TEST: Schecter Hellraiser C-1

 Together with other big names from the blessed eighties such as Kramer, ESP or Jackson, they are considered the inventors of the classic "Power Strats", those legendary tuned guitars that only had the basic shape in common with a Stratocaster and were not without a Floyd Rose vibrato system, a large fretboard radius and mostly active pickups. We are talking about the Schecter company, which at the time manufactured exclusively in North America.

While the aforementioned protagonists also liked to adorn themselves with the massive use of airbrush finishes in the craziest layouts, Schecter was more notable for the use of high-quality bird's eye maple and heavily patterned precious woods of all kinds and was considered a classic representative of the "luxury guitars" that only well-heeled customers could afford long before Paul Reed Smith claimed this title for himself.

Colleague and head of the guitar department at AMAZONA Stephan Güte will also remember this well. 4-color ads in standard guitar magazines had the flair of a Playboy pinup calendar for guitarists and here too the right hand mutated into a staccato-like up and down movement, albeit with a different objective. ;-)

First as a supplier of individual parts for the giants Fender and Gibson, the company founded by David Schecter in 1976 was able to convince international greats such as Mark Knopfler and Pete Townsend, especially with its Custom Shop in the early 1980s. Today the company manufactures its products in South Korea and with the Hellraiser C-1 presents an instrument that could not be more reminiscent of its roots 3 decades ago.

Construction:

It is astonishing how well the concept of a Powerstrat can still hold its own on the market. Despite the demagogic banishment of every guitar solo from the "dark age of virtuosity", the grunge nineties, the protagonists of shredding survived in some dark corners of the planet, knowing full well that every hype about incompetence, no matter how terrible, would come to an end in the universal 7-year cycle.

But the fact that I should get such a consistent reincarnation of the eighties on my table in 2010 is quite extraordinary. As already mentioned, you can see at first glance which father was the inspiration for the body shape of the Hellraiser, but the instrument has many changes in direct comparison to the original.

Firstly, the C1 comes in a latently Gibson-heavy wood selection, i.e. a mahogany body with an arched maple top plus a glued-in three-stripe mahogany neck with a rosewood fingerboard. It doesn't get much more Les Paul than this! The Hellraiser also has a very pleasant transition at the base of the neck, which has no corners or edges and makes playing in high positions extremely easy.

As a visual eye-catcher, the top of the body and the headstock have been given an abalone binding plus a body-wide black pearl binding, which offers a classy counterpoint to the factory color Black Cherry High Gloss. In order to visually approach the target group of long-haired bombers a little more, abalone cross inlays were chosen as fingerboard inlays. A few gothic applications have never hurt anyone in times of the "warbling-little-girl-metal hype" ;-)

In terms of hardware, as expected, an original Floyd Rose VIBRATO (!!! no tremolo) and saddle clamps take over the dominant position. Fret wire? Of course, jumbo frets! Frets? Of course, 2 octaves, 24 of them. Scale length? Also clear, long scale length of 25.5". Six Grover tuners do a flawless job on the 3:3 headstock. Only one thing is missing: the pickups. Here too, tradition-conscious to the max, active vibration converters from EMG, albeit in a slightly more modern coil switch version in the form of an 81TW or 89 pickup, both versions that did not exist over two decades ago.

Practice:

It is not easy in this category, even if you have a name rich in tradition. Unfortunately, only old farts like the writer of this article know the history of the company, the ambitious young musician is overwhelmed by the omnipresent product range of the top dog ESP, which probably spends half of its annual marketing budget on making monthly payments to Messrs Hetfield and Hammet for their cooperation.....by the way, Hetfield with LP form is a no-go, give the young man back the Explorer form!

Da muss Schecter sich schon kräftig auf dem Qualitätssektor anstrengen um der High-Gain-Fraktion aus dem asiatischen Inselstaat Paroli bieten zu können. Eins sei voraus geschickt, sie können es! Eine opulente Ausführung der einzelnen Klangeigenschaften eines solchen Instrumentes aufzulisten bedeutet letztendlich Eulen nach Athen zu tragen. Jeder, der sich ein wenig im Powerstrat Bereich auskennt und selbige Attribute zu schätzen weiss, wird sich auf der C1 umgehend zu Hause fühlen.

Holz- bzw. Hardware Komponenten, kombiniert mit der Speerspitze der Aktiv-Tonabnehmer sprechen eine eindeutige Sprache und lassen zu keiner Zeit zögerliche Verhaltensweisen aufkommen. Wer jetzt wieder mit dem „Gleichmacher-Sound“-Genöle anfängt, kann direkt nach Hause gehen. EMGs klingen nun mal nach EMGs mit all ihren speziellen Eigenarten. Wer sie nicht mag, soll sie nicht spielen, wer sie schätzt, mag nichts Anderes mehr spielen, so einfach ist das! Metal ohne EMGs, fast schon undenkbar.



Fazit:

Ich stelle mir gerade Jimmy Page mit der Hellraiser C1 vor und muss erst mal herzhaft lachen. Warum? Nun, es hätte ungefähr die gleiche Authentizität, als wenn ein klassischer Vertreter des Death-Metal-Gelumpes eine Telecaster für sich entdeckt ;-) Was wollen uns diese Worte sagen?

Die Schecter Hellraiser C1 ist eine Zierde ihrer Zunft! Die Verarbeitung ist makellos, die verwendeten Komponenten hochwertig und die Zielgruppen-Affinität sehr hoch. Eine leichte Bespielbarkeit öffnet die Türen in die heiligen Hallen des Shreddings, vorausgesetzt der aufstrebende Zupfer ist bereit, die Jahre des Übens von Skalen und Phrasierungen (natürlich NUR zum Metronom) auf sich zu nehmen.

Schecter ist es gelungen die Holz-technische Prägung einer Les Paul mit der nötigen Tradition ihrer eigenen Geschichte zu verschmelzen und verleiht dem Instrument damit einen klaren Schub mehr an Durchschlagskraft als viele andere Vertreter ihres Genres aufgrund ultra-dünner Hälse und Gewichten unter 3 Kilogramm leisten können. Zudem verfügt die C1 auch in der mir vorliegenden Luxus-Ausführung über einen sehr moderaten Preis und weiss sich damit im angestrebten Segment gekonnt zu behaupten.


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The Symbiotic Harmony: Active Pickups and Powerstrats

In the realm of electric guitars, the pursuit of the perfect tone is an ever-evolving journey. Among the myriad of innovations that have shaped this quest, the collaboration between active pickups and Powerstrats stands out as a pivotal chapter. This partnership, rooted in the fusion of cutting-edge technology and time-honored craftsmanship, has revolutionized the sound and performance capabilities of electric guitars. In this article, we delve into the intricate relationship between active pickups and Powerstrats, exploring their origins, technological advancements, and the impact they have had on the music industry.

**The Birth of the Powerstrat**

To appreciate the synergy between active pickups and Powerstrats, one must first understand the genesis of the Powerstrat itself. The late 1970s and early 1980s witnessed the rise of the "superstrat" – a term used to describe guitars that took the iconic Fender Stratocaster design and infused it with enhancements tailored for the demands of rock and metal musicians. Schecter Guitar Research, established in 1976, quickly emerged as a key player in this movement, producing high-performance guitars that combined classic aesthetics with modern functionality.

The Powerstrat, a prime example of this evolution, featured a host of upgrades including versatile pickup configurations, premium tonewoods, and innovative hardware solutions. These modifications were aimed at providing musicians with greater tonal variety, enhanced playability, and improved durability – qualities that became hallmarks of the Powerstrat lineage.

**The Rise of Active Pickups**

Active pickups, a technological breakthrough in the guitar world, were developed to address the limitations of traditional passive pickups. Unlike their passive counterparts, which rely solely on the magnetic properties of their coils to generate sound, active pickups incorporate an on-board preamp powered by a 9-volt battery. This preamp boosts the signal, resulting in higher output, lower noise, and a broader frequency response.

The origins of active pickups can be traced back to the late 1970s when companies like EMG began experimenting with this novel technology. EMG's active pickups quickly gained popularity among guitarists seeking a more robust and versatile sound, capable of handling the demands of high-gain amplifiers and effects.

**The Marriage of Powerstrats and Active Pickups**

The integration of active pickups into Powerstrats was a natural progression, driven by the shared goal of enhancing performance and expanding tonal possibilities. This partnership offered several key benefits that resonated with musicians across various genres.

1. **Enhanced Output and Clarity**: One of the most significant advantages of active pickups is their ability to deliver a high-output signal with exceptional clarity. For Powerstrats, this meant that even the most intricate and aggressive playing techniques could be captured with precision, ensuring that every note rang true. This was particularly beneficial for genres like metal and hard rock, where articulate sound and powerful riffs are paramount.

2. **Noise Reduction**: Active pickups are renowned for their low-noise performance. The internal preamp effectively minimizes hum and interference, providing a cleaner signal. This feature was a game-changer for Powerstrat users, allowing them to push their amplifiers and effects without the unwanted noise often associated with high-gain settings.

3. **Consistent Tone Across Volume Levels**: Traditional passive pickups often experience a loss of tone quality at lower volume levels. Active pickups, on the other hand, maintain their tonal integrity regardless of the volume setting. This consistency was a boon for Powerstrat players, offering them greater control over their sound dynamics in both live and studio environments.

4. **Extended Frequency Response**: The broader frequency range of active pickups enriched the sonic palette of Powerstrats. Musicians could achieve sparkling highs, punchy mids, and deep, resonant lows, making their instruments more versatile and adaptable to different musical styles.

**The Technical Synergy**

The technical integration of active pickups into Powerstrats required thoughtful design considerations to optimize their performance. Schecter Guitar Research and other manufacturers paid meticulous attention to several key aspects:

1. **Battery Compartment Design**: Since active pickups require a power source, the inclusion of a battery compartment became essential. Manufacturers ensured easy access to the battery, often placing it in the back of the guitar with a secure and user-friendly cover. This design element was crucial in maintaining the guitar's overall aesthetics and functionality.

2. **Wiring and Electronics**: The internal wiring and electronics had to be carefully engineered to accommodate the active pickups' requirements. This involved ensuring proper grounding, shielding, and component placement to maximize signal integrity and minimize noise.

3. **Pickup Placement and Configuration**: The placement and configuration of active pickups in Powerstrats were optimized to deliver the best possible sound. This often involved experimenting with different pickup combinations, such as pairing humbuckers with single coils, to achieve a balanced and versatile tonal output.

