TEST: Fulltone Mini Deja Vibe

"Well, do you also play a Siebenender?" Yes, the ambitious young German guitarist in the seventies knew primarily only the company "Jschippzon" and the other manufacturer with the funny 7 in front when it came to electric guitars. The fact that the Americans like to represent a big "F" in the form of a number was still foreign to many European musicians at that time. Nobody knew at the time that, in addition to Fender, the company Fulltone would also make this typeface their trademark a few years later.

What was known, however, was that the great string stars of the sixties like Jimi Hendrix and Robin Trower always used an illustrious number of floor pedals at their gigs, which were followed with great interest at the time. It was the time of experiments, which wanted to be implemented with massive physical effort, purely analog, sometimes crawling on the stage floor. Chaos, humming loops, creativity, a wild time.

Besides the first distortors, which elicited lead sounds from the crunchy fullstack for the first time, it was, among other things, the wafting sounds of the Univibe, which elicited chorus and vibrato-like sounds from the amplifiers for the first time and provided a previously unknown world of sound. To realize these sounds in the pre-digital era, an effort was made that would blow up any development budget today. To reanimate this legendary sound, however, requires a great deal of circuitry that cannot be calculated 1:1 by any algorithm.

Aware of this, Fulltone has launched the Mini Deja Vibe MDV-3, a replica of the Univibe, which not only uses custom photocells, but also new-old-stock Panasonic Matsuhita 2SC828 transistors.

Concept

Built in the USA, the Fulltone Mini Deja Vibe MDV-3 comes in an extremely solid cast construction and will probably last a lifetime in terms of stability. In general, Fulltone has attached importance to the user for the retail price of just under 360, - € to deliver a corresponding value detached from the sound. All components, both outside and inside the case, are of very high quality and suggest a long lifespan. Everything excellent before the first use? Not quite.

To ensure the product has the highest possible headroom in terms of operating voltage, the Fulltone Mini Deja Vibe MDV-3 requires an operating voltage of 18V via a stabilized power supply. Yes, you read that right, 18 volts. And yes, as far as I know, there is only the company Voodoo Lab, which currently provides an appropriate power supply in Europe. And no, you cannot place 2 pieces of 9V batteries inside the case in serial mode to power the product. In my opinion, this design represents a not insignificant hurdle in user acceptance, because detached from the fact that 18V certainly provide for an improvement of the sonic potential, if I can't put the product into operation other than with a special, not included power supply, the sonic aspect unfortunately brings me very little for now.

In terms of control options, the Fulltone Mini Deja Vibe MDV-3 can be operated either as a chorus or as a vibrato via a mini-switch. However, you should not stick too much to the designations, because in both sounds also a strong shot of phaser is always built in. If you want to get a more detailed picture of the sound concept, you only have to listen to the current shows or records of Robin Trower, who, according to an imprint on the bottom of the housing, inspired Michael Fuller to design the Fulltone Mini Deja Vibe MDV-3.

Another switch allows the settings Vintage or Modern, whereby Vintage generally works with less treble and softer. The speed of the modulation can be controlled via the pedal, whereby everything from a spherical carpet to a wafting LSD trip can be implemented. Two knobs on the outside of the housing control the intensity and the output volume of the signal. To support the speed of the modulation again visually, a blue LED was installed, which indicates both the operating status, as well as said modulation speed in the form of flashing. The housing rests on 4 strong rubber feet, which were screwed to the base plate in Cry Baby style.

In order to be able to activate the true bypass switch of the product even at full speed (pedal fully depressed), a recess was made in the foot part of the pedal, which allows the product to be activated / deactivated by means of the tip of the foot and a little sensitivity. A successful detail solution!


Practice

Regardless of which setting you use the Fulltone Mini Deja Vibe MDV-3 for the first time, a time travel of about 40 years into the past is definitely pre-programmed. Especially at the moment when the seventies sound look-alikes are sprouting like mushrooms and flooding the charts, the product should fall on nourishing ground. If any sound has vintage character, it's the sonic variations of the Fulltone Mini Deja Vibe MDV-3.

However, there is a big difference between using emulation to digitally calculate a vintage sound and generating it in "real" full analog because of the components used. While a good algorithm always only succeeds in simulating the characteristic corner points of a sound, with a product like the Fulltone Mini Deja Vibe MDV-3 you always have "The Full Monty", i.e. the depth gradation, respectively resolution of the signal does not end at the CPU load of the computer.

The interaction with the amp and the guitar encompasses a much larger amplitude and allows for much more shading in terms of personal technique and sound yield. Here you can also sit down on the floor in front of the amp and experience for yourself how quickly an hour flies by if you only intensively deal with 2 knobs, 2 switches and a handful of pickups on your guitar. What a difference to the preset steppe on the multi-FX pedal.

However, in order to get the full sonic benefit of the Fulltone Mini Deja Vibe MDV-3, you also need two other components that play an important role in this setup. First, you should have a high-quality amp, preferably an all-tube amp, which has a characterful clean and crunch sound. High gain may stay at home, there were not 40 years ago anyway. Secondly, the guitar in combination with the pickup plays a very important role, and it is not for nothing that the two protagonists mentioned above come from the Strat department. Let's make it short, Strat - neck pickup - Marshall JMP or earlier and the sun rises.


Conclusion

With the Fulltone Mini Deja Vibe MDV-3 Michael Fuller delivers the currently best Univibe replica in the world. In addition to excellent workmanship and the use of selected components such as specially manufactured photocells and new-old-stock Panasonic Matsuhita 2SC828 transistors, it is especially the completely authentic flair that the product exudes and invites you to an unrestrained return to the seventies.

A completely discrete electronics without any operational amplifiers provides a unique sound, which will give vintage fans glazed eyes.


Additional Informations:

- Fulltone is a well-known and respected manufacturer of high-quality guitar effects pedals and musical equipment based in Southern California, United States. The company was founded by Michael Fuller in 1991, and since then, it has established itself as one of the most innovative and reliable producers of boutique pedals in the industry.

Fulltone's philosophy is centered around producing guitar effects that are true to the vintage sound but with modern construction and reliability. Their pedals are designed to be sturdy, durable, and built to last, and they are renowned for their sound quality and unique tone-shaping capabilities.
The company's product line includes a wide range of guitar effects pedals, including overdrive,
distortion, delay, modulation, and wah-wah pedals. Each pedal is designed to deliver a unique and distinctive sound that can be customized to suit the individual preferences of guitar players.

