TEST: FMR Audio RNLA7239

Hardware outgear has a hard time these days. Depending on the music genre, the vast majority of all signal processors are used as plug-ins of the respective DAW along with the manifold presets for signal processing. Preset does not fit? Doesn't matter, just take the next one, any one will fit. The argumentation chain is always the same, fast, simple, storable and of course the most popular killer argument: "The music consumer doesn't hear a difference anyway". Undoubtedly for the regular studio operation solid arguments, but just as in the guitar sector, for example, a stable group of users opposes the "Hört-Keinen-Unterschied-Kemper-IR" movement with their all-tube amplifiers, there are still some "screwdrivers" in the control rooms of this world, for whom nothing beats the haptic experience of a controller and the associated sound change. It is precisely this clientele that is addressed by the Texan company FMR Audio, which has some witty to sometimes ironic detail solutions at the start with its FMR Audio RNLA7239.

The construction of the FMR Audio RNLA7239

The Texans do indeed have a sense of humor. The four letters RNLA stand for "Really Nice Leveling Amplifier", a pretty description for a compressor and from the description about the same level as the sister model "RNC", which is paraphrased as "Really Nice Compressor". However, the witty approach is followed by a clear principle. Small, handy, inexpensive and of high audio quality are supposed to be the FMR Audio products, which should probably attract a lot of attention not only from budget studios.

The fact that the FMR Audio RNLA7239 comes in a third rack space at one HE on the market and rests on 4 strong rubber feet, makes the product not only interesting for studio use, but could also find its place on one or the other bass amp. Theoretically also in the guitar area, but guitarists love to be able to deactivate their pedals by means of a footswitch and which guitarist already plays a complete set with an activated compressor. The weight of 490 grams is not much in itself, but it shows with the small dimensions how sturdy the metal housing was created. Not to be forgotten is of course the mobile operation, where you have a compressor that can be operated either mono or stereo at your fingertips.

FMR Audio explicitly points out the "rack-mountable" features, but how the product should be placed in the rack due to the lack of rack wings or similar is left to the personal creativity of the engineer. I can already see drilled base plates in my mind's eye. Possibly one could still get a 1 U bathtub and press the FMR Audio RNLA7239 firmly on both sides. Be that as it may, the "Really Nice Leveling Amplifier" is not the first outgear that cannot be placed in a 19 inch rack from the factory.

If you search the web for the FMR Audio RNLA7239, you can't help but get the impression that once the little box makes it into a studio, it's happy to take on its bigger brothers, especially in terms of retail price. Visually, the little guy really doesn't pull a slice of tofu off the plate, but the praises that you can read in various expert forums are by no means evidence of puppy protection. The Texans charge just €259 for the tiny device, and that's with (attention!) Made in the USA! Can you really keep up with the big brothers in terms of sound at such a price?

In contrast to the first models of the FMR Audio RNLA7239, where the housing was probably still made of plastic, the current version has a metal housing made of two mirrored shells, which were provided on the front and back with a corresponding panel and which leaves a comparatively robust impression. There is a small thread on the underside, which can be used to prevent the case from moving, at least theoretically, with a corresponding screw connection.

A quick look at the back of the case reveals a simple but very practical trick. The input jacks are designed as TRS jacks, which can be used as FX loops if needed. The purpose behind this circuit is to avoid the much more expensive insert split cables that would otherwise be needed in regular console use. The disadvantage of this circuit is the unbalanced signal routing. If you want to use the FMR Audio RNLA7239 in mono, you have to use the left channel. The same insert circuit is also in a sidechain, which was also installed on the back of the housing. Unfortunately, the sidechain cannot be deactivated by means of a switch.

A cold-device socket is not to be reckoned with in this performance or dimension class, so an external, included power supply is used. 12 volts at 500 mA are required, the included power supply plays it safe and supplies 1 A. The FMR Audio RNLA7239 is shipped without any manual, which can however be downloaded from the FMR Audio website. This download is well worth it. Not only that you get a lot of information and tips, no, you can also enjoy the self-ironic way of the Texans, which not only themselves, but also take everything possible on the joke.

In terms of measurement values, the little box also offers something amazing. The clipping is set at 3% THD at 22.5dBu for 1kH, the input and output impedances are 10kΩ and 100Ω, respectively, which corresponds to the standard. On the other hand, the fact that the frequency response between 10 Hz and 100 kHz has a tolerance of only 1 dB is remarkable.

The front panel of the product also contributes to the lived understatement of the Americans. The five simple controls made of black and red plastic could also have come from the guitarist's effects pedal. On the far left, the row begins with the Threshold control, which ranges from -40 to +20 dBu, followed by the Ratio control, which in its maximum setting of 25:1 already operates in the limiter range. The attack and release ranges are unfortunately only marked with the numbers 1 to 11 (Nigel Tufnel: "this one goes to eleven") and no millisecond values could be found in the manual. The final control on the far right is the gain control, which offers a control range of -15 to +15 dB.

When it comes to metering, users have to rely on their ears to a large extent, since any input and output displays have been omitted. Only the compression reduction is displayed on an eight-digit LED chain. Besides a bypass switch, another push button called "Log Rel" draws attention. This switch ensures that the release time is shortened for short, large level peaks to give the signal more punch.

In practice

There is hardly a section in the manual of the FMR Audio RNLA7239 where the author does not point out that the product feels very close to the areas of "vintage" and "coloring of the signal". In fact, the VCA compressor handles the applied signal to the same extent as the compression forefathers did many decades ago. To this day, analog outboard compressors are considered the spearhead of sonic culture and are once again replaced by their digital DAW plugin representatives only for convenience.

When you apply a signal to the dwarf for the first time, you may hardly believe your ears. The small box, which seems a bit lost in the studio, sounds as if someone installed the hidden camera. The delivered sound rather allows the association to another zero behind the store price when the eyes are closed. As always, the tester is looking for the right subjects and adjectives, and once again the classic analog terms "warmth", "punch" and "saturation" shoot through one's mind.

It should always be kept in mind that the FMR Audio RNLA7239 not only gives an extremely round figure in the studio, but also in the bass range, with a clean guitar or even in bus mode, for example, for drums, a real enrichment. Also for mobile operation or as a "safety backup" for the safety-conscious FOH.

But definitely the strongest argument for the compressor is the retail price. Even if some points sometimes seem a bit "cheap", it is a mystery to me how you can call a price of just 259 € at Made In USA. The box sounds quite excellent and can easily take on the next but one performance category, even more, the compressor should crystallize so far as the best stereo compressor in the three-digit euro range.

Conclusion

With the FMR Audio RNLA7239 the Texans have probably the hottest iron in the field of stereo compressors under 1,000 € in the fire. The small box is inconspicuous, sometimes looks lost in the studio, has a questionable third 19 inch unit as a dimension, but sonically puts everything in this class in the shade!

Additional Informations:

FMR Audio is a company that has been designing and manufacturing high-quality audio equipment since 1994. Based in Austin, Texas, FMR Audio is known for their innovative and affordable designs, as well as their commitment to providing top-notch customer service.

History

FMR Audio was founded in 1994 by Mark McQuilken, a musician and audio engineer who was frustrated by the high cost of professional audio equipment. McQuilken believed that it was possible to create high-quality equipment that was also affordable, and he set out to make that a reality.

FMR Audio's first product was the RNC1773 compressor, which quickly gained a following among audio professionals. The RNC1773 was praised for its transparent sound, ease of use, and affordability, and it remains one of FMR Audio's most popular products to this day.
Over the years, FMR Audio has continued to innovate and expand their product line, offering a range of compressors, limiters, preamps, and other audio equipment. Today, FMR Audio is known for their high-quality, affordable products, as well as their commitment to customer service.

Products

FMR Audio offers a range of audio equipment for both professional and home use. Some of their most popular products include:

RNC1773 Compressor: The RNC1773 is a high-quality, affordable compressor that is ideal for both studio and live applications. It features a transparent sound, easy-to-use controls, and a compact design.

RNLA7239 Compressor: The RNLA7239 is a stereo compressor that is ideal for mastering and mixing applications. It features a tube-like sound and a range of controls for fine-tuning your audio.

PBC6A Compressor: The PBC6A is a dual-channel compressor that is ideal for both tracking and mixing. It features a classic sound and a range of controls for customizing your compression.
RNP8380 Preamp: The RNP8380 is a high-quality preamp that is ideal for both microphones and instruments. It features a transparent sound and a range of controls for customizing your tone.
Really Nice Levelling Amplifier (RNLA500): The RNLA500 is a versatile levelling amplifier that can be used for both mixing and mastering. It features a transparent sound and a range of controls for fine-tuning your audio.

All of FMR Audio's products are designed and manufactured in the USA, using high-quality components and materials.

Customer Service

One of the things that sets FMR Audio apart from other audio equipment manufacturers is their commitment to customer service. FMR Audio offers a range of resources and support to help their customers get the most out of their products, including:

User manuals and guides: FMR Audio provides detailed user manuals and guides for all of their products, making it easy for customers to set up and use their equipment.
Online forums: FMR Audio maintains online forums where customers can ask questions, share tips and advice, and connect with other users.

Technical support: FMR Audio offers technical support for their products, including troubleshooting, repairs, and replacement parts.
Warranty: FMR Audio offers a 3-year warranty on all of their products, giving customers peace of mind and ensuring that they get the most out of their investment.

Conclusion

FMR Audio is a company that has made a name for itself by designing and manufacturing high-quality, affordable audio equipment. With a range of compressors, preamps, and other products, FMR Audio has something to offer for both professional and home users. And with their commitment to customer service, FMR Audio ensures that their customers get the support they need to succeed.