4. **User-Friendly Controls**: To enhance the player experience, manufacturers incorporated user-friendly controls such as push-pull pots, toggle switches, and blend knobs. These controls allowed musicians to easily switch between active and passive modes, adjust gain levels, and shape their tone on the fly.

**Iconic Powerstrats and Active Pickup Models**

Several iconic Powerstrat models have emerged over the years, showcasing the successful integration of active pickups. Among these, the Schecter C-1 FR S stands out as a prime example. Featuring an EMG 81/85 active humbucker set, a Floyd Rose tremolo system, and a sleek design, the C-1 FR S exemplifies the power and versatility that define the Powerstrat and active pickup partnership.

Another notable model is the Schecter Hellraiser C-1, equipped with EMG 81TW/89R active pickups. This guitar offers coil-splitting capabilities, allowing players to switch between humbucker and single-coil tones seamlessly. The Hellraiser C-1's combination of active pickups and advanced electronics has made it a favorite among metal and hard rock musicians.

**The Impact on Music and Musicians**

The collaboration between active pickups and Powerstrats has had a profound impact on the music industry, influencing the sound and playing styles of countless musicians. Guitarists across genres have embraced this partnership for its ability to deliver powerful, articulate, and versatile tones.

In the realm of metal, guitarists like Jeff Loomis and Synyster Gates have championed the use of Powerstrats with active pickups, pushing the boundaries of technical proficiency and sonic brutality. Their playing, characterized by lightning-fast riffs, intricate solos, and bone-crushing rhythms, has inspired a new generation of musicians to explore the capabilities of their instruments.

Beyond metal, artists in rock, fusion, and progressive genres have also harnessed the benefits of this collaboration. The dynamic range and tonal versatility of Powerstrats with active pickups have enabled musicians to experiment with diverse musical styles, from clean, jazz-inspired passages to searing, high-gain leads.

**Conclusion**

The partnership between active pickups and Powerstrats represents a milestone in the evolution of electric guitars. This collaboration has not only elevated the performance capabilities of the instruments but also expanded the creative possibilities for musicians. By combining the technological advancements of active pickups with the craftsmanship and innovation of Powerstrats, guitarists are empowered to explore new sonic territories and push the boundaries of their art.

As the music industry continues to evolve, the symbiotic relationship between active pickups and Powerstrats will undoubtedly remain a driving force in shaping the future of guitar design and performance. Musicians will continue to seek out these instruments, drawn by their promise of unparalleled power, clarity, and versatility. And in doing so, they will carry forward the legacy of innovation and excellence that has defined this remarkable partnership.

TEST: Schecter C-7 SLS

 When seven-string electric guitars were introduced in 1987 by Steve Vai (who actually wanted an additional high A string, but it kept breaking) and made their way into the public eye through their mainstream success in the early 1990s with nu metal hype Korn, they were still seen as "aliens from other space". Why should you shift your frequency spectrum further down when the bassist is already on the way? If anyone had predicted back then that in just under a decade 9-strings would be brought onto the market that would reach down to the 5-string electric bass in terms of frequency and trigger a real crisis of the mind in the bassist camp, they would have been ridiculed. You can be wrong. 7-strings have long since arrived in the mainstream, which means that the Schecter C-7 SLS Elite AFB we have for testing does not attract attention with its concept, but with all sorts of visual and technical attributes.

The construction of the Schecter C-7 SLS Elite AFB

Yes, there are 7-string acoustic guitars and various artists from South America and Russia are constantly causing serious self-confidence problems on YouTube, but the 7-string concept is enjoying great success in the electric guitar sector. The modified Strat shape is still enjoying the greatest success here, which is why Schecter is also staying true to this shape in the above-mentioned model.

Visually, the Schecter C-7 SLS Elite AFB is very "woody", which means that the back of the instrument is completely covered in clear varnish and the front also allows the Riegla horn top to shine through beautifully from front to back in Tobacco Sunburst (Schecter calls it Antique Fade Burst). The top is decorated with a simple binding, while the back remains untreated with such decorations. The great special feature of the instrument is the through neck, which promises very strong sustain and is framed by 2 pieces of ash to the body. The back of the body has the classic Strat shaping, while the front is more of a Gibson variant in the style of the violin shaping of an old Paula.

The neck, also made of maple, has been given 2 strips of walnut and a reddish shimmering padauk strip for stabilization and probably also for aesthetic reasons. I was previously more familiar with similar visual concepts from bass construction, but it really gives the instrument a very unique appearance.

The next special feature is the neck profile, which the manufacturer calls "Ultra Thin C". The neck can indeed be described as extremely slim, although the width almost tends towards an 8-string. If you have always had problems with fingerboards that are too narrow in the 7-string range, this is the right place for you. To compensate for the low tuning and the associated weaker string tension, Schecter has opted for an extra-long scale length of 673 mm with 24 frets, which is still a long way from a real baritone scale length. An ebony fingerboard was also chosen, probably to escape the senseless CITES madness.

The electronics of the Schecter C-7 SLS Elite AFB

The new hype in the pickup sky is called Fishman Fluence and metal fans in particular are running away from their beloved EMGs in droves to pay homage to the new god. Aware of this, Schecter also wants its piece of the pie and has a very popular combination with the Fishman Fluence Modern ceramic magnet (bridge) + Fishman Fluence Modern Alnico magnet (neck). The special feature of the PUs are 2 different voicings, which can be accessed on the Schecter C-7 SLS Elite AFB via push / pull potentiometers (volume and tone). More on this in the practical section. A classic three-way switch and a socket with a mounting plate, and you're done.

The hardware of the Schecter C-7 SLS Elite AFB

Finally a guitar in the superstrat style without a Floyd Rose VIBRATO! (Woe betide anyone who dares to say tremolo!) A solid, black bridge (Hipshot Hardtail) leads the strings through the body, which increases the sustain even further. There's a lot to come in terms of vibration duration. The black locking tuners also make a good impression. Schecter also impresses with a small detail that is a great pleasure.

In order not to weaken the transition from the neck to the headstock, which is always at risk of breaking, by milling the truss rod, the designers have placed the access to the neck adjustment screw in the 25th fret. The exposed screw can be reached and fixed using a simple Allen key. OK, the screw doesn't look particularly elegant and doesn't really fit in with the visual concept of the instrument, but for practical use it is the best solution!

The Schecter C-7 SLS Elite AFB in practice

When you pick up the Schecter C-7 SLS Elite AFB for the first time, you almost feel like you have an 8-string on your lap, the neck seems so wide. The very slim neck profile does the rest to support this impression. Not that the neck is uncomfortable in any way, but if you are not from the RG camp, or even think of your roots in the "Fender / Gibson bludgeon out of the bag" neck profile, you will need a certain amount of time to get used to it. The big advantage of these dimensions is undoubtedly the generous string spacing, which enables a clean grip, even if you have callused monsters like me on your fingertips.

As expected from the design, the topic of sustain is very important with this instrument. The continuous neck, in combination with the solid bridge and string guide through the body, generates an excellent counterpart to the string vibration, which means that very little vibration energy is absorbed by moving or subsequently joined parts. The result is a very nice tone in all registers, with neither dead notes nor other failures. The acoustic vibration behavior is indeed exemplary.

Now let's move on to the Fishman pickups, which are enjoying considerable success as the new "hot shit" in the heavy range. The two voicings in particular are praised as a special feature, since they do not switch off a coil as with classic pickup circuits and generate a different frequency spectrum as a single coil, but instead provide 2 different presets using the internally installed electronics.

As always, we start with clean sounds, although we already have some saturations in the sound files. First I switched the neck pickup Preset 1 (volume control pressed) alone, then Preset 2 (volume control pulled), then both PUs in both presets one after the other and finally the bridge pickup, also in the same way. The presets remind me very much of the David Gilmour Stratocaster set from EMG. In this circuit, the two tone controls function as active tone controls, with Tone 1 adding a kind of scoop circuit, i.e. mids are turned down and bass and treble are turned up, and Tone 2 works as a mid booster.

I noticed something similar with the Fishman PUs. Preset 1 has a clear mid alignment similar to a serial humbucker circuit, while Preset 2 takes the mids out and boosts bass and treble. The sound becomes more hollow and throaty, sometimes approaching a humbucker parallel circuit. In addition, the level in Preset 2 drops significantly. In the clean range, you can still hear these differences clearly, while as the gain increases, the differences become increasingly blurred.

In principle, this is a good thing, but the extent to which you like these fixed orientations in terms of frequency response is up to personal taste. Personally, I don't find the volume drop in preset 2 quite so exciting.

In the crunch range, however, the two presets are much more convincing. Here, the hollow character of preset 2 comes into its own and the volume drop is absorbed by the higher gain.

In the high gain, the differences are comparatively lost in the high distortion. You can still hear the differences in sound, and the response of the guitar is different in your personal playing style, but the differences become increasingly blurred.

The sound files were recorded with a Hughes & Kettner Triamp MK3 and a matching Coreblade 412 box. An SM57 was used as the microphone and Cordial cable was used for the cabling.

Conclusion

With the Schecter C-7 SLS Elite AFB, the Koreans have created a very well-crafted guitar with outstanding sustain and good detail solutions. Anyone looking for a sophisticated 7-string and likes the sound of the Fishman Fluence pickups should definitely try out the instrument.

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The Evolution and Legacy of Schecter Powerstrats

When delving into the rich history of electric guitars, the Schecter Powerstrat occupies a unique and celebrated position. Emerging during a transformative period in music and instrument craftsmanship, the Powerstrat's journey is a testament to innovation, artistry, and a relentless pursuit of tonal perfection.

**The Birth of Schecter Guitar Research**

To understand the origins of the Schecter Powerstrat, one must first explore the genesis of Schecter Guitar Research. Founded in 1976 by David Schecter, the company initially operated as a repair shop and supplier of high-quality guitar parts. Located in Van Nuys, California, Schecter quickly earned a reputation for precision and excellence, attracting the attention of discerning musicians who sought to upgrade their instruments.

Schecter's early success was built on providing premium components such as bridges, pickups, and necks. These parts, characterized by meticulous craftsmanship and superior materials, became highly sought after by guitarists looking to enhance their instruments' performance and reliability. This focus on quality laid the groundwork for Schecter's transition from a parts supplier to a full-fledged guitar manufacturer.

**The Rise of the Superstrat**

The late 1970s and early 1980s marked a pivotal era in the electric guitar world, characterized by the rise of the "superstrat." This new breed of guitars was designed to meet the demands of rock and heavy metal musicians who required instruments that could deliver high output, sustain, and playability. Traditional designs, while beloved, often fell short in these areas.

