TEST: Solar Guitars E1.6 Vinter

 As we know, you have to have a lot of patience to establish a new product, especially in this day and age, when the instrument industry is saturated to the brim. For this reason alone, YouTube influencer Ola Englund must be treated with respect. He used to be active in various bands, but switched to YouTube advertising for economic reasons and at the same time founded his own guitar brand, Solar Guitars. The company in question has a large selection of models and has made a name for itself in the metal sector in particular in recent years. We have the Solar Guitars E1.6Vinter Pearl White Matte made in Indonesia for testing.

The construction of the Solar Guitars E1.6Vinter Pearl White Matte

It is easy to see that the visual template of the Solar Guitars E1.6Vinter Pearl White Matte is to be found in the Gibson Explorer shape, although the models differ significantly in detail. I am a big Explorer fan myself, but like many other players, I also suffer from the lack of stand compatibility and the huge case dimensions. Well, for the stand problem you can use hanging stands from K&M, for example, but the asymmetrical body shape will always be a challenge for all case builders. Despite the large body dimensions, the instrument remains in the moderate weight range compared to its forefather, with a weight of just under 4 kg, but this is probably also due to the milling work on the Evertune bridge (more on that later).

According to the manufacturer, the body is made of alder, while the Thomann website believes that mahogany is used for the body wings. The body shape has been freed of all rounded edges, probably to emphasize the aggressiveness, and leaves a kind of "Cylon look" in all shaping. The sonic heart of the instrument, however, is the full-length maple neck, which has been fitted with an ebony fingerboard. The Solar Guitars E1.6Vinter Pearl White Matte offers 22 stainless steel frets, which has the advantage that the neck pickup can be placed in the area of ​​the imaginary 24th fret, where it can pick up the best overtone waves. Whether you prefer a matte or glossy finish is in the eye of the beholder and even with a latent "Modern Talking" impression, you should always keep in mind that no finish picks up the colored stage spotlights as well as a white one. Or simply put, "If you wear black, you have to play white!".

The upper side of the fingerboard has been given phosphorescent dot inlays that glow green in the dark, a real help for dark stages. Interestingly, the Solar Guitars E1.6Vinter Pearl White Matte is delivered with a short scale length of 628 mm, perhaps also to reduce the dimensions of the expansive body somewhat. The tuners are lockable and bear the Solar trademark on the underside. I couldn't find out where Solar Guitars has the mechanics made, but from the looks of it, it could be Grover's. The instrument is delivered with a gig bag, which at least provides moderate protection during transport. However, only a solid case or a professional case will help against serious scratches or broken headstocks.

The electronics of the Solar Guitars E1.6Vinter Pearl Whit Matte

Once again, Solar Guitars is relying on the Fluence Modern pickups from Fishman. In recent years, this pickup has been able to gather a large fan base in the metal genre, as the pickup can switch between two characters using a switch. The switching process is carried out by the Mastertone controller, which is designed as a push/pull. The two resonances are called "Vintage" and "Modern", which should also immediately define their area of ​​application. It should be clear to everyone that Vintage is not a vintage humbucker with 7 kOhm DC resistance or something similar.

The Evertune Bridge

Although no longer as exotic as it was a few years ago, the design of the Evertune Bridge is still a special feature in the field of hardware. In short, a sophisticated spring system prevents the guitar from going out of tune, which has both advantages and disadvantages. Once the system is set to a certain string thickness, neither temperature nor humidity differences, too much finger pressure or mechanical influences can detune the instrument. Especially in the early days of the system, many producers breathed a sigh of relief because some "woodcutters" in the studio were finally able to offer clean intonation.

The disadvantage of this setting of two possible is that all modulations such as bending or vibrato, which shape the personal tone, are also compensated for, i.e. the expressiveness of soloing on an Evertune bridge is massively curtailed. But don't worry, you can also set the system so that the modulations mentioned are included, although this requires very precise adjustment, which must be made again when changing to a different string thickness.

Even with very good adjustment, there is still a hint of indirect response, but this is compensated for by maintaining the tuning. Everyone has to know for themselves which behavior they prefer, so I don't want to give a rating on this either. But you should keep in mind that a quick tuning change, for example to Drop D, is not possible. So if you need several tunings within your set, it is advisable to have several instruments with the respective tunings at the start.

The Solar Guitars E1.6Vinter Perl White Matte in practice

Well, the guitar is freshly in hand, the cable is in the amp and it sounds... nothing. All cables and controls checked... nothing. What can I say, the guitar is delivered without the 9V block for the electronics, a bad habit that is now spreading among several manufacturers. I can understand that the manufacturer is worried about the battery leaking if the instrument is stored for a long time, but then at least a 9V block should be included with the instrument. You don't deliver an instrument without strings.

