TEST: Pushking Pedals

 Who says that high-quality boutique pedals always have to come from the USA? It seems to be almost an unwritten rule that whenever it comes to unusual detailed solutions, the route across the pond is the ultimate solution. But they actually do exist in our home region too, German engineers who produce excellent products entirely by hand and in very small quantities with meticulous attention to detail. Equipped without a corresponding advertising budget, all that remains is the quality of the products and corresponding letters of recommendation in oral or written form to pass the name on to the relevant customers.

Pushking is such a company. Behind the original company name is a one-man business in the person of Roland Schmidt, who manufactures his pedals in the Audi city of Neckarsulm. As a trained industrial designer, Roland Schmidt, who focuses primarily on booster, overdrive and distortion pedals in addition to a delay pedal, also places great importance on a high-quality visual presentation of his pedals in addition to high sound standards.

The very popular Overdrive Pedal Model 710 and the newly developed Booster Model 800 are available for testing, both made entirely by hand and bearing the serial numbers 126 and 127 respectively.

Construction

As with the car models of the glorious seventies, Pushking pedals use a lot of chrome, which means that the entire inner workings are housed in a chrome-plated steel housing. Even if the mirrored surface inevitably makes fingerprints more visible, the elegant look of such a housing is hard to beat. You could say that a Pushking pedal brings shine to your personal pedal board in contrast to classic pedal paintwork.

With dimensions of 60 mm x 30 mm x 110 mm, the standard housings of the Pushking pedals are a little slimmer than the majority of the competition. In terms of connection options, in addition to the input and output sockets, there is a 9V socket, which is also absolutely necessary because the pedal cannot be operated with a battery. Due to the slim housing, there is simply not enough space to place a classic 9V block inside the housing.

To protect against copyists, the 4 Phillips screws that close the housing were filled with a soft plastic, which also represent the 4 feet on which the pedal rests. The rubber mixture is excellent in terms of consistency and offers very good adhesion even on smooth surfaces. In addition, a label was stuck over the edge of the housing, which informs that the product's warranty expires as soon as the housing is opened. Unfortunately, the developer has no other option to protect his creative work against copyists, primarily from Asia.

All pedals have the very tasteful plastic ring that is placed under the true bypass switch. The ring not only provides information about the type designation of the pedal in color, but also contains the labeling of the controls and switches. Discreet, effective and unusual, you can see the designer's hand. Speaking of hand, the pedals exude a subtle "imperfect" charm due to the fact that they are completely hand-made, and in contrast to CNC milling, the odd drill hole can sometimes be a little out of alignment.

On the Pushking Pedal 710, the gain, tone and level controls are arranged in the typical overdrive arrangement, and their functionality is self-explanatory. I personally really appreciate how stiff the potentiometers are, as with floor pedals in particular, you can't completely rule out the possibility that the tip of your foot might accidentally change the setting of the controls when activating the product. This risk is reduced to a minimum by the aforementioned potentiometer design. Completely in overdrive green (since the TS9, an overdrive pedal MUST be green ;-), both the plastic disc described above and the control LED were designed in the aforementioned color.

The Pushking Pedal 800 is even more purist than its colleague 710. As a classic booster, the pedal ultimately only has one pure effect: it boosts the guitar signal. Three short notes on this:

1.) Boosting does not necessarily mean increasing the volume! Only with a clean or slightly crunched signal does the volume increase in addition to the increase in distortion when using a booster. In the high gain range, only the distortion increases and sometimes generates infernal feedback orgies. The hope of the solo boost in terms of volume is usually nipped in the bud.

2.) A booster works optimally with rather low-power vintage pickups, or moderate output variants in general, whereby single coil variants in particular can score another plus point here. Anyone who uses an EMG-equipped Paula or similar will miss out on the uniqueness of the "chaotic" but characterful sound development due to the already optimized frequency spectrum.

3.) An all-tube amp with its interactive resonance to the fed-in signal is a must in order to be able to enjoy a booster. Even the highest-quality modeling or solid state amps cannot work in the required manner with a booster pedal connected upstream.

In order to be able to adapt to the amplifier's behavior described above, the Model 800 has a gain control as well as a low cut or high cut, which can be used to reduce the bass or treble. Why this? Well, every amp reacts differently when you suddenly turn up the signal level on the preamp. Some start pumping in the bass range, others react with exaggerated sharpness. You can use the two cuts to reduce these artifacts. Everything else is identical to the Pushking Model 710, only the LED lights up blue.

Practice

Pushking 710: Whether you buy the hundredth Tube Screamer copy or give the mainstream the cold shoulder is up to you. However, every boutique manufacturer always has to face the question of what sense it makes for the customer to buy a completely independent overdrive that doesn't deliver the usual mid-range peak while at the same time reducing the bass. When it comes to the 710 model, the answer is obvious: the pedal does indeed sound very unique, which is a real treat for my ears, beyond the mass market.

On the one hand, the Pushking Pedal 710 offers significantly more gain reserves than most other overdrive pedals and easily covers the first distortion areas. On the other hand, the pedal has very good string separation and thus prevents the notorious muddying of the sound, or the overly soft coloration in the output signal. In addition, the level control provides a respectable boost effect when required, which will be particularly useful in solo passages.

My personal favorite, however, is the signal with minimal gain, which gives a normal lead passage or accentuated rhythm work a touch of crunch and breathes more character into the personal tone. You wouldn't believe how many sequences that are considered clean really blossom when you add a subtle saturation to them, thereby increasing sustain and assertiveness.

Pushking 800: Well, how much of a difference can a booster make to the sound, some people might ask, if all they find on a pedal is a rotary control and two toggle switches. Far from it, ladies and gentlemen, provided you stick to the basic equipment mentioned above in terms of amplifier technology. With the right setup, the Pushking Pedal 800 turns out to be a real insider tip for solo sounds.

The amp is first boosted using a fixed level increase. The extent to which the distortion level should also be increased can be set using the built-in gain control. In addition, the two reductions keep excessive treble and bass overemphasis in check. The result is truly great, you could easily call it a solo secret weapon in blues or rock. The sound is big, solid and gives the player exactly the attention he needs in his solo spot. Absolutely great!

Conclusion

Pushking Pedals is a new star in the boutique pedal sky, which is setting new standards with Made-In-Germany production. With pure handwork and a pleasant "screwdriver charm", Roland Schmidt and his one-man company manage to produce excellent pedals that leave an excellent impression both in terms of sound and appearance.

With the necessary portion of independence and a keen ear for practical use, Mr. Schmidt's 710 and 800 models make a very good debut in a highly competitive market. Anyone who is still looking for their own personal sound should definitely try out the products, especially since the prices for handmade products from Germany are very moderate.

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Additional Informations:

Introduction:
Pushking Pedals has become a household name in the world of guitar effects pedals, thanks in large part to the creative genius of its founder, Roland Schmidt. With an unwavering passion for music and a relentless pursuit of sonic perfection, Schmidt has revolutionized the way guitarists express themselves. In this article, we will delve into the life and achievements of Roland Schmidt, highlighting his journey, the birth of Pushking Pedals, and his impact on the music industry.

Early Life and Musical Influences:
Born and raised in a small town in Germany, Roland Schmidt's love affair with music began at an early age. Growing up in a family of musicians, he was exposed to various genres and instruments, which fueled his curiosity and desire to explore the world of sound. Schmidt's eclectic musical taste, ranging from blues to metal, allowed him to develop a unique perspective on tone and texture.

The Birth of Pushking Pedals:
After years of tinkering with electronics and experimenting with guitar effects, Roland Schmidt founded Pushking Pedals in 2010. Armed with a deep understanding of both analog and digital technologies, he set out to create a brand that would push the boundaries of what was possible in the world of guitar effects. Schmidt's relentless pursuit of perfection led him to develop groundbreaking circuits and innovative designs that set Pushking Pedals apart from the competition.

Innovation and Design Philosophy:
Roland Schmidt's design philosophy centers around the idea that a guitar effects pedal should be more than just a tool; it should be an extension of the musician's creativity. With this in mind, he pours his heart and soul into every pedal he creates. Schmidt's attention to detail is unparalleled, ensuring that each component is meticulously selected and every circuit is fine-tuned to deliver the utmost in sonic quality. His commitment to innovation has led to the development of unique features and functionalities that have become trademarks of Pushking Pedals.

Signature Pedals:
One cannot discuss Roland Schmidt and Pushking Pedals without mentioning some of his most iconic creations. The "Sonic Shifter" is a prime example of his innovative spirit, allowing guitarists to explore a vast array of modulation effects. The "Tube Dreamer" overdrive pedal has become a staple on countless pedalboards, loved for its warm and dynamic tone. Schmidt's ability to combine classic sounds with modern features has made Pushking Pedals a go-to choice for guitarists worldwide.

Impact on the Music Industry:
The impact of Roland Schmidt's work extends far beyond the realm of guitar effects pedals. Through his dedication to craftsmanship and innovation, he has inspired a new generation of musicians and gear enthusiasts to think outside the box. Artists from all genres have embraced Pushking Pedals, recognizing the exceptional quality and tone that each pedal delivers. Schmidt's influence can be felt in studios, stages, and jam sessions around the globe.

Conclusion:
Roland Schmidt's journey from a small-town musician to the mastermind behind Pushking Pedals is a testament to the power of passion and creativity. With his unwavering commitment to sonic excellence and innovative designs, he has reshaped the landscape of guitar effects pedals. As Pushking Pedals continues to evolve and push the boundaries of what is possible, one thing remains certain: Roland Schmidt's impact on the music industry will be felt for years to come.