TEST: EVH Wolfgang WG Std Exotic Spalted

Well done to the artist whose name, despite cancer and severe alcoholism to this day, at least among all musicians from 50+, has the radiance of a supernova. Probably no guitarist in the world has brought it in the field of popularity, innovation and virtuosity to such great success as Edward van Halen, who without front man David Lee Roth would probably only have made it to the attributes 2 and 3, but in the interplay with THE blueprint of the showman of the eighties brought it to world fame of the highest league. After many years of cooperation with various manufacturers, Eddie has launched his own empire some time ago, which offers under the trademark "EVH" pretty much everything in Signature Edition, which the offspring of a Dutch jazz clarinetist and an Indonesian woman ever got in his hands or under his feet in his life. For today's test, we have an EVH Wolfgang WG Std Exotic Spalted, where EVH, like many other manufacturers, ventures into new price regions.

The conception of the EVH Wolfgang WG Std Exotic Spalted

The guitar market is changing more and more. Although highly equipped signature models from 3,500 € upwards appear in the scene from time to time, but except for a few die hard fans who are willing to follow their idol into these price regions, no more sales can be generated with these instruments. For the "normal" hobby guitarist, a four-digit number represents a kind of wall that is only overcome in a few situations. I do not have exact figures, but I am quite sure that the majority of guitars actually sold have a three-digit sales price.

Interesting for the customer is always which functions, details or processing steps fall victim to the red pencil, as in this case, where the homage to Edward's son Wolfgang with only just 17% of the retail price of the USA-manufactured Edward van Halen Signature guitar.

Even if Eddie's mother is from Indonesia, she is unlikely to be the reason why the EVH Wolfgang WG Std Exotic Spalted is made in that country. On the one hand, Indonesia has surpassed China when it comes to cheap manufacturing methods, and on the other hand, the country has been recording a steady increase in manufacturing quality for years. However, it will probably not go completely without compromises, which will eventually become apparent.

The guitar is shipped in a cardboard box, which was lined with "cardboard and styrofoam molded inserts". Yes, the guitar arrived undamaged and it is no longer common to ship guitars from the three-digit sales segment with a case, but the same "packaging" was really borderline this time. Probably it is cheaper to throw away every tenth guitar with a total loss than to deliver nine guitars with a case. Well then, company policy.

When you take the guitar out of the cardboard case for the first time, you are almost struck by a natural wood armada. Four different wood colors from three different wood species put any rustic oak cabinet wall in the shade. The most eye-catching feature is the almost 5 mm thick ceiling made of "Spalted Marple", a maple wood that has been attacked by a fungus and, as a result of this, displays a characteristic grain. The top runs through to the outer edges, creating a natural or fake binding.

The body is once again made of Edward van Halen's preferred basswood, which has been stained reddish, giving it a mahogany touch. In terms of weight, the guitar weighs in at 3.4 kg, which is quite moderate. In terms of neck and fingerboard was once again baked, ie the toasting of maple necks is now no longer an issue even in the inexpensive models. The fingerboard was designed as a compound with 305 mm - 406 mm (12" - 16") from the third to the twelfth fret.

However, with all the tonal advantages that a toasted neck brings, one should not forget to adjust the rest of the neck's components to the new color scheme. Thus, the new color of the neck is no longer a light, yellow-brown tone, but rather a medium, almost dark brown. However, the fingerboard markings on the top and sides of the fingerboard have still been done in black, which means that on a dimly lit stage, you can see absolutely nothing of the same. Here, the one or other misgrip will not be avoided. A sensible approach is the access to the truss rod above the neck pickup, which may not please everyone visually, but mechanically is the much better variant than the weakening of the neck at the transition to the headstock.

The neck is finished with one of the smallest headstocks currently available. It's not clear to me why EVH is so fond of small headstocks, there is a tightness on the backside of the headstock, especially since the D-string action just manages not to stick out of the round notch. Also, in the 3:3 alignment, three machine heads each were aligned parallel to the neck, while the other three were aligned lengthwise to the headstock side. Well then, art is free, however, another point puts the negative crown on the EVH machine heads.

I don't know who builds the machine heads under license, but EVH did themselves no favors by using these machine heads. Even if the tuners are used comparatively little due to the clamp saddle, in terms of even response, the tuners fail completely. The tuners have quite a bit of play, both in tightening and loosening the tuners, and only catch after just under 2 mm of rotation. For me, a big damper in terms of components used.

The vibrato system used is, of course, a Floyd Rose system, but it rests firmly on the top and thus offers much greater tuning stability than a free-floating system. Also, the breaking of a string does not directly destroy the entire tuning and you can still play the song with 5 strings to the end. Unfortunately, the finetuners are not necessarily the crème de la crème in terms of smoothness, here it jerks a bit and also the force is significantly higher than in higher-quality versions.

In the electrics, a circuit with 2 humbuckers from our own production, a three-way switch and a master volume and master tone is used. So far, so good, but the heptagonal poti caps would have deserved a deburring. In fact, especially the terminations towards the top are so sharp-edged that one runs the risk of hurting oneself on the edges in the hustle and bustle of stage presentation.

In practice

Played unamplified, the EVH Wolfgang WG Std Exotic Spalted convinces from the very first note. The response is fast, the sustain is very good due to the toasted neck. The string action was unfortunately set much too low from the factory, but this could be fixed with a few tweaks. Fortunately, the fixed vibrato system does not suffer from the "resonating spring syndrome", which is present in almost all free-floating vibrato systems and which shatters every staccato riff.

The volume control works logarithmically, which means that almost 80% of the volume control is available on the last 25% of the control path. This in itself is not a problem and is even explicitly appreciated by many Strat players, you just have to get used to it.

Soundwise, the EVH Wolfgang WG Std Exotic Spalted offers unusually much Van Halen for the money, as long as you keep in mind how said sound is composed. If you're looking for the ultimate in high-gain banging, this is definitely not the instrument for you. Rather, you have the possibility, especially in cooperation with the volume control, to work a lot in the lead and crunch range, just the area that Eddie primarily plows on all VH records.

The playability of the instrument is good, the workmanship as well, the sound quite authentic, the "woody" finish as always a matter of taste. A good, versatile instrument with a focus on rock, not metal.

Conclusion

With the EVH Wolfgang WG Std Exotic Spalted, EVH offers a lot of Van Halen flair for the money. The very inexpensive guitar allows a good entry into the VH camp and convinces over long stretches despite some compromises in detail.


Additional Informations:

- EVH Guitars, also known as the Eddie Van Halen Guitars, is a guitar company that was founded by the legendary musician Eddie Van Halen and Fender Musical Instruments Corporation in 2007. The company is dedicated to producing high-quality electric guitars, basses, and amplifiers that reflect the unique style and sound of Eddie Van Halen.

Eddie Van Halen was a highly influential guitarist and musician who was known for his innovative playing style and unique sound. He was the lead guitarist and co-founder of the band Van Halen, which achieved immense success in the 1970s and 1980s. Eddie Van Halen's playing style and sound have been the inspiration for countless musicians and guitarists around the world.

EVH Guitars was created with the goal of producing instruments that capture the essence of Eddie Van Halen's playing style and sound. The company produces a range of electric guitars, including the Wolfgang, the Striped Series, and the 5150 Series. Each of these guitars is designed to provide players with the ability to create a wide range of sounds, from classic rock to heavy metal.

The Wolfgang series is perhaps the most well-known of EVH's guitars. It was designed by Eddie Van Halen himself and is available in a range of different configurations, including the Wolfgang Standard, the Wolfgang Special, and the Wolfgang USA. The Wolfgang features a number of unique design elements, including a custom-designed EVH humbucking pickup, a unique body shape, and a Floyd Rose locking tremolo system.

The Striped Series is another popular line of guitars from EVH. These guitars are modeled after the iconic red, black, and white striped guitar that Eddie Van Halen played on stage during the band's early years. The Striped Series guitars feature a basswood body, a maple neck, and a custom-designed EVH humbucking pickup. They are available in a range of different colors, including red, black, and white, as well as yellow and black.

The 5150 Series is a line of guitars that was designed with heavier styles of music in mind. These guitars feature a basswood body, a maple neck, and a custom-designed EVH humbucking pickup. They also feature a Floyd Rose locking tremolo system and are available in a range of different colors, including black, white, and red.

In addition to its range of guitars, EVH also produces a range of amplifiers, including the 5150 III, the 5150 III EL34, and the 5150 III LBX. These amplifiers are designed to provide players with a powerful and versatile sound that is perfect for heavy rock and metal styles of music.

Overall, EVH Guitars is a company that is dedicated to producing high-quality instruments that reflect the unique style and sound of Eddie Van Halen. With its range of electric guitars, basses, and amplifiers, the company is a favorite among guitarists and musicians around the world who are looking to create their own unique sound. Whether you are a beginner or an experienced player, an EVH guitar is sure to provide you with the tools you need to take your playing to the next level.

- Wolfgang Van Halen is an American musician, singer, songwriter, and producer who is best known as the bassist for the rock band Van Halen. He is the son of legendary guitarist Eddie Van Halen and actress Valerie Bertinelli. Wolfgang has been active in the music industry since his early teens and has contributed to a number of high-profile projects over the years.

Wolfgang Van Halen was born on March 16, 1991, in Santa Monica, California. He grew up in a family of musicians and was exposed to music from an early age. His father, Eddie Van Halen, is widely regarded as one of the greatest guitarists of all time, and his uncle, Alex Van Halen, is the drummer for the band Van Halen. Despite growing up in such a musical environment, Wolfgang initially showed little interest in playing music.

