TEST: ESP Eclipse QM

 Some test instruments seem to have an air of something special about them, simply because there is hardly any information material about the instrument. So I'm holding the ESP Eclipse QM TEASB Duncan in my hands and both the look and a few brashly played chords suggest that it's a very special instrument. I am excited.

The construction of the ESP Eclipse QM TEASB Duncan

“Another Paula copy” I can already hear the first complainers saying and yes, you can't dismiss the fact, the instrument is actually a very clear one, apart from a few details that were changed out of fear of the Nashville lawyer armada Copy of one of the largest trademarks in the field of electric guitars. But wait, some points don't seem to correspond to the larger model. Let's take a closer look.

Let's start with the typical features of a Les Paul, e.g. B. the body, which, as expected, was made of mahogany. According to internet research, the body is “chambered”, meaning that cutouts have been made in the body to reduce the weight. As a rule, I am not a fan of these measures, especially since Gibson has made a big mistake with this measure in recent years, as the resonance behavior of instruments of this design has deteriorated significantly. With the ESP Eclipse QM TEASB Duncan, however, this behavior cannot be observed, especially since the instrument still weighs just under 4 kg. Without the hollows we would probably have arrived in the good old early eighties, where a Paula weighed over 5 kg. I love these menhirs, but that's another topic.

Normally, a glued neck made of mahogany would now appear on the screen, but this does not match the grain of the neck base at all. And in fact, the instrument is based on a continuous, three-part neck, which sits in a pocket throughout, so that the bottom of the ESP Eclipse QM TEASB Duncan is still around 1.5 cm continuous and not the body wings as with comparable instruments were completely glued on. By the way, the body is in one piece, as far as the grain pattern suggests. The result of this unusual construction is an almost unbelievable sustain, which even the cutouts in the body cannot harm.

Another special feature of the ESP Eclipse QM TEASB Duncan is the shaping of the body, which significantly increases the playing comfort compared to the hard edges of a Paula in the belly fat area. The ceiling used is an exceptionally beautiful, two-part bookmatched maple top from the brand “Wölkchenahorn”, which allows for an almost three-dimensional resolution depending on the angle of incidence of the light. The same look was continued on the top of the headstock. The fingerboard is made of ebony and offers the classic short scale length of 24.75 inches / 629 mm with 22 frets from the JESCAR FW57110 XJ Stainless brand. In order to increase the stability of the neck against the infamous “skull base fracture” compared to the saddle due to the structural weakening caused by the truss rod, the classic “knubble” was created at the transition to the headstock.

Curved block inlays are used as fingerboard markings and in order to underline the origin of the otherwise mainly made in Japan, the characters “ESP USA” were embedded in the 12th fret, which also explains the ambitious price of around €4,200. No savings were made on the hardware either; instead, in addition to locking mechanisms from Sperzel, they were used as a bridge/tailpiece. The currently very popular TonePros T3BT Locking TOM with T1Z Locking Tailpiece is used. The strap pins were once again provided by Schaller, the corresponding counterparts for the strap are included with the instrument. Everyone has to decide for themselves whether the bones of dead animals will still have to be used as saddles in 2020.

The pickups used were Seymour Duncan pickups, unfortunately I couldn't find out which model was used. Due to the price segment, it could be Alnico Pro-II humbuckers, but this statement is only an estimate. The instrument has 2 volume controls and a tone control, the latter of which is available as a push/pull version and the humbucker can be switched to single coil. The instrument comes with an upscale molded case.

In practice

I admit, there are rarely moments when I, as a tester, get excited before the instrument has even been connected to the amplifier, but here we have such a case again. It's incredible what sustain the instrument delivers even in the dry dock. Whether single tones or chords, the extremely fast response and the almost endless decay behavior immediately captivates me, especially since my personal main instruments throughout my life have been either Les Pauls or comparable instruments such as: B. my current Framus Panthera custom guitars were, or are. Even if you were to install the cheapest Far East pickups on this instrument, it would be difficult to mess up the excellent basic sound of the instrument.

The playability of the ESP Eclipse QM TEASB Duncan, as well as the weight reduction, have once again been trimmed towards “comfort”, i.e. the neck profile has been optimized towards a “Thin U”, which clearly benefits the instrument’s comfort. ESP has really cleverly implemented this approach. Normally, a solid body and a correspondingly “meaty” neck have an effect on the sustain behavior of the instrument. However, if the construction already exhibits such high-quality vibration behavior, you can still remove some of the wood fibers from the instrument to make it easier to handle.

The factory settings of the instrument were so well done that nothing had to be readjusted. The set of strings was a standard 10 (010 - 046), which suits the instrument well. In general, I am of the opinion that classical guitar types should be equipped with at least a set of 10, the dynamics and volume will thank you for it. 009 or similar should be reserved for the Floyd Rose Dive Bomb camp.

I was curious to see whether the ESP Eclipse QM TEASB Duncan could also convey the excellent, unamplified sound through the loudspeaker and experienced one or two surprises. To be honest, in my opinion the nameless Seymour Duncan pickups can't quite maintain the construction quality, which surprises me even more since I've always been a big SD fan. Both the neck and bridge pickups offer a much tighter treble response than one would generally expect from an LP copy. The result is not bad, but offers a comparatively “bitchy” sound in humbucker mode. Whether you like this basic sound is purely a matter of taste, so I would like to ask every interested musician to form their own opinion.

What didn't convince me, however, was the single coil circuit of the pickups. Of course, the output power of a single coil pickup is usually lower than that of a humbucker, but the amount of power lost here is quite striking. It feels like 50% of the signal falls by the wayside and not only leaves a significant drop in volume, but unfortunately also an associated thin and pointed sound that does not do justice to the quality of the instrument.