TEST: Pedaltrain Bags

 It's a real pain with the power of innovation. As soon as you've found a solution to a problem that is usually simple but highly effective, competitors are already swarming around you, trying to get a piece of the pie with more or less good copies. Pedaltrain can tell you a thing or two about this. Like companies like K&M, they practically provide the basis for an entire product range and have been synonymous with the same product for many years.

Of course, it is sometimes difficult for users to recognize a purely mechanical ramp as a product that is worth protecting. However, anyone who has ever tried to build a highly functional, flexible and transportable floorboard made of wood or steel in their youth will quickly recognize how ingeniously simple the concept behind the Pedaltrain boards is.

However, this special is not primarily about the well-known concept of the Pedaltrain floorboards, but rather it is about a problem that is at least as important as setting up the board. We are talking about transporting it. Anyone who has ever tried to transport the construction of sharp steel edges, protruding potentiometers, freely laid cables and sometimes massive plugs without a suitable transport device knows what I'm talking about.

Popular transport solutions in the beginner sector include:

1.) Plastic or fabric bags

It is in itself an insult to the sometimes high-quality landmine equipment to transport a board with almost four-digit content value in a rag that offers zero protection against external influences and starts to tear at the edges after three to four transport cycles.

2.) Grandma's old suitcase from the attic

At first glance, not a bad solution, but there are several points that stand in the way of a safe solution. Firstly, the suitcase has to fit in terms of width, which unfortunately usually turns out to be too narrow. The corners of the case are also often rounded, but the board needs a full 90 degree edge for an optimal fit in the best case.

What is usually not enough in terms of width becomes a problem in terms of height. Cases are usually high enough to allow two pedal boards to be stacked on top of each other, which can cause massive damage when transporting just one board. To compensate, the case is then filled with cables or foam for padding, neither of which is an ideal solution and in the case of cables, an additional burden on the signal carriers.

I personally was only able to use my grandmother's case as a cable case once. During the show that followed, the stage smelled so bad of mothballs that I had to immediately abandon using it as a transport case.

3.) Heavy Duty Flight Case

Once you have recognized the usefulness of a transport case, the mistake of taking over discarded cases, for example from the drum area, is often made. Especially with former tripod cases, you have a big wall against any kind of external influences, but both the large storage space and in particular the size and weight of the cases cause problems. If you want to transport the case in a car, half the storage space is gone, even in a station wagon.

If, on the other hand, you take a van, trailer or truck, the heavy cases would have to be tilted downwards and fixed by 90 degrees (tip) so that they no longer stand on wheels. Everyone can imagine what this does to the contents of the case if it is not fixed rock-solid.

Conclusion: the optimal transport solution for a pedal board is as light as possible, shock-absorbing, has space for additional cables etc. and, above all, fits like a glove! Aware of this, the Pedaltrain company has brought 3 types of transport cases onto the market, with one solution deserving special attention. We are talking about a backpack, known in modern German as a bodypack.

The Pedaltrain bodypacks / soft cases

To perhaps clear up a prejudice straight away. Since none of the terms "soft", "hard", "bag" or "case" are protected in any way, every manufacturer can use these terms as they wish, which is unfortunately what they do. I have already seen "soft cases" that could be called "bags" with a lot of goodwill, so you should take a close look at each case before you put it to its intended purpose.

With the Pedaltrain bodypacks, however, you can justifiably speak of soft cases, which also have a backpack function like many guitar bags. However, there are also a lot of differences in quality here, but more on that later. The models available for testing are the PT-NPL-PSC-X, suitable for the Nano and Nano+ boards, and the PT-18-PSC-X model for the Classic JR, PT-JR and Novo 18 boards. Other soft cases in bodypack design are available in stores up to the NOVO 24 SC.

First impression of the bodypacks

When you pick up the soft cases for the first time, you immediately notice the solid, yet soft handle(s), which have several bulges and grooves to prevent your hands from slipping through the soft case. The handles are riveted to the case using strong fabric straps and suggest a very long service life.

The big wow factor comes when you use the zippers. Firstly, Pedaltrain has finally separated from the manufacturer of previous zippers, which had seriously damaged the company's reputation due to clunky, sometimes unusable handling. These zippers glide very smoothly over the entire closure path and have another bonus. Both the outer skin of the soft cases and the zippers are water-repellent, so that a downpour cannot harm the interior of the cases. This is achieved by a new, oversized type of zipper, which, in addition to the teeth, presses two layers of plastic against each other. A really excellent detail!

If you open the soft case, you can see the thickness of the padding, which is an impressive 3 cm in the PT-18-PSC-X model, for example. On the front there are 2 more compartments for cables, transmitters or similar material, also with water-repellent zippers. If you ever find yourself in the unfortunate situation of having to carry your pedal board on foot in the rain, you can do it relatively easily with these backpacks.

Of course, you can also use the cases as normal soft cases, but the special feature of the cases is on the back of the case. Here, under a water-repellent zipper, there are 2 softly padded carrying straps that convert the case into a backpack. To prevent sweating, the back of the backpack and the inner surfaces of the carrying straps have been given a soft and perforated surface. Of course, you can also use the case as a normal backpack, which will be a great help, especially when transporting sensitive goods.

The comfort of the body packs is truly excellent. The backpack can be fixed twice on the chest and stomach and therefore rests evenly on the entire back, which is particularly important when transporting heavy equipment such as a fully equipped pedal board. The loose-over-the-shoulder-into-the-hip variant does not work here.

Pedaltrain Soft Case Novo 32

With a soft case of this size, two problem areas become increasingly important. Firstly, fully equipped pedal boards now reach a respectable two-digit kilogram weight, which must be cushioned, and secondly, carrying comfort is more problematic. Due to the soft, flexible design, wheels cannot be installed, but it is still important to distribute the heavy package as evenly as possible across the hand or shoulder.

Pedaltrain also has no other option in this weight class than to install a solid handle and a well-padded shoulder strap with appropriate snap hooks. The somewhat laborious transport is in the nature of things. Anyone who wants to transport a board of this size in a soft case for weight reasons must accept the somewhat uncomfortable transport.

With the appropriate physical effort, the case can also be used as a very wide backpack with the strap across the chest, especially since the back of the case has the perforated, padded surface, as with the backpacks mentioned above. However, with this construction in landscape format, you can no longer get through a normal door and the single strap puts a lot of pressure on the corresponding shoulder, so that the maximum distance you can make with it is from the van to the stage.

However, the Novo 32 Soft Case is so well padded that it can be transported upright in the van like a hard case and does not just have to be placed on top of the rest of the equipment, as is the case with many soft cases.


Pedaltrain Black Tour Case Novo 24

Now let's get to the tough everyday life on the road, which by the way doesn't just start with the stars of radio and television. Anyone who plays in a well-booked cover band, for example, with a three-digit order volume per year, will appreciate high-quality packaging for their instruments after a few months at the latest. And a complete break in a cover doesn't even have to cause the owner to frown. Sticky zippers, loose foam, worn-out folding handles or warped aluminum profiles are enough to drive you crazy in no time.

Of course, there are also plenty of suppliers in the cheaper price segment, but the thin-walled design in combination with inferior roller material quickly separates the wheat from the chaff. In addition, a floorboard in particular needs to have precisely fitting dimensions so that the board doesn't lose half of its pedals or external potentiometers due to wild shaking around.

Pedaltrain has therefore created an old-school hard case for the Novo 24, which, with external dimensions of 65 cm x 38 cm x 19 cm and internal dimensions of 62 cm x 34.5 cm x 16.5 cm and a weight of just under 7 kilograms, is still relatively easy to handle. Protective foam prevents the interior from being broken through in the event of a heavy impact, while a 3 cm thick and dense foam rubber protects the board downwards and to the side. The board also fits the Classic 2 and PT-2 boards.

All the standards are also present on the outside, such as high-quality butterfly locks and solid ball corners, with the plywood used being 6 mm thick. Speaking of ball corners, does anyone know the reason why ball corners are used in the heavyweight class? Due to its construction, only a ball corner manages to distribute an external impact across its three legs to three wooden surfaces, thus keeping any damage that may occur as small as possible.

Pedaltrain NOVO 32 and Terra 42 Tourcase with wheels

Now we come to the top class of tourcases, both in terms of size and the stability of the construction. Although they try to keep the weight as low as possible here too, all arguments for convenience are subordinate to functionality when it comes to protecting the interior. The relevant key data reads accordingly. The NOVO 32 Tourcase comes into the race with external dimensions of 95.3 cm x 46.9 cm x 24.5 cm, internal dimensions of 89 cm x 44 cm x 12.5 cm and a weight of 12.7 kg, the Terra 42 goes one step further by calling for external dimensions of 121 cm x 44 cm x 25.4 cm, internal dimensions of 111 cm x 38 cm x 12.5 cm and a weight of 15.4 kg.

Both cases have indeed earned the adjective "professional", on the one hand because they offer their users maximum protection for the pedals, and on the other hand because their dimensions mean they require the support of a crew with appropriate backliners. The cases can not only be used in the lower areas of the storage space in the van without any problems, they also survive transport in the truck in conjunction with sometimes clumsy stagehands on site in the hall.

To make transport easier, both cases are equipped with strong rubber wheels, which enable trolley-style transport on flat ground. On the opposite side is the corresponding pull handle, which is designed as a folding handle. Anyone who has lifted a fully loaded board of this league + case with just one arm knows what around 30 kilograms feels like and can confidently postpone the next visit to the gym.

It goes without saying that an absolutely perfect fit is necessary, especially with these weights, and this is of course perfectly fulfilled by the two cases. The fact that experienced professionals were involved in the construction of these two rolling cases can be seen inside the cases. If the cases are pulled fully loaded or stored upright in the tour bus, the entire pressure of the board is on the lower edge of the case. Even the generously designed 3 cm foam rubber can no longer fully fulfill its cushioning effect in such a case, so there is a risk of insufficient shock absorption.

