TEST: Keeler Push

 When I started learning the electric guitar, the world in terms of amplifier technology looked a little different than it does today. Apart from the Mesa Boogie Combo, which was already beyond every student's budget, no regular combo or head was able to produce a sustain-rich solo sound from the factory. Not to mention the “cucumber department” that I was struggling with at the time.

Back then (and probably still today), a popular distortion pedal was the first pedal that every student bought in the hope of getting the same sound out of their second-rate makeshift combo as their personal idols did on vinyl. At that time the rule of thumb was that an official distortion device cost just under 100 DM (just under 50 €). (Note: there was also a rule of thumb: one mark per watt of speaker power, i.e. a 100 watt Celestion speaker cost €50 back then! Those were the days ;-))

Who would have thought that the distortion market would skyrocket in price both to the basement level and, thanks to the boutique trend, to unimagined heights. So one or the other is wondering what, apart from purely hand-made production, can cause the RRP price of a distortion device to rise above the €300 mark, especially if it is not equipped with interfaces, interfaces or control functions.

Exactly these attributes apply to the Keeler pedals, all handmade by Rob Keeler, one of the new names in the boutique heaven, who has been showered with great praise within the scene. My curiosity was piqued.

construction

The Keeler Design pedal I have for testing is called “Push” and belongs to the subgroup of overdrive pedals, so it is intended to simulate an overdriven tube of a tube amplifier. High-class pedals of this type are characterized primarily by the fact that they harmonize interactively with the guitar's volume control, i.e. they naturally reduce the level of distortion of the pedal when the volume on the guitar is reduced. Strictly speaking, it is THE quality feature that, in addition to a high-quality basic sound, should distinguish a low-budget Quaker from a high-end device with a price factor of 10.

Visually, the pedal comes in a wonderful “Gary Glitter Memory Purple Metallic”, one of the standard disco colors of the late seventies / early eighties. Laugh at me, but I stand by it, I like this color! Oh yes, and for me the discom music a la Saturday Night Fever is still the best dance music that ever existed, that's it! ;-)

You can see at first glance that this was made by hand. Sometimes one of the four rubber feet on the underside of the housing is not completely aligned, or the triangle pictograms of the input and output sockets are sprayed on in different sizes. It doesn't matter if the inner values are right, such small optical details are pure peanuts.

As expected, the Push has a (slightly wonky) true bypass, which completely removes the signal from the internal electronics when the effect is deactivated. The pedal can be powered either by a 9V battery or by an external power supply. When it comes to control options, the Push only has three controls, named “Volume”, “Gain” and “Treble” and their function is therefore actually self-explanatory.

The product comes in a solid metal housing and will easily withstand the kind of kicks that a pedal inevitably encounters. The pedal has an extremely bright blue LED as a status indicator. If you loosen the four screws on the bottom of the case, a very clear interior becomes apparent. Only the circuit board, which is cast in black plastic, attracts some attention, but as mentioned, it is completely submerged in the black mass to make copying more difficult and therefore cannot be explored further.

Despite being hand-crafted, the entire wiring is carried out cleanly, no overhangs or slag heaps (like in my first soldering attempts...), only the synthetic resin compound pulled a few small threads when it set. Well, that's it for the equipment, let's turn to the sound.


Practice

So, to be completely honest, if you've briefly looked into the innards of the Push and weighed the box from one hand to the other, you can't really imagine what a product like this should be worth almost €300 . Yes and then I connected the overdrive...

And then it really knocks your socks off! Let's keep it short, the Push is by far one of the best overdrive pedals I've ever heard in my life. It's hard to believe what Rob Keeler can achieve with just a few wires and a minimal circuit.

On the one hand, we have an excellent basic sound from the pedal. Until around 2 o'clock, the treble control stays in the slightly musty range and can have a nice Texas muffle, before it becomes noticeably sharper in its accentuation. In the gain range, all distortion intensities of a tube can be accessed, from almost completely clean to very strong crunch, just like with a full tube amp.

I find it particularly remarkable that in my opinion the push not only simulates the overload behavior of a preamp tube, but rather you have the feeling that you are controlling a non-master volume head, the interaction with the pedal can be controlled so beautifully. Even at high gain, the compression remains manageable and controllable and doesn't get bogged down in sustain monotony. Nevertheless, the attack phase remains soft and solid without bringing too much sharpness and edges into the sound.

If you bring the volume control more into play, the Push can also be used as a booster; it all depends on the interaction of the guitar, pedal and amplifier.



Conclusion

Yes, I was a little blinded by the first impression. At first glance, I wouldn't have given the colorful disco king too much credit, but it turns out once again that even the experienced tester should just keep his mouth shut until he has really heard the product in its entirety.

The Push from Keelerdesign is an absolute top-class overdrive and impresses in terms of sound! Rarely has a semiconductor-based distortion pedal been able to make me rave as much as this product. Sound-neutral and with minimal control options, the Push meets all the parameters you would hope for from an overdrive pedal.

Everyone has to decide for themselves whether they are willing to pay a street price of around 260 euros for the inconspicuous box with the big sound, but if they want an overdrive from the Bundesliga, the push is absolutely the right choice.

By the way, the sound files were recorded with a Tele Black & Gold, hence the strong bass reduction when the volume control is closed.

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Additional Informations:

**The Evolution of Guitar Effects Pedals: A Comprehensive Journey**

The world of electric guitars is as much about innovation and experimentation as it is about virtuosic playing. At the heart of this sonic exploration lie effects pedals, those small, often unassuming boxes that have the power to transform a guitarist's sound into something entirely new and unexpected. Among the myriad of effects pedals available, one category stands out for its ubiquitous presence and profound impact on modern music: the world of floor-based effects, or more commonly known as "stompboxes." This is the story of their evolution, particularly focusing on the genesis and development of floor-based effects pedals.

**The Birth of Guitar Effects**

To understand the origin of floor-based effects pedals, we must first look back to the early days of electric guitar and amplifier experimentation. In the 1940s and 1950s, pioneering guitarists and inventors began to explore ways to modify and enhance the sound of the electric guitar. One of the earliest examples of this experimentation was the use of tape echo machines, such as the Maestro Echoplex, to create repeating, echo-like effects.

As the 1960s dawned, the demand for more portable and practical effects units grew. This led to the development of compact effects pedals, which could be easily controlled and manipulated by the guitarist's foot while playing. The first of these pedals, such as the Maestro Fuzz-Tone and the Electro-Harmonix Big Muff Pi, laid the groundwork for what would become a flourishing industry of guitar effects.

**The Rise of Floor-Based Effects Pedals**

The true genesis of floor-based effects pedals can be traced back to the late 1960s and early 1970s when guitarists sought ways to incorporate a variety of effects into their live performances. Prior to the widespread adoption of stompboxes, many guitarists relied on rack-mounted effects units, which were bulky, expensive, and often difficult to control in a live setting.

The breakthrough came with the introduction of the Electro-Harmonix Electric Mistress flanger and Memory Man delay pedals in the early 1970s. These pedals, along with other innovations like the MXR Phase 90 and Uni-Vibe, demonstrated the potential for compact, floor-based effects units to deliver studio-quality sounds in a live performance setting.

**The Birth of Iconic Pedals and Brands**

Throughout the 1970s and 1980s, numerous iconic effects pedals were introduced, each contributing to the rich tapestry of guitar tones heard on countless recordings and live performances. Brands like Boss, MXR, and Ibanez emerged as leaders in the field, producing a diverse array of pedals ranging from overdrive and distortion to modulation and time-based effects.

One of the most influential pedals of this era was the Ibanez Tube Screamer, which became synonymous with the classic rock and blues tones of artists like Stevie Ray Vaughan and John Mayer. Similarly, the Boss DS-1 Distortion and MXR Phase 90 found favor with guitarists across a wide range of genres, cementing their status as staples of the pedalboard.

**Technological Advancements and Innovation**

As technology advanced, so too did the capabilities of floor-based effects pedals. Digital signal processing (DSP) technology revolutionized the industry, allowing for greater versatility and control over a wide range of effects. Pedals like the Line 6 DL4 Delay Modeler and Eventide H9 Harmonizer showcased the potential of digital effects processing, offering guitarists unprecedented flexibility and sonic possibilities.

At the same time, analog purists continued to champion the classic sounds of vintage effects pedals, leading to a resurgence of interest in analog circuitry and "boutique" pedal builders. Companies like Strymon, EarthQuaker Devices, and JHS Pedals emerged, offering handcrafted pedals with unique sounds and features that appealed to discerning musicians seeking something beyond the mass-produced offerings of larger manufacturers.

**The Modern Landscape of Effects Pedals**

Today, the world of floor-based effects pedals is more diverse and dynamic than ever before. Guitarists have access to an unparalleled array of pedals, ranging from faithful recreations of vintage classics to cutting-edge digital effects units with advanced features like preset storage and MIDI connectivity. The rise of online communities and forums has facilitated the sharing of knowledge and expertise, allowing guitarists to discover new sounds and techniques from around the world.

In conclusion, the evolution of floor-based effects pedals is a testament to the ingenuity, creativity, and passion of musicians and engineers alike. From humble beginnings as simple tape echo machines to the sophisticated digital processors of today, effects pedals have played an indispensable role in shaping the sound of modern music. As technology continues to advance and new innovations emerge, one thing remains constant: the enduring appeal of the effects pedal as a tool for sonic exploration and expression.

