TEST: Slate Pro Audio Fox

 The Slate Pro Audio Fox is a two-channel microphone preamplifier in which the two channels each have two independent circuits that can be combined if necessary.

The concept of the Slate Pro Audio Fox

There is probably no sound engineer who has not asked himself at least once which microphone preamplifier to choose when equipping his studio. The same thing happened to Steven Slate several times during his work in the recording studio, when colleagues asked him whether they should go for Neve, API or Millenia. His answer was always the same: you should get all the microphone amplifiers available and choose the best one for the respective application.

It was foreseeable that this answer would not be met with great enthusiasm, even for monetary reasons. However, there is also no question that, depending on the application, the British division, which is more warm and saturation-oriented, has clear advantages, or if you prefer a fast, neutral response, you would rather rely on more modern components.

Steven Slade was aware of this when he designed the Slade Pro Audio Fox, a two-channel microphone preamplifier in which each channel can be switched separately between vintage and modern in terms of its sound orientation.

But that's not all - you can also combine the two channels, where you can switch the input and output range between vintage and modern, so that ultimately a wide range of sounds can be created with the input/output orientation vintage-modern or modern-vintage.

Steven Slate points out several times in his reference guide how important the combination of the different sound approaches was to him, because otherwise, according to his own statements, he would have created "just another normal-sounding preamp".

The structure of the Slate Pro Audio Fox

Before we can even say a single word about the structure or function of the Slate Pro Audio Fox, the product, which was developed and manufactured in the USA, draws attention to itself with its weight. At well over 6 kg, this microphone amplifier is by far the heaviest 1U device I have ever come across in my life. Not even 1U power amplifiers can weigh this much. This speaks for the extremely solid workmanship of the product, but also for the rather solid electronics that must be built into the device.

The product is delivered without any rubber feet and is designed exclusively for rack use. Due to the high weight, I strongly recommend either using an additional rack rail at the back or using a suitable substructure to ensure that the weight does not rest exclusively on the front wings. The device also generates a lot of waste heat, so it is important to ensure that a height unit is kept free above the Slate Pro Audio Fox to dissipate the waste heat.

In terms of construction, the Slate Pro Audio Fox has two identical channels, which can be used separately or in the so-called combo circuit. Both channels have a 12-way gain control, which enables a gain of up to 60 dB, and a continuous output control. In terms of inputs, the product has an unbalanced jack input on the front and gold-plated XLR inputs on the back. In terms of outputs, the product has gold-plated XLR and TRS outputs on the back.

6 mini switches give each channel the necessary flexibility, such as a PAD switch that reduces the input signal by 10 dB if necessary, an input switch that uses a green LED to indicate whether the unbalanced jack input on the front or the balanced microphone input on the back is being controlled. We also have a 180° phase change if required and phantom power, which is also indicated by a red LED.

The product's real secret weapon, however, is hidden behind two mini switches, which are grouped together under the CIRCUIT section. These are the COMBO-NORMAL or VINTAGE-MODERN switches. Using these two switches, two completely independent discrete circuits in solid state design can be activated, which are more oriented towards VINTAGE in the style of a 1073 NEVE or towards MODERN in the style of an ULTRA HI-FI SOLID STATE PREAMP. As expected, these extraordinary combination options of the two circuits, which are arranged diametrically opposite in terms of sound, make it possible to achieve combinations that a single product from a single style cannot deliver. This applies in particular to the individual use of the input and output areas of the two circuits.

The front panel is rounded off by the usual power switch on the right, while the back panel has the cold appliance socket, along with a fine-wire fuse accessible from the outside and a voltage selector switch with which you can choose between 110 and 220 volts mains voltage. Perhaps it would be a good idea to upgrade to 230 volts soon. Visually, the manufacturer offers a tasteful matt-gloss contrasting pattern on the front, which is also a unique selling point for the entire product range.

The Slate Pro Audio Fox in practice

The Slate Pro Audio Fox gives a very high-quality feel, not only because of its high weight, but also because of its excellent feel. All rotary controls and switches have a pleasant, stiff switching process, which makes working with the product a real pleasure.

In order to be able to compare the four different "preset" specifications for input and output transformers exactly, I took an untreated vocal recording from the studio and put it through the various settings of the product. I realize that this means that the direct interaction with the microphone is lost, but I chose this in favor of a direct comparison, since four different vocal recordings would each bring with them four different dynamic and tonal effects, which would distort the result.

Let's start with the Vintage preset. In fact, the setting is very tastefully chosen in the direction of Neve and other British colleagues. There is a clear saturation in the entire signal path and the classic mid-range boost is also clearly audible. This setting is very suitable for typical rock vocals, where things can get a bit dirtier and where the extremely fine treble section is not as important as an assertive mid-range.

The Modern setting, on the other hand, is completely different, where the mid-range is handled in a much more neutral and relaxed manner, but the extremely fine treble range from around 5 kHz is very nicely featured. This ensures that the "whispering" sounds come through very nicely and allow for a particularly fine resolution in the high frequency range. This setting is very tasteful in the pop range, where a wide, neutral and very round resolution is required.

Now let's get to the special feature of the Slate Pro Audio Fox, the combination of the two transformer systems with each other. To say it right up front, the two settings convinced me much more than the vintage or modern settings on their own. The combination results in a denser sound in itself, which comes through very well in the mix and which combines the two strengths of the respective systems.

Personally, I would tend towards the Vintage setting in the input and Modern in the output range in the rock range, and for a slightly more popular interpretation the Modern range in the input range and Vintage in the output range. This is of course a very personal perception, which can vary considerably depending on the signal in question and the taste of the producer. The bottom line, however, is that the four preset options of the product generate very subtle differences in direct comparison, but these are nevertheless clearly perceptible and allow for an incredible level of flexibility that would otherwise only be possible with at least two separate outgear products.

Ultimately, this flexibility makes it possible to save on a microphone preamp and, thanks to the stereo design, you can even transmit a stereo signal very nicely, such as the overheads of a drum set, or two corresponding mono signals.

Conclusion

With the Slate Pro Audio Fox, the American manufacturer has a very flexible microphone preamp in its portfolio. With two independent circuits, the product manages to produce both classic British vintage sounds and modern HiFi sounds, with the system's secret weapon being the combination of the two circuits using freely selectable input and output amplifiers.

Due to this design's flexibility, you can save at least one outgear preamp, which is noticeable both in terms of space requirements and finances.

A very good preamp, which has 4 outstanding "presets" of a special kind. Definitely give it a try.

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Additional Informations:

The pro audio industry is a realm defined by its relentless pursuit of innovation and quality, and few companies embody these principles as distinctly as Slate Pro Audio. Known for its cutting-edge technology and high-fidelity audio equipment, Slate Pro Audio has become a prominent name among recording professionals and audiophiles. This article delves into the detailed history of Slate Pro Audio, tracing its roots, significant milestones, and the impact it has made on the audio industry.

## Early Beginnings

The story of Slate Pro Audio begins with Steven Slate, an entrepreneur and audio engineer with a deep passion for music production. Born in the United States, Slate developed an early interest in music and sound engineering, which eventually led him to pursue a career in the audio industry. His journey started in the early 2000s, when he began working as a recording engineer and producer, gaining valuable experience and insights into the technical aspects of sound recording.

Steven Slate’s early career was marked by a keen interest in improving the tools available to audio professionals. He noticed that many of the existing audio equipment and plugins lacked the precision and quality required for modern music production. This realization sparked his desire to create innovative solutions that would address these shortcomings and elevate the standards of audio engineering.

## The Birth of Slate Digital

Before the establishment of Slate Pro Audio, Steven Slate founded Slate Digital in 2008, a company dedicated to developing high-quality digital audio plugins. Slate Digital quickly gained recognition for its innovative approach to audio processing, combining advanced algorithms with intuitive user interfaces. The company’s first major success was the Virtual Console Collection (VCC), a plugin that emulated the sound of classic analog mixing consoles. The VCC was widely acclaimed for its ability to impart the warmth and character of analog gear to digital recordings.

Building on the success of the VCC, Slate Digital continued to release a series of groundbreaking plugins, including the Virtual Tape Machines (VTM), Virtual Buss Compressors (VBC), and the Virtual Mix Rack (VMR). These products solidified Slate Digital’s reputation as a leader in the digital audio plugin market, and set the stage for the launch of Slate Pro Audio.

## Formation of Slate Pro Audio

Slate Pro Audio was officially established in 2010, as a sister company to Slate Digital. While Slate Digital focused on digital audio plugins, Slate Pro Audio was created to address the hardware needs of audio professionals. The company’s mission was to develop high-end audio equipment that combined the best of analog and digital technologies, offering superior sound quality and versatility.

One of the first products released by Slate Pro Audio was the Dragon, a versatile analog compressor known for its unique tonal characteristics and flexible control options. The Dragon quickly gained a reputation for its ability to deliver a wide range of compression styles, from subtle dynamics control to aggressive, punchy compression. This product set the tone for Slate Pro Audio’s commitment to innovation and quality.

## The Evolution of Slate Pro Audio

Over the years, Slate Pro Audio expanded its product lineup to include a variety of audio equipment, ranging from preamps and compressors to audio interfaces and control surfaces. Each product was designed with the input of professional audio engineers, ensuring that they met the high standards of the industry.

### The Raven Series

One of the most notable developments in the history of Slate Pro Audio is the introduction of the Raven series of multi-touch control surfaces. Launched in 2012, the Raven series represented a significant leap forward in the realm of digital audio workstations (DAWs). The Raven control surfaces featured large multi-touch screens that allowed users to interact with their DAW in a more intuitive and tactile manner.