After the problem was solved, the instrument was able to show off its strengths. The sound behavior is clearly designed for the heavy range, just like the appearance, so I saved myself the clean sound examples in this case. The basic sound is "crisp" in terms of response with a clear focus on the high mids, which ensures good assertiveness. Despite the comparatively high weight, the instrument hangs well balanced on the strap and is comfortable in the sitting position.

I recorded all sound files with both voicings of the pickups, using the vintage setting first and then the modern setting. With these two nuances alone, you can move your sound in two different directions in advance, depending on the level of aggression you want in your sound. In terms of the amp, channels 2-5 of my Hughes & Kettner Triamp MK3 were used together with a Marshall 412 cabinet with Celestion G12 75T speakers and 2 Shure SM 57s.

The instrument was very well set up from the factory, so no further adjustments were necessary. I also did not notice any loss of sustain or ringing noises from the Evertune bridge, as was sometimes the case with previous test instruments. The luminous fingerboard markings, which started working even at dusk, turned out to be a real highlight.

The Solar Guitars E1.6Vinter Perl White Matte really does serve its target group across the board, whether in terms of appearance or tone. The workmanship is once again very good, there were no dirty paint spots or sharp edges anywhere. It is still a mystery to me how Indonesia managed to create such a high-quality craftsmanship in such a short time.

Conclusion

With the Solar Guitars E1.6Vinter Perl White Matte, the manufacturer has fully reached its target group. Anyone who thinks their preferred style of music is hard'n'heavy will find a good tool in this instrument, with which you can neglect your playing discipline in terms of intonation thanks to the Evertune bridge. As an experienced solo guitarist, the subtly indirect feel of the playing may make you feel a little uncomfortable, but for rhythm guitarists the system is a real help.

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Additional Informations:

### The Evolution and History of the Explorer Electric Guitar Shape

The Explorer guitar shape is one of the most iconic and recognizable designs in the world of electric guitars. Its angular, futuristic design has captivated musicians and guitar enthusiasts for decades. This detailed exploration delves into the history, development, and impact of the Explorer guitar shape, tracing its origins from its conceptual beginnings to its status as a symbol of rock and metal music.

### The Birth of a Bold Design

The story of the Explorer guitar shape begins in the mid-1950s, a time when the electric guitar was still a relatively new instrument, and manufacturers were experimenting with various designs to capture the imagination of musicians and audiences alike. The Explorer was the brainchild of Ted McCarty, president of Gibson Guitar Corporation, who sought to create a series of futuristic guitars that would stand out from the more traditional designs of the era.

In 1958, Gibson introduced the Explorer as part of its Modernistic series, which also included the Flying V and the Moderne. These guitars were envisioned as cutting-edge instruments that would push the boundaries of guitar design. The Explorer, with its sharp, angular body and elongated headstock, was particularly striking. It was crafted from Korina wood (also known as African limba), which was chosen for its light weight and resonant tonal properties.

### Initial Reception and Early Production

Despite its innovative design, the Explorer was not an immediate commercial success. The guitar's radical shape was considered too unconventional for the conservative tastes of many musicians in the late 1950s. As a result, Gibson produced only a limited number of Explorers, with estimates suggesting that fewer than 100 units were made during its initial run from 1958 to 1959.

The lackluster sales led Gibson to discontinue the Explorer shortly after its introduction. However, the few original models that were produced quickly became highly sought after by collectors and musicians alike, who recognized the instrument's unique aesthetic and tonal qualities. Over time, these early Explorers became prized possessions, fetching high prices in the vintage guitar market.

### The Explorer's Revival in the 1970s

The Explorer's resurgence began in the 1970s, driven by the changing landscape of rock music and a growing appreciation for the guitar's distinctive design. As hard rock and heavy metal gained popularity, guitarists sought instruments that conveyed a sense of power and aggression, both visually and sonically. The Explorer, with its bold lines and striking appearance, perfectly fit this new musical paradigm.

In 1976, Gibson reissued the Explorer, responding to the growing demand from musicians and collectors. This reissue featured similar specifications to the original model, including the Korina body and neck, though later versions also utilized mahogany. The reissued Explorer quickly gained traction among guitarists in the rock and metal scenes, solidifying its place in the pantheon of iconic guitar designs.

### Notable Players and Cultural Impact

The Explorer's distinctive shape and powerful sound have made it a favorite among many influential guitarists over the years. One of the most notable early adopters was Eric Clapton, who played an original 1958 Explorer with his band, Cream, in the late 1960s. Clapton's use of the Explorer helped to reintroduce the guitar to a wider audience and demonstrated its versatility in various musical contexts.

In the 1980s, the Explorer became synonymous with the burgeoning heavy metal movement. James Hetfield of Metallica famously wielded a white Gibson Explorer during the band's early years, contributing to the guitar's association with the aggressive, high-energy style of thrash metal. Hetfield's preference for the Explorer helped to cement its status as a quintessential metal guitar, inspiring countless other musicians to follow suit.

