TEST: Ibanez Iron Label

 The older readers will still know the practice. I think it was Fender who first started outsourcing the production of American instruments to Asian regions in the late 1970s for manufacturing cost reasons. At that time there was the first league in the form of “Made in USA” and the second league in the form of “Made in Japan”. But as Asians are, just a few years later the Japanese themselves became excellent craftsmen when it came to making electric guitars, which in turn brought the neighboring country of Korea onto the scene as an alternative.

This game has now been expanded several times to include the states of China, Malaysia, Vietnam and Indonesia, always with the same result. The former novices in instrument making quickly became more and more adept at manufacturing technology, while at the same time rationalizing manufacturing costs. Anyone who thinks that instruments manufactured in the above-mentioned countries only cover the dregs of the manufacturer's respective range is very much mistaken. The best example is the Ibanez Iron Label Sapphire Blue Flat, which, despite being manufactured in Indonesia, barely hits the 1000 euro mark in terms of selling price.

Oh yes, some readers will ask themselves, why this? Well, if you look at the individual components of the instrument, you will quickly notice that a similar production would have cost twice as much in Japan and probably even three times as much in the USA. Because one thing is certain, there were almost no savings here, which the following test will show.


construction

“Iron Label”, you could say. Even the unbiased user will quickly notice that this instrument, indeed the entire product range, was designed specifically for the metallic consumer group. Although many musicians still only cite the variations of the Explorer or Flying V form as the only legitimate forms of metal, the different varieties of Powerstrats have held up more than just bravely in the last few decades.

Ibanez in particular has a huge range of variations with their RG series, so that the interested artist will find an above-average selection and, in contrast to the Flying V, can also play for a tea dance with an RG in emergency situations without receiving disdainful looks.

Wherever it says RG, there is also RG in it, which in turn clearly defines the key points of the instrument. Once again, the Ibanez Iron Label Sapphire Blue Flat has an expansive Stratocaster shape, although the two cutaways have been milled significantly deeper for the benefit of playing in high registers. In combination with the very soft, round milling on the body part, you can actually play the instrument up to the 24th fret without any restrictions. No knobby neck foot in the Les Paul style, no square board and counter plate in the Stratocaster design, just a free ride into the weekend.

Conceptually, the Ibanez Iron Label Sapphire Blue Flat follows the principle of a continuous neck with glued-on body wings made of ash. The side parts were subjected to a special sandblasting process, which highlights the annual rings in three dimensions. The neck itself is a 7-piece construction made of maple and walnut, while the fingerboard is made of ebony with a long scale length (25.5”). Standard Jumbo Frets are used as frets. Some people will be aware of the selling price here.

It continues with very good components such as Gotoh locking mechanics and a fixed Gibraltar bridge. On the back of the instrument, the offset holes allow one or two question marks to appear on the user's forehead. However, a look at the front of the instrument makes sense of the undertaking. In order to keep the contact pressure of the strings as high as possible, the manufacturer tries to bend the strings immediately behind the individual riders at the greatest possible angle towards the body. Depending on the octave purity, however, the riders have different distances from the respective drill hole, which in turn would exert different pressures on the riders.

In order to at least rudimentarily counteract this, Ibanez decided to use a two-hole solution for four of the six strings in order to be able to react accordingly depending on the string length. I guess the Gibraltar Bridge is aligned according to the D and G strings, the different drill holes do the rest. Clever!

In terms of color, the Ibanez Iron Label Sapphire Blue Flat comes in a matt, transparent-dark blue with a slight tendency towards turquoise, which sometimes appears darker or lighter depending on the wood underneath. The different woods and their partly standing, partly lying annual rings result in an immense variety of shades of blue. An interesting finish, a successful variation on the ever-popular high-gloss finish.

Personally, I always like small detailed solutions, such as the cover of the truss rod on the headstock. Where you otherwise have to suffer through (eventually) spinning mini-Phillips screws with strings that are inevitably loosened, the Ibanez Iron Label Sapphire Blue Flat simply has a small plastic disc that you can push to the side. Adjust the neck with full string tension, push the disc back, done! A very simple principle, a huge relief. Why do only the Japanese always come up with such little things?

In terms of circuitry, the popular metal combination EMG 81 as a bridge pickup and EMG 60 as a neck pickup (hardly anyone knows that the 60 was originally designed as a bridge pickup) is managed with a classic three-way switch, with a massive kill switch if necessary popular extreme tremolo effect generated by hand. Despite being anchored directly in the wood, both pickups sit firmly in their holes. No comparison to the still popular foam knob pushers, which never allow a parallel line to the string guide. When it comes to knobs, a volume control, call it a day, no one needs a treble fader in metal!

If you're ever reminded of "Made in Indonesia", it's in the form of the three-way switch, which has a rather wobbly plastic version and will give up the ghost at some point in its life a little earlier than the rest of the hardware components.


Practice

When it comes to playability, you would actually only need to drop the name “Ibanez RG”, the rest is self-explanatory. Like almost all representatives of the RG series, the Ibanez Iron Label Sapphire Blue Flat also has all the advantages of the established concept. Every musician who has ever held an RG in their hands will be lastingly impressed by the easy handling, the ergonomic concept and the legendary neck dimensions.

“But what about the sustain?” I can already hear the first ones shouting in the background, an objection that couldn’t be dismissed, especially with the first instruments in the RG series due to the small wood mass. However, these same concerns can safely be dismissed. The continuous neck turns out to be a true sustain monster with the neck-thru-body string guide, as is the case with other representatives of this design. Not a tone that doesn't have an above-average vibration duration, coupled with a quick response and a tasteful fade-out. Fans of modern playing techniques such as tappings, sweeps, glides, hammer-ons and pull-offs will really enjoy the instrument.


Conclusion

With the Ibanez Iron Label Sapphire Blue Flat, Japan's figurehead when it comes to power strats once again shows where the metal hammer lies. With the Iron Label series, which is specially tailored for metal, the company offers fans of the hard style a good selection of battle axes, which, due to their construction, play into the hands of the ambitious solo guitarist.

Equipped with enough independence in terms of finish, sound and concept, the Ibanez Iron Label Sapphire Blue Flat will once again ensure that the name Ibanez will continue to be one of the first names in the industry.

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Additional Informations:

In the realm of electric guitars, certain models stand out not only for their sonic prowess but also for their rich history and evolution. Among these, the Ibanez Powerstrat holds a unique position, blending elements of classic designs with modern innovations to create a versatile instrument prized by musicians across genres. In this comprehensive article, we delve into the fascinating genesis of the Ibanez Powerstrat, tracing its roots, examining its key features, and exploring its enduring appeal.

**Origins and Influences**

To understand the genesis of the Ibanez Powerstrat, we must first look back at the early days of electric guitar development. The 1950s and 1960s marked a period of intense innovation in the guitar world, with brands like Fender and Gibson leading the charge. Fender's Stratocaster, introduced in 1954, quickly became an icon, renowned for its sleek design, versatile tone, and playability. Meanwhile, Gibson's Les Paul, with its mahogany body and humbucking pickups, offered a contrasting but equally influential sonic palette.

In the 1970s, Japanese guitar manufacturers began to emerge as serious contenders in the market, with brands like Ibanez gaining recognition for their high-quality instruments. Drawing inspiration from American classics, Ibanez sought to create their own interpretations of iconic designs, blending traditional craftsmanship with innovative features.

**Birth of the Powerstrat**

The Ibanez Powerstrat emerged during the 1980s, a decade defined by rapid technological advancements and a flourishing music scene. Inspired by the enduring popularity of Fender's Stratocaster, Ibanez set out to craft a guitar that combined the Strat's timeless aesthetic with modern features tailored to the needs of contemporary players.

At the heart of the Powerstrat's design is its body shape, which bears a striking resemblance to the classic Stratocaster silhouette. Crafted from select tonewoods such as alder or basswood, the Powerstrat's body offers a balanced blend of resonance, sustain, and ergonomic comfort. However, Ibanez infused the design with their own unique touches, including sculpted contours and refined finishes, giving the Powerstrat a distinctive identity all its own.

**Innovative Electronics and Hardware**

While paying homage to tradition, the Ibanez Powerstrat also incorporates several innovative features that set it apart from its predecessors. Central to its sonic versatility are the pickups – crucial components that capture the nuances of the player's performance and shape the guitar's sound. Ibanez outfitted the Powerstrat with a range of pickup configurations, including single-coil, humbucker, and hybrid options, allowing players to dial in a diverse array of tones suitable for any musical style.

Moreover, the Powerstrat boasts a wealth of electronic controls, enabling precise tone shaping and sonic experimentation. From traditional volume and tone knobs to push-pull coil-splitting and series/parallel switching, the guitar offers an extensive sonic palette at the player's fingertips. Combined with high-quality hardware such as locking tuners, tremolo systems, and adjustable bridges, the Powerstrat delivers unparalleled performance and reliability on stage and in the studio.

**Evolution and Enduring Legacy**

Over the years, the Ibanez Powerstrat has undergone numerous iterations and refinements, reflecting the ever-changing needs and preferences of musicians. From signature models developed in collaboration with renowned artists to limited-edition releases featuring exotic tonewoods and custom finishes, the Powerstrat continues to evolve while staying true to its core identity.

Its enduring legacy is a testament to its timeless design, exceptional craftsmanship, and unwavering commitment to quality. Whether wielded by virtuosic shredders, blues maestros, or alternative rockers, the Powerstrat remains a symbol of innovation and inspiration in the world of electric guitars.