Schecter Guitar Research seized this opportunity, leveraging their expertise in crafting high-performance components to create complete guitars that embodied the superstrat ethos. By 1979, Schecter began producing limited numbers of custom shop guitars, each one built to order and tailored to the specific needs of professional musicians. These early Schecter guitars, which were essentially customized Stratocasters with hot-rodded features, laid the foundation for what would eventually become the Powerstrat.

**The Powerstrat Emerges**

The term "Powerstrat" is a nod to the instrument's roots in the classic Fender Stratocaster design, but with significant enhancements that cater to the needs of modern players. Schecter's Powerstrat took the iconic Stratocaster template and infused it with a host of upgrades, resulting in a guitar that was both familiar and revolutionary.

One of the key features of the Powerstrat was its pickup configuration. While traditional Stratocasters were equipped with three single-coil pickups, the Powerstrat often featured humbuckers, either in the bridge position or in both the bridge and neck positions. This provided a thicker, more powerful tone that was ideal for the heavier musical styles gaining popularity at the time.

In addition to the enhanced pickups, Schecter Powerstrats were known for their exceptional build quality. The use of premium tonewoods, meticulous construction techniques, and innovative hardware solutions contributed to the guitars' outstanding playability and reliability. Many models included features such as locking tuners, custom bridges, and versatile wiring options, all designed to give players maximum control over their sound.

**The Golden Era and Iconic Players**

The early to mid-1980s is often regarded as the golden era for Schecter Powerstrats. During this period, the company produced some of its most iconic models, which were quickly adopted by influential guitarists across various genres. Artists such as Pete Townshend of The Who and Mark Knopfler of Dire Straits were among the early adopters, showcasing the Powerstrat's capabilities on some of the world's biggest stages.

Pete Townshend, known for his aggressive playing style and sonic experimentation, found the Powerstrat to be the perfect companion for his musical endeavors. The guitar's robust construction and versatile electronics allowed Townshend to push the boundaries of his performances, both in the studio and live.

Similarly, Mark Knopfler's use of Schecter guitars, including the Powerstrat, highlighted the instrument's ability to deliver nuanced, expressive tones. Knopfler's clean, articulate playing style was beautifully complemented by the Powerstrat's dynamic response and tonal versatility, cementing its status as a go-to instrument for professional musicians.

**The Legacy and Continued Evolution**

While the 1980s were a high point for the Powerstrat, Schecter Guitar Research continued to innovate and expand its offerings in the following decades. The company's commitment to quality and innovation ensured that the Powerstrat remained relevant, even as musical trends and player preferences evolved.

In the 1990s and beyond, Schecter expanded its lineup to include a wider range of models, incorporating modern features and aesthetics while maintaining the core principles that made the Powerstrat a success. The introduction of the Diamond Series brought Schecter guitars to a broader audience, offering high-quality instruments at more accessible price points.

Today, the Powerstrat and its descendants continue to be celebrated for their blend of classic design and modern performance. Schecter's dedication to craftsmanship and innovation ensures that each new generation of Powerstrats meets the needs of contemporary musicians, just as the original models did for the pioneers of the superstrat era.

**Conclusion**

The story of the Schecter Powerstrat is one of evolution and excellence. From its humble beginnings as a parts supplier to its rise as a leading manufacturer of high-performance guitars, Schecter Guitar Research has consistently pushed the boundaries of what an electric guitar can be. The Powerstrat, with its powerful pickups, superior build quality, and player-centric features, remains a testament to the company's enduring legacy and its impact on the world of music. As new generations of musicians continue to discover the Powerstrat, the guitar's rich history and innovative spirit will undoubtedly inspire and influence the sound of rock and beyond for years to come.

TEST: Schecter C-1 FR S SLS Evil Twin SBK

 If there was one name that made it from zero to 100 in the blissful spandex times of the eighties, it was Schecter. Founded in 1976 by David Schecter in the USA as a pure spare parts supplier for big names like Gibson and Fender, the manufacturer shot through the roof from 1979 onwards with its first fully manufactured instruments, which mostly ended up in the Powerstrat warehouse. The instruments had, for example, intensively grained woods, unusual finishes and, thanks to the custom shop principle, could also respond to the buyer's individual wishes. The company has now been in mass production for over 30 years, primarily in Korea, and with the Schecter C-1 FR S SLS Evil Twin SBK, it has an instrument that stands out from the almost confusing Powerstrat range with a few unusual details.

The concept of the Schecter C-1 FR S SLS Evil Twin SBK

The Asians just can't help it. The model names of the instruments may be a noble joy for any controller in terms of accounting, but for the inclined rock'n'roller it's a verbal slap in the face. Imagine your friend asking you which guitar you play and you start your litany. By the time he hears the first "S" in the model name, he's already switched off and is checking his Whatsapp account. There's probably a reason why rock'n'roll wasn't invented in Asia.

Be that as it may, once you've recovered from the model name, you can devote yourself to the rich highlights of the instrument. To make it clear right from the start, this instrument has a target group that couldn't be more pronounced in its self-presentation. It is the classic shredder, always strongly inspired by the great noodle kings of the Mike Varney label Shrapnel Records, who defined new horizons in terms of craftsmanship in their time and today, but due to a lack of songwriting skills were largely swallowed up by the inflated grunge wave and nowadays mostly keep their heads above water as "The Musicians Musician".

The intensive training on the instrument, which is mostly dismissed by the up-and-coming Kemper presets / backing tracks youth ("there's surely an app for that") as a pointless waste of time ("10 years of practice, I don't have that much time"), is in direct contrast to the box office hit, so the Schecter C-1 FR S SLS Evil Twin SBK has to come up with something new to not only shine with virtuoso battle noodles. In order to defy this target group limitation, the instrument uses several control elements, which also makes fringe groups interesting as buyers.

The construction

Once again, the full-length neck of the Schecter C-1 FR S SLS Evil Twin SBK, made in South Korea, turns out to be the central element of the entire construction. The five-piece neck made of maple, walnut and padauk is additionally reinforced with two fiberglass rods. In order to form the body, two pieces of swamp ash were glued to the side, which were then milled in the typical Powerstrat shape. If you now add the ebony fingerboard to the list, a considerable number of woods are used. The back of the instrument is in a dark, transparent green, and when viewed from the front it is matte black. A noble, impeccably applied varnish, which, like all varnishes of this type, is covered in fingerprints within seconds. So either say goodbye to the noble look, or always carry a cleaning cloth in your guitar case.

As is popular in the power strat sector, the Schecter C-1 FR S SLS Evil Twin SBK also has 24 frets, which come in a jumbo version. This means that the neck pickup is not in its most distinctive form under the 24th fret, but in this case the neck pickup has a special function, which we will come to later. The shaping of the neck is called "Ultra Thin C" and matches the real impression very well. The long scale length of 648 mm with a 12"-16" compound radius is used on the fingerboard. For better orientation on the fingerboard, Roman numerals have been embedded in the fingerboard and gray, phosphorescent dot markers that glow green in the dark. A bit like a Borg cube, but very pretty.

Visually, it's not always everyone's favorite, but the access to the 2-way adjustable truss rod, which is open below the 24th fret and can be moved with a small metal rod, such as an Allen key, is exemplary in terms of handling. Anyone who, like me, is extremely annoyed by the proprietary isolated solutions of some manufacturers regarding the truss rod key will love this solution! The Schecter C-1 FR S SLS Evil Twin SBK has a Floyd Rose 1500 series vibrato system with corresponding saddle clamps and fine tuners. Unfortunately, the knurled screws are quite stiff, not to say stubborn, for an instrument in this price range; I would have expected a bit more "smoothness" here. Otherwise, the hardware meets all requirements, especially since high-quality tuners are also used with the Grover Rotomatic 18:1.

The pickups of the Schecter C-1 FR S SLS Evil Twin SBK

The pickup combination installed in the Schecter C-1 FR S SLS Evil Twin SBK is a special feature. With the Fishman Fluence Modern (Ceramic Magnet) humbucker in the bridge position, you once again find the representative of modern active pickups that Schecter likes to use, especially since it can be switched to two different sound characteristics (modern / vintage) using the push / pull function of the treble control. The special feature is actually the neck pickup, which is supplied by the company Sustainiac. Older readers will be familiar with the design, but for the interested younger readers, here is a brief summary of how it works.

In the past... (how I hate this introductory word...) when the average stage volume was much higher than today, depending on the angle to the amplifier/stage monitor and the volume used, feedback would occasionally occur, whereby a struck solo note would continue to oscillate and either maintain the fundamental tone or tip over into an overtone/undertone. At the time, this was the great art of tone shaping and, for example, an important element of the style of grandmaster Gary Moore. In order to be able to create this effect at room volume, the Sustainiac company built a pickup in humbucker format, in which one coil provides a classic single coil pickup and the second coil generates an electromagnetic alternating voltage field that recreates the effect in question.

Two mini switches decide on the use of the Sustainiac and whether it should stimulate the struck note, an overtone, or an undertone to oscillate. The electromagnetic field naturally also requires a voltage source, which explains the 2(!) 9V block millings (one Fishman pickup, one Sustainiac) on the back of the body. Unfortunately, the millings are not completely parallel, so that a plastic cover is a little crooked, but in practice it doesn't really make a difference.

In practice

I have to admit, over the course of my career I have become a real "through neck fan", and this test has once again confirmed my opinion. The vibration behavior of the Schecter C-1 FR S SLS Evil Twin SBK is indeed exemplary, the sustain is amazing. Despite the structural absorption behavior of the Floyd Rose vibrato, the strings vibrate for an incredibly long time and in a balanced way, a real feast for the ears, especially when you look for a direct comparison to some representatives of the screwed necks.

In this respect, some people ask themselves whether the instrument really needs a component like the Sustainiac. To put it briefly, in terms of vibration behavior, no, but the Sustainiac is not designed to enable an inferior construction to have better vibration behavior, but to enable a special playing technique at a lower stage volume.

Which brings us straight to the usefulness of this component. My skepticism towards such aids actually gave way within seconds when you look at the system in practice. The Sustainic not only works very well in the high gain range, it even allows David Gimour-like clean sounds to have a great life of their own far away from any compressor setting, especially since the Sustainiac has a kind of noise gate built in, which deactivates the system as soon as you dampen the string tension by hand, for example. The result is very organic feedback, which gives your personal style an additional entertainment factor when playing solo, especially in sustained passages. So much for the plus side.

On the downside, there is unfortunately a very clinical sounding single coil pickup, which is really more of an added bonus and cannot really match the high quality of the Fishman pickup. If you play a lot with parallel connected pickups, you will definitely find better alternatives here, but the actual function of the Sustainiac is convincing across the board.

