TEST: DBX 266XL

 Something is happening in the field of sound reinforcement! Well, this insight is not entirely new and one or the other specialist will already turn away bored after such a rather profane statement, but I must admit, for an advocate of the old school like me, the overwhelming digitalization of recent years is both a curse and a blessing.

Example 1.): The FOH of my band DOMAIN recently complained that he was increasingly confronted with digital consoles at festivals. The reason is obvious, the omission of the outgear, but in this case mostly the internal effects of the console are taken. OK, the access possibilities of an analog console are still unbeatable, but the digital brothers are always tidier in terms of cabling.

Example 2): A colleague of mine, who also owes his educational background to analog technology, wanted to look for "new" 19" outgear in terms of dynamics processing for his live setup at the Musikmesse 2008. You have an idea what he found? NOTHING! Not a single manufacturer who would have relied on analog technology in terms of future development. Quote: "We only manage the catalog now, future developments will only be digital based!" But whoops!

The reader asks himself why, in spite of cable orgies and vehement string-pulling, a small group of manufacturers is bravely fighting at all relevant events and with stoic presence against the emerging omnipotence of zeros and ones. The answer is a fusion of accessibility, visual control, haptic experience and last but not least, sound!

One of the great trademarks of the "little Gallic outgear village" is the American company DBX, which has written compressor history with its model 1066. With the model 266 XL in front of me, the "small" variant of the 166 XL, DBX turns only also to the budget productions, without neglecting the classic DBX sound.



Construction

The XL 266 comes with typical 1 HE, a mounting depth of just under 14.6 cm and a weight of 3 kilograms, which may be due to the used, quite solid sheet steel. Production-wise, it's like almost always with the manufacturers, "Designed in the US, made in China". The product is designed as a stereo device, but can also be operated 2x mono. Via a stereo-couple switch, both channels can be controlled together via the controls of the first channel, the controls of the second channel are ineffective in this case.



At the rear, the 266 XL has balanced inputs and outputs, both in XLR (locked) and in balanced jack. A small push switch allows you to adjust the input sensitivity between +4 dB and -10 dB. In addition, each channel can be used via sidechain for frequency-optimized compression, for example as a de-esser. A cold device plug without fine fuse access closes the rear panel. Unfortunately, the XL 266 does not have a power switch.

On the front, the XL 266 has two identical access options for one stereo and two mono channels, respectively. The channels can be activated individually via illuminated bypass switches. From left to right are the controls of the expander / gate section, followed by the compressor section up to the catch-up amplifier.

The gate can be completely deactivated in terms of threshold or adjusted up to + 15 dB threshold, with a ratio of 1:1 to 4:1. Two LEDs (green / red) indicate the ratio of the input level to the set threshold. If the signal is below the threshold, the red LED lights up, if the signal level is above, the green LED lights up.

In the compressor section, in addition to the usual threshold, ratio, attack and release management, the patented Overeasy circuit, an in-house threshold opitimization, watches over the input signal. In addition, an "Auto" button can be used to automate the response and release times, whereby, according to the user manual, this gives you the "classic DBX sound" based on the legendary 1066, which is still traded as an industry standard today.
Two eight-digit LED displays also show the reduction of the input signal from 1 to 30 dB.



Practice

Due to the very practical and multilingual user manual, even the inexperienced user can get a clear picture of the compressor's / noise gate's field of application within a short time. Examples of use are very well described, as is the dynamic context, along with the corresponding compression of the material.

The optical control by means of the LEDs alone is already very helpful to quickly detect the applied signal dynamically and to monitor its processing. For dynamically undemanding material, it is not a big deal that the attack and release times can only be configured rudimetrically between fast and slow by means of two knobs, but complex dynamic jumps overtax these setting options. If you want total control here, you have to move up a price range.

As a second compressor in the studio or as a quick helper in the live area, the device does everything you can expect from a good compressor / gate combination and that all very fast, absolutely uncomplicated and above all, with the highly appreciated DBX sound.

So hundred percent I can not even say why DBX compressors in direct comparison to similar competitors always sound a tick'n "fatter", I only know they do! Even with this budget product, the sound is just right. And once again it proves true, experience can not be replaced by anything!



Conclusion

There is simply a reason why one almost automatically thinks of the name DBX when thinking of Outgear compressors and gates. Even with the aforementioned product for the small purse, you don't have to worry about anything in terms of sound.

The 266 XL has the DBX sound that is appreciated across all styles and knows how to handle all common mono and stereo signals in terms of their dynamic management in just a few steps. Assuming a corresponding compressor experience, the operation of the device is intuitive and brings the desired result within a very short time.

Those who do not work with dynamically highly complex material and can do without the lack of calibration of the attack and release times will find in the XL 266 an accomplished accomplice, which sounds more expensive than one might expect from the price.


Pro:
DBX sound for little money
clear operation
very good automatic


Contra:
sharp protruding screws on the bottom side of the device
jack input sockets not locked to the housing
no exact attack and release times adjustable
no on/off switch

Additional Informations:

- DBX Audio is a well-known American audio equipment manufacturer founded in 1971. The company is headquartered in Salt Lake City, Utah, and specializes in professional audio processing equipment. DBX Audio is a subsidiary of Harman International Industries, which is itself a subsidiary of Samsung Electronics.

DBX Audio's products are designed for professional sound reinforcement and recording applications. They are used in a variety of settings, including live events, broadcast studios, and recording studios. The company's product range includes compressors, limiters, equalizers, crossovers, and digital signal processors (DSPs).

One of DBX Audio's most popular products is the DBX 286S, a mic preamp and channel strip designed for recording and broadcasting applications. The DBX 286S features a built-in compressor, de-esser, enhancer, and expander/gate, all of which are adjustable and designed to help users achieve optimal audio quality. The DBX 286S also features phantom power, a low-cut filter, and a 20dB pad, making it a versatile and powerful tool for audio processing.

Another popular product from DBX Audio is the DBX DriveRack PA2, a loudspeaker management system designed for live sound applications. The DriveRack PA2 includes a powerful DSP processor and a user-friendly interface, allowing users to easily optimize their sound system for any venue. The DriveRack PA2 features advanced features such as automatic feedback suppression, EQ, and delay, making it a valuable tool for any live sound engineer.

In addition to its product range, DBX Audio is also known for its commitment to innovation and excellence. The company's products are designed and manufactured using the latest technologies and highest-quality materials, ensuring that they deliver exceptional performance and durability. DBX Audio's products are also rigorously tested to ensure that they meet the company's strict standards for audio quality and reliability.
DBX Audio is also committed to providing exceptional customer service and support. The company offers a range of resources and tools to help customers get the most out of their products, including user manuals, online tutorials, and technical support services. DBX Audio also offers a comprehensive warranty on all of its products, giving customers peace of mind and protection against defects and failures.

Overall, DBX Audio is a leading manufacturer of professional audio processing equipment, known for its commitment to innovation, excellence, and customer service. With a wide range of products designed for a variety of applications, DBX Audio is a trusted choice for sound engineers and audio professionals around the world. Whether you're looking for a mic preamp, a loudspeaker management system, or any other professional audio processing equipment, DBX Audio has the tools and expertise to help you achieve exceptional audio quality.

- Audio compressors are essential tools for music producers, sound engineers, and other professionals in the audio industry. They are used to manipulate the dynamic range of an audio signal, which is the difference between the loudest and softest parts of the signal. This article will provide a detailed explanation of what audio compressors are, how they work, and their various uses.

What is an Audio Compressor?

An audio compressor is an electronic device or software tool that reduces the dynamic range of an audio signal. The dynamic range of an audio signal is the difference between the loudest and softest parts of the signal. A compressor reduces this range by attenuating the level of the loudest parts of the signal, while leaving the quieter parts relatively unchanged. This process is commonly known as compression.

How does Compression Work?

Compression works by applying gain reduction to the loudest parts of an audio signal. When an audio signal exceeds a certain threshold level, the compressor will reduce its gain by a specified ratio. For example, a 2:1 ratio means that for every 2 decibels (dB) above the threshold, the compressor will reduce the gain by 1 dB. This means that if the input signal exceeds the threshold level by 6 dB, the output signal will only be 3 dB above the threshold.

The attack and release times of the compressor determine how quickly the compressor reacts to changes in the input signal level. The attack time is the time it takes for the compressor to start reducing the gain after the signal exceeds the threshold, while the release time is the time it takes for the compressor to stop reducing the gain after the signal falls below the threshold.

The ratio, threshold, attack, and release times can all be adjusted to achieve different levels of compression. A higher ratio means more gain reduction, a lower threshold means that the compressor will start working at a lower input level, and faster attack and release times mean that the compressor will react more quickly to changes in the input level.

Uses of Audio Compressors

Audio compressors are used in a variety of applications, including music production, broadcasting, live sound reinforcement, and post-production for film and television. Here are some common uses of audio compressors:

Leveling Vocals

Compressors are often used to level out the dynamic range of vocal performances. This ensures that the quieter parts of the vocal are heard in the mix, while preventing the louder parts from overpowering the other instruments. By using a compressor with a fast attack time and a slower release time, a vocal performance can be made to sound more consistent in level and easier to mix.

Controlling Bass

Bass instruments can be difficult to mix, as their low-frequency content can often mask other instruments in the mix. A compressor can be used to control the level of the bass, making it easier to hear the other instruments in the mix. By using a compressor with a slow attack time and a fast release time, the initial attack of the bass can be preserved while reducing the level of sustained notes.