The Raven series quickly gained popularity among recording studios and post-production facilities, as it streamlined workflow and enhanced productivity. The ability to control DAW functions directly from the touchscreen, combined with the precise touch response, made the Raven a game-changer for many audio professionals.

### The VMS System

In 2015, Slate Pro Audio introduced the Virtual Microphone System (VMS), a revolutionary product that combined hardware and software to emulate the sound of classic microphones. The VMS consisted of a high-quality condenser microphone and a dedicated preamp, along with software that modeled the characteristics of various vintage microphones. This system allowed users to achieve the sound of multiple iconic microphones using a single, affordable setup.

The VMS was praised for its accuracy and versatility, providing recording engineers with a powerful tool to enhance their recordings. By offering the sonic qualities of expensive vintage microphones at a fraction of the cost, the VMS democratized access to high-end audio tools and further cemented Slate Pro Audio’s reputation for innovation.

### Expanding Horizons

In addition to its core product offerings, Slate Pro Audio continued to explore new avenues for growth and innovation. The company collaborated with other industry leaders to develop new technologies and expand its product portfolio. For example, the partnership with hardware manufacturer Solid State Logic (SSL) resulted in the creation of the Slate Raven MTi2, a more affordable version of the original Raven control surface.

Slate Pro Audio also ventured into the world of mobile audio production with the introduction of the ML-1 and ML-2 microphones, designed to work seamlessly with the VMS software on mobile devices. These products allowed musicians and producers to achieve studio-quality recordings on the go, further broadening the reach and impact of Slate Pro Audio’s technologies.

## Impact and Legacy

The influence of Slate Pro Audio on the professional audio industry cannot be overstated. The company’s products have been adopted by top recording studios, music producers, and engineers around the world. Slate Pro Audio’s commitment to quality, innovation, and user-centric design has set new standards for what is possible in the realm of audio equipment.

One of the key factors behind Slate Pro Audio’s success is its ability to listen to the needs of its users and respond with products that address those needs. Steven Slate’s background as a recording engineer and producer has given him a unique perspective on the challenges faced by audio professionals, and this perspective is reflected in the company’s products.

Furthermore, Slate Pro Audio’s emphasis on integrating digital and analog technologies has resonated with a generation of audio professionals who seek the best of both worlds. By providing tools that combine the warmth and character of analog gear with the precision and flexibility of digital processing, Slate Pro Audio has bridged the gap between traditional and modern recording techniques.

## Conclusion

The history of Slate Pro Audio is a testament to the power of innovation and the impact that a passionate entrepreneur can have on an industry. From its early days as an offshoot of Slate Digital to its current status as a leading manufacturer of high-end audio equipment, Slate Pro Audio has consistently pushed the boundaries of what is possible in the world of professional audio.

Through products like the Dragon compressor, the Raven control surfaces, and the Virtual Microphone System, Slate Pro Audio has revolutionized the way audio professionals work, offering tools that enhance creativity and productivity. As the company continues to evolve and explore new technologies, it remains committed to its core mission of providing the highest quality audio equipment to its users.

In an industry that is constantly changing and evolving, Slate Pro Audio stands as a beacon of innovation, quality, and dedication. Its journey from a small startup to a respected industry leader is a remarkable story of vision, perseverance, and the relentless pursuit of excellence. As we look to the future, there is no doubt that Slate Pro Audio will continue to play a pivotal role in shaping the sound of tomorrow.

TEST: Sennheiser PSM 300

 We all know the problem of variety when choosing products. Whether it's over 60 different types of jam in the supermarket or choosing instruments/accessories in the music store, the luxury problem of finding the right one for you within the huge selection of products is everywhere. Everywhere? Not at all! For example, if you try to find a wireless link or a wireless in-ear system, you will quickly find that this area is firmly in the hands of just three providers worldwide, plus two OEM providers from the music stores Thomann and Musicstore. In addition to the very successful products from LD Systems, which are in the mid-range price range up to around €450, the high-end league is divided between the German provider Sennheiser and the American provider Shure. The Shure PSM 300 Premium S8 from the latter is available for testing.

Structure and concept

As is well known, in-ear monitoring systems have replaced the wedge area in terms of monitor sound by around 90% and are already considered standard even in the amateur sector. It is therefore all the more surprising that, in contrast to a very large range of earphones, there is only a very limited range of wireless providers, while the selection of wireless transmitters is exploding. So it is not surprising that if you are often on large stages like me, you will actually only find two providers in the respective stage racks in the colleagues' area. Both the electronic and the haptic load on the individual components such as the transmitter and bodypack are very high, so that only the best quality can guarantee a very high and consistent performance.

The Shure PSM 300 Premium S8 presented for testing is priced at €777, in the upper range of the Shure line, but is still around 70% below the price of a comparable Sennheiser product. The product, manufactured in a 9.5 inch half rack unit, is delivered with extensive accessories, such as the transmitter, the bodypack and an external power supply, two rack brackets, a protective cover for the bodypack, a stereo earphone and a BNC antenna extension.

With the PSM 300 series, Shure offers several versions of its radio link, which transmit on different frequencies. The product available for testing works in the LTE mid-gap, which is between 822 - 832 MHz. To minimize the risk of overlap with the upload and download frequencies of commercial providers such as Telekom, Vodafone, etc., the product only transmits in the range of 823 - 832 MHz. The frequency range in question is the last refuge for license-free operation, all other frequency bands are subject to a fee. In addition, operation is permitted throughout the EU except Poland (they want money for operation).

The transmitter of the Shure PSM 300 Premium S8

The transmitter of the Shure PSM 300 Premium S8 is housed in a solid metal housing and is almost self-explanatory in terms of operation, provided you have already dealt with radio links a little. An easy-to-read, monochrome display provides all the necessary audio, RF and system information, such as the input level, group selection, lock status, sync status, whether stereo or mono mode was used and the choice of input sensitivity. In addition to the stereo mode, a MixMode can also be used, in which the personal instrument can be continuously mixed into a master mix. To activate this, all you need to do is hold down the GROUP button on the pocket receiver while the transmitter is switched on. The MixMode indicator light on the receiver display lights up to confirm the setting. The receiver returns to stereo mode after it has been switched off.

On the back, in addition to the regular stereo inputs in TRS, 2 outputs labeled LOOP are particularly noticeable. The LOOP outputs route audio signals to an external device, such as other in-ear monitoring systems, recording devices or stage monitors. The signal at the LOOP outputs is identical to the signal coming from the mixer and is not affected by the transmitter volume or the input sensitivity (line/aux) settings. This makes the LOOP outputs particularly useful when using a mixer that has one or two monitor/aux sends. Otherwise, the rear panel offers the input sensitivity control, which distinguishes between line and aux, and a slider for the mono mix.

The bodypack of the Shure PSM 300 Premium S8

In contrast to some products in a lower price category, the receiver of the Shure PSM 300 Premium S8, called the P3RA, is made of metal, which means it is significantly heavier but also much more stable. According to the manufacturer, the receiver has an operating time of up to 5.5 hours with 2x AA batteries or up to 7 hours with an optional SB900 battery. A three-color LED provides information on the charge level of the batteries (green: 5-7 hours, yellow: 1-3 hours, red (constant): 0.5-1 hour, red (flashing) 0) and thus protects against unwanted surprises.

The range of up to 90 meters stated by the manufacturer also lets you stop, which is sufficient even for the largest music stages in the world and extends from the area of ​​application into the event sector. All information can be accessed quickly and easily via an easy-to-read display in combination with three soft buttons located behind the battery cover. Another very useful feature to save battery life is that the receiver switches to power save mode as soon as no earphones are connected.

The Shure PSM 300 Premium S8 in practice

In general, users attach importance to two things when it comes to a wireless connection: for the "normal" user, the sound, and for the "ambitious" user, the range. With regard to the first point, the Shure PSM 300 Premium S8 can only be given top marks. The 24-bit audio processing enables a dense, yet high-resolution sound that, depending on the quality of the in-ear earphone, reproduces even the finest nuances. In addition, the sound remains stable until the connection is lost and does not change at all even as the distance increases.

With regard to the second point, the whole thing becomes particularly interesting on large open-air stages. In order to get the most out of the respective systems, you can see corresponding "paddles" on almost every large open-air stage, which support the range of both the stage radio and the musician-relevant systems. In order to be able to walk the entire stage area on a small club stage and to perform an occasional show in the audience, 2.4 GHz transmitters or receivers are usually sufficient. For an official 30 - 40 meter stage, however, nothing more can be done for this frequency range.

I made it particularly difficult for the Shure PSM 300 Premium S8 by installing my stage setup in a reduced form in the recording room of my studio (room within a room), closing 2 soundproof doors and then heading out into the open air. Despite the closed room, I was still able to move almost 40 meters away from the building before the signal broke off. An excellent value, which is probably primarily due to the 20 mW transmission power.

However, to reduce the product to just these two points would be to do the system an injustice. The workmanship and design of the P3RA receiver cannot be rated highly enough. The workmanship of the bodypack is put to the test, particularly during an intensive stage show or a hectic instrument change. Here, the metal housing offers real added value compared to the plastic competition. The headphone jack also leaves a very good impression, especially since it is probably subjected to the most stress during operation by "pulling on the cable" and "wildly turning around its own axis".

