abalone ovals and is equipped with fluorescent side dots on the side, which start to glow even in light darkness. The Idolmaker is available with two different scale lengths. The long scale length of 25.5" (648 mm) was installed on this instrument. The popular 12" (305 mm) radius was used as the fretboard radius. 22 Medium Jumbo Frets made of Nickel Silver (Width: 2.3 mm / 0.091" Height: 1.3 mm / 0.05") with rounded corners ensure that the neck pickup can be placed under the vibration-rich 24 frets and not like on instruments with 24 frets in what I think is the less favorable area (subjective opinion!) towards the bridge. Like all instruments of the upper class at Framus, this instrument was processed using Plek Fretwork Technology to ensure optimal alignment of the frets.

In terms of hardware, the Framus Masterbuilt Idolmaker 5'R Emerald Green Transparent Satin works with Graph Tech Ratio Locking Machine Heads tuners, which are equipped with wooden knobs. The saddle, which comes from the Tusq low friction series, is also from Graph Tech. In order to keep the number of moving elements as low as possible, a Graph Tech Wraparound Resomax was used for the bridge system. Only the belt holders come from our own production and are sold under the name Warwick Security Locks.

The American company Nordstrand Pickups, which was still unknown to me, is responsible for the pickups. On the Framus Masterbuilt Idolmaker 5'R Emerald Green Transparent Satin, they have a “Shush Puppy” on the neck and in the middle, and a “NDC” in the bridge position have installed. According to Nordstrand Audio, the “Shush Puppy” is no longer in the manufacturer’s portfolio, so anyone who is lucky enough to catch another “quiet puppy” could potentially have come across a collector’s item. Despite the single coil dimensions, this pickup is a humbucker, which is intended to preserve the liveliness of the single coil as much as possible without foregoing the advantages of a humbucker's noise suppression. Incidentally, according to the company information, the same applies to the NDC, which also wants to adopt the single-reeler's claim in terms of sound characteristics without sharing its background noise problems. However, in order to give the user freedom of choice, Framus decided to install a push/pull pot on the master tone control in addition to the classic 5-way switch in order to enable humbucker splitting, which directly expands the sound possibilities many times over .

When it comes to the final design, many special options are possible, such as a left-handed option, as the instrument is manufactured directly for the buyer. Therefore, depending on the company's workload, the delivery time can sometimes be a little longer than usual.

The Framus Masterbuilt Idolmaker 5'R Emerald Green Transparent Satin in practice

All interested parties will probably be clear about one thing: at this retail price you cannot afford any weaknesses, i.e. even the smallest defects cannot be tolerated. But here I can give the all-clear straight away, the Framus Masterbuilt Idolmaker 5'R Emerald Green Transparent Satin is really perfect in terms of workmanship, I couldn't find any defects even after intensive searching. Of course the solid natural wood look will polarize the crowd of musicians, but as you know, this is all purely a matter of taste.

In dry mode, the first thing you notice is the very flattering body shape, which creates a comfortable forearm rest both when sitting and standing. A similar effect is also known from Firebird or Explorer shapes, although these are more difficult to handle, especially when sitting, due to the significantly larger body shapes. With a weight of only approx. 3.2 kg, the instrument is also very easy to handle, which is particularly beneficial for musicians with back problems.

On the amp, the Framus Masterbuilt Idolmaker 5'R Emerald Green Transparent Satin turns out to be something completely different tonally than what I would have expected. I was expecting a typical HSS style sound, but I was proven wrong. What sounded to me was clearly more in the Strat style, but with a very unique note. The Nordstrand pickups in particular play a large part in this, as they leave a very good impression across the entire range. The pickups sound fresh without biting, have a very open sound character and offer the outstanding sounds you want, especially in the clean and crunch areas. In particular, the Slush Puppy in the neck and middle position, which has been removed from the range, impresses, as described by the manufacturer, with a single coil requirement and at the same time suppresses the background noise of a humbucker. Really great cinema.