Taming Transients

Some instruments, such as drums and percussion, have sharp, transient peaks that can be difficult to control. By using a compressor with a fast attack time, these peaks can be tamed, allowing the overall level of the instrument to be increased without causing distortion or clipping.

Broadcast Limiting

Broadcasters often use compressors to limit the dynamic range of their programming. This ensures that the program material is consistent in level, regardless of the source material. By using a compressor with a high ratio and a fast attack time, the dynamic range can be reduced without affecting the overall level of the program material.

TEST: Drawmer 1976

Once again, a big name of the earlier decades has set out to dock to old glories. Those born in 1970 and earlier may still remember the pre-DAW days, when tapes and Atari PCs were used to work and synchronize in the biggest and most expensive recording studios. An integral part of any high-quality drum recording were entire Outgear rack systems with Drawmer noisegates and compressors, although the British manufacturer naturally considered other products in its portfolio. With the Drawmer 1976, the manufacturer now brings a processor to the market, which strongly stretches out its feelers in the psychoacoustic field.

The Drawmer 1976's mode of operation

When a manufacturer places its product in one of the most innovative decades of music history, one already has an approximate impression of where the journey is going. Interestingly, however, Drawmer does not go with the 1976 the way of the already heavily occupied area of compressors or filters, but goes into an area that still surrounds a touch of "magic". If one can represent the mode of action of EQs or the like quite wonderfully in an optical variant, then in the psychoacoustic area a correlation meter is possibly still your friend, the rest must be interpreted with the ears. Perhaps this is also the reason why products of this kind still have a niche existence.

As is well known, the only high-flyer in this field, the Aphex Aural Exciter, which originated from an accidentally wrongly wired cable and which was so hotly traded after its release in the mid-seventies that the device could only be rented by the hour, brought it to world fame. Like many other products, the Aural Exciter was slowly laid to rest with the advent of the DAW and its manifold plug-ins. So what drives Drawmer to launch an outgear product in 1U format over 4 decades later, which enters the race with plenty of vintage attitude?

The construction of the Drawmer 1976

The Drawmer 1976 is a stereo processor, which can also operate in mono if required. The processor is used in recording, mixing, as well as in mastering. By means of three different frequency bands, a saturation of the frequency ranges as well as a separate stereo width can be created individually, which allows a very large sound variety.

Let's start with the general appearance of the Drawmer 1976. The unit is solidly built and gives a quality impression. The individual controls are neatly countered on the housing, slabby direct connections to the circuit board without a lock nut are fortunately looked for in vain here. The rear of the Drawmer 1976 is quickly dealt with. Right / Left balanced XLR In and XLR Out, power plug, power switch ready. Here one can do nothing wrong.

At the front, the thing turns around, here it goes really into the nitty-gritty. For a better overview we divide the front into seven areas, as there are:

1.) the input area

2.) the bass frequency band including the controls Saturate, Width and Level

3.) the crossover control for the bass / mid range

4.) the mid frequency band including the Saturate, Width and Level controls

5.) the crossover control for the mid / treble range

6.) the high frequency band including the Saturate, Width and Level controls

7.) the output range



The three frequency bands can also be individually activated and deactivated with the Bypass and Mute switches, or listened to solo or in individual combinations. Let's now take a look at the individual sections in detail.


The input area:

Probably the most unspectacular area of the unit. Only one input control and three colored LEDs (green, orange, red) regulate the input level, whereby the orange area represents the optimal working level. However, it is interesting to note that with a maximum of +15 dBu in the catch-up range on the other side, it is also possible to completely mute the signal using "Off".

The Low Band:

Now it gets down to the nitty gritty. The Saturate control adds a saturation effect to the selected frequency range, which, depending on the setting, offers everything from subtle compression to fuzz-like distortion. The Width control next to it changes the stereo effect from -5 (mono) to +5 (outside the impulse points of the speakers) via the phase position. The Level control now determines the individual volume of the selected frequency band in relation to the other two bands.

The crossover control for the bass / mid range

The crossover frequency of the bass band starts at 70 Hz and can be turned up to 1.5 kHz. This allows for adventurous effects depending on how differently you configure the adjacent frequency ranges. Especially with a continuous loop, just changing the crossover point in real time can provide interesting effects.

The Mid Band (same control as the Bass Band, only with changed frequency)

The crossover control for the mid / treble range

Here the crossover frequency can be selected from 800 Hz up to 15 kHz. Since the two crossover frequencies overlap in a range from 800 Hz to 1.5 kHz, you can additionally achieve weird sounds and effects in the "freak" range.

The High Band (same control as the Mid Band, only with changed frequency)

The Output Range

Here, too, the output can be driven to zero, which I honestly don't quite understand, but so be it. Furthermore there is a mono and a bypass switch for the whole unit. In addition, two 8-digit LED chains indicate the internal level of the product.

The Drawmer 1976 in practice

Although you can certainly use the Drawmer 1976 delightfully as a "fiddling toy" on stage for restless DJs, I focused primarily on its function in recording and mixing. To what extent you change the sound of an instrument already during recording or only in the mixdown, everyone must know for themselves. I for one am not a fan of "We Fix It When We Mix It", especially since this is usually the producer's phrase for "Don't Bug Me" anyway.

Although the Drawmer 1976 is predestined for stereo percussion or drum loops, I also tackled processing of various stringed instruments like electric guitar or electric bass. What I left out are high-gain instruments, which usually have too much compression on their own for further processing to make sense. A word about the loops, all sound files work on the principle off - on - off - on. However, it is always very good to hear when the Drawmer was activated in 1976.

In the area of acoustic drums and tape loops you can hear very well how much especially the midband decisively shapes the sound. In combination with the general increase in loudness, instruments such as snare and parts of the hi-hat come strongly to the fore, but without being sonically annoying. In the bass range, the effect is comparatively subtle, but quickly turns into too much fuzz when used too much.

With the Synth Loop, the individual instruments are not quite so strongly emphasized from the sound image; here you have more to do with a comparatively even increase in loudness and saturation. The Drawmer 1976 can breathe a fair amount of "analogy" into purely synthetic sounds.

With a clean guitar the Drawmer 1976 is to be enjoyed with caution. The quite pleasant saturation is quickly confronted with the problem of distortion, which cannot be compared with the saturation of a tape machine.

To show the fuzz qualities of the Drawmer 1976, a corresponding bass sound is best suited. Here you can very nicely simulate the vintage sound of an old bass recording, although this bass recording could have used a bit more compression.

"And what about the stereo widening" some will ask? I did indeed subtly pull apart some frequency bands to give the sound more width. If you go to the extremes, the transmitted frequency range changes quite massively, especially since you have to sit in the perfect stereo triangle to enjoy the sound, otherwise the effect will be perceived more as phase cancellation. Here I recommend that everyone makes their own picture by getting the product once.

Conclusion

With the Drawmer 1976, one of Outgear's big British names lets loose a real banger. Not only can the stereo processor be used in recording, mixing and mastering, it also offers the possibility to give an interesting life of its own to an inconsequential loop live.

I recommend checking out the product and indulging your playful instincts.

Additional Informations:

- Drawmer Audio is a UK-based company that designs and manufactures high-quality audio equipment. The company was founded in 1981 by Ivor Drawmer, who had already gained a reputation as a successful audio engineer and designer. Drawmer Audio quickly established itself as a leading provider of professional audio equipment, known for its reliability, performance, and innovation.

Over the years, Drawmer Audio has developed a range of products that have become industry standards. One of the company's most famous products is the Drawmer DS201 dual channel noise gate, which was introduced in 1982. The DS201 quickly became a popular choice for recording studios, live sound applications, and broadcast facilities. Its innovative design, which allowed for precise control over the gating threshold and release time, set a new standard for noise reduction.

Another iconic Drawmer product is the MX30 dual channel compressor/limiter/gate, which was introduced in 1987. The MX30 was designed for use in broadcast, recording, and live sound applications, and was known for its transparent sound and flexible control options. It quickly became a popular choice for engineers looking for a versatile and reliable compressor/limiter/gate.

In addition to its classic products, Drawmer Audio has continued to innovate and develop new products. The company's current product line includes a range of compressors, gates, EQs, and preamps, as well as a line of mastering processors. All of Drawmer's products are designed and manufactured in the UK, using high-quality components and rigorous quality control standards.
One of the key features of Drawmer's products is their intuitive and user-friendly design. Drawmer's engineers work closely with professional audio engineers to ensure that each product meets the needs of its intended user. The company's products are known for their transparent and natural sound, as well as their reliability and durability.

Drawmer Audio has received numerous awards and accolades over the years for its products, including multiple TEC Awards and a Resolution Award for its MC3.1 monitor controller. The company's products are used by a wide range of professionals in the music, film, television, and broadcast industries, as well as by hobbyists and enthusiasts who demand high-quality audio equipment.

In conclusion, Drawmer Audio is a highly respected and innovative company that has been at the forefront of the professional audio industry for over 40 years. Its products are known for their reliability, performance, and intuitive design, and are used by professionals and enthusiasts alike. With a commitment to quality and innovation, Drawmer Audio is sure to continue to be a leading provider of high-quality audio equipment for years to come.