It wasn't until he was 10 years old that Wolfgang started to take an interest in music. He began playing the drums and guitar and quickly developed a talent for both. When he was 15 years old, he joined his father and uncle's band, Van Halen, as the band's bassist. This was a significant moment in Wolfgang's career, as he was replacing original bassist Michael Anthony, who had been with the band since its inception.

Wolfgang's debut album with Van Halen, "A Different Kind of Truth," was released in 2012. The album was a critical and commercial success, and Wolfgang's bass playing received high praise from fans and critics alike. He also contributed to the band's live shows, helping to bring a fresh energy to the stage.

In addition to his work with Van Halen, Wolfgang has also worked on a number of other projects over the years. He has played bass for the bands Tremonti and Mark Morton, and has also produced music for a number of artists, including Sevendust and Mark Tremonti.

In 2020, Wolfgang released his debut solo album, "Mammoth WVH." The album was highly anticipated by fans and showcased Wolfgang's talents as a songwriter and multi-instrumentalist. The album features a range of different styles, from hard rock to acoustic ballads, and was well-received by fans and critics alike.

In addition to his musical talents, Wolfgang has also been praised for his philanthropic efforts. He has worked with a number of charities over the years, including the Mr. Holland's Opus Foundation, which provides musical instruments to underfunded schools, and the MusiCares Foundation, which provides support to musicians in need.

Overall, Wolfgang Van Halen is a talented musician who has made a significant impact in the music industry. His work with Van Halen and his solo career have showcased his skills as a bassist, songwriter, and producer, and his philanthropic efforts have earned him respect and admiration from fans and colleagues alike. With a bright future ahead of him, Wolfgang is sure to continue making waves in the music industry for years to come.

TEST: Flaxwood Hybrid

OK, I admit it, also in me beats deep inside a heart, which separates itself only very unwillingly from dear-become rituals or conditions. Isn't it immensely relaxing when you only have to make the first step and the rest runs a more or less predetermined path, always discreetly aligned with your personal preferences? One of these beliefs is the fact that a guitar must be made of wood! If possible from well-known woods such as ash, alder, mahogany, maple, etc.. Must? Why actually? If one asks once carelessly into the round, enters beside a surprisingly high portion of shoulder shrugging all times the argument "vibration behavior" the area.

Well, this is indeed THE argument par excellence for the sound of an instrument, but why the above-mentioned tone woods? Experts know that I am now on very thin ice, but you can easily start a discussion off the cuff, which is in the two-digit hour range again. However, it is undisputed that naturally grown wood has two decisive disadvantages. On the one hand, the same wood is always somewhat uneven in structure due to the growth and thus also the danger of deadnotes or resonance holes. Secondly, a tree always has to be felled and, in the best case, replanted within a sustainability program. That here even in the highest regions of the guitar manufacturers sometimes real abuse is practiced, had to experience recently one of the "Big 2" of the American guitar builders.

Aware of these circumstances, smaller manufacturers are constantly trying to create an alternative to the classic tonewoods. One of these innovators is the company Flaxwood from Heinävaara, Finland, which recently caused a big aha effect within the scene with holistic solutions such as the Voima model. But since guitarists are as offensive about new construction materials as an anxious dog is about New Year's Eve firecrackers, Flaxwood also offers a model for the "moderate mental transition", the Hybrid model.


Construction

The big hook of the instrument is the new material "Flaxwood", which presents itself as a patented mix of wood fibers and binding material. Under high pressure, the same material is injected into appropriate molds, allowing it to be pressed into all imaginable shapes. The material is completely recyclable and must undoubtedly be described as a "green" starting material.

In addition, the aforementioned vagaries of wood resonances are eliminated and each instrument actually sounds identical, at least in the models made entirely of Flaxwood material. At this point at the latest, the vintage fan gets the sheer horror, but vast numbers of online exchanges with their sometimes more than ridiculous price excesses would forfeit their raison d'être within seconds (recently, only the pickguard of a 52' Tele was offered for 3000, - € !!!)...

In the case of the Hybrid, the mix of classic and modern components is very moderate. The body of the instrument is made of European alder, while the bolt-on neck is made of the same flaxwood. Color-wise, the instrument can be purchased in black, white or tabacco sunburst. Already at first glance you can see the target audience of the instrument, but the slightly modified Stratocaster shape along with 3 Seymour Duncan SSL-2 pickups speak volumes. In the control area we find a master volume and 2 tone controls.

In terms of hardware, the test instrument features a surface-mounted vibrato system that works on the knife-edge principle, while a 3:3 combination of unspecified tuners do an impeccable job. However, the instrument is also available with a hardtail solution. The dimensions of the instrument are familiar, as there are 22 medium jumbo frets, a 12" fingerboard radius and a 25.5" scale. The instrument is shipped and set up on a 0.10 - 0.46 Elixier Nanoweb string set.

What is extremely eye-catching is the incredibly affordable price for an instrument of this quality. For just under 900, - € you get an instrument from European manufacturing with high-quality equipment and innovative detail solutions, which in view of the local wage and social security contributions must be called a real price breaker.


Practice:

What a sustain! No matter what you as a user may put your personal focus on, the ellong vibration behavior, which the Hybrid displays, is exorbitant! Whether singlenotes or chord playing, the "longevity" of the struck notes is far above the average of a classic solid wood guitar. At the same time, the instrument displays a tremendous liveliness due to the materials used in its construction. The instrument virtually "sticks" to the musician's hands and has an extremely fast tone response.

Speaking of sticking, the neck has a very pleasant feeling of "stickiness" with sweaty hands. In contrast to fully lacquered necks, which tend to increase friction when hands are played in, the Finnish solution tends to feel more like an open-pored solution, without sharing its problems such as contamination by sweat and skin residues.

In general, the whole instrument feels very good. Those who feel at home in the Stratocaster camp will quickly warm up to the instrument, but not without noticing its independence. The Flaxwood has an extra point more "click" in the tone approach, meaning the treble range of the instrument is a tick'n more pronounced than the Godfather from the USA. The guitar sounds a bit more modern with an absolutely balanced frequency spectrum and a high assertiveness in the band context.

The playability is also excellent up to the highest registers, no edges, no corners or other micro-resistances that could reduce the joy of playing. The vibrato system fulfills its purpose and proves to be absolutely tuning stable in regular use. Due to the fact that the system was not designed in free-floating, nothing stands in the way of an orderly damping technique by placing the handball on top.


Conclusion:

The Flaxwood Hybrid features a truly successful fusion between tradition and modernity. By combining a new, extremely promising material with a classic tonewood, the Hybrid manages to create an independent solution in the intersection of both concepts.

The instrument sounds very good, has excellent playability, possesses character, independence and the special esprit of the new. The vibration behavior of the instrument is outstanding, the sustain above average. If you now also consider the environmental protection factor due to the new material and the comparatively low selling price, you have to give the instrument a very good rating.


Additional Informations:

- Flaxwood Guitars is a Finnish company that specializes in the production of high-quality guitars using sustainable materials and innovative manufacturing techniques. Founded in 2008 by luthier Pekka Tuomi, Flaxwood has quickly gained a reputation for producing instruments that combine traditional craftsmanship with modern technology.

Sustainable Materials

One of the unique features of Flaxwood guitars is their use of sustainable materials. The company uses a patented technology called Trillium, which combines flax fibers with resin to create a composite material that is both lightweight and durable. This material is used to create the body of the guitar, resulting in an instrument that is more environmentally friendly than traditional wood guitars.

In addition to the Trillium composite material, Flaxwood also uses other sustainable materials in their guitars, such as recycled aluminum and locally-sourced Finnish woods. By using these materials, Flaxwood is able to create instruments that are not only high-quality but also socially and environmentally responsible.

Innovative Manufacturing Techniques

Flaxwood guitars are also notable for their innovative manufacturing techniques. The company uses a combination of CNC machining and hand-craftsmanship to create instruments that are precise and consistent, yet also unique and individual. Each guitar is carefully crafted to ensure that it meets the highest standards of quality and playability.
One of the key benefits of Flaxwood's manufacturing techniques is the ability to create guitars that are highly customizable. Customers can choose from a range of options, such as body shape, pickups, and finishes, to create an instrument that meets their individual needs and preferences. This level of customization is not typically available with mass-produced guitars, making Flaxwood guitars a popular choice among musicians who are looking for a more personalized instrument.

Product Line

Flaxwood offers a range of guitars to suit different playing styles and preferences. The company's flagship model is the Liekki, a single-cutaway guitar with a carved top and a set neck. The Liekki is available in several different configurations, including solid and semi-hollow body options, and a variety of pickup configurations.

Another popular model is the Rautia, a double-cutaway guitar with a bolt-on neck. The Rautia is designed for players who prefer a more modern playing experience, with a slim neck profile and a fast-playing fingerboard. Like the Liekki, the Rautia is available in a variety of configurations, allowing players to customize their instrument to suit their needs.
In addition to their standard models, Flaxwood also offers custom options for customers who are looking for a truly unique instrument. The company's team of skilled luthiers can work with customers to create a guitar that is tailored to their specific preferences, from the shape and finish of the body to the type of pickups and hardware used.

Conclusion

Flaxwood Guitars is a company that is dedicated to innovation, sustainability, and craftsmanship. By using sustainable materials and innovative manufacturing techniques, Flaxwood is able to create guitars that are both environmentally responsible and high-quality. With a range of models and customizable options, Flaxwood guitars are a popular choice among musicians who are looking for a personalized instrument that meets their individual needs and preferences. Whether you are a professional musician or an amateur player, a Flaxwood guitar is an instrument that is sure to impress.

