TEST: Sony DWZ M50

 ## Sony DWZ-M50 Wireless Microphone System: A Hidden Gem in the Audio World

It's always interesting to observe how a company name, which is among the most famous in one sector of consumer electronics, can be underappreciated in a related field despite years of continuous presence and high-quality product lines. Sony is all too familiar with this phenomenon. Despite producing high-end reverb units and the legendary Dash machines in the late eighties, the corporation is mostly associated with screens or playback devices in the minds of users.

To bridge this gap in perception, the Japanese conglomerate has introduced the DWZ Wireless Series to their lineup. Manufactured in Korea, the products consist of the DWZ-B30GB, designed for instrumentalists, and the DWZ-M50 system, which I have for testing. The latter comprises a microphone and its corresponding receiver. Both products operate in the 2.4 GHz band, which is exempt from the general unrest regarding carrier frequencies. The signal is transmitted digitally at 24-bit/48 kHz.

A helpful tip: on the Thomann Music Store website, you can view the frequencies used by any wireless system, regardless of manufacturer, along with their worldwide approvals and any associated restrictions. This is an invaluable tool that sheds light on the sometimes chaotic regulations of international radio traffic.

## Construction

The Sony DWZ-M50 package includes the ZTX-M01 handheld microphone, the ZRX-HR50 half-rack receiver with power supply, a microphone holder, and two antennas that are screwed onto the back of the receiver using two bayonet locks. The overall build quality of the package is impressive. Sufficiently thick sheet steel or metal is used at almost all relevant points, suggesting a long lifespan. You'll search in vain for cheap plastic latches or other inferior materials.

All connections on the receiver are located on the rear panel and consist of two unbalanced 1/4" outputs, a balanced XLR output (switchable between line and microphone level), and a USB port for maintenance work. On the front, an endless rotary encoder with push function navigates the menu, complemented by an Esc button for returning to the main screen and the On/Off switch. A clearly readable color display informs the user about all important parameters such as reception quality, transmitter battery status, the selected channel, and any use of the internal equalizer. The equalizer features five bands (60 Hz, 250 Hz, 1 kHz, 4 kHz, 12 kHz), each of which can be boosted or cut by 12 dB.

The system transmits on six different channels, with two transmission options available. In the "Wide" preset, the 2.5 MHz range is used, which leaves other frequency users virtually undisturbed. In return, you have to accept a slightly higher latency. The alternative is "Narrow," which operates with a narrower bandwidth and shorter latency but may potentially interfere with existing wireless networks. The handheld and receiver obtain their optimal channel selection through a scan mode, which in this setup is called "Clear-Channel-Scan."

The ZTX-M01 handheld is powered by two AA batteries and, according to the manufacturer, has an average operating time of 8 hours. A lockable Power/Mute switch allows the microphone to be temporarily deactivated, which is particularly useful during breaks in performance and relieves the sound engineer. The lock can only be accessed by unscrewing the middle part of the microphone. Here you'll also find a digital display for matching the channel to the receiver and a USB port for firmware updates.

The handheld comes factory-equipped with a dynamic capsule featuring a cardioid polar pattern. If needed, it can be retrofitted with a proprietary supercardioid, wide cardioid, or condenser capsule. Third-party capsules from various manufacturers such as Shure or Neumann can also be mounted on the handheld. When unscrewing the microphone capsule, there's also the option to reduce the output level of the microphone via a small PAD switch, offering attenuation of 6 or 12 dB. This allows you to control even Tom Jones-level sound pressure without internal distortion.

## In Practice

Setting up the combination is, as expected, straightforward. The handheld and receiver find each other immediately, with channel selection occurring automatically. In terms of sound, the ZTX-M01 offers a very clear and neutral reproduction of the voice with a slight emphasis on the presence frequencies. Nevertheless, you don't need to worry about constant de-esser use; the tonal design is practical and gives even more subtle voices good assertiveness.

The handheld feels good in the hand, shows good balance, and due to its moderate weight of about 300 grams including batteries, it won't become a burden even for delicate female arms during a longer performance. Signal transmission is stable; even several walls within my studio or a trip to the end of my garden property did not lead to any signal loss. Remarkably, the latency is extremely short and inaudible at just 3 milliseconds, guaranteeing truly immediate transmission. The handheld convinces in both singing and speech applications, shining with an unpretentious basic configuration.

## Sound Quality

The Sony DWZ-M50 system impresses with its audio fidelity. The microphone capsule delivers a frequency response that is well-suited for vocal applications, with a slight boost in the upper midrange that adds clarity and presence to the voice without becoming harsh or sibilant.

In testing, the system performed admirably across a range of vocal styles. From soft, intimate performances to powerful rock vocals, the DWZ-M50 maintained clarity and detail. The cardioid polar pattern effectively rejects off-axis sounds, helping to isolate the vocalist's performance and reduce the risk of feedback in live situations.

The system's digital transmission ensures that the audio quality remains consistent throughout the operating range. There's no degradation of signal quality as you move away from the receiver, which is sometimes an issue with analog wireless systems.

The built-in equalizer in the receiver is a valuable tool for fine-tuning the sound to suit different voices or to compensate for room acoustics. With its five bands, it offers enough flexibility to make meaningful adjustments without becoming overly complex.

## Range and Reliability

One of the standout features of the DWZ-M50 is its impressive range. In open-air tests, the system maintained a stable connection at distances exceeding 60 meters (about 200 feet). Even in more challenging environments with walls and other obstacles, the range remained more than adequate for most live performance scenarios.

The 2.4 GHz band, while more crowded than traditional UHF bands, proved to be surprisingly robust. The Clear-Channel-Scan feature effectively identified and locked onto the clearest available frequencies, minimizing interference even in RF-dense environments.

During extended use, the system demonstrated excellent reliability. There were no dropouts or unexpected disconnections, even when other wireless devices were in use nearby. This level of dependability is crucial for professional applications where signal loss is not an option.

## Battery Life

Sony's claim of 8 hours of battery life from two AA batteries proved to be conservative in our tests. With fresh alkaline batteries, we consistently achieved over 9 hours of continuous use before the low battery indicator appeared. This is more than enough for most performance scenarios, though for longer events or heavy users, rechargeable NiMH batteries could be a cost-effective and environmentally friendly option.

The battery life indicator on both the handheld transmitter and the receiver display was accurate and provided ample warning before power depletion, allowing for timely battery changes.

## Versatility

While the DWZ-M50 is primarily designed for vocal applications, its versatility shouldn't be overlooked. The ability to swap out the microphone capsule opens up a range of possibilities. For instance, using a supercardioid capsule could provide better isolation in noisy stage environments, while a condenser capsule might be preferred for capturing more nuanced performances in controlled settings.

The switchable output level on the receiver (between mic and line level) adds to the system's flexibility, allowing it to interface seamlessly with a wide range of audio equipment from mixing consoles to camera inputs for video production.

The inclusion of both XLR and 1/4" outputs on the receiver is a thoughtful touch, ensuring compatibility with virtually any audio setup without the need for adapters.

## User Interface and Ease of Use

Sony has done an excellent job with the user interface of the DWZ-M50 system. The color display on the receiver is bright, clear, and provides all the necessary information at a glance. The menu system, navigated by the rotary encoder, is intuitive and easy to use, even for those who might be less technically inclined.

The automatic pairing between the transmitter and receiver is a time-saver, especially in fast-paced live environments. The Clear-Channel-Scan feature, which automatically selects the best available frequency, works quickly and effectively, reducing setup time and potential for user error.

The lockable power/mute switch on the handheld transmitter is a smart feature that prevents accidental muting or power-off during performance. While the lock can only be engaged by partially disassembling the microphone, this design ensures that it won't be accidentally toggled.

## Comparison with Competitors

In its price range, the Sony DWZ-M50 competes with systems from established pro audio brands like Shure, Sennheiser, and Audio-Technica. While these brands may have more name recognition in the professional audio world, the DWZ-M50 holds its own in terms of features and performance.

Compared to similarly priced systems, the Sony offers comparable or better sound quality, and its range and reliability are on par with the best in its class. The inclusion of a 5-band EQ in the receiver is a standout feature that many competitors don't offer at this price point.

Where some competitors might have an edge is in their ecosystem of compatible products or in the availability of alternative capsules. However, Sony's openness to third-party capsules somewhat mitigates this disadvantage.

## Value for Money

Considering its feature set, build quality, and performance, the Sony DWZ-M50 represents excellent value for money. At a street price under 600 euros, it offers capabilities that are often only found in systems costing significantly more.

The robust construction suggests that this is a system built to last, which should be factored into any value calculation. Additionally, the flexibility offered by the interchangeable capsule design and the built-in EQ adds to the long-term value of the system.

## Potential Improvements

While the DWZ-M50 is an impressive system overall, there are a few areas where improvements could be made in future iterations:

1. Including a carrying case would be a welcome addition, especially for users who frequently transport their equipment.

2. The ability to use rechargeable lithium-ion batteries, perhaps with a charging dock, could appeal to heavy users and venues.

3. While the 2.4 GHz band performs well, offering a UHF option could broaden the system's appeal in markets where 2.4 GHz wireless use is more restricted.

4. Expanding the range of proprietary capsules would give users more options without needing to look to third-party manufacturers.

## Conclusion

For those willing to look beyond the big names in the transmitter segment, Sony has a real bargain on hand with the DWZ-M50 package. With a street price under 600 euros, the system sits in the mid-price range but can boast features that are generally only included in the scope of delivery from a four-digit price point upwards.

The build quality of the Japanese manufacturer's Made in Korea product is very good and suggests a long service life. In terms of sound, the handheld asserts itself in practice through its neutral to brilliant tuning and covers a correspondingly wide range of vocal applications. The PAD switch also allows you to tame very loud voices accordingly, even before the signal starts its journey to the receiver.

The Sony DWZ-M50 is a product worth testing, one that doesn't need to shy away from comparison with other providers. It offers professional-grade features and performance at a price point that makes it accessible to a wide range of users, from ambitious amateurs to working professionals.

