TEST: Fuchs Mantis

Sometimes you really get the impression that you're losing track. Every time you think you've seen or at least heard of all the product lines and manufacturers, another new name emerges from the seemingly inexhaustible sea of up-and-coming, ambitious suppliers. Especially in the boutique sector and here explicitly in the amplifier sector, the number of manufacturers has multiplied in recent years like the offspring of a pair of rabbits without predators.

Partly based on the "Big Five" (Marshall, Mesa, Vox, Fender, Hiwatt), partly as a further development or reverse engineering of the most successful models of these manufacturers, or as a sound machine as independent as possible, the market has developed immensely in terms of diversity and sound possibilities. One of those names, which I had not yet on the list is the American company with the German name Fuchs.

With the Mantis model, the company led by Andy Fuchs is preparing to establish its reputation in the Champions League, which goes hand in hand with clever detail solutions, but also with a price tag of over €3000. Let's see what the Mantis has to offer in terms of features within its wooden walls.



Construction

The Fuchs Mantis is a head, which, like almost all representatives of this genre, comes in the typical "briquette" shape. However, the briquette has a different shape than the standard upright Marshall. In contrast to the latter, the Mantis appears stockier with less height, but with significantly more depth, which is also reflected in the dimensions 65.4 cm x 28.6 cm x 25.4 cm (W x H x D). The hope to squeeze the head into an already existing Marshal Case for transport purposes must be disappointed with this. Fuchs has not yet produced suitable 4x12" cabinets, but the dimensions of the amp fit all common cabinets of this genre without any problems.

The chassis is covered with black Tolex and rests on four large rubber feet, which are mounted very far to the outer edges of the cabinet. The general workmanship of the head is, as expected, impeccable, although here and there a little shielding foil protrudes from the head and the holes of the FX loop are not neatly aligned, but this can happen with pure manual work. Eight corner protectors and a strong carrying handle provide the usual protection during transport. The top is designed as an all-tube amp and draws its power of 100 watts from 6 x 12AX7 and 4 x EL34 tubes. Regarding the channel selection, the Mantis is designed as a two-channel amp, whereby channel 1 is not only responsible for the clean range, but can also produce very powerful crunch.

Channel 2 follows the so-called "scooped metal sound", which by a strong reduction of the mids and a parallel boost of the treble and bass in recent years, especially in the "grunt / roar / scream metal" has found various fans. As a challenge in this segment, especially a controlled development of background noise and the highest possible transparency of the sound must be ensured even at very high gain settings. The available controls are: Gain, Master, High (pull for channel switch), Mid, Low for channel 1 and Gain, Master, High, Mid, Low for channel 2. In the Master section we find Presence, Thrust (bass boost) and Global Master (power amp).

The first unusual details reveal themselves on the back of the amp. Although there is a screwed cover to the inner workings of the amplifier, which offers direct access to the innards with two large oval cutouts, only the power tubes are protected with a kind of grid cage. This has the advantage that, for example, the preamp tubes can be quickly changed, respectively checked, but it also means that an elongated object also very quickly finds its way into the interior of the top. Therefore, directly make a case for the amp!

If you have problems reading the names of the ports on the back, you don't have to panic or have the diopter values of your glasses checked. There is a reason for the strange signs, all numbers and letters are upside down! The reason for this is the statement of some guitar technicians that they always adjust the amps by bending over the head from the front and thus can read the labels better. Well, my backliner always sets the amps when he stands behind the amp and firmly installed in the case, there could possibly be problems here, but since the working methods seem to differ.

In addition to the IEC plug, power and standby switch, the footswitch connector and the main fuse, the Mantis has a serial true bypass FX loop on the back of the case, which can be switched between - 20 dB and + 4 dB in terms of working level. Thus, both the pedal and the 19-inch trick box should find their management. Unusual seems only that the Mantis is not designed for fullstack operation. Due to only 3 speaker outs (4, 8 and 16 ohms), of which only one may be occupied at a time, it is not possible to connect 2 speakers to the top without further distribution switchers.



Practice

Similar to Marshalls of the first series, respectively models, the Mantis can also be "coaxed" to a clean sound by reducing the gain or the volume control on the guitar, but it is not its favorite metier. Those who expect or even hope for radiant highs in the crystal-clear Fender sound should look elsewhere. Here lies a large part of the independence of the Mantis, you can tickle from channel 1 but very nice modern blues attitudes with a strong "balls share". Purists may turn up their noses, but this does not detract from the very good basic sonic character of channel 1.

Channel 2 then goes directly into the full and starts already at low gain values with a high degree of distortion, which can be continuously stretched to real high gain. Even at very high gain, the EL34s provide enough tightness not to drown in soft mud, as many colleagues in the industry do. The channel is in the neutral setting surprisingly low in treble, but gets through the treble control from about 1 o'clock a tremendous boost in the high frequencies. Also in the bass range, the already mentioned controls provide maximum frequency yield when needed and generate the loved/hated scoop effect, depending on which sound you prefer.






