TEST: ESP E-II RZK-II Burnt

 Popularity is something fine in the instrument sector, especially when you play in one of the most successful bands in the world. Although the craftsmanship on the six strings at Rammstein is rather rudimentary sown and meanwhile most of the instruments at their live shows are flown in by backing tracks via MacBook and consorts, the stylistics of the still in the GDR founded band in the form of a fusion of metal and 2/4-heavy marching music turns out to be one of the great musical blueprints of our time. Countless copyists of the second and third craft league including the creation of a new music genre called "NDH" (Neue Deutsche Härte) pay tribute to the band's influence on the national and international scene. That each Rammstein musician gets his own signature products is self-explanatory, whereby guitarist Richard Kruspe can look back on several years of cooperation with the company ESP, whose offshoot ESP E-II RZK-II Burnt is here for us to test.

The look of the ESP E-II RZK-II Burnt

If in a test one usually turns first to the components woods and construction, then one must change the order somewhat with the ESP E-II RZK-II Burnt.  As colleague Stephan Güte noted in his 2013 review of the first Burnt variant (https://www.amazona.de/test-esp-rzk-i-richard-z-kruspe-burnt-e-gitarre/), any details of the instrument are overshadowed by the extraordinary visuals. The three-dimensional image of bloody scarred cuts is only surpassed by the burst burnt blisters that populate both the top and the sides of the instrument in handsome numbers.

To what extent someone likes this look or not, everyone must decide with himself, I could imagine, however, that Richard Kruspe came up with the idea for this finish on one of his earlier guitars, which came too close to a flamethrower during the image-fair Pyro-Kasperletheater of Rammstein and the blister finish not quite voluntarily of its own accord.

Detached from such assumptions, however, the elaborate 3-D visuals struggle with a massive haptic problem. Even as I open the included case, there are 2 small chipped layers of lacquer underneath the guitar. The explanation is quickly found. The martial looking finish is more sensitive than any mimosa. A small pressure on one of the burn bubbles and it bursts open, once briefly stuck with the plectrum on a bump and the clear lacquer comes off. To avoid such a thing, the instrument would have to be plastered with a millimeter-thick layer of clear lacquer, which was in any case to the detriment of the vibration behavior. Therefore, the nightmare of all buyers, scratches on the new guitar? So what? By the way, even completely removed layers of varnish would not change the general appearance of the instrument.

The woods of the ESP E-II RZK-II Burnt

The lynchpin of the wood construction is the continuous neck made of maple, which, let's say up front, gives the instrument incredible sustain despite the Floyd Rose vibrato system. The same was equipped with a stabilizing neck collar at the headstock transition and in return at the neck foot smoothly rounded. In order not to make the instrument look like a Steinberger for pedestrians, 2 alder body wings have been applied, while the fingerboard is made of rosewood and has 24 jumbo frets.

The glued-on top is also made of alder, an intensely grained maple top would truly have made little sense with this finish. The scale length of the guitar is 648 mm and although the overall appearance of the guitar is rather dainty, the weight of the instrument is just under 4.3 kilograms. In terms of shaping ESP is very restrained, only the generally popular "beer belly milling" is used.


The pickups / hardware of the ESP E-II RZK-II Burnt

To allow maximum transparency even at high high gain, the ESP E-II RZK-II Burnt was also equipped with EMG pickups, in this case the rather unusual combination of 2x EMG 81. For the battery change ESP has come up with a really outstanding solution. A turning device with 9V clip on the back of the guitar combines quick change, respectively voltage measurement of the battery with the highest contact security and avoids both long screws on the electrical cover or but also loose contacts and pole reversal with many folding mechanisms of other manufacturers. As long as the system is not protected by patents, some manufacturers should get familiar with this system immediately.