- Finnish guitar builders have gained a reputation for producing some of the most innovative and unique guitars in the world. These luthiers are known for their attention to detail, high-quality craftsmanship, and use of sustainable materials. In this article, we will explore the history and culture of Finnish guitar building, and profile some of the country's most notable builders.

History and Culture

Finland has a long history of guitar making, dating back to the early 20th century. However, it was not until the 1980s that Finnish guitar building really began to take off. During this time, a group of luthiers began experimenting with new materials and techniques, such as carbon fiber and CNC machining. These innovations helped to distinguish Finnish guitars from traditional instruments, and paved the way for new designs and sounds.

Today, Finnish guitar builders continue to push the boundaries of guitar design and construction. Many of these builders have a strong commitment to sustainability, using locally-sourced woods and other eco-friendly materials in their instruments. They also place a strong emphasis on craftsmanship and attention to detail, ensuring that each instrument is of the highest quality.

Notable Builders

Here are just a few examples of notable Finnish guitar builders:

Juha Ruokangas - Ruokangas Guitars
Juha Ruokangas is one of Finland's most well-known guitar builders. He has been building guitars since the 1990s, and is known for his meticulous attention to detail and use of sustainable materials. Ruokangas guitars are highly sought after by players around the world, and are known for their unique designs and exceptional sound.

Pekka Tuomi - Flaxwood Guitars
Pekka Tuomi is the founder of Flaxwood Guitars, a company that specializes in guitars made from sustainable materials. Flaxwood guitars are known for their innovative designs and high-quality craftsmanship, and have been used by musicians in a wide range of genres.

Juha Salmi - Salmi Guitars
Juha Salmi has been building guitars since the 1990s, and is known for his use of unconventional materials such as stone and glass. Salmi guitars are highly regarded for their exceptional sound and unique designs, and have been used by musicians in genres ranging from jazz to metal.

Kari Nieminen - NoNi Guitars
Kari Nieminen is the founder of NoNi Guitars, a company that specializes in custom-built guitars. Nieminen has been building guitars since the 1990s, and is known for his attention to detail and use of high-quality materials. NoNi guitars are highly customizable, allowing players to create an instrument that is tailored to their individual needs and preferences.

Conclusion

Finnish guitar builders have a long history of innovation and sustainability, and are known for their exceptional craftsmanship and attention to detail. These luthiers have helped to push the boundaries of guitar design and construction, and have created some of the most unique and sought-after instruments in the world. Whether you are a professional musician or an amateur player, a Finnish-built guitar is an instrument that is sure to impress.

TEST: Fischer In Ear Stick

A new star in the In Ear sky? With the Fischer Amps In Ear Stick, the company located in Osterburken in southern Germany launches a cable-based amplifier system, which comes up with unique dimensions and manufacturing in Germany.

The In Ear concept

Inear is on everyone's lips, or rather, on everyone's ears. Probably no other product has made it in the last decade from a monitor system used only by elite vocal superstars to a mass product with all quality and price gradations. The earphone system, which is usually used in conjunction with a radio link, has long since left the primary field of application of vocals and is used across the board by all types of instruments.

Depending on its field of application, a high-quality radio link, with all its advantages and disadvantages, plays a decisive role in signal transmission. Stage-filling presentations of an ambitious frontman/woman or show-talented string pluckers, i.e. all those who can carry their instrument with them and are not bound to stationary miking, would not be possible without complete freedom of movement by means of transmitter and receiver, although the legendary microphone cable acrobatics of a Roger Daltrey (The Who) unfortunately fall by the wayside.

But what if your personal instrument assigns you a fixed place in the room, e.g. as a drummer or keyboard player? In this case you have the possibility to get rid of the problems of the worldwide frequency jungle in terms of allowed frequencies, interferences and dropouts, respectively battery runtimes, by using a cable-supported system. If you are a drummer and only want to put a click on your earphones, or if you are a keyboard player and only want to control your instruments via a submixer, the one or other built-in headphone amplifier might still have enough power.

Normally, however, these built-in solutions are not sufficient, neither in terms of headroom nor sound, to create a real feeling of well-being. At the latest with the addition of additional instruments of the colleagues, the internal amplifier(s) start to clip and cause more damage tonally than they fulfill their function. We don't even want to talk about a stable kick transmission.


The construction of the Fischer Amps In Ear Stick

Aware of this, the German company Fischer Amps has paid particular attention to 3 points in its In Ear Stick model, as there are signal quality, dimensions and battery life. Let's start with the obvious point, the size of the Fischer Amps In Ear Stick.

When you take the Fischer Amps In Ear Stick out of its packaging, the first thing you notice is the low weight of only 120 grams, which the eye would estimate much higher given the massive appearance of the metal housing. The next thing that catches the eye are the dimensions of the housing, which are downright tiny for what's on offer: 140 mm x 30 mm x 35 mm, which is thus just about the size of 2 stacked 9V battery blocks.

On one outer side there is a 7 cm long, massive fastening clip of the "seventies bicycle clip" brand, with which the system can be attached to any stage trousers, no matter how unusual. Impression: the life expectancy of the clip is higher than that of the musician. A lockable (very important!) combo jack on the bottom accepts the signal, a 3.5mm stereo mini-jack outputs it. Next to it is a combined volume / on-off switch and a control LED for the operating status.

Battery runtime and change

Let's now move on to the battery runtime. The Fischer Amps In Ear Stick requires 2 included AAA batteries for operation, with which it should have an operating time of more than 10 hours according to the manufacturer. I was able to determine that the amplifier still showed no signs of fatigue after 15 hours, which suggests that at least about 7-8 regular shows of about 2 hours duration can be played with the Fischer Amps In Ear Stick. This is a real boon when you consider that the receiver of a regular radio link breaks down after 4 hours at the latest.

To insert the batteries into the housing of the Fischer Amps In Ear Stick, it first takes a little practice. In order not to weaken the massive construction of the housing by a cheap, hinged plastic compartment, the housing works like a kind of "metal condom", which is put over the circuitry innards along with the battery shaft. A metal pin, which is located centrally on the side of the case at a 90 degree angle to the mounting clip and can be pressed in from the outside, provides a stable locking mechanism.

Fischer Amps is now in the situation of having to use a construction that cannot come loose under any circumstances during operation, but also has to provide access to the battery without having to resort to external tools such as screwdrivers or similar. To solve this problem, the metal pin was made small, even tiny, and provided with a quite strong pressure point. Once engaged, nothing can be opened, no matter what kind of fidgeter or gross motorist is using the product.

Should you now find yourself in the fortunate or unfortunate position (depending on the type) of knowing a female keyboardist or drummer in your band, I recommend for reasons of band harmony from a certain fingernail length of the colleague to jump in to help with a battery change. The metal pin actually releases the case only when it is pushed all the way in its recess and the "pusher" has very short and very hard fingernails. A long fingernail simply bends away here and at the latest when the fingernail of the colleague tears, you have a lot of fun in the booth, respectively on stage.


The Fischer Amps In Ear Stick in practice

To be able to judge the sound of the Fischer Amps In Ear Stick, you first have to think about the wiring of the amp. The product can be wired either balanced in mono or unbalanced in stereo. Since in almost all backing track bands the drummer takes over the function of the technical manager of the playbacks, most of the drummers will manage the Fischer Amps In Ear Stick directly on the Macbook via the mini-jack and have their set fed via drum fills or similar. This can be done using an XLR / TRS adapter, but is a risky venture, since the Macbook audio output is anything but roadworthy due to its simple plastic orientation.

It is always better to route the audio signal of the Macbook via a proper interface and a corresponding splitter to the monitor man, respectively FOH and to get their signal back via the corresponding monitor path. For this constellation Fischer Amps also offers a corresponding 2x XLR female to 1x XLR male adapter cable, with which the Headphone Amp can show its full strength.

Sonically, the amp offers above all a very neutral, headroom-rich sound, which reveals almost uncolored its strengths in high, impulse-resistant volume. The amp simply does what it is supposed to do, it makes loud without having to accept any drawbacks. In addition, it should be mentioned that the Fischer Amps In Ear Stick does not produce any background noise even at high volumes. If it should noise in the headphones again, first ask the guitar colleague about his gain setting on the amp.

In a direct comparison with the competition, the amp scores with its tiny dimensions and extremely solid construction. Of course, the product is grateful when it is stored in foam and transported in the included cardboard box, but a somewhat less gentle transport method seems to do little harm to the Fischer Amps In Ear Stick. All external parts are very tough and even the volume control, which protrudes from the head, is firmly screwed to the metal plate and can only be broken off with brute force.


Conclusion

With the Fischer Amps In Ear Stick, the German manufacturer delivers a cable-supported headphone amplifier in a class of its own, which will find numerous friends, especially among drummers and keyboardists. The system is excellently processed, offers several interesting detail solutions and delivers a neutral, impulse-resistant sound, which can also deliver very high volumes at the earphone. In addition, the price / performance ratio for a system manufactured in Germany can be considered downright cheap.

Absolutely recommendable, should definitely be tested once.


Additional Informations:

- Fischer Amps is a German company that specializes in designing and manufacturing high-quality audio equipment. Founded in 1995 by Chris Fischer, the company has grown to become a leader in the industry, with a reputation for innovative products and exceptional customer service.

Design and Features

Fischer Amps offers a wide range of products, including headphone amplifiers, in-ear monitors, and wireless monitoring systems. One of the company's most popular products is the In-Ear Stick, a compact and portable headphone amplifier that provides high-quality audio for musicians and audio engineers on the go.

The In-Ear Stick features a sleek, lightweight design that is easy to carry in a pocket or bag. The device has a built-in rechargeable battery that provides up to 12 hours of continuous use, and it can be charged using a USB cable.