For this reason, a 6 cm thick foam rubber rectangle was inserted at the foot end of both cases, which prevents the contents from penetrating the plywood in the event of a fall or hard cobblestones. The detailed solution is really great!

Conclusion

Pedaltrain, the forefather of all pedalboards, shows once again that not only the product itself, but also the packaging is responsible for the quality of the overall package. With a very wide selection of soft and hard cases, the manufacturer covers the entire range of its floorboard range in top quality, with the newly released backpacks taking things up a notch in terms of independence.

A very good result across the board, definitely give it a try!

TEST: Peavey Vypyr X3

 Let's not kid ourselves, of course every guitarist has a lot of fun when they bring home one of the fat, all-tube head-cabinet combinations and can get on the nerves of their partner, their neighbors, and pretty much everyone who is exposed to high volume at massive volume levels. The amps usually have one or two outstanding sounds that you can really enjoy, but they can't show off their true sonic qualities anywhere except when used in large halls or large open-air festivals without additional means such as the high-end load resistance solution from Fryette, the Fryette Power Station (https://www.amazona.de/test-fryette-power-station-power-attenuator-und-roehrenendstufe/). The other side of the coin is covered by amplifiers or amplifier-speaker combinations that aim to offer the widest possible range of sound transmission options, some of which even go beyond pure electric guitar amplification. We have one such combo amplifier for testing, the Peavey Vypyr X3, which has a few very interesting detailed solutions.

The structure of the Peavey Vypyr X3

The Peavey Vypyr X3 is the most powerful variant of the Peavey Vypyr series and, according to the manufacturer, has an output of 100 watts, which is emitted via a 12-inch speaker made by Peavey. To be honest, however, the information on the back of the combo housing gives me something to think about. According to this information, the amplifier has a power consumption of just 42 watts. I am by no means a trained physicist, but personally it seems a bit difficult to be able to deliver a volume of 100 watts with a power consumption of just 42 watts. Not only is the maximum volume supposed to be more than double the power consumption, data such as heat loss and the like are not even included here. Perhaps Peavey is also referring to a peak specification in this regard.

Be that as it may, the combo made in China has a half-open design at the back, sits on four strong rubber feet, has 8 plastic corners as corner protection, has a sturdy carrying handle and is hefty at 15.6 kilograms, but by no means difficult to transport. A total of 11 rotary controls, some of which are designed as push menu controls, control the entire system. The controls have been installed slightly deeper to minimize the risk of them breaking off during transport. Unfortunately, the controls are made in different sizes, with three controls being significantly higher than the other eight. These three controls protrude slightly beyond the line of the upper end, so that if there is surface pressure, the controls receive the pressure before the wooden surface.

A special feature of the modeling amplifier is its flexibility. As expected, you can not only call up several electric guitar amplifier simulations via the digital menu navigation, but you can also amplify an electric bass or an acoustic guitar via the amplifier. And that's not all, there are even a few emulations in the menu navigation that can convert a normal electric guitar into an electric bass, an acoustic guitar, a baritone guitar or a 7-string guitar if required. In total, the amp has 12 amp models, each with 3 different sounds (clean / crunch / lead), 12 stompbox models, 26 effect models, 10 instrument models and a looper (in conjunction with the optional Sanpera floorboard). Peavey attaches great importance to the fact that the sound is generated analogue and not digitally, especially in the stompbox area with regard to overdrive and distortion. This should lead to a generally better and more assertive distortion within the distortion sounds.

In addition, your own sound creations can be saved in 16 user memory locations. There are a total of three options for managing the amplifier's menu navigation. The first is, as expected, operation via the normal rotary controls on the top of the amplifier, which is supported by a small, easy-to-read display. The second option is the Sanpera Floorboard mentioned above. And the third option is an iOS app, which can be played on an iPad. The iPad's interface is very nicely designed, very intuitive to use and, as expected, is sent to the amplifier via Bluetooth, which has a corresponding interface. The Peavey Vypyr X3 also has a mini jack Aux In for playing MP3s or similar, a mini jack headphone jack and a USB port.

What is also very nice is the collaboration between the amplifier's interface and the iOS app. Every movement of the knobs that was made on the amplifier is reproduced one-to-one on the iPad's interface. The whole thing also works in the other direction, of course, every movement on the iPad is passed on visually and acoustically to the amplifier. This is particularly convenient if, for example, you have the amplifier in a back corner in the rehearsal room or at a performance and you can make any adjustments via the iPad, which is within reach on the left, for example, or is attached to the microphone stand using a holder.

The control options of the Peavey Vypyr X3

The control options of the Peavey Vypyr X3 are comparatively simple. Next to the jack input on the far left is an endless control with which you can set the different amplifier types. This is followed by three smaller controls that manage the instrument simulations plus the stomp boxes, the amplifier section and the effects in the post section. This is followed by a typical three-band tone control using a pre-gain and a post-gain to define the general sound of the amplifier. This is followed by a master volume control to determine the overall volume range of the amplifier.

A special feature can be found on the far right called Power Sponge, which allows a percentage from 0 to 100. This is a digital power amplifier management that intervenes in the area of ​​power reduction, as is known from the pentode or triode operation of an all-tube amplifier, for example. As the percentage decreases, the volume of the amplifier also decreases, but the feel of the compression and attack behavior changes. Here, everyone has to find their own personal taste and, in combination with the master volume control, the final volume of the amplifier.

The Peavey Vypyr X3 in practice

The great advantage of the Peavey Vypyr X3 is its multifunctionality. The amplifier seems to me more like a multifunctional amplifier system that is able to amplify any type of string instrument. Whether it is an acoustic guitar, an electric bass or any type of electric guitar, all instruments can be amplified appropriately and tonally adjusted to suit their respective sound. However, if a single amplifier product is to amplify several completely different types of instruments, compromises in the sound design are inevitably made in the tonal implementation.

This is also the case with the Peavey Vypyr X3, which in itself produces a decent basic sound, but lags behind the specialists in the amplifier sector in terms of resolution, freshness and character of the respective sounds. Especially in the range of slightly distorted to high gain sounds, the amplifier's basic sound seems dull and lacks some assertiveness. The analog distortion sound is of little help if the general implementation cannot implement the finer details of the resolution. But in the interests of fairness, you should always keep in mind what functions and amplification options you get for the comparatively low retail price of around 429 euros.

The Peavey Vypyr X3 is one of those amplifiers that you take to a rehearsal or a small show and depending on which string instrument needs an amplifier, the musician grabs the combo, he is guaranteed to find a sound in the extensive database that he can work with. In addition, the sound management of the amp via iOS allows for quite convenient control of the amp and makes the Peavey Vypyr X3 a good tool for many possibilities of amplifying string instruments.

Conclusion

With the Peavey Vypyr X3, Peavey has a multifunctional combo amplifier in its portfolio that has a wide range of possible uses. The amplifier not only offers a generous selection of amplifier and pedal emulations in the area of ​​electric guitar, but also manages to amplify other types of string instruments such as electric bass, acoustic or baritone guitars through its modeling approach, which it can also emulate if the same instruments are not available.

If you need a flexible tool for string amplification, you should take a look at the Peavey Vypyr X3.

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Additional Informations:

Hartley Peavey, an aspiring musician with a passion for electronics, laid the foundation for Peavey Electronics in 1965 in Meridian, Mississippi. Driven by a desire to create high-quality, affordable audio equipment, Peavey embarked on a journey that would transform the music industry.

**The Early Years: A Spark of Innovation**

Peavey's first creation was a guitar amplifier, a product that reflected his own musical aspirations. However, his true breakthrough came in 1966 with the introduction of the MS-1 PA system. This revolutionary product, designed to address the limitations of existing PA systems, marked Peavey's entry into the professional audio market.

**The 1970s: A Decade of Expansion and Recognition**

The 1970s witnessed Peavey's rapid expansion and growing recognition within the music industry. The introduction of the Peavey "Dynacor" series of guitar amplifiers in 1972 solidified their reputation for innovative and durable products. Peavey's commitment to quality and affordability resonated with musicians worldwide, and their products became ubiquitous in concert halls, recording studios, and rehearsal spaces.

**The 1980s: Diversification and Global Reach**

Throughout the 1980s, Peavey continued to diversify its product line, expanding into new areas such as bass guitar amplifiers, keyboards, and speakers. Their introduction of the SP series of professional loudspeakers in 1981 further cemented their position as a leading manufacturer of high-performance audio equipment. Peavey's products gained global recognition, and their distribution network spanned over 120 countries.

**The 1990s and Beyond: Innovation and Enduring Legacy**

The 1990s and beyond saw Peavey maintain its commitment to innovation and quality. They introduced notable products like the Wolfgang guitar, designed in collaboration with renowned guitarist Eddie Van Halen, and the SP2 Series of loudspeakers, incorporating cutting-edge technology. Peavey's legacy continued to grow, and their products remained a staple in the music industry.

**Peavey's Enduring Impact**

Today, Peavey Electronics stands as a beacon of innovation and quality in the music industry. Their products continue to be revered by musicians worldwide for their exceptional performance, reliability, and affordability. Hartley Peavey's vision of creating high-quality audio equipment accessible to all has been realized, and Peavey Amps remain an integral part of the musical landscape.

**Key Factors in Peavey's Success**

Several factors have contributed to Peavey's enduring success:

* **Innovation:** Peavey has a long history of developing innovative products that address the needs of musicians. Their commitment to research and development has resulted in groundbreaking technologies and features that have shaped the industry.

* **Quality:** Peavey is renowned for the high quality of its products. Their meticulous attention to detail and rigorous testing procedures ensure that their amplifiers, speakers, and other equipment are built to withstand the rigors of professional use.