Conclusion

With the Schecter C-1 FR S SLS Evil Twin SBK, the Korean manufacturer has a high-end power strat in its ranks, which offers new possibilities for personal playing with excellent vibration behavior, perfect workmanship and a practical tool like the Sustainiac.

A real highlight for the shredding community!

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Additional Informations:

In the world of guitars, few names evoke the same sense of innovation, craftsmanship, and rock ‘n’ roll attitude as Schecter. What began as a small, boutique operation in the late 1970s has grown into a global powerhouse, producing some of the most revered instruments in modern music. This extensive exploration delves into the origins, evolution, and enduring legacy of Schecter Guitars, capturing the spirit of a company that has continually pushed the boundaries of guitar design and performance.

### The Humble Beginnings: 1976-1979

The story of Schecter Guitars begins in 1976 in the unassuming city of Van Nuys, California. Founded by David Schecter, the company initially operated as a small repair shop and parts supplier for guitars. Schecter’s early business model focused on providing high-quality replacement parts for guitars, which included pickups, necks, and bodies. The shop quickly gained a reputation for its meticulous attention to detail and the superior quality of its components.

David Schecter, a visionary in his own right, saw an opportunity to fill a niche in the guitar market. At a time when many guitar manufacturers were struggling with consistency in their mass-produced instruments, Schecter’s commitment to quality set them apart. The company’s parts became highly sought after by musicians looking to upgrade their instruments, and this burgeoning reputation laid the groundwork for Schecter’s future endeavors.

### Transition to Guitar Manufacturing: 1979-1983

By the late 1970s, Schecter’s success with guitar parts led to a natural evolution: building complete guitars. In 1979, Schecter unveiled its first line of custom guitars, which were initially offered as custom-built instruments for professional musicians. These early Schecter guitars were highly customizable, allowing players to select from a range of high-end components and finishes. The attention to detail and craftsmanship in these instruments quickly earned Schecter a loyal following among professional musicians.

One of the pivotal moments in Schecter’s early history was the introduction of the PT model, a Telecaster-inspired guitar designed for Pete Townshend of The Who. This endorsement by a high-profile musician significantly boosted Schecter’s visibility and credibility in the competitive guitar market. The PT model showcased Schecter’s ability to blend classic design with modern innovation, a philosophy that would become a cornerstone of the company’s ethos.

### The Texan Era: 1983-1987

In 1983, Schecter was sold to a group of investors from Texas, marking a significant shift in the company’s trajectory. Under new ownership, Schecter expanded its operations and moved its headquarters to Dallas, Texas. This period, often referred to as the “Texan Era,” saw Schecter transition from a boutique custom shop to a more commercially oriented guitar manufacturer.

During this time, Schecter introduced several new models, including the Schecter Stratocaster and Schecter T-style guitars, which were aimed at a broader market. The company also began to experiment with different materials and construction techniques, further distinguishing its instruments from those of its competitors. However, despite these innovations, the Texan Era was marked by some challenges, including production issues and inconsistent quality control, which began to tarnish Schecter’s previously sterling reputation.

### The Revival: 1987-1996

By the mid-1980s, Schecter’s fortunes were waning, and the company faced financial difficulties. In 1987, Schecter was sold again, this time to Hisatake Shibuya, a Japanese entrepreneur and owner of Musicians Institute in Hollywood, California. Shibuya’s acquisition marked the beginning of a new chapter for Schecter, one characterized by a renewed focus on quality and innovation.

Shibuya relocated Schecter’s operations back to California and refocused the company on producing high-end, custom shop instruments. This period saw the introduction of the Schecter Custom Shop, which quickly gained a reputation for producing some of the finest guitars available. The Custom Shop’s instruments were renowned for their exceptional craftsmanship, attention to detail, and use of premium materials.

One of the standout models from this era was the Schecter S Series, which combined classic design elements with modern features. The success of the Custom Shop helped restore Schecter’s reputation and laid the foundation for its resurgence in the 1990s.

### The Modern Era: 1996-Present

The late 1990s marked a period of significant growth and expansion for Schecter. In 1996, the company launched its Diamond Series, a line of more affordable, mass-produced guitars that maintained the high standards of quality associated with the Schecter name. The Diamond Series was a game-changer, making Schecter guitars accessible to a wider audience and significantly boosting the company’s sales and market presence.

One of the key factors behind the success of the Diamond Series was Schecter’s ability to combine high-quality components and craftsmanship with competitive pricing. These guitars featured many of the same design elements and innovations found in the Custom Shop models, including high-output pickups, comfortable neck profiles, and striking finishes. The Diamond Series quickly became popular among a diverse range of musicians, from rock and metal players to jazz and blues enthusiasts.

In the 2000s, Schecter continued to innovate and expand its product lineup. The company introduced several new models and series, including the Hellraiser, Blackjack, and C-1 series, which have become staples in the Schecter catalog. These models are known for their aggressive styling, versatile tonal options, and exceptional playability, making them favorites among modern guitarists.

### Endorsements and Artist Collaborations

A significant aspect of Schecter’s success has been its strong relationships with artists. Over the years, Schecter has collaborated with numerous high-profile musicians to create signature models tailored to their specific needs and preferences. These collaborations have not only resulted in some iconic instruments but also helped elevate the Schecter brand within the music community.

Some of the notable artists who have partnered with Schecter include Synyster Gates and Zacky Vengeance of Avenged Sevenfold, Jeff Loomis of Arch Enemy, and Nikki Sixx of Mötley Crüe. These signature models often feature unique designs, custom pickups, and specialized hardware, reflecting the distinct playing styles and tonal preferences of the artists they are designed for.

### Schecter’s Global Reach and Manufacturing

To meet the growing demand for its instruments, Schecter expanded its manufacturing operations globally. While the Custom Shop continues to produce high-end, handcrafted guitars in the United States, the majority of Schecter’s production now takes place in South Korea and Indonesia. These overseas factories adhere to strict quality control standards, ensuring that every Schecter guitar, regardless of its price point, meets the company’s high standards of quality and performance.

Schecter’s global manufacturing strategy has allowed the company to offer a wide range of instruments at various price points, catering to both professional musicians and aspiring players. This approach has helped Schecter establish a strong presence in international markets, making the brand a household name among guitarists worldwide.

### Innovations and Technological Advancements

Throughout its history, Schecter has been at the forefront of guitar innovation. The company has continually pushed the envelope in terms of design, materials, and technology. Some of the notable innovations introduced by Schecter include:

- **Sustainiac Pickup:** Schecter was one of the first companies to incorporate the Sustainiac pickup into their guitars. This unique pickup generates infinite sustain, allowing players to create rich, harmonic overtones and feedback effects.
- **Ultra Access Neck Joint:** Schecter’s Ultra Access neck joint design provides easier access to the higher frets, enhancing playability and comfort for lead guitarists.
- **Multi-Scale Guitars:** Embracing the trend of extended range and multi-scale guitars, Schecter has introduced several models that feature fanned frets, offering improved intonation and ergonomics for players who utilize alternate tunings and lower registers.

### Schecter in the Modern Music Landscape

Today, Schecter continues to be a dominant force in the guitar industry, known for its commitment to quality, innovation, and artist collaboration. The company’s instruments are played by some of the biggest names in music, spanning a wide range of genres from heavy metal and hard rock to jazz and blues.

Schecter’s ability to adapt to the changing landscape of the music industry while staying true to its core values has been key to its enduring success. By continually pushing the boundaries of guitar design and performance, Schecter has secured its place as one of the leading guitar manufacturers in the world.

### Looking Ahead: The Future of Schecter Guitars

As Schecter moves forward, the company shows no signs of slowing down. With a continued focus on innovation, quality, and artist collaboration, Schecter is well-positioned to maintain its status as a leader in the guitar industry. Upcoming releases and new signature models are eagerly anticipated by fans and musicians alike, and Schecter’s commitment to pushing the boundaries of what a guitar can be ensures that the future is bright for this iconic brand.

In conclusion, the journey of Schecter Guitars from a small parts supplier to a global powerhouse is a testament to the company’s dedication to quality, innovation, and the needs of musicians. With a rich history and a forward-thinking approach, Schecter has earned its place among the giants of the guitar world, and its legacy continues to inspire guitarists around the globe.

TEST: Schecter AM-7

 Once again, I must confess to my shame that neither the artist nor the band in which the artist plays can tell me anything about a signature model for testing. But here, of course, the Internet is a great help. The artist is Aaron Marshall, guitarist in the band Intervals. This test will show how the Schecter Aaron Marshall AM-7 model for testing differs from a regular Schecter instrument.

The construction of the Schecter Aaron Marshall AM-7

First of all, it is noticeable that the price of just under 1,800 euros for an instrument made in Indonesia is relatively high. This is not to say that instruments made in Indonesia do not have the same quality, but the segment just below the 2,000 euro mark is usually occupied by instruments made in Europe, Japan or the USA.

The first impression is once again, as with so many instruments made in Indonesia, impeccable. The finish is very clean, no sharp edges, no tricky settings and a factory setting that means you can take the instrument on stage straight away. The model itself is part of the large range of Power Strats, and Schecter has made a lot of effort to incorporate all the advantages that underlie this model type into this instrument.

Schecter takes some unusual approaches to guitar production when it comes to the choice of wood. The body is made of linden, the bolted neck is made of wenge and the fingerboard is made of Macassar ebony. The back of the neck is only very subtly varnished, so that you can feel a very woody feel when you touch it, and you can see some of the pores in the wood both in terms of the grip and visually. 24 stainless steel X-Jumbo frets have been attached to the fingerboard, with the fingerboard markings up to the 12th fret on the left side of the fingerboard and from the 12th to the 24th fret on the right side of the fingerboard in the form of hollow circles.

The manufacturer describes the neck shape as a thin C. In my opinion, that's OK, although I think a strong D would also be appropriate. Due to the seven-sided design, the saddle on the Schecter Aaron Marshall AM-7 is necessarily a little wider than usual. At 48 mm, however, it is within a reasonable range, which on the one hand generates enough string space for a normal grip and on the other hand does not let the grip comfort drift too much.

I also really like the fact that Schecter has attached the access to the truss rod to the body. This eliminates the problematic hole from the neck to the headstock, which inevitably weakens the headstock in terms of haptic impact. The fact that Schecter also likes to think outside the box can be seen in the fact that the scale length of the Schecter Aaron Marshall AM-7 is 673 mm, which is slightly longer than the long scale length. This alignment allows you to get a slightly higher string tension on the instrument, which is very important on the B side, especially with a seven-string guitar.