Another popular product from Fischer Amps is the Mini Bodypack, a wireless monitoring system that allows musicians to monitor their performance without being tethered to a stationary sound system. The Mini Bodypack is compatible with Fischer Amps' range of in-ear monitors, and it offers a range of up to 100 meters.

Tone and Performance

Fischer Amps' products are known for their high-quality sound and performance. The company's headphone amplifiers provide clear, detailed sound that is perfect for critical listening, while its in-ear monitors offer exceptional isolation and clarity, allowing musicians to hear their performance with precision and accuracy.

One of the key features of Fischer Amps' products is their versatility. The company's headphone amplifiers can be used with a wide range of headphones, and they offer a range of input and output options, including balanced and unbalanced connections. Similarly, the Mini Bodypack can be used with a variety of in-ear monitors, making it a flexible and adaptable solution for musicians and audio engineers.

Innovation and Impact

Fischer Amps is known for its innovative products and commitment to excellence. The company's products are designed and manufactured in Germany, using the highest quality components and materials.

One of the company's most notable innovations is its use of rechargeable batteries in its products. By eliminating the need for disposable batteries, Fischer Amps is helping to reduce waste and environmental impact, while also providing a convenient and cost-effective solution for musicians and audio professionals.

In addition to its innovative products, Fischer Amps is also known for its exceptional customer service. The company's knowledgeable and friendly staff are always available to answer questions and provide support, ensuring that customers receive the best possible experience when using Fischer Amps' products.

Conclusion

Fischer Amps is a company that is dedicated to providing high-quality audio equipment that is innovative, versatile, and reliable. Whether you're a musician, audio engineer, or just a music lover, Fischer Amps' products are sure to provide exceptional sound and performance, while also being convenient and easy to use. With a commitment to excellence and a passion for innovation, Fischer Amps is poised to continue making a significant impact in the audio industry for years to come.

- In-ear monitoring (IEM) is a technology that has revolutionized the way musicians and audio engineers approach live sound. With the ability to provide a more personalized and accurate listening experience, in-ear monitoring has become an essential tool for performers and sound professionals alike.

What is In-Ear Monitoring?

In-ear monitoring is a system that allows musicians and performers to monitor their own performance using a set of earphones or earbuds. Instead of relying on stage monitors or floor wedges, in-ear monitoring provides a more accurate and consistent sound, while also reducing the risk of hearing damage caused by prolonged exposure to high sound levels.

The system typically consists of a transmitter that sends audio signals to individual receivers worn by the performers. Each receiver is connected to a set of earphones or earbuds, allowing performers to hear their own performance, as well as any other audio signals being sent through the system.

Benefits of In-Ear Monitoring

There are several benefits to using in-ear monitoring, both for performers and audio engineers. Here are some of the key advantages:
Personalized Sound: In-ear monitoring allows performers to hear their own performance with greater clarity and detail, providing a more personalized and accurate listening experience. This can help improve their performance and enable them to make adjustments in real-time.
Reduced Risk of Hearing Damage: In-ear monitoring reduces the need for loud stage monitors or floor wedges, which can expose performers to high levels of sound that can damage their hearing over time.

Improved Stage Volume: By reducing the need for loud stage monitors, in-ear monitoring can help reduce overall stage volume, making it easier for performers to hear themselves and each other.
Greater Control: In-ear monitoring allows performers to control the volume and mix of their own sound, giving them greater control over their performance and reducing the need for audio engineers to constantly make adjustments.

Improved Communication: In-ear monitoring systems can include built-in communication features, allowing performers and audio engineers to communicate with each other during the performance.
Challenges of In-Ear Monitoring

While in-ear monitoring offers many benefits, there are also some challenges that must be addressed. Here are a few of the key challenges:

Cost: In-ear monitoring systems can be expensive, especially for larger bands or productions that require multiple systems.

Technical Complexity: In-ear monitoring systems require technical expertise to set up and operate, and they can be more complex than traditional stage monitors.

Comfort and Fit: In-ear monitors must fit securely and comfortably in the performer's ear, which can be a challenge for some individuals. Custom-molded earphones can help address this issue.

Dependence on Batteries: In-ear monitoring systems require batteries to power the earphones or earbuds, which must be monitored and replaced regularly to ensure reliable operation.

Conclusion

In-ear monitoring is a technology that has transformed the live sound industry, providing a more personalized and accurate listening experience for performers, while also reducing the risk of hearing damage. While there are some challenges to using in-ear monitoring, the benefits far outweigh the drawbacks, making it an essential tool for any musician or audio professional looking to take their performance to the next level. As technology continues to evolve, in-ear monitoring is poised to become even more sophisticated, offering new features and capabilities that will continue to revolutionize the way we approach live sound.

TEST: Fender Deluxe Tele Thinline CAR

 What has not already been written about this type of guitar. For some the most boring and ugly guitar shape ever, for others the epitome of the ultimate "Twäng", whereby the "scholars" argue to this day, how the same is to be defined at all. The fact is that the Fender Telecaster was born in 1952 and at the same time became the first mass-produced electric guitar. That this instrument, designed by a trained mechanical engineer for purely pragmatic and cost reasons, would become a collection of groundbreaking details, Leo Fender probably would not have thought in his wildest dreams. That he should succeed this clou 2 years later again by a multiple higher with the Stratocaster, probably even less.

In the meantime, countless versions of the "board" have experienced their moment of glory in the almost 64 years and some of them have already left the scene again. One of the variations of the classic solidbody version, however, remains bravely in the second row. We are talking about the Thinline version, which is available for testing as the Fender Deluxe Tele Thinline CAR. Enough of the history lesson, on to the test.

Construction

Telecaster! Well, that means in its classic interpretation a board with 2 single-coil pickups, plus a maple neck and the usual electric guitar stuff like tuners, etc., done! Was nice and cheap at the time and in conjunction with a twin reverb in a volume unbelievable at the time, even in the heaviest big band thunderstorm without any problems. But to leave it only with these rudimentary key data, would do the Fender Deluxe Tele Thinline CAR truly wrong, after all, almost every detail has been changed, improved or simply pimped in recent decades. But stop, there was something else, what is it about the designation Thinline?

Thinline?

With Thinline Fender describes the same Telecaster, which was more or less the answer to the ES series from Gibson. Construction and conception couldn't be more diametrical, but as soon as the customer sees an F-hole, he looks for something comparable. Above the string guide, the Telecaster is indeed hollowed out, resulting in an overall "hollower" and softer sound compared to Solidbody. It doesn't really make the instrument any louder acoustically, but it does take away some of the, depending on the finish, biting sharpness of a Tele. However, you don't have to worry about feedback like on Gibson's full resonance Thick Bertas, the sustain block in the middle of the instrument provides enough shielding in terms of bass feedback.

Hombre

As already mentioned, Fender has changed a few points on the Mexican-made guitar, which non-tele purists in particular liked to take as a point of criticism. Whether the entire production now takes place in Mexico, or whether, as in the past, all components were manufactured in the U.S. to be shipped across the border for wage reasons and then screwed together in Mexico, i.e. were actually U.S. instruments, who knows. Perhaps, due to the current political situation in the USA, a wall will soon stand in the way of economic cooperation.

Neck

In addition to the classic body shape, the neck is made of maple, and its glued-on fingerboard is also made of maple. Although you can now insert the trussrod from the top, they didn't abandon the "skunk" strip on the back of the neck, which was introduced in its time for the one-piece marple necks. Will probably have price reasons to not run another CNC pattern. The shaping may be considered moderate C, Fender-ersk, without alienating the average-user. The neck sits in a rounded version of the neck base, which improves playability in high registers. In terms of body wood, once again the universally usable alder is used, next to ash the most popular body wood at Fender.

Also, the six tuning machines laterally offset to reduce lateral string friction on the saddle may not be missing, but one has decided for a locking version, which provides more tuning stability and faster string changes due to the lower number of turns of the string. That the CAR in the type designation stands for the color Candy-Apple-Red and it is one of the most famous Fender creations, should probably be known to every Fender friend.

One has said goodbye to the three-rider-death-of-the-intonation-ashtray bridge, which was indeed classic, but among us also tonally real junk. Not a musician who didn't get the big howl as soon as he left the register and had to switch to higher fret regions. Six individual stainless steel tabs in Stratocaster flair, with the strings passing through the body, provide the Fender Deluxe Tele Thinline CAR with much improved octave purity.

Electrics

As a pickup 2 in-house windings with the designation "noiseless" are used, further information about resistance, etc. could unfortunately not be brought into experience. A volume control, a tone control, so far so good, but what is a 4-way switch doing on a Tele? Well, in addition to the typical 3-way whirring, a serial switching of the two single-coils was made possible on position 1, a kind of humbucker with huge spacing between the coils :-) Let's see if this additional circuit brings the Tele forward in its original habitat.

Practice

In principle, it explains itself, but for all hopeful young tappers who curiously eye the instrument described here, having not noticed it before. Tele = High Gain = NO! Tele = Heavy = NO! Of course, you can put mini-humbuckers in your Tele and elicit good rock leads from the instrument as a result, but it's the same as playing with an Explorer in a Dire Straits cover band. It all works, but doesn't really fit.

A discreet crunch may be granted to the country classic, even more, the Tele is a prime example of how a good classic rock rhythm guitar has to sound, but the great showcase is clearly in the clean area with the Tele. The pickups are quite convincing, because they do not bite as hard as some of their predecessors, but still have enough character to assert themselves in the best Tele manner in the band context.