However, the pickups all only have a very low output level, so stronger lead or even high gain sounds are only possible with massive pedal support. However, you should ask yourself whether you would actually want such sounds from such an instrument, whose moderate distortion levels alone are in the absolute top segment. All other parameters such as sustain, playability and response are also in the top range and enable handling as desired in this price range.

In summary, the Framus Masterbuilt Idolmaker 5'R Emerald Green Transparent Satin has to be described as a top instrument that is convincing across the board. If you're looking for high-end clean and crunch, you've come to the right place.

Conclusion

With the Framus Masterbuilt Idolmaker 5'R Emerald Green Transparent Satin, the German manufacturer has a top instrument in its portfolio. The instrument is convincing across the board, with its strengths clearly being in the clean and crunch areas.

If you are looking for a very unique instrument with a very special flair, you should definitely give the Framus Masterbuilt Idolmaker 5'R Emerald Green Transparent Satin a try.

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Additional Informations:


Framus, a renowned German guitar manufacturer, has been crafting high-quality instruments since its inception in the early 20th century. Over the years, Framus has garnered a reputation for producing instruments with exceptional craftsmanship, innovative designs, and versatile tonal capabilities. In this comprehensive article, we delve into the diverse range of guitar models offered by Framus, exploring their unique features, tonal characteristics, and historical significance.

**1. Framus Legacy Series**

The Framus Legacy Series pays homage to the brand's rich heritage while incorporating modern design elements and construction techniques. These guitars feature premium tonewoods, such as mahogany, maple, and ebony, ensuring rich resonance and sustain. Models like the Framus Legacy Dreadnought and Grand Auditorium are popular choices among acoustic players, offering a balanced tone suitable for various playing styles.

**2. Framus Panthera Series**

The Panthera series embodies the essence of high-performance electric guitars, catering to the needs of discerning players across different genres. These guitars feature sleek, ergonomic designs with contoured bodies for maximum comfort during extended playing sessions. Equipped with high-output pickups and versatile electronics, models like the Framus Panthera II Studio and Supreme deliver a wide range of tones, from crisp cleans to searing leads.

**3. Framus Idolmaker Series**

The Idolmaker series showcases Framus's commitment to innovation and modern design aesthetics. These guitars boast distinctive body shapes, including the iconic double-cutaway design, which provides easy access to the upper frets. With options for both passive and active electronics, such as the Fishman Fluence pickups, the Framus Idolmaker series offers unparalleled versatility and tonal flexibility for today's demanding players.

**4. Framus Artist Series**

The Artist series celebrates collaboration with some of the world's most renowned guitarists, resulting in signature models tailored to their specific preferences and playing styles. From the expressive blues-rock tones of the Framus Devin Townsend Stormbender to the high-gain fury of the Framus D-Series Troy McLawhorn, these guitars are designed to inspire creativity and push sonic boundaries.

**5. Framus Custom Shop**

For players seeking a truly personalized instrument, the Framus Custom Shop offers bespoke guitars crafted to their exact specifications. From selecting premium tonewoods to choosing pickups, hardware, and finishes, customers have complete control over every aspect of their instrument's design. Each Custom Shop guitar is handcrafted by master luthiers, ensuring impeccable build quality and attention to detail.

**6. Framus Acoustic Series**

Framus's dedication to acoustic craftsmanship is evident in its Acoustic series, which comprises a diverse lineup of steel-string and nylon-string guitars. Whether you prefer the warmth and depth of a dreadnought or the clarity and articulation of a concert-style instrument, Framus offers a range of acoustic models to suit every player's preference. From intimate solo performances to lively ensemble settings, these guitars excel in a variety of musical contexts.

**7. Framus Basses**

In addition to guitars, Framus also produces a wide range of bass instruments tailored to the needs of professional bassists. From the thunderous low-end of the Framus Panthera Bass to the sleek, modern design of the Framus Triumph Series, these instruments deliver the power, playability, and tonal versatility required for any musical situation. With options for both traditional passive pickups and active electronics, Framus basses provide ample sonic flexibility to suit a wide range of musical styles.