* **Affordability:** Peavey has always strived to make its products accessible to a wide range of musicians. Their commitment to affordability has allowed countless musicians to experience the quality and performance of Peavey equipment without breaking the bank.

* **Customer Focus:** Peavey has a strong reputation for providing exceptional customer service. They prioritize the needs of their customers and are committed to providing support and assistance throughout the entire product lifecycle.

**Peavey's Legacy**

Peavey Electronics has left an indelible mark on the music industry. Their innovative products, unwavering commitment to quality, and dedication to affordability have earned them the respect and admiration of musicians worldwide. Hartley Peavey's vision of making great music accessible to all continues to inspire Peavey's mission, and their products remain a cornerstone of the musical landscape.

TEST: Palmer DACCAPO

 Re-amplification box? There are many who will shrug their shoulders in confusion when they hear this term, as it is derived exclusively from modern guitar recording methods used in recording studios. In order to optimize the method described below, Palmer has launched the DACCAPO, an inconspicuous, orange-colored box that has a lot to offer.

Construction

What exactly does re-amping mean? The normal process of a professional guitar recording is generally as follows. In consultation with the producer, the artist chooses a combination of guitar-FX pedal-amplifier-box-speaker-microphone that both seem to be optimal for a specific part and records it. The artist's performance is a joy, with optimal timing (for once...), but unfortunately it turns out afterwards that the amp was pumping too much at the bottom with the 6L6, the overdrive didn't have enough gain, or the microphone was pointing too much at the dome and was unexpectedly squeaking in the overall context.

Now good advice is hard to come by. The equalizer can possibly make up for missing bass, but the die is cast when it comes to things like the level of distortion. Re-record it? Then the artist is annoyed, especially since the performance was very good and the extra studio time is a strain on the budget. Now it's time for re-amping, which restarts the following signal chain right down to the guitar signal. This is achieved by parallel recording of the clean guitar direct signal on an additional recording track, which now allows a new combination of FX pedal-amplifier-cabinet-speaker-microphone in playback mode. In order to get this signal back out of the computer in an optimized signal to the amp, you need a, you guessed it, re-amplification box.

Why a separate box, some people will ask. Signal out of the interface, into the amp and that's it. Well, keyboard players may see it that way (which unfortunately is also the case for the majority of sound engineers... ;-)) but you can forgive them. When they hear overdrive, they immediately think of too little headroom and the "typical Strat sound" is with the pickup switch in position 4 directly into the desk. In order to get the analog chaos theory of guitar recording back into the amp with the perfect level, you need a special solution like the Palmer DACCAPO.

The product in question has a balanced XLR input, switchable with -10dbV or +4dbV and with a ground lift, which turns out to be very helpful if your recording equipment and guitar amplifier have different grounding points. So far, nothing unusual. The design highlight is an inconspicuous rotary control with the label Level, which is located next to the isolated output in jack format. "What could be so special about an output control?" asks the keyboard player. Thanks to the interactive action of the individual components with each other, the level of the signal fed in is essential for all the following components. Without this control, our reamping would, in the worst case, be between a hollow whistling sound and an overdriven sausage.

Practice

Probably the shortest practical test in the magazine: everything is perfect! The Palmer DACCAPO does exactly what it is supposed to do, and does it perfectly. Unspectacular and yet as a central element in the signal flow, perfect reamping is unthinkable without this product. The level control allows all-tube amps to be driven into compression very nicely and, if necessary, can also increase the level of a vintage single coil without increasing the background noise. Of course, there is no feedback either, the noise gate can stay at home. The Palmer DACCAPO is a passive box and does not require any power supply. Incidentally, the workmanship of the product is, as always with Palmer, of the highest quality.

Conclusion

With the Palmer DACCAPO, the German manufacturer has the perfect control element for reamping in its range. Unobtrusive to the touch, it has exactly the components without which perfect reamping would not be possible. With a retail price of under 80 euros, the price is in a very moderate segment in relation to its performance.

If you, as an engineer, wave this product around in front of your customers, most will probably only notice the strong housing color, but the experienced professional will be crying with joy in your arms.

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Additional Informations:

Palmer Audio is a name that resonates with quality and innovation in the world of professional audio equipment. Known for their exceptional direct injection (DI) boxes, speaker simulators, and guitar effects, Palmer Audio has made significant contributions to the music industry since its inception. This article delves into the comprehensive history of Palmer Audio, tracing its origins, key product developments, and the technological innovations that have solidified its reputation among musicians and audio professionals.

## The Founding of Palmer Audio

### The Visionary Behind Palmer: Horst Langer

Palmer Audio was founded in the early 1980s by Horst Langer in Neu-Anspach, Germany. Langer, a passionate musician and electronics enthusiast, identified a need for high-quality audio solutions that addressed the practical challenges faced by musicians and sound engineers. With a deep understanding of both music and technology, Langer set out to create products that would bridge the gap between the two.

### Early Days and Initial Challenges

In its early days, Palmer Audio operated as a small, boutique manufacturer, focusing on creating custom solutions for local musicians and studios. The company’s reputation for quality and innovation quickly grew, driven by Langer’s meticulous attention to detail and commitment to excellence. However, as with many startups, Palmer Audio faced significant challenges, including limited resources and the need to establish a brand identity in a competitive market.

## Breakthrough Products and Innovations

### The Birth of the Palmer Speaker Simulator

One of Palmer Audio’s most significant breakthroughs came with the development of the Palmer Speaker Simulator (PDI-03). Introduced in the mid-1980s, the PDI-03 was designed to address the common issue of capturing high-quality guitar sounds in both live and studio settings. Traditional methods of miking guitar cabinets often resulted in inconsistent and unpredictable results, making it difficult for engineers to achieve the desired sound.

The PDI-03 Speaker Simulator offered a revolutionary solution by allowing guitarists to connect their amplifiers directly to the PA system or recording interface, bypassing the need for microphones. This innovation not only simplified the setup process but also ensured consistent, high-quality sound. The PDI-03 quickly became a favorite among professional musicians and recording engineers, solidifying Palmer Audio’s reputation for innovative audio solutions.

### Expansion of the Product Line

#### DI Boxes and Signal Splitters

Building on the success of the PDI-03, Palmer Audio expanded its product line to include a range of direct injection (DI) boxes and signal splitters. These products addressed the needs of musicians and sound engineers by providing reliable, high-quality solutions for managing audio signals. Palmer’s DI boxes, in particular, became known for their robust construction and superior sound quality, making them a staple in studios and live sound setups around the world.

#### Guitar Effects and Pedals

In addition to their core products, Palmer Audio also ventured into the world of guitar effects and pedals. By leveraging their expertise in audio signal processing, Palmer developed a range of effects that catered to the needs of guitarists seeking unique and versatile sounds. These products further enhanced Palmer’s reputation for quality and innovation, attracting a loyal following among musicians.

## Technological Advancements and Modern Innovations

### Embracing Digital Technology

As the audio industry evolved, so did Palmer Audio. Recognizing the potential of digital technology, Palmer began incorporating digital components into their products to offer greater flexibility and control. This shift allowed Palmer to create more advanced and versatile audio solutions, while still maintaining the high standards of quality and reliability that had become their hallmark.

### The Palmer Pocket Amp

One of the standout products from Palmer’s modern era is the Palmer Pocket Amp. This compact, all-in-one solution combines a preamp, DI box, and speaker simulator into a single unit, offering unparalleled versatility for musicians on the go. The Pocket Amp allows guitarists to shape their sound with precision, whether they are performing live, recording in the studio, or practicing at home. Its compact size and robust construction make it an essential tool for musicians seeking professional-quality sound in a portable format.

### The Palmer Cab Merger

Another notable innovation from Palmer Audio is the Palmer Cab Merger. This unique device allows musicians to connect multiple speaker cabinets to a single amplifier, offering greater flexibility in shaping their sound. The Cab Merger is particularly useful for guitarists who want to experiment with different speaker configurations and achieve a wider range of tones. Its intuitive design and high-quality components make it a valuable addition to any guitarist’s toolkit.

## Palmer Audio in the Professional Audio Industry

### Collaboration with Industry Professionals

Throughout its history, Palmer Audio has maintained close relationships with professional musicians, sound engineers, and producers. These collaborations have been instrumental in shaping the development of new products and ensuring that Palmer’s solutions meet the real-world needs of the audio community. By working closely with industry professionals, Palmer has been able to stay at the forefront of audio technology and continue to deliver innovative products that set new standards for quality and performance.

### Endorsements and Artist Partnerships

Palmer Audio’s commitment to quality and innovation has earned the company numerous endorsements from high-profile musicians and audio professionals. Artists such as Phil Campbell (Motörhead), Nile Rodgers, and Billy Gibbons (ZZ Top) have all praised Palmer’s products for their superior sound and reliability. These endorsements have helped to further establish Palmer’s reputation as a leading name in the professional audio industry.

## The Future of Palmer Audio

### Continued Innovation and Product Development

As Palmer Audio looks to the future, the company remains committed to innovation and quality. By continuing to explore new technologies and design concepts, Palmer aims to develop products that meet the evolving needs of musicians and audio professionals. Whether through the development of new effects, advanced DI boxes, or cutting-edge speaker simulators, Palmer Audio is dedicated to pushing the boundaries of what is possible in the world of professional audio.

### Expanding Global Reach

With a solid reputation and a loyal customer base, Palmer Audio is well-positioned for continued growth and expansion. The company is focused on expanding its global reach, making its products more accessible to musicians and audio professionals around the world. By building strong distribution networks and leveraging the power of digital marketing, Palmer aims to bring its innovative audio solutions to an even wider audience.