In any case, nobody would think of joining a chic tribute band with an instrument of this design, but in this case, in my opinion, various points come together that stand in the way of high-quality single coil operation. The choice of wood, the short scale length and the somewhat unfortunate choice of pickup don't really make this sonic extension shine. It would therefore be worth considering whether this circuit should not be discarded entirely, especially since the reduced circuit effort would benefit the general sound of the instrument.

Otherwise, the ESP Eclipse QM TEASB Duncan impresses across the board with the vibration properties already mentioned. The solo tone swings out very nicely and can score particularly well in the crunch and lead areas. Higher levels of distortion up to the high gain range are possible, but are not necessarily one of the best things about the ESP Eclipse QM TEASB Duncan.

Conclusion

With the ESP Eclipse QM TEASB Duncan, the Japanese manufacturer offers a top-class instrument in terms of vibration technology. The sustain and general vibration behavior are of the highest quality, the workmanship is flawless, and the appearance is appealing.

Depending on the area of application, the customer may need to check the pickups based on their personal taste, which sound by no means bad, but very special in the overall context.

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Additional Informations:

Introduction:
In the dynamic world of musical instruments, few companies have left as indelible a mark as ESP Guitars. Renowned for their exceptional craftsmanship, innovative designs, and unwavering dedication to musicians' needs, ESP has carved out a significant niche in the guitar market. However, the journey of ESP Guitars from a humble repair shop to an international icon is a story rich in history, perseverance, and passion.

Early Beginnings:
The origins of ESP Guitars can be traced back to the bustling streets of Tokyo, Japan, in the late 1960s. It was during this time that Hisatake Shibuya, a skilled luthier with a deep appreciation for quality craftsmanship, established a small shop called Electric Sound Products (ESP). Initially, the company focused on providing custom guitar repairs and modifications, catering to the burgeoning rock and roll scene in Japan.

The Rise of Customization:
As the demand for customized guitars grew, ESP quickly gained a reputation for its meticulous attention to detail and willingness to accommodate the unique preferences of musicians. This commitment to customization became the cornerstone of ESP's identity and set them apart from other guitar manufacturers of the time. Musicians flocked to ESP for bespoke instruments tailored to their specific playing styles and aesthetic preferences.

Collaborations with Iconic Artists:
One pivotal moment in ESP's history came in the late 1970s when the company forged partnerships with influential Japanese musicians, including Japanese rock icons such as Char and KISS frontman Paul Stanley. These collaborations not only elevated ESP's profile but also solidified its reputation for quality and innovation within the music industry.

Expansion and International Recognition:
Throughout the 1980s, ESP continued to expand its reach both domestically and internationally. The company's reputation for crafting high-quality instruments caught the attention of musicians around the world, leading to an increase in demand for ESP guitars beyond Japan's borders. This prompted ESP to establish distribution networks in key markets such as the United States, Europe, and Southeast Asia.

One of the defining moments for ESP's international recognition came in the mid-1980s when Metallica's lead guitarist, Kirk Hammett, began using ESP guitars. Hammett's endorsement of ESP solidified the brand's association with heavy metal music and propelled its popularity among metal guitarists worldwide. Other notable artists who endorsed ESP during this period include George Lynch of Dokken and Bruce Kulick of KISS, further cementing ESP's status as a premier guitar manufacturer.

Innovations in Design and Technology:
ESP's commitment to innovation has been a driving force behind its success over the years. The company has continually pushed the boundaries of guitar design and technology, introducing groundbreaking features that cater to the evolving needs of musicians.

One such innovation was the introduction of the ESP Horizon series in the late 1980s. The Horizon series showcased ESP's expertise in crafting high-performance guitars with sleek, modern designs. These guitars featured innovative hardware, such as Floyd Rose tremolo systems and EMG pickups, which appealed to shredders and heavy metal guitarists seeking maximum playability and tone.

In addition to its electric guitars, ESP also made significant strides in the development of bass guitars. The ESP Precision Bass and Jazz Bass models became popular choices among bassists for their exceptional tone, playability, and durability.

ESP's commitment to innovation extended beyond instrument design to include advancements in manufacturing techniques and materials. The company invested in state-of-the-art facilities and employed cutting-edge production methods to ensure consistent quality and precision in every instrument.

Diversification and Acquisitions:
As ESP Guitars continued to grow, the company diversified its product offerings to cater to a broader range of musicians. In addition to its high-end custom shop instruments, ESP introduced more affordable lines such as the LTD series, which offered similar quality and craftsmanship at a lower price point.

In 2014, ESP Guitars made a strategic move to expand its presence in the acoustic guitar market by acquiring Takamine, a renowned Japanese acoustic guitar manufacturer. This acquisition allowed ESP to leverage Takamine's expertise in acoustic guitar craftsmanship while maintaining its commitment to quality and innovation.

Environmental and Social Responsibility:
In recent years, ESP Guitars has also demonstrated a commitment to environmental and social responsibility. The company has implemented eco-friendly practices in its manufacturing processes, such as using sustainable materials and reducing waste. Additionally, ESP has supported various charitable initiatives and community projects aimed at promoting music education and supporting aspiring musicians.

Conclusion:
The evolution of ESP Guitars from a small repair shop to a global powerhouse is a testament to the company's unwavering dedication to craftsmanship, innovation, and meeting the needs of musicians. With a rich history spanning over five decades, ESP continues to push the boundaries of guitar design and technology while maintaining its commitment to quality and excellence. As the company looks towards the future, it is poised to remain a leading force in the world of electric guitars, inspiring musicians and shaping the sound of generations to come.