The body shaping of the Schecter Aaron Marshall AM-7 is once again in a typical Powerstrat style, but still has the stylistic peculiarities that you know from other Schecter models. The shaping is generally more subtle and is mainly only used in the areas that you know from other models, i.e. cutaways, back milling and arm rest. In order to ensure better playing in the higher registers, there is also a generous shaping at the neck transition, which makes the transition much more pleasant when it comes to gripping the higher registers.

As always, the extent to which you like the color of the instrument, which is called Cobalt Slate, is a purely subjective decision. Personally, I found the metallic blue, which the color reminds me of, quite appealing. But I have also heard colleagues say that they don't like this color. As I said, it's all a matter of taste.

Schecter uses two pickups manufactured in-house, called Schecter USA Equinox in the neck area and Schecter USA Solstice in the bridge area. Unfortunately, I was unable to find out more precise values, such as the DC resistance, magnets, etc. However, the Schecter website states that all Schecter pickups are manufactured in the USA. When it comes to hardware, Schecter relies on a tried and tested name in the bridge area. The HipShot bridge is a part that has established itself as a high-quality component over decades. Seven locking mechanisms are used for tuners, which are marked with the Schecter logo. Unfortunately, I was unable to find out whether Schecter manufactures these tuners itself or has them manufactured using OEM technology. However, I suspect that due to the high quality of the tuners, an external supplier probably supplies the items. But as I said, that's just a guess.

The instrument's switching options are also visually and haptically successful. The 5-way switch, which has the typical H-S-HH-S-H circuit, is optically high-quality chrome-plated. There is also a master volume and a master tone control, also chrome-plated and each with three rubber rings so that the rotary control does not slip through your fingers even with sweaty hands. The only disadvantage of the appearance of these potentiometers is the fact that you cannot see the control path of the control at any time. Unless you attach the fastening screw to a certain point, for example at full or empty stop, in order to visually calculate roughly which control position you are currently in. Otherwise you only have your hearing to perceive the position.

Unfortunately, the Schecter Aaron Marshall AM-7 does not come with a gig bag or a hardshell case, which, to be honest, I think should be included in the sales price. Of course, you can always order the appropriate cases from Schecter or buy a standard Power Strat case from a third-party manufacturer, which should probably fit this type of instrument 90% of the time.

The Schecter Aaron Marshall AM-7 in practice

What I really like about the Schecter Aaron Marshall AM-7 when you first pick up the instrument is the fact that you don't immediately get the feeling that you're holding a seven-string guitar in your hands. Of course, the fingerboard is much wider than on a six-string guitar, but all the other dimensions lead you to the conclusion that you're holding a standard Power Strat in your hands. For me personally, this is a very good example of how you can discreetly introduce interested musicians who might want to expand their tonal range by a fourth to another type of instrument.

The entire instrument benefits immensely from the extra-long scale in terms of attack and decay behavior, although the B side does not have quite the same liveliness and attack as the E1 to E6 sides in direct comparison to the other sides. Here I would perhaps experiment again to see whether you should put a slightly thicker string on the low B side in order to increase the string tension accordingly. If you don't do too many bends and acrobatic actions on the low B side, you can certainly put slightly thicker strings here.

Otherwise, the instrument has very strong sustain behavior, especially when you consider that it is a bolted neck. Here too, the majority of this very good vibration behavior is due to the extra-long scale, which has a positive effect on the string vibration.

In terms of sound, the instrument offers a very wide range of sounds from very clean to very distorted, depending on the amp used, which is particularly beneficial to the flexibility of the instrument. However, there is a small downside to the resonance behavior of the instrument. Whenever I play a riff on "A", for example in the first sequences of sound files 3 and 5, one or more strings in the area between the Hipshot bridge and the tailpiece resonate in the style of a reverb spiral and blur the sound a little. This effect is not noticeable in the clean range, but as the gain increases and the attack is harder, the attack of the instrument suffers a little from this construction. However, I am sure that this effect can be controlled with a little foam inserted into the milled channels the next time you change strings.

All in all, the Schecter Aaron Marshall AM-7 is a good instrument that can be used in many areas due to its pleasant appearance and tonal flexibility. To what extent the instrument has a real signature effect when compared to the other numerous standard versions of seven-string guitars from Schecter is something everyone has to find out for themselves.

The sound files were created with an ENGL Savage MKII, a Marshall cabinet with Celestion G12 75T and 2 Shure SM57s. No Kemper or similar.

Conclusion

With the Schecter Aaron Marshall AM-7, the manufacturer has a balanced instrument with great flexibility in its portfolio. The workmanship is very good and thanks to the additional B string, you will be able to do without downtuning in most cases.

For fans of prog, it should be worth trying out.

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Additional Informations:

In the vast landscape of modern progressive metal, few names resonate with the precision, creativity, and emotive depth as Aaron Marshall. As the mastermind behind the instrumental project Intervals, Marshall has redefined what it means to be a guitarist in the 21st century, blending technical prowess with melodic sensibility. This detailed exploration delves into the life, influences, and musical evolution of Aaron Marshall, capturing the essence of a guitarist who has not only mastered his craft but also pushed the boundaries of the genre.

### Early Life and Musical Beginnings

Aaron Marshall was born on October 30, 1988, in Toronto, Canada. From a young age, he displayed an innate affinity for music, picking up the guitar at the age of 12. Influenced by a variety of genres, ranging from rock and blues to jazz and classical, Marshall's early years were marked by a voracious appetite for learning and experimentation. This eclectic musical diet laid the foundation for his future explorations in progressive metal.

Growing up, Marshall was deeply inspired by guitar legends such as Steve Vai, Joe Satriani, and John Petrucci. However, it was his exposure to bands like Dream Theater, Meshuggah, and Periphery that ignited his passion for the progressive metal genre. These influences are evident in his complex compositions and technical proficiency, which have become the hallmarks of his musical identity.

### Formation of Intervals

Intervals was initially conceived as a solo project by Marshall in 2011. The name itself reflects the project's foundational concept: the exploration of musical intervals, a fitting tribute to Marshall's analytical and structured approach to composition. What began as a solo endeavor quickly evolved into a full-fledged band with the addition of other musicians, allowing Marshall to bring his intricate musical visions to life.

The debut EP, "The Space Between," released in 2011, showcased Marshall's ability to blend intricate guitar work with atmospheric soundscapes. The EP was well-received in the progressive metal community, earning praise for its technical complexity and emotional depth. This initial success set the stage for the release of the second EP, "In Time," in 2012, which further solidified Intervals' reputation as a force to be reckoned with in the instrumental metal scene.

### Evolution and Breakthrough

The release of the debut full-length album, "A Voice Within," in 2014 marked a significant turning point for Intervals. For the first time, the project featured vocals, provided by Mike Semesky, adding a new dimension to Marshall's compositions. The album was a commercial success and received critical acclaim for its blend of technical prowess and melodic accessibility. However, the decision to include vocals was met with mixed reactions from fans, leading Marshall to reevaluate the direction of the project.

In 2015, Intervals returned to its instrumental roots with the release of "The Shape of Colour." This album is often regarded as a watershed moment in Marshall's career, highlighting his growth as a composer and guitarist. The absence of vocals allowed Marshall's guitar work to take center stage, resulting in a collection of tracks that are as emotionally resonant as they are technically impressive. "The Shape of Colour" was a critical and commercial success, solidifying Marshall's reputation as one of the leading figures in the modern progressive metal scene.

### Technical Proficiency and Style

Aaron Marshall's playing style is characterized by its technical precision, fluidity, and melodic sensibility. His approach to the guitar is heavily influenced by his understanding of music theory, which allows him to navigate complex chord progressions and time signatures with ease. Marshall's use of extended range guitars, particularly seven and eight-string models, has become a defining feature of his sound, enabling him to explore a broader tonal spectrum.

One of the most distinctive aspects of Marshall's playing is his use of tapping, sweeping, and legato techniques. These techniques, combined with his keen sense of melody, create a sound that is both technically dazzling and emotionally evocative. Marshall's compositions often feature intricate harmonies, dynamic shifts, and rhythmic complexity, reflecting his deep understanding of the nuances of progressive metal.

### Gear and Equipment

Marshall's choice of gear plays a crucial role in shaping his signature sound. He is known for his preference for high-end guitars, including custom models from companies like Mayones and Ibanez. His primary instrument is a custom Mayones Duvell Elite, which features a unique combination of woods and electronics tailored to his specifications.

In terms of amplification, Marshall relies on a combination of digital and analog gear. He is an avid user of the Fractal Audio Axe-Fx, which allows him to achieve a wide range of tones and effects with unparalleled precision. This digital rig is complemented by traditional tube amplifiers, providing a rich, organic warmth to his sound.

Marshall's pedalboard is equally impressive, featuring a selection of boutique pedals that enhance his tonal palette. From overdrives and delays to modulation and reverb effects, each pedal is meticulously chosen to complement his playing style and the demands of his compositions.

### Influence and Legacy

Aaron Marshall's influence extends far beyond his impressive discography. As a guitarist, composer, and educator, he has inspired a new generation of musicians to push the boundaries of their craft. His instructional videos, masterclasses, and social media presence have made him a respected figure in the guitar community, where he is admired for his generosity in sharing his knowledge and techniques.

Marshall's approach to composition and guitar playing has also had a significant impact on the progressive metal genre. His ability to blend technical complexity with melodic sensibility has set a new standard for instrumental music, influencing countless bands and musicians. Albums like "The Shape of Colour" and "Circadian" are considered essential listening for fans of modern progressive metal, showcasing Marshall's ability to create music that is both intellectually challenging and emotionally engaging.

### Personal Philosophy and Outlook

At the core of Aaron Marshall's musical journey is a deep commitment to authenticity and artistic integrity. He has consistently emphasized the importance of staying true to one's artistic vision, even in the face of commercial pressures and changing industry trends. This commitment to authenticity is evident in his decision to return to instrumental music with "The Shape of Colour," a move that reaffirmed his dedication to his craft and his fans.

Marshall's personal philosophy is also reflected in his approach to creativity and innovation. He is constantly exploring new musical ideas and techniques, pushing the boundaries of what is possible with the guitar. This relentless pursuit of innovation has not only defined his career but also inspired others to strive for excellence in their own musical endeavors.