- An audio compressor is a device or software that is used to reduce the dynamic range of an audio signal. This means that it reduces the difference between the loudest and quietest parts of the audio signal. Audio compressors are used in a variety of settings, such as music production, broadcasting, and live sound reinforcement. In this article, we will explore what audio compressors are, how they work, and their various uses.

What is an Audio Compressor?

An audio compressor is a signal processing device that reduces the dynamic range of an audio signal. The dynamic range is the difference between the loudest and quietest parts of the audio signal. Audio compressors are used to make the audio signal more consistent in volume, which can help to make it sound better and more professional.

Audio compressors work by detecting the level of the audio signal and then applying gain reduction to parts of the signal that exceed a certain threshold. The amount of gain reduction applied is determined by the ratio setting of the compressor. For example, a compressor with a ratio setting of 2:1 will reduce the gain of the audio signal by half when it exceeds the threshold. A compressor with a ratio setting of 4:1 will reduce the gain of the audio signal by a quarter when it exceeds the threshold, and so on.

Audio compressors can also be used to shape the envelope of the audio signal. This means that they can be used to adjust the attack and release times of the gain reduction. The attack time is the time it takes for the compressor to begin reducing the gain of the audio signal when it exceeds the threshold. The release time is the time it takes for the compressor to stop reducing the gain of the audio signal when it falls below the threshold.

Uses of Audio Compressors

Audio compressors are used in a variety of settings, such as music production, broadcasting, and live sound reinforcement. In music production, audio compressors are used to make vocals and instruments sound more consistent in volume. This can help to make the mix sound more polished and professional. Audio compressors can also be used to shape the envelope of individual sounds, which can help to create a more dynamic and interesting mix.

In broadcasting, audio compressors are used to make sure that the audio signal stays within a certain range of volume. This can help to prevent the audio signal from being too loud or too quiet, which can be distracting to listeners. Audio compressors can also be used to ensure that speech is more intelligible, especially in noisy environments.

In live sound reinforcement, audio compressors are used to make sure that the audio signal stays within a certain range of volume. This can help to prevent feedback and ensure that the audio signal is clear and intelligible to the audience. Audio compressors can also be used to shape the envelope of individual sounds, which can help to create a more dynamic and interesting mix.

Types of Audio Compressors

There are several types of audio compressors, each with its own characteristics and uses. The most common types of audio compressors are:

VCA (Voltage-Controlled Amplifier) Compressors: These are the most common type of compressor used in music production. They are known for their fast response time and transparent sound.

Optical Compressors: These compressors use a light source and an optical sensor to control the gain reduction. They are known for their smooth sound and gentle compression.

FET (Field-Effect Transistor) Compressors: These compressors use a FET to control the gain reduction. They are known for their aggressive sound and fast response time.

Tube Compressors: These compressors use a vacuum tube to control the gain reduction. They are known for their warm and natural sound.

TEST: Digitech Whammy 5

Happy the one who is lucky enough to be the first. Every manufacturer dreams of it, only the fewest are granted it. We are talking about the creation of a true classic, whose product name Kleenex is directly linked to the name of the manufacturer. A small example, Plexi ... Rectifier ... TS-9 and also the Whammy pedal. Digitech probably would not have hoped for this in its wildest dreams 13 years ago, to establish a completely new effect of its time until today.

A large part of the ultimate success may have contributed Tom Morello's solo in the song "Killing In The Name", which with sounds beyond the guitar fretboard of its time caused many guitarists only incredulous head shaking at the exalted guitar work. A comparable effect had never been heard before on a guitar and accordingly hit like a bomb. In the meantime, DigiTech, a company belonging to the Harman Group, has brought version 5 of the Whammy pedal onto the market, and the product has once again improved on its predecessor in terms of quality and practicality.

Design

The pedal, classically designed in bright red, is manufactured in the USA and comes, as expected, in a very robust construction. The almost 1.5 kg weight is distributed on four rubber feet, which also show a very good "stickiness" on smooth surfaces. The product has a jack input and output plus a MIDI jack to control the Whammy remotely if necessary. The last jack to note is the input jack of the included power supply, battery operation is not possible.

The left-mounted expression pedal is not to be surpassed in stable construction. Solid sheet steel, clean workmanship and a circumferential rubber pad for the foot suggest a long durability. No matter how much heavy footwear is used, this rocker will not be smashed by anyone, unlike the plastic version of some competitors.

For the first time, a Whammy pedal comes with a true bypass switch, so it can also be placed before other effect pedals without the frequency response being affected too much due to a buffer function. Remember, first Whammy Pedal, then the distortion in the signal chain. Via an endless controller, you can choose between 20 different presets, which are conceptually divided into the Harmony, Whammy and Detune sections.

In the Whammy section, the delivered signal can be shifted selectively via pure fourth, pure fifth, 1 octave, 2 octaves up, respectively major second, pure fourth, pure fifth, 1 pure octave, respectively 2 pure octaves down. In the Harmony section intervals are added proportionally, alternatively 1 octave higher / 1 octave lower, fifth lower / fourth lower, fourth lower / third lower, fifth higher / seventh higher, fifth higher / sixth higher, fourth higher / fifth higher, third higher / fourth higher, minor third higher / major third higher and second higher / third higher. The expression pedal controls the proportion of the added interval in each case.

In Detune mode, you have a kind of mixable standing chorus, which is offered in two strengths (Shallow / Deep). In addition, you can choose between the modes "Classic" and "Chords" by means of a mini-switch. The "Classic" mode has been optimized for single notes, the "Chords" mode is self-explanatory for chords. If you ever have problems with the control path of the effect, you can recalibrate the Whammy pedal in no time. To do this, interrupt the power supply to the device and initiate it again while holding down the On/Off switch. Then a few targeted movements with the expression pedal and the control range is redefined.


Practice

The 5th generation or tradition obliges, whereby the verb obligate mostly refers to the area of improvement, respectively further development. One or the other will not be unjustified in asking what could be improved on the Whammy 5, or what its predecessors didn't have, but first things first.

The first thing that stands out is the excellent quality of the sound signal. The processor works tonally very well, generates the effect almost latency-free and also leaves the signal untouched in terms of formants over wide control ranges. It goes without saying that with 2 octaves of pitch, sound shifts occur at a certain point of the pitching, but this is also desired by the artist, or can be integrated into the performance / composition.

In terms of sound comparison to its predecessors, the Whammy 5 beats all its predecessors, as long as it is about a preferably coloration-free reproduction. For example, the pedal sounds almost too clean in direct comparison to the first-generation edition, with which Tom Morello recorded his huge hit, but in my opinion this is the much better option. Sonic "digital slobber" which still fed the first generations with plenty of artifacts in the signal, no longer occurs in this version.

In direct comparison, the two modes Classic and Chords differ in particular by a somewhat "smoother" operation in Chords mode, which reduces the unpleasant digital artifacts to a minimum. What I personally like very much are the Detune presets, which really create a very nice and at the same time independent chorus effect, very successful.

And the Whammy effect itself? Nomen est omen, that is, if you want Whammy, you need Digitech. The effect is the famous one-in-a-million thing, which can be identified in fractions of a second. Just the other day, as a member of the Guitar Fight Club jury, I was listening to various guitarists in an improv duel, where one of the musicians very tastefully integrated this pedal into his performance. The jury only looked at each other briefly and everyone knew which product it was, you can't do that with any other effect in such a short time.



Conclusion

The Whammy effect is one of the few outstanding effects that have made it to world fame in recent years due to their uniqueness. Nothing compares, unless it is a Whammy copy. The recognition value is immense, the signal quality excellent, the processing exemplary.

Intelligently integrated into the tonal context, the Whammy pedal enables unique effects that let the electric guitar advance in terms of expression into regions of a synthesizer, but without losing its guitaristic approach and expression. Traditional as well as experimental sounds can be easily realized without the need to use mechanical aids such as vibrato systems or neck bending. If you want a whammy effect, you can't go past Digitech.

Additional Informations:

- Digitech Pedals is a renowned music gear manufacturer that specializes in the production of pedals for guitarists, bassists, and other musicians. The company was founded in 1984 and has been at the forefront of the industry ever since. With its wide range of innovative products, Digitech has become a household name among musicians worldwide.

The company's product lineup is vast, including everything from distortion and overdrive pedals to multi-effects processors and loopers. Whether you're a beginner or a seasoned pro, Digitech has something for everyone. Their products are designed to deliver exceptional sound quality, versatility, and ease of use.

Digitech's commitment to innovation is evident in its products, with each new release featuring groundbreaking technology that sets the standard for the industry. For example, their Whammy pedal, which was first released in 1989, is still considered one of the most innovative pitch-shifting effects pedals on the market.

Another standout product is the Trio band creator pedal, which was released in 2014. This pedal allows guitarists to create complete backing tracks by simply playing chords. The pedal uses advanced algorithms to analyze the chords and create realistic bass and drum parts in real-time, giving guitarists the ability to play along with a full band.

In addition to its innovative products, Digitech is also committed to providing excellent customer service. The company has a dedicated support team that can help customers with any questions or issues they may have. Additionally, Digitech offers a 1-year warranty on all of its products, giving customers peace of mind knowing that they are buying a quality product that is backed by the manufacturer.

Digitech's products are used by a wide range of musicians, from bedroom guitarists to professional touring musicians. Some notable artists who use Digitech pedals include David Gilmour of Pink Floyd, Steve Vai, Joe Satriani, and John Mayer, among many others.