If you now drive the amp discreetly into the saturation, the Fender Deluxe Tele Thinline CAR can play out its second strength. A touch of crunch, more compression than half-wave cut, lets the instrument come across very expressively. Here, the first switch position can also come up with a sensible humbucker-alike and provide a decent, "rocking" foundation. Here is plenty of room for other instruments and the singer is not constantly afraid to drown in the compression stroke of a "real" humbucker beyond 14 kOhm.

Yes, and there is the legendary Twäng, which pushes its characteristics forward especially through fingerpicking. Since every listener has his own idea of the ultimate Twäng, it is very difficult to make a definitive statement in this regard. In my opinion, the Fender Deluxe Tele Thinline CAR has enough Twäng to do honor to its family. Maybe a little less than a solidbody, but it flatters the ear a little more and is also much lighter than their sisters, especially in the eighties usually overweight.

Conclusion

As a Fender fan, you can't go wrong with the Fender Deluxe Tele Thinline CAR. The instrument has everything that made the Tele famous and says goodbye to the details for which it is notorious. In addition, the Thinline version lightens up a few grams in weight and takes some of the harshness out of the tone.

However, with a retail price just under 1,000 euros, it also meets plenty of competition, which, however, will probably have to fight for a lifetime against the strongest trademark in the world in the guitar sector. Here, everyone must decide for themselves where their priorities lie.


Additional Informations:

- Fender Guitars is one of the most iconic and revered guitar companies in the world. Founded in 1946 by Leo Fender, the company has been at the forefront of guitar innovation for over 75 years. Today, Fender continues to produce some of the world's most popular guitars, amplifiers, and accessories, and is a favorite of musicians in a wide range of genres.

History

Leo Fender was born in Anaheim, California in 1909. As a young man, he was interested in electronics and began repairing radios and other equipment. In the 1940s, he started building and selling amplifiers under the name "Fender Radio Service." These early amps were popular with local musicians and sparked Fender's interest in creating guitars.

In 1946, Fender released his first electric guitar, the Telecaster (originally called the "Broadcaster"). This revolutionary instrument featured a solid body, which provided greater sustain and reduced feedback compared to hollow-bodied guitars. It also had a bolt-on neck, which made it easier to repair and maintain. The Telecaster was an instant hit, and Fender quickly followed it up with the Stratocaster, which featured a sleeker body shape, three pickups, and a vibrato system.

Over the years, Fender continued to innovate and release new models, including the Jazzmaster, the Jaguar, and the Mustang. The company also became known for its high-quality amplifiers, including the iconic Fender Twin Reverb and Fender Bassman.

In the 1960s, Fender faced competition from other guitar companies, including Gibson and Rickenbacker. However, the company remained popular with musicians, particularly in the burgeoning rock and roll scene. In the 1980s, Fender was purchased by CBS, and quality control suffered as the company struggled to keep up with demand. However, in the 1990s, Fender was sold to a group of investors who were committed to restoring the company's reputation for quality.
Today, Fender remains one of the most popular and influential guitar companies in the world. The company produces a wide range of guitars, including the Telecaster, Stratocaster, Jazzmaster, Jaguar, and Mustang, as well as basses, amplifiers, and accessories.

Design and Features

Fender guitars are known for their distinctive designs and high-quality craftsmanship. Many of the company's guitars feature a bolt-on neck, which makes them easier to repair and maintain than guitars with glued-in necks. Fender guitars also typically feature single-coil pickups, which produce a bright, twangy tone that is particularly popular in country and rock music.

Fender's most famous guitar, the Stratocaster, features three single-coil pickups, a vibrato system, and a contoured body that allows for greater playing comfort. The Telecaster, Fender's first guitar, has a simpler design with two single-coil pickups and a bolt-on neck. The Jazzmaster and Jaguar are more complex designs with unique electronics and body shapes.

Fender also produces a wide range of bass guitars, including the Precision Bass and the Jazz Bass. These instruments have been popular with bass players since their introduction in the 1950s and have been used on countless recordings in a wide range of genres.

In addition to guitars and basses, Fender produces a range of amplifiers, including the popular Fender Twin Reverb and Fender Deluxe Reverb. These amps are known for their warm, clean tones and are favored by many guitarists for their versatility and reliability.

- The Fender Telecaster is one of the most iconic and influential electric guitars ever created. First introduced in 1950, the Telecaster (originally called the "Broadcaster") was the first solid-body electric guitar to be mass-produced, and its simple design and versatile tone have made it a favorite of musicians in a wide range of genres.

Design and Features

The Telecaster has a distinctive design that has remained largely unchanged since its introduction over 70 years ago. The guitar features a solid body made of ash or alder, with a bolt-on maple neck and a fingerboard made of either maple or rosewood.

The Telecaster typically has two single-coil pickups, although some models have been produced with humbucking pickups or a combination of single-coil and humbucking pickups. The pickups are controlled by a three-way switch, which allows the player to select either pickup individually or both pickups together. The guitar also has two control knobs, one for volume and one for tone.

One of the key features of the Telecaster is its simplicity. Unlike some other electric guitars, which have multiple switches and knobs to control the tone, the Telecaster has a straightforward design that allows the player to focus on the essentials: the pickups and the volume and tone controls.

Tone and Playability

The Telecaster's tone is bright and twangy, with a distinctive snap that is particularly well-suited to country and rock music. The guitar's single-coil pickups provide a clear, articulate sound that can cut through a mix, while the bridge pickup in particular is known for its twangy, percussive attack.
One of the advantages of the Telecaster's simple design is its ease of playability. The guitar's bolt-on neck allows for easy adjustments and repairs, while the flat fingerboard and medium jumbo frets make it easy to play fast and accurate lines.

Impact and Legacy

The Telecaster has had a profound impact on the history of popular music. The guitar was first popularized by country musicians in the 1950s, who appreciated its bright tone and ease of playability. However, the Telecaster's influence soon spread to other genres, including rock, blues, and jazz.

Some of the most iconic guitarists of all time have used the Telecaster, including Keith Richards of the Rolling Stones, Bruce Springsteen, and James Burton. The guitar has also been a favorite of alternative rock musicians, including Thurston Moore of Sonic Youth and Johnny Marr of the Smiths.

In addition to its influence on music, the Telecaster has also had a significant impact on guitar design. The guitar's simple, utilitarian design has influenced countless other instruments, and many other guitar companies have produced their own versions of the Telecaster over the years.

Conclusion

The Fender Telecaster is a true icon of the electric guitar world. Its simple design, versatile tone, and ease of playability have made it a favorite of musicians for over 70 years, and its influence can be heard in countless recordings across a wide range of genres. Whether you're a country picker, a rock and roller, or a jazz player, the Telecaster is a guitar that is sure to inspire and delight.

TEST: Eventide H8000

Sometimes they still exist, the moments in which a slight smile slides over the face of even the most veteran tester when he takes a look at a product. Be it the reputation that this product enjoys, be it the name that has been used in everyday studio life for decades, or be it the knowledge that he is holding one of the last great battleships of a long-gone era in his hands.

When you get an Outgear multi-effects processor, which is not made in China but in the USA, has a regular retail price of just under € 6,500, - his own and hears the name Eventide H 8000 FW, can imagine any sound engineer who has not spent the last 2 decades with commercial jingles and bedroom productions, what the clock has struck. Here is once again really clotted with everything that had to offer the golden age of high-end productions some time ago, enriched with various design features, which do not miss the current state of the art.


Construction

Visually, the Eventide H 8000 FW with 2 U and a weight of 5.5 kilograms comes across relatively unspectacular, only the opulent number of connections on the back of the product let us already foreshadow a global orientation for all production sections along with broadcast functions. Here everything is available, starting with four balanced combo jacks (jack / XLR) as input, four times XLR out, 2x AES/EBU digital, 2x SPDIF, word clock, ADAT, MIDI and as a concession to modernity, dual Firewire with otional daisy chain. The sample rates are correspondingly, i.e. the product delivers 96kHz, 88.2kHz, 48kHz, 44.1kHz at 24-bit. The device is designed for stereo operation as well as for 5.1 applications.

The H 8000 FW has 2 independent DSPs, which can be operated either separately or in parallel to ensure computationally intensive algorithms at high sample rates such as 96kHz, 88.2kHz. As effect sections, the product serves, besides various dynamic ranges, all common modulation effects and the standard room simulations, a sampler whose maximum storage duration is 174 seconds mono and can be treated hereafter with time compression. Not to forget, of course, the company's flagship, the latest version of the Ultra Harmonizer, which has been THE benchmark for pitch shifting for decades.

The H 8000 FW offers 20 MIDI Virtual Rack preset algorithms with up to 5 fully interconnected effects. Each preset provides ten different settings that can be programmed, saved and controlled in real time via MIDI. Up to 45 different parameters can be changed with a single MIDI controller command. The individual effect blocks are also available as separate presets. In total, the product comes with 1600 presets, which are of course all editable down to the last parameter, more is really not possible. A total of 8 H8000s can be remotely controlled via the Remote Control EVE/NET, and up to 6 external footswitches can also be configured via 2 jack outputs.


Practice

When you switch on the H 8000 FW, it first performs a comprehensive self-diagnosis, which can take up to a minute. You shouldn't get confused by the various relay switching noises that come from inside the device. After that, you can deal with the display, which is still too hard to read for me personally. I know about the problem of generating a perfectly readable display even in poor lighting conditions, here the 8000 does a good job, but it always feels to me as if someone had turned the clock back decades and one of the first AKAI samplers would be standing in front of me.

The search function also allows you to find the individual presets pretty quickly, though as I said, it's not mine in terms of interface. No one expects a Mac OS Finder here, but a little more could go with the times in my opinion. Well then, what do the inner values say?