**Conclusion**

In conclusion, the Ibanez Powerstrat stands as a testament to the enduring legacy of iconic guitar designs and the relentless pursuit of excellence in craftsmanship and innovation. Born from the intersection of tradition and modernity, the Powerstrat continues to captivate players with its distinctive sound, versatile performance, and unmistakable style. As it continues to evolve and adapt to the ever-changing demands of the musical landscape, the Powerstrat remains a timeless icon, inspiring generations of guitarists to push the boundaries of creativity and expression.

TEST: Hughes & Kettner Grandmeister Deluxe 40

 Sometimes I wonder whether the Saarland guys from Hughes & Kettner expected this. Logically, the concept of the head was perfect for the “working musician”, but probably not even the true believers in the marketing department dared to predict such a great success for the Hughes & Kettner Grandmeister 36. I don't have exact figures, but I estimate that it is at least among the top 3 best-selling all-tube heads of the past year.

The reasons are quickly listed. Very compact dimensions, 128 fully programmable sounds in true all-tube quality without modeling, storable power amplifier power reduction, excellent sounds and a weight that allows you to travel on the German train or, if you are in good physical condition, on a bicycle. Well, what do you do as an ambitious manufacturer when you own a product that is already running very well?

Well, you listen to the musician, or let's say a somewhat emotionally reduced end customer, whether you couldn't maybe do a few things better. And yes, a few points were found that could be improved, which were then implemented in the successor model, the Hughes & Kettner Grandmeister Deluxe 40.


construction

As already mentioned, the Hughes & Kettner Grandmeister Deluxe 40 is an all-tube head that can deliver a maximum of 40 watts to any cabinet between 8 - 16 ohms. The amp doesn't like 4 ohms, in my opinion there is currently no regular guitar box that only runs at 4 ohms, i.e. H. You would have to connect 2 8 ohm or 4 16 ohm speakers in parallel. However, the power can also be reduced to 20 watts, 5 watts, 1 watt or even pure load resistance using pressure switches on the back of the housing by switching off various power amplifier tubes, which also enables operation without a box. The power amplifier circuit is also programmable, which is particularly useful for power tube saturations in the crunch area.

In terms of size, the Hughes & Kettner Grandmeister Deluxe 40 remains pleasantly small and, with dimensions of 446 x 171 x 152 mm and a total weight of only 7.8 kilograms, can be easily transported in the high-quality soft bag supplied. The Hughes & Kettner Grandmeister Deluxe 40 has its carrying handles on both sides and is therefore much easier to carry and lift onto a stack than you are used to with one-handed carrying handles.

The front of the case is once again adorned with the well-known Plexiglas pane, which is dipped in the famous H&K blue during operation. No amp can be recognized on stage more quickly than a Hughes & Kettner; the marketing department did a great job on that many years ago. The back and top cover are made of metal and can reach a decent temperature during operation. The top plate in particular generates heat during normal operation, which at first glance makes you think.

However, what makes a Marshall user run to the nearest technician screaming in panic should make a Grandmeister user remain in deep relaxation. The heat dissipation via the top plate is part of the amp's cooling concept and enables operation without an internal fan, which would otherwise be necessary given the packed interior. When it comes to tube assembly, the Hughes & Kettner Grandmeister Deluxe 40 works with a total of seven tubes, with 4 EL84s used for the power amplifier and 3 12AX7 (ECC83) for the preamplifier.

On the back of the amp is one of the amp's special features. Using an internal circuit called TSC, the amp automatically detects the failure of one power tube and compensates for this by switching off the other half-wave tube. The four built-in LEDs also provide information about the degree of power reduction on the power soak. There is also the threshold control for the noise gate, a line out for external power amplifiers, an additional FX loop and two MIDI sockets (In / Thru-Out) for connecting a MIDI strip or, for example, the one specifically designed for the Hughes & Kettner Grandmeister series tailored floorboard FSM 432 MKIII.

Conception

As already mentioned, the Hughes & Kettner Grandmeister Deluxe 40 comes into the race with four channels called Clean, Crunch, Lead and Ultra plus a boost function that can be used on all channels. Furthermore, the amp includes an effects section which features chorus, delay, tremolo, flanger, phaser and reverb, which inevitably leads the interested reader to manage the same parameters. In order to master the diverse possibilities with just 9 potentiometers, H&K uses two clever tricks.

On the one hand, so-called “Smart Rotary Controls” are used, all of whose settings can be saved with the exception of the master volume controller. To check a saved setting, simply turn the control until the Store LED lights up briefly. This means that all saved sounds can be retrieved very quickly. On the other hand, you can use the FX-Swich to switch the functionality of five of the controls. What was just the gain control now controls the intensity of the effect, the volume control becomes the selection control for the FX, etc. Once you have become familiar with the principle of switching and editing, the rest is self-explanatory. A very user-friendly solution.

WIRELESS INTERNET ACCESS

iPad owners can look forward to a very interesting feature. You can completely remote control and edit the head using the corresponding Grandmeister Deluxe 40 app. In addition to the above, you need: App a second app for switching the WLAN (both available for free in the Apple App Store) and a MIDI interface. With the WMI-1, H&K also offers a suitable interface, which then also communicates wirelessly with the top.

Placed between the two MIDI ports, you can now control your amp remotely, which makes working on large stages or in the studio easier. The app really comes into its own when it comes to copying sounds to other storage locations. What turns out to be a tricky test of patience on the amp takes seconds on the app. The highlight of the app, however, is the ability to copy the entire database to other amplifiers. Professional musicians who play at festivals or on tours abroad with rental equipment can take their database with them on the plane using an iPad and transfer it to the amp on site in the shortest possible time. The result is the same sound as at home, no matter which grandmaster you have in front of you.

Differences to Grandmaster 36

Fortunately, H&K didn't make any major changes, but only made subtle changes to the Hughes & Kettner Grandmeister Deluxe 40 compared to its predecessor, but in a few very important points. On the one hand, the basic sound of the head was “refined” by sounding more like the Battleship Triamp MK III. Compared to its predecessor, the head sounds a little softer, less angular and has a higher headroom in terms of distortion.

The current clean sound remains really clean even at high volumes and only starts to get slightly “dirty” at very high gain. The Crunch channel is also much more equipped for subtle blues than for harder rock attitudes. To compensate for this, the Lead and Ultra were designed to be heavier than on the GM36. The Ultra channel in particular is now a real metal channel, which also pays tribute to more modern metal sounds with its basic scoop design.

Clearly the biggest change, however, is the new Red Box speaker simulation, which H&K is now installing in some of its products. While most users slap their faces on the floor when they hear the word speaker simulation because of the generally terrible sound experiences, the new Red Box scores points in terms of basic sound, resonance and dynamics. A professional recording with a microphone is still far ahead in terms of sound, but if you are forced to go directly into a P.A. If you want to play or have to record quickly in your home studio, you can achieve a sound quality with this Red Box that was previously not possible.


Practice

In short: excellent! Even if you invoke the greatest possible nagging and whining factor, there is nothing that you could criticize about the Hughes & Kettner Grandmeister Deluxe 40. If anything, the only thing you notice is the relatively high noise level in the Ultra channel, which can be easily controlled with the very intelligent noise gate.

In terms of sound, the amp does not copy any of the great classics, but with a very neutral basic sound it creates an excellent basis for all the sounds that the “working musician” needs.



Conclusion

With the Hughes & Kettner Grandmeister Deluxe 40, the Saarland company manages to maintain the strengths of its predecessor and take the sound a step further. I don't know of any other amp from the Lunchbox class that offers such a wide selection of practical solutions in the form of excellent sound, first-class workmanship and a brilliant concept.

Clearly top marks!

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Additional Informations:


Introduction:
Full-tube amplifiers, revered for their warm, harmonically-rich tones and timeless appeal, have captivated musicians and audiophiles for decades. Among the myriad configurations available, amplifiers equipped with EL84 tubes in the power stage hold a special place, renowned for their distinctive sound characteristics and versatility. This article embarks on a comprehensive journey into the realm of full-tube amplifiers featuring EL84 tubes in the power stage, unraveling their sonic nuances, historical significance, and enduring popularity.

Origins and Evolution:
The roots of full-tube amplifiers with EL84 tubes can be traced back to the mid-20th century, a time when vacuum tube technology reigned supreme in the realm of audio amplification. The EL84 tube, initially introduced by Mullard in the late 1950s, quickly gained traction among amplifier manufacturers for its compact size, reliability, and unique sonic signature.

Amplifiers featuring EL84 tubes in the power stage became synonymous with iconic British amplifier designs, epitomizing the "British sound" revered by guitarists and enthusiasts worldwide. The EL84's characteristic midrange warmth, smooth overdrive saturation, and dynamic responsiveness became hallmarks of this revered amplifier configuration.

Over the years, amplifier manufacturers have continued to refine and innovate upon the classic EL84-powered amplifier design, incorporating modern features and enhancements while preserving the essence of its vintage heritage. Today, full-tube amplifiers with EL84 tubes in the power stage remain a staple in studios, stages, and home setups alike, cherished for their timeless sound and unmatched musicality.