Overall, Digitech Pedals is a company that is dedicated to providing musicians with innovative and high-quality products that inspire creativity and musical expression. Whether you're a beginner or a seasoned pro, Digitech has something for everyone, and their commitment to customer satisfaction makes them a top choice for musicians worldwide.

- Digitech’s Whammy Pedal is one of the most iconic and innovative pitch-shifting effects pedals on the market. It was first released in 1989 and has since become a go-to pedal for guitarists looking to create unique and experimental sounds.

The Whammy Pedal is a pitch-shifting pedal that allows guitarists to change the pitch of their notes by up to two octaves up or down. This can be done in real-time, allowing guitarists to create incredible sounds on the fly. The pedal is also capable of creating other effects such as detuning, harmonizing, and vibrato.

One of the most notable features of the Whammy Pedal is its "Whammy Bar" mode. In this mode, the pedal acts like a tremolo arm on a guitar, allowing guitarists to create pitch-bending effects by simply pressing down on the pedal. This mode has become a staple for many guitarists and has been used in countless songs and recordings.

Another notable feature of the Whammy Pedal is its "Dive Bomb" effect. This effect allows guitarists to create a dramatic and powerful sound by quickly dropping the pitch of their notes. This effect has been used by many guitarists, including Tom Morello of Rage Against the Machine and Eddie Van Halen.

Over the years, the Whammy Pedal has gone through several updates and revisions. The most recent version, the Whammy 5, features new modes and improved sound quality. It also includes MIDI input and output, making it easier to integrate into complex guitar rigs and recording setups.

The Whammy Pedal has been used by countless guitarists over the years, including Steve Vai, Tom Morello, Jack White, and many others. Its unique and innovative sound has made it a staple of many genres, including rock, metal, and alternative music.

In conclusion, Digitech's Whammy Pedal is a groundbreaking and innovative pitch-shifting effects pedal that has been a go-to for guitarists for over 30 years. Its unique features and sound have made it a staple for many guitarists, and its continued updates and revisions ensure that it remains relevant and useful in today's music industry. Whether you're a beginner or a seasoned pro, the Whammy Pedal is a must-have for any guitarist looking to create unique and experimental sounds.

- Tom Morello is an American musician, best known for his work as the guitarist for the rock bands Rage Against the Machine and Audioslave. He is widely regarded as one of the most innovative and influential guitarists of his generation, and his unique playing style has had a significant impact on the world of rock music.

Morello was born on May 30, 1964, in Harlem, New York City. He grew up in a politically active family and was heavily influenced by the social and political issues of the time. He began playing guitar at the age of 17 and quickly developed his own unique style, incorporating elements of heavy metal, punk rock, and hip-hop.

In the late 1980s, Morello moved to Los Angeles to pursue a career in music. He quickly established himself as a talented guitarist and began playing in various bands around the city. In 1991, he formed the band Rage Against the Machine with singer Zack de la Rocha, bassist Tim Commerford, and drummer Brad Wilk.

Rage Against the Machine's self-titled debut album was released in 1992 and quickly became a critical and commercial success. The album's politically charged lyrics and innovative sound, which combined elements of heavy metal, punk rock, and hip-hop, helped to establish the band as a major force in the world of rock music.

Morello's playing style on the album was particularly notable, as he utilized a range of unique techniques to create his distinctive sound. These included heavy use of effects pedals, alternate tunings, and unconventional playing techniques such as tapping and scratching.

In addition to his work with Rage Against the Machine, Morello has also played with other notable musicians over the years. In 2001, he formed the band Audioslave with former members of Soundgarden, and the band released three albums before disbanding in 2007. Morello has also played as a solo artist, releasing several albums under his own name.

Throughout his career, Morello has been known for his political activism and his commitment to social justice. He has been involved in various political causes over the years, including labor rights, environmentalism, and anti-racism. He has also been a vocal critic of the policies of the U.S. government, particularly in the areas of foreign policy and civil liberties.

In recognition of his contributions to music and activism, Morello has received numerous awards and accolades over the years. He has been named one of the 100 greatest guitarists of all time by Rolling Stone magazine and has been inducted into the Rock and Roll Hall of Fame twice, once with Rage Against the Machine and once with Audioslave.
In conclusion, Tom Morello is an iconic and influential guitarist who has had a significant impact on the world of rock music. His unique playing style, political activism, and commitment to social justice have made him a revered figure among music fans and activists alike.

TEST: Dean Guitars ML Select Quilt Top OB

 As is well known, the beauty or ugliness of an object is in the eye of the beholder. It is not for me to judge for the general public how far the Dean Guitars ML Select Quilt Top OB belongs to one or the other camp. I can only say that if there should be a ranking of the most polarizing guitar shapes and colors, then the model presented for testing, together with the squeaky duck finishes of the Ibanez RG series and possibly some B.C.Rich shapes along with Massacre finishes would be the most hopeful candidates for first place.

From the tragic legend status

Perhaps apart from the status of a Les Paul, there is probably no guitar shape in the world that is so closely associated with an artist as the ML series, which was designed by Dean Zelinsky in 1976. We're talking about Darrell Lance Abbott, who made it to world fame in metal circles with his band Pantera until 1992 under the name "Diamond Darrell", then later under "Dimebag Darrell". The phrase often used by musicians, "I want to drop dead on stage during a show," was unfortunately actually put into practice for DD under tragic circumstances, when he was shot dead with at least four shots by Nathan Gale of Marysville, Ohio on December 8, 2004 at a concert of his then band Damageplan at the "Alrosa Villa Club" in Columbus.

Even if Abbott with Pantera was outwardly perceived by the inclined metal fan primarily through excessive drinking bouts, crazy tour videos and drug-filled performances, the guitarist distinguished himself not only through some world-famous metal riffs, but beyond the metal Punch and Judy show also through an excellent playing technique, which went far beyond the musically fixed limitation of his house band. Legendary is also his treble-heavy, scratchy transistor amp guitar sound, which he produced in collaboration with Randall Warhead tops and which rightly counts among the most terrible guitar sounds ever let loose on the human ear. A prime example is the disc "Cowboys From Hell", where outstanding metal arrangements and excellent guitar work meet a guitar sound that can't be surpassed in terms of undynamic scratching. Never before have craftsmanship and atrocious sound been so diametrically opposed.

The construction of the Dean Guitars ML Select Quilt Top OB

Detached from the visual component, the guitar shape of the Dean Guitars ML Select Quilt Top OB must truly be called unique. During DD's lifetime, the rights to the body shape, which looks like a backyard romp between a Flying V and an Explorer, changed hands between Dean and Washburn, depending on which company could generate the best revenue for the artist. Currently, the rights are once again with Dean Guitars, which the company documents with a rich selection on its website.

In addition to the significantly more expensive USA models, the company also offers a moderate price version, which is once again manufactured in Indonesia. One has the impression anyway that Indonesia is the new China in instrument manufacturing, probably because labor costs in China have also risen steadily in recent years and they are now switching to the next lower wage level.

Taking the instrument on the case for the first time, one can't help but check whether Dean might not have accidentally packed an electric bass in the cardboard box. The guitar is not big, the guitar is huge! If you put the guitar on the floor, the total measurement of the guitar measures 116 (!) cm. For comparison, a standard Strat brings it just to 99 cm. I dare to say that only my Doublenecks have even more wood on the same square footage than the Dean Guitars ML Select Quilt Top OB, which is not only due to the body, but also to the oversized, striking headstock. The matching case, which can be purchased separately, then also leaves more of an impression of a portable pool table than a guitar case.


Once you have peeled the block out of the packaging, the second hammer follows in the form of the finish. You can't help but get the impression that Dean Guitars wants to see how far it can go in terms of customer acceptance. The "oceanburst" finish, which according to a colleague "has something of a swimming pool", is the eye-catcher par excellence and, in combination with the already unusual body shape, puts the crown on the whole thing in terms of polarization. The maple top, however, only has veneer character and thus cannot actively contribute to the vibration behavior. By the way, the top is not curved, but absolutely flat.

Despite the huge dimensions, the instrument weighs just under 3.3 kg, which indicates that the mahogany used for the neck and body is a very light one. From the very first notes I struck on the instrument, in terms of sustain, I was led to believe that it had a continuous neck with glued-on sides, which turned out to be correct. Interestingly, the huge instrument has only a short scale length of 629 mm, maybe because DD preferred this scale length, but maybe also to not add another 2 cm of length on top ;-)

The ebony fingerboard is equipped with 22 jumbo frets and has a white binding. Speaking of binding, despite the comparatively low price, the instrument was provided with a 5-ply W/B/W/B/W binding, a job that can't be done by a robot and therefore puts a decent pressure on the manufacturing costs.

All hardware is finished in black, and the tuners are by Grover. As a tasteful (yes, the instrument has visually also very homogeneous features) continuation of the white binding and the black hardware, one has a Seymour Duncan APH1 Custom Zebra on the neck and a Seymour Duncan SH-5 Custom Zebra on the bridge installed, which with their respective differently colored coils reminds of the glorious Gibson past of the late fifties and continues the black / white alignment. The electrical system is relatively simple, 2x Volume, 1x Tone and a three-way switch, ready.


The Dean Guitars ML Select Quilt Top OB in practice

Actually, one should have the fun of playing this guitar at the local old men's blues band. The horror in the rehearsal room would be palpable ;-) Who runs up with such a shaping, makes immediately clear, what it is about. If this guitar is played clean at all at some point, then only for an intro or a C-part, otherwise the half-waves are likely to be cut off at right angles here. No crunch, not even a lead sound is aimed for here, just high gain.