One of Fulltone's most popular products is the Full-Drive 2 Mosfet Overdrive pedal, which is widely regarded as one of the best overdrive pedals on the market. This pedal offers a wide range of overdrive and distortion tones, from smooth and warm to gritty and crunchy, and it is often used by professional guitarists in a variety of genres, from blues to rock to metal.

Another popular pedal from Fulltone is the OCD Overdrive pedal, which is known for its dynamic range and high-quality sound. This pedal has gained a reputation as one of the most versatile overdrive pedals available, and it is often used by guitarists who need a pedal that can deliver a wide range of overdrive tones with clarity and precision.

In addition to pedals, Fulltone also produces a range of other musical equipment, including amplifiers, pickups, and cables. Their pickups are known for their clarity and dynamic range, and their cables are designed to provide reliable and high-quality signal transfer.
One of the unique aspects of Fulltone's products is their handcrafted construction. Each pedal is built by hand in Southern California, and the company takes pride in the quality of their workmanship. This attention to detail and commitment to quality has earned Fulltone a reputation for producing some of the most reliable and durable pedals on the market.

Overall, Fulltone is a highly respected and influential player in the guitar effects industry. Their commitment to quality, innovation, and customer satisfaction has made them a favorite among guitarists of all skill levels, and their products can be found in music stores and on stages around the world. Whether you're a professional musician or a hobbyist, Fulltone pedals are an excellent choice for achieving a distinctive and high-quality guitar tone.

- The Univibe pedal is a classic guitar effects pedal that has been used by countless guitarists over the years to achieve a unique and distinctive sound. The pedal was first introduced in the late 1960s by the Japanese company Shin-ei, and it quickly gained popularity among guitarists of the time, including Jimi Hendrix and David Gilmour.

The Univibe pedal was designed to simulate the sound of a rotating speaker, which was a popular effect used by organists at the time. The pedal uses a combination of phase shifting and amplitude modulation to create a swirling, pulsating effect that is often described as a "vibrato" or "chorus" effect.

The Univibe pedal has a simple yet effective design. It typically features a single footswitch, a few control knobs, and an input and output jack. The control knobs are used to adjust the intensity, speed, and depth of the effect, allowing guitarists to dial in a wide range of sounds, from subtle modulation to full-on psychedelic swirls.

One of the unique aspects of the Univibe pedal is its ability to react dynamically to a guitarist's playing. As the guitar signal is fed into the pedal, the phase shifting and amplitude modulation are affected by the strength and frequency of the signal, creating a dynamic and interactive effect that responds to the player's touch.

The Univibe pedal has been used by many famous guitarists over the years, including Jimi Hendrix, David Gilmour, Robin Trower, and Stevie Ray Vaughan. These guitarists have used the pedal to create a wide range of sounds, from Hendrix's signature psychedelic tones to Gilmour's lush and atmospheric soundscapes.

In recent years, the Univibe pedal has undergone several updates and improvements, with many new versions and clones being produced by various manufacturers. Some of the most popular versions include the Fulltone Deja Vibe, the Voodoo Lab Micro Vibe, and the Dunlop Jimi Hendrix Univibe.

Overall, the Univibe pedal is a classic and highly sought-after guitar effects pedal that has stood the test of time. Its unique and dynamic sound has made it a favorite among guitarists of all genres, and its influence can be heard in countless recordings over the years. Whether you're a fan of classic rock, blues, or psychedelia, the Univibe pedal is a must-have addition to any guitarist's pedalboard.

TEST: Fuchs Mantis

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

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

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



Construction

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

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

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

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

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

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



Practice

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

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






Conclusion:

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

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

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


Additional Informations:

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

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

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

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

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

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



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

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

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

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

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

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

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

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

TEST: Fryette Power Station

There have never been very many, but in recent years there are fewer and fewer. We are talking about the tinkerers and screwdrivers who helped the all-tube scene with great knowledge of the matter, an open ear for the musicians and a now huge wealth of experience to a once huge popularity. Steven Fryette, who started as a former employee of Valley Art Guitars and designed the first three-channel all-tube amp under the VHT brand 33 years ago, undoubtedly belongs to this species. Countless collaborations with the first guard of the 80s electric guitarists (including Eddy Van Halen, Steve Lukather, Larry Carlton and many others) later, Fryette changed the company name in 2009 to Fryette Amplfication and since then builds primarily tube products of the highest class. One of his latest outputs is the Fryette Power Station, a product that is second to none.

What is the Fryette Power Station?

The signs are pointing to change. At a time when many guitarists are already satisfied with the inferior squawking of a VST plugin within their DAW in terms of guitar sound, the sound aesthetic of a high-quality tube product appears at first glance as an overpriced, heavy and unnecessary toy of old men who dream of the glory of long-gone heroes and hang after their musical youth. On the other hand, those who have kept their ear for the ultimate sound, which is always superior to a Kemper even in a 1:1 comparison, will sooner or later not be able to avoid using a high-quality all-tube amplifier. Those who now still indulge in the classic tone of a Plexi, a Sound City, an AC30 or a Hiwatt will know the problem, or their FOH will point it out to them within seconds.

"You're too loud!". "It has to be, or the amp won't sound!". If I had received even one euro for each of these or slightly modified conversations between various colleagues, my wallet would have been overflowing, especially at a young age. At the risk of boring experienced readers a bit, but the development in the matter of sound culture makes an analysis of the "all-tube sound culture", broken down to the most necessary, once again briefly necessary. Why do so many musicians babble on about the holy grail of guitar / bass tone always in the realm of all-tube amps and what's all this crap about Plexi etc.? Short version:

All-tube amps are predominantly analog sound generators, which are so non-linear in sound generation that it hurts. They have lots of wearing parts, are large and due to their components heavy and expensive, so at first glance they seem like a collection of NoGos. But all legendary all-tube amps have a so-called sweet spot in their range, especially in the crunch sound, where all the legendary features like dynamics, interaction with the guitar, overtone response and compression work together and where the tube power amp has the decisive sonic part. And here comes the main problem, almost every all-tube classic is way too loud within its sweet spot for rehearsal room or club use. On a very large open air stage this may still be possible, but since only a per mille area of all musicians will ever enter these stages, the great classics are more and more frequently eking out a monument status in countless rehearsal rooms with no prospect of reanimation.

To cope with this problem, many manufacturers have tried in the past to convert parts of the power of an all-tube amp into heat, so that the amp could be driven in its sweet spot even at much lower volumes. But the results were, with very few exceptions, very sobering. The passive design of these attenuators / load resistors robbed the amps mostly of any dynamics and let everything that sounded big and powerful in the original, sound thin and powerless. And HERE we finally come to our test unit, the Fryette Power Station, which takes a completely different approach to saving the sound of the amp down to room volume.