In addition, the most important information during operation, RCF level and battery status, are easy to see thanks to powerful LEDs on the top of the housing, while other systems usually have this information on the front of the housing. Taken together, the Shure PSM 300 Premium S8 is indeed a top-class product that works at the highest level in all relevant areas. Unreservedly recommended.

Conclusion

With the Shure PSM 300 Premium S8, the American manufacturer has a high-end product in its portfolio. It is not for nothing that Shure is one of the two leading manufacturers worldwide when it comes to radio links and wireless in-ear systems. The system sounds very good, has a very long range and scores particularly well with its very good workmanship and solid design.

If you want to be on the safe side in terms of transmission stability, sound and workmanship, you should definitely take a look at the system.

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Additional Informations:

Wireless systems have revolutionized the audio industry, providing unprecedented freedom and flexibility for performers, presenters, and audio professionals. Among the key players in this domain, Shure Incorporated stands out as a pioneering force. This article traces the development of Shure's wireless systems, detailing their journey from early innovations to their current state-of-the-art offerings.

## Origins and Early Innovations

Shure's history dates back to 1925, when Sidney N. Shure founded the company as a supplier of radio parts kits. By the 1930s, Shure had ventured into manufacturing microphones, establishing itself as a reliable name in audio equipment. The company's first significant foray into wireless technology came in the 1950s, a time when the concept of wireless audio was still in its infancy.

The first wireless microphone system, the Shure Vagabond, was introduced in 1953. This system was rudimentary by today’s standards, utilizing a belt-worn transmitter and offering limited range and sound quality. Despite its limitations, the Vagabond set the stage for future developments and demonstrated Shure’s commitment to innovation.

## The 1970s: Expanding Horizons

The 1970s marked a period of significant advancement in wireless technology. Shure introduced the Vocal Artist wireless system, which was among the first to offer reliable performance for live sound applications. This system used VHF (Very High Frequency) transmission and represented a substantial improvement in terms of range and audio fidelity compared to earlier models.

During this decade, Shure also began to refine its wireless systems for specific applications. The company introduced models designed for television broadcasting, theater productions, and concert performances. These systems featured enhanced stability and were built to withstand the rigors of professional use, solidifying Shure’s reputation in the industry.

## The 1980s: Technological Advancements

The 1980s were a transformative era for wireless technology, with digital innovations beginning to emerge. Shure capitalized on these advancements with the introduction of their L Series wireless systems. These systems utilized UHF (Ultra High Frequency) transmission, which provided better range and reduced interference compared to VHF systems.

The L Series featured diversity reception technology, which used two separate antennas and receivers to minimize dropouts and signal loss. This innovation significantly improved the reliability of wireless systems, making them more suitable for demanding live performances. The 1980s also saw Shure introducing companding technology, which enhanced audio quality by reducing the dynamic range of the signal during transmission and expanding it upon reception.

## The 1990s: Digital Revolution

The 1990s brought about the digital revolution, fundamentally changing the landscape of wireless audio. Shure was at the forefront of this transformation with the introduction of their ULX and UHF-R series. These systems offered digital signal processing, which provided superior audio clarity and allowed for more channels to operate simultaneously without interference.

Shure’s ULX series was particularly notable for its user-friendly interface and robust construction, making it a popular choice among touring professionals and installation markets. The UHF-R series, on the other hand, catered to high-end professional applications, offering advanced frequency management and encryption for secure transmissions.

## The 2000s: Wireless Freedom

As the new millennium dawned, Shure continued to innovate with the introduction of the SLX and PGX series. These systems were designed to provide high-quality wireless audio at more accessible price points, making professional-grade wireless technology available to a broader range of users.

The SLX series featured automated frequency selection and transmitter setup, simplifying the process of deploying wireless systems. This was particularly beneficial for schools, houses of worship, and small to mid-sized venues where technical expertise might be limited. The PGX series focused on ease of use and reliability, offering plug-and-play functionality that appealed to novice users and professionals alike.

## The Digital Age: Cutting-Edge Technology

In recent years, Shure has continued to push the boundaries of wireless technology with the introduction of their Axient Digital and GLX-D series. The Axient Digital series represents the pinnacle of wireless audio performance, offering ultra-low latency, wide tuning bandwidth, and advanced interference detection and avoidance. This system is designed for the most demanding professional applications, from large-scale concert tours to broadcast events.

The GLX-D series, on the other hand, leverages the power of digital signal processing and automatic frequency management to provide exceptional audio quality and reliability in a compact, user-friendly package. The GLX-D Advanced system extends these capabilities with enhanced features for multi-system installations, making it ideal for small to medium-sized venues and corporate environments.

## The Impact of Regulatory Changes

Throughout its history, Shure has had to navigate an evolving regulatory landscape. Changes in frequency allocations and spectrum availability have posed significant challenges, particularly with the transition from analog to digital broadcasting and the repurposing of UHF spectrum for mobile broadband.

Shure has been proactive in addressing these challenges, working closely with regulatory bodies and developing products that comply with new regulations. The company has also been a vocal advocate for the needs of the professional audio community, helping to shape policies that ensure the continued availability of spectrum for wireless microphone use.

## Conclusion

The evolution of Shure's wireless systems reflects a broader narrative of technological progress and adaptation. From the early days of the Vagabond to the cutting-edge capabilities of Axient Digital, Shure has consistently pushed the boundaries of what is possible in wireless audio. The company's commitment to innovation, reliability, and user-focused design has made it a trusted name in the industry, ensuring that performers and audio professionals can continue to rely on Shure wireless systems for years to come.

As wireless technology continues to evolve, Shure remains at the forefront, developing new solutions that meet the changing needs of users while maintaining the high standards of quality and performance that have become synonymous with the Shure name. The journey of Shure’s wireless systems is not just a story of technological advancement, but a testament to the company’s enduring dedication to excellence in audio engineering.

TEST: Schecter SLS Elite C-7

 The Schecter SLS Elite C-7 is a seven-string guitar that is also equipped with a fanned fretboard and is considered to be part of the Power Strats family.

The construction of the Schecter SLS Elite C-7

Even though Schecter has significantly more models in its portfolio, along with the former big names such as Kramer, Charvel or the still active ESP and Ibanez, Schecter is clearly one of the forefathers of the Power Strats. Since the Stratocaster shape is of course also the biggest revenue generator in Schecter's stable due to its visually simple but ingenious shape, it is not really surprising that the majority of almost every manufacturer, apart from Gibson, is more or less determined to come close to the classic shape.

The fact that the Schecter SLS Elite C-7 we have for testing has very little in common with the original Stratocaster from 1954 is not only clear when you first touch the fingerboard, but is also clearly visible beforehand. Let's just start with the general appearance, which could be described as "pure nature". The instrument is completely varnished transparently, so that the different wood grains shine beautifully through the respective varnish layers. To make the whole thing appear a little more distinguished, the instrument has a very nice, simple, black binding on the upper side of the body as well as in the neck and headstock binding, which gives the instrument a certain sleekness.

In keeping with this, all of the hardware in the form of the tuning machines and the HipShot bridge construction, in addition to the pickups, which come from Fishman, were also kept in black. The tuning machines are locking versions, which, with a corresponding screw on the underside, allow the strings to be firmly fixed and thus increase the tuning stability. The Schecter company logo is printed on the mechanics. However, it is not possible to find out to what extent the mechanics are actually manufactured by Schecter or whether they are OEM products. But it is not really important because the mechanics do a good job due to their manufacturing quality. In terms of the string guide, Schecter has also taken the relatively wide neck into account and the 7 tuning machines with an arrangement of 3 in the bass area and 4 in the treble area with a slightly tapered arrangement ensure that the string guide runs relatively straight from the saddle to the headstock and thus creates as little friction as possible on the saddle notches with regard to the side guide.

Of course, the upper plastic head of the three-way switch and the Speed ​​Dome Master Tone and a Master Volume control are also black. Both controls have the now common push-pull function to be able to switch the Fishman pickups, which are known to have a vintage and a modern orientation, separately. Due to the multiscale design, the pickups are of course installed at an angle in the guitar to ensure even string pickup. However, due to the angled installation, the pickups are unusually wide. I wouldn't be surprised if, despite the seven strings, Fishman used the pickup version of the eight-string guitars to compensate for the "shortening" of the housings by installing them at an angle. A good detailed solution!

Since the pickups are active, a 9 volt battery must be installed inside the instrument. Schecter does this on the Schecter SLS Elite C-7 via the back, where a relatively stiff plastic flap covers the battery compartment. I tried it with my fingernails, but unfortunately the flap could only be opened with a flat-head screwdriver. However, it is generally recommended to take a screwdriver with you so that even if you can open the flap with your fingernails, you can only lever out the 9 volt battery underneath using a screwdriver. Remember, always take some tools with you!

With a nut width of 48 mm, the neck is of course of a different caliber in terms of playability than if you were to take a look at a regular six-string guitar. Even the neck, which is in Ultra-Thin C and, in my opinion, could easily pass as a flat D in terms of its shape, can only rudimentarily convert the feel to "regular". Nevertheless, the instrument must be said to be comparatively easy to play, although the fan fingerboard definitely requires some getting used to.


The wood selection of the Schecter SLS Elite C-7

If you are offered so much wood in its natural color, it makes sense to go into the respective woods in more detail. Firstly, we have the through neck, whose fingerboard has a scale length of 648 mm to 685.8 mm. The different scale lengths are due to the fanned fretboard, which is known to ensure that the different scale lengths give the strings as even a lateral tension as possible compared to a regular guitar.

