TEST: Mooer GTRS P800

 The company Mooer will be known to most readers as a very successful manufacturer of inexpensive pedals of all kinds for the budget range. Not really surprisingly, the company has taken the step to expand into other segments, not without referring to its strengths in the electronics field. Under the label GTRS Mooer now offers two models, which in addition to the regular functions of an electric guitar have a multi-FX device plus amp modeler built in. We have the GTRS P800 in front of us for testing.

The concept of the GTRS P800

I'll admit, when the words "Intelligent Guitar" are emblazoned large on a packaging box, everything inside me first goes into alarm mode. A guitar cannot be "intelligent", the user maybe more or less, but certainly not several pieces of wood, some wire and more or less complex electronics. I know the Chinese are guaranteed to mean the approach differently, but here at least the instrument has to deliver first.

So what exactly is the approach of the GTRS P800? In principle it is quite simple, the instrument has an amp modeler plus multi-FX, which you normally use as a floor pedal, built into the body of the guitar in a very small electronics unit. The idea behind this is once again to reduce the transport volume, meaning you can leave one more pedal at home if necessary and only have to take the guitar with you. You can choose whether you want to play the instrument analog without any effects through a regular amp, or whether you want to send a digitally processed sound plus an amp / speaker simulation into a Full Range Flat Response (FRFR) box. Furthermore, you can also send the signal directly into the P.A. or a headphone.

Of course, the same applies to demo recordings, where you can play with the simulations directly into the interface of the DAW. The sounds are managed and edited via the matching Bluetooth app, which is available for iOS and Android. In total, the FX module has 11 guitar simulations, 126 guitar effects, a drum machine for jamming, a metronome, a tuner and an 80-second looper, optionally 4 sounds can be switched for live operation via the GWF4 Wireless Footswitch, which is not included.

The FX processor, which is built into the guitar, is powered by a battery, which in turn is charged via a standard mobile charger (5V) using USB-C. The matching USB-A to USB-C charging cable is included. The battery has a capacity of 4000 mAh and is supposed to provide an operating time of 10 hours.

The guitar

If you now think Mooer would exclusively take the cheapest components of a guitar to only supply the FX module with voltage signals, you're wrong. The Strat copy has in fact some high-quality components, which also explain the price of 969, - €. For example, in the hardware area a Wilkinson VS 50 II vibrato, a Graph Tech TUSQ saddle along with locking tuners were installed and the bolt-on maple neck was subjected to a roasting process, which indeed has a positive effect on the sound, as we will see later. The body was made of alder. The fingerboard with its 22 Stainless Steel Medium frets is made of rosewood and has the popularly used 12" radius. Likewise, as expected, the instrument uses the long scale length of 648 mm.

The GTRS P800 is available in several colors, we had the version in "Tiffany Blue" for testing, which is strongly oriented to the Fender Vintage lacquer finishes of the fifties and sixties. To what extent the cream-colored pickguard fits to this color scheme, which does not really meet the vintage character in its high-gloss look, is up to everyone in the evaluation. The pickups are no name pickups from our own production in HSS with the designations GTRS SCN-1N (neck), GTRS SCN-1M (middle) and GTRS HM-1B AlNiCo V (bridge). Very nice also the accessories equipment, which includes all necessary hex keys and a high-quality gig bag in tweed look.

The electronics

The linchpin of the GTRS effect module is the Bluetooth management and the so-called "Super Knob", which due to its dimensions and the color looks a bit like the tone control of the guitar had to be replaced and only the volume control of Grandma's tube radio could be found in a hurry. The same knob is designed as a push knob and switches on the FX module as well as the 4 storable sounds on the guitar. In addition, it is also a volume control for the level of the output signal.

The signal is also output via the guitar's jack, so make sure that the Super Knob is deactivated in analog mode, otherwise the regular guitar sound will drift into spheres that cannot be put into words with any negative adjective. The sounds can be bent by means of the app as with all common modelers by means of effects and amp simulations until the doctor comes. It should also be possible to change the sound characteristics of the guitar and pickup type, but we'd better keep quiet about the sound result. By means of electronics, a Start with all classic woods and PU constellation can be turned into a Les Paul with just such a constellation at the push of a button. Yeah no, it's clear.

The GTRS P800 in practice

Played dry, the GTRS P800 starts with a very good impression. The workmanship is good, the hardware is of high quality and especially the roasted neck convinces with a very good vibration and sustain behavior, as known from other roasted necks. The playability of the instrument, which is very well adjusted from the factory, is playable, nothing worth criticizing from a haptic point of view. But then Moeer makes a big mistake from my point of view.

Due to the very good wood / hardware components, the GTRS P800 would have the makings of a good standard guitar, which with the electronics in bypass mode can produce a good sound via a standard analog amplifier constellation. However, this approach seems to be not wanted by Moeer, because who listens to the basic sounds of the pickups, which I played as an example directly without amp into the console, hears a very dull basic sound with all pickup constellations despite open tone diaphragm, which does not offer a good basis for a high-quality amplifier sound.

This sound changes immediately when using the modeler sounds, so it seems that the entire construction of the GTRS P800 is almost exclusively designed for modeler operation. In my eyes, Moeer is wasting an area of application with this approach, which, despite the constant advance of emulation and simulation, still makes up the majority of live amplification of an electric guitar, even in the live area.

In terms of sound, I think the modeler sound of the GTRS P800 can be placed in the midfield of current sonic possibilities. Clean sounds are hit as expected very tastefully, as the same also work very well without amp / speaker simulations, in the area of amp sounds, however, the sound of the system does not really convince me. In my opinion, there is still room for improvement here, although I am also sure that Moeer can improve the sound quality with the appropriate software updates.