**The Influence of Guitarists and Musical Trends**

Beyond technological advancements, the evolution of floor-based effects pedals has been heavily influenced by the creative genius and musical experimentation of guitarists themselves. Throughout history, pioneering musicians have pushed the boundaries of what was thought possible with guitar effects, inspiring both manufacturers and fellow players to innovate and explore new sonic territory.

In the 1980s, the rise of heavy metal and hard rock brought about a demand for high-gain distortion pedals capable of producing searing lead tones and crushing rhythm sounds. Pedals like the Boss HM-2 Heavy Metal and the Pro Co RAT became essential tools for metal guitarists seeking aggressive and articulate distortion.

Similarly, the alternative rock movement of the 1990s saw the emergence of new effects pedals designed to create unique and atmospheric sounds. Bands like My Bloody Valentine and The Smashing Pumpkins popularized the use of pedals like the Electro-Harmonix Big Muff Pi and the BOSS CE-1 Chorus Ensemble, pushing the boundaries of conventional guitar tones and inspiring a generation of musicians to experiment with texture and ambience.

**The Role of Innovation and Competition**

Innovation and competition have also played a significant role in shaping the landscape of floor-based effects pedals. As the demand for new and exciting sounds continues to grow, manufacturers are constantly striving to outdo one another, introducing groundbreaking features and technologies to capture the attention of discerning guitarists.

One notable example of this competitive spirit is the proliferation of multi-effects pedals, which combine a variety of effects into a single unit. Brands like Line 6, TC Electronic, and Boss have released flagship multi-effects processors packed with an extensive range of amp models, effects, and customizable parameters, offering guitarists unparalleled versatility and convenience in a single package.

Another area of innovation is the integration of digital connectivity and software-based control into effects pedals. Pedals like the Strymon Timeline and the Eventide H9 feature USB and MIDI connectivity, allowing guitarists to access additional presets, update firmware, and even create custom sounds using dedicated software applications. This level of integration represents a paradigm shift in how guitarists interact with their effects pedals, opening up new possibilities for creativity and performance.

**The Future of Floor-Based Effects Pedals**

Looking ahead, the future of floor-based effects pedals appears brighter and more exciting than ever before. Advances in technology, coupled with the boundless creativity of musicians and manufacturers, promise to usher in a new era of innovation and sonic exploration.

One trend that is likely to continue is the convergence of analog warmth with digital precision. Manufacturers are increasingly incorporating analog circuitry and components into digital effects pedals, resulting in pedals that offer the best of both worlds: the classic tone and responsiveness of analog circuits, combined with the flexibility and functionality of digital processing.

Additionally, we can expect to see continued experimentation with alternative power sources and form factors. With the growing emphasis on sustainability and environmental consciousness, manufacturers are exploring innovative ways to power pedals using renewable energy sources such as solar power and rechargeable batteries. Similarly, advancements in miniaturization and ergonomic design may lead to the development of smaller, more portable pedals that offer the same level of performance as their larger counterparts.

In conclusion, the evolution of floor-based effects pedals is a testament to the enduring spirit of innovation and creativity within the guitar community. From humble beginnings as crude tape echo machines to the sophisticated digital processors of today, effects pedals have remained at the forefront of sonic experimentation and artistic expression. As technology continues to evolve and new musical trends emerge, one thing is certain: the journey of exploration and discovery with floor-based effects pedals is far from over.

TEST: Jackson RRX24

 Let's not kid ourselves, in principle all relevant solid body guitar shapes were already on the market at the beginning of the sixties. The two market leaders Fender and Gibson managed to cover pretty much the entire spectrum of practical shapes with a total of six guitar shapes (Strat, Tele, Les Paul, SG, Explorer, Flying V) and even dismissed the designers in-house with only the possibility of a modification (e.g. Firebird) back to their drawing tables. Only a few manufacturers managed to develop an independent product line in the following decades, but the Jackson company with its RR series must be counted, whose models are based on the preferences of Quiet Riot / Ozzy Osbourne guitarist Randy Rhoads, which is particularly important for many guitarists in the 50+ department were a great inspiration. From this series we have the Jackson

The construction of the Jackson X Series Rhoads RRX24

How exactly the shape of the RR model came about cannot be clearly determined, especially since you can no longer ask the inventor of the layout. One theory is that Randy Rhoads was bothered by the lower horn of his Flying V, with which he was often seen live, and one day he sawed off one of the horns. Another theory says that the somewhat clumsy prototype that he created at the time using simple means was the original form for his model.

Be that as it may, the shape polarizes accordingly and can enjoy all sorts of adjectives from “the sharpest metal ax ever” to “ugly”. The interested reader should form his own opinion. From a purely tactile perspective, the unusual shape is undoubtedly convincing, although you can't avoid an unpleasant peculiarity of the shape. Experienced Flying V players will know the problem, but the RR model tops it all off. We are talking about the “wear” of the tip of the upper horn of the body.

It is completely impossible to set the guitar down anywhere without that end and its paint hitting the floor. Even if you have a hanging guitar stand, it's only a matter of days, maybe even hours, before the paint starts chipping off in that spot. At least these days you can get a molded case for this form for comparatively little money, the dramas that arose when it was introduced in the eighties. It's hard to imagine today. On the other hand, anyone who can visually cope with the shape, which could have arisen from a liaison between a Flying V and a Boomerang, will be rewarded with very good playability up to the 24th fret.

The instrument, manufactured in Indonesia, uses the currently popular manufacturing method in its construction, meaning a continuous neck, in this case made of maple, with attached basswood wings. Even in the cheaper product ranges, the fact has arrived that a continuous neck offers a level of sustain that is only achieved with glued or screwed necks at the highest level of production and makes the instrument sound many times more high-quality than the retail price would suggest .

When it comes to the fingerboard, Jackson also takes a modern approach and uses Laurel, which is native to Central and South America, on the Compond Radius (12" - 16"), which looks very close to a medium-dark rosewood variant. The fingerboard has 24 jumbo frets. The model has a reversed headstock, which beautifully takes up the angle of the lower, shortened horn and visually gives the guitar a certain “lightness” in contrast to the classic “pick heel”. Speaking of lightness, with a weight of 3.3 kg, the instrument can be described as very light even without the optical lift.

When it comes to the finish, Jackson doesn't do things by halves either and serves the target group with a total of 4 different paint finishes. The black version with neon-green rally stripes we were testing is polarizing, as is the shape of the Jackson X Series Rhoads RRX24, but it fits the intended style perfectly. Alternatively, there is the black-yellow, black-red and, for the bravest among you, black-violet variants. The bright colors are not only tastefully placed on the body, but also continue the color scheme in the fingerboard inlays in the Jackson-typical shark fin layout. Why the green isn't continued in the Jackson lettering and instead changed to light green isn't entirely clear to me. Perhaps for reasons of better readability at a greater distance.

Where Eighties Metal is written, two classic components should of course not be missing. We're talking about the Floyd-Rose vibrato system and active pickups. Despite the expired patent including the locking saddle, the former is still purchased from Floyd Rose, version of the union nut, the latter does not come from the top dogs EMG or Fishman, but from the company Seymour Duncan with the names Blackouts AHB-1B (Bridge) and Blackouts AHB-1N (neck). Access to the battery compartment is located on the back of the body and is designed as a separate compartment.

Both pickups are switched with a 3-way switch in LP style without a coil tap. The tuners, on the other hand, come from our own production and are called Sealed Die-Cast, the controls are designed as speed domes. The pickup switch used turns out to not be of the highest quality in terms of usability and is probably a victim of the red pen. Overall, however, the instrument must be said to be of significantly higher quality than what the retail price of just €778 suggests.

The X Series Rhoads RRX24 in practice

First of all, let's come to a fact that is probably already known, but which is always forgotten. If you plan to play the instrument primarily while sitting, or worse yet, plan to play the instrument while sitting for YouTube videos, you should look for a different format. There is nothing more embarrassing than the cramped leg position you are forced to adopt when playing this instrument, which is more reminiscent of a very urgent need to urinate than of a relaxed or at least self-confident sitting position. This instrument can only be played while standing up, or you can expose yourself to ridicule.

When it comes to sound, the inclined user gets exactly what the optics promise. As expected, the entire orientation of the instrument is hard'n'heavy, although the basic sound character differs from many of its competitors. I don't want to start the basic discussion again about the tonal impact of the guitar shape on the overall sound, but the fact is that the instrument's resonance behavior with its subtle nasal sound is much more in the direction of a Flying V than, for example, the other end of the scale, a Les Paul oriented.

Otherwise the gain control in the RR camp rules. The included sound files were made with an ENGL Savage MKII and despite the high tonal variety of the amp, it was not possible to get a crystal clear sound from the amp. The output of the Seymour Duncan pickups only knows one direction, which has its advantages in the half-wave cut, but excludes many sounds in the clean range. On the other hand, who would want to create clean sounds with such an instrument and if necessary there is always the volume control.