### Looking Ahead

As Aaron Marshall continues to evolve as an artist, the future of Intervals looks incredibly promising. With each new release, he continues to push the boundaries of progressive metal, exploring new sonic territories and refining his craft. His most recent album, "Circadian," released in 2020, is a testament to his growth as a musician, featuring some of his most ambitious and emotionally resonant work to date.

Marshall's dedication to his craft, combined with his technical prowess and melodic sensibility, ensures that he will remain a leading figure in the progressive metal scene for years to come. As he continues to inspire and influence a new generation of musicians, Aaron Marshall's legacy as a virtuoso guitarist and innovative composer is firmly established, securing his place as one of the true architects of modern progressive metal.

TEST: Rupert Neve Design RNDI

 "Oh dear, what is so interesting about a D.I. box?" These or similar sentences will probably already be going through the mind of the interested reader when they read the title of this test. OK, D.I. boxes are the kind of little helpers in the background that only appear when a.) they are defective or b.) there are not enough of them. But what if one of the biggest names in audio engineering and the inventor of the mixing console brings out such a box and puts his name to it?

This is the case with the Rupert Neve Designs RNDI and is guaranteed to cause a not insignificant number of fans to frown in interest. What would you really want to change about a DI box? Does it perhaps even have an effect on the sound?

Construction

Brief basic knowledge update. D.I. boxes always appear when an unbalanced signal, for example an electric bass, is not picked up via a microphone on the amplifier, but fed directly into the console. It is needed to extend the cable length to stage dimensions for a high-impedance signal, as in the Hz range there is a significant loss of sound from 6 meters of cable length and the next multicore is guaranteed not to be next to the bass box.

The advantages of a D.I. box are also complete independence from the sound of the amplifier and the security that no fool on stage will move the microphone on the loudspeaker. Disadvantage: also independence from the amplifier sound, as a high-quality bass amp such as the Classics from Ampeg on an all-tube basis, when well maintained, increases the value of the bass signal many times over. This is why ambitious FOHs usually work with 2 bass signals, D.I. and microphone.

So far, so good, but why does Rupert Neve go and serve a market that is already saturated? Well, because there is nothing that cannot be improved, especially if your name is Rupert Neve. The principle of the D.I. Box, the conversion of high-impedance to low-impedance signals, is also maintained in the Rupert Neve Designs RNDI. A classic TSR input for high-impedance signals loops through the same signal and can feed the signal into the input of the bass amplifier if required. An XLR socket on the back of the housing provides the low-impedance tap. Nothing new up to this point, but what is that inconspicuous mini switch labeled Input level on the front?

This is what makes the Rupert Neve Designs RNDI special. In contrast to almost all other D.I. boxes, the product can be switched not only into the instrument path, but also between the amplifier and the loudspeaker! Dear children, do not try this alone at home or whatever the warnings on TV said. Normally, apart from a solid loudspeaker cable, absolutely NOTHING has any place between the loudspeaker output and the speaker input, as the very high currents normally destroy all the electronics that do their job there. It is not for nothing that the thickest cables with the largest cross-sections are speaker cables.

The Rupert Neve Designs RNDI works with a headroom of +41.5 dBu and can therefore absorb power peaks of up to 1000 watts. This means that you can not only incorporate the amp's preamp or the tone control into the sound, most of the D.I. boxes built into the amp can do that too. No, with the Rupert Neve Designs RNDI we can capture the power amp compression that is so important in an all-tube amp with its soft saturation, which is a real highlight. Only the sound of the speaker is still the microphone's job and will always be. Why do we always talk about a bass amp? If we go into the guitar area, especially in the sound spectrum of a distorted electric guitar, the combination of speaker / microphone position plays an immense role in shaping the sound. You want to transmit a professional-sounding electric guitar without a microphone? Forget it!

Practice

When it comes to workmanship, one is inclined to use the overused toy term "indestructible" for the Rupert Neve Designs RNDI. The housing is more than just solid and would easily survive the tough everyday road use. However, the design and price suggest that it is more likely to be used in studios. The product receives the operating voltage for the Class A circuit via the phantom power of the XLR socket.

In terms of sound, the Rupert Neve Designs RNDI is impressive across the board. Thanks to the excellent Neve custom transformer, the product doesn't sound like one of those soulless D.I. boxes in mass production, but breathes a touch of character into every incoming signal. Not bloated but not too slim either, but with a very special touch of high mids that enrich the signal with additional liveliness.

Conclusion

With the Rupert Neve Designs RNDI, one of the biggest names in the audio industry has another top product on the market. With an extremely high headroom, the D.I. box can be used in areas that were previously not possible with a stand-alone D.I. box. In terms of sound and workmanship, it's the best you can get in this area at the moment!

Top marks!

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Additional Informations:

# The Evolution of Direct Injection (DI) Boxes

The Direct Injection (DI) box, a staple in audio recording and live sound reinforcement, has a rich history that dates back to the mid-20th century. This device, which plays a crucial role in balancing signals and eliminating unwanted noise, has evolved significantly over the years.

## The Birth of DI Boxes

The DI box was born out of necessity in the 1960s. As rock 'n' roll music gained popularity, bands started to play at larger venues, requiring more powerful amplification systems. However, these systems often picked up electrical interference, resulting in a noisy, distorted sound.

Engineers needed a solution to balance the unbalanced high-impedance signal from the guitar to the low-impedance input of the mixing console, while also reducing the likelihood of interference. The answer was the DI box.

## The Early Designs

The first DI boxes were passive devices, meaning they didn't require a power source. They used a transformer to convert the high-impedance signal from the instrument into a low-impedance signal suitable for the mixing console. These early DI boxes were simple, robust, and effective, but they had limitations, including signal loss and a limited frequency response.

## The Advent of Active DI Boxes

To overcome these limitations, the active DI box was introduced. Unlike its passive counterpart, an active DI box requires a power source. This allows it to have a higher input impedance, resulting in less signal loss and a broader frequency response. Active DI boxes quickly became popular in recording studios due to their superior sound quality.

## Modern DI Boxes

Today, DI boxes come in a variety of designs and offer a range of features. Some have multiple inputs for different instruments, while others have built-in equalizers to further shape the sound. There are even digital DI boxes that can model the sound of different types of amplifiers.

Despite these advancements, the core function of the DI box remains the same: to ensure that the signal from the instrument reaches the mixing console in the cleanest and most balanced form possible.

## Conclusion

From its humble beginnings in the 1960s to the sophisticated devices we see today, the DI box has been an integral part of audio engineering. As technology continues to advance, we can expect to see even more improvements and innovations in DI box design.

# The Technicalities of DI Boxes

## Passive DI Boxes

Passive DI boxes are simple in design, consisting of an input, an output, and a transformer. The transformer is the heart of the DI box, performing two critical tasks: matching impedance and balancing the signal.

Impedance matching is crucial because most musical instruments produce a high-impedance signal, while most professional audio equipment (like mixing consoles) prefer a low-impedance signal. The transformer in a passive DI box steps down the impedance, making the signal more suitable for long cable runs.

Balancing the signal involves converting an unbalanced signal (which is susceptible to noise) into a balanced signal (which is more resistant to noise). This is achieved by creating a copy of the signal, inverting it, and sending it along a second conductor. Any noise picked up along the way gets canceled out when the original and inverted signals are combined at the end of the cable run.

## Active DI Boxes

Active DI boxes, on the other hand, require an external power source, which can be a battery, phantom power from a mixing console, or an external power supply. The active DI box uses this power to operate a preamplifier, which boosts the signal from the instrument before it reaches the transformer.

The preamplifier in an active DI box has a high input impedance, which means it can accept a wider range of signal levels without distortion. This makes active DI boxes a better choice for instruments with low-level outputs, like electric guitars and basses.

## The Future of DI Boxes

As we look to the future, the humble DI box continues to evolve. Digital DI boxes are now available, offering features like onboard digital signal processing (DSP), which allows for more precise control over the sound. Some models even offer USB connectivity, making it easier than ever to integrate instruments with computer-based recording systems.

# The Impact of DI Boxes on the Music Industry

DI boxes have had a profound impact on the music industry. They have become an essential tool for both live performances and studio recordings, ensuring that the sound from the instruments is accurately captured and reproduced.

## Live Performances

In a live performance setting, DI boxes are used to connect instruments like keyboards and acoustic guitars directly to the PA system. This allows the sound engineer to control the volume and tone of each instrument independently, ensuring a balanced mix for the audience.

DI boxes also help to eliminate ground loop issues, which can cause a hum or buzz in the audio signal. By isolating the instrument from the PA system, DI boxes can effectively break the ground loop and eliminate this noise.

## Studio Recordings

In the studio, DI boxes are used to record instruments directly into the mixing console or audio interface. This provides a clean, uncolored sound that can be shaped and processed during the mixing stage.

For electric guitars and basses, recording through a DI box gives the engineer the option to re-amp the signal later. This involves playing the recorded DI signal back through an amplifier and miking up the amp to capture its sound. This technique allows the engineer to experiment with different amp settings and microphone placements without requiring the musician to perform the part again.

## The Unsung Hero

Despite their importance, DI boxes are often overlooked and taken for granted. They are the unsung heroes of the audio world, quietly doing their job in the background. But without them, the music we listen to would not sound the same.

Rupert Neve's D.I. Boxes have indeed made a significant impact on the music world. His designs, such as the RNDI Active Transformer Direct Interface, are highly regarded for their build quality and sound¹².

The RNDI's signature sound is the product of new custom Rupert Neve-designed transformers and class-A biased, discrete FET amplifiers². These elements contribute to the unique response of the RNDI, delivering a powerful and vibrant direct sound capable of reproducing the full harmonic depth of basses, guitars, acoustic instruments, and professional line level sources².

Musicians and engineers have reported a significant improvement in transient response, upper harmonic clarity, and low-end definition when upgrading to a Rupert Neve D.I. Box¹. This has led to a richer, deeper, and fuller sound that many in the industry have come to appreciate¹.

So, while it may be subjective to say whether Rupert Neve has "changed" the music world with his D.I. Boxes, it's clear that his designs have had a substantial influence and are highly valued in the industry. His commitment to quality and innovation continues to shape the sound of music production and live performances.

TEST: Rupert Neve Design Portico II

 Rupert Neve Design Portico II, a device that, in addition to the current product name, contains a name that conjures up an expression on the face of almost every studio owner or operator that can vary from a subtle smile to a humble bow. The achievements that the sound engineer, born in 1926 and winner of the Lifetime Achievement Technical Grammy Award, has developed over the course of his life are just too great. He is considered THE man who developed the mixing console.