In the final verdict, I am torn between a very interesting approach with very good hardware components on the guitar on the one hand and a concept that for me personally is not thought through to the end with rather mediocre distortion sounds on the other. I have therefore decided to award a "Very Good" for the high-quality construction of the guitar and a "Satisfactory" for the sound yield, together still makes a stable "Good".

Conclusion

With the GTRS P800, Moeer ventures into the next level of effects management by supplying their modeler systems with the matching instrument right away. The guitar itself has a very good basis for a good analog amp sound due to its consistently very good components such as a roasted maple neck or a Wilkinson vibrato system. Unfortunately, Moeer ignores this aspect within the sound approach and focuses almost exclusively on the sound management by means of their new GTRS processor, which was built into the guitar as an innovation.

The transport effort thereby dwindles immensely and those who like the Modeler sounds should definitely test the concept once.

Additional informations:

Moeer Audio: A Comprehensive Company Report

Abstract: This report provides an in-depth analysis of Moeer Audio, a prominent company in the audio equipment industry. The report covers the company's background, product range, market presence, technological innovations, business strategies, and future prospects. Moeer Audio has established a strong reputation for producing high-quality, innovative audio gear that caters to the needs of musicians, producers, and audio enthusiasts worldwide.

Introduction: Moeer Audio is a renowned company specializing in the design, manufacturing, and distribution of audio equipment and effects pedals. With a commitment to innovation, quality, and affordability, the company has gained significant recognition in the music industry.
Company Background: Founded in 2010, Moeer Audio has rapidly grown to become a leading player in the audio equipment market. The company is headquartered in Shenzhen, China, and operates globally, serving customers in over 80 countries. Moeer Audio's core mission is to provide musicians and audio professionals with accessible and versatile gear that enhances their creativity and performance.

Product Range: Moeer Audio offers an extensive range of products that cater to various audio applications and user preferences. Their product portfolio includes:
Effects Pedals: Moeer Audio is well-known for its diverse lineup of effects pedals, covering a wide range of tones and effects. From classic overdrive and distortion to modulation, delay, and reverb, their pedals are designed to deliver exceptional sound quality, versatility, and user-friendly operation.

Amplifiers: The company also manufactures amplifiers that combine solid-state and digital technologies to offer reliable performance and tonal flexibility. Moeer Audio's amplifiers are renowned for their compact size, portability, and high-quality sound reproduction.
Multi-Effects Processors: Moeer Audio provides multi-effects processors that integrate a wide range of effects, amp simulations, and digital signal processing capabilities into a single unit. These processors offer musicians and producers a comprehensive toolkit for sound shaping and experimentation.

Technological Innovations: Moeer Audio's success can be attributed, in part, to its commitment to technological innovation. The company invests significantly in research and development to stay at the forefront of audio technology. Moeer Audio continuously incorporates advancements in digital signal processing, circuit design, and component selection into its products, ensuring optimal performance, reliability, and tonal integrity.

Market Presence: Moeer Audio has established a strong market presence, with its products being well-received by musicians, producers, and audio enthusiasts worldwide. Their gear has gained recognition for its sound quality, durability, and affordability. Moeer Audio actively participates in industry events, trade shows, and collaborations with artists and influencers to increase brand visibility and engage with its target audience.

Business Strategies: Moeer Audio implements several key strategies to maintain its competitive edge:
Product Affordability: The company focuses on offering high-quality audio equipment at competitive prices, making professional-grade gear accessible to a wide range of customers.
Product Diversity: Moeer Audio continually expands its product range to cater to diverse musical genres and user preferences. This strategy ensures that musicians and producers can find the right tools to achieve their desired sound.

Customer Engagement: The company values customer feedback and actively engages with its user community through social media, forums, and direct communication. This customer-centric approach helps Moeer Audio understand user needs, gather insights, and incorporate suggestions into product development and improvement.
Quality Control: Moeer Audio maintains rigorous quality control processes to ensure that every product meets the highest standards. This commitment to quality enhances customer satisfaction and builds trust in the brand.

Future Prospects: Moeer Audio's future prospects look promising. With its dedication to innovation, affordability, and customer satisfaction, the company is well-positioned to expand its market presence and capture new opportunities. As the demand for audio equipment and effects pedals continues to grow, Moeer Audio can leverage its strong brand reputation, technological advancements, and diverse product range to solidify its position as a leading player in the industry.

Conclusion: Moeer Audio has established itself as a reputable company in the audio equipment market, renowned for its commitment to innovation, quality, and affordability. With a diverse product range, technological advancements, and effective business strategies, Moeer Audio continues to cater to the needs of musicians, producers, and audio enthusiasts worldwide. The company's focus on technological innovation, customer engagement, and product affordability ensures a promising future in the highly competitive audio equipment industry.

TEST: Mono Gigbags Vertigo and Dual Acoustic Electric

 The fact of having a clear market leader in a certain segment of the music sector is very rare, as the personal preferences of the respective users in terms of quality in relation to price are very subjective and thus ensure a broad positioning in terms of market leadership. Only rarely does one come across a company like Mono Cases, whose gig bags undoubtedly represent the ultimate in soft bags and are considered a fixed quantity, especially in the professional sector. By consistently expanding their product range and constantly improving the details of the existing portfolio, Mono Cases has become the undisputed #1 in the softbag sector. For testing we have the current version of the Mono Cases Vertigo Electric Guitar and the new development Mono Cases Dual Acoustic + Electric.