**Conclusion**

From its humble beginnings in the early 20th century to its status as a leading manufacturer of high-performance instruments, Framus has remained at the forefront of guitar innovation and craftsmanship. Whether you're a seasoned professional or an aspiring musician, there's a Framus guitar model to suit your needs and inspire your creativity. With a commitment to quality, precision, and sonic excellence, Framus continues to set the standard for what a premium guitar should be.

TEST: Framus Diablo

 It's interesting to see how the various instrument manufacturers approach their product policies. While the stylistic forefathers of the electric guitar such as Gibson, Fender and Gretsch have already manifested their product line for decades for image reasons and only change them marginally, the string world of the newer guild allows a healthy expansion of traditions. In recent years, a guild of manufacturers has been formed that combines tried-and-tested concepts of classic electric guitar building with contemporary innovations. The Framus company can also be counted among this group, whose models, depending on the version, sip on the edge of the classic plate and then improve on the forefathers with high-quality detailed solutions.



Construction:

The dark blue appearance that emerges from the high-quality gig bag cannot deny its relationship to the Strat, at least at first glance. Even a second look reveals tons of differences, so that you would be doing the Diablo an injustice if you didn't let it stand as an independent model.

The strong blue, referred to internally as “Blue Stain”, allows the beautiful grain of the 20 mm thick “bookmatched” maple top to shine through on the front and the strong line drawing of the one-piece swamp ash body to shine through on the back. The maple top is used in so-called “violin shaping”, i.e. the outer edges of the body are still quite flat relative to the top, which then rises suddenly towards the middle with a curvature similar to a violin. Personally, I am a big fan of this shaping, as it always has something elegant and noble, especially in connection with the reflections of the incident light. The body is painted with a high gloss, and all staining, coloring and varnishing work is carried out flawlessly and with perfect craftsmanship. The master volume and master tone controls as well as the PU selector switch are slightly recessed into the maple top.

Strong differences to the Strat can also be noted in terms of body shaping. The popular “waist” milling on the back of the body is only marginally done; the shaping at the level of the armrest has been completely omitted. What has remained, however, is the generous reduction in wood at the base of the neck, which guarantees optimal playability up to the highest registers.


The neck of the Diablo Custom is made from Ovangkol wood, which is very popular within Framus. The African hardwood is characterized by its high strength and rich treble reproduction. The neck is unpainted and is attached to the body using the patented bolt-in process, a process that anchors the neck firmly in the body using just 2 screws. As we know, tastes are different, so it shouldn't be up for debate that the heavily grained Ovangkol wood always reminds me a little of a railway sleeper ;-) East Indian ebony is used as the fingerboard, which is characterized by a not-so-black color and high height structuring. The fingerboard inlays are made up of 2 opposing triangles with a, well, let's say cross, and the frets use a strong design, which is not yet in the range of jumbo frets. The tuning mechanisms, which are arranged in the usual Framus arrangement of 3 left, 3 right, use chrome-plated locking machines; the truss rod disappears under a solid metal plate on which the model name and company logo are applied. The saddle is once again made from self-lubricating carbon, which, as far as I know, Framus uses on all models. The scope of delivery also includes a set of security locks for attaching the belt.

The Diablo is factory equipped with a triple Seymour Duncan pickup, the SHR in the neck, a reverse wound SL1 in the middle and an SH4 in the bridge position. A push/pull switch in the volume control can be used to deactivate a coil in the neck or bridge pickup. The pickups are switched via a high-quality 5-way switch. Using this wiring, the neck / middle neck / neck bridge / middle bridge and bridge constellations can be accessed in conjunction with the push/pull controller, meaning all important PU configurations can be accessed in a matter of seconds. What is interesting is the fact that the middle PU can only be used in combination with the neck or bridge PU and cannot be activated alone. Here, preference was given to the Paula-style wiring in the middle position = neck and bridge PU. The wiring in the electrical compartment, which is accessible without additional tools, is clean and clear, the compartment is painted with shielding paint and properly connected to ground.

