TEST: Radial Engineering Voco-Loco

 As a guitarist, you know the problem. Although many music-loving listeners describe the guitar as a more or less cool instrument, you sometimes get a rather disparaging assessment from fellow musicians. While everything that comes from the piano area generally considers guitarists to be cavemen with only a little knowledge of harmonic theory, and singers generally see the function of a guitarist as only accompanying their glory, there is one area that all instrumentalists envy guitarists. We are talking about the sheer gigantic selection of floor pedals for finding and defining your personal sound, which most instrumentalists have no access to due to technical adjustment problems. This is where the Canadian company Radial Engineering comes into play, which once again wants to remedy this problem with a rather unspectacular but extremely useful tool and introduces the Radial Engineering Vocoloco.

The concept of the Radial Engineering Vocoloco

Whenever you have to deal with switches, switchers, impedance converters and DI boxes in the professional field, sooner or later you will come across the company Radial Engineering. The Canadian company, which also has its products manufactured in Canada, generally impresses with very good workmanship and sometimes absurdly simple solutions to technical problems that would otherwise make you want to tear your hair out. In addition, Radial Engineering builds its products to last forever, which means that each product is extremely solid, including the Radial Engineering Vocoloco we tested, whose steel housing weighs almost a kilogram despite its small dimensions of 14.5 cm x 9.5 cm x 5 cm (W x D x H). If you do not attach the Radial Engineering Vocoloco to a floorboard, the product comes with 4 adhesive rubber feet, which offer comparatively good adhesion even on smooth surfaces.

According to the product description, the Radial Engineering Vocoloco is an effects switcher with a built-in microphone preamp, which in my opinion only gives a very marginal indication of the product's capabilities. Rather, the product allows the consistently symmetrical microphone signal to be connected, in whatever form, with the consistently asymmetrical pedals from the guitar-bass area in a common signal chain. It is therefore obvious that impedance conversions must also be used here in order to be able to merge the two worlds of signal routing.

The Radial Engineering Vocoloco must essentially be divided into two areas, which are also visually separated from one another on the top of the housing. On the one hand, there is the microphone preamp, which has a gain control, a bass control and a treble control and, as expected, takes care of the signal from the fed-in microphone. The other area, on the other hand, takes care of the loop function, where the respective pedals are looped in. Here you can separately regulate how much signal strength is output to the effect pedals and how strong the level is that comes back from the devices. There is also a tone control to slightly influence the timbre of the effects and there is also a mix control to adjust the proportion between the effect signal and the dry signal.

Using two foot switches, you can activate or deactivate the effect loop for the pedals separately and there is a mute switch with which you can mute the entire signal chain. This is very useful during breaks in playing, for example. Using a recessed push button, you can also convert the mute switch into an "all wet" switch. To operate the Radial Engineering Vocoloco, Radial Engineering supplies an external power supply. The big advantage of this power supply is the variable attachment of different plugs, so that the product can be used worldwide. The disadvantage of this power supply is its values. With a voltage output of 15 volts direct current at 400 mA, the power supply uses very unusual values, which means that you probably won't be able to operate the Radial Engineering Vocoloco without the power supply supplied. I don't know of any power supply for guitars that has 15 volts. So remember, never lose this power supply, otherwise it won't work.

The strain relief for the power cable, which is placed above the power socket, is also somewhat unusual. As is usual with Radial Engineer, even this small plastic tab is very solid and will probably never break during its service life. The disadvantage, however, is that this tab is so solid that I could not move it forward, let alone to the side, to place the power cable underneath; instead, you have to use a special Allen key to loosen the bracket, place the cable and screw the bracket back on. On the one hand, this is a very durable solution, on the other hand, perhaps a touch over the top in terms of practicality.

There are also three more recessed push buttons on the front of the housing, which can be used to switch various functions. Firstly, we have the phantom power of 48 volts, the activation of which is indicated again by a red LED on the top of the housing.

There is also a ground lift switch on the front and a 180 degree phase switch. Anyone wondering why this product has a phase switch should be aware that many guitar effect manufacturers don't give a damn about phase fidelity, as it is simply not necessary to think about it in terms of sound when it comes to guitars. However, when it comes to microphones, incorrect phase position can lead to the notorious mid-range cancellations, which make the sound sound horrible or even thin. This switch can potentially eliminate this problem. Once again, such small details show how much Radial Engineering thinks about signal routing down to the last detail.

Finally, the Vocoloco also offers a microphone in and microphone out, symmetrical of course, and an asymmetrical effects loop with corresponding jack sockets. The included English-language manual is also very nice, showing the most important functions of the respective control elements down to practical examples of how to best use the Radial Engineering Vocoloco. Interestingly, the operating instructions are only in English. For a Canadian manufacturer, I would have thought that a further version in French would be included with the product.