The concept of Mono Cases

One or the other beginner in the field of guitars may wonder, not without reason, why Mono Cases are priced up to 8 times higher than the cheapest transport bags of the same concept. However, at the latest when the same beginner has to transport his instrument for the first time to a rehearsal and even later to a gig, small, sometimes high-priced details, which one only recognizes at second glance, turn out to be the absolute gamechangers, which sometimes decide about the survival of an instrument in case of an accident.

Mono Cases raises, as we will see in the individual reviews, in really all areas the highest standards of safety, coupled with manageability, respectively durability and also attaches great importance to an environmentally friendly and ethical production. For example, all Mono Cases products are of vegan origin. All products have an excellent finish, which meets the highest standards (for example riveted handles and extremely strong seams) and are also "Tick-Ready", whereby the Guitar Tick is a mini backpack, which can be strapped onto the Mono Cases with 3 Velcro straps.

The classic: the Mono Cases Vertigo Electric Guitar

I still remember well how a colleague showed me his new bass gig bag about 6 years ago and briefly explained the innovations to me in high-speed mode. The Vertigo model in question already impressed me at that time with its aesthetic lines and excellent workmanship, but what immediately captivated me was "The Boot" at the bottom of the gig bag. The hard rubber boot, which gives the impression of the sole of a cross running shoe, is a proprietary combination of stand, shock absorber and strap pin protection that is second to none. Especially with pointed strap mounts, such as the LOXX Straplocks, you can't actually put the guitar down on its base part without damaging the strap mount, or else the base. Here, a recess inside the gig bag accommodates the strap mount, distributing the weight of the instrument over the entire hard rubber rest. I once heard years ago that old car tires were recycled to make this pad, but I'm not quite sure if this is still the case.

As a real innovation, you can now buy a feature that people like me have been desperately waiting for. We are talking about removable wheels. Until now, in the bags / cases sector, you can usually choose between flighcases, which have wheels, but are very heavy, or lighter soft bags, but have to be carried with one hand or with shoulder straps. Mono Cases now offers 2 plastic wheels for the Vertigo model, which can be clamped under the "The Boot" with 2 Velcro straps. The fastening seems a bit simple, but does its job to full satisfaction, even if the rollers are not sitting at the perfect right angle under the bag. Finally, you can pull the softbag in combination with the carrying handle over longer distances like a rolling suitcase behind you, a real boon.

Another special feature is the newly designed headlock system, which protects the neck of the instrument in addition to the fixed neck support against any form of lateral impact or backward falls. Similar to a crocodile's mouth, a solid, curved plastic protector drapes over the neck's string area, automatically locking the neck in place. Additional Velcro straps or similar neck holders are not needed, just put the guitar in the softbag, close it and you are "Good To Go".

All zippers of the Mono Cases Vertigo Electric Guitar are equipped with a rain protection, so that you can easily transport your instrument in the rain in cooperation with the water-repellent outer cover. To be able to see the black case better at night, for example on the back, reflective luminous strips have been embedded in the cover. Speaking of back transport, the Mono Cases Vertigo Electric Guitar of course also has 2 carrying straps, which can be sunk into the back of the soft bag when not in use. The special feature, however, are 2 very thick foam back rests, which both distribute the pressure of the instrument on the back more evenly and prevent the back from sweating through.

To accommodate accessories, the Mono Cases Vertigo Electric Guitar offers 2 zippered pockets. In total, these two pockets offer 2 large compartments, a cable holder, a small compartment for picks, a clear address label pocket, a keychain holder, a slim main neck compartment, and 2 small slip pockets. Both pocket zippers, as well as the main zipper, can be secured with small padlocks (sold separately) if needed, so at least the unnoticed stealing of mobile devices or wallet can be prevented.

The novelty: the Mono Cases Dual Acoustic + Electric

The name already mentions the novelty of the Mono Cases Dual Acoustic + Electric. It is a hybrid gig bag that can carry both an electric guitar (standard ST, T, LP or SG) and an acoustic guitar (Dreadnaught). The gig bag is based on the Dual Electric version, but in addition to the different bag sizes, it also has the difference that while in the Dual Electric version the two guitars are placed in the same orientation with respect to the support, in the Hybrid section, however, the two guitars are placed with their lower parts next to each other.

This means that if the case rests on the back, the weight of the gig bag will rest on the strings of the electric guitar. This is not really a problem due to the soft padding, but I would still store the case on its side when not in use to avoid any pressure points. Also, the straps are not retractable into a pocket on the back, so the straps are always dangling around a bit even when tightly aligned. The Mono Cases Dual Acoustic + Electric also features the all-important shock absorption as far as the strap pin is concerned. In addition, two ribbed rubber feet offer increased stability when standing upright.

Apart from that, the Mono Cases Dual Acoustic + Electric also impresses with an excellent workmanship and last but not least with an extended function regarding transport. For example, if you travel with only one electric guitar, you have a huge storage space for cables, floorboards or flooramps. Even small tops of the Lunchbos class can be accommodated here, so you should consider when purchasing whether you do not need a transport case / bag for your accessories anyway, if as many small parts as with the Mono Cases Vertigo Electric Guitar can already be accommodated in the pockets on the outside.

I still find the solution for transporting the picks in the Mono Cases Dual Acoustic + Electric impressive. The neck of the instruments is fixed with a patented Velcro fastener, on the sides of each of which is a transparent plastic pocket for holding picks. So simple, so ingenious! Simply declare an area as storage space for small parts, which otherwise serves no other function. Perhaps there will soon be inserts made of foam, which fill the curve guide of the respective instruments, for example in the cutaway guide and thus generate even more storage space for small parts, so that every cubic centimeter is used.


Conclusion

To cut a long story short, Mono Cases are by far the best gig bags currently available on the market. Workmanship, concept, detail solutions and design are far above the competition in the softbag sector and are in a class of their own.