What can the Fryette Power Station do? Well, it has three primary uses:

1) It allows you to drive any kind of all-tube amp (up to 200 watts output, don't use an Ampeg SVT!) into its sweet spot and then smoothly turn it down to room volume if needed. The Fryette Power Station is positioned between amp and cabinet.

2) It functions as a normal power amplifier and can amplify a preamp, an effect pedal or a small amplifier up to 100 watts.

3.) It works as a serial FX loop, which is not placed behind the preamp as usual, but behind the power amp and thus allows a much higher dynamic in the sound.

The special feature of the Fryette Power Station is the use of an independent tube output stage, which has 2 pieces of 6550 tubes. In order to implement point 1.), the signal is first reduced to a minimum level, and then again continuously increased via the internal tube power amplifier. You have the possibility to adjust the sound of your amplifier via two mini switches in the voicing and 2 controls in the treble and bass range. Via two sliders on the back all common impedance combinations between amp and speaker are offered.

So where can you use the Fryette Power Station for everything?

Well, let's start with the most obvious application, the live show. If you're tired of the FOH's sometimes justified, annoying announcements, you can now bring any clunker amp to the show and turn it down to an appropriate level. The next area of application is in an un- or only rudimentarily damped home studio, where you have to be considerate of neighbors or roommates. The most luxurious approach, of course, is to convert your Plexi to a bedroom amp and jam at full sound in room volume.

On the other hand, if you've always wanted to take your 1, 5 or 10 watt amp to a bigger stage because you love the sound so much, but it would have to be driven completely over the limit because of the room, here's the possibility to transfer the junior sound to an open air stage. And last but not least, all-tube amps that have to get by without an FX loop and would still like to have a room effect such as delay or reverb in their repertoire, now have the luxury of being able to tap the signal behind (!) their power amp and thus lead the ultimate sound into their pedal.

Oh yes, the Fryette Power Station is available in 2 versions, the PS-2A version (1 channel) and the 100 version, where you can choose between 2 volume and Presence / Depth settings using an external footswitch. This means in live operation that you can briefly raise the volume for a solo part and not have to rely on the FOH.

It all sounds very promising, but what is the final sound like?

The Fryette Power Station in practice

At just under 7 kg, the Fryette Power Station is still quite light compared to other all-tube power amps, but that doesn't hide the fact that you'll have to really lug it around when transporting it. As expected, the product gets very warm due to both the attenuator operation and the internal power amp, so it should not be installed in any rack. As expected, Steven Fryette has thought along and not only placed the 4 rubber feet to fit even on the comparatively shallow cabinet of a classic Marshall, but also used extra tall versions that place the Power Station above the carrying handle.

So then, Vintage Amp on, Sweet Spot in, and then steplessly down. The sound result is breathtaking! I have never heard such an Attenuator in my life and I truly had many in test or in use. There is virtually NO sonic difference from the loud original. Even the dynamics of the personal playing is also taken over and perfectly reproduced. Now, if you look in the crumbs, with a lot of attention you might notice the lack of the "cardboard tremor" of a small speaker driven to the limit, but under regular conditions the Fryette Power Station offers a sound that no other product in this product class offers. What Steven Fryette has designed and built here is a feat of craftsmanship that is second to none. Unique, one of a kind, outstanding!

Conclusion  

With the Fryette Power Station, Steven Fryette has outdone himself in every respect. The active, adjustable power attenuator in combination with an internally installed tube power amplifier forms a sonic league of its own, where the competition is not even relegated to the seats, but completely out of the stadium.

No other load resistor turns out to be so flexible in combination with an identical sound even at minimal volumes. In fact, this is one of the best products I have come across in recent years. Simply great!

A must have for any all-tube amp user, definitely check it out!


Additional Informations:

- Fryette Amps is a California-based company that produces some of the finest guitar amplifiers and speaker cabinets in the world. Founded in 1989 by legendary amp designer Steven Fryette, the company has gained a reputation for producing high-quality, hand-built amplifiers that are sought after by musicians around the globe.

Fryette Amps has a range of products to suit different needs and styles, from the signature line of Pittbull amplifiers to the more affordable Power Station and Valvulator GP/DI. The company's amplifiers are known for their stunning tone and versatility, and are used by a wide range of guitarists, from metalheads to blues players.

One of the company's most famous amplifiers is the Pittbull series, which includes the Ultra-Lead, Ultra-Verb, and Classic models. These amps are renowned for their high-gain distortion, and have been used by some of the biggest names in heavy metal, such as Dimebag Darrell, Kerry King, and Zakk Wylde. The Pittbull Ultra-Lead is particularly popular among metal guitarists, as it has a unique, aggressive tone that can cut through even the densest mix.

Another popular product from Fryette Amps is the Power Station, which is a power attenuator and re-amplifier that allows guitarists to achieve high-quality tone at lower volumes. This is particularly useful for musicians who want to achieve that coveted "cranked amp" sound without waking up the neighbors. The Power Station is also a popular tool for recording, as it allows guitarists to capture the true sound of their amplifier without having to play at loud volumes.

The Valvulator GP/DI is another innovative product from Fryette Amps, which combines a tube preamp, DI box, and guitar amplifier into one compact unit. This versatile device is perfect for guitarists who need a reliable, all-in-one solution for recording and live performances.

Fryette Amps is known for its commitment to quality, and all of its products are hand-built in the USA using only the finest components. The company also offers a range of customization options, allowing guitarists to create a truly unique amplifier that suits their individual needs and playing style.
In addition to its range of amplifiers and speaker cabinets, Fryette Amps also produces a line of guitar pedals, including the Boostassio, Fatbottom, and Memorex pedals. These pedals are designed to work seamlessly with Fryette amplifiers, and are known for their transparent, high-quality sound.

Overall, Fryette Amps is a company that is committed to producing high-quality, hand-built amplifiers that are designed to last a lifetime. Its products are used by some of the biggest names in music, and have gained a reputation for their stunning tone and versatility. Whether you're a heavy metal guitarist or a blues player, Fryette Amps has something to offer, and is well worth checking out if you're in the market for a new amplifier or speaker cabinet.

- VHT Amps is a renowned guitar amplifier manufacturer based in California, USA. The company has been in business for over 30 years and has gained a reputation for producing high-quality, hand-built amplifiers that are sought after by musicians all around the world.

VHT Amps was founded in 1989 by Steven Fryette, who also founded Fryette Amps (formerly known as VHT Amplification). While VHT Amps and Fryette Amps are now separate companies, they both share a commitment to producing high-quality amplifiers that deliver stunning tone and versatility.