The Diablo comes with a Wilkinson VIBRATO!!! (woe betide you, tell me another tremolo here!), which has long since overtaken the Floyd-Rose system thanks to its small dimensions, its sustain-friendly construction and its high tuning stability. The vibrato lever is plugged in and its movement can be adjusted with a small Allen screw on the side.

Practice:
The entire basic focus of the Diablo is aimed at satisfying both the Strat and the Paula types. However, any reasonably accomplished guitarist knows that this is not possible due to the conflicting concepts. However, Diablo shows how close you can get to both concepts. Even though the shaping, vibrato system and choice of wood tend to be much more Fender-esque, the humbucker-influenced Gibson type will also enjoy the instrument.

Let's start with the pickup assembly. The SH4, also known to some as the Jeff Beck PU, used in the bridge position delivers a very powerful sound that is ideal for distorted sounds. A healthy proportion of mids, coupled with high output power, also provides resistant preamplifiers with enough power to generate the first distortions. Fortunately, the sound doesn't get bogged down in the midrange mud like you get with other high-winding pickups. There are slight parallels to a Powerstrat a la Schecter or the earlier Charvel, if it weren't for the Ovangkol neck, which gives the sound its own touch with lively highs.

One switch position further and you're definitely entering Strat territory, provided you switch off one of the SH4's coils using the push/pull pot. In typical double-single-coil style, the Diablo comes with a classic, pearly sound, which is always an experience in every funk number. Due to the reversed design of the SL1, there is also very little background noise.

In position 3 you can choose between 2x single coil or 2x humbuckers on the neck or bridge pickup. It's amazing how strongly this constellation tends towards Paula in humbucker operation. Despite the mini humbucker on the neck and ash body, the Diablo comes across as very low-mid-heavy, actually a typical mahogany feature. Be that as it may, this voluminous yet warm sound is particularly convincing in the clean range. The neck/middle PU combination is again a typical phase-thinned Strat reference, while in switch position 1 you can operate Seymour Duncan's Hot Rail as a single-winder or double-winder.


The Hotrail seemed a bit strange to me in the humbucker position. In the bridge position of one of the most popular replacement pickups for musicians who want to give their Strat more steam without having to put the pry bar on the body, I sometimes had to struggle with a fairly high bass content, especially in the distorted area. Maybe they meant a little too well here when it came to the output; in my opinion, I would have preferred the not-so-hot version, the Cool Rail. Particularly when the level of distortion is high, one or the other amp may struggle a bit with the low frequency content, but ultimately this aspect remains purely a matter of taste and must be determined personally from artist to artist.

The Wilkinson vibrato once again turns out to be one of the highlights. In my opinion, it is currently smooth-running, ergonomic, stable in tuning and has a neutral sound. one of the best systems when it comes to adding pitch modulations to individual tones or chords. Even the intensive use of dive bombs, the extreme relaxation of the strings up to the limp sagging on the fingerboard, could not bring the guitar out of a well-tempered tuning, even though the instrument is equipped without a clamp on the saddle. Here you can see the excellent effect of the locking tuners in combination with the self-lubricating saddle.

Along with the sonic possibilities, the playability is also great. A strong “D” in the neck profile combined with perfectly trained frets ensure that the instrument can be handled very well. Chord and solo playing are equally easy and once again support the flexibility of the guitar.

Conclusion:
If you need a high-quality “workhorse” for a wide musical range, the Diablo is absolutely the right choice. High-quality components meet the best manufacturing standards, a basis on which nothing can go wrong in terms of craftsmanship. Anything beyond that, such as coloring and wood structuring, is subject to personal taste and cannot be evaluated. In my opinion, the Diablo represents a real alternative to the boutique productions from overseas. Sound, workmanship and attention to detail do not need to hide behind the USA protagonists.