Its combination of sound quality, reliability, and user-friendly features makes it a strong contender in the competitive wireless microphone market. While it may lack the brand recognition of some competitors in the pro audio space, the DWZ-M50 proves that Sony's expertise in consumer electronics translates well to professional audio products.

For venues, houses of worship, educational institutions, or touring performers looking for a dependable wireless system that won't break the bank, the Sony DWZ-M50 deserves serious consideration. It's a reminder that sometimes the best solutions come from unexpected places, and that it pays to look beyond the usual suspects when choosing audio equipment.

In an era where wireless spectrum is becoming increasingly crowded and regulated, the DWZ-M50's use of the 2.4 GHz band also offers a degree of future-proofing. As traditional UHF bands become more restricted, systems like this may become increasingly attractive options.

Ultimately, the Sony DWZ-M50 is a testament to the company's engineering prowess and understanding of user needs. It's a system that punches above its weight class and serves as a worthy ambassador for Sony in the professional audio world. For those in the market for a new wireless microphone system, the DWZ-M50 is not just an option to consider – it's one that could very well end up being your top choice.

TEST: Sonic Farm Xcalibur JC

 How times have changed. For decades, sound engineers of all stripes went to great lengths to eliminate overloads and distortions of all kinds from recordings. In the early days of recording technology, tube-based analog equipment induced an almost latent saturation, which, especially in the summing stage, provided a considerable compression of the material and an accompanying first "mastering stage" long before this production step was planned as an integral part of a sound recording. Today, equipment resistant to overloading is no longer a special feature; rather, one sometimes tries to give the sound material the decisive "kick" with a dedicated half-wave cut at the right place. The Canadian company Sonic Farm carries the Sonic Farm Xcalibur JC, a saturation preamplifier in its portfolio, which offers far more unique selling points than just saturation.

The Concept of the Sonic Farm Xcalibur JC

It becomes apparent during the unpacking process that the Sonic Farm Xcalibur JC is not your typical 19-inch semiconductor equipment. Weighing nearly 8 kg and with an installation depth of 34 cm, one might initially mistake the 1U high rack unit for a power amplifier rather than a typical preamp. Nevertheless, this product is a 2-channel microphone preamplifier and saturator for processing microphone, line, and instrument signals, based on a Class-A tube circuit utilizing EF86 tubes. These pentode tubes, known for their low noise and high gain characteristics, contribute significantly to the unit's sonic signature.

The "JC" suffix stands for the signature version by engineer and producer Joe Chiccarelli, who celebrated his greatest successes with artists such as Alanis Morissette, Elton John, Bee Gees, Journey, and Frank Zappa. According to Wikipedia, his name is associated with over 50 million albums sold, though this seems a conservative estimate considering that the "Saturday Night Fever" soundtrack by the Bee Gees, which he mixed, alone sold over 40 million units. Chiccarelli's influence on the unit's design is evident in its versatility and attention to detail in the saturation stages.

One of the unique features of the Sonic Farm Xcalibur JC is the cascading capability of the two channels, which can be activated by a mini-switch in the center of the front panel. This feature allows users to create a serial signal path, effectively doubling the available gain and saturation options. In this configuration, one can also inflate the two saturation stages into a formidable distortion effect, reminiscent of classic tube overdrive pedals but with far greater clarity and control.

The fact that Sonic Farm has given considerable thought to overdriving is evident not only in the use of two pentodes per channel, providing up to +68 dB gain for microphone input and +48 dB for line and instrument signals, but also in the optional use of FET transistors for distortion. FET transistors are characterized by the fact that, when overdriven beyond 0 dB, they do not convey the harsh distortion of regular transistors, but rather produce a significantly softer distortion not unlike tube overdrive. This hybrid approach allows for a wide range of tonal possibilities, from subtle warming to full-on distortion.

The output levels of the channels are separately adjustable, with the preamp utilizing Cinemag output transformers. These high-quality transformers are known for their ability to add a subtle, musical coloration to the signal, further enhancing the unit's analog warmth.

The Front Panel of the Sonic Farm Xcalibur JC

Those expecting a pure 19-inch distortion unit will be surprised by the Xcalibur JC's comprehensive feature set. A considerable number of controls and switches on the front panel indicate that the Sonic Farm Xcalibur JC is equally concerned with high-quality preamp functionality as it is with saturation effects. The first three pushbuttons on the left side offer standard features: phantom power (48V), a 15 dB PAD switch, and an instrument selector switch that routes the input to the front panel jack.

The following three rotary controls "CLN" (Clean), "DRV" (Drive), and "BLD" (Blend) form the core of the unit's saturation capabilities. These controls, in conjunction with several toggle switches, allow for precise tailoring of the distortion character. The "CLN" control adjusts the input gain of the clean signal path, while "DRV" determines the amount of signal sent to the saturation circuit. The "BLD" knob allows for a perfect balance between the clean and saturated signals, enabling anything from subtle harmonic enhancement to full-on distortion.

A two-color LED (red/green) reflects the input level, providing visual feedback on the signal strength. It's worth noting that distortion in the red range is not necessarily desirable but merely indicates that the input level is too high for clean operation. This metering system allows for precise gain staging, crucial for achieving the desired level of saturation without unwanted clipping.

Following these controls is another selector switch for the output, allowing a choice between a low-distortion solid-state IC or a transformer. This feature provides two distinct flavors of output coloration, with the solid-state option offering a more transparent sound and the transformer adding a subtle, vintage-like character to the signal. A phase switch completes this section, allowing for easy correction of phase issues that may arise when using multiple microphones.

The upper row of the Sonic Farm Xcalibur JC is dominated by a total of 7 toggle switches, all of which have 3 switching states. This array of switches provides an unprecedented level of control over the unit's tonal shaping capabilities. Starting with a Fat Shelving Preset Boost and Gain Max switch on the left side, the switch in the left position (Fat) provides a low-frequency shelving boost from 300 to 1000 Hz, depending on the setting of the Gain switch two positions to the right. Lower gain settings correspond to a higher corner frequency and consequently a stronger bass boost. This filter does not use a separate stage but utilizes the clean tube amplification stage, ensuring that the bass enhancement remains musical and natural-sounding.

The boost level can be fine-tuned with the left of the two trim potentiometers, accessible from an upper flap located between the boost switches about a centimeter from the front panel. This level of detail in control allows users to dial in precisely the right amount of low-end enhancement for any source material. The maximum boost also depends on the Gain switch; the lower the Gain switch, the more bass boost is available, up to about 12 dB with a 6dB/octave slope.

The high-frequency shelving boost, labeled as "AIR," operates from 1 to 8 kHz and also depends on the Gain switch setting. Lower gain settings correspond to a lower corner frequency and consequently a stronger treble boost. In the left position, the corner frequency is about 1.5 octaves lower than in the right position. This filter also affects the clean tube amplification stage, ensuring that the high-frequency enhancement remains smooth and musical. As with the low-frequency boost, the exact onset of the AIR effect can be adjusted via a trim potentiometer inside the housing, allowing for precise tailoring of the high-end response.

After the aforementioned GAIN switch, we come to the microphone input impedance switch labeled "IMPED." The impedance selection is a crucial feature that can significantly affect the tonal characteristics of different microphones. The lower the impedance, the higher the load the preamplifier input exerts on the microphone. The standard values are 10 kΩ for the middle position (HI), 900 Ω for the left (LO), and 2400 Ω for the right (MED).

The "PAD" switch also affects the resulting microphone input impedance value, providing even more flexibility in matching the preamp to various microphone types. A change in input impedance tends to affect the sound of dynamic microphones more significantly, to some extent ribbon microphones, and to a lesser extent or not at all condenser microphones. Lower impedance values generally roll off the highs somewhat, which can be useful for taming overly bright sources or adding a vintage-like character to modern microphones.

A subsequent high-pass filter cuts at either 160 Hz (Pos. 1) or 80 Hz (Pos. 2) with 6dB/octave slope. Only the clean signal is processed by this high-pass filter, allowing users to remove unwanted low-frequency content before it reaches the saturation stage. This can be particularly useful for cleaning up boomy sources or reducing proximity effect on close-miked vocals.

The following ODf/ODf1 switch is a high-pass filter before the overdrive stage, which can be useful if too much bass or low mids hit the OD tube and cause excessive "mud" in the distorted signal. In this case, the unwanted bass or mids can be attenuated with this 6dB/octave filter with a gentle slope. The individual positions allow for full engagement (left), attenuation of bass and low mids (center), and attenuation of only bass (right). Depending on the instrument connected, interesting effects can be achieved here, especially in the Lo-Fi range.

In the JC signature version, an additional ODf2 control is employed. This is a post-drive low-pass filter with a pre-mix of 3 positions: 5.5 kHz, 12dB/octave (left); 18 kHz (center), and 1 kHz, 6dB/octave (right). The first position can be used to suppress buzzing distortions that may occur when processing some signals, particularly useful for taming harsh high-frequency content in heavily saturated signals. The middle position is practically a bypass, allowing the full frequency range of the distorted signal to pass through. The right position is useful when you want to mix in some saturation to make something sound bigger and fatter without the distortion becoming too obvious, effectively acting as a "thickening" effect.

The rear panel of the Sonic Farm Xcalibur JC is straightforward and functional, featuring 6x XLR connectors (4 in, 2 out), L/R microphone inputs, L/R line inputs, a ground lift switch, main fuse, mains selector switch, and an IEC power socket. This layout ensures easy integration into any studio setup, whether as a front-end for recording or as an insert processor for mixing and mastering applications.

As evident from this detailed breakdown of features, the Sonic Farm Xcalibur JC offers very comprehensive signal processing capabilities, allowing for extensive sound shaping at every stage of the signal path. The unit's design philosophy seems to be centered around providing maximum flexibility and control to the user, enabling everything from subtle analog warmth to extreme distortion effects. This level of control is particularly valuable in the context of modern production techniques, where the ability to precisely shape tone and add character to digital recordings is highly prized.