One of VHT Amps' most famous amplifier lines is the Pittbull series, which includes the Ultra-Lead, Ultra-Verb, and Classic models. These amps are renowned for their high-gain distortion and are used by some of the biggest names in heavy metal, such as Dimebag Darrell, Kerry King, and Zakk Wylde.

Another popular line from VHT Amps is the Special series, which includes the Special 6, Special 6 Ultra, and Special 12/20 models. These amps are known for their simplicity and versatility, and are popular among both novice and experienced guitarists. The Special 6, for example, is a low-wattage tube amplifier that offers a range of classic rock and blues tones.

In addition to its range of amplifiers, VHT Amps also produces a range of speaker cabinets, including the Fatbottom and Deliverance models. These cabinets are designed to complement VHT Amps' amplifiers and deliver a rich, full-bodied sound.

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

VHT Amps has also expanded into the pedal market, with a range of pedals that includes the V-Drive overdrive, the Melo-Verb reverb, and the D-50 distortion. These pedals are designed to work seamlessly with VHT Amps' amplifiers and deliver the same high-quality sound that the company is known for.

Overall, VHT Amps is a company that is committed to producing high-quality, hand-built amplifiers and speaker cabinets that deliver stunning tone and versatility. Whether you're a heavy metal guitarist or a blues player, VHT Amps has something to offer, and is well worth checking out if you're in the market for a new amplifier or speaker cabinet.

TEST: Fostex HP-A8 mkII

Other times, other customs! Due to the increasingly popular way of working with headphones in the monitoring process, the selection of headphone amplifiers is continuously increasing. With the Fostex HP-A8 MkII, the Japanese company has an example at the start, which is also manufactured in Japan, and which sometimes looks far beyond the horizon of an ordinary headphone amplifier with some unusual details.

Times are changing!

Things have really changed in the studio landscape during the last two decades. Yes, there are still a few superstars worldwide who indulge in both the classic band constellation and the classic recording technique in the form of spatial recordings and multiple monitor systems in the monitoring position. They are often used as protagonists for the high-end area and keep whole studio areas alive. However, it is also a fact that 2 out of 3 state-of-the art studios have closed their doors in recent years due to a lack of orders, and the remaining third can only continue to operate in connection with a record company structure or similar without direct economic dependence on the sales made.

Especially in the field of synthetic music, the spatial representation of the artist in the form of a band has become obsolete and has rather been replaced by the optimized use of filters, compressors and limiters. Productions with this approach are increasingly emancipating themselves from the classic studio situation with corresponding monitoring positions and are increasingly turning to headphones as the primary sound controller, which removes any spatial restrictions and frees the producer and sound engineer from having to invest a large amount of money in the construction and maintenance of a "real" recording studio.

However, in order to be able to adequately serve the headphone segment of the upper and national league in terms of sound, it often takes more than the headphone amplifier integrated in the console, and even the amplifier built into the interface sometimes stumbles at the three-digit ohm value of some top headphones. Aware of this, Fostex is preparing to cover the full range of professional sound quality with its Fostex HP-A8 MkII, but not without neglecting the second major pillar of headphone operation, the hi-fi sector. More on this later.

Concept and construction of the Fostex HP-A8 MkII

If you want to play with the big boys, you need the right equipment. That the Fostex HP-A8 MkII wants to keep up with the big boys, you notice at the latest during the unpacking of the device. With a weight of almost 4 kg, the black steel block is anything but transport-friendly. A look through the cooling slits into the inner workings of the product quickly reveals the reason for this besides the massive steel case. Generously dimensioned components along with a stately toroidal transformer ensure a primarily stationary operation, whereby a suitable transport case naturally also moves such weights without any problems.

The appearance of the Fostex HP-A8 MkII is of course debatable. The opinions will probably lie somewhere between "imposingly shiny" and "HiFi Kasperletheater". Of course, the appearance is more geared towards the glass table in the HiFi empire, but who says that it may not shine here and there in the pro studio, especially since the front panel has been polished to a high gloss, but otherwise comes across comparatively discreet with the 4 controls / switches On / Off, Input Selector, Output Selector and Volume control. The display also does what it should and does not overload the user with all kinds of unnecessary ballast, but is limited to the most important key data in an easily readable form.

The next thing that catches the eye is the partly unusual connection periphery on the back of the case, which together with the large feet and an included remote control reveals the primary application area of the Fostex HP-A8 MkII. Here, the hi-fi fan is targeted, which is present in significantly larger numbers than music producers, and of course, a higher turnover can be expected. In combination with a proper DAW, the producers should also benefit from the Fostex HP-A8 MkII's key data, since the product is not only a headphone amplifier, but also a high-end DAC.

The operating data already gives a foretaste of the practicality. The digital signal can be converted at up to 192 kHz, whereby DSD technology can also be used. In terms of I/O, the product has an extensive periphery in the form of 2 optical and one coaxial inputs, one optical and coaxial looped through outputs, USB 2.0, an SD card slot and AES/EBU. Analog remains only RCA L/R In/Out, which once again shows the proximity to the HiFi sector. To score in the studio pro sector, at least an analog XLR input should be available. A word clock terminal is also missing, which is not very important in the consumer sector, but is an important part of the work process in the studio, depending on the application. Corresponding synchronizations have to run via the digital inputs.

In addition to very good technical values such as a level frequency response of 18 Hz to 80 kHz with a tolerance of +/- 0.3 dB, modern headphones can be operated from a low 16 ohms up to the old-school ohm monsters of 600 ohms, which increases the flexibility with regard to the area of application immensely.

The sound of the Fostex HP-A8 MkII

Together with its national competitor Tascam, the name Fostex will probably always be associated with the multitrack battle between Portastudio and Multitracker, which seemed to last for decades, but which dissolved into nothing with the first affordable DAWs. Some engineers will therefore probably eye the HP-A8 MkII a little suspiciously with so many high-end cross-references, as one does not necessarily consider the manufacturer to be in the first league of reference devices when it comes to the pro area.

In this case, however, you can once again see how quickly prejudices acquired over years can vanish into thin air. The measured data in combination with the massive exterior and the four-digit retail price are indeed acoustically implemented as expected. On the one hand, there is a very voluminous basic sound that doesn't leave any mud due to a lack of reserves, even in the low bass range. A neutral midrange, combined with a very finely resolved high-frequency range, allows even long sessions to pass without tiring.