In terms of sound, the Jackson X Series Rhoads RRX24 differs from the competition, particularly in the pickup configuration. The sound is quite unique for an active pickup and takes a significantly different approach than, for example, the reference class from EMG. The volume of the classics is somewhat missing, especially in the low-mid range, and the compression has also been significantly reduced. This has a positive effect in the crunch and lead areas, but leads to a somewhat “insignificant” sound in the high gain area.

In terms of workmanship, the instrument can be described as excellent; I couldn't see any defects in terms of paintwork or transitions, as is so often the case with “Made In Indonesia” lately. If you don't want to go for the USA models, which are around 500% more expensive, you have the opportunity to impress visually and acoustically with Asian production without noticing too big a difference at first glance.

Conclusion

With the Jackson X Series Rhoads RRX24, the manufacturer offers very good quality for little money in the hard'n'heavy range. Workmanship, sound and general appearance offer fans of distorted sound a wide variety of options, especially as the general appearance in both shape and finish will attract attention.

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Additional Informations:

In the annals of guitar history, few instruments have achieved the iconic status of the Jackson Randy Rhoads models. Born out of a collaboration between two titans of the industry, the late Randy Rhoads and Grover Jackson, these guitars represent a fusion of innovation, artistry, and a relentless pursuit of excellence. The story of their inception is a fascinating journey through the realms of music, craftsmanship, and personal ambition.

**The Protagonists: Randy Rhoads and Grover Jackson**

Randy Rhoads, the virtuoso guitarist, rose to fame as the lead guitarist for Ozzy Osbourne's band. His playing style, characterized by lightning-fast runs, neoclassical influences, and emotive solos, captivated audiences and inspired a generation of guitarists. Rhoads was not only a remarkable musician but also a visionary who sought to push the boundaries of guitar design.

Grover Jackson, on the other hand, was a luthier and entrepreneur with a passion for crafting exceptional guitars. He founded Jackson Guitars in the late 1970s, initially focusing on custom instruments. Jackson's commitment to quality and innovation quickly earned him a reputation as one of the premier guitar builders in California.

**The Conception of the Randy Rhoads Model**

The genesis of the Randy Rhoads models can be traced back to a chance encounter between Rhoads and Jackson in the late 1970s. Rhoads, dissatisfied with the guitars available on the market, approached Jackson with a unique proposition: to design a guitar that combined the playability of a Gibson with the sleekness of a Fender Stratocaster.

Jackson, intrigued by the challenge, set to work on realizing Rhoads' vision. The result was the Jackson Concorde, a radical departure from traditional guitar designs. With its aggressive angular body shape and distinctive "shark fin" inlays, the Concorde embodied Rhoads' rebellious spirit and avant-garde sensibilities.

**The Evolution of the Rhoads Model**

The initial Concorde prototype laid the foundation for subsequent iterations of the Rhoads model. Rhoads provided invaluable feedback on playability, tone, and aesthetics, guiding Jackson through the iterative design process. Together, they refined the guitar's features, incorporating elements such as a through-body neck construction, compound radius fretboard, and high-output pickups to meet Rhoads' exacting standards.

The collaboration between Rhoads and Jackson was not without its challenges. Rhoads, a perfectionist by nature, demanded nothing short of excellence, pushing Jackson to continually innovate and refine his designs. Despite the occasional creative differences, their shared passion for music and craftsmanship forged a deep bond that permeated every aspect of the Rhoads model's development.

**The Legacy of the Rhoads Model**

The Jackson Randy Rhoads models made their debut in the early 1980s, garnering immediate acclaim from guitarists and critics alike. Rhoads himself wielded these instruments on stage, showcasing their unparalleled playability and sonic versatility to audiences around the world. His tragic death in 1982 only served to cement the Rhoads model's status as a timeless icon of rock and metal.

In the years that followed, the Rhoads model underwent numerous revisions and iterations, each one building upon the legacy of its predecessor. From the budget-friendly JS Series to the high-end USA Custom Shop models, the Rhoads lineup continues to evolve, catering to the diverse needs and preferences of modern guitarists.

**Conclusion**

The Jackson Randy Rhoads models represent more than just instruments; they are symbols of creativity, collaboration, and the relentless pursuit of perfection. Born out of a partnership between two visionaries, these guitars continue to inspire musicians and fans alike, embodying the spirit of innovation and artistic expression that defined Randy Rhoads' legendary career. As long as there are guitarists seeking to push the boundaries of music, the legacy of the Rhoads model will endure, reminding us of the transformative power of passion and creativity.

TEST: Jackson Soloist

 What would Leo Fender, the old Republican and blues hater, say if he could see what modifications and developments of his biggest cash cow are available for purchase these days? Admittedly, both 8-string and fanned frets haven't been available on the market since yesterday, but I would be lying if you as an author don't have a certain basic respect for such a monster. Jackson is now presenting a variation with its Jackson SLATX8Q MS Soloist Tr.Bk.Burst, which is manufactured in Indonesia and is priced at well under €1,000.

Why an 8-string?

Apart from ancient instruments of the lute genre, which sometimes had adventurous string combinations, expanding the tonal range is now old hat, even in the electric guitar sector. Already available in the custom sector for a long time, it was Steve Vai who, with the Ibanez Universe, pushed for a seven-string version of the JEM with a low B string at the height of its popularity in the eighties. It was actually supposed to be an additional high A string, but since it kept breaking due to its small diameter, he expanded the spectrum downwards. The instrument then achieved its final breakthrough with the nu-metal 1-tone protagonists from Korn.

Once the genie is out of the bottle, you can't get it back, i.e. H. It was only a matter of time before the mainstream turned its attention to a low F-sharp string, thus establishing itself like a tumor in the innards of the electric bass. And the tuning also behaves like a tumor towards the bandmate. To put it bluntly, anyone who plays 8-strings no longer needs a bassist! The bassist's usual "one octave below" tuning is no longer tonally feasible with this tuning and the poor Messuggah variant, in which the bassist has the same tuning as the guitars, seems more like an ABM measure for metal bassists, as a real tonal enrichment. The zenith in terms of intelligent, although sometimes strenuous for the listener, integration of an eight-string guitar is the formation “Animals As Leaders”, in which two “string players” with two eight-strings alternately cover the guitar and bass range with a very high level of technical skill .


The construction of the Jackson SLATX8Q MS Soloist Tr.Bk.Burst

The Jackson SLATX8Q MS Soloist Tr.Bk.Burst once again takes up the basic principle of the classic Powerstrat, i.e. Leo's hyper-successful body paired with all kinds of high-performance hardware and high-output pickups. However, the instrument has so many special features that it is almost in a class of its own. In order to be able to charge a retail price of €985, a company must, on the one hand, produce in a low-wage country and, on the other hand, avoid detailed, technically complex solutions without compromising the quality of the instrument. It must also be taken into account that the number of units sold is significantly lower than that of the 6-string variations.

Let’s start with the standards, although the word “standard” has to be put into perspective here. It all starts with the poplar body wood used. It's not for nothing that "poplar" is phonetically not too far away from "cardboard". However, the sound aspect is put into perspective immensely when you know that the Jackson SLATX8Q MS Soloist Tr.Bk.Burst has a full-length maple neck. For optical reasons, a pretty top made of cloud maple was glued on, although it only has veneer thickness and therefore does not interfere with the vibration behavior of the instrument. Also very unusual is the fingerboard made of laurel, which at least visually resembles a very light rosewood.

Regarding the pickups, 2 house brands called “8-String Blade Humbucker” were installed, which are impressive with their massive blade magnets and were installed diagonally due to the fanned fret arrangement. A somewhat uneven magnetic field towards the outer strings cannot be completely avoided, but the practical test will show whether this is even perceptible in terms of sound. The controller used is a simple volume controller, tone controller, 3-way switch combination without a single coil circuit option or similar.


The fingerboard of the Jackson SLATX8Q MS Soloist Tr.Bk.Burst

As expected, the Jackson SLATX8Q MS Soloist Tr.Bk.Burst's fretboard and connected nut and bridge construction is the instrument's most striking feature. Once again briefly for the interested youngsters, a Fanned Fret Fretboard enables different scale lengths within an instrument and thereby compensates for the problem of uneven string tension. While the short scale length of 625 mm is sometimes enough for the treble strings for a practical string tension, the bass strings require a longer scale length for a crisp attack and release response. This can be partially compensated for with a balanced set of strings, but the evenness of the string tension suffers.

So the principle, which initially met with great response in bass making, was now also partially adopted in guitar making. Remember, we're poaching in the bass range! Therefore, the Jackson SLATX8Q MS Soloist Tr.Bk.Burst has eight different scale lengths, which start at 660 mm and end at 711 mm. However, this means that the smallest scale length is still well above the long scale length of a regular electric guitar (648 mm), while the bass scale length is still well below a medium electric bass scale length (approx. 760 mm). These dimensions were probably chosen in order not to put too much strain on the playing comfort of the instrument, as the diagonal position of the frets would otherwise be too strong, especially at the ends of the fingerboard. You should therefore look into the topic of string sets in order to optimize the string thickness for your personal use.

The apex of the fretboard is at the eighth fret, not the 12th fret as many expected. This practice makes perfect sense, as chord playing, which proves to be significantly more difficult, especially in the area of barre chords with diagonal frets, is primarily practiced in the lower registers, while solo playing is much better at dealing with the offset in the higher registers. To match the fingerboard, the saddle is of course diagonally offset plus a bridge unit consisting of 8 individual saddles. Impressive, but also another challenge when it comes to Palm Muted in the area of string skipping.