Although, one does the guitar wrong with this prejudice. The continuous neck offers a very good vibration behavior and also the Seymour Duncan pickups can by all means do other than just full carrot, but probably no one will be interested. Eyes hear more and so the Dean Guitars ML Select Quilt Top OB must be measured primarily in the high gain range and so much is taken away from the front, it does not disappoint.

Once again, the Indonesian manufacture manages to bring an instrument to the market, which is significantly better processed and also sounds better than the retail price would suggest. If you like high gain with passive pickups, this is the instrument for you, especially when it comes to a powerful treble. As is well known, passive pickups like to sound a bit "rougher" and "less linear" in high gain than their active competitors, which among other things leads to a completely different sound.

Although the Alnico representative on the neck lacks a bit of character, the bridge variant can completely convince in terms of bite and pressure. The instrument resonates very well just because of the sheer mass and the continuous neck and will make many metalheads happy, provided they are 180 cm or taller. Just the idea of Angus Young strapping such a guitar around his neck will cause a massive laughing fit.

Conclusion

With the Dean Guitars ML Select Quilt Top OB, the Pantera house brand has an affordable model with a very good price / performance ratio at the start. The instrument convinces with a very good workmanship, an excellent vibration behavior and an assertive high gain sound, as you need it for this body shape.

P.S. The personal preferences of the author regarding the shape and color scheme should have no influence on the choice of the customer ;-)

Additional informations:

- Dean Guitars is a well-known manufacturer of guitars and other stringed instruments. The company was founded in 1977 by Dean Zelinsky in Chicago, Illinois, and quickly gained a reputation for producing high-quality guitars that were both innovative and affordable.

Today, Dean Guitars is a major player in the music industry and has a wide range of products that cater to different genres of music. The company's guitars are known for their distinctive shapes and designs, and they are used by some of the biggest names in music, including Dave Mustaine of Megadeth, Michael Amott of Arch Enemy, and Dimebag Darrell of Pantera.

Dean Guitars offers a variety of guitar models to suit different playing styles and preferences. The company's most famous model is the Dean ML, which has a distinctive double-cutaway design and is often associated with heavy metal music. The Dean Razorback is another popular model that is designed for heavy metal and has a unique "V" shape.

In addition to its electric guitars, Dean Guitars also produces acoustic guitars, bass guitars, and other stringed instruments. The company's acoustic guitars are made from high-quality materials such as solid spruce and mahogany, and they are designed to produce a warm and rich tone.
Dean Guitars is also known for its innovative designs and features. The company's Dimebag Darrell signature models, for example, feature a Floyd Rose tremolo system and a "Bill Lawrence L-500XL" humbucking pickup that was specially designed for Dimebag. The company's Dean Vendetta XM model is another example of an innovative design that features a lightweight body and a slim neck for ease of playability.

In recent years, Dean Guitars has also expanded its product line to include accessories such as guitar cases, strings, and pedals. The company's pedals, in particular, have gained a reputation for their high quality and innovative features.

One of the unique aspects of Dean Guitars is its commitment to sustainability. The company uses environmentally friendly materials whenever possible, and it has also implemented recycling programs to reduce waste. In addition, Dean Guitars has partnered with organizations such as the Rainforest Alliance and the Sustainable Forestry Initiative to promote sustainable forestry practices.

In conclusion, Dean Guitars is a well-respected manufacturer of guitars and other stringed instruments that has been in business for over four decades. The company is known for its innovative designs, high-quality materials, and commitment to sustainability. Whether you're a beginner or a professional musician, there is a Dean guitar that will suit your playing style and preferences.

- Pantera was a heavy metal band that formed in Arlington, Texas, in 1981. The band consisted of vocalist Phil Anselmo, guitarist Dimebag Darrell, bassist Rex Brown, and drummer Vinnie Paul. Pantera was known for their heavy and aggressive music, and they were a major influence on the metal scene in the 1990s.

Pantera's early music was heavily influenced by glam and thrash metal. Their first three albums, "Metal Magic" (1983), "Projects in the Jungle" (1984), and "I Am the Night" (1985), were all released independently and received little attention outside of their local area.

It wasn't until the release of their fourth album, "Power Metal" (1988), that Pantera began to gain national recognition. The album was more focused and aggressive than their previous work, and it showcased Dimebag Darrell's impressive guitar skills.

However, it was their next album, "Cowboys from Hell" (1990), that truly put Pantera on the map. The album was a massive success and featured hit singles such as "Cowboys from Hell" and "Cemetery Gates." The album's heavy and groove-based sound became a defining characteristic of Pantera's music.

Pantera's next album, "Vulgar Display of Power" (1992), solidified their status as one of the most important bands in the metal scene. The album featured some of the band's most famous songs, including "Walk" and "Mouth for War." The album's aggressive and intense sound, combined with Anselmo's powerful vocals, made it an instant classic.

In 1994, Pantera released "Far Beyond Driven," which debuted at number one on the Billboard 200 chart. The album was even more aggressive than their previous work, and it featured some of the band's most intense songs, such as "Becoming" and „Slaughtered."

Pantera continued to release successful albums throughout the 1990s, including "The Great Southern Trendkill" (1996) and "Reinventing the Steel" (2000). However, the band's success was cut short in 2003 when Dimebag Darrell was tragically killed while performing on stage with his band Damageplan.

Despite their relatively short career, Pantera had a significant impact on the metal scene and continues to be an influential band today. Their aggressive and intense sound, combined with their impressive musicianship, inspired countless metal bands and helped to define the genre in the 1990s.

TEST: Chapman Guitars ML2 Pro Azure Blue

Rob Chapman polarizes. I don't know if I've ever met a manufacturer in the instrument trade whose personality, combined with his YouTube presence, attracts even more attention from his critics and disciples than his instruments. In terms of advertising, this is a good thing, because similar to YouTuber Ola Englund, who promotes his company Solar Guitars with his informative, but also sometimes exhausting manner, Rob Chapman captivates many people with his, let's say, discreetly condescending manner, otherwise the more than 737,000 followers can probably not be explained. However, what interests us in this test, apart from his person and how he got the money to found his company, is the Chapman Guitars ML2 Pro Azure Blue, an instrument whose supreme father was chiseled on its body at first glance.

The construction of the Chapman Guitars ML2 Pro Azure Blue

Has anyone bothered to count how many Les Paul copies there are currently on the market and once were? I think the only higher number is for Strat copies, but I'm sure the Les Paul is in second place. Compared to the first decades of Gibson, copyists have a much harder time nowadays, because many details are protected by trademark and patent law and are monitored worldwide. Therefore, we also find a lot of details on the Chapman Guitars ML2 Pro Azure Blue, which deviate from the original Les Paul, sometimes even with interesting side effects, but more on that later.

Even if at first glance you automatically think of an LP, if you go into detail, you immediately notice that only the single cut shape of the body and the combination of mahogany body with maple top was taken from the original, the rest of the construction is indeed very unique. Many guitarists like the sustain-laden, voluminous sound of a (good) Les Paul, but also complain in the same breath about the sometimes heavy weight of the protagonists. You won't find this construction trait with the Chapman Guitars ML2 Pro Azure Blue, so the body has just a thickness of 35 mm and brings as a complete instrument a flyweight of just 3 kg on the scale. That is Ibanez RG level!

Who comes from the Les Paul, especially if it is a vintage instrument, knows of course the "angular" environment of the instrument, especially in the area of the neck transition and the armrest and the associated struggle against the wood. Chapman takes a much more modern approach to this area, giving the instrument pronounced shaping in both the cutaway and rib areas, making it easier to play, especially when standing up.

The neck construction of the Korean-made instrument also differs from the original in several respects. Already at the first grip around the neck you feel that especially the first frets are comparatively far away from the body, which is due to the long scale length of 648 mm, while the majority of the Gibson portfolio has the short scale length of 625 mm. Due to the 24 frets (Gibson 22 frets), the neck pickup slips a bit to the back and unfortunately leaves what I consider the vibration optimal point below the 24th fret, but that's a matter of taste.

Another difference is the neck wood used, which turns out to be roasted maple and thus a classic antithesis to the mahogany otherwise used in the LP range. Here, too, you can feel the very pronounced sustain of the Chapman Guitars ML2 Pro Azure Blue already at the first, still unamplified notes, which can hold a candle to many sustain monsters with a continuous neck. To what extent one likes the natural colored finish of the back of the neck, including the slanted heel of the body, is up to each individual to decide. The profile of the neck is described as a C profile from the factory, but it would still pass for a hefty "D" depending on how you interpret it. A medium-dark Macassar Ebony was used as the fingerboard, which only features an Infinity inlay at the 12th fret. Very nice also the use of the glow-in-the-dark side dots on the side of the fingerboard, which already start glowing at slight darkening.

In terms of hardware, Chapman uses the quite rarely used open Hipshot Grip-Lock with an 18:1 ratio, which come across very fancy with their locking wheel below the open machine heads. Nevertheless, they do a very good job in cooperation with the Graph Tech Black TUSQ XL Nut saddle. In order to generate the maximum of vibration behavior in terms of sustain with the bridge construction as well, a hard tail was used, which guides the strings through the body at a 90 degree angle. To what extent this comparatively strong bend weakens the strings in their structure depends on the personal playing style and must be found out by everyone himself.