The second selling point is the enormous headroom that the Fostex HP-A8 MkII maintains during strong impulse peaks. At the same time, the dynamic staggering remains stable in any form, both in quiet passages and in unexpected fortissimo interludes, and calmly cushions threatening clippings. Hard attacks of a fat kick or a sharp snare are put away just as well as hard analog beats from the synthetic department. The spatial information also has enough room to "breathe" with this product and is not compressed or almost completely disappears from the signal path due to the lack of power handling, as is the case with inferior devices.

An excess of level stability is still one of the most important points to be able to utilize a top class headphone according to its capabilities. Even the comparatively high resistance of a Beyerdynamic T1 with 600 ohms could not change this. If you listen to such headphones with a smartphone's built-in amplifier, for example, this league of headphones almost always sounds powerless, without character, and above all with a maximum volume that does not allow for proper monitoring.

As already mentioned, the Fostex HP-A8 MkII plays to its strengths even in this difficult headphone league of high ohmic values and could only be cornered sonically with effort during the test. Even at very high volume levels, the Fostex HP-A8 MkII only experienced a subtle form of saturation without harshly cutting off the wave pattern and leading to an unpleasant form of clipping.

Conclusion

With the Fostex HP-A8 MkII, the Japanese manufacturer moves into the absolute upper league of headphone amplifiers. With an excellent sound, very good measurement values and an extensive I/O management, almost any digital signal can be managed under the headphones and listened to in very good quality.

The device leaves a very good impression both in the consumer area, as well as in the pro audio area, although an analog XLR input format is unfortunately missing for the professional studio area.

Additional Informations:

- Fostex is a Japanese audio equipment manufacturer that was founded in 1973. The company is known for producing a wide range of high-quality audio equipment, including studio monitors, headphones, digital recorders, and other recording gear. Fostex products are popular among musicians, producers, and audio engineers around the world, and the company has a reputation for producing reliable, high-quality gear at a range of different price points.

One of Fostex's most popular product lines is its range of studio monitors. The company produces a variety of monitor models, from small near-field monitors to large, high-powered monitors for larger studio spaces. Fostex monitors are known for their accurate sound reproduction and high-quality build, and they are used in recording studios around the world.

Another popular product line from Fostex is its range of digital recorders. The company produces a range of portable and desktop recorders, including models that are designed for professional use in recording studios. Fostex recorders are known for their high-quality sound and reliable performance, and they are used by musicians, podcasters, and other content creators around the world.

Fostex also produces a range of headphones, including models that are designed for professional use in recording studios. Fostex headphones are known for their comfortable design and accurate sound reproduction, and they are a popular choice among musicians and producers who need to monitor their recordings in detail.

In addition to its hardware products, Fostex also produces a range of software plugins that are designed to work with its recording gear. These plugins include EQs, compressors, and other effects, and they are used by producers and engineers around the world to shape the sound of their recordings.

Overall, Fostex is a company that is known for producing high-quality, reliable audio equipment at a range of different price points. Its products are used by musicians, producers, and engineers around the world, and the company has a reputation for being a trusted source of audio gear for professionals and hobbyists alike. Whether you're building a home studio or outfitting a professional recording space, Fostex is a brand that should be on your radar if you're looking for high-quality audio gear.

- Headphone amplifiers, also known as headphone amps, are devices designed to boost the audio signal sent to a pair of headphones. They are typically used to enhance the listening experience for audiophiles, musicians, and recording professionals, who require high-quality audio playback and monitoring.

Headphone amplifiers come in a variety of sizes and styles, ranging from portable, battery-powered models to larger, stationary units that can be used in a studio or home setting. They can be standalone devices or built into other audio equipment, such as mixers or audio interfaces.
The main purpose of a headphone amplifier is to increase the power of the audio signal sent to the headphones. This allows for a more dynamic and detailed listening experience, particularly with high-quality headphones that require more power to produce their best sound.

Headphone amplifiers also provide additional benefits, such as improved soundstage and more accurate tonal balance. They can help to reduce distortion and noise, leading to a cleaner and clearer sound. Some models also offer additional features, such as EQ controls or built-in digital-to-analog converters (DACs) that can further enhance the listening experience.

One important consideration when choosing a headphone amplifier is impedance. Impedance refers to the resistance of the headphones, and different headphones will have different impedance ratings. Some headphone amplifiers are designed to work with a specific range of impedance ratings, so it's important to choose an amplifier that is compatible with your headphones.

Another consideration is portability. Portable headphone amplifiers are designed to be lightweight and compact, making them ideal for use on the go. They often come with rechargeable batteries and can be used with smartphones, laptops, and other mobile devices.

For those looking for a more stationary option, larger desktop headphone amplifiers are available. These models are designed to provide high-quality sound in a home or studio setting and often come with additional features such as balanced inputs and outputs, multiple headphone outputs, and digital interfaces.

In conclusion, headphone amplifiers are a useful tool for anyone who requires high-quality audio playback or monitoring. They can improve the sound quality of your headphones, providing a more dynamic and detailed listening experience. When choosing a headphone amplifier, consider factors such as impedance, portability, and additional features to find the model that best fits your needs.

TEST: Focusrite ISA 428 MKII

A trademark like thunder, at least when it comes to producers of my decade. While the ambitious new generation knows the company Focusrite mostly from the interface home recording area, users of my age cringe with awe at the mere mention of the Red or Blue Series. With the Focusrite ISA 428 MKII, the traditional company is now trying to save the flair of great productions of bygone days into the present.

Big names, big budgets!

Why this fuss about the name Focusrite? Well, the company was founded in 1985 by probably the biggest name in console history, Rupert Neve, who sold the company just a few years later. Nevertheless, the comparatively short time was enough to create the first legends, including the ISA 110 channel strip, which was designed specifically for George Martin at the time. Not without reason, many visual details show some parallels to the Focusrite ISA 428 MKII under review, as the preamp circuit is based on the AIR Studios classic.

The construction of the Focusrite ISA 428 MKII

In keeping with a true preamp, Focusrite does not use next-level components such as heavily intervening filters or compressors. Instead, 4 identical channel strips are used, whose only task is to catch up with the supplied voltage. At the same time, the Focusrite ISA 428 MKII is very flexible in terms of input level, so it can handle a microphone level via XLR, line via TRS or high-impedance material via jack with the appropriate inputs. Each channel has its own balanced loop-in path so that external processors can be brought on board. The loop-in path can be activated via a push button on the front panel, which increases the ease of use by quite a bit. Anyone who has ever crawled around lying on the floor behind their Outgear Rack with a flashlight to wire up their processors knows what I mean.