In Practice

Activating the Sonic Farm Xcalibur JC with what is probably the stiffest on/off switch I've ever operated, we're greeted by a strong red glow emanating from the unit. This visual feedback, reminiscent of classic tube gear, sets the stage for the sonic experience to come.

As a guitarist, the Sonic Farm Xcalibur JC immediately brings a broad smile to my face, thanks to the excellent quality of its distortion capabilities. The unit truly shines when processing instruments where the treble component is not too pronounced, such as Hammond organ or clavinet. In these cases, the Xcalibur JC produces outstanding sounds right out of the gate, easily reaching distortion levels comparable to a high-gain guitar amp, but with significantly less unwanted noise.

The saturation characteristics of the Xcalibur JC are notably smooth and musical, even at extreme settings. This is likely due to the careful implementation of both tube and solid-state circuitry in the signal path. The ability to blend between clean and saturated signals allows for a wide range of tonal possibilities, from subtle harmonic enhancement to full-on distortion.

One particularly impressive aspect of the Xcalibur JC is its ability to maintain clarity and definition even when heavily saturated. This is where the unit's hybrid design really comes into play, combining the warmth of tubes with the precision of solid-state components. The result is a distortion character that adds richness and complexity to the source material without becoming muddy or indistinct.

The extensive EQ and filtering options prove invaluable in shaping the distorted signal. The ability to tailor the low and high-frequency content both before and after the saturation stage allows for precise control over the final tonal character. This level of control is particularly useful when working with dense mixes or when trying to achieve specific vintage-style tones.

While the Xcalibur JC excels at more extreme distortion effects, it's equally capable of providing subtle coloration and harmonic enhancement. At lower drive settings, the unit imparts a gentle warming effect that can add depth and dimension to digital recordings. This versatility makes the Xcalibur JC a valuable tool not just for tracking, but also for mixing and mastering applications.

The question of whether to add a speaker (simulation) to the signal path is left to individual preference, but even without any additional sound processing, the Sonic Farm Xcalibur JC convinces across the board. Its raw output is remarkably usable and musical, a testament to the quality of its internal components and circuit design.

Of course, the product can also provide subtle fattening in the range of tape saturation, but it's the high gain reserves that truly offer a unique selling point in the preamp segment. The extensive filtering options ensure that there's something for everyone, and any remaining sonic possibilities can be addressed with a pre- or post-EQ.

One minor criticism could be leveled at the unit's noise floor, which becomes noticeable at extreme gain settings. However, this is a common characteristic of high-gain tube circuits and is generally not problematic in real-world recording scenarios. The noise is easily overshadowed by the signal in most applications, and the richness of tone more than compensates for any slight increase in noise.

Conclusion

With the Sonic Farm Xcalibur JC, the Canadian manufacturer has created an outstanding preamp with a focus on saturation, easily achieving the distortion levels of a high-quality dedicated distortion unit. The components used, along with the build quality and sonic possibilities, place this unit firmly in the top tier of studio equipment.

The Xcalibur JC enables the creation of characterful and defining sounds that can breathe life into thin or lifeless recordings. Its versatility makes it equally at home on individual tracks during recording and mixing, as well as on entire mixes during mastering.

While the price point of the Xcalibur JC places it in the professional and high-end project studio market, its performance justifies the investment for those seeking a truly versatile and high-quality saturation device. The unit's ability to impart everything from subtle analog warmth to extreme distortion effects, all while maintaining a high degree of clarity and musicality, sets it apart in a crowded market of analog-modeling devices.

In an era where digital perfection often leads to sterile and lifeless recordings, tools like the Sonic Farm Xcalibur JC provide a valuable means of reintroducing the character and imperfections that make recordings sound alive and engaging. Whether used subtly to add depth and dimension to digital tracks, or pushed to extremes for creative distortion effects, the Xcalibur JC proves to be a flexible and powerful tool in the modern recording studio.

A top-notch product that comes highly recommended for professionals and serious enthusiasts alike. The Sonic Farm Xcalibur JC represents a significant achievement in analog audio processing, successfully bridging the gap between vintage warmth and modern clarity.

TEST: Solton MF 200 A

 ## The Solton MF 200 A: A Comprehensive Review of a Multifunctional Active Speaker

In the ever-evolving landscape of audio technology, certain product lines have experienced growth rates that would make even the most audacious financial institutions blush. Among these success stories of recent years, two categories stand out: Swiss Army knives and full-range speakers, which we might aptly term "multifunctional speakers." The unique selling point of this genre lies in its ability to directly manage nearly all signals that could potentially be applied to a monitor or vocal PA speaker.

The advantages of such a system are manifold and immediately apparent. Firstly, it significantly reduces the number of components that need to be transported, wired, and purchased. More importantly, it dramatically decreases the risk of interactive misalignment between various audio components. In an era dominated by the plug-and-play generation, where even the simple task of splitting pre-amp and power amp stages within the signal chain can evolve into a time-consuming afternoon project, this streamlined approach offers an advantage that cannot be overstated.

### Rediscovering Solton: A Blast from the Past

In this review, we encounter a venerable German trademark that has been absent from the audio landscape for at least a decade: Solton. Founded in 1972, the company made significant strides in the solo entertainer keyboard market a decade later. Through its subsidiary, Craaft, Solton also achieved notable success in the bass player segment before seemingly vanishing from the radar of many audio enthusiasts.

Unfortunately, further information about the company's trajectory proved elusive, mirroring the somewhat sluggish nature of the product information available. For instance, I was unable to ascertain the country of manufacture for the MF 200 A unit under review. One might wonder if there isn't a regulation mandating the printing of the country of origin on such products.

### Construction and Technical Specifications

The Solton MF 200 A is an active 2-way speaker boasting an RMS power output of 200 watts at 4 ohms. Internally configured with an 8-ohm impedance, the unit disperses sound through a 1-inch compression driver with a 60 x 40 degree dispersion pattern for high frequencies, complemented by a Craaft 12-inch woofer for low-end reproduction. According to the manufacturer's specifications, this product delivers a sound pressure level of 97 dB (with a maximum SPL of 121 dB) and covers a frequency range from 55 Hz to 18,000 Hz. The cabinet measures 390 x 540 x 350 mm (15.4 x 21.3 x 13.8 inches) and weighs in at a substantial 20.8 kilograms (45.9 pounds). A coarse needle felt coating provides the necessary resistance against scratches and impacts, enhancing the durability of the unit.

The speaker enclosure features an asymmetrical trapezoidal design, allowing for versatile deployment as a standalone solution, a satellite in a larger PA system, a mini side-fill monitor, or even as a floor wedge at approximately 45 degrees. A carrying handle on the top of the cabinet facilitates easy vertical positioning. However, lifting the unit above chest height without readjusting one's grip – for instance, when placing it on a high stand – proves challenging. A mounting flange for stand placement is conveniently located on the bottom of the cabinet. Four robust feet ensure ample stability for the speaker, although it's worth noting that recesses for stacking multiple units are absent.

### User Manual: A Missed Opportunity

The accompanying user manual leaves much to be desired in terms of comprehensiveness and user-friendliness. It consists of a single A4 sheet containing a mere five sentences in both German and English, primarily focused on cautioning users about what not to do to avoid immediate damage to the speaker. Conspicuously absent are example settings, background information on the various input signals, and tips for optimal speaker placement. This sparse documentation suggests that either the manufacturer assumes its target audience consists solely of experienced professionals, or it adopts a somewhat cavalier "learning by doing" approach to customer education. Solton would do well to examine the average manual produced by companies like Mackie for a lesson in comprehensive user guidance.

### Connectivity and Signal Management

The mixer section's connection panel truly lives up to the multifunctional ethos, accommodating all common signal sources. Specifically, it features:

1. An XLR/TRS combo input with volume control and a 2-band EQ
2. A controllable XLR line in/out for daisy-chain cascading
3. RCA inputs
4. An instrument input

This array of connections capably manages the most important signal sources, from microphones to MP3 players, albeit in a somewhat rudimentary fashion. However, it's worth noting the absence of an adjustable microphone preamp, which could be a limitation for some users. Additionally, phantom power is not provided, meaning that condenser microphones must rely on internal battery power.

A low-cut filter at 150 Hz with a 24 dB/octave slope allows the speaker to function as a satellite, delegating bass reproduction to an active subwoofer. The power switch is located adjacent to the IEC power inlet. A Speakon connector enables the attachment of an additional passive 8-ohm speaker, which would reduce the overall impedance to 4 ohms and unlock the full 200 watts RMS capability. Without this extension, I estimate the product's output to be around 130 watts RMS.

### Practical Performance

The MF 200 A scores significant points in monitor mode, particularly regarding its connection panel design. Unlike many competitors, the sockets are angled perpendicularly on the rear of the product when the speaker is tilted at a 45-degree angle, preventing cable kinking. Upon powering up the unit, extraneous noise is minimal, although some noticeable hiss becomes apparent at higher volumes, which is generally masked by the program material.

Sonically, the initial impression is one of pronounced bass deficiency. At first, I suspected the low-cut filter might have been accidentally engaged, but this was not the case. While this characteristic prevents any muddiness in the low end, it also results in a generally pressure-less performance. The manufacturer's claimed low-end extension of 55 Hz seems more theoretical than perceptually accurate. The midrange performance can be described as average, with the upper midrange faring somewhat better. However, the high-frequency driver struggles to deliver truly "silky" highs beyond 5 kHz, leaving the top end somewhat underrepresented.

At moderate volumes, the MF 200 A handles all types of audio signals competently without the need for an additional speaker. However, as the volume increases, a slightly honky coloration becomes apparent. As suggested by the connection panel, this speaker is best suited for moderate volume applications and scenarios requiring quick, uncomplicated management of various sound sources. The dispersion characteristics of the speaker are commendable, with minimal frequency dips observed when changing listening positions.

### Conclusion

The Solton MF 200 A carves out a niche for itself in the market, provided one is willing to accept some minor sonic compromises. Its strengths lie in quick and easy operation, but this comes at the cost of limited sound-shaping capabilities and a notably bass-shy fundamental sound signature.