In order to implement this, a fan-shaped arrangement of the frets must be used, which results in the unusual alignment of the frets. The 24 jumbo frets on the Schecter SLS Elite C-7 have their center at the 11th fret and shift their angle evenly apart according to the scale length towards the headstock and the bridge. Of course, it should not be forgotten that both the saddle and the bridge construction have to follow this alignment, especially since the angle is at its sharpest at these two points.

The neck in question is made of maple, garnished with padouk and walnut strips and has been additionally reinforced with carbon fiber rods. The three colors that are revealed to the eye are a classic light maple, two dark walnut strips, a slightly reddish padouk strip and the aforementioned carbon fiber rods.

Swamp ash was chosen for the attached body wings. This wood is known for its very good vibration behavior and moderate weight, which nevertheless ensures that the instrument, which is significantly more massive in its overall construction than a six-string guitar, still weighs around 3.8 kg, which is roughly equivalent to the upper middle class in terms of weight.

In contrast to the top of the guitar, which has been polished to a high gloss and sealed with a varnish, the back of the instrument, like the neck surface, is only slightly satin-finished with a very thin varnish, so that you can feel the bumps that a natural wood structure brings with it very well with your fingertips.

The Schecter SLS Elite C-7 in practice

What you have already noticed visually and haptically through the features of the instrument is consistently continued acoustically. Due to its construction and features, the instrument is clearly designed for the hard and heavy range, with the progressive element increasing immensely here. The fact that the instrument has been varnished with clear varnish and therefore the high proportion of wood shines through untreated also suggests that the company is much more relaxed in this regard when it comes to the target group. Such a finish would certainly not be met with open arms in black, death, or other white-faced Punch and Judy metal.

One feature is noticeable from the very first note, as soon as you get the first string to vibrate. The magic word is sustain. The entire construction of the instrument is designed to ensure the longevity of the vibration period of the individual notes, and you can hear and notice this. The continuous hold ensures once again that each string and, with it, each note vibrates for an incredibly long time. In conjunction with the Hipshot bridge, which guides the strings through the body, and the completely immobile string construction due to the absence of a vibrato system, the construction ensures that even the highest, thinnest note is still given an excess of vibration period.

The basic sound of the instrument is powerful and yet differentiated, so that even maximum gain structures can be processed well.

Of course, it takes a short period of getting used to it until the brain has adapted its finger movements to the fanned fretboard. This happens surprisingly quickly, however. After just under an hour, my brain had adjusted accordingly and was already able to deal with the different string spacing much better. I am relatively sure that after a few days the system will have become firmly ingrained in the grip technique of every player.

Conclusion

With the Schecter SLS Elite C-7, the manufacturer has a high-quality instrument for the progressive hard'n'heavy range in its portfolio. The workmanship, concept and components are of high quality and offer everything that is needed for this genre.

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Additional Informations:

# The History of the 7-String Electric Guitar

The electric guitar, since its inception in the early 20th century, has undergone numerous transformations and adaptations, reflecting the evolving landscape of musical genres and technological advancements. Among these developments, the 7-string electric guitar stands out as a significant innovation, expanding the instrument's sonic possibilities and catering to the demands of various musical styles. This article delves into the history and evolution of the 7-string electric guitar, exploring its origins, rise to prominence, and the impact it has had on modern music.

## Early Beginnings: The Pre-Electric Era

The concept of a guitar with more than six strings is not new and can be traced back to classical and acoustic guitars. In the 19th century, virtuoso guitarists such as Napoleon Coste and Giulio Regondi experimented with seven-string instruments, primarily to extend the bass range and allow for more complex musical arrangements. These early 7-string guitars, often referred to as Russian guitars, were primarily used in folk and classical music settings.

## The Birth of the Electric 7-String

The advent of electric amplification in the 1930s revolutionized the guitar world, giving rise to the electric guitar as we know it today. However, it wasn't until the mid-20th century that the idea of adding a seventh string to an electric guitar began to take shape. One of the earliest known electric 7-string guitars was custom-built for jazz guitarist George Van Eps in the late 1930s. Van Eps, a pioneer in jazz guitar, sought to expand the harmonic and melodic capabilities of the instrument. His innovative approach to playing and composing necessitated an instrument with a greater range, leading to the creation of his custom 7-string guitar.

Van Eps' contributions to jazz and his use of the 7-string guitar were influential, but the instrument remained a niche item for several decades. It wasn't until the 1980s and 1990s that the 7-string electric guitar began to gain traction in the broader music community.

## The 1980s: Shred and Metal Revolution

The 1980s marked a period of rapid evolution in guitar music, particularly within the genres of shred and metal. Guitarists were constantly pushing the boundaries of technical proficiency and tonal diversity. It was during this time that the 7-string guitar found a new home among virtuoso players and metal bands looking to expand their sonic palette.

Steve Vai, a prominent figure in the guitar world, played a crucial role in popularizing the 7-string electric guitar. In collaboration with Ibanez, Vai helped design the Ibanez Universe, one of the first mass-produced 7-string electric guitars. Introduced in 1990, the Universe featured a low B string, which provided an extended lower range that was particularly well-suited to the heavy and complex music being created at the time.

Vai's use of the Ibanez Universe on albums like "Passion and Warfare" showcased the instrument's potential and inspired a generation of guitarists. The added string allowed for deeper riffs and more intricate solos, setting a new standard for what could be achieved with an electric guitar.

## The 1990s and 2000s: Mainstream Adoption and Nu-Metal

As the 1990s progressed, the 7-string guitar continued to gain popularity, particularly within the emerging nu-metal genre. Bands like Korn and Limp Bizkit embraced the 7-string guitar, using its extended range to create the down-tuned, heavy riffs that defined the genre. Korn's guitarist, Brian "Head" Welch, and James "Munky" Shaffer were instrumental in bringing the 7-string guitar to mainstream attention, with their debut album "Korn" (1994) featuring prominently downtuned 7-string guitars.

The success of nu-metal bands in the late 1990s and early 2000s further cemented the 7-string guitar's place in modern music. The instrument's ability to produce deep, resonant tones made it ideal for the aggressive, percussive playing style that characterized the genre.

## Technical Advancements and Modern Use

The turn of the millennium saw significant advancements in guitar technology, contributing to the increased popularity and versatility of 7-string guitars. Improvements in pickup design, hardware, and overall construction quality allowed for better sound clarity and playability, making 7-string guitars more appealing to a broader range of musicians.

In addition to metal and shred, the 7-string guitar found its way into other genres such as jazz, fusion, and progressive rock. Artists like Tosin Abasi of Animals as Leaders and Jeff Loomis of Nevermore have demonstrated the instrument's versatility, incorporating it into their diverse musical styles and pushing the boundaries of what can be achieved with a 7-string guitar.

## The Future of the 7-String Guitar

Today, the 7-string guitar is a well-established instrument, with many major guitar manufacturers offering a variety of models to suit different playing styles and preferences. The instrument's versatility and extended range continue to attract new players and inspire innovative music.

As guitarists continue to explore new musical territories and push the limits of their instruments, the 7-string guitar will undoubtedly remain a vital tool in their arsenal. Whether in the hands of a jazz virtuoso, a metal shredder, or an experimental fusion artist, the 7-string electric guitar offers a unique and expansive sonic palette that will continue to shape the future of music.

## Conclusion

The journey of the 7-string electric guitar from its early days in jazz to its prominence in modern metal and beyond is a testament to the instrument's adaptability and the creativity of the musicians who embrace it. By expanding the traditional boundaries of the guitar, the 7-string has opened up new possibilities for musical expression and innovation. As we look to the future, it is clear that the 7-string electric guitar will continue to play a significant role in the ever-evolving landscape of music.

TEST: Shure GLXD16

 There are now countless guitar and bass transmitters in the 2.4 GHz range. The low-cost range in particular is covered by a large number of products, so that one could believe that the market is sufficiently covered here too. So why does a renowned manufacturer like Shure go ahead and bring a transmitter system like the Shure GLXD16 onto the market in this frequency band for a retail price of €409, which clearly occupies pole position in this frequency segment in terms of retail price? Certainly not without corresponding qualitative ulterior motives! This test shows to what extent this calculation works.

Structure and concept of the Shure GLXD16

First of all, why is a guitar transmitter located in the 2.4 GHz range in the first place? Well, the concept is known to have several advantages and disadvantages. The undisputed biggest advantage is the fact that this frequency can be used worldwide without any license. No restricted use in some countries, no license fees for exclusive use in less used bands. Another advantage is the consistently good sound that can be achieved in this frequency band, although the degree of compression still varies towards a high-quality cable.

The two biggest disadvantages, however, are the constant competition from almost all mobile phones, which are still operating in the most prioritized WLAN 2.4 GHz band and are even latently searching for this frequency in the LTE range, which means that hundreds, even thousands of competitors in the immediate vicinity are fighting with you for the transmission range on this frequency. Disadvantage number 2 is the reduced range, which is known to decrease proportionally with increasing transmission frequency and only comes close to the 10 meter mark for cheap products in the 2.4 GHz range. This is also the reason why other products above this limit have not been able to establish themselves, provided that the legally prescribed maximum transmission power is adhered to. The trick is therefore to make maximum use of the advantages of the frequency, equip the product with additional, useful features and reduce the disadvantages to a minimum.

Like most guitar transmitters, the Shure GLXD16 consists of two units, the transmitter and the receiver, which brings us to the first advantage of the system. The receiver is also a solid floor tuner, whose large, two-digit display in combination with a thirteen-digit LED chain and two arrow LEDs provides information about several functions. Three additional LEDs below the display provide information about the input level, the mute function and the connection to the transmitter. Four additional push buttons can be used to pre-select different groups, edit tunings and select display methods such as arrow display or strobe.