Actually, it's a mistake to speak of a 4-channel preamp, as the Focusrite ISA 428 MKII calls 4 more digital inputs its own, which are fed via XLR jacks. On the front panel you can set the appropriate bitrate from 44.1 up to 192 kHz, and the unit can also output word clock. Still, the Focusrite ISA 428 MKII is primarily designed for project studio work, where you rarely record more than 4 channels at a time.

The linchpin of the Focusrite ISA 428 MKII is the channel's respective gain control, which offers up to 60 dB of gain via a triple selector switch (0 - 30 dB) and a toggle switch (40 - 60 dB). The fine adjustment is then taken over by an infinitely variable trim control, which offers another 20 dB of pre-amplification if necessary, so that a maximum signal amplification of up to 80 dB is possible. This also makes it possible to work with very low-power ribbon microphones. For line and Hz signals, of course, such values do not make sense, so for line signals the gain range was set from -20 dB to +10 dB, for Hz signals from +10 dB to +40 dB.

As a high-pass filter, each channel has a stepless low-cut filter that can be tuned from 16 Hz to 420 Hz and has a very steep slope of 18 dB/oct. Such a hard cut seems to be very helpful for eliminating rumble noises, but for processing a proximity effect the filter might interfere too much. Switchable 48V phantom power and phase inversion round off the overall impression. On the right outside there are a total of 8 pcs. 6-digit LED chains, which show the output level.

The impedance selection of the Focusrite ISA 428 MKII

It should not be a secret anymore that the sound of certain microphone types changes according to the impedance of the preamp. Still, I'm always surprised at how many engineers and producers haven't heard about these sonic possibilities. However, this could quickly change with the Focusrite ISA 428 MKII, as special attention has been paid to this circuit trick.

As many as 4 different impedances can be set on the microphone input of the Focusrite ISA 428 MKII via the push-button selection on the front of the panel. The choices are Low (600 ohms), Medium (2,400 ohms), High (6,800 ohms), and in keeping with the product's progenitor, the ISA 110 input impedance of 1,400 ohms. To what extent the ohm selection affects the sound, the practical test will show.

The Focusrite ISA 428 MKII in Practice

I admit that at the beginning of the test I was hoping for a certain basic sound from the Focusrite ISA 428 MKII. For a dinosaur like me, who as a consequence of his birth decade was allowed to experience his sonic imprint in the studio heyday of the eighties, resonates with certain products still a touch of hope, it may have been saved a little sound culture over into the "present time" and not again with the "now-yet-cheaper" flag everything down bludgeoned, which may still have remained claim.

Already at the first signals that resound from the preamp, a satisfied smile settles on my lips. Not that the lush sound of the eighties is resurrected at the push of a button, but the neutral and transparent resolution of the Lundahl transformers create a clearly structured basis, which offers a direct enhancement to any signal.

At the same time, the Focusrite ISA 428 MKII has this difficult to describe, British-decent coloring, which was inherent in many products of the eighties, far from the often somewhat sultry soft USA sound. Before the loudness mastering mania of the nineties started to nip every sonic detail in the bud, the individual components in the signal path were clearly more responsible for what ended up on the turntable as the final result. The contour-rich sound of the Focusrite ISA 428 MKII offers an excellent basis for many different styles, as long as you are not looking for a strongly saturated vintage sound. For this orientation, the basic sound of the product is clearly too clear and too finely resolved.

The previously mentioned input impedance selection brings many unexpected sound impressions in practice, whereby the final result depends strongly on the type of microphone used. Thus, I could detect the strongest coloration with the comparatively simple classics from the dynamic range. A Shure SM57 or an AKG D320 sounded surprisingly soft in the low variant, while other microphones such as the R2 MKII ribbon microphone from Golden Age Project reacted very little to the different impedances.

If you want to pay homage to the ISA 110 sound, you can of course generally work with the 1,400 Ohm setting, which also delivers consistently good results, but you are depriving yourself of some sound enhancements that you might not have expected from the Focusrite ISA 428 MKII in this way. Of course, the basic sound of the respective microphone remains, but the colorations expand the sound spectrum in interesting directions. Here is simply trial and error, a core statement in the sense of "if this than that" does not exist.

With a gain of up to 80 dB, the Focusrite ISA 428 MKII can indeed cope with all microphone types, and the input noise is very low at -126 dB-A. Even at maximum level, no really annoying input noise could be perceived, especially since this would only be noticed in very quiet passages. Nothing against low-noise preamps, but what you sometimes have to read as a criterion has partly nothing to do with practice.

The line inputs as well as the high-impedance Hz inputs were also convincing across the board. The open and robust basic sound lets everything that has to be processed in high-level signals or, conversely, in high-impedance signals, appear in a very good image. Whether it was just an electric bass, an acoustic guitar with pickup or an electric piano, the sound is always clear, resistant to overdriving and covered with a very fine resolution, which supports and strengthens the respective basic sound of the instrument.

Finally, a tip for electric guitarists. Even if it is still touted here and there, a first to take electric guitar sound is never generated via a Hz input with amp / speaker simulators. Even the best Hz input cannot hide the fact that at least 50% of a high-quality electric guitar sound is generated by a real amplifier with a real speaker and a real microphone. Without this signal chain you can record a demo at most, nothing more!

Conclusion

With the Focusrite ISA 428 MKII, one of the biggest names of the eighties offers a very valuable preamp for the project studio. The four-channel preamp turns out to be an excellent-sounding input stage for almost all signals that arise, and with up to 80 dB of gain it knows how to handle even the weakest microphone signals.

For studios that rarely want to record more than 4 analog and 4 digital signals at the same time, an unconditional purchase recommendation, especially since the retail price of 1,479 euros is a comparatively low price for what is offered.

Additional Informations:

- Focusrite is a British audio equipment manufacturer that was founded in 1985 by Rupert Neve, who is well-known in the music industry for his work on high-end mixing consoles. Over the years, Focusrite has become a popular brand among musicians and recording engineers, known for its high-quality audio interfaces, preamps, and other recording equipment.

The company's product line includes a wide range of audio interfaces, preamps, studio monitors, and software plugins. Focusrite interfaces are popular among musicians and producers for their high-quality sound and reliable performance, with models available to suit the needs of everyone from home studio users to professional recording engineers.

One of the most popular products in the Focusrite line is the Scarlett series of audio interfaces. These interfaces are designed to provide high-quality audio recording and playback for musicians and producers at a range of different price points. The Scarlett series includes models with anywhere from two to 18 inputs, and each interface comes with a range of software plugins and other features to help users get the most out of their recordings.