Sonic Characteristics:
Central to the allure of full-tube amplifiers with EL84 tubes is their distinct sonic character, characterized by a harmonically-rich and dynamic response that sets them apart from solid-state or hybrid alternatives. At the heart of this sonic signature lies the inherent properties of vacuum tube technology, which imparts a unique warmth, depth, and texture to the amplified signal.

The EL84 tube's relatively low output power compared to larger power tubes such as EL34 or 6L6 results in earlier onset of power tube distortion, lending a smooth, creamy overdrive that is highly coveted by guitarists for blues, rock, and alternative music styles. This natural compression and saturation contribute to the amplifier's dynamic responsiveness, allowing players to achieve expressive tonal nuances simply by varying their playing dynamics.

Furthermore, the EL84's distinctive midrange emphasis adds a characteristic "British" flavor to the amplifier's tone, characterized by punchy lows, singing highs, and a pronounced midrange presence that cuts through the mix with clarity and authority. Whether delivering chiming cleans or gritty crunch tones, full-tube amplifiers with EL84 tubes offer a versatile sonic palette that can adapt to a wide range of musical genres and playing styles.

Applications and Versatility:
Full-tube amplifiers featuring EL84 tubes in the power stage excel in a variety of musical applications, making them a popular choice among guitarists, recording engineers, and audiophiles alike. From vintage-inspired rock tones to modern high-gain aggression, these amplifiers offer a versatility that transcends genre boundaries, making them indispensable tools for musicians seeking sonic expression and inspiration.

In the studio, full-tube amplifiers with EL84 tubes are prized for their ability to capture the nuances of a performer's playing with unparalleled fidelity and realism. Their rich harmonic content and natural compression make them ideal for recording both clean and driven guitar tones, adding depth and dimension to recordings that may be lacking in solid-state or digital alternatives.

On stage, EL84-powered amplifiers shine in live performance settings, delivering the raw energy and visceral punch that define the essence of rock and roll. Their responsive touch sensitivity and dynamic range allow players to interact with their amplifiers in real-time, shaping their tone with precision and finesse as they feed off the energy of the crowd.

Furthermore, the compact size and relatively lightweight construction of EL84-powered amplifiers make them ideal companions for gigging musicians who value portability without compromising on tone or performance. Whether headlining stadium concerts or playing intimate club gigs, these amplifiers offer a reliable and versatile platform for musicians to unleash their creativity and connect with their audience on a profound level.

Notable Examples and Enduring Legacy:
Throughout the decades, numerous amplifier manufacturers have embraced the EL84-powered amplifier design, each putting their unique spin on this timeless configuration. From iconic British brands like Vox and Marshall to boutique builders and modern manufacturers, the legacy of full-tube amplifiers with EL84 tubes continues to thrive in today's musical landscape.

One notable example of a full-tube amplifier featuring EL84 tubes in the power stage is the Vox AC30, a legendary amplifier that has left an indelible mark on the history of rock music. Originally introduced in the late 1950s, the AC30's shimmering cleans and creamy overdrive tones have graced countless recordings and stages, earning it a place in the pantheon of guitar amplification icons.

In addition to the Vox AC30, other notable examples of EL84-powered amplifiers include the Marshall DSL20HR, Orange Rocker 15, and Fender Bassbreaker 007, each offering its own unique take on the classic EL84-driven sound. Whether vintage-inspired or modern-minded, these amplifiers pay homage to the rich legacy of tube amplification while pushing the boundaries of sonic exploration and innovation.

Looking ahead, the legacy of full-tube amplifiers with EL84 tubes in the power stage shows no signs of fading into obscurity. As musicians continue to seek out authentic, emotive tones that resonate with their artistic vision, these amplifiers remain steadfast in their ability to inspire creativity, elevate performances, and capture the magic of live music in all its raw, unfiltered glory.

Conclusion:
Full-tube amplifiers featuring EL84 tubes in the power stage represent a pinnacle of sonic craftsmanship and musical expression, cherished by musicians and enthusiasts for their timeless appeal and unmatched versatility. From the golden age of rock and roll to the modern era of digital innovation, these amplifiers have stood the test of time, leaving an indelible mark on the history of music and shaping the sonic landscape for generations to come. As technology continues to evolve and musical tastes evolve with it, the allure of full-tube amplifiers with EL84 tubes remains as potent as ever, serving as a beacon of inspiration and creativity for musicians around the world.

TEST: Hughes & Kettner Grandmeister 36

 Sometimes I wonder whether the Saarland guys from Hughes & Kettner expected this. Logically, the concept of the head was perfect for the “working musician”, but probably not even the true believers in the marketing department dared to predict such a great success for the Hughes & Kettner Grandmeister 36. I don't have exact figures, but I estimate that it is at least among the top 3 best-selling all-tube heads of the past year.

The reasons are quickly listed. Very compact dimensions, 128 fully programmable sounds in true all-tube quality without modeling, storable power amplifier power reduction, excellent sounds and a weight that allows you to travel on the German train or, if you are in good physical condition, even on a bike. Well, what do you do as an ambitious manufacturer when you own a product that is already running very well?

Well, you listen to the musician, or let's say a somewhat emotionally reduced end customer, whether you couldn't maybe do a few things better. And yes, a few points were found that could be improved, which were then implemented in the successor model, the Hughes & Kettner Grandmeister Deluxe 40.


construction

After the phenomenal success of the Grandmeister 36, H&K once again remains true to its optical concept.

You have to give it to H&K, the boys have always been consistent in their form and appearance. I just say glass and blinding blue light? Correct, it can only be one manufacturer. The marketing manager did everything right many years ago when you can tell from the back row of the concert hall which manufacturer is currently on stage, without being able to read the lettering. Respect for staying power!

To be honest, when I read that a product was developed in Germany, my expectations immediately increase by a few percentage points. Somehow you are constantly looking for that little or big extra point that local production represents. To put it bluntly, God knows there should be no shortage of that, as it turned out in the course of the test.

Let's start with the external values. The first Alemannic aha effect comes into play as soon as you unpack it. While the competition usually only includes a simple protective cover with the product, if at all, the Hughes & Kettner Grandmeister 36's almost 8 kilograms are transported in a road-suitable, padded gig bag with rubber feet and a side pocket. This does not have the ability to protect the 446 mm x 171 mm x 152 mm of the head in the style of a flight case against severe mistreatment, but the bag is definitely sufficient for standard transport in the band bus.

In terms of performance, the Hughes & Kettner Grandmeister 36, as expected, gets 36 watts from a quartet of EL84 power tubes, with three 12AX7s doing their job in the preamp. The final power can be reduced to 18, 5 or even just 1 watt using four pressure switches on the back of the housing, which opens up new possibilities for home practice or performance on very small club stages. The last pressure switch marked 0 Watt completely deactivates the power output of the amplifier and enables the guitar signal to be fed directly into a recording medium via the house product Red Box installed on the back.

In general, the back of the amplifier offers almost everything you could want from an amplifier of this type. Starting with the automatic adjustment of the output impedance between 8 - 16 ohms, which finally sends a mismatch between amp and cabinet to the eternal hunting grounds. It's not really surprising that there is only one output socket. It goes without saying that you shouldn't connect an amp of this class to a full stack.

Using an internally installed circuit called TSC, the amp automatically detects the failure of one power tube and compensates for this by switching off the other half-wave tube. The four built-in LEDs also provide information about the degree of power reduction on the power soak. There is also the threshold control for the noise gate, a line out for external power amplifiers, an additional FX loop and two MIDI sockets (In / Thru-Out) for connecting a MIDI strip or the one specifically designed for the Hughes & Kettner Grandmeister 36 tailored floorboard FSM 432 MKIII.

The floorboard alone is a number in itself. On the one hand, H&K impresses with its slightly curved, ergonomic design and intelligent management. On the one hand, you can skip through the saved presets, but you can also “just” choose the stompbox mode, where you can control the amp on a channel-based basis like a regular footswitch. The board also comes with a practical 9(!) meter cable (not always the poor 3-6 meters), which also serves its purpose on larger stages. The footswitch receives the necessary operating voltage from the amplifier. Why can't it always be like this...

As already mentioned, the Hughes & Kettner Grandmeister 36 comes into the race with four channels called Clean, Crunch, Lead and Ultra plus an additional boost function, which brings the keen engineer to the following question. How am I supposed to fit all the amplifier's controls on such a small front panel, let alone manage a multi-effects device with chorus, delay, tremolo, flanger, phaser and reverb? The solution lies in a special design of the potentiometers used called “Smart Rotary Controls”. With the exception of the master section with the Master, Presence and Resonance controls, all control settings can be saved or they take over several control ranges, depending on whether you are in amplifier or effects mode.

Four illuminated push switches on the front control the store, noise gate, FX loop and the internal FX area. If you now set a sound using the potentiometers, the head remembers the setting, regardless of whether this sound was ultimately saved or whether you just changed the channel. Even after the amp is switched off, these settings remain saved, as if you had four complete hardware sets of controls. A way of working that is only known from digital amps, but with the sound of an analog amp. Great implementation!

If all that isn't enough for you, you can also access an iPad app, which uses a MIDI interface to adjust all the parameters that can also be controlled on the head. However, this app does not have any major differences to the conventional method; only additional labeling of the presets is possible.

Practice

Anyone who thinks that 36 watts of solid tube power isn't enough to produce a decent noise will be proven wrong here. With the help of its variable Powersoak circuit, the amp actually manages to produce a very high-quality and varied sound across the entire volume range, from extremely quiet practice amp to fully stage-suitable head. From crisp clean to high gain, all garnished with the appropriate effects, the Hughes & Kettner Grandmeister 36 offers such a high number of top sounds that just listing the most important sounds would fill an entire test report.