The Radial Engineering Vocoloco in practice

Although most users imagine using the Radial Engineering Vocoloco in conjunction with a vocal microphone, one should always keep in mind that the product can be particularly useful when using wind instruments or a harmonica, for example. Ultimately, any instrument that is picked up with a microphone can benefit from the system. I still remember very well how Stewart Copeland, drummer for the band The Police, sent his drum rhythms through delay pedals in his early days to generate a spatial effect at live concerts. I can vividly imagine what an effort it must have been at the time to adapt the microphone signals to the corresponding guitar effects.

Otherwise, there is almost nothing to say about the practical part of the Radial Engineering Vocoloco, except that the product works excellently, has no background noise, has no structural problems and does exactly what it was built for, and in the best quality. The preamp can of course only set subtle nuances when it comes to the filter range and the tone control of the effects loop is more or less a nice little extra, but the concept of the pedal is extremely convincing and in my opinion will definitely find its buyers and real fans.

I have heard here and there that some users would have liked an internally installed compressor. Of course this would have been possible, but I think it makes more sense to use a compressor from the pedal range and simply feed it into the signal chain. Personally, I would start by putting together a so-called bread and butter setup, consisting of a compressor, a modulation pedal, a reverb, an echo and, depending on your taste, an overdrive. You should be careful with overdrive; a little distortion is a good thing, but as soon as you get into real distortion, not only does the background noise increase massively, but the risk of feedback is also increased accordingly. But here too, whatever you like is allowed and there is no limit. Of course, you should always keep in mind that there are probably hundreds of thousands of effect pedals now, all of which sound slightly different, so the variety of sounds that the Radial Engineering Vocoloco opens up is almost unlimited.

Conclusion

With the Radial Engineering Vocoloco, the Canadian manufacturer has a product in its portfolio that opens up the gigantic world of guitar pedals to every microphone signal. The concept of merging a symmetrical microphone signal with an asymmetrical guitar pedal is implemented in the highest quality with an excellent concept.

A real asset for every musician who wants to enrich their signal with effects. Definitely give it a try!

————————

Additional Informations:

Radial Engineering is a prominent name in the pro audio industry, known for its innovative and high-quality audio equipment. Founded in 1991, the Canadian company has carved a niche for itself by focusing on durability, performance, and reliability, catering to both live sound and studio environments. Radial's product lineup includes direct boxes (DI boxes), audio splitters, reampers, switchers, preamps, and other essential tools that have become staples in the toolkit of sound engineers, musicians, and recording professionals.

## History and Evolution

### Founding and Early Years

Radial Engineering was established by Peter Janis in Vancouver, British Columbia. Initially, the company operated under the umbrella of JP Cabletek Electronics Ltd., a distributor of professional audio equipment. Radial began as an OEM manufacturer, producing equipment for other brands. However, recognizing the potential for high-quality, innovative products, Janis decided to launch Radial as its own brand.

### Innovation and Growth

The turning point for Radial came with the introduction of the JDI direct box in 1996. The JDI was one of the first passive direct boxes to use a Jensen transformer, which provided superior audio quality and noise rejection. This product set the standard for direct boxes and established Radial as a leader in the industry. The JDI’s success was followed by the JDV, an active direct box that further cemented Radial’s reputation for innovation and excellence.

## Product Lineup

Radial Engineering’s product range is extensive, addressing various needs in live sound, recording studios, and broadcast environments. Below are some of their flagship products and categories:

### Direct Boxes

1. **JDI**: The Jensen-transformer equipped JDI is revered for its pristine sound quality, high headroom, and exceptional noise rejection, making it a go-to choice for both live and studio applications.
   
2. **JDV**: An active direct box that offers unparalleled performance with its Class-A circuitry, the JDV is designed to handle high-output instruments without distortion, providing a transparent and dynamic sound.

3. **PRO DI Series**: The Pro DI series offers affordable yet reliable options for musicians and sound engineers, featuring rugged construction and clear sound.

### Reampers

1. **X-Amp**: This active reamper allows engineers to take a pre-recorded signal and send it to an amplifier, enabling experimentation with different amp and effect settings during mixing.
   
2. **ProRMP**: A passive reamper that provides an easy and cost-effective way to reamp guitar tracks, preserving the original tone and character.

### Switchers and Splitters

1. **BigShot ABY**: A passive switcher that allows users to switch between two amplifiers or run both simultaneously without introducing noise or signal degradation.
   