The housing is extremely solid and rests on a rubber mat with two small rubber feet. To protect the displays and push buttons from the soles of your shoes, two raised areas have been attached to the right and left sides of the housing, which also house the system's receiving antenna. A 12 V / 400 mA power supply is included for operation, but the receiver is very flexible in terms of its power supply and processes everything between 9 and 15 volts and a minimum current of 250 mA, which should be found in any better floorboard multi-power supply. The tuner can be switched off if necessary using a small slider and new firmware can be loaded via a USB port on the opposite side of the housing if necessary.

Let's get straight to a point that may not seem so spectacular at first glance, but for me personally is the absolute highlight of the receiver. In normal operation without an activated tuner, the first seven LEDs in the tuner chain show the charge level of the transmitter unit. I don't know how often I have wished for this actually quite simple solution on a floor receiver. The problem is always the same, in the already extremely tense situation on stage, there are sudden interruptions in the signal flow, which can be due to an empty battery, among other things. One look at the charging indicator in combination with the RF field strength LED and there is no point in error. No more tedious tugging on the guitar and strap to bring the necessary information on the transmitter unit into view, simply great!

The transmitter unit

The transmitter of the Shure GLXD16 system is in no way inferior in terms of solid construction. A solid metal housing combined with a very stable retaining clip ensure a lot of confidence in the user and should also survive a fall after accidentally slipping off the strap. Another special feature is the use of a battery, which according to the manufacturer puts everything I have come across in terms of operating time in the shade. With maximum charging, which can take up to 4 hours depending on the charging current used, the system can be operated for up to 11.5 hours under optimal conditions, i.e. 5 shows of 2 hours each should not be a problem.

The transmitter is charged via a USB port either using the power supply unit supplied or a regular mobile phone power supply. A single, three-color LED not only informs about the charging status (green = everything is fine, red on = approx. 1 hour reserve, red flashing = less than 30 minutes), it also informs about any connection searches and any blocking. During charging, this LED also provides information about the charging progress. The only bad thing is the color yellow when it is flashing, as this always indicates a defective battery. As always in this performance class, the transmitter is connected to the instrument with a nearly 80 cm long mini XLR / jack cable, which is an in-house product of high quality. The transmitter antenna used is installed in a cylindrical protrusion for better transmission performance and has approximately the same dimensions as the screw attachment of the mini XLR cable.

The Shure GLXD16 in practice

Before using the Shure GLXD16, you should perhaps consider the special features of the 2.4 GHz transmitters. On the one hand, 2.4 GHz transmitters have a little more difficulty penetrating solid structures such as walls than their MHz competitors, and on the other hand, in open fields and large halls, they have the disadvantage of a slightly shorter range, as there are fewer, or no, reflective surfaces. With these aspects in mind, the Shure system had a much larger buffer in my head in terms of the range of the system than I would expect from MHz systems, for example.

However, as it turned out, my buffer should not be used at all. The system delivered by far the best value that I have been able to achieve with a 2.4 GHz transmitter so far. I could not quite reach the 40 meters mentioned by the manufacturer under optimal conditions, but 30 meters and more were no problem. which is almost the same size as the two large Wacken Open Air stages. As I said, it's all about the spatial dimensions; to what extent the system can withstand the strong stage radio of such stages, I would only have been able to test in the summer of next year in 2022, when I will be playing on the Wacken stage, among other things.

The Shure GLXD16's values ​​were also excellent when it came to penetrating walls. Despite a KS and an additional plasterboard wall, the system still managed almost 20 meters, a value that is well above average. In terms of sound, there was no noticeable difference in frequency to a high-quality cable, in this case Cordial, although the compression level was a little higher than with a cable, which has the advantage of a tighter, denser sound, but at the expense of the dynamic levels. As always in this area, there is no better or worse, just taste.

The guitar cable is really very long at 80 cm and also allows the transmitter to be positioned very high on the guitar strap. If you place the transmitter a little lower, you should wrap the cable around the rear guitar pin 1-2 times, as the same cable is otherwise likely to dangle at knee height.

Conclusion

With the Shure GLXD16, the American manufacturer has what is probably currently the best 2.4 GHz guitar/bass transmitter in its portfolio. Processing, concept, range and detailed solutions such as reading the charge level of the transmitter on the floor unit are in the absolute top league for tuner/guitar transmitter combinations. Anyone looking for a very compact but powerful guitar transmitter for the floorboard should definitely try out the product.

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Additional Informations:

### The History of Shure Incorporated

Shure Incorporated, a name synonymous with high-quality audio equipment, has a storied history that spans nearly a century. Founded in 1925 by Sidney N. Shure, the company has grown from a small supplier of radio parts into a global leader in audio electronics, renowned for its microphones, headphones, and wireless systems. This article explores the evolution of Shure Incorporated, detailing its milestones, innovations, and enduring impact on the audio industry.

#### Early Beginnings

The origins of Shure Incorporated trace back to the 1920s, a period marked by the burgeoning popularity of radio technology. Sidney N. Shure, a young entrepreneur with a keen interest in electronics, recognized the potential of the radio market and established the Shure Radio Company in Chicago, Illinois, in 1925. The company initially focused on selling radio kits, which allowed enthusiasts to assemble their own radios at home. These kits were popular among hobbyists, fueling the early success of Shure Radio Company.

By 1928, the company had transitioned from selling radio kits to distributing radio parts and accessories. This shift was driven by the increasing availability of commercially manufactured radios, which reduced the demand for DIY kits. Shure's strategic pivot to radio parts distribution allowed the company to maintain its relevance in the rapidly evolving radio industry.

#### Innovation and Expansion

The Great Depression of the 1930s posed significant challenges for businesses across the United States. Despite the economic downturn, Shure continued to innovate and adapt. In 1931, the company introduced its first original product: the Model 33N, a carbon microphone. This marked Shure's entry into the microphone market, a decision that would prove pivotal for the company's future.

The Model 33N was followed by the introduction of the Model 70, a crystal microphone, in 1932. These early microphones established Shure's reputation for quality and reliability. As the demand for public address systems grew, Shure's microphones became essential tools for public speaking, broadcasting, and entertainment.

The 1930s also saw Shure expanding its product line to include phonograph cartridges. The development of the Model 99A, Shure's first phonograph pickup, in 1937, showcased the company's ability to diversify its offerings and cater to the needs of a broader market. This diversification helped Shure weather the economic challenges of the era and laid the groundwork for future growth.

#### World War II and Technological Advancements

World War II brought about significant changes in the manufacturing landscape, with many companies shifting their focus to support the war effort. Shure was no exception. During the war, the company supplied microphones and communication equipment to the U.S. military. This period of collaboration with the military not only bolstered Shure's reputation for quality but also spurred technological advancements.

One of the most notable developments of this era was the creation of the T-17B microphone, commonly known as the "Green Bullet." Designed for military communication, the Green Bullet was praised for its ruggedness and reliability. Its success in military applications paved the way for its adoption in civilian uses after the war, particularly among harmonica players who appreciated its distinctive sound.

#### Post-War Expansion and the Unidyne Microphone

The post-war period was a time of rapid expansion and innovation for Shure. In 1949, the company introduced the Unidyne Model 55, a groundbreaking dynamic microphone that featured a unidirectional pickup pattern. The Unidyne's ability to isolate the sound source while minimizing background noise made it an instant hit in various applications, from broadcasting to live performance.

The iconic design of the Unidyne Model 55, with its distinctive silver grille, became a symbol of Shure's commitment to excellence. This microphone's popularity endured for decades, and it remains one of the most recognizable microphones in the world.

Shure continued to build on the success of the Unidyne series with subsequent innovations. The introduction of the Unidyne III in the 1950s marked another milestone, as it featured an improved unidirectional element that further enhanced its performance. This era also saw Shure expanding its global presence, establishing subsidiaries in Europe and Asia to better serve international markets.

#### The Rise of Wireless Technology

The 1960s and 1970s were characterized by significant advancements in wireless technology, and Shure was at the forefront of this revolution. In 1966, the company introduced the Vocal Master, one of the first portable sound systems. This innovation catered to the needs of musicians and performers who required high-quality sound reinforcement on the go.

The development of wireless microphone systems in the 1970s marked a major leap forward for Shure. The introduction of the L Series in 1975 provided performers with the freedom to move without being tethered by cables, revolutionizing live performance and broadcasting. Shure's wireless systems quickly gained a reputation for their reliability and sound quality, making them a staple in the entertainment industry.

#### Continued Innovation and Modernization

As the audio industry continued to evolve, Shure remained committed to innovation and modernization. The 1980s and 1990s saw the introduction of several iconic products that solidified Shure's position as a leader in the field. The SM58, introduced in 1966, became the industry standard for live vocal performance, known for its durability and excellent sound quality. Its robust construction and ability to withstand the rigors of touring made it a favorite among musicians worldwide.

In 1996, Shure introduced the Beta 58A, an upgraded version of the SM58, which offered enhanced sensitivity and a tighter polar pattern. This microphone was part of the Beta series, which included a range of models designed to meet the specific needs of professional audio applications.

The turn of the millennium brought further advancements in digital technology. Shure embraced digital wireless systems with the introduction of the ULX-D and QLX-D series, which provided superior audio quality, extended range, and advanced encryption for secure transmission. These systems addressed the growing demand for reliable wireless solutions in an increasingly digital world.