### Commitment to Sustainability

In addition to their focus on innovation and quality, Palmer Audio is also committed to sustainability. The company recognizes the importance of minimizing its environmental impact and is taking steps to incorporate sustainable practices into its manufacturing processes. By using environmentally friendly materials and reducing waste, Palmer aims to contribute to a more sustainable future for the audio industry.

## Conclusion

Palmer Audio’s journey from a small boutique manufacturer to a respected name in the professional audio industry is a testament to their dedication to quality, innovation, and customer satisfaction. From the groundbreaking PDI-03 Speaker Simulator to the versatile Pocket Amp and beyond, Palmer has consistently delivered products that meet the real-world needs of musicians and audio professionals.

As the company looks to the future, it is clear that Palmer Audio will continue to play a significant role in shaping the sounds of musicians around the world. Their commitment to excellence, combined with a forward-thinking approach to product development, ensures that Palmer will remain at the forefront of audio technology for years to come. Whether you are a professional musician, a recording engineer, or a passionate hobbyist, Palmer Audio’s products offer a gateway to a world of sonic possibilities, cementing their place as a pivotal force in the world of professional audio.

TEST: Orange TH100

 I'm not entirely sure, but I don't think there is any other manufacturer of amplifiers in the world where the name of the manufacturer clearly determines how the product will look. The Orange company, founded in 1968 by Cliff Cooper in London's East End, grew out of running a small music store where the owner not only wanted to sell instruments, but also wanted to turn the store into a meeting place for the national music scene. Today we have the Orange TH100 for testing, which claims to combine tradition and modernity in a single top part.

The design of the Orange TH100

All guitarists are now familiar with the fundamental debate between virtual modeling technology and analog top part sound generation. I don't want to bring up this debate for the hundredth time, but one thing is certain: anyone who is on the digital front will certainly never deal with this top part. No matter how good the top part will sound in the end, at almost 27 kilos this top part is in the upper weight class and will therefore be placed on the negative list from the start by any guitarist who does not want to carry heavy things.

The Orange, made in China, has clearly moved away from the classic Marshall briquette shape and made the amp a little more squat and, with dimensions of 55 cm x 27 cm x 28 cm, trimmed it down a bit in terms of width. Discussing the aesthetics of the amplifier is actually pointless. The amplifier, covered in classic orange Tolex, enriched with the world-famous pictograms above the potentiometers, has polarized opinions ever since this manufacturer was founded. You either love this color or you hate it with all your heart. There is no middle ground in between.

I also find the approach of even designing the power light in orange very consistent. If you just can't get used to the color scheme, there is also an alternative version with black Tolex, although personally this look reminds me more of the company Matamp. The company, founded by Mat Mathias, initially entered into a partnership with Orange, but later split off from the company and took over many of the visual attributes such as the pictograms.

The Orange TH100 is a two-channel all-tube amplifier, but the two channels are deliberately spartan. While the clean channel only has a volume, treble and bass control, the dirty channel only has a shape control, which is a combined tone control for bass, mids and treble. When turned all the way to the left, the amplifier follows a classic British orientation in the sense of a comparatively high mid-range component, while when turned to the right it switches to scoop mode with lowered mids and boosted bass and treble.

The performance data of the Orange TH100

The fact that Orange, despite its long tradition, also deals with modern problems is evident in the sophisticated power circuit of the all-tube amplifier. It is well known that the great dynamics and the special response behavior of four EL34 power amplifier tubes can only be achieved on very large open-air stages.

In order to be able to use this amplifier to its full potential, you can use a switch on the front to not only halve the amplifier's power using a triode / pentode circuit, but also remove two power tubes from the signal path using a second switch on the back of the amplifier.

This means that the amplifier can be run at 100, 70, 50 and 30 watts, which increases flexibility incredibly. However, please note that the power reduction primarily affects the sound and response behavior of the amplifier. Anyone who hopes that the amplifier at 30 watts is only about 1/3 as loud as it is at 100 watts hasn't paid enough attention to physics. To halve the amplifier power, the amplifier can only have a tenth of the power, i.e. a 10 watt amplifier is just half as loud as a 100 watt amplifier, which in turn means that the 50 watt circuit only represents a reduction of about 12% in the output volume.

The back of the Orange TH100

You can see how much the use of two cabinets on one top part, especially 4x12 boxes with 8 ohms each, has declined in recent years when you look at the back of the Orange TH100. The speaker outputs are now only one 16 ohm and two 8 ohm. The manual indicates that if you have a double assignment, such as 2x16 ohm boxes, you want to use the two 8 ohm outputs. In principle, this is logical, but a bit confusing for the inexperienced user.

A single 8 ohm box is therefore still easy to handle, but with two 8 ohm boxes or a single 4 ohm box, it's all over. Whether two cabinets are even needed on a stage is now a completely different matter. However, I would have personally preferred the classic configuration of 1x16 Ohm Out, 2x16 / 1x 8 Ohm Out and 2x8 Ohm / 1x4 Ohm Out, especially when you consider that Orange users are more likely to be in the traditional spectrum of the guitar amplifier segment and also like to move air with 8 speakers if possible.

Furthermore, on the back of the amplifier there is an input for a foot switch for channel switching and a tube-buffered serial loop. The amplifier can be switched to either 230 volts for European conditions or 120 volts or 100 volts for overseas use on the right-hand side.

In terms of built-in tubes, the Orange TH100 is very traditional. For the power tubes 4x EL34, for the preamp 4x 12AX7 or ECC83 and also a 12AT7 or ECC81 for the tube loop.

The Orange TH100 in practice

It doesn't happen very often, but sometimes manufacturers surprise me with an extremely simple and effective way of shaping the sound. This is the case with the Orange T H100. At first glance, you might criticize the fact that the amplifier's tone control options are very rudimentary. There is no explicit midrange control and choosing a single shape control for the dirty channel is truly a challenge.

I must also say, however, that the majority of guitarists, without wanting to offend them, would be overwhelmed by effective tone control on a guitar amplifier anyway. It is not for nothing that Jim Marshall explained his relatively ineffective tone control in an interview that this was intentional, so that guitarists could not set a BAD sound. So the primary aim was to reduce the damage that inexperienced musicians can do with the tone control.

The shape control in the dirty channel, on the other hand, has the great advantage that with a simple turn you can adjust it continuously between a traditional sound with a relatively high midrange component and a classic metal sound in the scope style, a way of working that should suit the majority of guitarists very well. If you asked the guys and girls to implement this using a sophisticated four-band tone control, you would probably end up with the most adventurous settings in this regard.

Otherwise, the amplifier is very practical, which means that the amplifier offers a very stable, tasteful, clean sound that can still produce very clear sounds even at high volumes. You can also optionally drive this channel into a nice saturation. However, you should bear in mind that in this case the volume can quickly become very high in the higher power classes. If you prefer this sound, I would recommend working in the 30 and 50 watt settings.

The Dirty Channel offers a very wide range, although you get the feeling that Orange has gone for metal here due to the very high gain reserves, although I personally think the treble in the scope area above 3 o'clock is a bit too high, but as we all know, this is a matter of taste. In my opinion, a switchable treble reduction would have been very nice here, but as I said, it's all a matter of taste. The fact that the background noise level increases significantly in the high gain range is unavoidable, but could confuse one or two users who are used to working with an internally installed noise gate.

Conclusion

With the Orange TH100, the manufacturer has a flexible all-tube head with a simple but effective tone control in its portfolio, which should cover a large part of the desired sounds, especially in the metal area.

If the heavy weight doesn't put you off, you should definitely give it a try.

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Additional Informations:

In the world of guitar amplification, few names carry as much weight as Orange. Known for their distinctive bright orange tolex and powerful, unique sound, Orange Amplifiers have been a staple on stages and in studios around the globe since the late 1960s. This article delves into the detailed history of Orange Amps, exploring their origins, key developments, and the technological innovations that have made them a beloved brand among musicians.

## The Birth of Orange

### The Visionary Founder: Clifford Cooper

Orange Amplifiers was founded in 1968 by Clifford Cooper in London, England. Cooper, a musician and electronics enthusiast, initially started a musical instrument shop in the basement of a premises on New Compton Street. This shop, named Orange, quickly became a hub for musicians and a breeding ground for new ideas in musical equipment.

### The Early Days: Orange Shop and Studios

The Orange shop was unique not just because of its products but also because it housed a recording studio. This studio attracted a variety of musicians, from aspiring local bands to established acts, which allowed Cooper to gather firsthand feedback about what musicians wanted from their gear. This direct connection with the music community was crucial in shaping the direction of Orange Amplifiers.

### The First Amps: Orange Matamp Collaboration

The first amplifiers to bear the Orange name were created in collaboration with Mat Mathias of Matamp, a small British amplifier manufacturer. The initial Orange Matamp amplifiers were designed to be loud and rugged, catering to the needs of rock musicians who demanded reliable and powerful equipment. These early models, with their unique sound and striking appearance, quickly gained a following.

## The Rise of Orange Amps in the 1970s

### Breaking Into the Market

By the early 1970s, Orange Amps had established a reputation for quality and reliability. Their amplifiers were used by prominent musicians such as Peter Green of Fleetwood Mac and Paul Kossoff of Free, which helped to further raise the brand's profile. The distinctive orange color of their amplifiers also made them easily recognizable on stage and in music stores.

### Key Models and Innovations

#### The OR100

One of the most significant early models was the OR100, introduced in 1972. This 100-watt amplifier was designed to deliver a powerful, clean sound at high volumes, which was ideal for the large venues and outdoor festivals that were popular at the time. The OR100 featured a simple, straightforward control layout, which made it easy for musicians to dial in their desired sound.