The Explorer's influence extends beyond individual players. Its unique design has inspired numerous variations and adaptations by other guitar manufacturers. Brands like Jackson, ESP, and Dean have all produced their own versions of the Explorer, each adding their own twist to the classic shape while maintaining its core elements.

### Technical Evolution and Variants

Over the years, the Explorer has seen numerous modifications and variations, reflecting both technological advancements and evolving musical tastes. Early models were equipped with PAF (Patent Applied For) humbucking pickups, known for their warm, full-bodied tone. Later versions have featured a variety of pickup configurations, including high-output humbuckers designed to meet the demands of modern rock and metal players.

In addition to changes in pickups, the Explorer has also seen variations in materials and construction methods. While the original Explorers were made from Korina, later models have been crafted from mahogany, maple, and other tonewoods. These changes have allowed the Explorer to offer a range of tonal characteristics, catering to the diverse preferences of different players.

Gibson has also introduced several signature models, collaborating with famous musicians to create instruments tailored to their specific needs. These signature Explorers often feature unique finishes, hardware, and electronics, further expanding the guitar's versatility and appeal.

### The Explorer in the Modern Era

Today, the Explorer remains a staple in the guitar world, embraced by both seasoned professionals and aspiring musicians. Its enduring popularity is a testament to the strength of its original design and its ability to adapt to changing musical landscapes. The guitar's distinctive shape continues to make a bold visual statement, while its versatile tonal capabilities ensure that it remains relevant across a wide range of genres.

Gibson continues to produce the Explorer, offering both traditional models that pay homage to the original design and modern versions that incorporate contemporary features and technologies. The company's commitment to preserving the Explorer's legacy while also innovating for the future ensures that this iconic guitar will continue to inspire and excite musicians for generations to come.

### Conclusion

The Explorer guitar shape stands as a symbol of innovation and bold design in the world of electric guitars. From its inception in the late 1950s as a daring experiment to its resurgence in the 1970s and its continued relevance today, the Explorer has carved out a unique place in the history of musical instruments. Its journey reflects the dynamic nature of music and culture, illustrating how a radical idea can evolve to become an enduring icon. The Explorer's impact on the guitar world is undeniable, and its legacy will undoubtedly continue to shape the sounds and styles of future generations of musicians.

TEST: Solar Guitars E1.6 AAN

 In today's world, where the instrument industry is saturated to the limit with manufacturers of all kinds, it really takes extraordinary perseverance to successfully establish a new product. Consequently, YouTube influencer Ola Englund, who launched his own guitar brand called Solar Guitars in 2017, deserves great respect, regardless of what one may think of his style of presentation. Englund, who was once active in various bands himself, switched to the field of YouTube influencers due to the better economic prospects and founded his own company at the same time. Solar Guitars now has a wide range of models and has made a very good name for itself in recent years, particularly in the metal sector. This time, the Solar Guitars E1.6AAN, made in Indonesia, will be subjected to a thorough review in this article.

The construction of the Solar Guitars E1.6AAN

It is really easy to see that the visual basis of the Solar Guitars E1.6AAN is to be found in the shape of the Gibson Explorer, although the models differ from each other in many details. I myself was particularly enthusiastic about guitars of the Explorer shape in my early days, but like many other guitarists, I too suffered from the impractical shape, which can actually not be placed on almost any regular guitar stand and also results in very unwieldy case dimensions.

While the problem of storing the instrument can be partially overcome with a hanging stand, the asymmetrical body shape remains a constant challenge for every case builder. Despite the massive body dimensions, the weight of the instrument is rather moderate at just under 4 kg compared to its predecessor, but this is also partly due to the milling work on the Evertune bridge.

The Solar Guitars E1.6AAN has an alder body, which, as is usual with instruments of this body size, is made up of several parts, in this case four pieces of different sizes. To emphasize the aggressiveness of the instrument, the body shape has been freed of all rounded edges, giving the instrument a somewhat more modern, slightly sci-fi-inspired look. The sonic center of the instrument is the full-length maple neck, which is equipped with an ebony fingerboard.

The Solar Guitars E1.6AAN has 22 stainless steel frets, which offers the advantage that the neck pickup can be positioned in the area of ​​the imaginary 24th fret, where it can pick up the best overtone waves. The look of the natural, but stained body reminds me a little of "rustic oak"; my grandmother had a living room cabinet that was exactly the same color. This is not meant to be judgmental, but you won't find any decorative elements such as bindings or inlays on the Solar Guitars E1.6AAN.

The top of the fingerboard facing the musician has been given phosphorescent dot inlays that glow green in the dark and are very useful on dark stages. Interestingly, the Solar Guitars E1.6AAN comes with a short scale length of 628 mm, possibly to reduce the dimensions of the expansive body somewhat. The lockable tuners, which run in an 18:1 ratio, bear the Solar trademark on the bottom, but remind me a lot of Grover tuners. Perhaps an OEM collaboration. The instrument comes with a gig bag that offers at least moderate protection during transport. However, only a solid case or a professional case will help against serious scratches or broken headstocks.