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Additional Informations:

The Wilfer family stands as a beacon of innovation, entrepreneurship, and musical passion, leaving an indelible mark on the world of instrument craftsmanship. From the humble beginnings of a small workshop in post-war Germany to the global recognition of the Framus brand, the story of the Wilfer family is one of resilience, creativity, and unwavering dedication to the craft. This article delves into the rich history, key figures, notable achievements, and enduring legacy of the Wilfer family.

**Founding Years and Early Endeavors:**
The roots of the Wilfer family's involvement in the music industry can be traced back to the aftermath of World War II when Fred Wilfer founded Framus in Erlangen, Germany, in 1946. Initially focusing on the manufacture of stringed instruments such as violins, cellos, and guitars, Fred Wilfer demonstrated a keen understanding of craftsmanship and a passion for innovation that would become hallmarks of the family's legacy. Together with his wife Gertrude, Fred Wilfer laid the foundation for what would eventually evolve into one of the most respected names in the world of musical instrument manufacturing.

**Expansion and Diversification:**
Under the leadership of Fred Wilfer, Framus experienced rapid growth and expansion, diversifying its product offerings to meet the evolving needs of musicians worldwide. From traditional acoustic instruments to electric guitars, basses, amplifiers, and beyond, Framus became synonymous with quality, reliability, and innovation. Fred Wilfer's visionary leadership and entrepreneurial spirit paved the way for Framus to become a global leader in the musical instrument industry, earning the admiration and respect of musicians, collectors, and enthusiasts alike.

**The Next Generation:**
As Framus continued to flourish, the next generation of the Wilfer family stepped into leadership roles, carrying forward the legacy established by their parents. Hans-Peter Wilfer, son of Fred and Gertrude, played a pivotal role in expanding Framus's global presence, forging strategic partnerships, and embracing emerging technologies to drive innovation and growth. Under his guidance, Framus continued to push the boundaries of instrument design, introducing groundbreaking features and pioneering new manufacturing techniques.

**Innovation and Excellence:**
Throughout its history, the Wilfer family has remained committed to the principles of innovation, excellence, and craftsmanship that have defined the Framus brand. From the development of proprietary pickup designs to the implementation of advanced CNC machining technology, Framus instruments have consistently pushed the envelope in terms of quality, playability, and sonic performance. The Wilfer family's unwavering dedication to innovation has ensured that Framus remains at the forefront of the musical instrument industry, setting the standard for excellence in design and construction.

**Cultural Impact and Legacy:**
Beyond their contributions to the musical instrument industry, the Wilfer family's legacy extends to the cultural impact of Framus instruments on the world of music. From the hands of legendary artists to aspiring musicians in every corner of the globe, Framus instruments have provided the tools for creativity, expression, and inspiration. The Wilfer family's commitment to craftsmanship and innovation has left an indelible mark on the history of music, shaping the sound of generations and influencing the evolution of musical genres.

**Continued Influence and Future Directions:**
As the musical landscape continues to evolve, the Wilfer family remains dedicated to upholding the values and traditions that have guided Framus for over seven decades. With a focus on sustainability, technology-driven innovation, and expanding access to music education, the Wilfer family seeks to ensure that Framus instruments continue to inspire and empower musicians for generations to come. Through their continued leadership and vision, the Wilfer family will undoubtedly leave an enduring legacy that transcends time and resonates with music lovers around the world.

**Conclusion:**
In conclusion, the Wilfer family's contributions to the world of musical instrument craftsmanship are nothing short of remarkable. From their humble beginnings to their status as global leaders in the industry, the Wilfer family's legacy is a testament to the power of passion, perseverance, and innovation. As Framus instruments continue to inspire musicians and enthusiasts around the world, the Wilfer family's influence will undoubtedly endure, shaping the future of music for years to come.