Anyone who is upset about the comparatively high retail price, but in the same breath packs a 2,000, - € guitar in a 50, - € bag, should perhaps ask himself whether he has set his priorities right.

Definitely the best thing you can do to your instrument, unconditional buy recommendation!

Additional Informations:

Mono Creators Gigbags: A Comprehensive Company Report

Abstract: This report provides a detailed overview of Mono Creators Gigbags, a renowned company specializing in the design and manufacturing of premium gig bags for musicians and audio professionals. The report covers the company's background, product portfolio, market presence, technological advancements, business strategies, and future prospects. Mono Creators Gigbags has built a strong reputation for producing high-quality, durable, and stylish bags that offer excellent protection for musical instruments and equipment.

Introduction: Mono Creators Gigbags is a prominent company dedicated to crafting top-tier gig bags for musicians and audio professionals. With a focus on combining functionality, durability, and aesthetic appeal, the company has established itself as a leading provider of premium gig bags in the industry.

Company Background: Mono Creators Gigbags was founded in 2007 by a team of musicians and designers who recognized the need for high-quality and reliable bags to transport musical instruments and equipment. The company is headquartered in San Francisco, California, and has a global distribution network, serving customers around the world. From the beginning, Mono Creators Gigbags aimed to redefine the concept of gig bags, offering musicians a combination of superior protection, ergonomic design, and stylish aesthetics.

Product Portfolio: Mono Creators Gigbags offers an extensive range of gig bags designed to accommodate a wide range of musical instruments and equipment. The company's product portfolio includes:

Instrument Cases: Mono Creators Gigbags produces gig bags for various instruments, including guitars, basses, keyboards, drums, and DJ equipment. These cases feature rugged exteriors, high-density padding, and reinforced handles, ensuring optimal protection during transportation.
Pedalboard and Effects Cases: The company also offers gig bags specifically designed to carry pedalboards and effects units. These bags feature customizable interiors, durable construction, and ample storage compartments for cables, power supplies, and accessories.

Studio and DJ Equipment Cases: Mono Creators Gigbags provides gig bags for studio and DJ equipment such as controllers, mixers, and synthesizers. These bags offer a blend of protection, organization, and ease of transportation, making them ideal for gigging musicians and traveling DJs.

Technological Advancements: Mono Creators Gigbags incorporates innovative technologies and materials to enhance the functionality and durability of their products. The company uses high-density foam padding to provide excellent shock absorption and impact resistance, protecting instruments and equipment from potential damage. The gig bags are also constructed with rugged, water-resistant materials to withstand the rigors of touring and outdoor performances. Additionally, the ergonomic designs of the bags ensure comfort and ease of use for musicians on the move.

Market Presence: Mono Creators Gigbags has gained significant recognition and a strong presence in the music industry. Their gig bags are highly regarded for their superior craftsmanship, attention to detail, and reliable protection. The company has developed partnerships with renowned artists and endorsements from professionals in the field, further solidifying its reputation. Mono Creators Gigbags actively participates in industry events and trade shows, allowing musicians to experience the quality and functionality of their products firsthand.
Business Strategies: Mono Creators Gigbags has implemented several key business strategies that contribute to its success:

Quality and Durability: The company places a strong emphasis on manufacturing high-quality gig bags that offer exceptional protection and durability. This commitment to quality has earned them a loyal customer base and positive reviews within the music community.
Ergonomic Design: Mono Creators Gigbags focuses on creating gig bags that are not only protective but also ergonomic and user-friendly. The bags feature padded handles, adjustable straps, and intelligently placed pockets for easy access to accessories, ensuring a comfortable and efficient carrying experience.

Customization Options: The company offers customization options, allowing musicians to personalize their gig bags withembroidery, patches, or custom colors. This customization feature adds a personal touch and enhances the overall aesthetic appeal of the bags.

Customer Engagement: Mono Creators Gigbags actively engages with its customer base through social media, newsletters, and online communities. They seek feedback, provide support, and foster a sense of community among musicians and enthusiasts who use their products.
Future Prospects: Mono Creators Gigbags has a promising future ahead. As the demand for high-quality gig bags continues to grow, the company is well-positioned to capitalize on the market. With a strong commitment to quality, innovative designs, and customer satisfaction, Mono Creators Gigbags can expand its product line and reach new customers. The company's focus on technology and material advancements, along with its dedication to the needs of musicians, positions it as a key player in the gig bag industry.

Conclusion: Mono Creators Gigbags has established itself as a trusted and respected brand in the music industry, renowned for producing premium gig bags that offer superior protection, durability, and style. Through their focus on quality, ergonomic design, and customer engagement, the company has created a loyal customer base and garnered recognition from professionals and enthusiasts alike. With ongoing technological advancements and a commitment to meeting the evolving needs of musicians, Mono Creators Gigbags is poised for continued success in the market, ensuring that musicians can transport their instruments and equipment safely and stylishly.

TEST: Monkey Banana Lemur 5

 What is already common practice in live sound reinforcement, has now also gained a firm foothold in the studio monitor sector. We're talking about DSP control of the monitors, which is used in part to optimize the existing arsenal or, as in the Monkey Banana Lemur 5 speakers we tested, to emulate other speaker types. Let's see if this interesting concept offers any real advantages in practice.

Appearance and construction of the Monkey Banana Lemur 5

Even when unpacking the Monkey Banana Lemur 5 near-field monitors, you can tell that the German manufacturer with Chinese production places great emphasis on fancy looks. Already the outer packaging of the monitors appear in Robinson Crusoe wooden box imitation style and also the red color scheme of the case in our case show a bold appearance in terms of optics. Whether the Hubba-Bubba gum red appeals to you is up to you, but in a "modern" electro studio, the eye-catching look will certainly meet with approval, while in a "traditional" studio, it will probably fall through due to the bite with the parquet floor.