Another popular product from Focusrite is the Clarett series of audio interfaces. These interfaces are designed for professional-level recording and mixing, with features like ultra-low latency, high dynamic range, and low noise preamps. The Clarett series includes models with up to 26 inputs, making them suitable for large-scale recording projects.

Focusrite also offers a range of preamps, which are designed to provide high-quality amplification for microphones and other audio sources. The ISA series of preamps is particularly well-regarded, with models that are based on classic designs from the 1980s and 1990s. These preamps are known for their warm, musical sound and their ability to add character and depth to recordings.
In addition to hardware, Focusrite also offers a range of software plugins that are designed to work with its audio interfaces and other recording equipment. The company's plugins include emulations of classic analog gear, like the ISA 110 EQ and the Red 3 compressor, as well as more modern plugins for tasks like EQ, compression, and reverb.

Overall, Focusrite is a company that is known for its commitment to high-quality audio equipment, and its products are popular among musicians and producers all over the world. With a wide range of audio interfaces, preamps, and other recording equipment, Focusrite is a one-stop-shop for anyone looking to build a professional-quality recording setup.

- Rupert Neve is a British audio engineer and electronics designer who is widely regarded as one of the most important figures in the history of recorded music. Neve has been responsible for designing some of the most iconic pieces of audio equipment in history, including mixing consoles, preamps, and other studio gear.

Neve was born in Newton Abbot, England, in 1926. He began his career in electronics design during World War II, working on radar systems for the Royal Navy. After the war, he worked for a number of different electronics companies before founding his own company, Rupert Neve Designs, in the early 1960s.

One of Neve's earliest and most significant contributions to the world of audio engineering was the creation of the Neve 8028 mixing console. This console was designed in the early 1970s and quickly became the industry standard for recording studios around the world. The Neve 8028 was known for its warm, musical sound, and it was used to record some of the most iconic albums in history, including Pink Floyd's "The Dark Side of the Moon" and Fleetwood Mac's „Rumours."

In addition to the Neve 8028, Neve also designed a range of other mixing consoles, preamps, and other audio equipment. One of his most famous designs was the Neve 1073 preamp, which is still in production today and is widely regarded as one of the best preamps ever made. The Neve 1073 was used on countless classic recordings, including albums by The Beatles, Led Zeppelin, and Nirvana.

In addition to his work in electronics design, Neve is also known for his pioneering work in the field of acoustics. He was one of the first engineers to recognize the importance of room acoustics in the recording process, and he developed a number of innovative techniques for optimizing the acoustics of recording studios.

Neve has been recognized with numerous awards and honors over the course of his career. He was inducted into the TEC Awards Hall of Fame in 1989, and he received a Lifetime Achievement Award from the Recording Academy in 1997. In 2004, he was awarded an Audio Engineering Society Fellowship, and in 2013, he was awarded the Pro Sound News Lifetime Achievement Award.

Today, Neve is still active in the audio industry, and his designs continue to be highly sought-after by musicians and recording engineers around the world. His legacy as one of the most important figures in the history of recorded music is secure, and his contributions to the field will be remembered for many years to come.

TEST: Focal Alpha 80 Evo

French manufacturer Focal, which has been on the scene for over 40 years, has managed to secure a latently scaling share of the nearfield monitor sales charts in recent years with moderate but steady steps. Budget studios in particular are increasingly encountering the Chinese-made Alpha Evo series products, so it makes sense to put the latest version of the Focal Alpha 80 Evo through its paces now that the original Alpha series has undergone an upgrade and re-design. Have fun with it!

The design of the Focal Alpha 80 Evo

The Focal Alpha 80 Evo monitor is a 2-way system that delivers a total of 115 watts of power, with 80 watts on the woofer and 35 watts on the tweeter. The frequency response is given as 38 Hz - 22 kHz, with an SPL of 106 dB (peak @ 1m). Interssingly, this puts the model 35 watts and 3 dB below the power specifications of its predecessor. This is an unusual step, as most manufacturers make a point of ensuring that the next more advanced version of a product is usually accompanied by an increase in power. The power supply has a voltage range of 100 - 240 volts, which means that the monitors can be used worldwide without having to worry about the voltage used locally. According to the manufacturer, the cabinet is made of 15 mm thick black MDF, but the side panels are made of plastic, which come in a subtle "rally" design.

The tweeter is a 25 mm (1 inch) inverse dome, which is made of aluminum and comes with a custom waveguide made for this series. The 20 cm (8 inch) woofer is one made from recycled carbon fiber, called Slate Fiber. The monitor's bass reflex port radiates forward and, compared to the previous model, has been designed as a continuous port, which should provide, among other things, a higher bass output. Both the tweeter and the woofer receive two protective grilles from Welk in the scope of delivery, which are supposed to protect the speakers from external influences if necessary.

In terms of dimensions, the Focal Alpha 80 Evo is slightly taller, wider and deeper than its predecessor at (H x W x D): 390 mm x 296 mm x 330 mm, though at around 9.8 kg it is also almost 3 kg lighter than its predecessor.

The back

The Focal Alpha 80 Evo offers a comprehensive connection field on the back of the housing, consisting of XLR and TRS balanced or RCA unbalanced. In order to adapt the input level to the respective studio environment, one can choose between 0 dB and +6 dB regarding the input sensitivity with a slide switch. In order to adapt the sound of the monitors to the respective spatial conditions, the Focal Alpha 80 Evo has two rotary controls, with which one can raise below 250 Hz and above 4.5 kHz steplessly with +/- 6dB, respectively lower. The controls are pleasantly stiff, so that you can dose the personally preferred sound very well.

In addition to the power switch, there is also an auto standby deactivation switch on the back of the Focal Alpha 80 Evo. Sometimes it can happen that at very low levels the internal standby function keeps the signal for silence and deactivates the sound output after the targeted 15 minutes. This switch can be used to prevent this behavior. An LED on the front panel informs about the system's operating status. Finally, the IEC socket remains to be mentioned, a suitable power cord is of course included.

The Focal Sub One subwoofer

To give the Focal Alpha 80 Evo more headroom in the bass range, the manufacturer also offers the matching subwoofer, which goes by the name of Focal Sub One. Although the Focal Sub One looks like a dual power amp solution, the circuitry is mono summing, which is then delivered via a power of 2x 100 watts. The woofer with the dimensions (H x W x D): 475 mm x 310 mm x 520 mm comes in a stylish housing with rounded corners and offers a frequency range of 32 - 120 Hz (+/- 3dB) at an SPL of 114dB (peak @ 1m). With a weight of 18.5 kg, the woofer is comparatively easy to handle and can be moved quickly by one person alone in case of doubt. The cabinet is made of 22 mm MDF and has been internally reinforced to counteract resonant frequencies. The 8 inch speakers, also made of Slate Fiber, are placed on the side panels, while 2 pcs. Bass reflex ports radiate to the front. Like the Focal Alpha 80 Evo, the Focal Sub One has 2 protective grilles to protect the speakers from external influences, a sensible feature, especially since the woofer is almost always at leg height and, depending on placement, likes to be "kicked" once in a while. An auto standby is also available.