I particularly liked the resonance control. Why? Well, anyone who has ever dealt intensively with an EL84 power amplifier knows the typical sound direction of this setup. British angular, fast response, brilliant crunch, but tends to have a bass hole, especially in high gain. This is where the resonance control comes in and actually manages to give the tiny thing the compression below 200 Hertz, which is otherwise only known from the EL34 or 6L6 quartet. An excellent detailed solution that further increases the flexibility of the product.


Conclusion

With the Hughes & Kettner Grandmeister 36, the Saarland company has outdone itself. I don't know of any other product in the lunchbox class that offers such a wide selection of practical solutions in the form of excellent sound, first-class workmanship and a brilliant concept.

Whether it's Top 40 show bands, original compositions with varied sound material or performances with reduced space or transport options, at the moment I really can't think of anything that could be improved on this amp in relation to its intended use.

The absolute highlight of its class, one of the big highlights of the last few years, clearly top marks!

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Additional Informations:

Introduction:
Hughes & Kettner, an illustrious name in the realm of musical amplification, has consistently set the bar high with its innovative approach to crafting amplifiers. Among its esteemed lineup, the Grandmeister series stands out as a pinnacle of engineering excellence and sonic versatility. This article embarks on an in-depth exploration of Hughes & Kettner's Grandmeister amplifiers, unraveling their evolution, features, and impact on the music industry.

Origins:
The genesis of the Grandmeister series can be traced back to Hughes & Kettner's enduring commitment to pushing the boundaries of amplifier technology. Founded in 1984 by Hans Stamer and Lothar Stamer, the company quickly established itself as a trailblazer in the world of amplification, renowned for its innovative designs and uncompromising sound quality.

In the early stages of development, Hughes & Kettner recognized the growing demand for amplifiers that offered unparalleled flexibility and control over tone. This realization laid the groundwork for the Grandmeister series, a line of amplifiers designed to empower musicians with a vast array of sonic possibilities.

Innovation:
At the heart of Hughes & Kettner's Grandmeister amplifiers lies a spirit of innovation that drives continuous evolution and improvement. Leveraging decades of experience in amplifier design and engineering, the company introduced groundbreaking technologies and features to redefine the standards of versatility and performance.

One of the most notable innovations incorporated into the Grandmeister series is the proprietary Spirit Tone Generator (STG) technology. This cutting-edge system utilizes advanced digital signal processing algorithms to emulate the characteristics of iconic tube amplifiers, delivering authentic tube-like tone with unmatched consistency and reliability.

Furthermore, Hughes & Kettner's Grandmeister amplifiers boast a comprehensive suite of onboard effects and sound-shaping tools, allowing musicians to sculpt their ideal tones with precision. From lush reverbs and dynamic delays to expressive modulation effects, the Grandmeister series offers a wealth of sonic textures to explore and exploit.

Product Range and Features:
Hughes & Kettner's Grandmeister series comprises a range of amplifiers tailored to meet the diverse needs of musicians across genres and performance settings. Whether for stage use, studio recording, or home practice, there's a Grandmeister amplifier to suit every application.

One of the hallmark features of the Grandmeister series is its versatility. Equipped with multiple channels, each with customizable voicings and gain structures, these amplifiers offer unprecedented flexibility in crafting a wide range of tones. Musicians can seamlessly transition from sparkling clean tones to blistering high-gain distortion with the flick of a switch, making the Grandmeister series a go-to choice for players seeking sonic versatility.

Moreover, Hughes & Kettner's Grandmeister amplifiers are equipped with intuitive controls and user-friendly interfaces, ensuring that musicians can easily dial in their desired tones without getting bogged down in complex menu systems or technical jargon. Whether adjusting EQ settings, tweaking effects parameters, or saving presets, the Grandmeister series empowers musicians to focus on their creativity without being hindered by technological barriers.

Recognition and Legacy:
Since their introduction, Hughes & Kettner's Grandmeister amplifiers have garnered widespread acclaim and recognition from musicians, critics, and industry professionals alike. Praised for their exceptional sound quality, innovative features, and rugged reliability, these amplifiers have earned a reputation as indispensable tools for modern guitarists.

The legacy of the Grandmeister series extends beyond its technical specifications and performance capabilities. It embodies Hughes & Kettner's unwavering commitment to craftsmanship, innovation, and the pursuit of sonic excellence. As a result, the Grandmeister series stands as a testament to the company's enduring legacy and its dedication to empowering musicians to realize their sonic aspirations.

Looking ahead, Hughes & Kettner continues to push the boundaries of amplifier technology, exploring new avenues of innovation and refinement to meet the evolving needs of musicians in an ever-changing musical landscape. With the Grandmeister series leading the charge, Hughes & Kettner remains at the forefront of amplifier design, inspiring musicians to unleash their creativity and elevate their performances to new heights.

TEST: Hughes & Kettner Era 2

 Would the workforce of the company based in St. Wendel have dreamed of such success? One can only imagine, but the success of the award-winning Era acoustic guitar amplifier made the completely redesigned amplifier mutate into one of the main sales drivers of 2017 alongside the high-flyer Grandmeister 40 Deluxe. With the Hughes&Kettner Era 2, the company is consistently continuing the product line and giving the successor some innovations compared to its predecessor.

The construction of the Hughes & Kettner Era 2

When you take the Hughes&Kettner Era 2 out of its packaging for the first time, you should make sure that there is no percussionist or expandable drummer nearby. He will immediately sit on the amplifier made in Germany because he thinks it is a Cajon. In fact, the housing made of high-quality birch plywood with dimensions of 350 mm x 475 mm x 290 mm (W x H x D) looks like the percussion instrument that has now mutated into the mainstream, although the weight of just under 14 kilograms will make even a drummer think twice .

It looks pretty, the amplifier and so that the visual impression is retained for as long as possible, Hughes & Kettner, as with the Model 1, provides a very solid protective case, which cushions quite strong external influences and allows the user to purchase a case until further notice can be laid at the back. The protective cover also has two generous pockets in which you can, for example, B. can store the power cable and the included tilt adjuster of the amp.

The amp can be moved comparatively comfortably via a deeply recessed carrying recess, with the four rubber feet on the underside of the housing ensuring stability. An integrated 35 mm flange provides additional flexibility, which enables high stand operation. Compared to its little brother, the Hughes & Kettner Era 2 was given an additional 8 inch bass/midrange driver and its output was increased from 250 watts to 400 watts. A 1 inch dome tweeter does its job in both amplifiers. In terms of price, the two products Era 1 and Era 2 are almost 200 euros apart.

The frequency response of the amplifier is specified by the factory as 75 Hz - 15 kHz, which is more than sufficient for the transmission of acoustic instruments and vocals. Even though the Hughes & Kettner Era 2 is the focus of many acoustic guitarists, one should not forget that the amplifier can also amplify a wide range of other acoustic instruments, such as: E.g. accordion, string instruments or even a zither.

The amplifier section of the Hughes & Kettner Era 2

In order to be able to store the amp easily, all controls were installed recessed, which allows them to be stacked at right angles in the trunk or van. In terms of design, the Hughes & Kettner Era 2 has 2 identical channels, which, in addition to the gain control, have a 3-band tone control and an FX selector control for the internally installed 16-way FX device as well as an FX control. On the far right of the panel is the input control for the AUX-In, which is referred to as the third channel and to which, as expected, smartphones, MP3 players, etc. can be connected.

Using an EQ switch, the tone control can be changed in its center frequencies, whereby the designation Mode 1 was conceptually designed for harder basic sounds in the style of steel-string instruments, while Mode 2 was designed for softer sounds in the style of nylon-string instruments. If the Hughes & Kettner Era 2 is used for vocal amplification, Mode 1 should harmonize better with male voices, Mode 2 should harmonize better with female voices. The following center frequencies can be edited: Bass control 80 Hz (Mode 2 at 110 Hz) to +/-10 dB, Treble at 10 kHz (Mode 2 at 12 kHz) to +/-10 dB, Mid control at 700 Hz (Mode 2 at 1200 Hz) up to +/- 6 dB.

In addition, each channel has a clip indicator, which indicates that the input signal is too strong, a shape switch, which slightly lowers the mids and emphasizes the bass and treble, and a mute switch, which mutes the individual channels if necessary. The mute switch is particularly useful if you are playing with two guitars and want to prevent the second guitar from vibrating during the performance, or if you want to change an instrument between songs. This switching action can also be carried out using the FS-2 foot switch, which is not included in the scope of delivery.

In order to get all kinds of drone frequencies under control, the amplifier has a notch control in the master section, which can be adjusted proportionately from 40 - 180 Hz. The filter is deactivated when it is turned to the left. However, I don't really understand why this controller is used as a sum and not each channel is controlled separately with a controller.

The signal management of the Hughes & Kettner Era 2

For practical and probably also visual reasons, all inputs and outputs of the Hughes & Kettner Era 2 are located on the back of the case. The elegant wooden casing certainly doesn't deserve dangling cables, possibly in crisp colors like green or yellow, so discreetly laying them on the back is a much better option. Actually, this variant should also make a lot more sense for electric guitar amplifiers; the cable at the front of the housing is always routed to the back anyway, as it only interferes with the microphone, etc.