As expected, the "Lemur 5" features a 5 inch Kevlar bass speaker and a 1 inch aluminum tweeter. The woofer is fed with 80 watts Class D, the tweeter with 30 watts Class D. The frequency response is 55 Hz. The frequency response is given as 55 Hz to (unfortunately once again nonsensical) 30 kHz, separated at 2.8 kHz. With dimensions (W x D x H) 190 mm x 277 mm x 214 mm and a weight of 4.45 kg, the Monkey Banana Lemur 5 can be described as quite handy. The case, which is rounded at the edges on the front, avoids comb filter effects and even gives a hint of Luigi Colani design.

On the back, we find a rather elaborate connection and sound processing periphery. As one of the few home recording monitors, the Monkey Banana Lemur 5 not only features the XLR (balanced, +4 dBu) and RCA (unbalanced, -10 dBu) connectors common in this performance class, but also offers the TRS (balanced, +4 dBu) standard as input jack. The final volume can be determined via a volume control rasterized at 0 dB. Furthermore, 6 mini switches give the possibility of a room and sound adjustment. From left to right: A double Acoustic Space reduction of -2dB and -4dB when placing the speakers in corners, a high pass filter at 47 Hz and 80 Hz, a mid boost / reduction of + / - 2 dB (frequency range and quality could unfortunately not be found out), a treble boost / reduction of + / - 2 dB at 10kHz, deactivation / activation of the limiter and deactivation / activation of the standby circuit, which takes effect after 12 minutes.

The presets of the Monkey Banana Lemur 5

As already mentioned, the Monkey Banana Lemur 5 monitor has a selection of presets, which can be switched via a push button on the back of the case. This is a good idea, but the implementation is completely impractical. Let's take a typical home studio in exactly the room of the apartment where there is still space. Where are the monitors placed in the majority of cases? Correct, on the wall in the corner. If you want to switch a preset, you have to take the box, pull the box forward, turn the box, switch the preset, put the box back and do the whole thing twice.

The feature only makes real sense if you perform this action via a remote control with display of the selected preset on the front of the cabinet, or if you have an iPhone / Android app that handles this process via Bluetooth. Thus, you will quickly lose the joy of the added value of the system and remain primarily stuck with a preset. But which presets, respectively emulations does the Monkey Banana Lemur 5 have?

Besides the house preset and a loudness-emphasized setting called "HiFi", the 4 remaining abbreviations, which may not be named for trademark protection reasons once again, make your ears prick up. I guess they are the following emulations:

"DIN 8030" - (Genelec 8030A)
"White Cone" - (Yamaha NS-10)
"Cube 5" - (Auratone 5C)
"RKT 5" - (KRK Rokit 5)


In general, it should be kept in mind that emulations in the near-field monitor sector also struggle with the same problems that have been the case in the guitar sector for years. An emulation is always only the attempt of a replica, in that one wants to bring transients, impulse behavior, frequencies etc. as close as possible to the original, without ever reaching it to the last detail due to the basic physical principles. This does not have to be a problem, but one should not be under the illusion that one could save the purchase of additional monitor systems for ambitious studio use, since one now has everything in a pair of loudspeakers. However, the quick switch between characters can save one or the other monitor controller.

The Monkey Banana Lemur 5 in practice

Let's start with the house preset of the Monkey Banana Lemur 5. The first impression shows strengths and weaknesses. The strengths clearly include the high-frequency range, which is well resolved and comparatively soft, and the low-mid range between 500 - 1 K, which places itself well present in the mix. The high-mid range is a bit "tinny", but is still in the green zone. The weak point of the sound is the bass range, which is practically non-existent. Everything below about 200 Hz can only be assumed and cannot be defined in any way in a mixdown or even mastering process. Since there is also no active bass boost in the settings, a subwoofer would have to be used in any case. Impulse response, depth staggering and spatial imaging are good.

The HiFi preset somewhat compensates for the aforementioned bass hole, but also doesn't offer a real boost around 150 Hz and lower. As expected, the mids are taken back a bit, which makes the sound much more "pleasing". Here you have to be careful not to get too comfortable in the so difficult midrange, otherwise a "nice" preset without any special occurrences.

In the Genelec preset, the Monkey Banana Lemur 5 tries to copy the classic "relaxed" sound of the Genelec range, but it does not quite succeed. The bass range is now clearly boosted and even shows ranges up to 100 Hz, but the sound lacks the characteristic "subtlety" in the highs and high mids, which is especially to the detriment of the vocal frequencies. Nevertheless, a pleasing setting, which one likes to pick up once in a while.

I was quite critical of the KRK emulation, since the Rokit series is a real bestseller in terms of price / performance, but can not necessarily be seen as a sonic reference. Interestingly, however, exactly this preset turns out to be the sonic highlight so far. A lot of emphasis is placed on the low-mid / bass range and for the first time you can even perceive deep bass in the sound image. In turn, the mids are taken back in their bite, but without breaking away sonically, paired with a pleasing treble reproduction. My favorite preset so far.

Now let's move on to the "biters." For decades, the Yamaha NS-10 and the Auratone 5C have not been about a "good" sound, but solely about surviving tonally in the mix. It is still true that if a mix is bearable on an NS-10, it will sound good on any other system. A special position is taken by the Auratone, which already in the eighties had the task to simulate playback devices at the lower edge of the quality scale, i.e. cheap kitchen radios, notebook speakers or car radios of the first generation.