#### Shure Today and Beyond

Today, Shure Incorporated stands as a global leader in audio technology, with a diverse product portfolio that includes microphones, headphones, wireless systems, and conferencing solutions. The company continues to uphold its legacy of quality and innovation, driven by a commitment to meeting the evolving needs of its customers.

Shure's dedication to research and development has led to numerous awards and accolades, reflecting its status as a trusted name in the industry. The company's products are used by professionals in music, broadcasting, theater, and corporate environments, attesting to their versatility and reliability.

One of the key factors in Shure's enduring success is its focus on customer satisfaction. The company places a strong emphasis on understanding the needs of its users and providing exceptional support and service. This customer-centric approach has helped Shure build lasting relationships with its clients and maintain its reputation for excellence.

Looking to the future, Shure remains committed to pushing the boundaries of audio technology. The company continues to explore new frontiers, from advanced digital signal processing to innovative microphone designs. As the audio landscape evolves, Shure is well-positioned to lead the way, driven by its legacy of innovation and its unwavering commitment to quality.

#### Conclusion

The history of Shure Incorporated is a testament to the power of innovation, adaptability, and a relentless pursuit of excellence. From its humble beginnings as a radio parts distributor to its current status as a global leader in audio technology, Shure has consistently set the standard for quality and reliability. Through nearly a century of technological advancements and industry changes, Shure has remained at the forefront, driven by a passion for sound and a commitment to meeting the needs of its customers.

As Shure looks to the future, it continues to build on its rich heritage, exploring new possibilities and setting new benchmarks in the world of audio. With a legacy of groundbreaking innovations and a dedication to excellence, Shure is poised to shape the future of audio technology for generations to come.

TEST: Seymour Duncan Tweak Fuzz

 Distortion, overdrive, fuzz and all the other subgroups for the most popular effect of all guitarists. Are there seriously any guitarists who don't own at least one "pedal mine" to cut half-waves? Hardly, which is why the selection of products available in the distortion field is almost endless. It is all the more interesting when an established manufacturer of another equipment area targets this segment to take on the top dogs. This is what happened with the company Seymour Duncan, which has primarily gained its fame due to excellent pickups.

Construction:

The Tweak Fuzz is usually mentioned in the same breath as the guitarist Blues Saraceno, especially since his father Alex designed the pedal. The sound approach was to design a pedal that is essentially similar to a vintage fuzz, but is characterized by greater flexibility. While most distortion pedals deliver a more or less fixed sound that can be rudimentarily varied in terms of tone control and distortion level, the Tweak Fuzz has a six-way selector switch to generate multiple presets using various transistors. Ideally, you would actually have six pedals in just one housing.

But hey presto, you'll have no problem finding the device on your pedal board even in the most diffuse stage light - that's what I call a screaming squeaky duck yellow! ;-) First impression after opening the packaging: the device comes in an ultra-stable design, visually flawlessly crafted. Two solid rolled sheets, the base of which is covered with non-slip corrugated rubber, protect the contents of the device against kicks or other rough treatment. Not even your beloved biker boots can cause this construction any problems. Only the three chickenhead-style controls protrude upwards due to the construction and could provide a point of attack if they are treated extremely badly, but who would intentionally treat their floor pedals so badly that they cause the potentiometer spindle to break? In addition to the "tweak switch" mentioned above, the control options are volume and gain. An input and output socket as well as a 9V power supply connection round off a good impression of the workmanship.

After loosening the 4 Phillips screws, the device reveals a neat and tidy interior. 2 circuit boards, short cable runs, a 9V block and a true bypass switch, that's all there is inside the "Fussel Zwickers". To replace the 9V battery, the screws on the base plate have to be loosened; there is no flap to make this work easier. However, since the Tweak Fuzz, like almost all other distortion devices, only requires a small amount of power, in this case 2 mA, this action will occur relatively rarely.

In order to be able to assess the practical suitability of a fuzz, you should first consider the area of ​​application of the device. In contrast to the overdrive, which is often switched on as an additional channel in front of a tube amp, or the distortion, which sometimes gives weak transistor amps a more or less assertive distortion sound, the fuzz occupies a niche that is not quite as mainstream as the above-mentioned protagonists of the "half-wave cappers".

We all know the advantages and disadvantages of a classic fuzz. On the plus side, we have a very characteristic sound, which gives single lines or a vintage distortion in particular the official sound. In addition, fuzz is very popular in the pop sector when it comes to supporting melodic lines on the electric guitar, as it has a high level of assertiveness and is not in danger of drifting into the rock area that pop/dance producers hate so much. On the problem side, many fuzzes suffer from the problem of "mud" coupled with a high "scratch" content in the high frequency range. If you really want to go all out, you should play a fuzz in attack mode without speaker simulation directly into the mixer and listen to it on the studio monitors, it doesn't get more like a razor! This sound is so broken that it's great again.

In order to retain the above advantages and still minimize the disadvantages if necessary, the Tweak Fuzz was equipped with the aforementioned selector switch. It gives the device the ability to sound like a typical fuzz, but also has a few special features up its sleeve, which are listed as follows:

Tweak switch position 1: The sound loses some of its low end, the sound becomes richer in treble and develops somewhat in the direction of a single coil in terms of resonance behavior. The result is a nice, crisp rock sound with a lot of power, suitable almost anywhere where a distorted rock sound in the direction of a "dirty Telecaster" is needed.

Tweak switch position 2: The bass is cut heavily, the midrange is slightly boosted. In this position, the Tweak Fuzz reacts particularly intensively to the guitar's volume control and can be driven almost towards clean when the level is reduced. The guitar sounds sharp, sometimes biting.

Tweak switch position 3: In this position, the Tweak Fuzz slightly touches the distortion terrain without losing its fuzz characteristics. Strong compression and a strong low-mid portion make this sound a kind of "bread and butter" setting. A good basic setting to familiarize yourself with the device.

Tweak switch position 4: Here we touch on typical fuzz terrain for the first time. The sound becomes slightly "mushy" and just manages to avoid the cliff of mud. Single lines are mostly played in this position; the compression is too strong for chord playing and the frequency content is too bass-heavy.

Tweak switch position 5: A variation of position 4, which also makes chord playing possible thanks to a more open sound character. Very thick in the end result and with targeted EQ settings a powerful rhythm sound. Here too, the fuzz sound is retained in a practical way.

Tweak switch position 6: And here is the official fuzz sound with all its typical peculiarities in the style of "take it or leave it". A very brutal low-mid cocktail that polarizes the target group with a strong presence component. You either love this sound or you hate it, black or white, you won't find any shades of grey.

Practice:

I chose a Marshall Head JCM 800 Mod. 2204 (single channel with master) + 4x12" Marshall cabinet with 75 watts Celestion as the basis for the sound sample recordings. The low input was also used to keep the basic distortion moderate. The sound clips were all recorded with a '76 Les Paul Deluxe with EMG 85 PUs, i.e. the basic level is consistently a bit hotter than with passive PUs. However, the Tweak Fuzz also mastered the high output of the active pickups without any problems.

The neutral sound immediately jumps out at you when the FX is turned off, thanks to the True Bypass switch, which can also be operated without the notorious crack when switched on. Another plus point for all settings is the homogeneous interaction of the device with the downstream amplifier. Many pedals give the amplifier a very strong sound of its own during operation or in standby mode, usually accompanied by a narrowed frequency band. Not so with the Tweak Fuzz. The device gives the impression that it is an additional, modified channel of the amplifier. You never have the feeling that there is a foreign body in the signal path; rather, the amplifier experiences an expansion of its sound spectrum.

The range of applications of the Tweak Fuzz can be expanded considerably compared to the classic fuzz, especially via positions 1 - 3. The typical overdrive is not far away here, but never in danger of losing its touch of scratchiness. The spectrum extends from pop rock and blues to modern country, in which the guitar can also hint at a few "balls".

Positions 4 - 6, on the other hand, justify the second part of the product name. With a specific area of ​​application and a basic knowledge of EQ settings, you can coax all the sounds that made the term fuzz famous out of the Tweak Fuzz, be it Hendrix live in a feedback frenzy or Black Sabbath's Tommy Iommi on "Paranoid". It scratches, it rumbles, it mushes and it roars so much that it's a real joy ;-) Nevertheless, the device remains practical without losing the extreme germanium transistor sound and ruining any useful use because of all the muddyness.

Conclusion:
It may be that the Tweak Fuzz opens up a different sound spectrum with other amplifiers, but the single-channel Marshall version in particular is known to harmonize well with upstream distortion pedals. Here you have to try it out, but in this and probably other spartan setups the Tweak Fuzz could or would be completely convincing. Its flexibility makes it stand out from the overly large pool of competitors with similar sounds, with positions 1 - 3 in particular exposing the variability of the device far beyond the box of a classic fuzz. A recommendable device with high practical suitability.

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Additional Informations:

### The History of Seymour Duncan Effects Pedals

Seymour Duncan, long celebrated for its exceptional pickups, ventured into the world of effects pedals with the same dedication to quality and innovation that had established its reputation in the guitar industry. The journey into effects pedal production reflects Seymour Duncan’s responsiveness to the evolving needs of guitarists and its continuous pursuit of sonic excellence. This article delves into the origins, development, and impact of Seymour Duncan’s effects pedals, illustrating the company’s commitment to enhancing the musician’s toolkit.