#### The Graphic Series

In the mid-1970s, Orange introduced the Graphic Series, which included models like the OR120. These amplifiers were notable for their use of pictographic symbols on the control panels instead of traditional text labels. This design choice not only gave the amplifiers a unique and futuristic look but also made them more accessible to international users, as the symbols transcended language barriers.

### Expansion and Challenges

#### Distribution and Growth

During the 1970s, Orange Amps expanded their distribution network, making their products available to musicians around the world. This period of growth was fueled by the increasing popularity of rock music and the demand for powerful amplification equipment.

#### Economic Challenges

However, the late 1970s and early 1980s brought economic challenges that affected many industries, including musical equipment manufacturing. The rise of cheaper, mass-produced amplifiers from countries like Japan put pressure on traditional British manufacturers. Orange Amps faced significant financial difficulties during this time, which led to a period of reduced production and limited new product development.

## Revival and Reinvention in the 1990s

### The Return of Clifford Cooper

In the early 1990s, Clifford Cooper decided to revive the Orange brand. Recognizing the enduring appeal of Orange amplifiers and the growing nostalgia for vintage gear, Cooper set out to re-establish Orange as a leading name in guitar amplification. This revival was marked by a renewed focus on quality, innovation, and maintaining the brand's distinctive identity.

### Reintroduction of Classic Models

One of the key strategies in the revival of Orange Amps was the reintroduction of classic models. By bringing back iconic amplifiers like the OR120 and updating them with modern components and manufacturing techniques, Orange was able to appeal to both longtime fans and a new generation of musicians. These reissues were well-received and helped to re-establish the brand's reputation for quality and performance.

### New Innovations and Products

#### The AD Series

In the mid-1990s, Orange introduced the AD Series, which included models like the AD30 and AD140. These amplifiers combined the classic Orange sound with modern features, such as improved reliability and versatility. The AD Series was particularly popular among indie and alternative rock musicians, who appreciated the unique tonal characteristics and vintage aesthetic of Orange amplifiers.

#### The Tiny Terror

A major milestone in Orange's resurgence came in 2006 with the introduction of the Tiny Terror. This compact, 15-watt amplifier was designed to deliver the same powerful, distinctive sound as Orange's larger models but in a more portable and affordable package. The Tiny Terror's success helped to cement Orange's reputation as an innovative and forward-thinking brand.

## Orange Amps in the 21st Century

### Continued Innovation and Expansion

In the 21st century, Orange Amps has continued to innovate and expand its product line. The company has embraced new technologies and design approaches while staying true to its core values of quality, reliability, and distinctive sound.

#### The Rockerverb Series

The Rockerverb Series, introduced in the early 2000s, is a prime example of Orange's ability to blend tradition and innovation. These amplifiers feature modern high-gain circuits, built-in reverb, and effects loops, making them versatile tools for a wide range of musical styles. The Rockerverb Series has been particularly popular among metal and hard rock musicians.

#### The Dark Terror and Dual Dark

Building on the success of the Tiny Terror, Orange introduced the Dark Terror and Dual Dark models. These amplifiers cater to musicians who require even higher gain and more aggressive tones. The Dark Terror, with its distinctive black tolex and menacing sound, has become a favorite among metal guitarists.

### Digital Technology and Modern Features

While Orange is known for its analog amplifiers, the company has also embraced digital technology. The Orange Crush Pro Series, for example, combines solid-state circuitry with digital reverb and effects, offering musicians a versatile and affordable alternative to traditional tube amplifiers.

### Artist Collaborations and Endorsements

Orange Amps has always been popular among professional musicians, and the company has maintained strong relationships with artists across various genres. High-profile endorsers include Jimmy Page, Jim Root of Slipknot, and Brent Hinds of Mastodon. These collaborations have helped to keep Orange in the spotlight and demonstrate the brand's continued relevance in the music industry.

## Conclusion

Orange Amps has a storied history that spans over five decades. From its humble beginnings in a basement shop in London to its current status as a globally recognized and respected brand, Orange has remained true to its founding principles of quality, innovation, and distinctive design. Through periods of challenge and resurgence, the company has consistently pushed the boundaries of guitar amplification, creating products that inspire musicians and shape the sound of contemporary music.

As Orange Amps looks to the future, it is clear that their commitment to excellence and innovation will continue to drive their success. Whether through the development of new technologies, the reimagining of classic designs, or the forging of new artist collaborations, Orange will remain at the forefront of the guitar amplification industry, inspiring musicians for generations to come.

TEST: One Control Cranberry Overdrive

 The urge for miniaturization in the instrument industry continues unabated. It must be admitted that when it comes to a pedal that has just one effect and does not need to be adjusted during the show, saving space makes a lot of sense for musicians who are plagued by transportation issues. The One Control Cranberry OverDrive - Boost, which we have for testing, is just such a pedal.

The concept of the One Control Cranberry OverDrive - Boost

The One Control Cranberry OverDrive - Boost is the low gain version of the Strawberry Red Overdrive, also from the American manufacturer One Control. Both pedals were developed for One Control by Björn Juhl, who goes by the name BJFE, which stands for "Björn Juhl Förstärkarelektronik", independently of his own company BJFE Guitar Effects.

The pedal belongs to the group of mini pedals and makes the most of the space required down to the last millimeter. Ultimately, the width is only determined by the 6.35 mm jack plug and the depth by the optional use of a 9V battery. Speaking of batteries, the One Control Cranberry OverDrive - Boost has the lowest power consumption of just 4 mA that I have ever heard of, allowing an operating time of almost 150 hours with an alkaline battery, i.e. around 75 regular shows or around 40 Bruce Springsteen shows ;-) According to the One Control website, the One Control Cranberry OverDrive - Boost only has a power consumption of 1 mA, which would almost put it in the same range as EMG pickups. The pedal also has a regular power supply socket on the right side of the housing, which can handle a mains voltage of 9 - 18 volts. P.S. as a little tip, the sound of the pedal changes with the operating voltage, just try it out.

The housing is visually very tasteful and is made of dark red (cranberry) colored and brushed aluminum. Opinions may differ on the color scheme, as only the top has been given a subtle purple coat of paint, while the sides and the base plate have been given a red that is more like strawberry red. Well, it's a matter of taste.

The workmanship is very high quality, and the pedal, which weighs just 160 grams and measures just 100 mm x 47 mm x 46 mm (L x W x H), still leaves a solid impression. The three controls volume, drive and treble are pleasantly stiff and have been secured with corresponding screw nuts on the top of the housing. The on/off switch is a true bypass switch, with a red LED indicating the operating status.

Four screws hold the base plate to the pedal, and the lack of a battery cover draws attention to the long running time of a 9V block. Even with a weekly rehearsal and one show per week, a battery should last around 9 months. However, I would always give preference to a power supply for environmental reasons. To give the housing more stability, the pedal comes with 4 adhesive rubber feet. If you want to use these, you are faced with the dilemma of either attaching them to the corners of the housing in the most effective way possible, thereby covering the 4 screws on the base plate, or placing them inwards, where they can only perform their function in a weaker form. However, attaching the One Control Cranberry OverDrive - Boost is definitely recommended, as the extremely low weight means that the bending stiffness of a patch cable is enough to push the pedal out of position. The optimal placement here is once again a high-quality floorboard, although the size of the pedal means you can go for the smallest size of pedalboards.

There is another special feature on the left outside of the housing. A recessed Phillips screw can be used to adjust a low cut in order to minimize the typical low-frequency pumping that is often used in high gain. If you're sitting alone in a room and playing at a very low volume, you might find strongly resonating bass frequencies very welcome, as they add a kind of "loudness effect" to the sound at low volume. However, as the volume increases and in a band context, the bass frequencies become a real problem, as they radiate into the frequency range of other instruments and also tend to build up into a pumping wave that pushes down the rest of the guitar's frequencies. This is where the Low Cut of the One Control Cranberry OverDrive - Boost can be a real help.

The One Control Cranberry OverDrive - Boost in practice

One Control explicitly points out in its descriptions that the One Control Cranberry OverDrive - Boost has the same characteristics as the Strawberry Red pedal in terms of response and compression behavior, but with a different approach. Due to the comparatively low drive contingent, the pedal relies more on the classic boost effect, as it has been and is used millions of times in the legendary TS9 - JCM 800 combination. The boost effect can be used in the almost clean range, or the pedal can be used as a kind of additional preamp tube that is driven into saturation.

Experienced musicians will already know this, but it is mentioned here again just to be on the safe side. The above-mentioned area of ​​application booster / overdrive, depending on the gain setting, only works optimally in its full range of sounds in front of an all-tube amp. This is not to say that the One Control Cranberry OverDrive - Boost doesn't sound good in front of a solid state amp, but the interaction with the individual components of the amplifier only unfolds in the highest quality in the glass bulb area. For this reason, I created the sound files with a Marshall 2204 and a Marshall 412 cabinet with Celestion G12 75T speakers and used both inputs alternately.

The One Control Cranberry OverDrive - Boost does indeed have a very high boost component when required, with which it can raise even low-performance vintage pickups to a very high output level. You can also drive the preamp of a corresponding amp accordingly "hot". The key is to find the optimal balance between volume and drive on the pedal, as the two controls influence each other. If the drive control is turned towards zero, no signal is output. Only from the approx. 9 o'clock position does the pedal produce a good working level, which still remains largely stuck in the clean sound.

If you now drive the preamp too subtly, the sound remains thin and cannot really develop, but if you overdrive the preamp with too high an output level, the signal sounds compressed and undynamic. So it's important to find the exact sweet spot, which involves a bit of trial and error. However, once you have successfully completed this task, the sound improvement is really enormous. The One Control Cranberry OverDrive - Boost can play to its strengths particularly well in the subtle crunch range by expanding the sound possibilities of the amp with an additional channel without the sound deviating too much from the original. The character of the amp is retained, it is simply "expanded", which sets the One Control Cranberry OverDrive - Boost apart from some competing models.