Conclusion:

The Fox Mantis is a character actor, perhaps the Jack Nicholson among tops. As Nicholson ultimately masters only one role (to play himself) but absolutely perfect, the Mantis finds its primary field of application in the modern scoop metal sound of the turn of the millennium until today. Pronounced pressure and maximum stroke in the bass range, combined with cutting highs in the high end allow the use of classic metal to the extreme metal variations, gladly with 3 half notes down or more.

Even if one does injustice to the amp due to its flexible first channel with the one-dimensional sonic classification in the metal area, so the head will find its primary field of application there in my opinion. Nevertheless, you should test the amp extensively for its flexibility, there is more to the Head than meets the eye. I was particularly taken with the first channel, which has a pleasantly soft basic sound with a fast response.

If you are not deterred by the comparatively high price due to the American handmade production and are looking for an individual sound, you should definitely test the Mantis.


Additional Informations:

- Fuchs Amps is a boutique guitar amplifier company based in Clifton, New Jersey, USA. Founded by Andy Fuchs in 1999, the company has gained a reputation for producing high-quality, hand-built amplifiers that deliver rich, warm tones.

One of Fuchs Amps' most popular amplifier lines is the ODS series, which includes the ODS Classic and ODS-II models. These amps are known for their smooth overdrive tones, which have made them popular among blues, jazz, and rock guitarists. The ODS Classic, for example, is a low-wattage amplifier that delivers warm, vintage tones, while the ODS-II is a high-gain amplifier that is popular among metal guitarists.

Another popular amplifier line from Fuchs Amps is the Blackjack series, which includes the Blackjack 21 MKII and Blackjack 21 MKII Combo models. These amps are known for their versatility and are popular among both novice and experienced guitarists. The Blackjack 21 MKII, for example, is a low-wattage amplifier that offers a range of classic rock and blues tones.

In addition to its range of amplifiers, Fuchs Amps also produces a range of pedals, including the Plush Drive and Cream pedals. These pedals are designed to complement Fuchs Amps' amplifiers and deliver a rich, full-bodied sound.

Fuchs Amps' commitment to quality is evident in all of its products, which are hand-built in the USA using only the finest components. The company also offers a range of customization options, allowing guitarists to create a truly unique amplifier that suits their individual needs and playing style.

Fuchs Amps has gained a loyal following among guitarists around the world, with many notable artists using its amplifiers in the studio and on stage. These include Warren Haynes, Derek Trucks, Joe Bonamassa, and John Mayer, among many others.
Overall, Fuchs Amps is a company that is committed to producing high-quality, hand-built amplifiers and pedals that deliver rich, warm tones. Whether you're a blues guitarist, a jazz player, or a metalhead, Fuchs Amps has something to offer, and is well worth checking out if you're in the market for a new amplifier or pedal.



- Tube amplifiers, also known as valve amplifiers or full tube amplifiers, are electronic amplifiers that use vacuum tubes to amplify the signal of an audio source. These amplifiers have been in use for over a century and have a unique, warm sound that is highly sought after by musicians and audiophiles.

The earliest vacuum tubes were developed in the late 19th century and were used primarily in radio broadcasting. However, it wasn't until the 1920s and 1930s that vacuum tubes began to be used in audio amplifiers. Tube amplifiers quickly gained popularity among musicians, as they offered a warm, rich tone that was not achievable with solid-state amplifiers.

In a tube amplifier, the audio signal is first fed into the preamp section, which uses one or more tubes to boost the signal. The amplified signal then passes through the power amp section, which uses larger tubes to amplify the signal to a level that can drive a speaker. The tubes in a tube amplifier are typically powered by high-voltage power supplies, which can be either solid-state or tube-based.

One of the main advantages of tube amplifiers is their warm, rich tone. The sound of a tube amplifier is often described as "creamy," "lush," or "musical." This is due to the way that tube amplifiers distort the signal, which creates harmonics that are pleasing to the ear. Tube amplifiers also have a natural compression, which can help to smooth out a guitar's dynamics and make it easier to play.

Tube amplifiers also have a unique feel and response that is different from solid-state amplifiers. The way that a tube amplifier responds to a player's touch and the way it interacts with the guitar can be difficult to replicate with a solid-state amplifier. This is why many guitarists prefer to use tube amplifiers, even though they may be less reliable and more expensive than solid-state amplifiers.

However, tube amplifiers do have some disadvantages. They are typically heavier and more fragile than solid-state amplifiers, and they require regular maintenance and tube replacement. Tube amplifiers also tend to be less efficient than solid-state amplifiers, which means that they produce more heat and consume more power.

Despite these drawbacks, tube amplifiers continue to be popular among musicians and audiophiles. Many guitarists believe that the warm, rich tone of a tube amplifier is worth the extra cost and maintenance, and that nothing else can quite replicate the feel and response of a tube amplifier.

In recent years, there has been a resurgence of interest in tube amplifiers, with many boutique manufacturers producing high-quality, hand-built amplifiers that deliver the warm, rich tone that tube amplifiers are known for. Whether you're a guitarist or an audiophile, a tube amplifier is an investment that can deliver years of musical enjoyment.