In practice

Anyone who comes from the regular solid body electric guitar and is looking for a full resonance electric guitar for the first time e.g. B. hung in Gretsch style, is immediately put in its place by the sprawling body. With the Jackson SLATX8Q MS Soloist Tr.Bk.Burst it's not the body, but the surfboard disguised as a neck. Although the string spacing has already been compressed to the minimum, the fretboard dimensions with a nut width of 476 mm are more than just a challenge, apart from the fact that this is a separate type of instrument where you are of course constantly confusing the strings at the beginning.

Not only chord and solo playing have to be learned from scratch, but also playing techniques such as: B. Bending can only be achieved on a wide neck with a massive “claw position”. But let's be honest, such an instrument will never find its way into the local old men's blues band anyway and the ambitious shredder will stick with the six-string for technical reasons. The main area of application remains the escape into the bass range and this is exactly what cannot be tonally controlled with the delivered string set 009 - 065.

Despite the extended scale length, the low F# string is so flabby that you're tempted to see if it's hanging like a clothesline. Imagine the D string of a regular electric bass set, tune it 8 semitones lower and shorten the scale length of a medium scale bass by another 5 cm. The result is unplayable. The F sharp string of the Jackson SLATX8Q MS Soloist Tr.Bk.Burst buzzes due to the deflection with every note, even a slight touch causes the string to vibrate so strongly that it is at least a quarter tone too high, no matter how carefully you press the target The sound is also always too high. In addition, the string sounds incredibly dull without any life.

But there is a remedy in sight. You can help the instrument accordingly with a correspondingly thicker set of strings. Despite all the criticism, the guitar itself sounds very good, especially in the heavy range. The sustain is very good due to the neck construction and the workmanship is impeccable. As always, the pickups are a matter of taste, I for my part find the gain range to be successful, although the pickups never have the quality of the market leaders such as. B. Achieve EMG. For me personally, the clean area lacks a bit of character, but as I said, that's purely a matter of taste.

Conclusion

With the Jackson SLATX8Q MS Soloist Tr.Bk.Burst, the manufacturer offers the user Djent flair for little money. In return, the musician receives an impeccably crafted instrument that shines with good sustain and a very good price/performance ratio.

The only negative point of the instrument is the completely half-baked set of strings with which the instrument is delivered, which results in the low F sharp string being completely unplayable. therefore one point deducted from the rating.

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Additional Informations:

In the vibrant and dynamic music scene of the 1980s, a new breed of electric guitars emerged, capturing the spirit of the era with their bold designs, high-performance features, and unmistakable tone. Among these instruments, the Powerstrat stood out as a symbol of innovation and sonic versatility, embodying the zeitgeist of the decade like few others. In this detailed article, we delve into the fascinating history of Powerstrats in the 1980s, tracing their origins, evolution, and enduring legacy.

**1. Setting the Stage:**
The 1980s marked a period of profound transformation in the world of music, as emerging genres like glam metal, hard rock, and shred guitar pushed the boundaries of sonic experimentation and virtuosity. Against this backdrop of innovation and creativity, guitar manufacturers sought to capitalize on the growing demand for instruments that could deliver the speed, sustain, and sonic firepower demanded by the era's top players.

**2. The Birth of Powerstrats:**
The Powerstrat emerged as a response to the evolving needs of guitarists who sought to marry the classic design and playability of the Fender Stratocaster with the enhanced performance and modern features required for high-energy live performances and studio recordings. Inspired by the success of Eddie Van Halen's modified Stratocaster, guitar builders began experimenting with various modifications and upgrades to create instruments that could withstand the rigors of heavy playing and deliver the aggressive tone favored by shredders and rockers alike.

**3. Innovations and Modifications:**
Key innovations that distinguished Powerstrats from their traditional counterparts included hotter pickups for increased output and sustain, locking tremolo systems for improved tuning stability and dive-bombing capabilities, and reinforced necks for enhanced durability and playability. Additionally, builders incorporated features such as scalloped fingerboards, extra frets, and ergonomic body contours to accommodate the demands of advanced playing techniques and facilitate effortless fretboard navigation.

**4. Pioneering Builders and Players:**
Several pioneering guitar builders and players played instrumental roles in popularizing Powerstrats and pushing the boundaries of guitar design and performance during the 1980s. Builders like Charvel, Jackson, Kramer, and Ibanez produced a diverse array of Powerstrat-inspired models, each offering its own unique blend of features and aesthetics. Meanwhile, players such as Yngwie Malmsteen, Steve Vai, Joe Satriani, and George Lynch showcased the capabilities of Powerstrats on stages around the world, demonstrating their versatility and sonic prowess to audiences and aspiring guitarists alike.

**5. Cultural Impact and Enduring Legacy:**
The cultural impact of Powerstrats in the 1980s cannot be overstated, as these instruments became synonymous with the era's larger-than-life personalities, electrifying performances, and groundbreaking recordings. From the searing leads of Malmsteen to the innovative techniques of Vai and Satriani, Powerstrats played a central role in shaping the sound and style of 1980s guitar music, leaving an indelible mark on popular culture that continues to resonate with musicians and fans to this day.

**6. Evolution and Revival:**
While the popularity of Powerstrats waned in the 1990s with the rise of alternative rock and grunge, the legacy of these iconic instruments endured, inspiring a new generation of players and builders to rediscover their unique charms and sonic capabilities. In recent years, there has been a resurgence of interest in Powerstrats, with boutique builders and major manufacturers alike offering modern interpretations of these classic designs, updated with contemporary features and refinements while retaining the essence of their 1980s predecessors.

**7. Conclusion:**
In conclusion, the story of Powerstrats in the 1980s is a testament to the spirit of innovation, creativity, and sonic exploration that defined the era. From their humble beginnings as modified Stratocasters to their status as icons of 1980s guitar culture, Powerstrats captured the imagination of musicians and audiences alike with their bold designs, high-performance features, and unmistakable tone. As we look back on this vibrant chapter in the history of electric guitars, it's clear that the legacy of Powerstrats continues to resonate with players and enthusiasts around the world, embodying the enduring spirit of rock 'n' roll and the boundless possibilities of musical expression.

TEST: Jackson Kelly

 They still exist, the companies whose name or if and but is associated with only one style of music. Example? Jackson = Metal! It's that simple. Fortunately, the company, founded in 1980 by Grover Jackson and now part of the Fender Group, doesn't even try to make its narrow but clear customer orientation more flexible, but instead relies on manifesting the path it has chosen.

As one of the few first protagonists when it came to power strat and airbrush layouts, Jackson quickly gained a foothold in the business in the mid-eighties and quickly became state-of-the-art when it came to musical hair metal and cock rock before the Japanese invasion put that firmly in their place The audience was gradually sold off due to cheaper prices compared to USA production.

Fortunately, when it comes to trademarks, Jackson was able to establish two body forms, unlike many competitors of his time, which to this day clearly identify their company affiliation. Although based on the Gibson forefathers Flying V and Explorer, the Randy Rhoads and Kelly models were able to retain their media/stage presence to this day and ensured that the name was not lost. However, why Jackson chose the model name “Kelly”, which in my opinion was more than just an unfortunate choice for this area of music, will probably remain an eternal mystery.

With the exception of a few signature instruments, Jackson has now outsourced the production of its products to China in order to be able to compete against the competition in terms of price. The model I have was delivered in “Transparent Black”.


construction

Although the individual components of the instrument should also contain references to one or another guitar from an earlier date, the trademark par excellence, the tapered headstock in combination with the shark inlays on the rosewood fingerboard, leave no doubt about the manufacturer, even without the widely visible lettering instruments emerge. The angle of the headstock visually forms a pleasant symmetry with two of the body flanks, which gives the instrument a sleek appearance.

When it comes to neck construction, Jackson relies on a full-length maple neck, which shines with an extremely long sustain and is therefore able to cushion the slight vibration losses caused by the construction thanks to the Floyd Rose Special Vibrato System. The instrument comes with a long scale length (648 mm) and has a strong “D” in the neck shaping.

Paired with a very flat fretboard radius and heavy jumbo frets, the playing area is, as expected, in the technically demanding solo area. The fingerboard is surrounded by a white plastic binding and has 24 frets. In contrast to the Explorer, the body, which is significantly smaller, consists of four pieces of basswood, which were glued to the neck on both sides. A thin, two-part (maple?) veneer provides a visually high-quality appearance, but due to its dimensions has no influence on the sound of the instrument.

The instrument's hardware is completely black and has a comparatively stiff master volume control, master tone control and a 3-way switch. The pickups used are the market-leading products from EMG in the heavy range, once again the very popular variation 85 in the neck area and 81 as the bridge pickup. At the back of the body there is access to the vibrato system and the wiring of the circuit, both neatly covered with recessed plastic discs. Another milling provides easy access to the 9V battery required to power the active pickups via a clip closure.



Practice

What is noticeable even when dry is the unexpectedly long sustain of the instrument. Here Jackson made a wise decision with its continuous neck and accepted the slightly increased production effort in favor of better vibration behavior. When played while sitting, the musician who is inexperienced with the Explorer form may have a bit of trouble with the elongated corner of the body at the top left, as it lacks the armrest curve that one is used to in the mainstream.