Overall, the One Control Cranberry OverDrive - Boost has to be given a very good rating, as it turns out to be a high-quality alternative to the classics of a TS9 or SD1, especially since the adjustable low cut can also implement the bass cancellation of a TS9 that many musicians appreciate. The extent to which you want to use the treble control depends on the amp you are using and your personal taste; for my part, I found the 12 o'clock position to be the best.

Conclusion

With the One Control Cranberry OverDrive - Boost, the American manufacturer has a top-class low overdrive pedal in its portfolio. The pedal impresses with its very good workmanship in combination with high-quality components in production.

The very small and extremely light pedal offers a wide range of boost and overdrive options, provided you take the time and patience to find the respective sweet spot of the combination in interaction with your amp. The pedal is particularly impressive in the very subtle crunch range, where the amp is only blown gently to create a consistently powerful sound without the amp becoming too aggressive in its basic design.

If you have the right amp, definitely give it a try!

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Additional Informations:

One Control is a relatively new but highly innovative player in the world of guitar effects pedals. Since its inception, the company has carved out a niche for itself with its high-quality, compact, and versatile pedal designs. This article delves into the detailed history of One Control, tracing its origins, key products, and the technological advancements that have solidified its reputation among musicians worldwide.

## The Founding of One Control

One Control was founded in 2010 by Tomokazoo Saito in Tokyo, Japan. The company emerged during a time when the market for guitar effects pedals was already saturated with numerous established brands. However, Saito, an experienced musician and electronics enthusiast, saw a gap in the market for pedals that combined high-quality sound with innovative design and usability.

### Early Vision and Goals

Saito’s vision for One Control was to create pedals that were not only sonically superior but also user-friendly and adaptable to various musical settings. He wanted to offer musicians tools that would inspire creativity and enhance their playing experience. This vision has guided the company’s product development and business strategy from the beginning.

## The First Products

### The Crocodile Tail Loop

One Control’s first major product was the Crocodile Tail Loop, a programmable loop switcher that quickly gained popularity among guitarists for its versatility and ease of use. Released in 2011, the Crocodile Tail Loop allowed musicians to control multiple effects pedals with a single unit, effectively streamlining their pedalboards and making it easier to manage complex signal chains.

The success of the Crocodile Tail Loop was a pivotal moment for One Control, establishing the company as a serious contender in the effects pedal market. It demonstrated the company’s commitment to solving practical problems for musicians while maintaining a high standard of quality and innovation.

### BJF Series Effects

Building on the success of the Crocodile Tail Loop, One Control began collaborating with renowned Swedish pedal designer Björn Juhl, known for his work with brands like Mad Professor and BJFe. This partnership led to the creation of the BJF Series effects pedals, which combined Juhl’s expertise in circuit design with One Control’s focus on usability and aesthetics.

The BJF Series included a range of overdrive, distortion, and modulation pedals, all designed to deliver superior sound quality in a compact format. These pedals quickly gained a following among guitarists for their rich, musical tones and intuitive controls.

## Expansion and Innovation

### The Minimal Series

One Control continued to innovate with the release of the Minimal Series, a line of ultra-compact pedals designed to save space on pedalboards without sacrificing sound quality. The Minimal Series included effects like the Mosquito Blender Trail, which allowed guitarists to blend their dry signal with effects, and the Tri Loop, a compact loop switcher.

These products showcased One Control’s ability to address the practical needs of musicians while pushing the boundaries of pedal design. The Minimal Series was particularly popular among touring musicians and those with limited pedalboard space, solidifying One Control’s reputation for innovation and practicality.

### Advanced Switching Systems

In addition to effects pedals, One Control also developed advanced switching systems to further streamline the performance and recording processes for musicians. Products like the Agamidae Tail Loop and the Iguana Tail Loop provided even more options for controlling multiple pedals and managing complex signal chains.

These switching systems highlighted One Control’s commitment to providing comprehensive solutions for musicians, allowing them to focus on their playing rather than dealing with technical issues. The company’s emphasis on user-friendly design and functionality was evident in every product they released.

## Key Products and Technological Advancements

### The Honey Bee OD

One of the standout pedals from the BJF Series is the Honey Bee OD, an overdrive pedal designed to emulate the warm, natural breakup of a vintage tube amp. The Honey Bee OD became a favorite among guitarists for its dynamic response and versatile tonal range, capable of producing everything from subtle overdrive to rich, saturated distortion.

The success of the Honey Bee OD underscored One Control’s ability to combine classic tones with modern features, appealing to a wide range of musicians. Its intuitive controls and compact design made it a staple on many pedalboards, further establishing One Control as a leader in the effects pedal market.

### The Prussian Blue Reverb

Another notable product from One Control is the Prussian Blue Reverb, a high-quality reverb pedal designed to offer a wide range of ambient effects. The Prussian Blue Reverb features controls for decay, mix, and tone, allowing guitarists to dial in everything from subtle room reverb to expansive, atmospheric soundscapes.

The Prussian Blue Reverb’s combination of lush, natural-sounding reverb and user-friendly design made it a popular choice among musicians looking to add depth and dimension to their sound. It exemplified One Control’s commitment to quality and innovation in every aspect of their pedal design.

### The Gecko Series MIDI Controllers

Recognizing the growing importance of MIDI in modern music production, One Control developed the Gecko Series MIDI Controllers. These compact, versatile controllers allowed musicians to integrate their pedals and other gear into a MIDI setup, providing greater control and flexibility.

The Gecko Series demonstrated One Control’s forward-thinking approach and willingness to embrace new technologies to meet the evolving needs of musicians. By offering products that bridged the gap between traditional analog effects and modern digital control, One Control positioned itself at the cutting edge of pedal design.

## Collaborations and Endorsements

### Partnerships with Artists

One Control has collaborated with numerous artists over the years to develop signature pedals and gain valuable feedback on their products. These collaborations have helped the company refine their designs and ensure that their pedals meet the demands of professional musicians.

Artists like Josh Smith, Paul Gilbert, and Richard Fortus have all used One Control pedals, contributing to the company’s reputation for quality and reliability. These endorsements have helped One Control reach a wider audience and establish itself as a trusted name in the industry.

### Collaborations with Other Brands

In addition to working with artists, One Control has also partnered with other brands to develop new products and expand their reach. Notable collaborations include their work with Xotic Effects on the BB Preamp and with Mad Professor on the Forest Green Compressor.

These partnerships have allowed One Control to leverage the expertise of other leading companies in the industry, resulting in products that combine the best of both worlds. By working with other brands, One Control has been able to continue innovating and offering unique, high-quality pedals to musicians.

## The Future of One Control

### Continued Innovation

As One Control looks to the future, the company remains committed to innovation and quality. They continue to explore new technologies and design concepts to create pedals that meet the evolving needs of musicians. Whether through the development of new effects, advanced switching systems, or integration with digital technologies, One Control is dedicated to pushing the boundaries of what is possible in the world of guitar effects pedals.

### Expanding Their Product Line

One Control’s product line has steadily expanded since its inception, and this trend is likely to continue. The company is constantly exploring new ideas and seeking out collaborations to bring fresh, exciting products to market. By staying attuned to the needs and preferences of musicians, One Control aims to maintain its position as a leading innovator in the industry.

### Commitment to Musicians

At the heart of One Control’s philosophy is a commitment to serving musicians. The company’s founder, Tomokazoo Saito, remains dedicated to creating products that inspire creativity and enhance the playing experience. This commitment is evident in every pedal and product One Control releases, ensuring that they continue to earn the trust and loyalty of musicians worldwide.

## Conclusion

One Control’s journey from a small startup in Tokyo to a respected name in the world of guitar effects pedals is a testament to their dedication to quality, innovation, and practicality. Through their partnerships with renowned designers, collaborations with artists, and continuous exploration of new technologies, One Control has consistently delivered products that meet the needs of modern musicians.

As the company looks to the future, it is clear that One Control will continue to play a significant role in shaping the sounds of musicians around the world. Their pedals offer a unique blend of classic tones and modern features, ensuring that they remain a favorite among guitarists of all styles and genres. Whether you’re a professional musician or a hobbyist, One Control’s pedals provide a gateway to a world of sonic possibilities, cementing their place as a pivotal force in the world of guitar effects.

TEST: MXR Distortion Pedals

 What was the first effects pedal that almost every guitarist bought around 25 years ago? A distortion pedal! Why? Because the powerhouses of the time mostly had a very good crunch sound, but they were completely out of touch when it came to a standing, singing lead sound. One of the main reasons for the resounding success of the Mesa Boogie amplifiers that first appeared at the time was the factory-made solo sound, which was characterized by, among other things, much greater gain reserves than its competitors.

Rock musicians can generally be divided into two camps. Some prefer an amp that can produce the various gain levels from clean to lead in one housing thanks to an extensive choice of channels, while others value the one official sound of their amp and rely on different pedals, or boosters, overdrive, distortion and fuzz to vary the distortion patterns. The second type of "half-wave prohibition fans" mentioned above will certainly have come across the name MXR. Under the aegis of Dunlop, it was the American company that was one of the first to come out with the legendary Distortion + to offer the all-tube heads additional flexibility in terms of distortion.

I have the Distortion + in its current form for testing. To make the test more meaningful, I included two other successful models from the MXR catalog in a comparison test, the Distortion III and a custom-made model from the Dunlop Custom Shop, the GT-OD.

Construction:

Lined up neatly next to each other, the landmines remind me a little of the unspeakable "traffic light coalition" that is threatening us again in some federal states these days. One thing is certain, however, even if the pedals turn out to sound pathetic in the test, a product cannot sound as pathetic as the current political representatives of the people are behaving across all parties in all their corruption, even if it were just an empty cardboard shell filled with excrement!