#### Early Beginnings and Rationale

The idea of expanding into effects pedals was driven by a growing demand among guitarists for versatile, high-quality effects that could complement the tonal characteristics of their pickups. By the late 1990s and early 2000s, the pedal market was burgeoning, with musicians seeking ways to diversify their sound palettes. Recognizing this trend, Seymour Duncan saw an opportunity to apply its expertise in tone shaping to the world of effects pedals.

The initial goal was to create pedals that not only provided superior sound quality but also met the practical needs of musicians. This meant focusing on durability, ease of use, and integration with other gear. The team at Seymour Duncan, comprised of engineers and musicians, embarked on a mission to design pedals that would stand out in a crowded market.

#### Design Philosophy and Development

The development process for Seymour Duncan’s effects pedals was marked by meticulous research and a commitment to maintaining the brand’s high standards. The company leveraged its extensive knowledge of guitar electronics and signal processing to create pedals that delivered both innovation and reliability.

One of the key aspects of Seymour Duncan’s design philosophy was to ensure that each pedal retained the integrity of the original guitar signal while providing a wide range of tonal possibilities. This involved careful selection of components and rigorous testing to achieve the desired sound quality. Additionally, the pedals were designed to be user-friendly, with intuitive controls that allowed musicians to quickly dial in their preferred settings.

The design process also involved extensive feedback from professional guitarists. Seymour Duncan collaborated with a range of artists to understand their needs and preferences, ensuring that the final products met the real-world demands of musicians. This collaborative approach was crucial in developing pedals that were not only technically advanced but also musically inspiring.

#### The First Releases

Seymour Duncan’s foray into the effects pedal market began with the introduction of the Pickup Booster and the Tweak Fuzz in the early 2000s. These initial offerings were well-received and set the stage for further expansion.

The Pickup Booster, released in 2002, was designed to enhance the output of any pickup without altering its natural tone. This pedal featured a transparent boost circuit that allowed guitarists to drive their amplifiers harder, achieving greater sustain and dynamics. The Pickup Booster quickly became a favorite among musicians looking to add extra punch to their sound without compromising clarity.

The Tweak Fuzz, introduced shortly thereafter, offered a modern take on the classic fuzz effect. It featured a unique “Tweak” knob that allowed users to adjust the pedal’s EQ response, providing a wide range of fuzz tones from vintage to contemporary. This flexibility made the Tweak Fuzz a versatile addition to any pedalboard, capable of delivering everything from smooth, singing sustain to aggressive, cutting distortion.

#### Expansion and Innovation

Encouraged by the success of its initial pedal offerings, Seymour Duncan continued to expand its effects pedal lineup, introducing a variety of models that catered to different musical styles and needs. Each new pedal reflected the company’s commitment to quality and innovation.

One notable release was the Twin Tube Classic, a tube-driven overdrive pedal that captured the warm, harmonically rich tones of vintage tube amplifiers. This pedal featured two 6021 subminiature tubes and provided a range of overdrive sounds from mild breakup to saturated distortion. The Twin Tube Classic was praised for its authentic tube tone and dynamic response, making it a popular choice among blues and rock guitarists.

In 2011, Seymour Duncan introduced the SFX-06 Paranormal Bass Direct Box, a pedal specifically designed for bass players. This direct box featured a built-in EQ and compressor, allowing bassists to shape their tone and achieve a polished, professional sound in any live or studio setting. The Paranormal Bass Direct Box underscored Seymour Duncan’s commitment to serving the broader musician community, not just guitarists.

#### Digital Integration and Modern Offerings

As digital technology advanced, Seymour Duncan embraced the potential of digital signal processing to create new and innovative effects. The company’s approach to digital effects was to combine the flexibility and precision of digital technology with the warmth and musicality of analog circuitry.

A prime example of this integration is the Andromeda Dynamic Delay, released in 2017. The Andromeda features advanced digital processing to deliver pristine delay effects, while its dynamic control capabilities allow the delay to respond to the player’s touch and dynamics. This blend of digital clarity and expressive control made the Andromeda a standout product in the delay pedal market.

Another significant release was the Fooz Analog Fuzz Synthesizer, which combines analog fuzz with a range of synthesizer-like modulation effects. The Fooz allows guitarists to create complex, evolving soundscapes by blending traditional fuzz tones with LFO-controlled filters and amplitude modulation. This pedal showcases Seymour Duncan’s willingness to push the boundaries of conventional effects design, offering musicians new ways to explore and express their creativity.

#### Artist Collaborations and Signature Models

Throughout its history, Seymour Duncan has collaborated with numerous artists to develop signature pedals that reflect their unique sound and style. These collaborations have resulted in some of the company’s most distinctive and popular effects.

For instance, the Palladium Gain Stage, released in collaboration with several high-profile guitarists, was designed to deliver the high-gain sound of a cranked tube amplifier in a pedal format. The Palladium features comprehensive tone-shaping controls, including a three-band EQ and a resonance switch, allowing players to achieve a wide range of heavy, saturated tones.

Another notable collaboration is the La Super Rica Fuzz, inspired by the classic fuzz sounds of the 1960s and 70s. This pedal features a vintage-style silicon fuzz circuit with modern enhancements, providing a rich, textured fuzz tone with adjustable mids and a range of tonal options. The La Super Rica Fuzz has been praised for its ability to capture the spirit of vintage fuzz while offering modern versatility.

#### Impact and Legacy

Seymour Duncan’s effects pedals have had a significant impact on the music industry, offering musicians high-quality, innovative tools to shape their sound. The company’s commitment to craftsmanship and attention to detail have earned it a loyal following among both amateur and professional musicians.

The success of Seymour Duncan’s pedal lineup is a testament to the company’s ability to evolve and adapt to the changing needs of musicians. By continually pushing the boundaries of what effects pedals can do, Seymour Duncan has established itself as a leading name in the world of guitar effects.

#### Future Prospects

Looking ahead, Seymour Duncan shows no signs of slowing down in its pursuit of innovation. The company continues to explore new technologies and design concepts, aiming to create effects pedals that inspire and empower musicians. Future developments may include further integration of digital and analog technologies, as well as new collaborations with artists to develop signature models that capture their unique sounds.

In conclusion, the history of Seymour Duncan’s effects pedals is a story of innovation, quality, and a deep understanding of the musician’s needs. From the early days of the Pickup Booster and Tweak Fuzz to the advanced digital capabilities of the Andromeda Dynamic Delay and Fooz Analog Fuzz Synthesizer, Seymour Duncan has consistently delivered products that enhance the musical experience. The company’s commitment to excellence and its willingness to push the boundaries of effects design ensure that it will remain a prominent force in the world of music for years to come.

TEST_ Seymour Duncan Powerstage

 Times have changed. Features such as portability, weight and dimensions have become massively more important in recent years. Along with a few other suppliers, Seymour Duncan has also responded to this trend and launched the Seymour Duncan Power Stage 170 and the Seymour Duncan Power Stage 700, two power amplifiers designed specifically for guitarists and designed for portability.

The concept of the Seymour Duncan Power Stage series

50 years ago, everything was very simple. Due to a lack of PA systems, you packed as many 412 cabinets and heads as you could get into a van or truck, set them up, switched them ALL on and filled the entire hall with sound from the stage. The end result: an excellent guitar sound and deaf musicians.

Those days are definitely over and not even the most die-hard vintage fans of recent times want this sound system back. The exact opposite is the sound constellation in which all musicians play directly into the desk using modeling amps and D.I. boxes and you can no longer hear any other instrument on the stage except the direct radiation of the drum sound. A dream for hall mixers, but the interaction between the guitar string and the moving air of the loudspeaker is lost. The result is a comparatively lifeless sound, which sometimes makes old-school musicians feel a kind of disgust.

The middle ground that is increasingly sought after is a mixture of both systems, i.e. you generate enough sound pressure on the stage using a comparatively quiet and small system to enable interaction with the instrument, but get the final volume from the individually adjusted in-ear system. Never before have so many 1x12" or 2x12" boxes been seen on stage, even in the harder faction, while the full-stack armada that is still often lined up to fill the stage mostly consists of empty dummy housings for weight reasons.

In order not to ruin the transport advantage by lugging around heavy all-tube tops, you need power amplifiers that are as small, light and good-sounding as possible, preferably the size of a stomp pedal and that can be connected directly to the floorboard if necessary. Do I see the first people pricking up their ears?

The Seymour Duncan Power Stage 170

The Seymour Duncan Power Stage 170 is a 170 watt Class D power amplifier aimed at two groups of musicians who both have the same concern or problem. It's about size and weight (as is always the case in life...). With dimensions (L x W x H): 292 mm x 176 mm x 56 mm and a weight of just under 2.8 kilograms, the power amplifier can actually be placed on the floorboard and secured with Velcro / cable ties.

This means, conversely, that with the right concept, you can leave your regular top at home and travel with just the floorboard, speaker and guitar. If you can find a working cabinet on site, or you share equipment with other bands on site, you can even travel to the show by public transport.

The second target group are professional musicians who often have to travel by plane to shows abroad. I myself know the problem well enough that, depending on which country you are playing in, the organizers only provide you with completely worn-out material in which not a single amplifier works perfectly. My personal "highlight" was the penultimate Russia tour, tour stop St. Petersburg. Three Marshall tops on site, one with a broken master volume control, one with oscillating power tubes and one that wouldn't turn on at all. Taking a "mini amp setup" with you in your personal suitcase can minimize many problems.