On the other hand, some special features can be found in the area of phasing and connection options. In addition to the standards such as low-pass filter (45 - 120 Hz) and the high-pass filter for the connected satellites (60 Hz or 90 Hz), the Focal Sub One offers a phase reversal, or an additional phase rotary control, which can be continuously adjusted between 0 - 180 degrees. Furthermore, a foot switch can be connected to a jack socket, which activates / deactivates the woofer via foot switch. This is very helpful if you want to check the phase position of the woofer, for example.

A male / female XLR combination can also be used to set up the Focal Sub One in a multi-channel configuration. The signal of the multi-channel application (5.1, 5.2, 7.1 etc.) is available at the LFE IN input, the LFE Out is intended for daisy chain operation with additional subwoofers within the multi-channel application.

The Focal Alpha 80 Evo in practice

Let's start with the first impression, which also shows the advantages of the Focal Alpha 80 Evo. If I had to put the first sound impression into adjectives, the words "open" and "neutral" would spontaneously come to mind, and in the best sense. The system immediately convinces with a clear structure, which resolves very finely without getting caught up in too finely knitted trebles. The reproduction is very lively in the impulse behavior and doesn't get caught in phase problems even at higher volumes, as it is sometimes known from other systems. The standards like phantom center, depth staggering and spatial resolution are also covered very well.

What I personally liked very much is the midrange reproduction of the system, one finds with the Focal Alpha 80 Evo but at no time the notorious midrange hole of a two-way system at the crossover frequency. Particularly in the area of guitars and vocals, the system convinces with a clean and accentuated reproduction, which I previously knew more from three-way systems. In cooperation with the Focal Sub One woofer, which is very discreet and tasteful, the system also delivers enough low end without drifting into the spongy.

Now we come to a negative point, which is not only to be heard with the Focal Alpha 80 Evo, but has become noticeable in the meantime of a virus equal to several systems from different manufacturers, which I could test in recent times. We're talking about a noise gate effect, which can be heard both before and after signal playback. If you start the playback, about 0.5 seconds pass before the gate opens with a central "clack" and closes again after the signal playback. For example, if you listen to short passages one after the other, the playback is interrupted each time with 2 "clacks", a fact that is really extremely annoying after a certain time. In addition, the first attack of the signal is cut off by the delay of the opening time of the noise gate, which additionally provides a sonic irritation.

I don't know if the control electronics of current nearfield monitors are now only supplied by a few manufacturers, but I personally consider this development to be very questionable, as it at least affects my workflow a lot. This is even sadder, since the Focal Alpha 80 Evo really convinced me sonically on a whole level, but would be eliminated for my personal workflow with this shortcoming.

I am therefore unfortunately forced to downgrade the rating from a sonically more than deserved "Very Good" to a "Good" due to this ambient noise behavior. I hope that Focal will get this problem under control, since the monitors would have more than deserved it from the sonic behavior.

Conclusion

With the Focal Alpha 80 Evo in combination with the Focal Sub One, the French manufacturer has a sonically excellent system in its portfolio. The basic sound is open, neutral and very well resolved, whereby especially the midrange reproduction is far above average for a 2-way system in this price range.

If this system were not also affected by the strongly spreading "noise gate effect", the system would have deserved a top place in this price range. Thus, it is unfortunately only enough for a middle place, which, however, could be immediately converted into a top rating after fixing the problem.

Additional Informations:

Focal Audio is a company that has been producing high-end audio equipment for over 40 years. Founded in 1979 by Jacques Mahul, Focal Audio has become a leading name in the audio industry, known for their innovative designs, high-quality components, and exceptional sound quality.

History

Focal Audio was founded in France in 1979 by Jacques Mahul, a hi-fi enthusiast who had a passion for high-quality audio. The company's first product was a speaker driver, which quickly gained a following among audiophiles for its exceptional sound quality.

Over the years, Focal Audio has continued to innovate and expand their product line, offering a range of speakers, headphones, amplifiers, and other audio equipment. Today, Focal Audio is known for their high-end, audiophile-grade products, as well as their commitment to research and development.

Products

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

Utopia III Evo Speakers: The Utopia III Evo Speakers are Focal Audio's flagship product, and are widely regarded as some of the best speakers on the market. They feature a range of advanced technologies, including Focal Audio's patented beryllium tweeter, which delivers exceptional detail and clarity.

Stellia Headphones: The Stellia headphones are a high-end, closed-back design that are ideal for audiophiles who demand the best in sound quality. They feature Focal Audio's patented M-shaped dome driver, which delivers exceptional detail and accuracy.

Arche Amplifier/DAC: The Arche Amplifier/DAC is a high-end digital-to-analog converter and headphone amplifier that is ideal for both professional and home use. It features a range of advanced technologies, including Focal Audio's proprietary DAC chip and a dedicated Class A amplifier.

Kanta Speakers: The Kanta speakers are a more affordable option that still deliver exceptional sound quality. They feature Focal Audio's signature Flax cone drivers, which deliver a natural and detailed sound.

Clear Headphones: The Clear headphones are a high-end, open-back design that are ideal for audiophiles who demand the best in sound quality. They feature a range of advanced technologies, including Focal Audio's patented M-shaped dome driver and a dedicated voice coil.
All of Focal Audio's products are designed and manufactured in France, using high-quality components and materials.

Research and Development

One of the things that sets Focal Audio apart from other audio equipment manufacturers is their commitment to research and development. Focal Audio has a team of engineers and scientists who are constantly working to develop new technologies and improve existing ones.
For example, Focal Audio's patented beryllium tweeter is the result of years of research and development. The tweeter is made from a lightweight and rigid material that delivers exceptional detail and clarity, and is widely regarded as one of the best tweeters on the market.
In addition to their in-house research and development, Focal Audio also collaborates with leading universities and research institutions to further advance the state of the art in audio technology.

Conclusion

Focal Audio is a company that has made a name for itself by producing high-end, audiophile-grade audio equipment. With a range of speakers, headphones, amplifiers, and other products, Focal Audio has something to offer for both professional and home users. And with their commitment to research and development, Focal Audio is constantly pushing the boundaries of what is possible in audio technology.

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.