TEST: Framus AZ-10

 Full resonance electric guitar...jazz guitar......Archtop.....”big Berta”......whatever the description for one of the visually and acoustically most outstanding subgroups of the E guitar, almost everyone has seen it, many have heard it but only very few have held it in their hands, an interesting parallel to a super model by the way...;-)

The soft, warm, sometimes bass-heavy “glove sound” is the rule, if not mandatory, in jazz or jazz-rock. The Hungarian guitarist Attila Zoller is one of the protagonists of this genre. The artist, who died in 1998 and whose folkloristic Hungarian approach was always evident in his playing, can be described as one of the original endorsers of the Framus company.

With the AZ-10, Framus is reflecting on old virtues and re-introducing a classic from the company's early history in a modernized form. The model I have in the single pickup version is based on the AZ-10 model from 1970 and is part of the instrument series of the same name, which was built in the 1960s for the jazz legend Attila Zoller and was played by him for a long time is.


Construction:

The AZ-10 is available in Almond Sunburst, Vintage and Blonde, all of which, as is usual with Framus and Warwick, are also available as a left-handed version at no extra charge. For an additional charge you can also get the shellac version in Vintage Violin and Natural, the Blonde as a natural high gloss with matching headstock and elaborate mother-of-pearl inlays or with the special woods Markassar Koa or Pomele Bubinga. The instrument has a solid, arched spruce top, which has two expansive F-holes. The pickguard, which is made of ebony, was very tastefully provided with a visually identical recess in the shape of the front part of the lower F-hole recess. The volume and tone controls were also integrated into the same pickguard. The connecting cables to the pickup are therefore routed through the upper part of the lower F-hole.

The sides of the instrument and the two-part back are made of solid AA flamed maple, as is the one-piece, lacquered neck. The neck profile is of average width but unusually flat, so that a fairly flat “D” profile can be certified. The neck is unusually easy to play for an archtop; the usual “archtop fight” with the mass of wood is completely ignored here.


The fingerboard, equipped with mother-of-pearl custom inlays, is made of Tigerstripe ebony and has medium-thick jumbo frets. All frets were cleanly dressed and give no cause for complaint. When it comes to the scale length, the Gibson size was 24.75" (628 mm), which is a touch higher than the standard short scale length of 625 mm. The truss rod hole is covered with a small metal plate that has the Framus logo decorates.

The body was framed in a three-part celluloid binding; the one-piece version was chosen for the F-holes. The color of the binding, which is now still beautifully white, will probably be the first to turn into the beautifully “shabby” vintage yellow due to environmental influences. All you need is a little patience (from around 10 years old and up...:-)).

For adequate tone pickup, a specially tuned MEC humbucker is used in the neck position, which is mounted in a free-floating manner together with the carved pickguard. A mirrored cap completely covers the two coils.


The well-known Framus locking mechanisms are used as tuning mechanisms, which leave an excellent impression. As is usual with upper-class archtops, the bridge is not made of metal but of wood for reasons of sound and, in particular, vibration. So Framus opted for a solution with an adjustable, length-compensated bridge made of ebony that both provides the relevant adjustment options and allows for the woody sound. The trapeze tailpiece is elaborately decorated and has an "AZ-10" engraving.


The guitar is equipped with befitting 012 flatwound strings including a wrapped G string and weighs 2.8 kg. The instrument is delivered in a deluxe line rock case.


Sound:
Ask an electric bass player what it feels like to hold a double bass in your hand. He will probably say that the two instruments have nothing in common with each other, leaving aside the tuning of the instruments. Most guitarists who have only ever held solid bodies in their hands will probably feel the same way. Apart from the fact that these are 6-string instruments, you can really speak of a completely different instrument. Sound quality features of a solid body, such as extensive sustain or playability in high registers, are as relevant to an archtop as personality is to a DSDS participant, they are not only not necessary, they are even annoying.