For solo entertainers, those seeking sound reinforcement for small venues, or users in need of an uncomplicated monitor speaker for moderate volume levels, the MF 200 A is certainly worth auditioning. Its versatility and ease of use may outweigh its sonic limitations for many potential users in these categories.

In the broader context of the active speaker market, the Solton MF 200 A represents an interesting option for those prioritizing functionality and simplicity over absolute sonic fidelity. As with any audio equipment, potential buyers are strongly encouraged to audition the speaker in person, ideally in conditions similar to their intended use case, to determine if its particular blend of features and performance characteristics align with their specific needs and expectations.

Based on the review of the Solton MF 200 A, there are several alternatives that could be considered in the same category of active multifunctional speakers. While the search results don't provide specific alternatives, I can suggest some options based on the characteristics and intended use of the Solton MF 200 A:

1. Mackie Thump series: These active speakers offer similar functionality with built-in mixers and multiple input options. They are known for their robust construction and good sound quality in the budget-friendly range.

2. JBL EON series: These speakers provide comparable features, including Bluetooth connectivity for easy control. They are popular for their clarity and power in small to medium-sized venues.

3. QSC K series: Known for their high-quality sound and durability, these speakers offer similar multifunctional capabilities with a reputation for reliability in professional settings.

4. Yamaha DXR series: These active speakers provide excellent sound quality and versatility, suitable for various applications from live performance to installed sound systems.

5. EV ZLX series: Offering good value for money, these speakers provide clear sound and multiple input options, making them suitable for similar applications as the Solton MF 200 A.

When considering alternatives, it's important to look for speakers that offer:

- Similar power output (around 200W RMS)
- Multiple input options (XLR, TRS, RCA)
- Built-in mixer functionality
- Comparable size and weight for portability
- Options for monitor wedge positioning

It's worth noting that while these alternatives may offer improved sound quality or additional features, they might come at a higher price point than the Solton MF 200 A. The choice ultimately depends on specific needs, budget constraints, and personal preferences in terms of sound signature and brand reliability.

Based on the available information, there are some notable differences between the Solton MF 200 A and the original Solton MF 200:

1. Sound Quality: According to user feedback, the original MF 200 from 1997 is reported to have superior sound quality[2]. The bass is described as deeper, and the overall sound image is considered much better in the older version.

2. Amplifier: The original MF 200 used a different amplifier that included a gain control[2]. This feature is not mentioned in the specifications of the MF 200 A.

3. Power Output: While the MF 200 A is rated at 200 watts RMS at 4 ohms (or an estimated 130 watts RMS without an extension speaker)[2], the power specifications for the original MF 200 are not provided in the search results.

4. Weight: The MF 200 A weighs 20.8 kg according to one source[2], while another lists it at 17.2 kg[3][4]. The weight of the original MF 200 is not specified in the available information.

5. Modern Features: The MF 200 A includes features like a low-cut filter at 150 Hz with 24 dB slope, which may not have been present in the original model[2].

6. Connectivity: The MF 200 A offers multiple input options including XLR/TRS combo, XLR line in/out, RCA, and instrument input[2]. The connectivity options of the original MF 200 are not detailed in the search results.

7. Year of Manufacture: The original MF 200 is mentioned as being from 1997[2], while the MF 200 A is a more recent model.

It's important to note that detailed specifications for the original MF 200 are not provided in the search results, making a comprehensive comparison challenging. The information about the original model is primarily based on user recollection and may not cover all aspects of the speaker's performance and features.

<img src="https://vg09.met.vgwort.de/na/fee83a527aed49aa87be38d16778edf5" width="1" height="1" alt="">

TEST: Freidman T-7020

 The Friedman 70th Anniv. T-7020 Head is a dual-channel all-tube amplifier head that aims to deliver the quintessential Friedman sound for under €2000.

### The Concept of the Friedman 70th Anniv. T-7020 Head

The Music House Dormann is celebrating its 70th anniversary, and the festivities include all music enthusiasts. Leveraging its significant reputation as Europe's largest musical instrument retailer, the company has managed to collaborate with internationally renowned manufacturers like Friedman to release a special edition product, crafted specifically for Thomann. This particular collaboration has resulted in the Friedman 70th Anniv. T-7020 Head, a dual-channel all-tube amplifier head. The name signifies 70 years of Thomann and 20 watts of output power, derived from a pair of EL84 power tubes.

The amplifier is notably more compact than the larger 100-watt tube behemoths traditionally associated with Friedman. The housing, familiar to users of other smaller Friedman models such as the Runt-20 and the JEL (Jake E. Lee signature model), is utilized here, offering a streamlined and portable design.

The amplifier aims to bring the classic Friedman sound, typically priced between €3500 and €4000, to a more accessible price range, approximately half of the usual cost. This endeavor isn't merely about downscaling the louder models; it necessitates a complete redesign of the internal construction. The label "Assembled in USA" on the rear of the amplifier suggests assembly in the United States but also hints at the inclusion of components sourced from Asia, particularly China.

### The Construction of the Friedman 70th Anniv. T-7020 Head

In terms of contemporary design, the Friedman 70th Anniv. T-7020 Head follows a trend that has gained substantial popularity in recent years. The amplifier's dimensions are 457 mm x 222 mm x 222 mm, and it weighs a relatively light 10 kg, making it significantly more transportable than the larger 100-watt models.

A smaller amplifier of these dimensions is not necessarily meant for a 4x12 cabinet. However, Friedman has addressed practical concerns in the design of the amplifier's feet. The feet are relatively broad, primarily made of plastic rather than rubber, featuring a nicely grooved underside, and are notably high. This height prevents the amplifier from resting on the carry handle of a 1x12 or 2x12 cabinet, a common issue with standard feet.

A downside to the hard plastic feet is the enhanced transmission of vibrations from the cabinet to the amplifier, potentially affecting the tubes, which are sensitive to shock when hot. This is particularly true for the power tubes, though EL84s are less affected than larger tubes like 6L6 or EL34.

The amplifier is encased in a meticulously crafted black housing covered with synthetic black snakeskin. The potentiometers are slightly recessed to prevent damage from external impacts.

The front panel of the amplifier features seven knobs, including a four-band EQ with a Presence control. Additionally, there are Gain controls for the dirty channel, a single volume control for the clean sound, and a master volume. The manufacturer claims that the dirty channel's presets mimic those of the well-known BE-100.

Technically, the amplifier could be considered a single-channel device since the dirty channel lacks an independent volume control, relying on the clean channel's volume setting and its gain control.

The amplifier's flexibility is enhanced by various mini-switches and push-pull pots, allowing for different preset frequency and dynamic corrections. The switches include:

- Saturation switch, implemented as a push/pull potentiometer on the Bass control for higher gain/saturation sound.
- Voice switch, implemented as a push/pull potentiometer on the master volume control to modify treble response.
- Fat switch, implemented as a push/pull potentiometer on the Gain control for a thicker sound.
- A three-position treble switch.
- A Gain Cut switch.

An added feature is the ability to switch channels without a footswitch using a mini-switch, a departure from previous Friedman models.

Friedman believes that a separate power and standby switch is unnecessary in this power range, so the amplifier has a single red plastic on/off switch on the front, which lights up when activated.

### The Rear Panel of the Friedman 70th Anniv. T-7020 Head

The rear panel of the amplifier features several elements requiring further explanation. Starting with the simple elements on the left: a jack for the included footswitch and a serial effects loop.

Next is an XLR output with three mini-switches to adjust its characteristics (Edge/Center), output level, and ground lift. This output allows for direct recording, enabling the amplifier to be used without a cabinet and directly into an interface and DAW.

Notably, a true all-tube amplifier requires a load box when operating without a speaker cabinet to prevent damage to the output transformer. Friedman addresses this with two jack sockets, where the right one must be connected first. If not connected, an internal load box protects the amplifier from damage.

Adjacent is a mini-switch for selecting impedance (16 or 8 ohms) for connected cabinets. Unfortunately, 4-ohm operation is not available, though this is not a significant issue since it is generally needed only in rare configurations such as two parallel 8-ohm cabinets or incorrect input selection on a stereo cabinet, like a Marshall that allows for 16 or 4-ohm selection. Lastly, there is an externally accessible main fuse and a power input.

### The Friedman 70th Anniv. T-7020 Head in Practice

The widespread popularity of Friedman amplifiers stems from their sound, which closely resembles Marshall amplifiers but offers greater flexibility and a distinct voicing. The amplifiers do not sound like modified Marshalls but have a unique character while retaining a familiar tonal foundation.

The Friedman 70th Anniv. T-7020 Head maintains this sonic identity, with the EL84 power tubes contributing significantly to its distinctive sound. The amplifier has a higher treble presence and less compression than larger models, yet it retains the classic Friedman tone.

The amplifier is very responsive to the guitar's volume control, allowing it to be dialed back to nearly clean even in the dirty channel. While extreme high-gain sounds suitable for metal might not be its forte, it performs well with an overdrive or boost pedal, transforming it into a high-gain monster if needed. It works exceptionally well with various overdrive or boost pedals.

Although the amplifier's base sound is good, some may find it lacks a bit of brightness and overall clarity. However, this is a subjective opinion, and others may have different preferences.

### Conclusion

With the Friedman 70th Anniv. T-7020 Head, the American manufacturer introduces a special edition amplifier to celebrate Thomann's 70th anniversary. The amplifier offers the typical Friedman sound at a reduced price, featuring excellent portability and high-quality craftsmanship.

————————

Additional Informations:

### Detailed Technical Overview of the Friedman 70th Anniv. T-7020 Head

The Friedman 70th Anniv. T-7020 Head is more than just an amplifier; it’s a testament to meticulous engineering and thoughtful design. Let’s delve deeper into the specifics that make this amplifier a standout in its class.