With both presets, I think the engineers meant it a little too well. Yes, the NS-10 consists almost only of mids, but the bass range is better developed in the original than offered here. And yes, the Auratone has very little bass and noisy mids in the original, but to give the preset such a hard low cut does not do justice to the original.

In summary, the different presets offer good variety for the human ear, and the switch between the different characteristics can be a good help both in terms of fatigue and performance. However, in terms of sound, the presets are only rudimentary in the sound spectrum of the targeted originals; they cannot be a true replacement for the originals.

Conclusion

The Monkey Banana Lemur 5 is a decent sounding nearfield monitor for home recording on the market, whose preset concept offers an interesting approach. Provided that the 2.0 version comes up with a better management of the presets by means of a remote solution and comes a little closer to the copied models in terms of sound, I see very good chances for maximum sound utilization with minimal space.

Additional Informations:

Monkey Banana Audio: A Comprehensive Company Report
Abstract: This report provides a detailed overview of Monkey Banana Audio, a renowned company in the audio industry. The report covers the company's background, product portfolio, market presence, technological advancements, business strategies, and future prospects. Monkey Banana Audio has established itself as a leader in the audio equipment industry, with a strong commitment to innovation, quality, and customer satisfaction.

Introduction: Monkey Banana Audio is a globally recognized company specializing in the design, manufacturing, and distribution of professional audio equipment. The company was founded in 2004 and has since gained a reputation for delivering high-quality, innovative products to musicians, audio engineers, and sound enthusiasts worldwide.

Company Background: Monkey Banana Audio was established by a team of audio enthusiasts with a shared passion for producing exceptional sound. The company's headquarters are located in Berlin, Germany, with a global distribution network that serves customers in over 60 countries. From its inception, Monkey Banana Audio aimed to bridge the gap between high-end audio equipment and affordability, making professional-grade gear accessible to a wider audience.
Product Portfolio: Monkey Banana Audio offers an extensive range of audio equipment designed to cater to various applications and user requirements. Their product portfolio includes studio monitors, headphones, subwoofers, and audio interfaces. Each product is crafted with meticulous attention to detail, incorporating cutting-edge technology and high-quality components to deliver exceptional performance and accuracy.

Studio Monitors: Monkey Banana Audio's studio monitors are highly regarded in the industry for their precise sound reproduction and excellent imaging capabilities. Their product line includes both active and passive monitors, ensuring compatibility with different setups and environments.
Headphones: The company offers a range of professional-grade headphones that are widely acclaimed for their clarity, comfort, and durability. These headphones are favored by musicians, sound engineers, and audio enthusiasts for critical listening, mixing, and mastering purposes.
Subwoofers: Monkey Banana Audio's subwoofers are designed to deliver deep, punchy bass response, enhancing the overall audio experience. They are engineered with advanced features like variable crossover frequency control and phase adjustment, allowing users to fine-tune their setup for optimal performance.

Audio Interfaces: The company also provides audio interfaces that facilitate seamless connectivity between audio devices and computer systems. These interfaces boast high-quality preamps, low-latency performance, and versatile input/output options, making them ideal for recording, production, and live sound applications.

Technological Advancements: Monkey Banana Audio places a strong emphasis on research and development to stay at the forefront of audio technology. The company collaborates with renowned audio engineers and incorporates feedback from industry professionals to continually improve its products. By leveraging the latest advancements in acoustic engineering, digital signal processing, and materials science, Monkey Banana Audio consistently pushes the boundaries of audio reproduction.

Market Presence: Monkey Banana Audio has experienced significant growth and recognition in the global audio market. Their products have garnered praise from industry experts and have been featured in numerous professional audio publications. The company actively participates in major trade shows and industry events, showcasing their latest innovations and building relationships with distributors, retailers, and customers.
Business Strategies: Monkey Banana Audio's success can be attributed to several key business strategies:

Innovation: The company maintains a culture of innovation, constantly seeking new ways to improve audio quality, user experience, and product reliability.
Competitive Pricing: Monkey Banana Audio positions its products as high-quality alternatives to more expensive professional audio equipment, making them accessible to a broader customer base.

Customer Satisfaction: The company places a strong emphasis on customer satisfaction, providing responsive customer support, reliable warranties, and post-sales service.
Marketing and Branding: Monkey Banana Audio employs effective marketing strategies to build brand awareness and engage with its target audience. They leverage online platforms, socialmedia, and collaborations with renowned artists and influencers to promote their products.
Future Prospects: Monkey Banana Audio's future prospects look promising. With their commitment to innovation, quality, and customer satisfaction, the company is well-positioned to expand its market presence and capture new opportunities. As the demand for professional audio equipment continues to grow, Monkey Banana Audio can leverage its strong brand reputation and technological expertise to further solidify its position as a leading player in the industry.

Conclusion: Monkey Banana Audio has established itself as a reputable company in the audio equipment industry, known for its commitment to innovation, quality, and affordability. With a diverse product portfolio, technological advancements, and effective business strategies, Monkey Banana Audio continues to cater to the needs of musicians, audio engineers, and sound enthusiasts worldwide. The company's dedication to customer satisfaction and its forward-thinking approach ensure a bright future in the highly competitive audio market.

TEST: Mesa Boogie Transatlantic TA-15

 Even if one may hardly believe it, also the anachronists among the instrumentalists, meaning the six-string guild, sometimes submit to fashion trends, even if they do not come along as strikingly as for example the keyboard faction. At the moment, for example, the "dwarf full tube" department in the single-digit performance range is more popular than ever.