Played while standing, that flank does exactly what you miss when sitting, the armrest that ensures relaxed playing even in a comparatively low playing position. In conjunction with the “male” neck profile and the powerful jumbo frets, the guitar has to be said to be very ergonomic to handle. Fast solo work in particular can be achieved with a minimum of haptic resistance and makes it easier to implement demanding leads and licks.

In terms of sound, the guitar delivers exactly what it promises visually. In collaboration with the EMG pickup combination, the neutral-sounding Linde body adapts to all styles of rock right up to hard-core metal. Pearly-active in the clean range with a very high level of transparency even at extremely strong gain, combined with maximum assertiveness and feedback insensitivity, just as you are used to with EMGs cast with synthetic resin, the instrument covers the entire range of distortion. However, if you like non-linear vintage sounds, this is definitely the wrong place for you.

The Kelly's vibrato system does its job without any criticism. Anyone who has their hand rest under control can enjoy the expanded musical expression possibilities of the free-floating construction. As with all guitars with 24 frets, the neck pickup is forced to sit a little deeper in the body and therefore has a different overtone than in the classic 21 or 22 fret version. Everyone has to decide for themselves whether this is a sound advantage or disadvantage.



Conclusion

The Jackson KEXMG Kelly is a real workhorse in the rock/metal sector and, thanks to Asian manufacturing, offers a lot of instrument for the money. Well made and blessed with above-average sustain due to the continuous neck, the guitar impresses both in the clean and especially in the distorted range.

Whether moderate crunch or extreme high gains, the sound of the guitar always remains transparent and does not get bogged down in the infamous low-mid mud that often occurs with strong distortion. Due to the comparatively strong neck shaping, this instrument is not for slimming fetishists and can definitely handle a bold grip. High-quality hardware and the use of active EMG pickups contribute to rounding off the positive overall impression of the instrument.

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Additional Informations:

**The Genesis of Jackson Guitars: A Comprehensive Journey**

Jackson Guitars stands as an iconic brand in the realm of electric guitars, renowned for its high-performance instruments that cater to the needs of shredders and metal enthusiasts worldwide. The company's journey from humble beginnings to global prominence is a tale of innovation, collaboration, and a relentless pursuit of excellence. In this in-depth article, we delve into the enthralling history of Jackson Guitars, tracing its origins, pivotal milestones, and enduring legacy.

**1. Origins and Founding:**
The story of Jackson Guitars begins in the late 1970s in Glendora, California, where a talented guitar repairman and luthier named Grover Jackson established a small custom guitar shop. Jackson's passion for guitars and dedication to craftsmanship soon caught the attention of Randy Rhoads, the legendary guitarist for Ozzy Osbourne. Rhoads approached Jackson with a unique request—to build him a custom guitar that would match his distinctive playing style and aesthetic preferences.

**2. The Randy Rhoads Connection:**
The collaboration between Grover Jackson and Randy Rhoads proved to be a pivotal moment in the history of Jackson Guitars. Rhoads' vision for a sleek, high-performance guitar that combined elements of traditional craftsmanship with modern design sensibilities inspired Jackson to create the now-iconic "Concorde" model. This radical guitar design, characterized by its asymmetrical V-shaped body and striking aesthetics, became synonymous with Rhoads' electrifying stage presence and virtuosic playing.

**3. The Birth of Jackson Guitars:**
In 1980, Grover Jackson officially founded Jackson Guitars as a standalone brand, dedicated to producing high-quality, performance-oriented instruments for discerning musicians. The company's early offerings included custom-built guitars and basses, often featuring innovative designs and cutting-edge features that set them apart from traditional instruments. Jackson's reputation for craftsmanship and attention to detail quickly earned the brand a loyal following among professional musicians and enthusiasts alike.

**4. Expansion and Evolution:**
Throughout the 1980s, Jackson Guitars experienced significant growth and expansion, fueled by the rising popularity of heavy metal music and the burgeoning demand for high-performance instruments. The company introduced several iconic models during this period, including the Soloist, King V, and Kelly, each designed to meet the demands of virtuoso players seeking speed, precision, and aggressive tone. Jackson's commitment to innovation and pushing the boundaries of guitar design cemented its status as a leading force in the industry.

**5. Acquisition by Fender Musical Instruments Corporation:**
In 2002, Jackson Guitars underwent a significant transition when it was acquired by the Fender Musical Instruments Corporation (FMIC), one of the world's largest and most respected guitar manufacturers. The acquisition provided Jackson Guitars with access to greater resources, distribution networks, and manufacturing capabilities, allowing the brand to reach new heights of success while maintaining its commitment to quality and innovation.

**6. Contemporary Legacy and Influence:**
Today, Jackson Guitars continues to uphold its legacy of excellence, producing a diverse range of instruments that cater to the evolving needs of modern musicians. From classic shredder models to contemporary high-performance guitars, Jackson remains at the forefront of innovation, incorporating cutting-edge features such as compound-radius fingerboards, active electronics, and ergonomic body designs. The brand's roster of endorsed artists includes some of the most influential names in rock and metal music, ensuring that Jackson Guitars remains synonymous with uncompromising performance and sonic versatility.

**7. Innovations and Signature Models:**
Central to Jackson's success has been its commitment to innovation, continually pushing the boundaries of guitar design and technology. The brand has introduced numerous groundbreaking features and signature models that have left an indelible mark on the industry. Examples include the incorporation of Floyd Rose tremolo systems for enhanced tuning stability and dive-bombing capabilities, as well as the development of high-output pickups designed to deliver the aggressive tone demanded by metal and hard rock guitarists. Additionally, Jackson has collaborated with renowned artists to create signature models tailored to their specific preferences and playing styles, further solidifying the brand's reputation for catering to the needs of discerning musicians.

**8. Custom Shop and Limited Editions:**
In addition to its standard production models, Jackson Guitars operates a Custom Shop facility where master luthiers craft bespoke instruments tailored to the exact specifications of individual players. These custom-built guitars and basses offer unparalleled levels of customization, allowing musicians to select everything from tonewoods and finishes to electronics and hardware. Furthermore, Jackson periodically releases limited edition models featuring unique finishes, exotic woods, and special appointments, appealing to collectors and enthusiasts seeking one-of-a-kind instruments with exceptional craftsmanship and exclusivity.

**9. Global Impact and Community Engagement:**
Jackson Guitars' influence extends far beyond its products, encompassing a vibrant community of musicians, fans, and enthusiasts worldwide. The brand actively engages with its audience through social media, events, and artist endorsements, fostering a sense of camaraderie and mutual appreciation among players of all skill levels. Furthermore, Jackson supports aspiring musicians and educational initiatives through sponsorships, scholarships, and outreach programs, ensuring that the next generation of guitarists has access to quality instruments and resources to nurture their talent and creativity.

**10. Continued Evolution and Future Prospects:**
As Jackson Guitars looks to the future, it remains committed to evolving with the ever-changing landscape of the music industry. The brand continues to explore new technologies, materials, and design concepts to meet the evolving needs and preferences of musicians. From advancements in guitar electronics and hardware to sustainable manufacturing practices and environmental stewardship, Jackson is poised to remain at the forefront of guitar innovation while upholding its legacy of quality, craftsmanship, and performance for generations to come.

**11. Conclusion:**
In conclusion, the story of Jackson Guitars is one of innovation, passion, and enduring excellence. From its humble beginnings as a small custom shop to its current status as a global leader in electric guitars, Jackson has remained dedicated to providing musicians with instruments that inspire creativity, push boundaries, and deliver unparalleled performance. With a rich history of iconic designs, groundbreaking innovations, and unwavering commitment to quality, Jackson Guitars continues to shape the future of guitar craftsmanship and redefine the possibilities of sonic expression for musicians worldwide.

TEST: InEar SD-5

 Every now and then, as an author, you have the pleasure of being able to review a product exclusively before its release date. This joy came to me today when I received the future Inear Monitoring SD-5 monitor system. The system will not appear until the Frankfurt Music Fair 2018, so there is currently. neither photos nor links to the product. Let's take a look at the new product in detail.

Special features of the construction

In general, as an information first, you have to differentiate between two concepts for inear systems. There are normal standard systems, which have a uniform fit for the headphones, and so-called customized systems, which are designed by the manufacturer itself or by a specialist company such as: B. a hearing aid acoustician, an individual ear impression is made, which serves as a blank for the later manufactured headphones.

The purpose is, on the one hand, to be comfortable to wear, and on the other hand, you try to shield your personal hearing from external sound as much as possible so that your personal monitor mix is not burdened by the unrestrained noise of your fellow musicians. Both concepts have advantages. and disadvantages. Apart from the price, which can be many times higher than the standard systems due to the individual production and the mostly higher quality components of the adapted systems, it is above all the feeling of isolation from the audience that sometimes gives some artists an uncomfortable feeling when using adapted systems.

The absence of direct sound and the associated dissolution of the spatial image (the stage rotates with every body movement) can also cause a disorientation that should not be underestimated, especially at the first shows. Some manufacturers try to compensate for this with inserts that allow a fixed level of external noise to pass through to the ear canal, or you set up 2 or more ambient microphones on the stage and thus ensure communication with the audience.