For this type of instrument, a 012 movement is considered a “light gauge”, string bending is considered nonsensical and distorted sounds are even considered a perversion of the tone. An archtop, especially if it is in the AZ-10 league, must have a basic level of “grace”, it must be a respectful playmate for the artist who you first have to convince to do what you want from her . (Yes, I know, there are parallels here too...;-) The AZ-10 offers all of this in abundance, a stately appearance and high-quality workmanship allows the artist to take a step backwards to get a better picture to be able to.

If you take the lady in your hand, no one dares to serve at least a minor 7, let alone a “power chord” (...ugh...!) to your ear. Here the instrument dictates where to go, not the artist! It is all the more surprising that the AZ-10 is actually quite easy to handle. The flat neck and an unusually low action put no obstacles in the artist's way. Up to the 12th fret the playability is excellent, from the 13th fret onwards we encounter the standard huge neck foot which, as expected, limits handling somewhat, but let's be honest, which jazzer voluntarily stops above the 14th fret?

In terms of sound, the AZ-10 offers the expected sound at a high level. The wood-heavy orientation is warm, soft and has a high-quality sound. You can see the tradition that Framus has had in the archtop sector for several decades now. From the basic volume, the instrument offers a moderate spectrum when not amplified, which is quite sufficient for solo playing, but this is not enough to assert itself in a band structure.

Here you rely on the help of the pickup in combination with the right amplifier. Did someone shout “Marshall…”? Let him go into the corner and be ashamed, unworthy one! Polytone, Fender or similar boutique clean specialists are in demand here. If you have the same protagonist at hand, nothing stands in the way of jazz sound at the highest level. Using the tone control you can “muffle” the very lively basic sound again according to your personal taste in order to achieve an extremely high-pitched sound.


Conclusion:
With the AZ-10, Framus has a top-class genre-technical instrument in its range. If the artist still has the ability to combine harmonically ambitious craftsmanship with rhythmic taste, he will find in the AZ-10 an outstanding tool for his creativity, perhaps even a little more…….

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Additional Informations:

Framus jazz guitars stand as shining examples of German craftsmanship, meticulous design, and sonic sophistication. Rooted in a rich tradition of luthiery and innovation, these instruments have played an integral role in shaping the landscape of jazz music. This article embarks on a comprehensive journey through the history, design principles, notable models, and enduring legacy of Framus jazz guitars.

**Origins and Early Innovations:**
The story of Framus jazz guitars traces back to the post-war era when Fred Wilfer founded Framus in Erlangen, Germany, in 1946. Initially focusing on crafting stringed instruments such as violins, cellos, and guitars, Framus quickly gained recognition for its commitment to quality and innovation. In the 1950s, as jazz music surged in popularity, Framus introduced its first jazz guitar models, blending traditional craftsmanship with contemporary design elements to create instruments tailored for the unique demands of jazz musicians.

**Design Principles and Construction Techniques:**
Framus jazz guitars are renowned for their impeccable construction, attention to detail, and tonal versatility. Drawing inspiration from classic archtop designs, Framus guitars feature meticulously carved spruce or maple tops, solid or laminated bodies, and elegant f-shaped soundholes, all meticulously crafted to optimize resonance, sustain, and projection. The use of high-quality tonewoods such as mahogany, maple, and rosewood further enhances the instrument's tonal richness and depth.

**Notable Models and Signature Features:**
Over the years, Framus has produced a diverse array of jazz guitar models, each offering its own unique blend of tone, playability, and aesthetics. From the majestic Strato de Luxe to the sleek Hollywood, Framus jazz guitars have graced the hands of legendary musicians and discerning players alike. Signature features such as floating pickups, adjustable bridges, and ornate inlay work have become hallmarks of Framus jazz guitars, setting them apart as instruments of unparalleled elegance and sonic excellence.

**Endorsements and Collaborations:**
Framus jazz guitars have earned the admiration of countless jazz luminaries, with many artists endorsing and collaborating with the brand to develop custom instruments tailored to their specific needs and preferences. From the smooth jazz stylings of George Benson to the virtuosic improvisations of Joe Pass, Framus guitars have been trusted companions on stages and in studios around the world, earning praise for their impeccable craftsmanship and exceptional tone.