Lockable combination sockets (XLR / TRS) are available as input sockets for channels 1 and 2, with the option of connecting 48 V phantom power. Channel 3 provides a mini stereo jack and can be used together with channel 4 (TRS) to feed MP3 players or high-level instruments. Channel 4 also has a separate volume control.

The switching of the FX send via channel 4, with which an external FX processor can be used, turns out to be very practical. If this loop is used accordingly, the internal FX processor is deactivated and the FX knob controls the external processor. In this case the external processor must be set to 100% wet. In order to transfer the signals present to a P.A. To be able to continue conducting, the Hughes & Kettner Era 2 also included a D.I. Out in XLR form, which can be tapped either before or after the tone control and has a ground lift.

As if that wasn't enough, the Hughes&Kettner Era 2 also has two other special features in the form of an optical output and an auto sleep function. The optical S/PDIF Toslink enables direct access to a computer interface if necessary and, as an optical fiber, is known to be insensitive to all kinds of ground loops. The auto sleep switch takes over the order according to 1275/2008/EC on the energy saving regulation for products manufactured in Germany electronic devices where the device must deactivate itself after a certain period of time in idle mode. However, if this function causes confusion, you can deactivate it if necessary.

The Hughes & Kettner Era 2 in practice

When you turn on the Hughes&Kettner Era 2, you don't hear anything at first, the amp is so quiet in terms of background noise. The amplifier is therefore also suitable for locations where absolute silence is sometimes required on the stage, e.g. B. at theater performances. To test the sound, a Framus Legacy FD 28 with Fishman preamp was used, which was recorded via a Golden Age Project FC1 MKII microphone.

Of course, the microphone pickup does not create a true reproduction of the ambient sound, which would ultimately only be possible with an artificial head recording, but it is still much better suited than the D.I. Output that completely bypasses the sound of the speakers. Even with a neutral filter setting, the amp impresses with a very soft and pleasant reproduction of the instrument. If you add the filters, they work very discreetly and tastefully, so that even heavily turned up filters do not produce the infamous treble-as-treble-can click sound, which also makes high-quality instruments appear in a bad light due to the artificial sound. The shape switch in particular proves to be a frequency-technical secret weapon to better assert itself in a band context.

You should always keep in mind that the Hughes&Kettner Era 2 will ultimately be used either as a personal monitor or, for very small pub gigs, as a room sound system. Anything over 20 people in the audience has to have a more or less large P.A. anyway. managed, where the corresponding D.I. Outs come into play. The amplifier fulfills this task excellently, with the higher output power compared to Model 1 and the greater air movement through the second midrange driver coming into play.

No matter what volume you demand from the product, the amplifier never changes its basic sound and neither tends to oscillate nor gets into unpleasant saturation, even at high volumes. The sound is always powerful, refreshingly neutral and very detailed in resolution, which always gives the guitar the necessary touch of finesse that is particularly appreciated with high-quality acoustic sounds.

Conclusion

With the Hughes&Kettner Era 2, the company from St. Wendel raises the bar for acoustic amplifier quality once again. While the Saarlanders were able to firmly establish themselves in the top league of acoustic instrument amplifiers with the Era 1, they will continue on their chosen path with the Era 2.

Anyone who has an acoustic instrument to amplify should definitely try the product out.

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Additional Informations:

Introduction:
Hughes & Kettner, a renowned name in the world of musical amplification, has a rich history of crafting innovative solutions for musicians across genres. While the company is widely celebrated for its electric guitar amplifiers, its foray into acoustic amplification has also made significant waves in the industry. This article embarks on a detailed exploration of Hughes & Kettner's acoustic amplifiers, tracing their evolution from inception to the present day.

Origins:
Founded in 1984 by Hans Stamer and Lothar Stamer, Hughes & Kettner initially gained recognition for its groundbreaking electric guitar amplifiers. However, the company's commitment to pushing the boundaries of sound technology led to the development of acoustic amplifiers tailored to the unique needs of acoustic musicians.

In the early stages of acoustic amplifier development, Hughes & Kettner sought to address the inherent challenges of amplifying acoustic instruments while preserving their natural tonal characteristics. This endeavor marked the beginning of a journey towards engineering acoustic amplifiers that offered exceptional sound quality, versatility, and reliability.

Innovation:
Central to Hughes & Kettner's approach to acoustic amplification is a relentless pursuit of innovation. The company's engineering team drew upon decades of experience in amplifier design to develop cutting-edge solutions that catered specifically to the nuances of acoustic instruments.

One of the key innovations introduced by Hughes & Kettner is the incorporation of advanced signal processing technologies into their acoustic amplifiers. By leveraging digital signal processing (DSP) algorithms, Hughes & Kettner was able to enhance the sonic performance of their amplifiers, delivering pristine sound reproduction with minimal coloration.

Additionally, Hughes & Kettner's acoustic amplifiers feature intuitive onboard controls and connectivity options, allowing musicians to fine-tune their sound and seamlessly integrate with external audio equipment. Whether performing on stage or in the studio, musicians can rely on Hughes & Kettner amplifiers to deliver consistent, high-quality sound reproduction.

Product Range and Features:
Over the years, Hughes & Kettner has expanded its lineup of acoustic amplifiers to cater to a diverse range of musical styles and performance settings. From compact practice amps to powerful stage rigs, the company offers a comprehensive selection of amplifiers to suit every need.

One standout feature of Hughes & Kettner's acoustic amplifiers is their versatility. Equipped with multiple channels, onboard effects, and adjustable EQ controls, these amplifiers empower musicians to sculpt their desired sound with precision. Whether seeking warm, natural tones for folk ballads or crisp, articulate sound for fingerstyle guitar, Hughes & Kettner amplifiers deliver exceptional performance across the board.

Furthermore, Hughes & Kettner's commitment to quality extends beyond sound reproduction to encompass durability and reliability. Built to withstand the rigors of touring and frequent use, their amplifiers are constructed using high-quality materials and undergo rigorous testing to ensure long-term performance and reliability.

Recognition and Legacy:
Hughes & Kettner's dedication to excellence in acoustic amplification has earned the company widespread recognition and acclaim from musicians and industry professionals alike. Their amplifiers have been praised for their superior sound quality, innovative features, and robust build quality, cementing Hughes & Kettner's reputation as a leading provider of acoustic amplification solutions.

Looking ahead, Hughes & Kettner continues to push the boundaries of acoustic amplification, exploring new technologies and refining their designs to meet the evolving needs of musicians. With a legacy built on innovation, quality, and a passion for music, Hughes & Kettner remains at the forefront of acoustic amplification, inspiring musicians around the world to achieve their sonic aspirations.

TEST: Heil Sound Microphones

 For sound engineers who specialize in recording guitars, it's old hat; for advocates of other groups of instruments, the effort involved in guitar recordings, which sometimes borders on fanaticism, sometimes only causes astonished looks and perplexed shaking of the head. Why this monkey circus that is difficult to explain with rational arguments? Well, experts have long known that no single instrument is as complex in terms of tone formation as a distorted electric guitar. Anyone who wants to record real guitars with real amplifiers, real loudspeakers and real microphones is happy to travel kilometers between the control room and the recording room during a session, or maintain constant radio contact with the trainee who pushes the microphones. Just 5 millimeters change the sound dramatically, so that the sonic possibilities can be increased immeasurably. In this area, a new name, the American manufacturer Heil Sounds, has established itself in a comparatively short time, which is preparing to put the eternal dominance of the narrow protagonist with the 2 letters and 2 numbers into perspective.

Dynamic, condenser or what?

I venture the theory that without the inclusion of distorted guitars, the Shure SM57 (https://en.wikipedia.org/wiki/Shure_SM57), although it is of course still a snare classic to this day, would probably have been around ages ago would have been removed from the program, or at least would not continue to be priced well above the 100 euro mark. Instead, the dynamic microphone, equipped with the characteristic hollow “Mittennöck”, is THE guitar microphone par excellence and is at home millions of times on all stages and studios in the world.

Of course, there are a variety of options for recording guitars, even complex tube microphone solutions are favored by some artists, but when it comes to the global standard, to date no manufacturer has managed to economically match Shure's biggest revenue generator. So it seems suspicious that the manufacturer Heil Sound, or Heil for short, has been repeatedly mentioned in the same breath as the protagonist in recent months.

I first became aware of the company at the beginning of the year when the FOH Peter De Wint of my band GRAVE DIGGER (https://www.grave-digger-clan.de/) insisted on taking his own microphones with him on our European tour suggested the PR30 and PR31 models to me for live recording of the guitar. In order to be able to get a better picture in the studio, the Heil Sounds PR30, PR35 and PR40 models are now available for testing. This test deals exclusively with the recording of guitars, primarily in the crunch to high gain range, as the tonal differences are very massive due to the extremely high overtone content.

The structure of the Heil Sound PR30, PR35 and PR40 microphones

Heil Sound PR30

As with the PR40, the first thing to do with the PR30 is to clear up any optical confusion. Even if the microphone can easily be confused with a large diaphragm condenser microphone in terms of optics, the Heil Sound PR30 or PR40 is not discussed sideways, but axially. Aware of this, the manufacturer of a typical American operating manual has a warning about this in every conceivable place. placed. The champagne-colored microphone (also available with appendix B in black) has a cardioid characteristic and, despite its massive design, weighs just under 250 grams, which also allows it to be fixed to a long-stretched boom without massively crushing the screw fixation.