The electronics of the Solar Guitars E1.6AAN

The Solar Guitars E1.6AAN is once again equipped with the very popular Fluence Modern pickups from Fishman. These pickups enjoy a loyal fan base, especially in the metal sector, as they can be switched between two characters using a switch. The switching process is carried out by the master tone control, which is designed as a push/pull control. The two characters of the pickups are called "Vintage" and "Modern" and determine their respective areas of application. However, you should be aware that the "Vintage" character should not be confused with a passive humbucker of the vintage class, but only reduces the aggressiveness of the pickups. A master volume control is available for general volume control.


The Evertune Bridge

Despite its increasing popularity in recent years, the Evertune Bridge is still a special feature in the hardware sector. The design is based on a well-thought-out spring system that prevents the guitar from going out of tune in any way. This has advantages and disadvantages. As soon as the system is set for a certain string thickness, detuning due to temperature or humidity differences, excessive finger pressure or mechanical influences is ruled out. At the beginning of the system, many producers in their studios were very relieved because even musicians with less technical skills could now offer clean intonation in the studio.

However, with this factory setting, all modulations of the tone, such as bending or vibrato, which shape the individual sound of the artist, are balanced out or eliminated. This severely limits the expressiveness of solo playing on an Evertune Bridge. However, it is possible to adjust the system within its mode of operation so that these modulations in the string tension are taken into account, although this requires precise adjustment, which must be made again when changing to a different string thickness and the associated change in the string tension.

Despite good adjustment, a certain degree of indirect response remains even after readjustment, but maintaining the tuning despite adverse conditions compensates for this limitation. Ultimately, everyone has to decide for themselves which tonal behavior they prefer, so I don't want to give a rating on the mode of operation. However, it should be noted that a quick change of tuning, for example to Drop D, is not possible with the Evertune Bridge. If several tunings are required within a set, it is advisable to have several instruments with the respective tunings available and to switch between the instruments.

The Solar Guitars E1.6AAN in practice

Yes, and there it is again, the horrific problem that I had in previous tests of Solar Guitars and which I cannot understand even with the best will in the world. If you connect the instrument to the amplifier, no sound is heard! The reason for this is quickly found: once again, there is no battery in the battery compartment. I can understand that the manufacturer is worried about the battery leaking if the instrument is stored for a long time, but then at least a 9V block should be included with the instrument along with a leaflet that draws attention to the situation. I am sure that many beginners start troubleshooting with a big question mark on their foreheads, which is really unnecessary.

After the guitar was finally equipped with a 9V block for the electronics, it was able to show off its sonic strengths. The sound is specifically geared towards the heavy range and impresses with a crisp response with a focus on the high mids. Although the instrument is comparatively heavy, it hangs well balanced on the strap and is comfortable even when sitting down. The two pickups can be adjusted very well to suit your personal playing style thanks to the vintage and modern voicing settings.

For the recording, the instrument was connected to a Hughes & Kettner Triamp MK3 and a Marshall 412 cabinet with Celestion G12 75T speakers and picked up with 2 Shure SM 57 microphones. The instrument's factory settings were very good, so no further adjustments were necessary. The Evertune bridge also showed no loss of sustain or ringing noise, as was the case with the first versions of the system a few years ago. The luminous fingerboard markings turned out to be a real highlight, as they started working even at dusk. Overall, the Solar Guitars E1.6AAN meets all expectations thanks to its focus on the target group, both visually and acoustically. The workmanship is, as usual, very good and it is once again impressive how Indonesia has built up high-quality craftsmanship within the country within a short period of time.

Conclusion

Once again, Solar Guitars has successfully addressed its target group with the Solar Guitars E1.6AAN. This instrument is an excellent tool, especially for lovers of hard'n'heavy music, and thanks to the Evertune bridge, it can forgive sloppy intonation if necessary.

While experienced solo guitarists might experience a subtly uncomfortable playing feel, rhythm guitarists benefit greatly from this system. Just give it a try!

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Additional Informations:

In the ever-evolving landscape of music and digital media, Ola Englund stands as a compelling figure. A Swedish guitarist, producer, and entrepreneur, Englund has carved out a niche for himself that spans beyond traditional music roles, venturing deep into the realms of social media and content creation. His journey, characterized by relentless passion and a clear vision, offers an intriguing case study of how the music industry intersects with the digital age.

### Early Years and Musical Beginnings

Ola Englund was born on September 27, 1981, in Stockholm, Sweden. Like many young musicians, his journey began with a deep-seated love for music, fostered in his early years. Englund’s initial foray into music was heavily influenced by the metal genre, which has remained a constant throughout his career. Bands like Metallica and Megadeth shaped his musical tastes, and by the age of 12, he had already begun to explore the guitar.