#### Chassis and Build Quality

The amplifier’s chassis is constructed from robust metal, ensuring durability and resistance to wear and tear. The synthetic black snakeskin covering not only adds a touch of elegance but also provides additional protection against minor abrasions and impacts. The overall construction quality adheres to high standards, reflecting Friedman’s commitment to excellence.

#### Preamp and Power Sections

The preamp section of the Friedman 70th Anniv. T-7020 Head is designed to offer versatility and tonal richness. It features a trio of 12AX7 tubes, known for their high gain and low noise characteristics, making them ideal for both clean and overdriven tones. These tubes are strategically placed to maximize their performance and ensure a balanced signal path.

The power section, driven by a pair of EL84 tubes, delivers a distinctive British-voiced output with a tight bass response, rich midrange, and sparkling highs. EL84 tubes are renowned for their smooth breakup and dynamic response, making them a favorite among players who seek both vintage warmth and modern clarity.

#### Tone Shaping Controls

The amplifier’s front panel hosts a range of controls that allow players to sculpt their sound with precision. The four-band EQ section includes Bass, Middle, Treble, and Presence controls. Each knob operates within a carefully selected frequency range, providing substantial tonal shaping without introducing unwanted noise or artifacts.

- **Bass Control:** Adjusts the low-end frequencies, adding depth and fullness to the sound. Turning this knob up will result in a thicker, more robust bass response, while turning it down will produce a tighter, more focused low end.
- **Middle Control:** This control shapes the midrange frequencies, which are crucial for defining the character of the guitar tone. Increasing the mids can enhance the punch and presence, while decreasing them can create a scooped, more hollow sound.
- **Treble Control:** Manages the high-end frequencies, adding brightness and definition. Higher settings can make the sound more cutting and articulate, while lower settings can mellow out the tone.
- **Presence Control:** Adjusts the upper midrange and lower treble frequencies, adding air and clarity. This control is particularly useful for fine-tuning the amplifier’s response in a live or recording environment.

#### Gain and Volume Controls

The amplifier features separate Gain and Volume controls for the clean and dirty channels, allowing players to set the desired level of drive and overall loudness.

- **Clean Volume Control:** Sets the volume level for the clean channel. This control allows the clean sound to be as loud or as quiet as needed without affecting the dirty channel.
- **Dirty Gain Control:** Determines the amount of gain for the dirty channel, shaping the level of distortion and saturation. Lower settings produce a mild overdrive, while higher settings unleash a more aggressive, high-gain sound.

#### Additional Features

The amplifier includes several push-pull potentiometers and mini-switches that expand its tonal palette.

- **Saturation Switch (Push/Pull on Bass Control):** Engages an additional gain stage, adding more saturation and harmonic richness to the sound. This feature is perfect for achieving a more saturated, high-gain tone without compromising clarity.
- **Voice Switch (Push/Pull on Master Volume Control):** Alters the amplifier’s overall voicing, enhancing the high-frequency response. This switch can make the amplifier sound brighter and more open, ideal for cutting through dense mixes.
- **Fat Switch (Push/Pull on Gain Control):** Adds more low-end and lower-midrange frequencies, thickening the sound. This switch is useful for single-coil pickups or when a fuller, more robust tone is desired.
- **Three-Position Treble Switch:** Provides additional control over the high-end response, allowing players to select between different treble profiles.
- **Gain Cut Switch:** Reduces the overall gain, offering a cleaner, more restrained sound. This switch is beneficial for rhythm playing or when a less aggressive tone is needed.

#### Connectivity and Versatility

The rear panel of the Friedman 70th Anniv. T-7020 Head is designed for maximum connectivity and flexibility.

- **Footswitch Jack:** Allows the included footswitch to toggle between the clean and dirty channels. The footswitch is sturdy and reliable, ensuring consistent performance.
- **Effects Loop:** The serial effects loop is designed to integrate external effects seamlessly. It features high-quality jacks and buffering, ensuring that the signal remains pristine and unaffected by external devices.
- **XLR Output:** This balanced output allows for direct recording or live sound reinforcement. The three mini-switches associated with the XLR output (Edge/Center, Output Level, and Ground Lift) provide further customization, ensuring the output signal matches the desired sound profile.
- **Loadbox Protection:** The amplifier includes a built-in loadbox that protects the output transformer when no speaker is connected. This feature is crucial for maintaining the amplifier’s longevity and preventing damage during silent recording or direct input scenarios.
- **Impedance Selector:** The mini-switch allows players to select between 8 and 16 ohms, ensuring compatibility with various speaker cabinets. The ability to match impedance correctly is vital for achieving optimal performance and tone.

### Performance and Sound Quality

The Friedman 70th Anniv. T-7020 Head excels in various musical contexts, thanks to its versatile design and high-quality components.

#### Clean Channel

The clean channel delivers a pristine, articulate sound with ample headroom. It responds well to dynamics, allowing players to transition from soft, delicate passages to more forceful playing without losing clarity. The clean tone retains its integrity even at higher volume levels, making it suitable for both studio recording and live performances.

#### Dirty Channel

The dirty channel is where the amplifier truly shines, offering a range of overdrive and distortion tones that cater to different genres and playing styles. From a subtle, bluesy crunch to a full-on high-gain roar, the dirty channel provides a rich, harmonically complex sound that remains defined and musical.

- **Low Gain Settings:** At lower gain settings, the dirty channel produces a warm, vintage-style overdrive that is perfect for classic rock and blues. The notes remain distinct, with a pleasing breakup that enhances the natural character of the guitar.
- **Mid Gain Settings:** Increasing the gain introduces more saturation and sustain, ideal for hard rock and heavier blues styles. The tone becomes thicker and more aggressive, yet retains clarity and articulation.
- **High Gain Settings:** Pushing the gain to higher levels unleashes a powerful, high-gain sound that is perfect for modern rock and metal. The distortion is tight and focused, with plenty of sustain and harmonic overtones.

### Practical Applications

The Friedman 70th Anniv. T-7020 Head is suitable for a wide range of applications, from home practice to professional recording and live performance.

#### Home Practice

The amplifier’s compact size and manageable power output make it ideal for home practice. The lower wattage allows players to achieve rich, saturated tones at reasonable volume levels, making it perfect for bedroom use or home studios.

#### Studio Recording

In the studio, the amplifier’s direct recording capabilities and flexible tone shaping controls make it a valuable tool for engineers and producers. The XLR output with loadbox protection allows for silent recording, while the comprehensive EQ and gain controls enable precise tone crafting to suit any recording project.

#### Live Performance

For live performances, the Friedman 70th Anniv. T-7020 Head offers reliability and versatility. Its robust construction ensures it can withstand the rigors of touring, while the range of tones available makes it suitable for various musical genres and performance styles. The ability to switch channels and engage different tonal options on the fly adds to its utility on stage.

### Conclusion

The Friedman 70th Anniv. T-7020 Head stands as a testament to Friedman’s dedication to quality and innovation. This special edition amplifier, created to celebrate Thomann’s 70th anniversary, offers a blend of classic Friedman tones, modern features, and exceptional build quality. Whether used for practice, recording, or live performance, it provides players with a versatile, high-quality sound that is both familiar and distinctive.

By incorporating advanced tone shaping controls, robust connectivity options, and thoughtful design elements, the Friedman 70th Anniv. T-7020 Head achieves a perfect balance between form and function. This amplifier not only meets the expectations of discerning musicians but also sets a new standard for what can be achieved within its price range.

TEST: Soldano SLO-30

 In the realm of guitar amplifiers, certain names are indelibly linked to specific eras of guitar history, defined by innovations that shaped the sound of their time. Among the giants like Marshall and Fender, who pioneered the electric guitar's sonic landscape, the late '80s witnessed the emergence of several amp designers who fine-tuned the cult of the guitar solo with their innovative creations. One such luminary was Mike Soldano, whose SLO-100 amplifier defined a significant sound of the late '80s. Now, Soldano presents the Soldano SLO-30, a compact sibling to the immensely successful 1987 powerhouse.

#### Construction and Design

Mike Soldano acknowledges the evolving landscape where every high-end guitar studio and ambitious guitarist eventually gravitates towards an SLO-100. However, with the advent of emulations and plug-ins, the demand for these flagship models has waned. Even fervent praise from the older generation can't obscure the reality that a €4,000 full-tube head, which demands a flight case and thrives mainly on large stages or in studios, fails to ignite enthusiasm among the laptop generation due to portability concerns.

Priced at €2,690, the Soldano SLO-30 also doesn't qualify as a budget option. Yet, considering its meticulous handcrafted production in the USA, there's a begrudging understanding for the price point, even if competitors like Diezel or Friedman appear to offer more apparent value. The crucial question remains: does the sound quality justify the premium?

The SLO-30 marks a shift towards compactness without compromising on tonal integrity. With a reduced power output of 30 watts in A/B configuration, using two 6L6 power tubes instead of the SLO-100’s four, each half-wave now driven by a single vacuum tube, the amplifier retains its core sonic character while adapting to modern demands. Mike Soldano has also incorporated a Depth control to support prevalent modern playing styles, enhancing the amplifier's versatility.

In terms of dimensions, while not miniaturized, the SLO-30 fits comfortably in the MIDI range. It weighs around 12 kg, making it remarkably lightweight for a full-tube head, facilitating easy transportation. The head features four sturdy rubber feet on the base, although the rubber compound could provide better vibration damping and stability on speaker cabinets.

#### Front Panel Features

For Soldano aficionados, the front panel evokes familiarity, closely resembling the layout of the SLO-100. Notably, it includes a manual channel selector—a welcome addition compared to the footswitch-only channel selection of earlier models. Additional micro-switches control the Bright effect and gain pre-selection for the Normal channel, offering clear options for clean or crunch tones. The Overdrive Preamp section precedes a three-band EQ that affects both channels, each potentiometer exhibiting smooth, high-quality operation. Master controls for each channel, coupled with Presence and Depth controls for power amp tone shaping, complement the robust build. The classic Soldano logo adorns the black metal grille, maintaining a timeless and distinctive aesthetic.