**Technological Advancements and Modern Innovations:**
While rooted in tradition, Framus jazz guitars have embraced technological advancements to meet the evolving demands of contemporary players. Recent innovations such as carbon fiber reinforcement, proprietary pickup designs, and ergonomic neck profiles demonstrate Framus's commitment to pushing the boundaries of guitar design while preserving the essence of its heritage. These advancements ensure that Framus jazz guitars remain at the forefront of innovation and continue to inspire players of all generations.

**Cultural Impact and Enduring Legacy:**
Beyond their technical prowess, Framus jazz guitars have left an indelible mark on the cultural landscape of jazz music. From smoky jazz clubs to prestigious concert halls, these instruments have provided the sonic foundation for countless performances, recordings, and artistic expressions. Their enduring legacy speaks to the craftsmanship, passion, and dedication of the artisans who have crafted them and the musicians who have breathed life into them.

**Exploring the Legacy of Framus Jazz Guitars: An In-Depth Exploration (Continued)**

**The Evolution of Sound:**
Framus jazz guitars have not only shaped the music of their time but have also evolved with it. From the warm, mellow tones of traditional jazz to the fusion experiments of the modern era, these guitars have adapted to a diverse range of musical styles and genres. Whether played with a delicate fingerstyle technique or a fiery bebop solo, Framus jazz guitars deliver a dynamic range of expression, articulation, and tonal nuance, making them indispensable tools for the contemporary guitarist.

**Craftsmanship and Artistry:**
At the heart of every Framus jazz guitar lies a dedication to craftsmanship and artistry that transcends mere instrument-making. Each guitar is meticulously handcrafted by skilled artisans who imbue it with a sense of character, personality, and soul. From the precision fretwork to the flawless finish, every aspect of a Framus jazz guitar reflects a commitment to excellence and a passion for the craft. It is this attention to detail that elevates Framus guitars from mere instruments to works of art worthy of admiration and reverence.

**Global Influence and Recognition:**
While rooted in German tradition, Framus jazz guitars have enjoyed global recognition and acclaim, earning the admiration of musicians and collectors from all corners of the world. Their presence on stages, in recording studios, and in the hands of celebrated artists has helped spread the legacy of Framus to every corner of the globe. From the jazz clubs of New York City to the concert halls of Tokyo, Framus guitars have become synonymous with quality, innovation, and sonic excellence, cementing their status as icons of the guitar world.

**The Pursuit of Perfection:**
Throughout its history, Framus has remained steadfast in its pursuit of perfection, constantly striving to innovate, refine, and improve its instruments. From the selection of premium tonewoods to the development of proprietary hardware and electronics, Framus leaves no stone unturned in its quest to create the ultimate jazz guitar. This relentless pursuit of excellence ensures that every Framus guitar meets the highest standards of quality, playability, and tone, inspiring confidence and creativity in the hands of its players.

**Community and Connection:**
Beyond their role as musical instruments, Framus jazz guitars foster a sense of community and connection among musicians and enthusiasts alike. Whether discussing tone woods on online forums, swapping stories at guitar conventions, or jamming with fellow players in local jazz clubs, Framus guitars serve as catalysts for shared experiences, friendships, and collaborations. It is this sense of camaraderie and mutual appreciation that imbues Framus guitars with a special significance and endears them to players of all backgrounds and skill levels.

**Conclusion:**
In conclusion, the legacy of Framus jazz guitars is a testament to the enduring power of craftsmanship, innovation, and artistic expression. From their humble beginnings in post-war Germany to their global recognition as premier instruments of the jazz world, Framus guitars have left an indelible mark on the history of music. As they continue to inspire and delight players around the world, Framus guitars stand as symbols of excellence, creativity, and the timeless pursuit of sonic perfection.