Englund’s early musical education was largely self-directed. He spent countless hours honing his skills, driven by a passion for the intricate and powerful sounds of metal. This dedication paid off, and by his late teens, he was not only proficient but also developing a unique style that would later become his signature.

### The Rise to Prominence

Englund’s professional breakthrough came with his involvement in the band Feared, which he co-founded in 2007. The band’s blend of death metal and progressive elements garnered a dedicated following, establishing Englund as a serious musician in the metal community. Feared’s discography is a testament to Englund’s songwriting abilities and his knack for blending brutality with melody.

However, it was Englund’s entry into the band Six Feet Under that significantly elevated his profile. Joining the American death metal band as a guitarist in 2011, Englund’s work on the album *Undead* showcased his ability to seamlessly integrate into an established act while contributing his unique sound. His tenure with Six Feet Under, although relatively short, was pivotal in expanding his reach and influence.

### Digital Media and Content Creation

What truly sets Ola Englund apart is his foresight in leveraging digital media. Early on, Englund recognized the potential of platforms like YouTube to connect with a global audience. In 2008, he started his own YouTube channel, initially sharing guitar tutorials and gear reviews. His approach was both technical and accessible, making complex concepts understandable to a broad audience.

Englund’s channel grew exponentially, driven by high-quality content and his engaging personality. He became known for his honest and thorough reviews of guitars, amplifiers, and other gear, providing valuable insights to both amateur and professional musicians. His content often includes demonstrations, comparisons, and personal opinions, delivered with a blend of expertise and relatability.

### Solar Guitars: The Entrepreneurial Venture

In 2017, Englund took a significant step by launching his own guitar brand, Solar Guitars. This venture was a natural progression, combining his deep understanding of musicians’ needs with his entrepreneurial spirit. Solar Guitars quickly gained a reputation for producing high-quality instruments tailored to the demands of modern metal guitarists.

Englund’s hands-on approach to Solar Guitars is evident in every aspect of the brand. From design to production, he is involved in ensuring that each instrument meets his exacting standards. The brand’s success is a testament to Englund’s ability to translate his vision into tangible products that resonate with musicians worldwide.

### Personal Brand and Community Engagement

Ola Englund’s influence extends beyond his musical output and entrepreneurial ventures. He has cultivated a strong personal brand characterized by authenticity and transparency. Whether discussing gear, music, or personal experiences, Englund maintains an open and approachable demeanor that resonates with his audience.

Englund’s engagement with his community is multifaceted. He regularly interacts with fans through social media, responding to comments, participating in discussions, and even incorporating audience feedback into his content. This level of engagement fosters a sense of community and loyalty among his followers, who feel a personal connection to him.

### Challenges and Criticisms

No career is without its challenges, and Englund’s journey is no exception. Balancing multiple roles as a musician, content creator, and entrepreneur requires a significant amount of time and effort. The pressure to consistently produce high-quality content and innovative products can be daunting.

Additionally, Englund has faced criticisms, particularly in the realm of digital media where scrutiny is high. Some detractors argue that his commercial ventures, such as paid reviews or brand endorsements, might compromise his objectivity. However, Englund has addressed these concerns by maintaining transparency about his business relationships and ensuring that his reviews remain honest and unbiased.

### Legacy and Impact

Ola Englund’s impact on the music and digital media landscapes is undeniable. He has successfully navigated the complexities of modern media, using it as a tool to enhance his musical career and entrepreneurial endeavors. His journey reflects the changing dynamics of the music industry, where traditional pathways are increasingly supplemented by digital innovation.

Englund’s legacy is multifaceted. As a musician, he has contributed to the evolution of metal through his work with various bands and his solo projects. As a content creator, he has provided invaluable resources to the guitar community, demystifying gear and techniques for aspiring musicians. As an entrepreneur, he has demonstrated that with vision and dedication, it is possible to build a successful brand that resonates with a global audience.

### Conclusion

Ola Englund embodies the spirit of modern musicianship, where creativity, technology, and entrepreneurship intersect. His journey from a passionate young guitarist to a prominent influencer and successful entrepreneur offers valuable insights into the opportunities and challenges of the digital age. Englund’s ability to adapt and innovate while staying true to his roots serves as an inspiration to musicians and content creators alike. As the music industry continues to evolve, figures like Englund will undoubtedly play a crucial role in shaping its future.

TEST: Solar Guitars Chug

 One thing you have to give Ola Englund, who has converted from an active musician to an influencer, is that it feels like not a month goes by without a new solar product appearing on the market. As managing director of Chug Express SL, which is based in Spain and into which Solar Guitars has been merged, Ola Englund is focusing on consistently expanding his portfolio in addition to his advertising videos, which also seem to be daily, and which have now gone beyond the development of string instruments for the first time. We now have the high gain pedal Solar Guitars Chug for testing, which, according to the advertising message, is supposed to take over the high gain channel of an amp.