#### Rear Panel Configuration

In contrast to more feature-rich counterparts, the rear panel of the Soldano SLO-30 appears minimalist yet practical. It hosts a serial FX loop positioned post-power amp to enhance pedal performance, a footswitch connection, a variable Line Out, and two Speaker Outputs. A three-way switch facilitates easy impedance selection (4, 8, or 16 ohms), alongside standard power inputs and fuses. Despite its simplicity, the rear panel offers all essential connections for versatile use.

#### Performance in Practice

Cutting to the chase, the pivotal question for seasoned SLO-100 users is whether the SLO-30 can faithfully translate the iconic sound into a more compact format. The answer is a resounding yes. The Soldano sound signature, known for its high-gain prowess yet transparent tonality even with passive pickups, is impeccably preserved. Mike Soldano's adept management of mid-range frequencies (1 kHz - 2.5 kHz) ensures clarity and definition even under heavy gain and compression, distinguishing it from other high-gain amplifiers that tend to muddy at extreme settings.

The appeal of the Soldano sound is undeniable, having graced countless Hard'n'Heavy albums of the late '80s. Its rock and heavy tones are among the best in the business, making a compelling case for those seeking uncompromising sonic excellence. While the transport and price considerations remain significant, those who experience the Soldano are often irreversibly captivated—a testament to its addictive qualities that transcend digital emulations.

#### Conclusion

With the Soldano SLO-30, amp legend Mike Soldano adeptly bridges the gap to the iconic SLO-100, offering a near-identical sonic experience at a reduced price and size. The amplifier delivers the revered Soldano sound in all its nuances, providing an ideal foundation for various forms of Rock'n'Roll and its derivatives. It stands as a testament to enduring craftsmanship and uncompromising sound quality in the world of tube amplification.

For those entering the realm of high-end amplification, testing the SLO-30 alongside a non-guitarist companion is recommended—an experience that may forever alter one's perception of amplifier tone and quality.

### Technical Specifications and Detailed Features of the Soldano SLO-30

To fully appreciate the engineering and technical prowess behind the Soldano SLO-30, a detailed exploration of its specifications and features is essential. This section provides an in-depth look into what makes the SLO-30 a standout choice in the realm of guitar amplifiers.

#### Power Section

The Soldano SLO-30 operates in class A/B configuration, utilizing two 6L6 power tubes. This design choice is crucial for achieving the amplifier's distinctive sonic characteristics. Known for their robust low-end response, smooth mid-range, and articulate highs, 6L6 tubes are ideal for high-gain applications—the hallmark of Soldano amplifiers. By employing two power tubes instead of four, the SLO-30 offers a different dynamic response and compression profile, making it suitable for a variety of performance settings from intimate venues to studio sessions.

#### Preamp Section

At the heart of the Soldano SLO-30 are five 12AX7 preamp tubes. Renowned for their high gain factor and ability to produce rich harmonic content, 12AX7 tubes play a critical role in shaping the initial stages of the amplifier's tone. Whether delivering pristine clean tones or searing overdrive, these tubes ensure that the SLO-30 maintains its versatility and fidelity across various musical genres and playing styles.

#### EQ and Tone Shaping

The SLO-30 features a comprehensive three-band EQ—Bass, Middle, and Treble—that influences both channels of the amplifier. This shared EQ section is designed to maintain consistency in tonal character, allowing players to finely sculpt their sound with precision. The interactive nature of these controls enables a wide range of tonal possibilities, ensuring that the amplifier adapts effortlessly to different guitars and musical contexts.

#### Presence Control

Critical for tailoring the amplifier's high-frequency response, the Presence control in the SLO-30 allows players to adjust the overall brightness and clarity of their sound. This feature is particularly useful at higher volumes, ensuring that the amplifier cuts through the mix with authority and definition—a hallmark of the Soldano sound.

#### Depth Control

A notable addition to the SLO-30 compared to its predecessors is the Depth control. This feature enhances the low-frequency response of the amplifier, catering to modern playing styles that demand tight, articulate bass frequencies. Whether delivering crushing palm-muted riffs or thunderous power chords, the Depth control ensures that the SLO-30 remains responsive and powerful across the entire frequency spectrum.

#### Connectivity and Versatility

The rear panel of the Soldano SLO-30 is designed for practicality and flexibility. It includes a serial FX loop positioned post-power amp, allowing pedals and external effects to integrate seamlessly into the amplifier's signal chain. A footswitch connection enables hands-free channel switching, enhancing live performance capabilities. The variable Line Out provides direct connectivity to recording equipment or front-of-house systems, ensuring consistent tone reproduction in any venue. Two Speaker Outputs with selectable impedance (4, 8, or 16 ohms) accommodate a variety of speaker configurations, catering to individual preferences and venue requirements.

#### Build Quality and Aesthetics

Crafted with meticulous attention to detail in the USA, the Soldano SLO-30 exemplifies superior craftsmanship and durability. The amplifier features robust construction materials and components, ensuring reliability and longevity under demanding performance conditions. Its classic design aesthetic, highlighted by the iconic Soldano logo on a sleek black metal grille, exudes timeless appeal and professional-grade reliability.

#### Performance and Sound Quality

In practical use, the Soldano SLO-30 delivers on its promise of uncompromising sound quality and performance. Whether in the studio, on stage, or at home, the amplifier excels in capturing the essence of the Soldano sound—rich, articulate, and dynamically responsive. The amplifier's ability to retain clarity and definition even at high gain settings sets it apart from competitors, making it a preferred choice among discerning guitarists and audio professionals worldwide.

#### Conclusion

The Soldano SLO-30 stands as a testament to innovation and excellence in the world of guitar amplification. Combining legendary sound characteristics with modern features and compact design, the amplifier offers a compelling solution for musicians seeking uncompromising tone and versatility. From its meticulously engineered circuitry to its intuitive controls and robust construction, the SLO-30 embodies the essence of Soldano's commitment to superior sound quality and musical expression.

For guitarists and audio enthusiasts alike, the Soldano SLO-30 represents a pinnacle of tube amplifier technology—a timeless investment in sonic excellence and musical creativity.

### Detailed Analysis and Technical Breakdown of the Soldano SLO-30 Amplifier

#### Power Section and Tube Configuration

The Soldano SLO-30 amplifier employs a robust power section designed to deliver authoritative tone and dynamic response across various playing environments. Operating in class A/B configuration, the amplifier utilizes two 6L6GC power tubes, renowned for their balanced tonal characteristics and ability to handle high voltage operation. This choice of power tubes ensures ample headroom and articulation, making the SLO-30 suitable for both clean and high-gain applications.

The 6L6GC tubes are known for their robust low-end response, characterized by tight and well-defined bass frequencies. This characteristic is particularly beneficial for genres that require punchy rhythm sections and articulate bass lines, ensuring that the amplifier maintains clarity and definition even at higher volume levels.

#### Preamp Section and Signal Path

At the heart of the Soldano SLO-30 amplifier lies a sophisticated preamp section powered by five 12AX7 vacuum tubes. Renowned for their high gain factor and rich harmonic content, 12AX7 tubes play a pivotal role in shaping the amplifier's tonal characteristics and overall sonic signature. The design of the preamp circuitry ensures optimal signal integrity and fidelity, allowing the amplifier to capture the nuances of each note and chord with exceptional clarity and detail.

The signal path within the SLO-30 is carefully engineered to minimize noise and interference, ensuring pristine audio quality throughout the frequency spectrum. Each stage of the preamp is meticulously calibrated to provide a seamless transition from clean tones to saturated overdrive, allowing players to explore a wide range of tonal textures and dynamics with confidence.

#### EQ Controls and Tone Shaping Capabilities

The Soldano SLO-30 amplifier features a comprehensive three-band EQ (Bass, Middle, Treble) that influences both channels of the amplifier. These EQ controls are designed to offer precise tonal shaping capabilities, allowing players to sculpt their sound according to individual preferences and musical genres. The interactive nature of the EQ section enables fine adjustments to bass response, midrange presence, and high-frequency sparkle, ensuring that the amplifier adapts effortlessly to different playing styles and instrument configurations.

In addition to the standard three-band EQ, the SLO-30 includes dedicated Presence and Depth controls for power amp tone shaping. The Presence control adjusts the high-frequency response of the amplifier, allowing players to enhance clarity and definition in their tone. On the other hand, the Depth control modifies the low-frequency characteristics, providing greater control over bass response and overall resonance. These additional tone controls contribute to the amplifier's versatility, making it suitable for a wide range of musical applications from classic rock to modern metal.

#### Connectivity and Interface Options

The rear panel of the Soldano SLO-30 amplifier is equipped with a range of connectivity options designed to enhance versatility and performance capabilities. Key features include:

- **Serial FX Loop**: Positioned post-power amp, the serial FX loop allows integration of external effects pedals and processors. This configuration ensures optimal signal routing and preserves the integrity of both clean and affected signals, making it ideal for guitarists who rely on external effects to shape their sound.

- **Footswitch Compatibility**: The amplifier includes a dedicated footswitch connection for hands-free channel switching and effect control. This feature enhances live performance capabilities, allowing guitarists to seamlessly transition between clean and overdriven tones without interrupting their playing.

- **Variable Line Out**: The variable Line Out provides direct connectivity to recording equipment or front-of-house systems, facilitating consistent tone reproduction in studio and live environments. This feature is essential for capturing the amplifier's signature sound without the need for microphones, ensuring reliable audio performance in diverse recording and performance scenarios.

- **Speaker Outputs**: The SLO-30 amplifier is equipped with two Speaker Outputs featuring selectable impedance options (4, 8, or 16 ohms). This flexibility allows compatibility with a wide range of speaker cabinets and configurations, catering to individual preferences and venue requirements.

#### Build Quality and Aesthetics

Crafted with meticulous attention to detail in the USA, the Soldano SLO-30 amplifier exemplifies superior build quality and durability. The amplifier features a robust chassis and premium-grade components, ensuring reliability under demanding performance conditions. Its classic design aesthetic, characterized by a sleek black metal grille and iconic Soldano logo, reflects a timeless commitment to craftsmanship and professional-grade reliability.