As strap buttons Chapman names products of own production, but it is the well-known Schaller system and should therefore also be compatible with the corresponding strap counterparts. The three-way switch used goes pleasantly smoothly, but has a comparatively short switching travel, so you have to be a bit more sensitive when trying to hit the center position. The controls are designed as a speed dome variant and have 2x Volume and once Mastertone, which uses the respective outer coil of the pickups in split mode via push / pull.

Speaking of pickups, in some of my previous reviews of Chapman Guitars, besides the mostly convincing construction of the instrument, the in-house pickups were my biggest point of criticism, which with a comparatively thin and sharp sound significantly diminished the overall sound of the respective instruments. Apparently Chapman Guitars seem to have taken this point to heart, as the Chapman Guitars ML2 Pro Azure Blue is now equipped with pickups from Seymour Duncan. These are a Seymour Duncan Sentient humbucker on Alnico 5 basis with a DC resistance of 7.8 kohm at the neck and a Seymour Duncan Pegasus humbucker, also on Alnico 5 basis with a DC resistance of 12.5 kohm.

In practice

Perhaps one thing up front, I personally like to have the neck pickup below the 24th fret, as mentioned earlier, because the vibration characteristics are captured better here than when the pickup is shifted slightly towards the bridge. However, this is only possible with a maximum of 22 frets and thus cannot be implemented on the Chapman Guitars ML2 Pro Azure Blue. To what extent this meets the personal taste or not, everyone must decide for themselves, I for my part am of the opinion that especially with a clean guitar the middle position loses a little character, but as I said, matter of taste.

Apart from this point, one has to give the entire guitar and especially the pickups a top grade over the entire test parameters. Chapman Guitars has done the only right thing and handed over a very important part of the overall sound to a specialist company, in this case the change in the pickup area to Seymour Duncan. The instrument does indeed offer a very wide range of tonal variation and is also very easy to play in terms of feel. The sustain is excellent, the playability is exemplary and the Chapman Guitars ML2 Pro Azure Blue is one of the few guitars that I recently got to test where both the humbucker and single coil pickup settings are convincing.

In combination with the test setup Hughes & Kettner Triamp MK III, Marshall 412 with Celestion G12 75T and 2 pcs. Shure SM 57 the instrument offers from clean over crunch up to high gain a consistently characterful basic tone, which always asserts itself well in the band context and leaves a very good qualitative impression. Anyone who appreciates the Les Paul shape, but does not want to close himself off to modern style elements, should definitely take the instrument into closer consideration.

Conclusion

With the Chapman Guitars ML2 Pro Azure Blue, the British manufacturer with Asian manufacturing introduces a high-quality single cut variant in its portfolio. The instrument impresses with very good components, impeccable workmanship, a fusion of traditional elements with modern enhancements and has also responded to the criticism regarding the earlier pickup choice and raised the instrument to a new level of quality with two pickups from the house of Seymour Duncan.

A very good instrument that deserves a closer look.

Additional Informations:

- Chapman Guitars is a UK-based guitar manufacturer that has gained a reputation for producing high-quality, affordable guitars that are beloved by both professional musicians and hobbyists alike. Founded in 2009 by Rob Chapman, a well-known YouTube guitarist and guitar enthusiast, the company has grown rapidly over the past decade and is now considered one of the top guitar brands in the world.

One of the key selling points of Chapman Guitars is their commitment to producing guitars that are both high-quality and affordable. The company has achieved this by partnering with manufacturing facilities in Asia, which allows them to keep production costs low while still maintaining a high level of quality control. The result is a range of guitars that are both reliable and affordable, making them an excellent choice for guitar players of all skill levels.

Chapman Guitars offers a wide range of guitar models, including both electric and acoustic guitars. Their electric guitars are known for their versatility, with models ranging from classic designs like the ML1 and ML3 to more modern designs like the Ghost Fret and the ML2 Pro Modern. The company also offers a range of signature models, designed in collaboration with well-known guitarists like Rabea Massaad and Lee Anderton.

In addition to their electric guitars, Chapman Guitars also produces a range of acoustic guitars. These guitars are built to the same high standards as their electric models and are designed to appeal to a range of players, from beginners to professionals. The company's acoustic lineup includes models like the ML1 CAP10, the ML1 Modern Baritone, and the ML3 Traditional.
One of the things that sets Chapman Guitars apart from other guitar manufacturers is their commitment to engaging with their community of fans and customers. The company has a large following on social media, and regularly interacts with fans and customers through their YouTube channel, Instagram, and other platforms. This community engagement has helped the company to build a loyal following of customers who feel connected to the brand and its values.

Another key aspect of Chapman Guitars' success is their dedication to innovation. The company is constantly experimenting with new designs and features, and is not afraid to take risks and try new things. This willingness to innovate has led to the development of unique features like the Chapman Guitars' "Infinity" pickup system, which offers a high level of tonal flexibility and versatility.

Overall, Chapman Guitars is a company that has built a reputation for producing high-quality, affordable guitars that are designed to appeal to a wide range of players. With their commitment to innovation, community engagement, and quality control, it's no wonder that the company has become one of the top guitar brands in the world.


- Les Paul was an American musician, inventor, and pioneer of the electric guitar who revolutionized the music industry in the 20th century. Born Lester William Polsfuss in 1915 in Waukesha, Wisconsin, Paul began playing guitar at a young age and was quickly recognized for his exceptional talent. He went on to become one of the most influential guitarists of all time, and his innovations in guitar design and sound continue to shape the music industry to this day.

One of Les Paul's most significant contributions to music was the invention of the solid-body electric guitar. In the 1930s and 1940s, electric guitars were typically hollow-bodied, which meant that they were prone to feedback and had limited sustain. Les Paul recognized the potential of the electric guitar, but knew that it needed to be redesigned in order to reach its full potential. In the 1940s, he began experimenting with solid-body guitar designs, and eventually developed a prototype that would become the first Gibson Les Paul guitar. The solid-body design allowed for better sustain, reduced feedback, and a wider range of tonal possibilities, which helped to establish the electric guitar as a viable instrument in its own right.

In addition to his contributions to guitar design, Les Paul was also a talented musician and performer. He was known for his virtuosic playing style, which combined elements of jazz, country, and blues. He had a successful career as a solo artist, releasing numerous albums and hit songs throughout the 1940s and 1950s. He also collaborated with many other musicians, including Bing Crosby, Nat King Cole, and Chet Atkins.

Les Paul was also an inventor and innovator outside of the music world. He developed many groundbreaking technologies, including the first multi-track recording system, which allowed for the creation of layered recordings that were previously impossible. He was also involved in the development of tape delay effects, which are still widely used in modern music production.


Despite his many achievements, Les Paul remained humble throughout his life and always attributed his success to hard work and dedication. He was a tireless performer and continued to play music well into his 90s, earning numerous awards and accolades for his contributions to the music industry.

Today, Les Paul's legacy continues to live on through his music, his inventions, and his impact on the guitar industry. His contributions to the development of the electric guitar have had a profound impact on the music world, and his name is synonymous with innovation, creativity, and excellence. Les Paul was truly a trailblazer in every sense of the word, and his influence on music will continue to be felt for generations to come.

TEST: Carl Martin Panama Pedal

It's the eighties (again), the decade that on the one hand brought rock music a plethora of sometimes borderline technical poser bands, guitar finishes with guaranteed blindness and the most uniform hair and outfit of all time, but on the other hand also a guitar solo in every song, the possibility of boundless fame with just one playback appearance on "Wetten dass" and the biggest record contract advances of all time along with gigantic profits for the same. Along with this once fertile ground of the entertainment industry, the market for modifications of all kinds exploded, especially when it came to one's own amp. Just this history would like to pack the Danish Redalschmiede Carl Martin in a pedal and has with the Carl Martin Panama a "British Hot Modded Overdrive" at the start.

"British Hot Modded"? What'n that'n?

We are once again in the depths of the typical rock and metal guitarist of the eighties, which somewhere between the burgeoning New Wave Of British Heavy Metal, the American Bay Area Gekloppe and the all-consuming Hair Metal (the favorite music of all women, ask your mother ...) wave towards the end of the decade trying to find his style. Although there are already one or the other multi-channel, say better 2-channel from the U.S., which can deliver more gain than usual, but the classic variant for rock and metal is still called Marshall 2203 or 2204 (master volume) plus pedal.

This comparatively simple setup, if handled well, still offers almost 4 sounds, i.e. Crunch 1 (preamp fully cranked up, master to taste), Clean (well, a saturated clean by turning down the volume knob), Lead (Crunch 1 plus overdrive / distortion pedal) and Crunch 2 (lead setup with volume knob turned down). All quite nice, but many of the pedals of the time had a strong "fuzz" character, the smooth, creamy thing you heard in Carlos Santana's solo tone just wouldn't settle. This was the birth of the so-called modders, of which there were, for example, Manfred Reckmeyer or Dirk Baldringer, a few real experts in the German-speaking world. Besides the addition of FX loops, possibly a second master volume or second channel, it was mainly the desire for more tube gain that drove the author of this article, among others, to the above-mentioned names.

If one had known, what one still gets some years later for an old Marshall in original condition, one would have renounced certainly one or other tinkering, however I must also say that still 3 of my Marshall Heads, which were partly only slightly modified at its time, or were rebuilt from scratch, perform a very good work in my studio. The final breakthrough was the legendary "Brown" sound of Eddie van Halen on the first VH disc, where a Variac industrial light dimmer took over the "modification" of a 68' Plexi and served as a very extravagant volume control.