2. **Twin-Iso**: A stereo isolator and line splitter designed to eliminate ground loop hum and balance signals, essential for complex setups.

### Preamps and Interfaces

1. **PowerPre**: A high-performance microphone preamp that delivers pristine audio quality with low noise and high gain, suitable for a wide range of recording applications.
   
2. **Vocal Studio V2**: A compact and versatile vocal recording interface that combines a high-quality preamp with essential features like monitoring and headphone amplification.

### Pedals and Effects

Radial also produces a range of guitar pedals and effects units, including distortion pedals, loopers, and signal buffers, all designed to deliver superior sound and reliability.

## Technology and Innovation

### Transformer Design

One of Radial Engineering’s key innovations lies in its use of high-quality transformers, particularly those made by Jensen. These transformers are renowned for their ability to preserve signal integrity, provide excellent isolation, and eliminate noise. Radial’s meticulous approach to transformer design and implementation ensures that their products deliver the best possible audio performance.

### Durability and Build Quality

Radial products are known for their rugged construction, making them ideal for the rigors of live performance and touring. The company uses heavy-duty steel chassis, high-quality components, and thorough testing to ensure that their gear can withstand the demands of professional use.

### User-Centric Design

Radial places a strong emphasis on user-centric design, creating products that are intuitive and easy to use. This focus on usability is evident in features like clearly labeled controls, robust connectivity options, and practical form factors that fit seamlessly into various audio setups.

## Impact on the Pro Audio Industry

Radial Engineering has had a profound impact on the pro audio industry, setting new standards for quality and performance. Their products are trusted by top touring acts, recording studios, and broadcast professionals worldwide. The company’s commitment to innovation has pushed the boundaries of what is possible in audio technology, inspiring other manufacturers to elevate their standards.

### Influential Users and Endorsements

Many renowned musicians and sound engineers endorse Radial products, including artists like John Mayer, who praises the JDI for its transparent sound, and legendary producer Bob Rock, who relies on Radial gear in the studio. These endorsements highlight the trust and respect Radial has earned within the industry.

### Educational Contributions

Radial Engineering also contributes to the education of future audio professionals by providing resources and support to audio engineering schools and programs. Their commitment to education ensures that the next generation of sound engineers and musicians are well-equipped with the knowledge and tools they need to succeed.

## Environmental and Social Responsibility

Radial Engineering is committed to sustainability and social responsibility. The company strives to minimize its environmental impact through responsible manufacturing practices and the use of eco-friendly materials. Additionally, Radial supports various charitable initiatives and community programs, reflecting its dedication to making a positive impact beyond the realm of audio technology.

## Conclusion

Radial Engineering’s legacy is built on a foundation of innovation, quality, and reliability. From its humble beginnings to its current status as a leader in the pro audio industry, Radial has consistently delivered products that meet the needs of professionals across the globe. Their commitment to excellence, user-centric design, and sustainable practices ensures that Radial will continue to be a driving force in audio technology for years to come. Whether in a live concert, a high-stakes recording session, or a broadcast environment, Radial’s products empower audio professionals to achieve the best possible sound, making them an indispensable part of the pro audio landscape.

TEST: Pyramid Strings

 Foreword:
"Strings? Yes and...? Are there any differences?" How often have I heard these words in my life... *sigh*... While the ambitious artist sometimes deals meticulously with instrument and amplifier manufacturers, even tinkering around in the innards of the equipment such as power tubes, the return current behavior of loudspeakers or the crystallization process of wood molecules, the actual sound generator, the string, seems to lead a niche existence close to being an extra. Just a wire made of steel, either ribbed or bare... Oh dear, what ignorance! This must be remedied.

For testing purposes, I have an all-round set from PYRAMID, consisting of three different electric guitar sets (nickel plated steel, stainless steel and pure nickel) and two bass sets (nickel roundwound and stainless steel). To ensure better comparability, both sets were designed for my preferred gauge (guitar 013 - 056, bass 045 - 105).

History:
The PYRAMID company looks back on a long and traditional company history spanning a total of 157 years. Founded in 1850 in what was then Austria, the company moved to West Germany in 1949, where it is still based today in Bubenreuth. As one of the few companies, PYRAMID supplies pretty much every string that is needed in the instrument sector, no matter how unusual the instrument. Even the entire range of historical instruments, from lutes and harps to "traditional German" instruments such as dulcimers and zithers to string instruments from the Middle East such as sarod, surbahar or aoud, you can find pretty much everything that has to do with a wire in the company's own range.

I also really liked the listing of a product line in the catalog called "Schrammelgitarre" ;-). So, dear children, if grandpa and grandma are once again annoying you by playing a "strumming guitar" instead of the mega-metal-heavy electric guitar you want, I don't mean that in a bad way, this instrument really does exist ;-).