Although Richard Kruspe never uses it to my knowledge, the ESP E-II RZK-II Burnt has an under-milled Floyd Rose vibrato system, which is, however, somewhat limited in its action in the up-bends by the ESP Arming Adjuster (also known as the Black Box). According to the info, the system is only installed for "tonal" reasons, not to use it in its actual function, Well, that would be the first time that the still slightly sustain-reducing design is used to change the sound into an otherwise rather avoidable sound constellation. Be that as it may, perhaps ESP simply wants to reach more buyers by doing so. Once again, Gotoh tuners are used as tuners, and there is only a lone volume control on the top as a knob. A tone control? On Rammstein?

The ESP E-II RZK-II Burnt in practice

Despite the comparatively high weight, the ESP E-II RZK-II Burnt hangs well on the strap, i.e. no top-heaviness or unbalanced slobbering spoils the picture. Even played dry, the instrument has a very balanced, absolutely even sound. Completely in the tradition of the continuous neck, almost every note has the same in and out response. No dead notes, no over-presence, just an all-around homogeneous sound.

Yes, the guitar can also play clean, but let's be honest, "Le Freak" with Nile Rodgers groove in a dance band with this guitar? That would be worth a Youtube video. Whoever buys such an instrument wants only one thing. Slap power chords in drop-D tuning over the 3 bass strings and try on stage to get as close as possible to the shortened muting tail, which is cut hard in the studio thanks to digital editing, live, or let the guitars play directly off the backing tracks.

However, one would do this instrument an injustice insofar as one reduces the guitar only to simple power chord scrubbing. The high-quality and very healthy construction offers a successful powerstrat counterpoint on LP basis with immense low-mid boost. The playability also allows for classic shredding, combined with a sustain that makes the sustainer in the neck pickup slot obsolete.

Despite the extremely powerful sound, the instrument does not muddy in any setup, provided you know how to handle the tone control of your personal amplifier. The EMG pickups in particular represent a crucial point in the sound shaping. Although many different products are in the starting blocks and even seem to pee on the leg of the original in terms of "hot shit", no one has yet managed to achieve the unique balance of the EMG 81 in the high gain range.

In the end, however, the instrument will probably only end up in one of the now abundantly represented Rammstein tribute bands with the guitarist Stage left, for whom the acquisition of such an instrument is of course mandatory due to the optics to be imitated. Actually, it's a pity, because the instrument has so many more possibilities, especially since the workmanship, equipment and sound shaping are in the absolute Champions League. But we also know, eyes hear more and who runs up with such an instrument at the local cover band, scares mother and child and at the private Heavymucke can be heard during the whole rehearsal about the rolled "R" as a provocation.

But maybe there are still some collectors who like to hang optically extraordinary instruments in their showcases or on their walls to show them proudly to their friends. Considering the value of the instrument, that would really be a shame.

Conclusion

With the ESP E-II RZK-II Burnt, the Asian manufacturer has an excellent instrument in terms of sound and workmanship, which excellently covers all shades of rock, hard rock and heavy metal. However, to what extent the guitar manages to develop its own stage presence detached from the Rammstein tribute band pool remains to be seen.

Additional Informations:


- Rammstein is a German band that was formed in 1994 in Berlin. The band members include Till Lindemann (vocals), Richard Kruspe (guitar), Paul Landers (guitar), Oliver Riedel (bass), Christoph Schneider (drums), and Christian Lorenz (keyboard). The band's music is a fusion of metal, industrial, and electronic music, with lyrics primarily in German.

Rammstein has been known to be a controversial band due to their use of provocative and sometimes offensive lyrics, music videos, and stage shows. Despite this, the band has managed to gain a huge following over the years and has become one of the most successful German bands of all time.

Early Career

Rammstein's early career began in 1994 when the band members came together to record their first demo, which was sent out to various record labels. The demo caught the attention of a producer who then helped the band secure a recording contract with Motor Music Records.
In 1995, Rammstein released their debut album, "Herzeleid." The album was a commercial success in Germany and helped establish the band's unique sound and style. The band followed up with their second album, "Sehnsucht," in 1997, which propelled them to international success.