There are products in a reviewer's life where you don't really know how to describe the protagonist without getting lost in the word choice of a teenager who has had his first experience with the opposite sex. The H 8000 FW is one of those devices. No matter which preset is called up, no matter which algorithm is brought to light, one is always inclined to crawl along the very edge of superlatives.

Many presets have that famous little difference that turns a good effect into an excellent effect. The rooms have an excellent depth of detail, the individual parameters are tastefully and efficiently designed, the pitch shifter algorithm is still the fastest available in the world and the sound of the device is one of the best outgear processors currently on the market.

The product is equipped with all synchronization options, is relatively easy to use despite its immense complexity, and should be difficult to beat in terms of sound when several components are daisy-chained accordingly. An absolute top product, which is worth every penny despite the high price! A product for audiophile gourmets who have not yet lost their love of detail in the swamp of the dying music industry.



Conclusion

How often have I felt sorry for my colleagues who never had the pleasure of working with tools that gave the profession of audio engineer, or master, the glamour that until recently generated a respectable basic respect among all those interested in and around the studio business. The time before the amateurish handling of plug-in presets on the home PC and the flood of third-rate "productions" degraded the laboriously learned craft to a laughing stock.

Anyone who has worked seriously with the Eventide H 8000 FW for only a short time will hardly dare to let his home computer generate more than just tracks, so pitiful will his hobby plug-ins most likely sound in direct comparison. Even the cream-de-la-creme high-performance workstations will have to dress more than warmly to be able to compete with the effect quality of the H 8000 FW.

Eventide shows with this product what is still possible in terms of quality, if you only want, can, and have the necessary budget. A device of the absolute top class, which not for nothing enjoys the extraordinary reputation of a top performer. If you get used to the display, you might only be able to wean yourself off this product with the threat of brute force. Let's hope that the delivered quality won't be ruined again in a lousy mix or even an overdone mastering.

As long as sonic dreck like the last Metallica disc "Death Magnetic" continues to sell millions of units, it's hard to convince an investor to invest almost 6,000 Euros in a high-performance processor so that the end product "sounds better“…..

Additional Informations:

- Eventide is a company that has been at the forefront of professional audio equipment design for over 50 years. Founded in 1971 by Richard Factor and Steve Katz, the company has been responsible for some of the most innovative and groundbreaking effects processors and recording tools in the industry.

Eventide's first product was the Instant Phaser, a phase-shifting effects unit that was soon followed by the Instant Flanger. These early products were extremely popular with musicians and recording engineers, and helped establish Eventide as a serious player in the industry.

Over the years, Eventide has continued to innovate and push the boundaries of what is possible with audio processing technology. In the 1980s, the company released the H3000 Ultra-Harmonizer, a multi-effects processor that quickly became a staple in studios around the world. The H3000 was capable of producing a wide range of effects, from simple delay and chorus to complex pitch shifting and harmonization.

In the years since the H3000, Eventide has continued to release groundbreaking products. The Eclipse, released in 2002, was a multi-effects processor designed specifically for live sound applications. The H8000FW, released in 2005, was a powerful effects processor with eight channels of processing and a massive library of presets.

More recently, Eventide has focused on creating software plugins that bring their legendary hardware effects to the world of digital audio workstations (DAWs). Their Anthology XI bundle includes emulations of some of their most iconic effects processors, including the H910, H3000, and Blackhole reverb.

One of Eventide's most recent products is the H9000, a massive multi-effects processor with 16 channels of processing and a vast array of effects algorithms. The H9000 is designed to be the centerpiece of a modern recording studio, with support for Ethernet, USB, and Thunderbolt connections.

In addition to their hardware and software products, Eventide is also known for their commitment to customer service and support. The company has a dedicated team of engineers and support staff who are available to help customers with any questions or issues they may have.

Overall, Eventide is a company that has consistently pushed the boundaries of what is possible with audio processing technology. Their products are used by musicians, producers, and engineers around the world, and their commitment to quality and innovation has helped establish them as one of the most respected names in the industry.


- The Harmonizer is a type of audio effects processor that has been a staple of recording studios since the 1970s. It was first introduced by Eventide in their H910 Harmonizer, and quickly became a popular tool for creating unique vocal and guitar effects.

The basic concept behind the Harmonizer is simple: it takes an audio signal and pitches it up or down by a set interval. The interval can be anything from a single semitone to an octave or more. This can be used to create harmonies, pitch-shifted vocals, or even to create new sounds entirely.

One of the unique features of the Harmonizer is its ability to create harmonies in real-time. This means that a vocalist can sing into a microphone and hear their voice pitch-shifted in real-time, creating a harmony with themselves. This was a revolutionary concept at the time, and opened up a whole new world of creative possibilities for musicians and producers.

The Harmonizer has been used on countless classic recordings over the years, from David Bowie's "Heroes" to Radiohead's "Paranoid Android." It has also been used extensively in film and television, where it is often used to create otherworldly sound effects.

In addition to creating harmonies, the Harmonizer can also be used to create pitch-shifted effects. For example, it can be used to create a "robotic" voice effect by pitching a vocal up or down by a large interval. This effect has been used on countless recordings, from Daft Punk's "One More Time" to Kanye West's „Stronger."

The Harmonizer has evolved over the years, with newer models offering more advanced features and greater control over the pitch-shifting process. For example, the Eventide H3000 Harmonizer, released in the 1980s, offered a wider range of pitch-shifting options and more precise control over the effect. The H8000FW, released in 2005, took things even further, with advanced features like surround sound processing and the ability to create custom effects algorithms.

Today, the Harmonizer remains a popular tool in recording studios around the world. While there are now many digital alternatives available, many producers and engineers still prefer the sound and character of the original Harmonizer units. Whether it's used to create harmonies, pitch-shifted effects, or otherworldly soundscapes, the Harmonizer is a tool that has had a profound impact on the world of music production.

- FireWire, also known as IEEE 1394, is a high-speed data transfer interface that was first introduced in the late 1990s. Developed by Apple and later adopted by other computer and electronics manufacturers, FireWire quickly became a popular way to connect devices such as external hard drives, video cameras, and audio interfaces to computers.

The key advantage of FireWire over other data transfer interfaces at the time, such as USB 1.0, was its high speed and reliability. FireWire was capable of transferring data at speeds of up to 400 Mbps, which was much faster than USB 1.0's maximum speed of 12 Mbps. This made FireWire an ideal choice for devices that required fast, reliable data transfer, such as video cameras and audio interfaces.

One of the areas where FireWire had a significant impact was in the world of music production. FireWire audio interfaces quickly became the standard for recording studios and home recording setups alike, due to their low latency and high reliability. FireWire was capable of handling multiple channels of audio at once, making it ideal for recording and mixing music.

Another area where FireWire was widely used was in video production. FireWire enabled video cameras to transfer digital video data to computers in real-time, without the need for expensive capture cards or other hardware. This made it possible for amateur and professional video producers alike to capture and edit digital video footage with ease.
Despite its many advantages, FireWire had some limitations that ultimately led to its decline in popularity. One of the biggest limitations was its lack of compatibility with newer computer systems. As computer manufacturers began to phase out FireWire ports in favor of newer interfaces such as USB 3.0 and Thunderbolt, it became increasingly difficult to find computers with FireWire ports.

Another limitation of FireWire was its relatively short cable length. FireWire cables were limited to a maximum length of 4.5 meters, which made it difficult to use FireWire devices in larger studios or in live sound setups.

Today, FireWire is largely considered to be a legacy interface. While there are still some devices on the market that use FireWire, most new computers and electronic devices have moved on to newer interfaces such as USB-C, Thunderbolt 3, and HDMI.

Despite its decline in popularity, FireWire remains an important part of the history of computing and music production. Its high speed and reliability made it a popular choice for recording studios and home recording setups, and its impact on the world of music production will continue to be felt for many years to come.

TEST: Eve audio SC204

 Let's not kid ourselves, we all like fat midfield monitors, which are often referred to as A-monitors and impress both customers and professionals with massive sound pressure and powerful bass without an additional subwoofer. Nowadays, however, real sales/profits are usually generated in completely different sectors, whose monitors are also supposed to generate a maximum of sound quality, but have to master a shortcoming that is sometimes diametrically opposed to their field of application. We are talking about the available space and the associated dimensions of the speakers. Aware of this, the Berlin-based manufacturer EVE audio, which has recently made quite an impression with its products, especially at the thick end of the scale (see EVE audio SC408 review - https://www.amazona.de/test-eve-audio-sc408-midfield-monitore/), also has that segment in mind and covers the other end of the scale in terms of dimensions with its EVE audio SC204.

The field of application of the EVE audio SC204

If you look at the dimensions of the EVE audio SC204, you'll wonder if it's not a PC speaker by mistake. A width of 145 mm and a height of 230 mm could also still apply to one or the other speaker constellation to the left and right of the personal laptop, only the depth of 195 mm or the optically very high-quality appearance lets you know very quickly that you're not dealing with a "Mediamarkt-Top-Deal-Plastic scrap" here.

In fact, the EVE audio SC204 is the smallest variant from the EVE audio portfolio, which is still listed under the term "studio monitor". The fields of application for monitors of this size are manifold. In post-production, video editing, podcasts, mobile recording, broadcast, 5:1 or 7:1 surround satellites or even as B-monitoring in larger studios, such tiny devices of this type have to hold their own and all have to endure the same question, as there would be "Does the box have any bass at all?".