The concept of the Solar Guitars Chug

As befits a real influencer, Ola Englund also needs a pithy saying that should become his trademark. "Will it chug?" is a humorous unique selling point with which O. E. tests various guitar / pedal / amp / cabinet / speaker / microphone constellations in his videos for their sound capabilities. In this sense, the naming of the pedal is a logical continuation of its word creation and a very successful marketing move.

The pedal itself makes no secret of its field of application in the manufacturer's attached description. The concept aims to add another high gain channel to an existing amp by using the Solar Guitars Chug in front of the clean channel, or you can use the pedal as a standalone preamp and try to achieve a good sound using a power amp/cabinet or speaker simulation solution.

The pedal uses an extensive 5-band tone control with separate gain feed for the treble or bass and an internally installed noise gate, which is intended to put a stop to the inevitably generated noise.

The construction of the Solar Guitars Chug

The Solar Guitars Chug pedal comes in a solid metal design, with four countersunk Allen screws fixing the upper front plate to the lower metal tray. The pedal only consumes 100 mA of power and should therefore be able to be operated with almost any 9V DC power supply. A power supply is not included and battery operation is not provided. In order to be able to operate the pedal without a pedal board, four adhesive rubber feet are included with the pedal.

The pedal comes with a simple, four-language manual, in which the translation program uses angular and not exactly practical translations to quickly convert the original English text into Spanish, French and German. Perhaps you should have a native speaker from the local music scene take a look at it and translate the already correct text into a musician-compatible version. The external image is good.

To compensate for the cable extensions that occur, the Solar Guitars Chug Pedal has a buffered bypass, which in my opinion turns out to be the more sensible decision, especially in the high gain range. The "holy grail" of true bypass may make sense in the blues area due to the treble attenuation from a total cable length of 6 meters and more, but normally the guitarist wants to lose as little treble as possible in bypass mode. If you want to do without a downstream buffer pedal, you have the option of doing so with a buffered bypass. Be careful, always pay attention to the order in which the pedals are on the board.

There are a total of 6 double-axis potentiometers on the Solar Guitars Chug Pedal for controlling all parameters, although with two control ranges (middle and gain) the two axes have been combined into one controller. The user can choose between five frequency ranges (depth, bass, middle, treble, presence) in the upper row, while the lower range takes over the output volume, the threshold of the noise gate, the gain level and the two level controls for the low and high frequency ranges.
A red/green combination LED also visually indicates whether the noise gate is blocking the incoming signal (red) or letting it pass (green), depending on the threshold setting. Unfortunately, the green LED in particular has the problem that you can no longer tell whether the pedal has been switched on or not when the light is a little stronger. This can cause problems, especially at open air events in daylight.

In my opinion, installing a noise gate within a high gain distortion pedal is a very sensible feature, as you cannot avoid buying a separate noise gate pedal if you do not want to deactivate the distortion pedal immediately when you are taking a break from playing. Remember, if turning down the guitar's volume control does not produce the desired effect, a noise gate must be put in the signal path. If you have ever tried to find the optimal threshold when using the guitar's volume control, you will know what I am talking about. However, this is not important for simple on/off metal thumping, as you only run the risk of a fading chord being strangled if the setting is too hard.

The Solar Guitars Chug Pedal in practice

Despite all the flexibility of the extensive sound control, the double potentiometers give cause for criticism in two ways when it comes to practical suitability. Firstly, you can only see the control position "black dots on a black background" if you turn the pedal against the light and get a rough idea from the reflections of the recesses. Readjustments on stage? Only by ear!

The double potentiometers also have the unpleasant property that if you move the inner potentiometer, for example, you turn the outer potentiometer at the same time, without touching it. The same applies the other way round: move the outer potentiometer and adjust the inner potentiometer as well. In plain language, this means that you can only adjust one of the double potentiometers separately by holding the axis of the other potentiometer firmly. A fiddly job beyond compare. Perhaps just a few fastening screws are tightened too tightly, but without visual control and guaranteed double action, managing the parameters is really completely impractical.

It is interesting that the Solar Guitars Chug pedal produces comparatively little background noise even when the gain control is fully turned up. In this sense, the noise gate has significantly less to do than with various competing products. Apart from that, however, it works very tastefully, regulates smoothly and leaves a very good impression.

In terms of sound, you might get the impression that the Solar Guitars Chug pedal has 2 bass and 3 treble controls. The midrange control is set very high in terms of frequency and would perhaps even pass as a treble control on other pedals. The pedal's presence control offers a frequency range where the description "chainsaw" would be a huge understatement. In general, the Solar Guitars Chug pedal is very treble-heavy. In all of the sound files included, the treble and presence controls were between 8 and 9 o'clock, i.e. almost completely turned down. So if you're looking for the classic Scandinavian chainsaw massacre scratching, you've come to the right place.