#### Performance and Sound Quality Evaluation

In practical use, the Soldano SLO-30 amplifier delivers exceptional sound quality and performance across a variety of musical genres and playing styles. The amplifier's ability to maintain clarity and definition at all volume levels distinguishes it from competitors, making it a preferred choice among discerning guitarists and audio professionals worldwide.

- **Clean Tones**: The SLO-30 produces pristine clean tones characterized by warm, balanced frequencies and articulate transient response. The amplifier's clean channel exhibits clarity and definition, making it suitable for jazz, blues, and other clean-oriented musical genres.

- **Overdrive and High-Gain Tones**: Renowned for its high-gain capabilities, the SLO-30 excels in producing saturated overdrive tones with rich harmonic content and dynamic responsiveness. The amplifier's high-gain channel delivers powerful distortion textures while retaining clarity and note definition, making it ideal for rock, metal, and hard rock styles.

- **Dynamic Range and Responsiveness**: The amplifier's dynamic range and responsiveness ensure that it responds accurately to the nuances of picking dynamics and guitar playing techniques. Whether producing delicate cleans or aggressive distorted tones, the SLO-30 maintains musicality and expressiveness, allowing players to explore a wide range of tonal expressions with confidence.

#### Conclusion

The Soldano SLO-30 amplifier stands as a testament to innovation and excellence in the realm of tube amplification technology. Combining legendary sound characteristics with modern features and compact design, the amplifier offers a compelling solution for musicians seeking uncompromising tone and versatility. From its meticulously engineered circuitry to its intuitive controls and robust construction, the SLO-30 embodies the essence of Soldano's commitment to superior sound quality and musical expression.

For guitarists and audio enthusiasts alike, the Soldano SLO-30 represents a pinnacle of tube amplifier technology—a timeless investment in sonic excellence and musical creativity.

TEST: Solar Guitars V26FBB Baritone

When it comes to electric guitars that symbolize the metal genre, few shapes are as iconic as the Flying V. The sharp edges and design optimized for standing play are as closely associated with the heaviest music genres as any guitar shape can be. Over the decades, additional models have joined the originally 1958 Gibson-developed instruments, aimed at dance musicians (!), enhancing the aggressive look of these models and making the original’s comparatively soft curves seem quite moderate. The Scandinavian company Solar Guitars, which manufactures most of its instruments in Indonesia, offers such a model with the Solar Guitars V2.6FBB Baritone, and we have the baritone version for testing, which features several interesting and unusual details due to its construction.

#### The Construction of the Solar Guitars V2.6FBB Baritone

First, a few basic details for the baritone guitar novice. A baritone guitar is primarily defined by its scale length, typically ranging from the long scale of 648 mm to around 760 mm, similar to a short-scale bass. Baritone guitars can also be constructed with a short-scale bass length, as seen in my custom model from Framus.

[My Favorite Guitar - Framus Panthera Baritone Axel Ritt Custom](https://www.amazona.de/feature-my-favorite-guitar-framus-panthera-baritone-axel-ritt-custom/)

The longer the scale, the tighter the tone due to higher string tension, but playability decreases with longer scales. Each player must decide their preferences. The Solar Guitars V2.6FBB Baritone features a scale length of 673 mm, just 3 cm longer than the standard Fender scale. The main advantage is the marginally increased spacing between frets compared to a long scale, but this moderate baritone scale length should be compensated with an appropriate string set.

#### Why Compensate?

The purpose of a baritone guitar is to allow for a lower tuning than the standard tuning of an electric guitar. Since downtuning has become common in the electric guitar realm, it is no longer a novelty. However, as many downtuners know, one must use the thickest strings available on a regular guitar scale to avoid a flabby tone. This is mitigated by the longer scale of a baritone guitar. The longer the scale, the thinner the strings can be, and the tighter the attack due to higher string tension. Additionally, strings must have a minimum length, as seen in this case where the lowest string, due to the reversed headstock, extends about 15 cm to the nut, then the entire scale length, and finally through the body via the fixed bridge for better sustain, totaling roughly 95 cm plus one or two windings at the tuner.

To compensate for this feature, Solar Guitars uses a string set with a wound G string, clearly favoring chord and riff play. The string with the thinnest winding also has the thinnest core, making it less suitable for bending. For example, the 3rd string (G string in standard tuning) must be bent nearly twice as far as the 2nd string (B string) to achieve a similar pitch change. To address this, I would use a specialized baritone set, like my Pyramid Signature set, which includes the thickest, still cleanly vibrating plain string to compensate for this issue.

#### The Wood Selection

Upon first handling the Solar Guitars V2.6FBB Baritone, the incredibly light weight of just 2.7 kg (!) is immediately noticeable, despite the instrument having mahogany body wings, a neck-through maple neck, and an ebony fretboard. Clearly, very lightweight woods were selected, which does not negatively impact the instrument’s weight despite its large dimensions. Due to the very light weight and the extensive neck, the instrument is slightly top-heavy, but not enough to impact playing comfort. The body is shaped on the upper and lower sides to enhance playing comfort. The appearance also gains a touch of elegance, although the applied flamed maple veneer is only subtly noticeable. The C-shaped neck is very comfortable to play and, with a nut width of 43 mm, has relatively small dimensions, benefiting playing comfort. The synthetic bone nut made from PPS is suitable for all players who prefer non-animal products on their instruments. The fretboard has 24 frets, meaning the neck pickup has to be placed slightly further back, moving away from my personal favorite position under the 24th fret. This is a matter of personal taste, not a critique.

The instrument also features the Solar Guitars logo at the 12th fret with no fretboard markers on the front view, only side dots along the fretboard edge.

#### The Hardware of the Solar Guitars V2.6FBB Baritone

In line with the instrument’s all-black design, all hardware is entirely black: bridge, tuners, master volume knob, master tone knob, and the three-way switch all share a matte black finish. Unfortunately, Solar Guitars chose an unfavorable spacing between the tuner posts. The tuners are too close together, making it a fiddly task to turn the tuners cleanly and evenly when they are parallel to each other along the headstock, affecting tuning comfort.

Solar Guitars opted to place the jack on the back of the body. This has pros and cons. The advantage is a cleaner, more uniform look when viewed from the front. The disadvantage is that the guitar or cable may rub against the thigh depending on how the instrument is held, causing uncomfortable pressure. Additionally, the cable must be looped extensively if secured and anchored at the strap pin, as is commonly done.

#### The Pickups

The Solar Guitars V2.6FBB Baritone is equipped with two Seymour Duncan humbuckers labeled "Duncan Solar," which can be split via the push/pull function of the tone knob and are allegedly made in Korea. Unfortunately, I could not find additional information on the pickup specs beforehand and will rely solely on my hearing for the sound files.

#### The Solar Guitars V2.6FBB Baritone in Practice

When you first pick up the Solar Guitars V2.6FBB Baritone, the very light weight is immediately noticeable in a positive way, especially since this light weight does not negatively affect the vibration behavior or sustain, as is the case with many other instruments. The relatively short scale for a baritone guitar is easy to handle, especially since the instrument is well set up from the factory and required no adjustments.

Of course, this Flying V version remains practically unplayable while sitting, unless you place the lower horn of the body between your legs and assume the typical classical guitar holding position, which is far from an official heavy pose. However, the instrument is easy to play while standing, especially if you prefer rhythm playing. The instrument handles well and, due to the wound third string, is primarily suited for rhythm playing, as noted by references such as Malcolm Young of AC/DC, who played with a wound G string his entire life.

#### Regarding the Pickups

My opinion on the pickups is somewhat ambivalent. Interestingly, the single-coil setting is of significantly higher quality than I am used to from other pickups of this type. However, I find the humbucker setting to be somewhat lacking in transparency.

The relatively low output level for a metal guitar has the advantage of allowing greater tonal variety when using additional distortion or overdrive pedals without the amplifier being overwhelmed by the high output of the pickup. The extent to which one finds the right or optimal combination, as always, largely depends on personal taste. Personally, I would have preferred a bit more character in the pickups, especially given my higher expectations from a manufacturer like Seymour Duncan.

All in all, one must keep in mind the relatively low price of the guitar and that it offers a very good workhorse tailored to the right target audience.

### Conclusion

With the Solar Guitars V2.6FBB Baritone, the Scandinavian manufacturer has an instrument in its portfolio uncompromisingly built for the heavy genre. With excellent craftsmanship and good sound, the instrument offers a baritone alternative for the budget-conscious to moderate spender, still performing well even in an F# tuning.

#### Scale Length and Tuning

The 673 mm (26.5 inches) scale length of the Solar Guitars V2.6FBB Baritone enhances its playability and tonal performance. This extended scale length is particularly beneficial for lower tunings, providing tighter string tension that helps maintain intonation and sustain. Guitarists who frequently play in drop tunings or need a guitar that can handle a wide range of tunings will find this feature especially useful.

#### Neck Construction and Profile

The neck profile, while described as a C-shape by the manufacturer, leans more towards a D-shape, offering a thicker, more substantial feel that many players prefer for stability and comfort. The neck-through construction further enhances sustain and resonance, as the continuous wood piece allows vibrations to travel more freely through the instrument.

#### Pickups and Electronics

The Fishman Fluence pickups installed in the T1.7AD are renowned for their innovative design and tonal versatility. Unlike traditional pickups that use wire windings to generate sound, Fluence pickups use a printed circuit board to create consistent, noise-free tones. This technology provides the T1.7AD with two distinct voicings, accessible via the push-pull tone pot:

1. **Modern Voicing**: This setting delivers a high-output, aggressive tone suitable for metal and hard rock, with tight lows, pronounced mids, and crisp highs.
2. **Vintage Voicing**: This setting offers a more classic, PAF-like sound, with warmer, rounder tones ideal for blues, jazz, and classic rock.