Not even a complete sound layman would expect a massive bass foundation from a 4 inch speaker, the same is physically not feasible, but an even basic sound up to 100 Hz, if necessary inflated by a subwoofer, would make the sound engineer's heart beat faster with such dimensions. According to the manufacturer, the EVE audio SC204 delivers a frequency response of 64 Hz - 21 kHz, with the frequency diagram showing an almost linear line with a small lift at about 100 Hz and a small dip around the crossover frequency. Impressive! Besides, who needs the full pound below 60 Hz in video editing, for example? Therefore, let's detach our focus from the bass and take a look at the rest of the EVE audio SC204's features, which, let's be clear, still have some special features to offer.

The construction of the EVE audio SC204

The EVE audio SC204 is an active 2-way monitor with 50 watts of power each on the tweeter and the woofer, with the crossover frequency at 3 kHz and an internally installed limiter saves the system from collapse. Speaking of tweeters, one look above the woofer and the synonym for ribbon tweeters par excellence, the name ADAM, slides through the brain twists of the expert. Interestingly, the company Eve audio was founded by Roland Stenz, who used to be the managing director of Adam Audio.

The same tweeter, called AMT RS1, can be protected against accidental damage with a protective grille, here called a "grid", if necessary. The grid adheres magnetically to the tweeter surround, whereby the manual explicitly points out not to use the grid in the wrong grid. The system's sound pressure is a maximum of 96 dB SPL. Those who are frowning here should briefly consider how far away the speaker is placed from the ear in practice. In order to rudimentarily decouple the speaker from its placement surface, 4 stick-on rubber feet were included.

With a weight of just 3.8 kg, one is inclined to use the system for flown operation. Therefore, the EVE audio SC204 not only has a microphone stand thread on the bottom of the cabinet, but also 2 mounting points on the back of the cabinet. Any resonance frequencies, which can occur when the microphone is mounted on the back and placed close to the wall, can be corrected by means of a comprehensive frequency correction, as the practical test will show later on. Incidentally, there is nothing to criticize about the workmanship of the EVE audio SC204. The precisely fitting MDF panels and the neatly applied textured varnish fit seamlessly with the metal plates on the front and rear. Maximum quality!

The front panel of the EVE audio SC204

The lower area of the EVE audio SC204 front panel, which has also been optically set off in metallic silver, contains a latched multifunction push-pull button on the bottom right, which can be used to make several settings at once. On the one hand, it functions as a standby switch, which puts the system to sleep or wakes it up in cooperation with the power switch on the back. This is done visually very appealing with an LED wreath, which depending on the function right or left indicates the status of the system. Of course, it's just optics, but it already looks very classy.

By normal turning one regulates the volume of the box, whereby from -80 dB to -48 dB per 1 step a value of 2 dB, from -48 dB to -20 dB per 1 step a value of 1 dB and from -20 dB to 0 dB (maximum) a value per step of 0.5 dB. Each 4 steps let one LED jump further.
By simply pressing you reach the sound management, which is managed by a DSP. First you have the possibility to activate a shelving filter for the high frequency range, which works above 3 kHz with -5 dB to +3 dB. The same values are also available for a bass shelving filter, which takes care of frequencies below 300 Hz.

Furthermore, a desk filter can be activated when placing the EVE audio SC204 on the desk or the meter bridge, whereby this filter takes over a combined function. Below the 0 mark, it lowers the frequencies by 200 Hz with a bandpass filter, above the mark it also boosts the range by 80 Hz with a bandpass.

The rear panel of the EVE audio SC204

To be able to amplify consumer devices if necessary, the EVE audio SC204 has a corresponding RCA input in addition to the obligatory XLR connector. On the top of the box is also the bass reflex port of the system. Otherwise, it is on the back of the EVE audio SC204 very tidy, only 3 small DIP switches provide for curiosity. Their function is quickly explained and of simple effectiveness. They represent an electronic lock so that the settings once found cannot be accidentally adjusted by the studio trainee or other persons. One DIP works for the volume, one for the EQ settings, the third has no function in this series.

The EVE audio SC204 in practice

Switching on and booting the system is completely silent. What then comes out of the speakers in terms of signal quality, however, I would not have expected. Even with a neutral EQ setting, the EVE audio SC204 has a very "grown-up" sound with much more volume than the system size would suggest. The monitors sounded extremely homogeneous and balanced, as is otherwise only known from much larger models.

To all users who still have the sound of the first generations ringing in their ears when talking about the Air Motion Transformer, I can take away any worries. The tweeter does an excellent job in terms of coloration and transparency. Nothing reminds of the sharpness found in some Adam or Kopisten products of the earlier generations. On the contrary, the EVE audio SC204 has excellent stereo imaging and depth staging, especially considering the system's dimensions. Phantom center, impulse response, all very big cinema!

But now to the big bass question. Again, considering the dimensions, I have to give the system credit for an excellent soundstage. After spending some time with the shelving and desk top filter, I even managed to tickle a very balanced bass content out of the 4-incher. Even a full-blown audio production can be realized within moderate limits with these tiny units, a fact I would not have thought possible. For me, they are clearly the best monitors currently available in this class!

Only in the final volume of the EVE audio SC204 it is necessary to keep a certain discipline. If one exceeds a strong room volume and drives the system into the saturation, it acknowledges the handling an outcry equal with a harsh sound.

Conclusion

With the Eve audio SC204, the Berlin company has a quite outstanding product in the small monitor department at the start. Whether for post-production, video editing, podcasts, mobile recording, broadcasting, surround satellites or even as a B-monitoring system in larger studios, the system produces many times the volume that one would have expected from the tiny device at first glance.

Absolute purchase recommendation!


Additonal Informations:

- Eve Audio is a German-based manufacturer of professional studio monitors and subwoofers. The company was founded in 2011 by Roland Stenz, a former owner and designer at Adam Audio, and is known for its high-quality, precision-engineered products.

The company's product range includes a variety of nearfield, midfield, and main studio monitors, as well as subwoofers and accessories. All of Eve Audio's products are designed and manufactured in Germany, using high-quality materials and components.

One of the key features of Eve Audio's studio monitors is their use of Air Motion Transformer (AMT) tweeters. AMT technology was developed in the 1990s and is known for its accuracy and speed, making it an ideal choice for studio monitors. Eve Audio's AMT tweeters use a folded diaphragm design, which allows for a larger surface area and improved efficiency.

Another important feature of Eve Audio's studio monitors is their use of the company's proprietary DSP (digital signal processing) technology. The DSP is used to optimize the performance of the speakers, allowing for precise adjustments to be made to the frequency response, phase response, and time alignment of the speakers.

Eve Audio's studio monitors are also designed to be modular and expandable. The company offers a range of accessories, including subwoofers, desktop stands, and wall mounts, that can be used to customize and optimize the performance of the monitors for specific applications.
In addition to their technical features, Eve Audio's studio monitors are also known for their sleek and modern design. The company offers a variety of finishes, including matte black and white, as well as a range of wood veneer options.

Eve Audio has received numerous awards and accolades for their products, including a number of "Best of Show" awards at major audio industry trade shows. The company has also been praised for its customer service and support, with a team of dedicated engineers and technicians available to answer questions and provide assistance.

Overall, Eve Audio is a respected and innovative player in the professional audio industry, known for their precision-engineered studio monitors and subwoofers. With a commitment to quality, innovation, and customer service, Eve Audio is a brand that is sure to continue to make waves in the audio world for years to come.

- Studio monitors are specialized speakers designed for use in professional audio environments, such as recording studios, broadcast facilities, and post-production houses. Unlike consumer-grade speakers, which are designed to make music and other audio sound pleasing to the ear, studio monitors are engineered to provide a flat, neutral frequency response, allowing audio engineers and producers to accurately hear and evaluate the sound being produced.

The importance of accurate monitoring in a professional audio environment cannot be overstated. The sound of a recording can be significantly altered by the playback system used to monitor it, and any deficiencies or inaccuracies in the monitoring system can have a negative impact on the final product. Studio monitors are designed to minimize these issues by providing a clear, detailed representation of the audio being produced.

There are two main types of studio monitors: passive and active. Passive monitors require an external amplifier to power them, while active monitors have built-in amplifiers, making them more convenient and efficient for most applications. Active monitors also allow for greater control over the audio signal, as the amplifier can be optimized for the specific characteristics of the speaker.
One of the most important features of studio monitors is their frequency response. The frequency response of a speaker refers to the range of frequencies that it can reproduce, and the relative loudness of those frequencies. A flat frequency response, in which all frequencies are reproduced at the same volume, is desirable in a studio monitor, as it allows for accurate evaluation of the audio being produced.

Another important characteristic of studio monitors is their dispersion pattern. The dispersion pattern refers to how the speaker distributes sound across a listening area. A speaker with a narrow dispersion pattern will produce a focused "sweet spot" in front of the speaker, while a speaker with a wider dispersion pattern will distribute sound more evenly across the listening area.
Other factors that can affect the performance of studio monitors include the size and material of the speaker cone, the size and configuration of the speaker enclosure, and the quality of the internal components, such as the amplifier and crossover.

There are many manufacturers of studio monitors, ranging from well-known brands such as Yamaha, JBL, and Genelec to smaller, specialized companies such as Focal, ADAM Audio, and Neumann. Each manufacturer has its own unique design philosophy and approach to engineering studio monitors, and it is important to choose a monitor that fits your specific needs and preferences.

When selecting studio monitors, it is important to consider factors such as the size and acoustics of your studio, the type of music or audio you will be producing, and your budget. It is also recommended to audition multiple monitors before making a final decision, as the sound of a speaker can be subjective and dependent on the individual listener.

Overall, studio monitors are an essential tool for anyone working in professional audio production. By providing accurate and neutral sound reproduction, they allow engineers and producers to create high-quality recordings that sound great on any playback system. With a wide range of options available from various manufacturers, there is a studio monitor that is right for every application and budget.