Cute little bricks, some of which only come with up to one volume control, form a middle ground between work tool, practice amp and fun kazak, which on the one hand have found their place in the sound chain of the musician, but on the other hand also quickly reach their technical limits. Even if purists can achieve acceptable results with only a passable sound and a tasteful handling of the volume control of the guitar, respectively the use of various pedals, the "real" use of the small amps in the rehearsal room, studio or but a small stage are clearly limited.

And once again it is Mesa, which sends a team of engineers into the development labs to give a meaningful trend a few extra points and to lead a product into far more areas of application than it appears at first glance. Our test product listens to the name TA-15 and is preparing to conquer the pole position in the smallest top parts.


Construction

Sometimes one is inclined to think that the Californian company, like Apple, employs as many designers as technicians. As is almost always the case with Mesa, the product already flatters the user's eye when unpacked. A tasteful black and silver mix of metal, glass and plastic immediately conveys that this is a different price league than the 5-Watt Asians.

Technically, the TA-15 is a true two-channeler, but not without a few Mesa goodies in the bag. With a weight of just under 6 kilograms, the Head is ready to live up to its name, since the designation "Transatlantic" does not stand for nothing for a kind of travel amp, which can also be carried in hand luggage. In addition, the head is supplied with a well lined protective cover. However, the operating voltage can not be switched to 110 volts, which means that jetting back and forth between America and Europe and use the same amp without an external voltage transformer is unfortunately left out.

Operationally, the TA-15 draws directly times from the full. Its 5 pieces 12AX7 preamp respectively 2 pieces EL 84 power tubes can be operated as follows:

Single-ended Class A operation / one power tube active with 5 watts output power
Push-pull Class A operation / both power tubes active with 15 Watt output power
Class AB operation / both end tubes active with 25 watts output power

In addition, the two different channels can be assigned the different power amp operating states, which increases the amp's flexibility immensely. In the middle of the front panel, the respective operating states can be assigned individually with mini-switches. In addition, further switches can be used for manual channel selection, activation of the included footswitch (4.5 meter cable included) and various sound modes.

Channel 1 can be identified very easily by its designations. Designations like Top Boost and Cut let any experienced guitarist know which amp Mesa is trying to copy here. It's nice that Mesa doesn't even try to hide the simulation of the VOX AC30, but has openly adopted the names in a kind of homage. Volume, bass, treble and cut are available as controls, whereby the cut control is designed as a push/pull control and also provides the master volume of channel one.

Channel two, on the other hand, is based on the three other great protagonists of the all-tube world. With "Tweed" the Fender comparison is also open on the plate, HI-1 flirts with the second great British name Marshall, while HI-2 feasts on its own virtues from the Boogie era. Well, best-of-both-worlds, let's see how close you can get to the originals.

The rear panel is very spartan, a power plug, two speaker outs (8 and 4 ohms) and an unpleasantly protruding fuse holder, which under unfavorable circumstances can tend to snap off. With such a high expenditure, the interior of the case is correspondingly cramped. In terms of workmanship, however, Mesa has done its homework as always, high-quality components in perfect workmanship line the American manufacturing.


Practice

If you want to reproduce the four big names of amplifier technology as authentically as possible, you will only succeed if you have some background knowledge of the original amplifiers. Running an AC30 in Class AB technology, for example, would be completely counterproductive. So let's take a classic approach, set channel 1 to 15 watts, normal mode and let it come slowly. This sounds very much like the British forefather. Now adjust the tone control a little, little bass and slightly "nagging" treble, ready is the British clean sound with a tendency to crunch.

At Top Boost, the hollow midrange with its pronounced "squawk" comes even better to the fore. Even if Mesa meets the AC30 very well, the tone control is still Mesa, that is, much more effective than the model. This has advantages and disadvantages depending on your preferences, but does not change the fact that the channel sounds very good. Channel 2 is crisper from the start. In tweed mode, the TA-15 comes close to the Fender clan, but not as close as the AC30. Just because of the different power amp tubes to the original, you shouldn't expect too much in terms of depth and warmth, but if you part with the copyist notion, you have a good sounding clean/crunch channel with a sound of its own.

In HI-1 mode, the TA-15 now clearly adds a shovel of dirt. From the start, there is more gain involved, all very bony, British, far from any whitewashing. Again, the EL84s in the power amp keep the characteristic upper hand and let the artist fight for every note. Very nice in its basic design, but only for artists with self-confidence. HI-2 steps up a notch here and shifts the sound spectrum a bit more into the treble range. However, the basic character is not as hoped to be classified in the classic boogie-metier. Neither the gain range, nor the soft decay with endless sustain can be achieved with the TA-15. Again, it's primarily the end tubes that can't quite make up for the depth. Here external pedals would have to bring the decisive gain share.



Conclusion

The TA-15 is a small calf biter with a wide range of sounds in a small space. The amp sounds very independent, is perfectly processed and has all the trademarks that have helped Mesa to worldwide reputation. However, those who expected to get a Rectifier in small should bend their expectations to reality, this is not possible with this design.

Also the exuberant joy on an all-tube emulation amp should be looked at realistically, it is simply not possible to recreate 4 contrasting power amp designs with EL84 tubes. As expected, channel 1 could therefore convince me the most. However, if you have found your sound and want to transport your amp on the parcel shelf, the TA-15 is the right choice.

How often have I wished to be able to take my own amp as hand luggage on the plane and not have to use completely worn out JCM 800 festival equipment on site ...