As a basis for the sound files, I used my best "pedal amp", the Sound City Master 100, which generated a very neutral, slightly distorted sound as the basic setting. The guitar was an LP Standard from 2014, and the cabinet was a Marshall 412 with Celestion G12 75T and two Shure SM57.

The fact that the Solar Guitars Chug pedal is designed exclusively for high gain can be seen from the fact that even with the gain control turned all the way down, we are almost in the lead range in terms of the gain structure. The amp can be boosted very nicely using the out control, but the high distortion spoils the typical booster characteristics a little. But the pedal was not designed for this area either.

In general, the pedal "bites" very strongly in the basic sound, the tendency of which can never be completely removed due to the strong treble characteristics. In return, however, the pedal can be used to give the dullest amp a massive boost of treble. For example, a single-channel amp whose clean sound was deliberately set to be soft and low in treble can be massively inflated with the Solar Guitars Chug pedal and built up into an independent second channel. All in all, the Solar Guitars Chug pedal is a very flexible metal distortion pedal that, in my opinion, still has a few small teething issues, but these can be fixed with relatively little effort in the MKII version.

Conclusion

With the Solar Guitars Chug Pedal, the Spanish manufacturer has a distortion pedal in its portfolio that has been uncompromisingly bred for high gain. The very extensive tone control allows for many adjustment options, especially in the treble range, and enables the setting up of an independent, additional channel on the amplifier.

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Additional Informations:

Recognizing the importance of effect pedals in shaping a guitarist’s sound, Solar Guitars decided to diversify its offerings. The journey into effect pedals began in the late 2010s, with a focus on creating pedals that would complement the company’s guitars and provide musicians with high-quality tools to enhance their tonal palette.

The design philosophy behind Solar effect pedals was similar to that of their guitars: user-centric, robust, and tailored to the needs of modern musicians. Ola Englund’s extensive experience as a touring and recording artist played a crucial role in defining the features and functionalities of these pedals.

## The First Release: Chug Pedal

In 2021, Solar Guitars introduced its first effect pedal, the Chug Pedal. This distortion pedal was specifically designed to deliver the tight, aggressive tones favored by metal guitarists. The Chug Pedal featured a unique circuit that provided a wide range of distortion sounds, from subtle overdrive to full-on high-gain saturation.

The Chug Pedal was met with positive reviews from both critics and users. Its versatility, combined with its rugged construction, made it a popular choice among guitarists looking for a reliable distortion pedal that could handle the demands of both live performance and studio recording. The success of the Chug Pedal encouraged Solar Guitars to continue developing new pedals and expanding their product line.

## Expanding the Lineup

Building on the success of the Chug Pedal, Solar Guitars set out to create a comprehensive range of effect pedals that would cover various aspects of a guitarist’s signal chain. The company’s approach was to release pedals that were not only high-quality but also addressed specific needs within the guitarist community.

### Solar Flanger

Following the Chug Pedal, Solar Guitars introduced the Solar Flanger, a pedal designed to produce a wide array of flanging effects, from subtle modulation to intense jet-like sweeps. The Solar Flanger featured intuitive controls that allowed users to easily dial in their desired sound, making it suitable for a variety of musical styles beyond just metal.

The inclusion of a robust metal housing and true bypass switching ensured that the Solar Flanger could withstand the rigors of live performance without compromising on sound quality. This pedal quickly became a favorite among guitarists seeking a reliable and versatile flanging effect.

### Solar Delay

Next in the lineup was the Solar Delay, a pedal that offered both digital and analog delay sounds. This pedal was designed to provide musicians with the flexibility to create everything from short, slapback delays to long, atmospheric echoes. The Solar Delay featured multiple modes, allowing users to switch between different types of delay and modulation.

The Solar Delay’s combination of high-quality components and user-friendly design made it a valuable addition to any pedalboard. Its versatility and reliability ensured that it could meet the needs of a wide range of guitarists, from those playing ambient music to those in heavy metal bands.

### Solar Reverb

Recognizing the importance of reverb in creating depth and space in a guitarist’s sound, Solar Guitars introduced the Solar Reverb pedal. This pedal offered multiple reverb types, including spring, plate, and hall, allowing users to tailor their reverb sound to their specific needs. The Solar Reverb was designed to provide lush, immersive reverb effects without overwhelming the original guitar tone.

The pedal’s high-quality construction and straightforward controls made it a favorite among guitarists looking for a reliable and versatile reverb solution. The Solar Reverb’s ability to deliver a wide range of reverb sounds made it an essential tool for both live and studio use.

## Innovation and Technology

One of the key factors behind the success of Solar Guitars’ effect pedals is the company’s commitment to innovation and technology. Ola Englund’s hands-on approach to product development ensures that each pedal is designed with the needs of the modern guitarist in mind. This user-centric design philosophy has resulted in pedals that are not only high-quality but also intuitive and easy to use.