Strictly speaking, a direct comparison within the products mentioned is not possible, as the three distortion pedals cover three different categories within the distortion segment. The Distortion+ is primarily a fuzz pedal, the Distortion III is nomen est omen under the distortion category, while the GT-OD is a real overdrive. However, since all products come from the same company, it is interesting to show parallels and contrasts.

All devices come in very sturdy metal housings, which will probably ensure a long life. All test candidates are equipped with a true bypass, an LED, phosphorescent marking lines on the controls and work with either a 9V block or a mains adapter. The two distortion guys come in a kind of light hammer finish, while the Custom Shop colleague has been given a green metallic finish.



Practice:

Distortion+: I think I remember that this distortion pedal was actually the first distortion pedal that little Axel bought around 27 years ago. It sounded terrible in front of my Peavey Deuce Combo, but it was in front of my Marshall 2210 that it first developed its potential. My ears were completely undeveloped at the time, so I can't even remotely remember the Distortion+ producing such a high proportion of fuzz. In fact, from around 1 o'clock on the distortion control, the bright yellow box develops the typical artifacts that make up a real fuzz. Even at full deflection, the "ring modulator sound" that occurs in other representatives of this genre cannot be detected, but the sometimes deliberately crude overtone generation leaves no doubt as to where the Distortion+ should be placed. For straight chord work beyond the power chord duos, however, things get tight for the Distortion+ at a certain gain factor, the overall sound becomes too muddy. However, the fuzz is great for single lines or scratchy Black Sabbath riffs. You should also try the pedal as a booster with low gain and high output.

Distortion III: The Dist. III is relatively new to the range, with MXR striving to make the Distortion III another classic in its product range. Even though the time has passed due to the variety of products when it was possible to generate a real classic regardless of product quality, it actually has what it takes. For a distortion, the Dist. III comes with an unexpectedly soft distortion, although all MXR products in this range have always been known for a high proportion of "smooth". The Dist. III does not cover the sound with a high proportion of its own, but gives the artist plenty of freedom to create his own personal playing style. The tone control is quite ineffective, there is no difference in sound between the left and right stops, which of course also has the advantage that you can't really mess up the sound. In the words of Jim Marshall, "my amps have an ineffective tone control on purpose, so you can't set the amps wrong"! Beautiful singing lead sounds are just as possible as powerful chords, here you definitely have to lug your own amp with you to the music store as a reference, only then can you decide whether the soft sound suits your own equipment.

GT-OD: As a real overdrive, the greenhorn from the Custom Shop appeals to a completely different clientele than its two predecessors. Connected in front of a clean amp, the GT-OD produces a soft crunch that works very well in blues or AOR. It very subtly complements the artist's dynamic playing and allows a high degree of interaction. The listener is also spared the notorious treble cut or mid-range boost. Quite neutral in sound, it actually seems like another tube in the signal path. Connected to a distorted amp, you can generate a very nice solo sound. The tone has enough sustain and yet still has enough power to not drown in the "gain softener". The tone control works a little more effectively than on the Distortion III, but without causing any sludge or sawtooth sounds. A very nice piece of equipment!

Conclusion:

Despite the differences, it cannot be denied that all pedals come from the same workshop. MXR actually has its own sound across all products, which is always characterized by a high level of "analogy", that is to say a high degree of warmth and softness. In my opinion, these products are not built for ultra-aggressive metal applications; rather, they embrace the different styles of rock at the highest level, be it 70s crunch, 80s hard rock or 90s grunge howl.

The GT-OD has emerged as my personal favorite. In my opinion, the components and overall sound are even better than the already high quality of its product colleagues. Of course, opinions can differ on the colorful design of the pedals in "8-bit mode" ;-)

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Additional Informations:

The world of guitar effects pedals is vast and diverse, with numerous companies contributing to the rich tapestry of sound possibilities available to musicians. One company that has left an indelible mark on the industry is MXR. Renowned for their innovative and high-quality pedals, MXR has been a staple in the world of guitar effects since the early 1970s. This article delves into the detailed history of MXR, focusing specifically on the development and impact of their distortion pedals.

## The Birth of MXR

MXR was founded in 1972 in Rochester, New York, by Keith Barr and Terry Sherwood. The company’s inception came at a time when the demand for guitar effects was burgeoning, driven by the burgeoning rock and roll scene. Barr and Sherwood, both engineers with a passion for music, saw an opportunity to create reliable, high-quality effects pedals that could withstand the rigors of touring and performance.

### The First Pedal: The Phase 90

While not a distortion pedal, the Phase 90 was MXR’s first product and it laid the groundwork for the company’s approach to pedal design: simplicity, durability, and great sound. Released in 1974, the Phase 90 quickly became a favorite among guitarists for its lush, swirling phasing effect. Its success provided the financial stability and brand recognition necessary for MXR to expand their product line.

## The Introduction of Distortion Pedals

### The MXR Distortion +

The MXR Distortion +, released in 1975, was one of the company’s earliest forays into the world of distortion. This pedal was designed to provide a warm, tube-like overdrive that could push an amp into heavier territories. The Distortion + featured a simple two-knob layout: one for output level and one for distortion amount. This straightforward design made it easy for guitarists to dial in their desired sound without getting lost in a sea of controls.

The circuit of the Distortion + was based around a single operational amplifier (op-amp) and used germanium diodes to clip the signal, creating its distinctive distortion character. This design choice was crucial in shaping the pedal’s sound and set it apart from other distortion pedals available at the time.

### The MXR Distortion II

Following the success of the Distortion +, MXR continued to innovate with the release of the Distortion II in the late 1970s. The Distortion II was a more complex pedal, featuring additional controls that allowed for greater tonal flexibility. It included knobs for output, distortion, and two-band EQ (high and low), enabling guitarists to fine-tune their sound with more precision.

The Distortion II's circuit design was more intricate than its predecessor, utilizing multiple op-amps and a more sophisticated clipping stage. This resulted in a pedal that could produce a wider range of distortion tones, from mild overdrive to aggressive fuzz.

## The 1980s: Expansion and Innovation

### The MXR M-104 Distortion+

As the 1980s rolled in, MXR continued to expand its range of distortion pedals. One notable release was the M-104 Distortion+, an updated version of the original Distortion +. The M-104 maintained the core characteristics of the original pedal but featured improved components and a more robust build, ensuring its place on pedalboards for years to come.

### The MXR M-117 Flanger and the Distortion III

In addition to their distortion pedals, MXR also released the M-117 Flanger, which, while not a distortion pedal, was often used in conjunction with distortion to create rich, textured sounds. The synergy between MXR’s modulation effects and their distortion pedals was a key factor in their widespread adoption by guitarists in various genres.

The Distortion III, introduced in the early 2000s, was another significant addition to MXR’s lineup. It offered a more modern take on distortion, with a smoother, more refined sound compared to the raw aggression of the Distortion +. The Distortion III featured a three-knob layout (output, tone, and distortion), providing a versatile range of tones suitable for both vintage and modern rock styles.

## The Influence of MXR Distortion Pedals

### Iconic Users and Signature Sounds

MXR's distortion pedals have been used by some of the most influential guitarists in rock history. Randy Rhoads, the legendary guitarist for Ozzy Osbourne, famously used the Distortion + to craft his iconic sound. Other notable users include Dave Murray and Adrian Smith of Iron Maiden, who used MXR pedals to shape their groundbreaking twin-guitar harmonies.

### The Pedal That Shaped Metal

The Distortion +, in particular, played a significant role in the development of heavy metal. Its aggressive, cutting distortion helped define the genre's sound in the late 1970s and early 1980s. Guitarists found that the pedal could push their amplifiers into new levels of gain and sustain, making it a staple for metal musicians seeking to push the boundaries of their tone.

## Technological Advancements and Modern MXR Distortion Pedals

### The Custom Badass Series

In recent years, MXR has continued to innovate with the release of the Custom Badass series. This line of pedals aims to combine vintage analog warmth with modern reliability and versatility. The Custom Badass '78 Distortion, for example, is a modern reimagining of the classic distortion pedal, featuring true bypass switching and a "Crunch" button for added tonal flexibility.

### The MXR Super Badass Distortion

The Super Badass Distortion, another modern addition to MXR’s lineup, offers a comprehensive range of distortion tones. With controls for output, distortion, and a three-band EQ, the Super Badass Distortion can emulate everything from vintage overdrive to high-gain metal distortion. This versatility makes it a popular choice for contemporary guitarists seeking a single pedal that can cover a wide array of sounds.

### Integration of Digital Technology

While MXR has traditionally been known for their analog pedals, they have also embraced digital technology to enhance their offerings. The MXR EVH 5150 Overdrive, a collaboration with Eddie Van Halen, combines analog circuitry with digital control to deliver a wide range of overdrive and distortion tones. This pedal is a testament to MXR’s ability to innovate while staying true to their analog roots.

## Conclusion

MXR’s journey from a small startup in Rochester to a globally recognized name in the world of guitar effects pedals is a testament to their commitment to quality, innovation, and simplicity. Their distortion pedals, in particular, have played a crucial role in shaping the sounds of rock and metal music for decades. From the iconic Distortion + to the modern Custom Badass series, MXR continues to push the boundaries of what guitarists can achieve with their tone.

As the company looks to the future, it is clear that MXR will remain at the forefront of pedal design, continuing to inspire musicians around the world with their groundbreaking products. Whether you’re a seasoned professional or an aspiring guitarist, MXR’s distortion pedals offer a gateway to a world of sonic possibilities, ensuring that the legacy of this iconic company will endure for generations to come.