According to the manufacturer, the frequency response of the capsule is 40 Hz - 18 kHz, with the frequency response being comparatively linear. Only a subtle overemphasis at 80 Hz and a powerful boost of 10 dB at 4 kHz bend the curve a little, although the emphasis in the treble range is an advantage that should not be underestimated when recording guitars. As with almost all moving coil microphones, the Heil Sound PR30 is very tough when it comes to sound pressure. In this case it is 146 dB SPL.

When it comes to accessories, the manufacturer unfortunately only offers the absolute minimum, that is, a microphone clamp, which comes packed in foam in a cardboard box together with the microphone. For a microphone with a retail price of 349 euros, this is an indictment.

Heil Sound PR40

Visually quite close to the PR30 at first glance, the Heil Sound PR40 comes with a different capsule, which, like the PR30, has a comparatively large membrane and therefore great sensitivity for a dynamic microphone. The frequency response is a bit lower at 28 Hz - 18 kHz, and the maximum SPL is a touch higher at 148 dB.

The 4 kHz boost of the PR40 is missing here, but a slight treble exaggeration of 1.5 kHz rises evenly up to around 5 kHz, where it also remains with a boost of almost 10 dB up to around 10 kHz. An interesting curve, I'm curious to see how this affects guitar playback.

Heil Sound PR35

In contrast to the PR30 and PR40 models, the Heil Sound PR35 is designed as a handheld version and is toying with vocal transmission as its primary area of application, which is also reflected by the high-pass filter at 80 Hz, which can optionally be activated with a screwdriver. However, many vocal microphones have outstanding sound properties when it comes to guitar pickup; the SM58 is just one of many examples.

The Heil Sound PR35 also has a subtle emphasis between 70 - 100 Hz, but then runs almost linearly up to 1.5 kHz and only increases very moderately by 2 dB until just before 5 kHz, where it has another peak of almost 2 dB and then drop evenly back to the zero line up to 15 kHz.

The Heil Sound microphones in practice

As already mentioned, this test is “only” about distorted guitars, and even the 13 sound files can only reproduce a tiny part of the sound variations that can be produced with just 3 microphones. The sound files were recorded with a Celestion G12 65 12 inch speaker, built around 1981, in a matching 4x12 Marshall box. Three different channels of the Hughes & Kettner Triamp (https://www.amazona.de/hughes-kettner-triamp-mark-33/) were used as an amplifier without any pedals, and a Fame Forum IV Ironfinger was used as a guitar. All cabling was done with Cordial cables, and a Mackie 32-8-8 with deactivated tone control was used as a console.

Simply changing the amplifier, speaker or guitar would have increased the variety of sounds many times over, so I definitely recommend testing the respective microphone with your personal setup. The PR40 alone sounded catastrophic on a 75 watt Celestion speaker, with the same setting / amp / guitar on a 12 inch Koch speaker it sounded almost heavenly.

As a reference, in the first two setups one track was recorded with the SM57 as a reference, followed by the three protagonists. As a special feature, I then mixed two different Heil microphones, which resulted in some very interesting sounds due to certain phase cancellations and overemphasis.

Setup 1: Medium Crunch, Channel 2A

The Shure delivers the world-famous vintage retro sound as you know it. Lots of pressed high mids, little bass, some highs and an extremely high assertiveness.

The PR35 works completely differently here, more mids, less high-mids and the treble boost described produce a very pleasant sound with this level of distortion.

The PR40's larger diaphragm allows for a much more focused low-mid component, while still retaining a strong high-end component. The microphone also has significantly more headroom, which means more dynamics.

The PR30 focuses most clearly on the typical guitar frequencies. Lots of mids, subtly hollow, with a lot of punch and pressure.

The combination of two microphones creates a subtle scoop sound, which, depending on the gradation, excellently plugs the frequency holes that become available depending on the arrangement. Tonal diversity? Almost infinite.


Setup 2: Medium Crunch, Channel 2B

Here the whole thing with significantly more distortion and a different channel on the amplifier. Certain components are further exploited, others disappear completely. A completely new picture in terms of sound, even though only the amp channel was changed.

Setup 3: Medium Crunch, Channel 3A

This sound file was recorded with the third channel 3B of the Triamp on a Koch 60 watt 12 inch speaker in the matching 4x12 cabinet.

Conclusion

It's not for nothing that Heil Sounds is considered the current "hot shit" when it comes to guitar recording. The PR30, PR35 and PR40 models shine with their individual strengths and open up a wide range of sonic possibilities. Even if the comparatively high price may put some people off, you get a high value for money, which makes the purchase definitely worth it.

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Additional Informations:

Introduction:
Heil Sound stands as a testament to innovation and excellence in the realm of audio technology. Founded by Bob Heil in the late 1960s, the company has carved a niche for itself in the competitive landscape of sound equipment manufacturing. This article delves into the rich tapestry of Heil Sound's history, tracing its humble beginnings to its current status as a pioneering force in the industry.

Origins:
The story of Heil Sound begins with Bob Heil's passion for music and electronics. Born on October 5, 1940, in Marissa, Illinois, Heil demonstrated an early aptitude for tinkering with electronic devices. His fascination with sound engineering led him to establish a reputation as a skilled audio technician in his local community.

In the 1960s, Heil's expertise caught the attention of prominent musicians, including The Who and The Grateful Dead. He became their go-to sound engineer, earning accolades for his innovative approach to live sound reinforcement. However, Heil soon realized the limitations of existing microphone technology, particularly in capturing the nuances of musical performances.

Innovation:
Driven by his desire to enhance the audio experience, Heil set out to develop his line of microphones. Drawing inspiration from the principles of German engineering, he pioneered the use of large-diaphragm dynamic microphones in the music industry. This breakthrough innovation laid the foundation for Heil Sound's signature sound quality and reliability.

One of Heil's most significant contributions to microphone design was the PR-30, introduced in 1970. Unlike traditional microphones, the PR-30 featured a unique diaphragm design that improved transient response and frequency range. This innovation revolutionized the way sound engineers captured live performances, earning Heil Sound widespread acclaim in the professional audio community.

Expansion and Recognition:
As Heil Sound gained traction in the market, Bob Heil continued to expand his product line to cater to diverse audio applications. From broadcast studios to concert arenas, Heil microphones became synonymous with superior sound reproduction and durability. The company's commitment to quality and innovation garnered prestigious awards, including multiple TEC Awards for excellence in microphone design.

In addition to microphones, Heil Sound diversified its product portfolio to include speaker systems, headphone amplifiers, and audio accessories. Each product reflected Heil's relentless pursuit of sonic perfection, earning the trust of industry professionals and audiophiles worldwide.

Legacy:
Bob Heil's pioneering spirit and dedication to excellence remain the driving force behind Heil Sound's success. His vision of delivering uncompromising audio quality continues to shape the company's philosophy, inspiring a new generation of innovators in the field of sound engineering.

Today, Heil Sound stands as a beacon of innovation in the audio industry, with a global presence and a diverse range of products tailored to meet the needs of musicians, broadcasters, and sound engineers alike. From humble beginnings in a small town in Illinois to international acclaim, the journey of Heil Sound is a testament to the power of passion, perseverance, and innovation in shaping the future of sound technology.

TEST: Harley Benton Tube 15

 If I can be honest, when it was announced that Harley Benton had brought an all-tube combo onto the market for under €230, plus a 12-inch Celestion speaker, which normally already accounts for 50% of the fixed costs, I was gripped by skepticism. How often have I had very inexpensive all-tube tops and combos on the dissecting table, where it became apparent from the first sound from the loudspeaker or at first glance in terms of workmanship that the attribute “full-tube construction” only served to promote sales and the reputation of most of them Higher quality construction did more harm than good. But this wouldn't fit the demands of the Thomann house brand at all, which is why I was struck by curiosity when it came to the Harley Benton TUBE15 Celestion. Let's see what the little Chinese has to offer in terms of sound.

The concept of the Harley Benton TUBE15 Celestion

“A single channel? Just a sound? Even my practice amp from manufacturer Anyone who is in the know knows about the concept of an all-tube single-channel speaker, which provides a highly dynamic clean or crunch sound as a basis; the variety comes from pedals and the guitar's volume control. More on this later in the practical part.

The Harley Benton TUBE15 Celestion is in fact a single-channel all-tube combo, with a 12 inch speaker from Celestion (Seventy 80) and draws its power from 3 pieces of ECC83 (12AX7) in the preamplifier and 2 pieces of EL84 in the power amp. Using a switch you can switch the rehearsal room/club volume from 15 watts to 1 watt practice volume. The sound then changes somewhat, as expected, but largely retains the same tonal direction. Attention, don't forget, a noisy 50 watt combo is only about 30 - 40% louder than our protagonist, you can also play very loud club shows with 15 watts, especially since a 12-incher usually approaches the spectacle in a very mature way.

In addition to the classic three-band tone control (treble, middle, bass), gain and master, the channel strip consists of an unusual tone control and a reverb control. The first works on the basic tonal character of the combo with treble damping + stable bass, or bass clipping and more aggressive highs, the second controls the reverb level, which is actually generated by a small reverb spiral attached to the bottom of the housing. The effect can also be activated or deactivated by foot using a footswitch input on the back of the housing. A corresponding switch is not included with the combo but must be purchased separately.