Solar Guitars places a strong emphasis on using high-quality components in their pedals. This attention to detail ensures that each pedal delivers consistent performance and durability, making them reliable tools for both live and studio applications. The use of true bypass switching in all Solar pedals ensures that the guitar’s original tone is preserved when the pedal is not in use.

## Community Engagement and Feedback

Another crucial aspect of Solar Guitars’ success in the effect pedal market is their engagement with the guitarist community. Ola Englund, being an active musician and YouTuber, has a direct line of communication with his audience. This connection allows Solar Guitars to gather valuable feedback from users and incorporate it into their product development process.

The company frequently involves the community in the design and testing phases of new pedals. This collaborative approach ensures that the final products meet the real-world needs of guitarists. The positive response from the community has been instrumental in shaping the direction of Solar Guitars’ pedal development.

## Challenges and Future Directions

Despite the success of their initial pedal releases, Solar Guitars faces several challenges as they continue to expand their effect pedal lineup. The highly competitive nature of the effect pedal market means that the company must continually innovate and offer unique products to stand out from the competition. Additionally, maintaining the high standards of quality and reliability that Solar Guitars is known for requires ongoing investment in research and development.

Looking ahead, Solar Guitars is committed to expanding its pedal lineup and exploring new technologies. The company plans to introduce more pedals that address specific needs within the guitarist community, as well as continue refining their existing products based on user feedback. Ola Englund’s vision for Solar Guitars includes not only maintaining their reputation for high-quality instruments and pedals but also pushing the boundaries of what is possible in the world of guitar effects.

## Conclusion

The history of Solar Guitars’ effect pedals is a testament to the company’s commitment to innovation, quality, and user-centric design. From the initial success of the Chug Pedal to the expansion of their pedal lineup, Solar Guitars has consistently delivered products that meet the needs of modern guitarists. Ola Englund’s hands-on approach and deep understanding of the demands of the metal genre have played a crucial role in shaping the company’s product offerings.

As Solar Guitars continues to innovate and expand their effect pedal lineup, they remain dedicated to providing high-quality tools that enhance the creativity and performance of guitarists worldwide. The company’s journey from a guitar manufacturer to a respected name in the effect pedal market is a remarkable story of vision, dedication, and the relentless pursuit of excellence. As they look to the future, Solar Guitars is poised to continue making significant contributions to the world of guitar effects.

TEST: Slate Pro Audio Fox

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

The concept of the Slate Pro Audio Fox

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

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

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

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

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

The structure of the Slate Pro Audio Fox

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

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

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

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

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

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

The Slate Pro Audio Fox in practice

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

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

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

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

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

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

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

Conclusion

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

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

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

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Additional Informations:

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

## Early Beginnings

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

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

## The Birth of Slate Digital

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

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

## Formation of Slate Pro Audio

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

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

## The Evolution of Slate Pro Audio

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

### The Raven Series

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

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

### The VMS System

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

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

### Expanding Horizons

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

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

## Impact and Legacy

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

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

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

## Conclusion

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

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

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

TEST: Sennheiser PSM 300

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

Structure and concept

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

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

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

The transmitter of the Shure PSM 300 Premium S8

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

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

The bodypack of the Shure PSM 300 Premium S8

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

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

The Shure PSM 300 Premium S8 in practice

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

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

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

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

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

Conclusion

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

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

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Additional Informations:

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

## Origins and Early Innovations

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

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

## The 1970s: Expanding Horizons

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

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

## The 1980s: Technological Advancements

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

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

## The 1990s: Digital Revolution

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

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

## The 2000s: Wireless Freedom

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

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

## The Digital Age: Cutting-Edge Technology

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

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

## The Impact of Regulatory Changes

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

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

## Conclusion

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

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

TEST: Schecter SLS Elite C-7

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

The construction of the Schecter SLS Elite C-7

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

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

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

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

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

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


The wood selection of the Schecter SLS Elite C-7

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

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

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

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

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

The Schecter SLS Elite C-7 in practice

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

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

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

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

Conclusion

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

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Additional Informations:

# The History of the 7-String Electric Guitar

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

## Early Beginnings: The Pre-Electric Era

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

## The Birth of the Electric 7-String

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

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

## The 1980s: Shred and Metal Revolution

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

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

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

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

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

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

## Technical Advancements and Modern Use

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

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

## The Future of the 7-String Guitar

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

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

## Conclusion

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

TEST: Shure GLXD16

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

Structure and concept of the Shure GLXD16

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

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

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

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

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

The transmitter unit

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

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

The Shure GLXD16 in practice

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

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

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

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

Conclusion

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

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Additional Informations:

### The History of Shure Incorporated

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

#### Early Beginnings

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

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

#### Innovation and Expansion

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

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

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

#### World War II and Technological Advancements

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

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

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

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

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

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

#### The Rise of Wireless Technology

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

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

#### Continued Innovation and Modernization

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

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

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

#### Shure Today and Beyond

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

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

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

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

#### Conclusion

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

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