All in all, an effort that should not be underestimated, especially since all of these measures reduce the quality of the actual mix. Because let's say one thing up front, nothing can compare with the sound quality of a perfect in-ear mix in a customized system, especially if you can make your own monitor mix. Well, what distinguishes Inear's Stagediver system from the many included earphones, which usually come with a radio link?

To explain this, one must consider the fact that the Inear company has calculated an average value from the many hundreds of systems they have manufactured, which in 90% of all cases optimally seals off the ear canal of the average user. The “S” system with smaller dimensions was brought onto the market some time ago for particularly small ear canals of young artists or petite women.

So the challenge is to develop a system that reaches far into the ear based on probability statistics in order to avoid the eternal slide of the plug-cheap version. The company has already achieved this with versions SD-1 to SD-4. The shape has proven to be very flexible and is estimated to be highly valued by at least 90% of all customers because of its comfortable fit. Now let's move on to the sound aspect.


construction

The Inear Monitoring SD-5 is the latest addition to a large product family. Depending on its index, its predecessors were designed for specific groups of instruments. While the SD-1 was still a simple earphone version, the course for individualization was set at the latest with the SD-2, which is still very popular with singers and especially guitarists due to its mid-range orientation. The drums / bass variant SD-3 with a strong bass excursion and the high-mid-stabilized SD-4 is now followed by the in-ear monitoring SD-5, a variant that is as neutral as possible in sound, which, thanks to the new multi-way system and new drivers, gives all types of instruments the same priority in terms of frequencies sends.

The new system is now based on a 3-way system with 5 drivers per side, which again means an increase in the number of paths and drivers compared to the previous model. According to the manufacturer, this design enables a frequency response of 10 - 20,000 Hz, impressive numbers that read nicely, but in practice play a role at a maximum of 25 - 17,000 Hz. The maximum sound pressure of 120 dB is more convincing, which promises good impulse resistance even with hard kicks or slap bass. On the other hand, the impedance of the Inear Monitoring SD-5 is really great with a value of only 13 ohms, which is e.g. B. enables very high volume in the studio without special headphone amplifiers.

A special feature that should be noted is that my test device was made of ebony. Looks very elegant with its matt surface and fine-pored resolution. As far as I know, the well-known variant in black high-gloss plastic will also be used. By the way, if you would like to have a personalized imprint on your listeners in the form of a band logo, name or “Anchor/Mom/Mermaid…” on your listeners, as far as I know, the Inear guys, with their headquarters in Dieburg near Frankfurt, are very flexible regarding special requests. Just ask.

scope of delivery

Since this is a preliminary model, the system, which has a very high-quality, approx. 140 cm long cable, was delivered in a black artificial leather box. I assume that the final version will again come with the standards of the Stagediver series in the form of the gold-plated adapter (3.5 mm to 6.3 mm jack), several cleaning cloths, 4 different plastic attachments to optimize the fit of his ear canal and wax filter ( earwax filter), all delivered together in an official Pelican case.

The wax filters in particular, which protect the drivers against contamination, are invaluable and will probably be included with the listener again in 2x16 pieces.


sound

To make things really difficult for the Inear Monitoring SD-5, it was allowed, among other things, compete against my personalized Live Pro 4 set and an older SD-2 set. To make it short, the Inear Monitoring SD-5 leaves an excellent figure! First of all, this version of the Stagediver series also sits very well in the ear. In my opinion, you have to say, of course, but after 5 other colleagues also confirmed that they were very comfortable to wear, I would dare to generalize.

In terms of sound, the Inear Monitoring SD-5 actually manages to bring out every instrument in a balanced way, with the excellent midrange once again being particularly suitable for guitars. Many guitarists are familiar with the problem that, especially in the high gain range of high-frequency systems, the high range is “sawed through” like a razor, while the important midrange of 1-2 kHz is often flattened for “hi-fi / loudness” reasons.

The Inear Monitoring SD-5 also does a great job when it comes to spatial resolution and depth graduation. The overall sound must be viewed as neutral and therefore optimal. If you like to have ultra-bass for the electric range on your in-ear from the factory, you should put an appropriate filter on the way.

The only problem is that, as with all systems that adapt to the shape and bulge of the ear canal, the Inear Monitoring SD-5 requires a little experience and, above all, calmness to find the optimal fit. “Stuffing” the side does not result in a satisfactory experience and is usually disappointing in terms of sound. Personally, I have had the best experience by turning the system “into” the ear from front to back with slight inward pressure. Just try it out a little.


P.S.

Detached from the area of music monitoring, the guys at Inear have already earned an excellent reputation in other areas of hearing aid acoustics. Among other things, the company equips the racing teams of the highest international professional class (name cannot be mentioned due to trademark protection law...) around Sebastian Vettel with appropriate monitor systems to ensure communication with the pit team. Anyone who knows about the infernal noise of these vehicles can imagine how well the external noise must be insulated with an inear system.


Conclusion

With the Inear Monitoring SD-5, the Hessian company puts its competitors in the field of unadapted inear systems. The concept of universal adjustment using approximate values from probability calculations with extremely high accuracy of fit is groundbreaking and impressive in every respect.

Workmanship, sound and features can only be described as absolute top class.


Retail price: according to the manufacturer, approx. 949.00 euros for the plastic version, the real wood version is available for an additional charge.

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Additional Informations:

In-ear monitoring (IEM) systems have become indispensable tools for musicians, audio engineers, and performers, offering personalized audio experiences directly into the ears. One of the critical factors influencing the sonic performance of IEM systems is the number of drivers they incorporate. In this comprehensive article, we delve into the nuanced sonic differences resulting from varying driver counts within in-ear monitors.

**1. Understanding In-Ear Monitor Drivers:**
Before delving into the sonic variances, it's essential to grasp the role of drivers in IEM systems. Drivers are miniature speakers responsible for producing sound within the earpieces. They come in different types, including balanced armature drivers and dynamic drivers, each with its unique characteristics. In multi-driver configurations, multiple drivers are used to handle different frequency ranges, resulting in a more accurate and detailed sound reproduction.

**2. Single-Driver Systems:**
Single-driver IEM systems utilize a solitary driver to reproduce the entire frequency spectrum. While these systems may lack the complexity of multi-driver setups, they offer simplicity and coherence in sound reproduction. Single-driver monitors are known for their natural and coherent sound signatures, characterized by smooth transitions between frequencies. They are often favored by audiophiles and purists for their transparency and musicality.

**3. Dual-Driver Systems:**
Dual-driver IEM systems employ two drivers—one for low frequencies and another for mid to high frequencies. This configuration allows for better separation and clarity between different frequency ranges. Dual-driver monitors typically exhibit enhanced bass response and improved detail retrieval compared to single-driver counterparts. Musicians and audio professionals often prefer dual-driver systems for their balanced sound signature and increased resolution.

**4. Triple-Driver Systems:**
Triple-driver IEM systems take the sonic performance a step further by incorporating three drivers—dedicated drivers for bass, midrange, and treble frequencies. This configuration enables precise control over each frequency band, resulting in exceptional clarity, imaging, and instrument separation. Triple-driver monitors excel in reproducing complex musical passages with accuracy and finesse, making them popular choices for stage monitoring and critical listening applications.

**5. Quad-Driver and Beyond:**
As the number of drivers increases, so does the complexity and fidelity of the sound reproduction. Quad-driver and higher configurations further refine the sonic performance by dividing the frequency spectrum into smaller segments, each handled by dedicated drivers. These systems offer unparalleled detail retrieval, dynamics, and spatial accuracy, catering to the most discerning ears and demanding audio environments.

**6. Considerations and Trade-Offs:**
While multi-driver IEM systems offer superior sonic performance, they also come with certain considerations and trade-offs. These include increased cost, complexity, and potential phase coherence issues. Moreover, the subjective nature of sound perception means that preferences may vary among individuals, with some preferring the simplicity of single-driver monitors, while others gravitate towards the detailed presentation of multi-driver configurations.

**7. Technological Advancements:**
Advancements in driver technology, such as hybrid driver configurations and improved crossover designs, continue to push the boundaries of sonic excellence within IEM systems. Manufacturers are constantly innovating to achieve greater efficiency, coherence, and fidelity in sound reproduction. Additionally, advancements in digital signal processing (DSP) and acoustic tuning software enable fine-tuning of IEM systems to meet the specific preferences and requirements of users.

**8. Conclusion:**
In conclusion, the number of drivers within an in-ear monitoring system plays a crucial role in shaping its sonic characteristics and performance. From single-driver simplicity to multi-driver complexity, each configuration offers a unique listening experience with its own set of strengths and trade-offs. As technology continues to evolve, we can expect further refinements and innovations in driver design, paving the way for even more immersive and satisfying audio experiences within the realm of in-ear monitoring.

TEST: InEar SD-4

 Inear systems are on everyone's lips and for many bands with a certain level of professionalism they have now replaced the good old wedges for monitoring on stages, or they also intervene in the system. However, what still prevents many musicians from using such a system is the choice between a customized system that is often expensive and the usually pitiful-sounding earphones that are included with a radio link.