The housing of the combo is pleasantly handy with dimensions (W x H x D): 427 mm x 435 mm x 235 mm and is comparatively light with a weight of 11.5 kilograms. The workmanship is impeccable; no imperfections could be found on edges, corners or transitions. On the back of the case there is also a serial FX loop and an additional speaker output, which requires an impedance between 8 - 16 ohms. If this input is occupied, the internal loudspeaker is deactivated. A very sensible setup, as in practice you can quickly decide whether the internally installed loudspeaker is sufficient for the show or whether you should switch to an external cabinet with 2 or 4 loudspeakers.

The power cable is permanently installed and, in the best Fender Combo style, is fixed to the side wall with a Velcro strip during transport so that the flying power plug does not accidentally damage the membrane of the speaker.


The Harley Benton TUBE15 Celestion in practice

Well then, what do you expect from a single-channel all-tube combo? First of all, the amp should cover 2 gain ranges, such as a decent clean sound that should remain undistorted even at higher volumes or a good crunch sound that depends properly on the guitar's volume control. Why these two sounds?

Of course, as a guitarist you can also play the same sound for an entire show, but this turns out to be quite monotonous when separated from your role as a rhythm guitarist in a reggae band. But if you have a stable, clean sound, preferably with good touch dynamics, you can use 2 pedals, e.g. B. an overdrive and a distortion pedal can quickly turn your amp into a three-channel amplifier. If you have a very good distortion pedal, even a single pedal is enough, as you can also use the guitar's volume control to create your overdrive sound.

On the other hand, a good crunch sound, which is generated by the amp, ensures a more or less undistorted clean sound when the volume control on the guitar is turned down and can be expanded into a three-channel amplifier using a booster or overdrive. In addition, many single-channel amps have a much stronger basic sound than sophisticated multi-channel amps, which are more acoustically convincing on their own at first glance, but are much less effective in a band context.

So let's first take a look at the clean sound of the amp. 2 points jump out at you from the first tones. On the one hand, the Harley Benton TUBE15 Celestion has an incredibly high bass content for an open combo. A very useful feature, as with most combos you have to constantly keep the bass control at its maximum position in order to absorb the radiated energy that is “lost” to the rear.

Secondly, Harley Benton did really well to give the little combo a branded speaker. The Seventy 80 may not necessarily be everyone's favorite from Celestion, but the loudspeaker makes an excellent impression, especially when it comes to implementing the sometimes somewhat brittle sounds from the decade of the 1970s. The latently high-pitched reproduction fits very well with the always subtly nasal-sounding productions of his time and makes classic rock productions of the Plexi era with small cutlery very close. How often have I experienced that in the entry-level combo class the cheapest cardboard was used, which sometimes drowned out good amplifier concepts in a squawking, biting sound. Of course, you can save most of the production costs with this component, but that's what it all sounds like in the end.

The sound samples were recorded with a Strat Texas Special from 1994 and a Les Paul Standard from 2014. You can really hear how extremely differently the amp reacts to the different designs of the protagonists. Corresponding to an all-tube combo, the sound is (fortunately) never “transistor-clean”, but can be made very clean with the help of the volume control. The sound is independent, stands out very well and, as expected, works excellently with various distortion pedals.

The crunch area, in which the Celestion loudspeaker can also use its strengths, is just as convincing. The combo delivers a stable, very dynamic sound until around 12 o'clock in the master area, from this point onwards the combo slowly fades into the sag area. What initially has its charm quickly turns into a fuzz-like rattle, which certainly finds its friends in the avant-garde area, but was a bit too “fuzzy” for me personally.

If you turn the gain control all the way, you have to be careful that the sound doesn't become too biting or muddy. The first can be tackled with the tone control, but with some loss of freshness, the second can only be tackled with the appropriate pickup selection. Especially in the stronger gain ranges, you can hear the combo's EL84 power tubes, which tend to sound a bit sharp in this range and are somewhat behind in terms of stroke and compression compared to their larger colleagues from the EL34 or 6L6 departments. Instead, they reach saturation earlier and allow for subtle power amp saturation even at small club shows, while the big bottles try to get their 50 watts or more to the crowd without FOH tirades.

Conclusion

With the Harley Benton TUBE15 Celestion, the Thomann house brand manages to create a lot of all-tube culture from a very small wallet. The combo is impeccably manufactured and, for a retail price of under €230, offers many of the adjustment features that make a full-tube single-channel system so popular. In conjunction with the right pedals, you can easily generate 3 good to very good sounds, so that with an additional small pedalboard and the appropriate playing culture you can make an entire evening sound interesting.

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Additional Informations:


Introduction:
Harley Benton, recognized for delivering quality musical instruments and equipment at affordable prices, has made significant strides in the realm of all-tube amplifiers. These amplifiers, revered for their warm, dynamic tones and responsive touch, embody the essence of classic tube-driven sound. In this in-depth article, we embark on a journey to uncover the intricacies of Harley Benton's all-tube amplifiers, exploring their history, features, sonic characteristics, and impact on the modern music landscape.

1. Legacy and Tradition:
The allure of all-tube amplifiers traces back to the early days of electric guitar amplification, where vacuum tubes served as the primary amplification technology. Harley Benton pays homage to this tradition by crafting amplifiers that harness the sonic richness and harmonic complexity of tube-driven circuits. With a keen understanding of vintage amplifier designs and modern manufacturing techniques, Harley Benton's all-tube amplifiers offer a nostalgic yet forward-thinking approach to amplification.

2. Craftsmanship and Construction:
At the heart of every Harley Benton all-tube amplifier lies a meticulously crafted circuit, comprising premium components and hand-selected vacuum tubes. From the iconic 12AX7 preamp tubes to the robust EL34 power tubes, each element is carefully chosen to ensure optimal performance and reliability. Moreover, Harley Benton amplifiers feature robust construction, with rugged enclosures and meticulous attention to detail, ensuring years of reliable operation on stage and in the studio.

3. Versatility and Flexibility:
While steeped in tradition, Harley Benton's all-tube amplifiers boast modern features and functionalities that cater to the diverse needs of today's musicians. Whether you're a blues guitarist seeking smooth, saturated overdrive tones or a metal shredder craving tight, articulate distortion, Harley Benton amplifiers deliver versatility and flexibility in spades. With intuitive controls, onboard effects, and extensive connectivity options, these amplifiers empower musicians to sculpt their signature sound with ease.

4. Sonic Characteristics:
The sonic signature of Harley Benton's all-tube amplifiers is characterized by lush harmonics, creamy overdrive, and touch-sensitive response. Thanks to the inherent warmth and natural compression of vacuum tubes, these amplifiers exhibit a dynamic range and expressiveness that is unrivaled by solid-state counterparts. Whether pushed to the brink of breakup or cranked to ear-splitting volumes, Harley Benton amplifiers deliver a tonal palette that inspires creativity and captivates audiences.

5. Performance and Reliability:
Beyond their sonic prowess, Harley Benton's all-tube amplifiers excel in terms of performance and reliability. Designed to withstand the rigors of touring and intensive use, these amplifiers offer rock-solid reliability and consistent performance night after night. With robust power supplies, rugged chassis, and meticulous quality control, Harley Benton amplifiers instill confidence in musicians, allowing them to focus on their craft without worrying about equipment failures or malfunctions.

6. Value Proposition:
Despite their exceptional quality and performance, Harley Benton's all-tube amplifiers remain remarkably affordable, making them accessible to musicians of all budgets. By leveraging efficient manufacturing processes and economies of scale, Harley Benton delivers premium tube tone without the premium price tag. Whether you're a seasoned professional or an aspiring enthusiast, Harley Benton amplifiers offer unparalleled value for money, allowing you to experience the magic of tube-driven sound without breaking the bank.

7. Customer Satisfaction and Reviews:
Feedback from musicians and reviews of Harley Benton's all-tube amplifiers have been overwhelmingly positive. Musicians praise the amplifiers for their authentic vintage tones, solid construction, and unbeatable value. Whether used in the studio for recording or on stage for live performances, Harley Benton amplifiers consistently exceed the expectations of players, earning praise from enthusiasts and professionals alike.

8. Conclusion:
In conclusion, Harley Benton's all-tube amplifiers represent a marriage of tradition and innovation, offering musicians a gateway to the timeless allure of tube-driven sound. With meticulous craftsmanship, versatile features, and unbeatable value, these amplifiers embody the essence of Harley Benton's commitment to providing quality gear for all. Whether you're seeking vintage-inspired tones or modern versatility, Harley Benton's all-tube amplifiers stand ready to ignite your musical journey with warmth, character, and sonic bliss.

TEST: Harley Benton SC 550

 When the author of this review was a curly-haired youth, there were 2! Guitar brands with which you could make a statement for your personal ego and your circle of friends. Both came from America, both were very expensive, one was called Fender, the other Gibson. Anyone who didn't come into the illustrious circle of these two providers had to make friends with an impressive hodgepodge of Japanese providers, all of which had the same shapes as the two protagonists, but differed massively from them in detail. Mind you, Japan was just starting to build electric guitars and had correspondingly little expertise, in China people were still walking around in boiler suits and God knows countries like Vietnam had other problems than building guitars for European boys like me. Anyone who receives an instrument manufactured in Asia today usually receives a completely different level of quality than in the early days of the electric guitar, which brings us to our test instrument, the Harley Benton SC-550 II DFB.