International Success

With the release of "Sehnsucht," Rammstein became a household name in Europe and gained a large following in North America. The album included some of the band's most popular songs, including "Engel," "Du Hast," and "Bück Dich." The success of the album was largely due to the band's unique sound and stage shows.

Rammstein's stage shows are known for their use of pyrotechnics, elaborate costumes, and provocative visuals. The band's use of fire on stage has led to some controversy, with some venues banning the band from performing due to safety concerns.

In 2001, Rammstein released their third album, "Mutter." The album was a commercial success and included the hit single, "Sonne." The band's music videos for the album, which included controversial themes such as incest and child abuse, further cemented their reputation as a provocative band.

Rammstein continued to release successful albums and tour extensively throughout the 2000s, including "Reise, Reise" in 2004 and "Liebe ist für alle da" in 2009.

Controversies

Rammstein has been the subject of several controversies throughout their career. The band's provocative lyrics and music videos have been criticized for being misogynistic, homophobic, and anti-Semitic. The band has also faced criticism for their use of Nazi imagery and their perceived glorification of fascism.

In response to the controversy, the band members have stated that they are not advocating for any particular political ideology and that their use of provocative imagery is intended to spark debate and challenge social norms.

In 2019, Rammstein released their seventh album, "Rammstein." The album included the controversial song "Deutschland," which sparked a debate about the band's use of Nazi imagery. The music video for the song depicted scenes from Germany's history, including the Holocaust, and included the band members dressed in concentration camp uniforms.
Despite the controversy, the album was a commercial success and topped the charts in several countries, including Germany, Austria, and Switzerland.

Legacy

Rammstein's legacy can be seen in their influence on the metal and industrial music genres, as well as their impact on popular culture. The band's unique sound and provocative stage shows have inspired a new generation of musicians and artists.

- Richard Kruspe is a German musician and songwriter best known as the lead guitarist of the band Rammstein. Kruspe was born on June 24, 1967, in Wittenberge, East Germany, and grew up in Schwerin. He started playing guitar at the age of 13 and was influenced by a variety of genres, including punk, rock, and metal.

Early Career

Kruspe began his music career in the late 1980s when he formed the band Orgasm Death Gimmick with Oliver "Ollie" Riedel, who would later join Rammstein as the bassist. The band's sound was influenced by industrial music and was characterized by heavy guitar riffs and experimental arrangements.

In 1994, Kruspe decided to leave Orgasm Death Gimmick and formed Rammstein with fellow musicians Till Lindemann, Paul Landers, Christian Lorenz, Oliver Riedel, and Christoph Schneider. The band's unique sound, which combined metal, industrial, and electronic music, helped establish them as one of the most innovative and influential bands of the 1990s.

Musical Innovations

Kruspe's guitar playing has been a central part of Rammstein's sound since the band's inception. His use of heavy riffs, unusual chord progressions, and creative sound effects has helped create the band's unique sound. Kruspe is also known for his use of unusual guitar tunings and playing techniques, which have helped create the band's distinctive soundscapes.

In addition to his guitar playing, Kruspe has also been involved in the production and songwriting of Rammstein's music. He has co-written many of the band's songs and has been instrumental in creating their unique sound. Kruspe has also produced several of Rammstein's albums, including "Sehnsucht" and „Mutter."

Solo Career

In addition to his work with Rammstein, Kruspe has also pursued a solo career. In 2007, he released his first solo album, "Emigrate," which featured guest appearances from members of Rammstein and other prominent musicians. The album was well-received by critics and showcased Kruspe's versatility as a songwriter and musician.

Kruspe has continued to release solo albums, including "Silent So Long" in 2014 and "A Million Degrees" in 2018. His solo work has been characterized by a more melodic and introspective sound than his work with Rammstein, but still showcases his talent as a guitarist and songwriter.

Legacy

Kruspe's contributions to music can be seen in his influence on the metal and industrial music genres, as well as his impact on popular culture. Rammstein's innovative sound and provocative stage shows have inspired a new generation of musicians and artists, and Kruspe's guitar playing has been a central part of that legacy.