This band is probably also responsible for the name of the Carl Martin pedal, as the title is considered one of the most successful of the band. Well then, does the Carl Martin Panama manage to pack a modified Marshall Head from the eighties in a pedal?

The construction of the Carl Martin Panama

The pedal, which is manufactured in China, is not a pedal from one of the countless mini series of other manufacturers in terms of size, but with the dimensions of 5.9 cm x 11.3 cm x 4.8 cm (WxDxH) can definitely be called very compact. However, the massive construction ensures a comparatively hefty weight and suggests a long service life. The pedal has four included stick-on rubber feet and without this attachment, it slides around very easily on any surface without motivation. Battery operation is also not provided for the pedal, from therefore you should directly think about a place on your pedalboard.

Pleasantly, the Carl Martin Panama has its connectors on the front of the housing, which accommodates most patch cord wiring on the pedalboard. In between sits the connector for the 9V power supply. Things get a little tight here and a power supply wlnkelstecker can only be routed away up or down, but with a straight plug there should be no problems. As with the Carl Martin Plexitone, the voltage is internally set high to 12 V, which guarantees better headroom and higher resolution of the signal. The power supply should deliver at least 65 mA, so with a standard 100 mA output you are on the safe side. The On / Off switch is designed in true bypass.

In addition to the standards such as Gain, Level and Tone, the Carl Martin Panama has a fourth, special control called "Damping" on the control surface. Anyone who has ever worked with a prof. engineer will know the problem. With increasing distortion, some amps tend to become a bit "boomy", i.e. their bass content increases, which at first makes the sound seem even more voluminous, but then the amp also tends to "choke", respectively the assertiveness in the band mix suffers massively and must be made up for with excessive volume. You can of course do this in the mix with an EQ, but it is better if the amp does not get into excessive "pumping" in the first place.

This is where the Damping control comes in, which takes the bass part back a bit with increasing clockwise rotation and makes the sound tighter. A very practical effect, as you will hear later in the practical part. This control also makes it possible to rein in the "jazz" aspect of the inherently somewhat bassier sounding semi-acoustic guitars, such as the 300 series from Gibson or similar, and to move them towards a real rock'n'roll guitar.

The Carl Martin Panama in practice

To send it right up front, the Carl Martin Panama, like the Plexitone, has very strong booster ambitions, i.e. the pedal pushes the amp really hard when needed. So it is advisable to be careful with the level control. 12 o'clock corresponds approximately to the in = out level, above that the output level is to be enjoyed with caution.

To appreciate the pedal in its entirety, it is recommended to use as old as possible vintage all-tube amp in the style of a Bassman, Plexi or VOX AC whatever, that is, amps that have a very good basic sound with little gain. In this case, the Carl Martin Panama sort of takes over the part that a modder took over in the eighties. So you can mod your amp without tinkering with it forever. To ensure the same, I took my old 77 Marshall Mod. 1987 with a Marshall 412 cabinet with Celestion Vintage 65 speaker from about 1982 and set it up so that it just doesn't go into saturation.

The first thing that stands out very positively is how incredibly well the pedal hangs on the guitar's volume control. It is actually possible to drive the sound only with the volume control back to almost completely clean and to control the gain factor completely with it. Furthermore, the pedal truly has a very high headroom, however, I would call the pedal more of a distortion than an overdrive pedal. The gain factor goes well beyond a pure overdrive and manages to move even completely clean amps to a powerful lead sound.

The sound of the Carl Martin Panama is really excellent, provided that you like a treble-emphasized sound. Although you can keep the treble quite well in check with the Tone control, the Carl Martin Panama finds its strengths in the assertiveness. Although the product name suggests it, for the original VH sound, the basic sound of the pedal is a bit too tight, the classic EVH sound is a bit softer in the approach, however, the pedal sounds indeed excellent and the excellent dynamics is indeed equal to the VH sound. Especially if you are looking for classic lead sounds, the Carl Martin Panama leaves a very good figure, for typical high gain Geboller recommend other pedals.

Conclusion

With the Carl Martin Panama, the Danish manufacturer has an excellent pedal in its ranks, which is based on the modder work of the eighties. The goal of making a vintage tube amp sound like after a visit to an amp tuner is achieved over long distances and leaves a very good impression in all areas.

Additional Informations:

- Carl Martin Pedals is a Danish-based company that has been producing high-quality guitar effects pedals since 1990. The company was founded by Carl Martin, a talented guitarist who was dissatisfied with the effects pedals available on the market at the time. He set out to design and create his own pedals, which quickly gained a reputation for their exceptional sound quality and durability.
Over the years, Carl Martin Pedals has become a leading name in the world of guitar effects pedals, thanks to their innovative designs and commitment to quality. The company's pedals are used by some of the world's most renowned guitarists, including Joe Bonamassa, Peter Frampton, and Steve Stevens, among others.

One of the things that sets Carl Martin Pedals apart from its competitors is the company's dedication to using only the highest-quality components in its pedals. Each pedal is hand-built using carefully selected components that are rigorously tested for quality and performance. This attention to detail ensures that every pedal that leaves the Carl Martin workshop is of the highest possible quality and will provide exceptional performance for years to come.

Another key feature of Carl Martin Pedals is the company's commitment to innovation. The company's pedals are constantly evolving, with new designs and features being introduced on a regular basis. This commitment to innovation has resulted in some of the most unique and groundbreaking effects pedals on the market today, such as the Octa-Switch MKIII and the Surf Trem.

Despite its success, Carl Martin Pedals remains a small, family-owned company that is committed to providing personalized service to its customers. The company's pedals are sold through a network of authorized dealers and distributors around the world, with each dealer providing expert advice and support to customers looking to purchase a Carl Martin pedal.

In conclusion, Carl Martin Pedals is a company that has earned a reputation for producing some of the best guitar effects pedals on the market today. With a commitment to quality, innovation, and personalized service, the company has established itself as a leader in the industry and a go-to choice for discerning guitarists around the world. If you're looking for a pedal that will.


- Van Halen's "Panama" is a classic rock anthem that has become a staple of the band's live shows and a favorite of rock fans around the world. The song, which was released on Van Halen's 1984 album, features the band's signature blend of hard rock, heavy metal, and pop sensibilities, along with Eddie Van Halen's iconic guitar riffs and David Lee Roth's charismatic vocals.

The song's lyrics are inspired by Roth's love of fast cars and the thrill of driving at high speeds. The opening lines of the song, "Jump in, let's go / Lay back, enjoy the show," set the tone for the high-energy ride that is "Panama." The chorus, which features Roth's soaring vocals and Eddie Van Halen's searing guitar riffs, is a celebration of the freedom and excitement of the open road.
One of the most memorable aspects of "Panama" is Eddie Van Halen's guitar solo, which is widely regarded as one of the greatest guitar solos of all time. The solo is a masterclass in rock guitar playing, with Eddie Van Halen effortlessly shifting between lightning-fast runs and soaring melodic lines. The solo also features Eddie Van Halen's signature "tapping" technique, which he popularized in the 1980s and has since become a standard technique in rock guitar playing.
Another notable feature of "Panama" is the song's driving rhythm section. Bassist Michael Anthony and drummer Alex Van Halen provide a relentless groove that propels the song forward and gives it its unmistakable energy. The band's tight musicianship and chemistry are on full display in "Panama," making it one of the band's most beloved and enduring songs.
In addition to its musical excellence, "Panama" has also had a lasting impact on popular culture. The song has been featured in numerous movies, TV shows, and video games, and has been covered by countless bands and musicians. Its enduring popularity is a testament to the song's timeless appeal and the enduring legacy of Van Halen as one of the greatest rock bands of all time.

In conclusion, "Panama" is a high-energy rock anthem that showcases Van Halen at the height of their powers. From its memorable guitar riffs and soaring vocals to its driving rhythm section and iconic guitar solo, the song is a masterclass in rock music and a testament to the enduring legacy of Van Halen. Whether you're a longtime fan or a newcomer to the world of rock music, "Panama" is a must-listen track that is sure to get your blood pumping and your heart racing.

TEST: Boss HM-2w

 How do you manage to scare off as many readers as possible already with the first sentence so far that he hardly dares to read the next lines further. Well then, the word of the day is "Swedish Chainsaw Metal"! Now it's out and I can literally feel how not only all guitarists from the field of jazz, pop and country turn away in disgust, but also the majority of rock, even metal guitarists show a rather pinched facial expression. Only a small selection of extreme metal guitarists listens expectantly and rushes excitedly to the following lines. Well then, it's time for the resurrection of the Boss HM-2, but in its newly reissued Waza version called Boss HM-2w.

History lesson

One thing up front, discussing sounds is strictly speaking totally pointless, especially when it comes to distorted sounds in the realm of metal. The sometimes completely overdistorted noise, which is expected from the listener in some extreme areas of this genre, is more to be seen as an art project than as a serious form of music, which follows at least rudimentary areas such as rhythm, chord progression and melody. But it is what it is, while Elvis still scared our grandmothers to death with his hip swing, nowadays the only thing left to do is to flee into the total dissolution of any harmonic sound sequences, combined with "vocals" that have more to do with digestive noises of any kind than with any kind of human sounds, in order to provide at least a hint of shock effect.