#### Bridge and Tuning Stability

The Hipshot bridge and locking tuners on the T1.7AD ensure precise intonation and rock-solid tuning stability. The fixed bridge design provides a direct transfer of string vibrations to the body, enhancing sustain and resonance. The locking tuners further contribute to tuning stability by preventing string slippage and reducing the need for frequent re-tuning.

#### Ergonomics and Playability

The body of the T1.7AD features an ergonomic design with deep cutaways and a contoured back, providing excellent access to the upper frets and a comfortable playing experience. The satin finish on the neck and body reduces friction, allowing for smooth, fast playing.

#### Aesthetic and Build Quality

The T1.7AD's aesthetic is both modern and understated, with clean lines, minimalistic inlays, and a sleek satin finish. The build quality is exceptional, with meticulous attention to detail in the craftsmanship, from the precise fretwork to the flawless finish.

#### Versatility and Applications

The Solar Guitars T1.7AD is a highly versatile instrument suitable for a wide range of musical genres. Its combination of innovative pickups, ergonomic design, and premium hardware makes it a reliable choice for professional musicians and serious hobbyists alike. Whether you're playing heavy riffs, intricate solos, or clean arpeggios, the T1.7AD delivers exceptional performance and tone.

#### Detailed Analysis of the Solar Guitars V2.6FBB Baritone

The Solar Guitars V2.6FBB Baritone stands out as a meticulously crafted instrument designed specifically for the metal genre. The thoughtful construction, high-quality materials, and attention to detail make it a formidable choice for guitarists seeking a reliable and versatile baritone guitar.

##### Scale Length and String Tension

The 673 mm (26.5 inches) scale length is a crucial aspect of the V2.6FBB Baritone's design. This extended scale length allows for better string tension when tuned to lower pitches, providing a tight and articulate response. Players who frequently use drop tunings or extended range tuning will appreciate the enhanced clarity and definition this scale length offers.

Longer scale lengths are beneficial in maintaining intonation and string tension, which is particularly important for baritone guitars. The increased tension helps to prevent the strings from feeling too loose or floppy, ensuring that the notes ring out clearly and with precision. This is especially critical when playing fast, intricate passages where articulation and note separation are paramount.

##### Neck and Fingerboard

The neck of the V2.6FBB Baritone features a through-body construction, which means the neck extends through the length of the body, providing superior sustain and resonance. This construction method allows vibrations to travel more efficiently from the neck to the body, resulting in a richer and more resonant tone. The neck is made from maple, known for its stability and bright tonal characteristics.

The fingerboard is crafted from ebony, a dense wood that contributes to the guitar's overall brightness and clarity. Ebony fingerboards are also highly durable and offer a smooth, fast playing surface. With 24 frets, the V2.6FBB Baritone provides a full two octaves per string, giving players access to a wide range of notes and making it suitable for both rhythm and lead playing.

The neck profile is designed for comfort and playability. The C-shape neck is slightly thinner than some traditional baritone guitar necks, making it more accessible for players with smaller hands or those who prefer a faster, more agile playing experience. The satin finish on the neck further enhances playability by reducing friction, allowing for smooth, fast movements along the fretboard.

##### Body Construction and Ergonomics

The body of the V2.6FBB Baritone is made from mahogany, a wood known for its warm, resonant tonal qualities. Mahogany provides a solid low-end foundation and contributes to the guitar's overall sustain. The body wings are shaped for comfort, with contours that fit comfortably against the player's body, whether standing or sitting.

The guitar's light weight is another notable feature. Weighing in at just 2.7 kg, the V2.6FBB Baritone is easy to handle and reduces fatigue during long playing sessions. Despite its light weight, the guitar does not sacrifice durability or resonance, thanks to the careful selection of lightweight, resonant woods.

The aesthetic design of the body includes a flamed maple veneer, adding a touch of visual elegance to the instrument. The veneer is subtly applied, allowing the natural beauty of the wood to shine through without being overly flashy. This understated elegance is complemented by the all-black hardware, creating a cohesive and visually striking instrument.

##### Hardware and Electronics

The V2.6FBB Baritone is equipped with high-quality hardware designed for performance and reliability. The bridge is a fixed design, ensuring maximum transfer of string vibrations to the body for enhanced sustain. The black hardware includes the bridge, tuners, and control knobs, maintaining a consistent and sleek appearance.

One area of concern is the spacing of the tuning machines. The tuners are positioned closely together, which can make it challenging to turn them cleanly and evenly. This may affect tuning stability and ease of use, particularly during live performances where quick adjustments are necessary. Despite this minor drawback, the locking tuners provide excellent tuning stability once the strings are properly secured.

The guitar features Seymour Duncan humbuckers labeled "Duncan Solar." These pickups are designed specifically for Solar Guitars and offer a versatile tonal range suitable for various musical styles. The push/pull function on the tone knob allows players to split the humbuckers into single-coil mode, providing additional tonal options.

##### Pickup Performance

In humbucker mode, the Duncan Solar pickups deliver a high-output, aggressive tone that is perfect for metal and hard rock. The pickups produce tight, punchy lows, articulate mids, and crisp highs, making them suitable for both rhythm and lead playing. The clarity and definition of the pickups are particularly noticeable when playing heavily distorted riffs and solos.

When split into single-coil mode, the pickups provide a brighter, more vintage-inspired tone. This setting is ideal for clean and slightly overdriven tones, offering a wider tonal palette for players who need versatility in their sound. The single-coil mode is surprisingly high-quality, with minimal noise and excellent note separation.

##### Practical Considerations

The placement of the jack on the back of the body is both a stylistic and functional choice. While it contributes to the guitar's clean, uncluttered appearance, it may cause some practical issues. The cable can rub against the player's thigh when sitting, potentially causing discomfort during long playing sessions. Additionally, the cable must be looped in a specific way to avoid interfering with the player's movements.

The reversed headstock design extends the length of the lowest string, contributing to the guitar's overall tension and sustain. This design choice also adds a unique visual element to the guitar, setting it apart from other baritone models.

##### Sound and Playability

In practical use, the V2.6FBB Baritone excels in delivering a powerful, resonant tone with excellent sustain. The shorter scale length compared to some other baritone guitars makes it easier to play, especially for those accustomed to standard scale lengths. The factory setup is precise, with low action and no fret buzz, ensuring that the guitar is ready to play straight out of the box.

The wound third string is ideal for rhythm playing, offering a tight, punchy response that is perfect for heavy riffs and power chords. Lead players may find the wound third string less suitable for bending, but this can be addressed by experimenting with different string gauges and setups.

##### Tonal Versatility

The V2.6FBB Baritone's pickups and electronics offer a wide range of tonal possibilities, making it suitable for various musical styles beyond metal. The ability to switch between humbucker and single-coil modes provides flexibility for different playing situations, from clean, ambient tones to high-gain distortion.

##### Conclusion

The Solar Guitars V2.6FBB Baritone is a well-designed instrument that caters to the needs of metal guitarists while offering versatility for other genres. Its lightweight construction, comfortable neck profile, and high-quality pickups make it a pleasure to play. While there are minor drawbacks, such as the tuner spacing and jack placement, these do not significantly detract from the overall performance and value of the guitar.

For guitarists seeking a baritone guitar that combines quality, playability, and affordability, the V2.6FBB Baritone is an excellent choice. It delivers the power and aggression needed for heavy music while offering the tonal versatility to explore other styles. Whether you're playing on stage, in the studio, or at home, this guitar is a reliable and capable instrument that will inspire creativity and enhance your playing experience.

### Extended Technical Analysis and Insights

#### Wood and Material Selection

The choice of woods in the construction of the Solar Guitars V2.6FBB Baritone is significant for both tonal qualities and playability. Mahogany is used for the body wings, contributing to the guitar’s warm, rich sound. Mahogany is known for its ability to produce a well-balanced tone with pronounced mids and a smooth low end. This makes it an excellent choice for a baritone guitar, which often requires a robust low-end response to handle lower tunings effectively.

The neck-through construction using maple is another critical aspect. Maple is a dense, strong wood that provides stability and adds brightness to the guitar’s overall tone. The neck-through design enhances sustain and resonance by allowing vibrations to travel more freely through the entire length of the guitar. This construction method is preferred for its ability to produce a more connected and responsive sound.

The ebony fingerboard is not only aesthetically pleasing but also practical. Ebony is one of the hardest woods used in guitar construction, offering a smooth, fast playing surface. It contributes to the guitar’s bright, articulate sound, which is essential for maintaining clarity in lower tunings. The combination of mahogany, maple, and ebony creates a well-rounded tonal profile that balances warmth, brightness, and clarity.

#### Hardware Configuration

The hardware on the V2.6FBB Baritone is designed to complement its performance and aesthetics. The fixed bridge is a crucial component, ensuring that the transfer of string vibrations to the body is efficient, resulting in better sustain and resonance. Fixed bridges are also known for their stability and ease of use, making them a popular choice for guitars intended for lower tunings.

The black hardware, including the tuners, bridge, and control knobs, adds to the guitar’s sleek, modern look. However, the close spacing of the tuners is a point of contention. While it does not significantly impact the guitar’s overall performance, it does present a challenge for quick, precise tuning adjustments. This is particularly noticeable during live performances or recording sessions where time is of the essence.

#### Electronics and Sound Shaping

The Duncan Solar pickups are a standout feature of the V2.6FBB Baritone. Designed in collaboration with Seymour Duncan, these pickups are tailored to deliver the aggressive, high-output sound that metal guitarists crave. The ability to split the pickups into single-coil mode provides additional versatility, allowing players to achieve a wide range of tones from a single instrument.

The humbucker mode excels in producing thick, saturated tones with plenty of sustain and punch. This

### Final Thoughts

The Solar Guitars T1.7AD represents a significant advancement in guitar technology, combining cutting-edge electronics with traditional craftsmanship. Its versatile tone, exceptional playability, and solid build quality make it an excellent investment for any guitarist looking to elevate their playing experience. Whether you're recording in the studio, performing on stage, or practicing at home, the T1.7AD is a guitar that can handle any musical challenge with ease.