Some people will now rightly ask why the power amplifier has such a high output. It must be said that this value only applies to 4 ohms and, unlike a tube power amplifier, the power decreases with increasing ohm count. At 8 ohms, the power should be around 90 watts, at 16 ohms around 50 watts. But don't worry, always remember that to double the volume, the power must be increased tenfold, i.e. 170 watts is only just twice as loud as a 17 watt amplifier.

The Seymour Duncan Power Stage 170 is very simple in its design, which didn't stop the manufacturer from packing the product in a very attractive housing with a brushed aluminum top. The product, made in the USA, has a clean preamp and a three-band tone control that starts at frequencies of 87 Hz, 712 Hz and 6.61 kHz and allows a boost/cut of 13 dB. A large, protruding volume control allows you to adjust the volume with your foot during the show; theoretically, you can also raise the volume for a solo and then turn it back down on the fly. A powerful fan on the front ensures that the internal components are cooled. On the back there is an input and output, a power plug, an on/off switch, and that's it.

The Seymour Duncan Power Stage 170 in practice

The fact that the Seymour Duncan Power Stage 170 does not have any rubber feet alone shows that the entire concept is designed for pedalboard operation. The built-in preamp means that you can actually connect your pedals directly to the power amp and treat it as if it were the clean channel on your personal amplifier. Put bluntly, overdrive in front, distortion in front and you have a three-channel amp.

If you don't need any distortion for your sound, you can even plug the guitar directly into the power amp. Jazz musicians will be happy! There's also a tuner and you can go to the show with 2 pedals, or even just one with a clamp tuner. For my part, I took a three-channel Koch Amps Superlead pedal, connected a Line6 Pedal Modeler to the Superlead, sent the whole thing directly to the power amp and attached a 412 Marshall cabinet with 75 watts Celestion to the back.

It really made my jaw drop. I placed just 3 pedals on a small pedal board with a total weight, including all power supplies and cables, of less than 8 kilograms, and I got a sound that beats many high-quality all-tube tops. The sound is powerful, dynamic and yet subtly compressed, with the three-band tone control responding very well to the respective orientation of the speakers. The tone control works very tastefully, although the bass control is a bit too low for the standard tuning, but it can fully exploit its strengths with ERG guitars. At high volumes there is even a hint of saturation, which is very subtle and never initiates the notorious "transistor distortion".

The Seymour Duncan Power Stage 700

The big brother of the 170 power amplifier enters the stage with the Seymour Duncan Power Stage 700. I'm going out on a limb here. Even if the product is advertised as a pure guitar power amplifier, all the connections suggest that electric bass players could also find a home here. 700 watts at 4 ohms will destroy any normal guitar cabinet and even if the cabinet has 8 ohms, the approx. 350 watts are beyond good and evil. 16 ohm speakers are not supported. Bass players are more relaxed about such power outputs, however, as stable bass reproduction requires significantly more power reserves than the guitar spectrum.

The two outputs in Speakon / jack combo sockets in conjunction with the 4 / 8 ohm speaker specification also show a clear bass cabinet orientation; Speakon is actually not available in guitar speakers. Otherwise, the concept of the Seymour Duncan Power Stage 170 has been transferred to the 700 version, although the Seymour Duncan Power Stage 700 is a stereo version that also has an XLR connection to the FOH, which can be used for speaker simulation if required.

It is also great that the 700 has a multi-voltage power supply, which makes the power supply much easier for international performances. The power amplifier can also be installed in the rack using 2 rack angles, where it takes up less than 2 U.

Conclusion

With the two power amplifiers Seymour Duncan Power Stage 170 and 700, the American manufacturer is dedicated to the very specific target group of modeling amp players and working musicians. Both groups are supplied with very good-sounding products and a detailed range of features, with Seymour Duncan managing to generate a completely new type of transportability, particularly with the 170 version.

While the 700 version still raises a few small question marks for guitarists (high power output, only one volume control for 2 channels, Speakon outputs), the little sister convinces as an excellent niche product that many musicians have been desperately waiting for.

Top marks!

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Additional Informations:

### The History of Seymour Duncan PowerStage Amplifiers

Seymour Duncan, a name renowned for its high-quality guitar pickups, expanded its expertise into the realm of amplifiers with the introduction of the PowerStage series. This venture into amplification marked a significant evolution in the company’s product lineup, reflecting both its commitment to innovation and its responsiveness to the changing needs of musicians. The development of the PowerStage amplifiers is a story of meticulous engineering, market insight, and a deep understanding of the guitarist’s requirements.

#### Origins and Rationale

The concept of the PowerStage series emerged from the changing landscape of guitar amplification in the early 21st century. Traditional tube amplifiers, while cherished for their warm tones and dynamic response, posed practical challenges related to size, weight, and maintenance. With the rise of digital modeling and the increasing use of pedalboards, there was a growing demand for portable, reliable, and versatile power solutions that could seamlessly integrate into modern guitar rigs.

Recognizing this shift, Seymour Duncan set out to design an amplifier that could meet these needs without compromising on tone and quality. The goal was to create a compact, powerful, and highly functional amplifier that could serve as the backbone of any guitarist’s setup, whether for live performance or studio work.

#### Design and Development

The development process for the PowerStage amplifiers was thorough and detailed. Seymour Duncan's team of engineers and designers embarked on extensive research and development, drawing on decades of experience in the audio industry. They focused on key attributes such as portability, ease of use, and tonal versatility.

One of the primary design challenges was achieving high power output in a compact form factor. Traditional amplifiers often require bulky transformers and large cabinets, but the PowerStage needed to be small enough to fit on a pedalboard. To address this, the team utilized Class D amplification technology, known for its efficiency and ability to deliver substantial power without excessive heat generation.

Another critical aspect was the tonal character. Guitarists have discerning ears, and the sound quality of the PowerStage had to meet the high standards set by Seymour Duncan’s pickups. The engineering team worked meticulously on the preamp and power amp sections to ensure that the amplifier could deliver rich, dynamic tones across a wide frequency range. They incorporated features such as three-band EQ and presence control to provide musicians with the flexibility to shape their sound precisely.

#### Introduction of the PowerStage 170

The first product in the PowerStage series, the PowerStage 170, was introduced in 2017. This compact, pedalboard-friendly power amp quickly garnered attention for its innovative design and practical features. With 170 watts of power, it was capable of driving virtually any speaker cabinet, making it an ideal solution for guitarists who needed a powerful yet portable amplifier.

The PowerStage 170 featured straightforward controls, including volume, bass, mid, and treble knobs, allowing users to quickly dial in their preferred sound. Its compact size and robust construction made it a reliable choice for gigging musicians, who appreciated the convenience of carrying an entire amplifier rig in a pedal-sized unit.

One of the standout features of the PowerStage 170 was its versatility. It could be used as a traditional amplifier, driving a speaker cabinet directly, or as a power amp in conjunction with digital modelers and preamps. This flexibility made it a popular choice among guitarists who utilized a variety of setups and needed a reliable power solution that could adapt to different scenarios.

#### Expansion with the PowerStage 700

Following the success of the PowerStage 170, Seymour Duncan expanded the series with the introduction of the PowerStage 700 in 2018. The PowerStage 700 offered even more power, with 700 watts available, catering to musicians who required higher output for larger venues or more demanding applications.

Despite its increased power, the PowerStage 700 maintained the compact and portable design of its predecessor. It featured an intuitive interface with more advanced controls, including additional EQ options and presence adjustment, providing greater tonal flexibility. The inclusion of stereo output capabilities also made it suitable for use in more complex rigs, where stereo effects and multi-cabinet setups were required.

The PowerStage 700 retained the same high-quality construction and reliable performance that had become the hallmark of the PowerStage series. Its ability to deliver clean, powerful amplification without coloration ensured that the natural character of the guitar and any connected effects were preserved, making it a valuable tool for both live performances and studio recordings.

#### Market Reception and Impact

The introduction of the PowerStage series was met with positive reception from both musicians and industry critics. Guitarists appreciated the combination of portability, power, and tonal flexibility, which addressed many of the limitations associated with traditional amplifiers and other compact power solutions.

Reviewers highlighted the build quality and performance of the PowerStage amplifiers, noting their ability to handle a wide range of musical genres and playing styles. The amplifiers’ compatibility with digital modelers and preamps also earned praise, as it allowed musicians to integrate their favorite tones into their live rigs without sacrificing quality or reliability.

The success of the PowerStage series reinforced Seymour Duncan’s reputation as a company that understands the needs of musicians and is capable of delivering innovative solutions that enhance their playing experience. The amplifiers became a popular choice among touring professionals, studio musicians, and hobbyists alike, further establishing Seymour Duncan as a versatile and forward-thinking brand in the music industry.

#### Ongoing Innovation and Future Prospects

Building on the success of the initial PowerStage models, Seymour Duncan continues to explore new possibilities in amplifier design. The company remains committed to innovation, seeking to develop products that meet the evolving needs of musicians while maintaining the high standards of quality and performance that define the brand.

Future developments in the PowerStage series may include advancements in digital integration, offering even greater control and customization options for users. As technology continues to evolve, Seymour Duncan is well-positioned to leverage new advancements to enhance the functionality and versatility of their amplifiers.

In conclusion, the history of Seymour Duncan’s PowerStage amplifiers is a testament to the company’s ability to adapt and innovate in response to the changing landscape of guitar amplification. From the initial concept to the successful introduction of the PowerStage 170 and 700, Seymour Duncan has demonstrated a commitment to providing musicians with practical, high-quality solutions that enhance their ability to create and perform music. The PowerStage series stands as a significant achievement in the company’s storied history, reflecting its dedication to excellence and its deep understanding of the musician’s journey.