When a product is released under the name of such a legend, you automatically have expectations that are in the upper high-end range, whether you want it or not. This is also the case with the Portico II, a channel amplifier made in the USA that contains the most important components of a preamplifier such as a catch-up amplifier, equalizer and compressor. The product also has a circuitry trump card that gives the design a unique sound. More on this in the following test. By the way, Mr. Neve doesn't like the term channel strip because, in his eyes, it devalues ​​the product...

Construction

Anyone who picks up the Portico II for the first time immediately gets the feeling of high-quality equipment. The housing, which takes up 2 height units, weighs an impressive 9 kilograms, which is partly due to the very strong sheet steel and an aluminum front panel of just under 5 millimeters. The overall appearance is very classy, ​​which is further underlined by the backlit Plexiglas push buttons. All controls run evenly with a pleasant turning resistance, or rather click cleanly into their positions.

No expense is spared in terms of the quality of the components; discrete operational amplifiers, selected semiconductors and specially manufactured input and output transformers should contribute to perfect signal transmission. In addition, almost all voltage-relevant components are oversized or work with above-average headroom, which can be seen from the 36 volt power supply and the toroidal transformer, which is reminiscent of a guitar tube amplifier due to its size.

In terms of signal processing, the Rupert Neve Design Portico II was designed for both microphone and mono line signals. On the back there are two balanced microphone and line inputs in XLR format, a sidechain loop path in 6.35 millimeter jack and 2 link sockets for daisy chain connection. The housing can also be fitted with a ground lift. High-impedance signals such as a passive electric bass can be connected via a jack socket on the front of the device. The gain control allows amplification of up to +66 dB, which should really cover all incoming signals. Anything below this level will inevitably be drowned out by background noise.

The gradation is in 6 dB steps, which can be adjusted again in +/- 6 dB using a trim potentiometer above. An LED on the side monitors any peaks that may be present. The double division of the compensation amplifier allows extremely fine gradation and, if handled correctly, will get the most out of the signal. An input selector switch, phase reversal, a mute button, 48V phantom power and a thru jack socket for the Hz input complete the inventory of the first signal stage. A footstep filter, which is continuously adjustable between 20 - 250 Hz and works with a slope of 12 dB per octave, forms the first stage of signal processing. The switchable filter can also be removed from the compressor's signal path using a sidechain HPF button so that the high-energy low frequencies do not distort the compressor's operation.

Let's get to the heart of every preamplifier, the equalizer. The Rupert Neve Designs Portico II has a combination of 4 bands in total, which can be individually controlled depending on the application and can be activated or deactivated separately. Let's start with the bass, which can be adjusted by +/- 15 dB and works with 4 center frequencies (35 Hz, 60 Hz, 100 Hz, 220 Hz). In addition, the characteristics of the band can be switched between shelving or peak. This is followed by a fully parametric low-mid filter, which can also be adjusted by +/- 15 dB and works continuously between 80 Hz - 1.6 kHz and sets the quality between 0.5 - 5. The same working principle can also be found in the high-mid filter, only the frequency range is between 800 Hz - 16 kHz.

The treble control is the final part, which is identical to the bass control and sets its corner frequencies at 4.7 kHz, 6.8 kHz, 12 kHz and 25 kHz and has the same circuit features. In addition, the device has an internal de-esser, which is deactivated when the corresponding control is turned all the way to the left and can be continuously mixed into the processed signal. The subsequent compressor section has the standard parameters threshold (-30 to +20 dB), ratio (1.1:1 to ∞:1), attack (20 to 75 ms), release (100 ms to 2500 ms) and the volume equalization control (-6 to 20 dB), optionally in RMS mode (average signal analysis and smooth operation) or in peak mode (signal peaks are also analyzed).

It would be surprising, however, if Rupert Neve had only stuck to standard use of a compressor. Using a push button, you can choose between feedback mode (FB - output tap behind the VCA - vintage orientation) and feedforward mode (FF - output tap before the VCA - modern orientation). The use of a blend control, which enables a continuous mix of the original signal with the compressor signal, is also very successful. Two Portico IIs can also be connected to form a stereo setup using the link push button.

As a final stage, the Rupert Neve Design Portico II has integrated a special feature into the concept. A so-called texture control adds harmonic and inharmonic overtones to the signal and ensures a very unique shine in the signal handling. The effect portion is continuously adjustable and can be used according to personal taste. A distinction is made between the Silk and Silk+ modes, with Silk using a process that is already used in the 5012 model and Silk+ trying to emulate the circuits of a vintage Class A console.

Practice

In a neutral setting without any signal processing, the Rupert Neve Design Portico II clearly points to the lower midrange and otherwise behaves relatively free of coloration with an open basic sound. The signal used is recorded in every facet, crisp and well-defined, and the quality of the components can be felt immediately. However, real euphoria is revealed when the Silk modes are activated. Especially with vocal recordings, the signal takes on a comparatively silky shimmer, which makes the recording appear more elegant and of higher quality.

The product never falls into the trap of enriching the good too much; even with a high level of effect, the signal cannot degenerate into a farce. The focus of the technology is always on musicality, which creates a relaxed basic mood in the control room. The signal also experiences a clear improvement in Silk+ mode, but this time in the saturation in the lower midrange. Especially for authentic vintage sounds, a small movement of the corresponding control knob can generate that touch of originality that distinguishes the very good from the brilliant.

The same applies to the quality of the equalizer and compressor modules. Thanks to the large number of different configuration options, along with an excellent basic sound, the Rupert Neve Design Portico II is able to give almost any signal a good portion of quality, or catapult a mediocre signal into the top league. To avoid any misunderstandings, a pathetic signal remains a pathetic signal, and even the Portico II cannot reanimate a tonal stillbirth. But if you pay attention to your signal-technical tools, you have a product at hand with this device that knows how to manage what is available in the best possible way.
 

Conclusion

With the Rupert Neve Design Portico II you are purchasing a product that is in the absolute top league. The workmanship, components, signal quality and detailed solutions are convincing in every respect and make every movement in terms of signal flow a real pleasure. Although the selling price will limit the clientele of buyers, the professional sound engineer knows how to put the associated performance into the right context.

Top marks!

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Additional Informations:

The United Kingdom has a long and illustrious history in the realm of audio engineering, with pioneering companies that have shaped the way we listen to music and experience sound. From the early days of the phonograph to the cutting-edge advancements of modern digital audio, British audio firms have consistently demonstrated a passion for innovation and a dedication to crafting products of exceptional quality.

**The Birth of Hi-Fi: Setting the Stage for Audio Excellence**

The roots of British audio can be traced back to the late 19th century, with the invention of the phonograph by Thomas Edison and Emile Berliner. This revolutionary device, capable of recording and reproducing sound, sparked a wave of innovation in audio technology. British companies were at the forefront of this development, with firms like Columbia Graphophone Company and Gramophone Company making significant contributions.

In the post-World War II era, the concept of high-fidelity (hi-fi) sound emerged, emphasizing accurate and realistic audio reproduction. British audio companies embraced this new standard, leading the charge in developing hi-fi components that delivered exceptional sonic performance. Brands like Leak, Quad, and Radford became synonymous with hi-fi excellence, their products revered for their technical prowess and musicality.

**Pioneering Innovations: British Audio at the Forefront**

British audio firms have consistently pushed the boundaries of audio technology, introducing groundbreaking innovations that have transformed the listening experience. In the 1950s, Celestion introduced the groundbreaking T-12 loudspeaker, renowned for its wide frequency range and exceptional clarity. This marked a significant step forward in loudspeaker design, paving the way for modern high-performance speakers.

The 1960s and 1970s saw a surge of further innovations from British audio companies. KEF's groundbreaking Uni-Q driver, combining tweeter and midrange elements in a single unit, revolutionized loudspeaker design. Linn Products' iconic Sondek LP12 turntable, with its innovative spring suspension system, became a benchmark for analog playback. Meanwhile, companies like B&W and Rega continued to push the envelope with their advanced speaker designs.

**The Digital Revolution: British Audio Adapts and Thrives**

The advent of digital audio in the 1980s presented new challenges and opportunities for British audio companies. Embracing the digital revolution, British firms once again demonstrated their adaptability and innovation. Meridian Audio, a pioneer in digital audio technology, developed the world's first CD player in 1982, marking a turning point in the history of recorded music.

Cambridge Audio, Arcam, and Rotel were among the many British companies that successfully transitioned into the digital era, producing high-quality digital components that gained widespread acclaim. In recent years, British audio firms have continued to innovate in the digital realm, developing cutting-edge technologies like wireless audio streaming and high-resolution digital formats.

**A Legacy of Excellence: British Audio's Enduring Influence**

Today, British audio companies continue to hold a prominent position in the global audio landscape. Renowned for their dedication to quality, innovation, and musicality, British brands like Naim Audio, Monitor Audio, and Bowers & Wilkins are highly sought after by audiophiles worldwide. Their products consistently set benchmarks for performance and design, earning them numerous awards and accolades.

The legacy of British audio is a testament to the creativity, ingenuity, and passion of British audio engineers and manufacturers. From the early days of the phonograph to the cutting-edge advancements of modern digital audio, British audio firms have consistently shaped the way we listen to music and experience sound. Their unwavering commitment to quality and innovation ensures that British audio will continue to play a leading role in the world of sound for generations to come.

**Conclusion**

The story of British audio is a rich and inspiring tale of innovation, excellence, and a deep passion for music. From the pioneering days of hi-fi to the cutting-edge advancements of the digital era, British audio companies have consistently demonstrated their ability to push the boundaries of audio technology and deliver exceptional sonic experiences. As we look to the future of audio, it is clear that British firms will continue to play a pivotal role in shaping the way we listen to and enjoy music.

TEST: Rupert Neve Design Master Bus Transformer

 Like so many other things in life, the polarization within the studio scene regarding hardware vs. software seems to be increasing hourly. At the moment, software is in the lead due to the significantly higher output of new apps or plug-ins, but the heavy analog powerhouses are stubbornly holding their own in the signal chain, especially in the professional sector, due to their consistently "better" sound. The Rupert Neve Designs Master Bus Transformer is also one of these mastering powerhouses, which, as a bus channel strip, combines several processors in one product to give the final mix or a subgroup the final touch.

The construction of the Rupert Neve Designs Master Bus Transformer

The Rupert Neve Designs Master Bus Transformer comes in a 2U version and weighs quite a bit at just under 7 kg. Although this shouldn't really be a deciding factor when rack mounting, it should still be remembered that you may need to check the load on the rack rails a little due to the leverage effect. The product was designed exclusively for rack use, which is evident from the fact that no rubber feet or other materials were included with the product.