The Inear company from Roßdorf near Darmstadt took on this problem a few years ago and developed a universal Inear system with the Stagediver series, which turned the previously prevailing opinion about unadapted systems on its head. With the Inear Stagediver SD-4, the latest edition of the series is now available for testing and this much can be said in advance: nothing is the same anymore.

construction

Detached from the area of music monitoring, the guys at Inear have already earned an excellent reputation in other areas of hearing aid acoustics. Among other things, the company equips the racing teams of the highest international professional class (name cannot be mentioned due to trademark protection law...) around Sebastian Vettel with appropriate monitor systems to ensure communication with the pit team. Anyone who knows about the infernal noise of these vehicles can imagine how well the external noise has to be insulated with an inear system.

But what makes the Stagediver system so unique in the jungle of earplugs? To explain this, one must consider the fact that the Inear company has calculated an average value from over 500 of its manufactured systems, which in 90% of all cases optimally seals off the ear canal of the average person on earth. The “S” system with smaller dimensions was recently brought onto the market for particularly small ear canals of young artists or petite women.

The SD-4 version, which has now come onto the market, shines with a previously unprecedented 4-driver system, which, according to company information, has set itself the goal of developing nothing less than “a listener that can play every instrument in a recording cleanly, vividly and tangibly." And now you come. Full-bodied words that, if they don't want to turn out to be the thousandth copy of marketing-technical phrase-mongering, should be understood as the absolute demand for detailed fine-art.

One should keep in mind that, in addition to a universal fit and high external attenuation, it must also be possible to acoustically reproduce the different groups of instruments at the highest possible volume. The breath of a pop star must be conveyed just as much as the sub-bass of an official kick drum or the high-mid pressure of a high-gain metal guitar. Please do the whole thing without peaks or overemphasis in the frequency spectrum, combined with the high spatial resolution of high-end studio headphones. Yeah, sure. The practical test will show it.

First, let's take a look at the external values and get an impression of the value that Inear brings to its products when we unpack the goods. There are no cheaply pressed plastic boxes here, no hardened cardboard cutouts disguised as packaging, here are Pelican cases that could be assigned to a Bundeswehr mission abroad. Waterproof, break-proof, made of soft plastic and equipped with an almost indestructible snap hook and a pressure compensation valve, hardly any professional backliner will be able to hold back a tear due to their painful experience with the short-lived nature of Asian junk. This packaging is simply fantastic!

If you look at the inner workings of the case, you will find, in addition to the actual system, a wealth of additional aids that prove to be very helpful on stage. There is a gold-plated adapter (3.5 mm to 6.3 mm jack), which, among other things, allows the earphones to be used as a replacement for headphones. 3 cleaning cloths and a total of 4 different plastic attachments for adjusting your ear canal increase personal comfort. The black connection cable, which can also be delivered transparent if required, is approx. 1.40 meters long and can therefore be connected to the receiver of a radio system as well as to a stationary solution. The cerumen filters (filters for earwax) are replaceable; a set of 30 replacement filters can be ordered when ordering for an additional fee.


Practice

For the experienced Inear user, the first use will not cause any problems; the novice is recommended to place the earphones in the auricle with a small twisting movement. In combination with the matching piece of rubber earmold, the system fits really well and there is hardly any noticeable difference to a custom-made product. Even if you move your head wildly in every conceivable direction, the earphones cannot be moved from their fixed position. Only a guitar strap resting on an unfixed connection cable manages to move the system out of its optimal position. The solution: cable routing over the guitar strap.

In terms of workmanship, there is absolutely nothing to complain about with the Inear Stagediver SD-4, on the contrary. Each individual element is meticulously handcrafted in Germany and can simply be described with the adjective “perfect”.

OK, let's take a look back and see to what extent Inear wants to achieve its goal. On the one hand, there is the volume to be achieved, which must offer enough reserves to be able to survive on a loud stage. An immediate all-clear is required here, as the system can develop an output sound pressure of 120 dB if necessary due to the low impedance of 23 ohms. In combination with an external noise insulation of approx. 26 dB, there will be no problems here.

Another objective was the three-dimensional representation of each instrument within the band structure. This is where version 4 has probably made the most improvements compared to its predecessors. It is incredible how high the spatial resolution and depth scale has advanced with this system. In fact, every instrument has its favorite frequency range in which it can be clearly located. In addition, the spatial component of the signal is reproduced in a very high quality that I previously only knew from dummy head recordings.

Once again, care was taken not to lower the midrange too much for “cheap hi-fi” reasons in order to generate the infamous bathtub frequency response, as is often the case with discount earphones. The overall sound is pleasantly open, is free of any form of peak compression and actually allows every musician to separate their instrument from the band context according to their personal preferences, without losing connection to the rest of the band.




Conclusion

With the Inear Stagediver SD-4, the Hessian company once again underlines its excellent reputation, which now extends across the entire globe. The concept of a universal adjustment with extremely high accuracy of fit is groundbreaking in every respect and, as far as I know, is currently unique in the world in this quality.

Starting with the workmanship, through the excellent sound, to the exquisite features, the overall package of the SD-4 has to be described as absolute top class, which also makes the switch easier for hard-core wedge fetishists.

Absolute purchase recommendation! Top grade!

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In-ear monitoring (IEM) has revolutionized the way musicians perform on stage, providing them with personalized audio mixes directly into their ears. This technology has its roots in the mid-20th century but has undergone significant evolution to become the sophisticated system we know today. Let's embark on a detailed exploration of the enthralling journey of in-ear monitoring, tracing its origins, milestones, and technological advancements.

**1. Origins and Early Development (1950s-1970s):**
The concept of in-ear monitoring can be traced back to the 1950s when performers began experimenting with stage monitors to hear themselves more clearly amidst the noise of live performances. Initially, these monitors were bulky and speaker-based, positioned at the edge of the stage. However, as technology progressed, the need for more portable and personalized solutions emerged.

**2. Introduction of Earpieces (1980s-1990s):**
The 1980s witnessed a pivotal development with the introduction of custom-molded earpieces, which provided better isolation and comfort compared to generic earphones. This allowed performers to hear themselves more clearly while reducing the risk of hearing damage from excessive stage volumes. However, these early systems were still relatively primitive, lacking the customization and fidelity of modern IEM systems.

**3. Digital Revolution (2000s):**
The 21st century brought about a digital revolution in the field of audio technology, and in-ear monitoring was no exception. Digital signal processing (DSP) enabled the creation of compact and powerful monitor mixers capable of delivering high-fidelity audio directly to performers' ears. Additionally, advancements in wireless technology made it possible for performers to move freely on stage without being tethered to a central mixing console.

**4. Customization and Personalization (2010s):**
One of the defining features of modern in-ear monitoring systems is their ability to provide personalized mixes for each performer. This level of customization allows musicians to tailor their monitor mix according to their preferences, ensuring optimal balance and clarity on stage. Moreover, advancements in earpiece technology, such as multi-driver designs and hybrid configurations, have further enhanced the fidelity and frequency response of IEM systems.

**5. Integration with Digital Audio Networks (Present Day):**
In recent years, in-ear monitoring has become an integral part of larger audio systems, thanks to its seamless integration with digital audio networks. Modern IEM systems can interface with protocols like Dante and AES50, allowing for streamlined signal routing and control across multiple devices. This level of integration not only simplifies setup and configuration but also enhances the scalability and flexibility of IEM systems in complex audio environments.

**6. Future Directions:**
Looking ahead, the future of in-ear monitoring holds exciting possibilities driven by ongoing technological innovations. We can anticipate further advancements in areas such as wireless connectivity, DSP algorithms, and earpiece design, leading to even greater fidelity, reliability, and user experience. Additionally, the integration of biometric sensors and augmented reality features may further enhance the functionality and utility of IEM systems in live performance settings.

In conclusion, the evolution of in-ear monitoring represents a remarkable journey spanning decades of technological innovation and creative ingenuity. From its humble beginnings as rudimentary stage monitors to its current status as a sophisticated audio solution, IEM has truly transformed the way musicians experience live performances. As we continue to push the boundaries of audio technology, the future of in-ear monitoring promises to be even more immersive, personalized, and empowering for performers around the world.

TEST: InEar Monitoring Hearmix Pro

 I think it's fair to say that current in-ear monitoring systems have overtaken classic floor monitors. Although you can still find corresponding systems at the feet of the artists on all large stages, in the majority of cases these actually have more of a backup function than the musicians actively listening to their instruments via the floor monitors. The advantages of corresponding systems are too great compared to the classic wedges that have been found on stage for decades. However, all in-ear monitoring systems struggle with the same problem, which the German company Inear has addressed in a professional manner with its Inear Hearmix Pro.

Where is the problem?

Apart from the fact that there are quality gradations from HiFi stereo sound right down to extreme bodily harm, especially in the earphone area of in-ear monitoring systems, the advantages of in-ear systems outweigh floor monitors in many areas. Of course, the spatial independence is well known, i.e. the artist can move freely on stage and has the same sound everywhere, regardless of whether they are standing in front of a loudspeaker or not. The functions of sound dampening should also not be underestimated, especially when you are on stage with loud colleagues. Singers in particular are always very happy about the fact that you can hear yourself, which benefits your intonation and you can hear your colleagues from the crowd six-sided department that would still like to use their analogue amplifiers on stage.