PYRAMID also stands out for its high level of flexibility when it comes to custom-made products. You want to pay homage to your downtuning idol, who tunes his tree stump to dropped C, but you have a string tension like your mom's clothesline and, as a result, a transient attack like the ministerial braggarts of the grand coalition? No problem, PYRAMID will also make you a 070 E string for your plane, but you will of course have to adjust the saddle and bridge yourself.

Construction:
In general, you should first familiarize yourself with the physical principle of electromagnetic sound conversion in order to better understand how an electric guitar / electric bass string works. Every vibrating metal object generates a magnetic field around itself. The strength of this magnetic field varies considerably depending on the material composition and vibration mass. In addition, the individual components have different phases of attack and decay due to their different stiffness, which all together determine the final tone produced.

This naturally leads to different interactions with the components of the instrument such as the fret wire, wooden construction and pickup. The movement of the string and the associated magnetic field induces a voltage in the coils of the pickup. (Yes, exactly like back in physics class, when the teacher was unmotivatedly fiddling around with the bar magnet in the coil to get the voltmeter to register). This voltage is now the basis for the entire tone to be produced.

All strings are based on a hexagonal steel core or nickel core, which is covered with different wire or different layer (treble strings) depending on the desired sound. In addition to the sound aspect, the starting point is always to protect the steel core against corrosion. A distinction is made between the following subgroups:

Nickel Plated Steel: steel core wound with steel, protected against corrosion with a thin nickel layer

Nickel Roundwound: steel core wound with nickel wire

Stainless Steel: steel core wound with stainless steel

Pure Nickel Strings: nickel core wound with nickel wire

Even when unpacking, you can see enormous differences in the consistency of the strings. Depending on the material composition, the strings spring softly out of the packaging, or they use the basic stiffness of a steel spring with a powerful "jumping behavior". Let's take a closer look at the individual product groups:

Nickel Roundwound Strings: The all-rounder above the fingerboard or, in other words, the 4/4 beat under the strings. 80% of all musicians will probably play these strings without knowing that they belong to this product line. The steel core gives the string a strong magnetic base, which is tamed in its aggressiveness by the nickel wire. A uniform overtone spectrum and a balanced sound design are the result, which makes Nickel Roundwound an all-rounder in the areas of pop, rock and blues.

Nickel Plated Steel Strings: A product variant from PYRAMID that was only recently added to the range. The steel core is wound with steel wire, which is surrounded by a thin layer of nickel as corrosion protection. This increases the magnetic field, the sound becomes louder and gains brilliance. This type of string was specially designed for rock or hard rock in order to be able to assert itself better with higher output and a slight treble dominance in the fight for a frequency hole in the distorted sound spectrum.

Pure Nickel Strings: The other end of the tone scale. While most types of strings are dedicated to dominating the highs and high mids, pure nickel strings have a different objective. Described as "soft" in terms of their overall appearance, these strings are particularly suitable for jazz and blues due to their reduced output and warm basic timbre.

Their moderate basic tension and soft transient phase underpin the sound that you would expect from a large archtop.

Stainless Steel Strings: And now turn 180 degrees again and go full throttle in the other direction. Stainless steel strings have the largest magnetic field and the hardest basic tension. Their hard and high-pitched sound is the basis for everything that has to do with rock and metal. The overtone spectrum is omnipresent and supports the formation of the artificial harmonics that are used so inflationary in metal.

Sound:
To say right up front, there are no "better" or "worse" strings, just as a performance-related rating in the field of art and music is always to be seen as borderline. Depending on the style of music, the physical principle supports the desired effect or undermines the objective. Stainless steel on a Super 400 is about as counterproductive as pure nickel on a B.C.Rich. So, listen(!), feel(!), think(!) and then choose carefully. Unfortunately, the advice in many music stores is limited to the above-mentioned keywords, which does the article more than an injustice.

In order to be able to make a practical assessment, I put the strings on the appropriate instruments, but only through an amp, in this case a KOCH Powertone, without any embellishments such as reverb, delay or similar. The licks were also deliberately reduced so as not to show off with technical dazzle and distract from the actual test. The bass signals were played directly through a Mackie VLZ console. The following were used:

Guitar:

Nickel Plated Steel Strings: Gibson Les Paul Special with P90 pickups

Stainless Steel Strings: Gibson Les Paul Deluxe with EMG 85 pickups

Pure Nickel Strings: Ibanez FG 100

Bass:

Stainless Steel and Nickel Roundwound Strings: Alembic replica by Fernandez

Let's start with the pure nickel part of the guitar. The soft appearance, which is already noticeable when unpacking, continues in the sound behavior. A slightly treble-damped sound, with "smooth" attack and decay behavior characterizes the line of pure nickel strings. Due to the softer material, the sound is very suitable for moderate pop or jazz or for vintage sounds, as required in a Fifties/Sixties cover band. It should also be noted that the Pure Nickel strings need a little longer to remove the slip from the string and achieve their tuning stability, which means that you should pre-stretch them more often before relying on the final tuning.