In order to find a suitable companion in terms of guitar sound here, one was at the right address at the Boss company almost three decades ago. While the overdrive pedals in the form of the OD-1 or SD-1 are still used today as an alternative to the TS9 for the purpose of blowing the amp, the distortion pedals from Boss have always polarized, so that until today at the "most terrible of all distortion pedals" not only the legendary Metal Zone, but also the predecessor of our test pedal Boss HM-2w is mentioned. Launched in the late eighties, the pedal did not even begin to gain a foothold in the hype of hair metal / tail rock, so the pedal was taken off the market again in 1991.

However, with the increasing popularity of the extreme metal faction, the pedals, which were first manufactured in Japan and later in Taiwan, became increasingly popular, so that a worldwide petition was started in which fans of extreme metal asked Boss to reissue the pedal. In particular, Scandinavian bands, which were always ahead in the harmonic cluster area and against which even bands like Slayer musically had a touch of Backstreet Boys, defined with their "Swedish Chainsaw Metal" a "musical" area that was economically negligible, but in terms of attention always caused a furor. Well then, you wanted the extreme, you got the extreme.


Structure and conception of the Boss HM-2w

The Boss HM-2w comes as already for decades almost all other Boss pedals in the classic layout. The dimensions have not changed and also the ingenious battery compartment along with the easiest access has remained. What has changed, however, is the so-called Waza version, in which a small switch on the front of the pedal can be varied between two basic sounds. In the S for Standard mode, the Boss HM-2w imitates the typical HM-2 sound of the eighties, in the C for Custom mode, the same sound gets a kind of "loudness" function, where the bass and treble range is pushed more in combination with an additional increase in the degree of distortion. For those who actually still place their pedals on the floor in free-flight wiring (are there still guitarists who work without a floorboard?), the Boss HM-2w has a rubber pad on the bottom that covers about 50% of the bottom and gives a better grip.

As always, you can choose between battery or power supply operation, whereby the Boss HM-2w turns out to be very frugal in terms of power consumption and can easily cope with a simple 9V / 100 mA power supply. As control options, the Boss HM-2w offers an output control, a bass and treble control and a distortion control. Two special features are immediately noticeable, which should cause confusion for one or the other user. First, there is the 12 o'clock position of the volume control. With almost all pedals, 12 o'clock is roughly +/- 0 dB, meaning that what goes into the pedal in terms of level, comes out again. However, this is different with the Boss HM-2w, here the 12 o'clock position is accompanied by a significant volume drop. Although a clear booster effect can still be heard at right stop, but for a 1:1 level setting you have to go to about 3 - 4 o'clock. Very unusual.

Furthermore, the frequency range of the treble control also clearly captures the midrange, so that depending on the position and the equipment used, you can also create a scoop sound. Here it is necessary to test the respective area of application, whether this type of sound management works.


The Boss HM-2w in practice

As already mentioned, the Boss HM-2w can actually only one sound, but in different versions, depending on whether you switch the pedal in front of a clean or a distorted amp. One thing up front, who wants to operate the pedal in his ancestral sound, comes around a Noisegate after the pedal not around, unless he wants to deactivate the pedal immediately in every break in the game. As with many other high-gain pedals, the amount of ambient noise is extremely high, regardless of whether you turn up the guitar's volume knob or not. Many will criticize that a hard-set noise gate likes to cut off a decaying tone harshly once in a while, but believe me, in the genres of music where this pedal is used, this fact simply doesn't matter.

It is interesting that the Boss HM-2w is operated by its fans with pleasure once like the eternal cliché of the Plexis, speak all controls on right stop. The result is an extremely pumping and scratchy high-gain sound, which allows a maximum of two-tone sounds, which must also be played extremely clean, so that everything does not suffocate in a single mush. The best way to work, in my opinion, is with single notes, which provide the greatest definition.

If you're looking for the warmth or dynamic of an all-tube snare, you're completely wrong with the Boss HM-2w. Here it is exclusively about the brutal and brute force of the half-wave cut, without any consideration for pleasant, pleasing sounds. The Boss HM-2w has from the basic sound indeed a very own tone, which immediately animates to a way of playing, which one had not yet discovered at all in itself, which makes the pedal very interesting in several respects. This does not have to mean that one now automatically falls into the laughing stock of corpse painting and lyrics about slaughtered virgins, but the personal, artistic horizon could indeed be expanded. Death metal riffs with country lyrics in the style of "the woman comes back", "the dog returns home" and "the car starts again", would perhaps also be an interesting variation.

However, the pedal with its partly "Fuzz Pedal Meets Broken Amp" reminiscent sound will scare off many classic pedal operators who have become accustomed to more pleasing tones from their pedals. The sound is really nasty, mean, unsettling, with the subtlety of a chainsaw, but that's exactly the pedal's specialty. I dare to doubt whether the Japanese really had this field of application in mind for their pedal at the end of the eighties, but the terry towel is now also created by a mistake in the loom and you could dry your hands afterwards super on it, from therefore.

The sound files were recorded with my Sound Ciry Master One Hundred, an amp that is great for distortion pedals of any kind and from the setting goes a touch into the saturation.



Conclusion

With the Boss HM-2w, the Japanese manufacturer once again brings a legend to the market, which will polarize like hardly any other. On the one hand, the extreme sound of the pedal will scare off many users, on the other hand, the sound shows you a side of you that you did not know until now. To what extent the musician finds this development interesting or disturbing is in the eye of the beholder.

But the fact is, 90% of all users will hate this sound, 10% will love it, but 100% will talk about it, which is always the basis for a legend in the end.

Additional informations:


- Distortion pedals, also known as "overdrive" or "fuzz" pedals, are a type of effect pedal used by guitarists and bassists to create a distorted, crunchy sound. These pedals are a staple in the rock and metal genres, but can be used in a variety of musical styles.

Distortion pedals work by clipping the signal of an instrument, which causes it to distort and produce harmonics that give it a gritty, aggressive sound. The amount of distortion can be controlled with the gain knob on the pedal, allowing the player to achieve everything from a light overdrive to a heavy, saturated tone.

There are three main types of distortion pedals: overdrive, distortion, and fuzz. Overdrive pedals are designed to simulate the sound of a tube amplifier being pushed to its limits. They typically produce a warm, smooth sound with a moderate amount of distortion. Distortion pedals, on the other hand, produce a more aggressive sound with a higher level of distortion. Fuzz pedals produce an even more extreme, almost "broken" sound that is popular in genres like garage rock and psychedelic rock.

Distortion pedals can be used in a variety of ways. Some players use them to add a little bit of grit to their sound, while others use them to completely transform their tone. They can be used to create a solo boost, to add sustain, or to create a more complex, layered sound. Some players even use multiple distortion pedals in a chain to achieve a unique sound.

When selecting a distortion pedal, there are a few things to consider. First, players should consider the type of music they play and the tone they are trying to achieve. Different pedals will produce different types of distortion, so it's important to choose one that matches the desired sound. Players should also consider the quality of the pedal, as well as its durability and reliability.
Some popular distortion pedals on the market include the Boss DS-1, the Pro Co Rat, and the Ibanez Tube Screamer. Each of these pedals has its own unique sound and character, and players should experiment with different pedals to find the one that works best for them.

In conclusion, distortion pedals are an essential tool for any guitarist or bassist looking to create a distorted, crunchy sound. These pedals come in a variety of types and styles, and can be used in a variety of ways to achieve different tones and effects. When selecting a distortion pedal, players should consider the type of music they play, the sound they are trying to achieve, and the quality and reliability of the pedal.

Boss Pedals is a Japanese company that manufactures guitar and bass effects pedals. Founded in 1973, Boss has become one of the most well-known and respected names in the music industry. The company's pedals are used by countless professional musicians in a variety of genres, and are renowned for their high-quality sound and durability.

Boss Pedals has a wide range of effects pedals, including distortion, overdrive, chorus, delay, and many more. Each pedal is designed to produce a specific effect, allowing musicians to tailor their sound to their exact preferences. The company is known for its innovation in the field of guitar effects, and has introduced many groundbreaking products over the years.

One of Boss Pedals' most iconic products is the DS-1 Distortion pedal. This pedal, introduced in 1978, quickly became popular among guitarists and is still in production today. The DS-1 is known for its versatile sound and rugged construction, and has been used by countless artists in a variety of genres.

Another popular Boss Pedals product is the TU-3 Chromatic Tuner. This pedal is used by many guitarists to ensure that their instrument is in tune at all times. The TU-3 is known for its accuracy and ease of use, and has become a staple on many pedalboards.

Boss Pedals is also known for its compact pedal design. The company's pedals are built to withstand the rigors of touring and live performance, and are often much smaller than their competitors' products. This makes it easier for musicians to fit multiple pedals on their pedalboard without taking up too much space.

In addition to its effects pedals, Boss Pedals also manufactures other music-related products, including amplifiers, multi-effects processors, and drum machines. The company has always been dedicated to creating high-quality, innovative products that musicians can rely on, and this dedication has helped them to remain a leader in the music industry for nearly 50 years.
Overall, Boss Pedals is a company that has had a significant impact on the music industry. Its effects pedals are used by musicians all over the world, and its commitment to quality and innovation has helped it to maintain its position as one of the most respected names in the business. Whether you're a professional musician or just getting started, a Boss Pedal is a great investment for anyone looking to create a unique and innovative sound.