However, especially with earphones in the high-priced range, which are usually adapted to the shape of your ear, the problem is that you are completely shielded from the outside world when it comes to sound. What is a very beneficial effect in terms of sound attenuation, but also brings with it the problem that you no longer hear any acoustic reaction from the audience or your bandmates on stage, unless you use comparatively complex ambient miking. There is also the problem that you become 100% dependent on the in-ear system, which is a big problem especially when, as is very common nowadays, bands no longer use amplifiers with speakers on stage, but completely Play directly into the PA with emulated sounds and you won't hear anything other than the sound of the natural drums on stage.

The third problem is that guitarists in particular, some of whom operate their analog amplifiers with corresponding loudspeakers on stage with great attention to detail, can usually do very little with the sound of an in-ear system unless they also operate it For FOH signal delivery, a complex microphone setup exclusively for your own in-ear system. The Holy Grail would therefore be a combination of both systems, i.e. you would be able to hear yourself and your colleagues on stage everywhere, as an in-ear system makes possible, but you would also be able to hear the regular stage sound depending on his position could be mixed in order to continue to guarantee natural listening behavior. Many musicians solve this by removing an earphone from their ear, but this leads to an uneven sound. The InEar company from Dieburg in Hesse is now taking on the challenge of solving this problem and has brought a piece of hardware onto the market with the Inear Hearmix Pro!

The concept of the Inear Hearmix Pro

In principle, the concept of the InEar Hearmix Pro system couldn't be simpler. The system adds two additional signals to the signal that you receive via your regular receiver, which can be continuously mixed into the receiver signal via two microphones located on the earphones. To do this, the cable that connects the earphones to the receiver must be replaced with the cable supplied, which has two small condenser microphones built into it. Depending on the earphones, you can choose between different connectors.

The central element of the Inear Hearmix Pro system is located in a small, solid, square steel housing, which could easily be described as a mixer tap. The device only has dimensions of 5.5 cm x 5.3 cm x 1.5 cm (W x H x D) and has a very solid metal clip on the back with which you can attach the product to your waistband/belt or you can attach it to your guitar strap.

The product is powered by a single AAA battery, which is secured with a solid screw cap and, in addition to the ability to connect a corresponding earphone on the side, includes an additional input for the signal emitted by the receiver. According to the manufacturer, an average alkaline battery should last around 60 hours. When the LED on the top of the housing switches from green to red, around 70% of the battery's power has been used. There is also a mixer control for the proportion of external microphones, as well as a high-pass and low-pass filter, which can be switched separately if necessary. The low pass reduces all frequencies above 8 kHz, the high pass reduces all frequencies below 100 Hz by 15 dB each. In order to be able to connect the receiver to the Inear Hearmix Pro system, a corresponding connection cable is included with the system.

Another special feature of the Inear Hearmix Pro is the fact that the system can also be used very well as active hearing protection. For example, if you just want to turn down the volume in your ears on stage, but otherwise enjoy normal analog signal playback on stage, you can use the system by placing your personal earphones in your ear, taking the appropriate sound attenuation there and with you The microphones, which are attached to the sides, can mix the stage sound continuously. The whole thing can be used both as an active musician on stage and as a spectator in the audience as a kind of luxury hearing protection with individual volume reduction.

The technical values of the Inear Hearmix Pro read as follows:

Frequency Response: 18Hz - 22kHz +/- 2dB
S/N Ratio: 70dB at 1kHz
Sensitivity: -43 dB +/- 3 dB at 1 kHz
Max. Input Sound Pessure level: 127 dB SPL

The Inear Hearmix Pro in practice

Commissioning the system is very easy. For my part, I simply unplugged the cables from the earphones and plugged in the new cables. Otherwise, connect the line cable to the headphone output of the radio receiver, done. You can continue to use the regular signal as normal and the ambient signal picked up by the microphone is only mixed in when the Inear Hearmix Pro is activated.

What needs to be taken into account, however, is that if the Inear Hearmix Pro fails for whatever reason, the entire signal is gone. Due to the special mini jack plugs, you cannot simply bridge the Hearmix and plug the plug directly into the receiver. In this respect, I think it's very good that the system allows for an extremely long operating time of 60 hours and should the device not be subjected to extremely massive mechanical stress, there should be virtually no problems in live operation.

The sound of the system is extremely neutral and everyone should find their own personal sound in the earphones by activating the high and low pass filters. What I personally found very interesting was the fact that the positioning of the microphones resulted in a sound impression, something that various hearing aid wearers had already told me some time ago. The spatial proportion compared to direct sound is significantly higher due to the lack of an ear canal, which is of course an advantage for musicians on stage, but for hearing aid wearers when it comes to speech during a conversation, especially if it takes place in a loud bar, for example. represents a real problem.

In summary, you have to give the Inear Hearmix Pro an excellent rating. The system solves a problem that every in-ear monitoring user inevitably has to deal with in a refreshingly simple way, with production, quality and workmanship representing the best Made in Germany. I can only recommend that anyone who has not yet used in-ear systems due to their hearing loss gives them a second chance and uses them together with the Inear Hearmix Pro. It will be a real enrichment for your personal enjoyment of music on stage.

Conclusion

With the Inear Hearmix Pro, the German manufacturer has a big ace up its sleeve when it comes to solving a long-known problem. By using two tiny microphones and a small control unit, the stage sound can be continuously mixed into the regular in-ear sound, thus enabling the combination of the two worlds, which were previously strictly separated from each other without ambient miking.

An outstanding tool whose value cannot be overestimated.

Top score!

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Additional Informations:

InEar Monitoring, a distinguished company nestled in Hesse, Germany, has emerged as a trailblazer in the realm of professional audio equipment, particularly in the field of in-ear monitoring solutions. From its humble inception to its current status as a global leader, the journey of InEar Monitoring embodies a saga of innovation, precision engineering, and unwavering commitment to delivering superior sound experiences.

**Founding Years: A Quest for Sonic Prowess**

InEar Monitoring traces its origins to the early 2000s when a group of passionate audio engineers and musicians, driven by a shared vision to revolutionize live sound monitoring, came together in Hesse, Germany. Frustrated by the limitations of traditional stage monitoring systems, which often resulted in subpar audio quality and inconsistent performances, the founders embarked on a mission to create a solution that would empower artists to hear themselves with clarity and precision on stage.

**Innovative Solutions: Crafting the Perfect Monitor Mix**

In its formative years, InEar Monitoring focused on developing cutting-edge in-ear monitoring systems tailored to the unique needs of professional musicians, bands, and audio engineers. Drawing upon Germany's rich tradition of engineering excellence and precision craftsmanship, the company pioneered advancements in earpiece design, audio signal processing, and wireless technology to deliver unparalleled sound fidelity, comfort, and reliability.

InEar's early breakthroughs included the development of custom-molded in-ear monitors (CIEMs), which offered superior fit, isolation, and sound quality compared to off-the-shelf solutions. By utilizing state-of-the-art materials and employing proprietary manufacturing techniques, InEar ensured that each CIEM was precisely crafted to the unique contours of the wearer's ears, resulting in a snug and comfortable fit that remained secure even during the most energetic performances.

**Industry Recognition and Global Expansion: Setting New Standards**

As word of InEar Monitoring's revolutionary products spread within the music industry, the company quickly gained recognition for its commitment to excellence and innovation. Musicians and audio professionals worldwide began to embrace InEar's monitors as indispensable tools for achieving optimal sound quality and performance consistency on stage and in the studio.

Buoyed by its growing reputation and success, InEar Monitoring embarked on a journey of global expansion, establishing a network of distributors, retailers, and partners across Europe, North America, Asia, and beyond. The company's dedication to customer satisfaction, technical support, and after-sales service ensured that users around the world had access to premium in-ear monitoring solutions backed by unrivaled expertise and support.

**Technological Advancements: Pushing the Boundaries of Possibility**

In its relentless pursuit of sonic excellence, InEar Monitoring continued to push the boundaries of technology and innovation, introducing a steady stream of advancements and enhancements to its product lineup. From the integration of state-of-the-art drivers and acoustic components to the development of sophisticated wireless systems and digital signal processing algorithms, InEar remained at the forefront of audio engineering, consistently delivering products that set new standards for performance, reliability, and versatility.

One of InEar Monitoring's most notable achievements was the introduction of its digital wireless monitoring systems, which offered pristine audio quality, robust connectivity, and unparalleled flexibility for artists and audio engineers. By leveraging the latest advancements in digital audio transmission and signal processing technology, InEar's wireless systems provided users with the freedom to move and perform without compromising on sound quality or reliability.

**Legacy and Future Prospects: Shaping the Future of Live Sound**

As InEar Monitoring looks to the future, the company remains committed to its founding principles of innovation, quality, and customer satisfaction. With a dedicated team of engineers, designers, and industry experts at its helm, InEar continues to push the boundaries of what is possible in live sound monitoring, anticipating the evolving needs of musicians and audio professionals and developing solutions that empower them to perform at their best.

In conclusion, the story of InEar Monitoring is a testament to the power of innovation, collaboration, and perseverance. From its humble beginnings in Hesse, Germany, to its current status as a global leader in in-ear monitoring technology, InEar has demonstrated a steadfast commitment to excellence and a relentless pursuit of sonic perfection. As the company continues to evolve and innovate, its legacy as a pioneer in live sound monitoring is sure to endure, shaping the future of music performance and production for generations to come.