Structure and construction

The hanger of the Harley Benton SC-550 II DFB is associated with a very simple number, 279. That is the retail price in euros at Thomann for this Les Paul copy, which is manufactured in Indonesia. Just let this price melt in your mouth for a moment and then think about how it is even possible to sell an instrument, even if it is only of average quality, at this retail price. This is only possible due to direct imports, the elimination of middlemen and the use of OEM production, otherwise the instrument would have to have at least double the sales price.

Thomann's house brand Harley Benton serves the major trademarks of Gibson's #1 driving force, but skilfully avoids the details that have already ended up in court with many other providers. A direct model cannot be identified as a template; rather, Harley Benton incorporates several elements that were used in different decades of the Les Paul.

As expected, mahogany is the primary tonewood used in the body and glued-in neck. However, the neck has an inclined connection at the base of the neck, making it a little easier to play in the high registers. However, the first time you pick up the instrument it becomes clear that this instrument has a “chambered body” for weight reasons. The weight of still 3.7 kg would probably drive an RG player screaming out of the room, but the classic LP player can only smile at such information. Gibson itself recently shelved this design again because customers rejected the hollower and sustain-reduced sound in favor of protecting the back. The interested customer can form his own opinion here, for me personally an instrument can't be heavy enough, but that's another story.

As a visual eye-catcher, an intensively stained and eye-catching curly maple veneer was glued onto the mahogany body of the Harley Benton SC-550 II DFB, but this does not affect the sound of the instrument due to its small thickness. It's still pretty to look at though. The fingerboard was once again made of Pau Ferro, which comes very close to the resonance behavior of rosewood, but is significantly cheaper in price. Pearloid trapezoid inlays are used as fingerboard inlays in the LP Standard Style.

When it comes to the neck profile, Harley Benton is based on the 1960s LP neck profile from Gibson with the thicknesses of 20 mm on the 1st fret, 22 mm on the 12th fret and the shape of a moderate “C”, while, for example, the potentiometer attachments of both Volume and Tone Controllers were borrowed from the fifties collection. You can see that Harley Benton is not looking for authenticity, but rather pursues her own approach.

As befits an instrument of this shape, the short scale length of 62.8 cm was used, which means that the string tension is slightly lower than with the long scale length. 2 pieces were used as pickups. Tesla Opus-1 AlNiCo-5 humbuckers installed, a company I had never heard of before and which is apparently based in Korea.

Everything is fine so far? Now, I don't know which designer at Harley Benton has the final say before the instrument goes into production, but I believe that position should be filled as soon as possible. Unfortunately, the attractive appearance of the instrument is severely compromised in the area of the headstock. On the one hand, we have a saddle made of bright white plastic. Unfortunately, a real downer when you consider that all other plastic parts such as the binding on the neck and body, the frames of the pickups and the art plate below the three-way switch are in a vintage-colored cream / ivory. The visual discrepancy reduces the appearance enormously, especially since the cream-colored neck binding rests against the white saddle.

However, this is nothing compared to the tuning pegs of the mechanics, which were made in green (!)! Yes, you read that right, green! Not a bright grass green, more of a jade green, but definitely the most inappropriate color scheme on a Tobacco Burst colored guitar I've ever seen in my life. Whether the designer thought this is what vintage tuners would look like after decades of use, I have no idea, but if you value the visual appearance of your instrument, you should plan on getting a set of new tuning tuners when you buy the instrument. It's actually a shame, because there's nothing wrong with the mechanics in terms of their control and quality.

The Harley Benton SC-550 II DFB in practice

When you pick up the instrument for the first time, everything seems very familiar. Harley Benton easily manages to create a good feel for the game from the first moment and does not create any haptic inconsistencies. As is already known from other Harley Benton products, the vibration quality of the instrument is well above the advertised retail price. While you used to get a plank of plywood with the vibration characteristics of a kitchen table for this course, the Harley Benton SC-550 II DFB offers a good basis for a satisfying game. Although the body cavities once again prove to be easy sustain killers and give the instrument a latently hollow sound approach, the always solid construction of the instrument in general easily compensates for this point.

Only the Tesla pickups don't really convince me. Although the pickups in the crunch area leave a really good impression with their subtly brittle sound and the high gain area is also quite acceptable, the clean area in particular shows that the pickups lack sonic character. The basic sound seems a bit “occupied”, it lacks liveliness and the necessary frequency peaks to climb to the next higher level in the quality scale. But you should also keep in mind the retail price, which sets its economic limits somewhere. If you want, you can always buy a set of high-quality humbuckers and it will still cost just under €500.

Incidentally, the tester received the instrument very well set up, a fact that is still not a matter of course with inexpensive Far East production. Proper adjustment of the instrument during the final inspection must always be done by hand, takes at least 20 minutes and since human handwork is the main factor in the final price of the instrument, other manufacturers are sometimes happy to save money here. What didn't I get from Asia in the past, concave necks that you could slide a finger under, crooked necks, octave purity, what is that?

All in all, the Harley Benton SC-550 II DFB impresses in many areas and will not only appeal to users who will only focus on the retail price. The sound files were created with an ENGL Savage MK II, Cordial cables, a Marshall 412 cabinet with Celestion G75T and 2 pcs. Shure SM 57 created.

Conclusion

With the Harley Benton SC-550 II DFB, the Thomann house brand has a good and very affordable LP copy in its portfolio. The instrument is very well made, offers a good basis in terms of vibration and, thanks to OEM production and direct import, delivers an outstanding price/performance ratio. If you can get used to the somewhat brittle sounding Tesla pickups and ignore the most mismatched tuning pegs of all time, you should give the instrument a try.

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Additional Informations:

Introduction:
Harley Benton, a brand renowned for its affordable yet high-quality musical instruments and equipment, has gained attention for its range of products that bear striking similarities to those of other manufacturers. These offerings, often referred to as replicas or inspired gear, have sparked discussions within the music community about their ethical implications, quality, and value proposition. In this comprehensive article, we delve into Harley Benton's replicas and inspired gear, examining their origins, characteristics, and impact on the industry.

1. Origins and Evolution:
Harley Benton's foray into replicas and inspired gear can be traced back to the brand's mission of providing musicians with access to quality instruments and equipment at affordable prices. Recognizing the popularity of certain iconic designs and sounds, Harley Benton began offering replicas and inspired versions of sought-after gear, ranging from guitars and basses to effects pedals and amplifiers.

2. Replication vs. Inspiration:
It's essential to distinguish between replicas, which are exact copies of existing products, and inspired gear, which draws inspiration from existing designs but incorporates unique features or modifications. While some Harley Benton products closely resemble those of other manufacturers, others take inspiration from classic designs while adding modern improvements or innovations.

3. Ethical Considerations:
The production and sale of replicas and inspired gear raise ethical questions within the music industry. Critics argue that replicas may infringe upon intellectual property rights and undermine the originality and creativity of designers and manufacturers. However, proponents argue that replicas and inspired gear make iconic designs more accessible to a broader audience while fostering innovation and competition in the market.

4. Quality and Craftsmanship:
One of the primary concerns surrounding replicas and inspired gear is their quality and craftsmanship compared to their original counterparts. While some musicians may perceive replicas as lower-quality imitations, others attest to the impressive build quality and performance of Harley Benton's offerings. Factors such as materials, construction techniques, and attention to detail all contribute to the overall quality of replicas and inspired gear.

5. Value Proposition:
Despite the ethical and quality considerations, Harley Benton's replicas and inspired gear offer a compelling value proposition for musicians. By providing affordable alternatives to expensive or hard-to-find instruments and equipment, Harley Benton enables musicians of all backgrounds and budgets to access iconic tones and designs. Additionally, the brand's commitment to quality control and customer satisfaction ensures that musicians can rely on their replicas and inspired gear for reliable performance and longevity.

6. Range of Replicas and Inspired Gear:
Harley Benton offers a diverse range of replicas and inspired gear across various product categories. From guitars inspired by classic models from Fender and Gibson to effects pedals inspired by vintage circuits, the brand's lineup caters to a wide range of musical styles and preferences. Whether you're a beginner looking for your first instrument or a seasoned player seeking an affordable alternative to a boutique pedal, Harley Benton's replicas and inspired gear provide viable options.

7. Community Reception and Reviews:
Feedback from musicians and reviews of Harley Benton's replicas and inspired gear have been mixed. While some musicians praise the brand for offering affordable alternatives to iconic designs, others express concerns about originality and authenticity. However, many users appreciate the value and performance of Harley Benton's offerings, highlighting their reliability, playability, and sound quality.

8. Future Directions and Innovations:
As Harley Benton continues to expand its product lineup and reach, the brand may explore new directions and innovations in replicas and inspired gear. This could involve collaborating with designers and manufacturers to create unique hybrid designs or incorporating proprietary technologies and features into existing replicas. By staying attuned to the evolving needs and preferences of musicians, Harley Benton remains poised to push the boundaries of what's possible in replicas and inspired gear.

9. Conclusion:
In conclusion, Harley Benton's replicas and inspired gear occupy a unique space in the music industry, offering affordable alternatives to iconic designs while sparking debates about ethics, quality, and value. Whether you view them as innovative interpretations or contentious imitations, there's no denying the impact that replicas and inspired gear have had on musicians worldwide. As Harley Benton continues to evolve and innovate, its replicas and inspired gear will undoubtedly remain a topic of discussion among musicians, enthusiasts, and industry insiders alike.