The Rupert Neve Designs Master Bus Transformer is, as expected, completely stereo. On the back we find two TRS-XLR combo sockets, right / left, plus the corresponding outputs and a ground lift switch. The on-off switch is beautifully embedded in a plastic frame so that it cannot be accidentally switched on or off, but can only be deactivated or activated with a little sensitivity in the truest sense of the word. Finally, we find a cold device socket below the power switch.

The Rupert Neve Designs Master Bus Transformer was designed to give the mix more character, color and "enhancement", for which the product has an input and output section, several equalizers, a compressor, a stereo widener and a harmonic generator. It therefore differs in several ways from the MBC (Master Bus Compressor) or the MBP (Master Bus Processor), which influence the signal in a more traditional way.

As with almost all Rupert Neve Designs products, the Rupert Neve Designs Master Bus Transformer is based on the predominant use of transformers, which are an important part of the sound shaping of the product, as they ensure the appropriate depth, saturation and coloration of the signal. Several of these elements are used in the various stages of the product and are thus once again responsible for the typical Rupert Neve sound, which has become a kind of benchmark in certain areas of signal processing for decades.

The individual stages of the Rupert Neve Designs Master Bus Transformer

All controls in the following stages are also rastered and run with an excellent feel. The individual stages of the Rupert Neve Designs Master Bus Transformer are divided as follows:

INPUT: The input area is divided into a push button and two rotary controls. The red knob is the input control, which allows an amplification of minus 12 dB to plus 12 dB, a value which makes sense considering the line signal, while the black knob enables a high-pass filter, which starts between 15 and 100 Hz and is switched via the colored push button. This section also has two LEDs which visually display the input level of the signal. Since the product is often driven into saturation, it is not surprising that no LED chains were used, but only individual LEDs, which visually display the subtle overdriving of the signal using a somewhat coarser resolution, but which is certainly partly intended.

EQUALIZER: The next level is an equalizer, which consists of two shelving areas with 3 Oct. range each, one for the bass and one for the treble range. This is more of an approach that is familiar from the sound control of earlier stereo systems, where the upper and lower frequency ranges can also be adjusted to personal taste or the speakers used using a simple shelving sound control. The equalizers have a frequency range of 30 Hz to 240 Hz in the bass range and 3 kHz to 24 kHz in the treble range. Both equalizers can be operated with plus and minus 9 dB, and a separate push button switches this level on individually if required.

COLOR COMP: The next stage, known as Color Comp, has two functions. You can use it as a regular compressor, but you also have the option of coloring the signal using the stage due to the way the compressor works optically. The stage has two push buttons, one to activate/deactivate the compressor and a ratio switch, which works with two presets, high and low. This section also has five controls, two of which should be relatively familiar with threshold and release, and another make-up gain control, which increases the signal by up to 20 dB. Quite unusual, however, is a high-pass filter in the sidechain area, which works between 20 and 350 Hz, and especially a blend control, which can be used to implement parallel compression from 0 to 100%. Another LED shows how much the signal is reduced depending on the gain setting.

WIDTH: The next stage deals with the stereo widening of the incoming signal.
Two controls allow you to set the intensity of the stereo widening and the frequency range to which the stereo widening should apply. The frequency range is particularly important, as you like to keep the low bass frequencies in the center, while you only aim for stereo widening via the mid and high range. This stage can also be activated separately.

SUPER SILK: The last stage of the Rupert Neve Designs Master Bus Transformer is also the most unusual stage, or rather it refers to other products that have already been released under the Rupert Neve Designs label. It is the Super Silk stage, in which a total of four processors work. All four deal more or less with harmonic distortions, which can be individually mixed into the original signal. We have the Blue control, which deals with the bass and low-mid range, and we have the Red control, which deals with the high mids and highs. There is also a separate Harmonics control, which generally regulates the saturation. We also have a separate on/off switch for the stage and we have a so-called Zener Drive, which is a kind of booster for harmonic distortion and thus refers even more to the typical 70s sound that Rupert Neve made so famous.

The Rupert Neve Designs Master Bus Transformer in practice

The Rupert Neve Designs Master Bus Transformer is indeed something for connoisseurs in the best sense of the word. Of course, it is possible to use extreme settings, especially in the area of ​​saturation, to conjure up strong sound effects on the incoming signal, so that you really notice a striking effect. Especially in combination with the compressors and the Super Silk stage, a great murmur goes through the room as soon as you work intensively with the controls. However, this effect is significantly reduced if you pull the incoming signal to 0 dB via normalization and actually only allow the sound effect to come into play.

However, you notice how much the product leaves its mark on the sound the moment you jump back from the last sound file to the first sound file and you have the feeling that you have made some kind of connection error or that you have accidentally placed a paper napkin over the tweeters. The individual processing steps are extremely fine and subtle and enhance the signal enormously without being too pretentious. Everyone has to find out for themselves to what extent the classic British sound appeals to them. However, if you like the typical console sound of the 70s or 80s, the Rupert Neve Designs Master Bass Transformer is a very good tool for implementing your personal sound ideas.

A truly outstanding product.

Conclusion

With the Rupert Neve Designs Master Bus Transformer, the successor company to the console pope has once again offered an excellent tool for individual stereo signal processing.

The product, which is manufactured in the USA, is excellently crafted and offers a classic British sound in various processing stages. In total or in bus operation, a real asset for every incoming signal.

Definitely try it out!

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Additional Informations:

When it comes to achieving pristine audio quality in a recording studio, the microphone channel strip is an indispensable piece of equipment. This versatile device combines several audio processing elements into a single unit, providing comprehensive control over the sound of the incoming microphone signal. Among the myriad options available, the Outgear Microphone Channel Strip stands out for its blend of traditional analog warmth and modern digital precision. In this article, we delve into the advantages and disadvantages of using an Outgear Microphone Channel Strip, offering an in-depth analysis to help you determine if it’s the right choice for your recording setup.

#### The Anatomy of a Channel Strip

Before we delve into the specifics of the Outgear Microphone Channel Strip, it's important to understand what a channel strip entails. Typically, a channel strip includes a microphone preamplifier, an equalizer (EQ), a compressor, and sometimes additional features like de-essers, limiters, and noise gates. This all-in-one approach allows engineers to shape the sound comprehensively before it reaches the recording medium, whether that's an analog tape machine or a digital audio workstation (DAW).

#### Advantages of the Outgear Microphone Channel Strip

**1. Exceptional Sound Quality**

One of the most compelling reasons to invest in an Outgear Microphone Channel Strip is its superior sound quality. The preamp section is designed with high-grade components that provide a clean and transparent amplification of the microphone signal. This ensures that even the most subtle nuances of the vocal or instrument performance are captured with fidelity. The analog circuitry imbues the signal with a warmth and depth that is highly prized in professional recording circles.

**2. Comprehensive Control**

The Outgear Channel Strip offers a comprehensive suite of controls that allow for precise shaping of the audio signal. The EQ section typically features multiple bands with adjustable frequency, gain, and bandwidth (Q), enabling fine-tuned sculpting of the sound. The compressor section includes threshold, ratio, attack, release, and makeup gain controls, providing the flexibility to handle everything from subtle dynamic smoothing to aggressive peak limiting.

**3. Integration of Analog and Digital Technologies**

Another significant advantage of the Outgear Microphone Channel Strip is its seamless integration of analog and digital technologies. While the preamp and EQ sections are purely analog, some models include digital processing features such as recallable settings and USB connectivity for integration with a DAW. This hybrid approach allows users to enjoy the best of both worlds: the sonic character of analog gear and the convenience of digital control.

**4. Versatility**

Versatility is a hallmark of the Outgear Channel Strip. Whether you're recording vocals, acoustic instruments, electric guitars, or even drums, this channel strip can handle it all. The robust construction and high-quality components ensure reliable performance across a wide range of applications. Additionally, the unit often includes various input and output options, making it adaptable to different studio configurations.

**5. Built-in Enhancements**

Many Outgear Channel Strips come equipped with built-in enhancements such as a de-esser for taming sibilance in vocal recordings, a high-pass filter for removing unwanted low-frequency rumble, and a noise gate for reducing background noise. These features enhance the functionality of the channel strip, providing additional tools for achieving a polished and professional sound.

#### Disadvantages of the Outgear Microphone Channel Strip

**1. Price**

One of the most significant drawbacks of the Outgear Microphone Channel Strip is its price. High-quality components and meticulous engineering come at a cost, making this channel strip a substantial investment. While the price is justified by the performance and features offered, it may be prohibitive for hobbyists or those just starting in the recording industry.

**2. Learning Curve**

The comprehensive control offered by the Outgear Channel Strip can also be a double-edged sword. For those new to audio engineering, the multitude of knobs, switches, and settings can be overwhelming. Mastering the use of each section (preamp, EQ, compressor) and understanding how they interact requires a significant amount of time and experience. This learning curve can be daunting for beginners, potentially leading to suboptimal use of the equipment.

**3. Size and Portability**

The Outgear Channel Strip, like many high-end audio processors, tends to be bulky and heavy. This can be an issue for studios with limited space or for engineers who need to transport their gear frequently. While the robust construction is an asset in terms of durability, it does pose challenges in terms of portability and setup flexibility.

**4. Maintenance**

With its complex analog circuitry, the Outgear Channel Strip requires regular maintenance to ensure optimal performance. Components such as tubes (if applicable), capacitors, and switches can wear out over time and may need replacement. Additionally, analog gear is more susceptible to environmental factors such as humidity and temperature changes, which can affect performance and longevity.

**5. Limited Digital Features**

While the integration of analog and digital technologies is an advantage, it also highlights a potential limitation. The digital features offered by the Outgear Channel Strip are often less comprehensive than those found in fully digital alternatives. For instance, advanced digital processors may offer extensive automation, detailed visual feedback, and more complex signal processing capabilities. Users who prioritize these digital features might find the Outgear's digital integration somewhat limited.

#### Conclusion

The Outgear Microphone Channel Strip is a powerful tool that brings together the best aspects of analog warmth and digital precision. Its exceptional sound quality, comprehensive control, and versatile features make it a valuable asset in any professional recording studio. However, its high price, steep learning curve, and maintenance requirements may pose challenges for some users. For those who can navigate these challenges, the Outgear Channel Strip offers an unparalleled level of audio control and enhancement, making it a worthy investment for achieving top-tier recordings.

In the end, the choice to invest in an Outgear Microphone Channel Strip depends on your specific needs, experience level, and budget. By weighing the pros and cons outlined in this article, you can make an informed decision that aligns with your recording goals and ensures the best possible results for your projects.