With the Nickel Plated Steel series, PYRAMID has closed an important gap between the moderate Nickel Roundwound and the brutal Stainless Steel. A sound that is very good for everything to do with rock. Very lively in response and powerful in the decay, a really successful line.

In terms of hardness and brilliance, the stainless steel variation takes things up a notch. A very strong magnetic field and very hard materials make everything that has to do with hard'n'heavy appear in the best light. My personal favorite (... who would be surprised ;-)) However, you should be aware that due to the materials used and the associated hardness of the components, the fret wire wears out a little more than with conventional strings.

The bass strings continue the path taken with the guitar strings. Here too, the stainless steel line offers brilliant highs and an assertive sound for all types of rock, while the nickel roundwound variant is more docile in terms of aggression and high treble.

Conclusion:

"Made in Germany". What has almost become an insult in automobile construction due to the lousy manufacturing quality of the last few decades remains a quality feature in the instrument and accessories sector. PYRAMID offers above-average quality for a comparatively low final price and also has the right connection for every style of music.

———————

Additional Informations:

Introduction:
Pyramid Strings has been a name synonymous with quality and innovation in the world of guitar strings for over a century. With a rich history dating back to its establishment in 1850, Pyramid Strings has become a trusted brand among musicians worldwide. In this article, we will explore the origins, craftsmanship, and the enduring legacy of Pyramid Strings, highlighting its commitment to excellence and its impact on the music industry.

Origins and Heritage:
Pyramid Strings was founded in 1850 by Wilhelm E. Pletzer in Bubenreuth, Germany. From its inception, the company was dedicated to producing strings of the highest quality. Pletzer's vision was to create strings that would enhance the tonal characteristics of instruments, allowing musicians to fully express themselves. This commitment to craftsmanship and attention to detail has been the driving force behind Pyramid Strings' success over the years.

Craftsmanship and Manufacturing Process:
Pyramid Strings' commitment to excellence is reflected in every aspect of their manufacturing process. Each string is meticulously crafted using traditional methods combined with modern technology. The company's skilled artisans carefully select the finest materials, including high-grade steel, nickel, and phosphor bronze, ensuring superior durability and tonal integrity. The strings undergo rigorous quality control measures to ensure consistency and reliability, resulting in a product that meets the highest standards.

Innovation and Product Range:
While Pyramid Strings takes pride in its rich heritage, the company has also embraced innovation to stay at the forefront of the industry. They continuously strive to develop new technologies and materials that push the boundaries of string manufacturing. Pyramid Strings offers a diverse range of strings catering to various musical genres and playing styles. From classical and acoustic guitars to electric and bass guitars, their product line caters to the needs of musicians across the spectrum.

Endorsements and Collaborations:
Pyramid Strings' commitment to excellence has earned them the trust and endorsement of many renowned musicians. Collaborations with artists like Tommy Emmanuel, Al Di Meola, and Pepe Romero have allowed the company to further refine their products to meet the demands of professional musicians. These partnerships have not only elevated the brand's reputation but have also resulted in the development of signature string sets tailored to each artist's unique playing style and tonal preferences.

Environmental Sustainability:
In addition to their dedication to quality, Pyramid Strings is also committed to environmental sustainability. The company takes measures to minimize its carbon footprint and reduce waste throughout the manufacturing process. They prioritize the use of eco-friendly materials and implement recycling initiatives, ensuring that their operations have minimal impact on the environment. This commitment to sustainability resonates with musicians who are conscious of their environmental footprint.

Conclusion:
Pyramid Strings' legacy as a leading manufacturer of guitar strings is a testament to their unwavering commitment to quality and craftsmanship. With a rich heritage spanning over a century, the company has consistently delivered strings that meet the needs of musicians across genres and playing styles. Through their dedication to innovation, partnerships with renowned artists, and their commitment to environmental sustainability, Pyramid Strings continues to shape the music industry, providing musicians with the tools they need to create and express themselves. As the company looks towards the future, one thing remains certain - Pyramid Strings will continue to be a name synonymous with exceptional quality and tonal excellence for generations to come.

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.

———————-

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.

———————————-

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.

——————————

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.

————————

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.