Additional Informations:

Mesa Boogie: Redefining the Sound of Rock Amplification
Introduction: Mesa Boogie, also known as Mesa Engineering, is an iconic American company renowned for its high-quality guitar amplifiers and innovative designs. Founded in 1969 by Randall Smith, Mesa Boogie has been at the forefront of amplifier technology, pushing boundaries and shaping the sound of rock music. This comprehensive report explores the rich history, notable achievements, and enduring legacy of Mesa Boogie.
Pioneering Amplifier Designs: Randall Smith's passion for guitar amplification led him to develop groundbreaking designs that would revolutionize the industry. Mesa Boogie introduced the world's first high-gain amplifier, the Mark I, in 1971. This innovative design provided guitarists with a new level of distortion and overdrive, giving birth to the "California sound" that became synonymous with Mesa Boogie amplifiers.

Signature Features and Tone: Mesa Boogie amplifiers are celebrated for their distinctive sound and unique features. The company's trademark "Multi-Watt" power amp technology allows players to adjust the wattage output, providing versatility for different playing environments. Additionally, the inclusion of adjustable graphic equalizers, independent channel switching, and various preamp and power tube options enable guitarists to shape their desired tone with precision.

Versatile Amplifier Models: Mesa Boogie offers a wide range of amplifier models, each catering to different musical styles and preferences. From the legendary Dual Rectifier series, known for its high-gain prowess, to the more vintage-inspired Mark series, and the versatile and compact Recto-Verb and Express series, Mesa Boogie provides options for guitarists across genres such as rock, metal, blues, and jazz.

Endorsements and Influence: Mesa Boogie amplifiers have garnered a loyal following among professional musicians. Numerous legendary guitarists, including Carlos Santana, John Petrucci, Keith Richards, and Eddie Van Halen, have relied on Mesa Boogie amps to shape their signature tones and deliver powerful performances. These endorsements and collaborations have solidified Mesa Boogie's influence and reputation in the music industry.

Studio-Quality Recording and Live Performance: Mesa Boogie amplifiers are renowned for their studio-quality sound reproduction, making them a preferred choice for both recording studios and live performances. The amplifiers' ability to capture the nuances of a player's performance and deliver articulate tones with exceptional clarity has made them a staple in professional studios and on stages worldwide.

Innovation and Technological Advancements: Mesa Boogie has consistently pushed the boundaries of amplifier technology. The company was one of the pioneers in introducing tube-driven effects loops, providing guitarists with greater flexibility in integrating external effects pedals. Mesa Boogie has also embraced digital technology with the introduction of their line of CabClone cabinet simulators and the innovative Rectifier Recording Preamp, combining classic analog sound with modern convenience.

Customization and Handcrafted Excellence: Mesa Boogie's commitment to craftsmanship and customization sets them apart from other amplifier manufacturers. The company offers various options for customizing amplifier configurations, allowing musicians to tailor their amps to their specific preferences. Each amplifier is handcrafted with meticulous attention to detail, ensuring the highest standards of quality and performance.

Global Reach and Legacy: Mesa Boogie amplifiers have achieved worldwide recognition and are utilized by professional musicians and enthusiasts in every corner of the globe. The company's commitment to innovation, tonal excellence, and meticulous craftsmanship has earned them a lasting legacy as one of the most influential and respected amplifier manufacturers in the history of rock music.

When it comes to comparing the sound of a Mesa Boogie amplifier with other amplifiers, it's important to note that the sonic characteristics of amplifiers can vary significantly based on various factors such as the model, design, and specific components used. However, Mesa Boogie amplifiers have a distinct sonic signature that sets them apart from many other amplifiers on the market.

Mesa Boogie amplifiers are known for their exceptional clarity, tight low-end response, and a rich harmonic complexity. They offer a balanced and focused tone with a generous amount of gain, making them highly suitable for rock, metal, and other high-gain genres. The high-gain channels of Mesa Boogie amps often provide a tight, punchy distortion that retains note definition even at high volume levels.

In comparison to some other amplifier brands, Mesa Boogie amplifiers are often praised for their versatility. They excel at producing both pristine cleans and high-gain distortion, allowing guitarists to cover a wide range of musical styles with a single amplifier. Mesa Boogie amps also have highly responsive EQ controls, allowing players to shape their tone with precision and dial in the desired amount of warmth, presence, and mid-range emphasis.

When compared to more vintage-inspired amplifiers, Mesa Boogie amplifiers often offer a more modern, hi-fi tonal character. While vintage-style amps may have a warmer and smoother tone, Mesa Boogie amps typically deliver a tighter low-end response and a more aggressive, cutting midrange that suits modern rock and metal styles.

It's worth noting that comparing the sound of different amplifiers is subjective and can vary based on personal preferences and playing styles. Some players may prefer the warm, vintage-inspired tones of certain brands, while others may gravitate towards the articulate, high-gain sound of Mesa Boogie amplifiers. Ultimately, it's essential for guitarists to try out different amplifiers themselves to determine which one best suits their playing style and tonal preferences.

Conclusion: Mesa Boogie has significantly shaped the sound of rock music through their innovative amplifier designs, distinctive tones, and commitment to quality craftsmanship. With a legacy spanning over five decades, the company's amplifiers continue to inspire and empower guitarists with their versatility, sonic capabilities, and unwavering dedication to pushing the boundaries of amplifier technology. Mesa Boogie remains a cornerstone of the rock music industry, delivering the power, clarity, and tonal excellence that musicians crave.

TEST: Mesa Boogie Express 5-25+

 Who would have thought that tuning Fender amps could make you world famous? OK, such a crude statement would really not do justice to Randall Smith, who founded the company Mesa Boogie in 1971. Nevertheless, the hot-rodding of various Fender combos with the main focus on the Princeton was the first big breakthrough of the American and who listens carefully to the legendary Boogie tone, will find one or the other parallel to Fender.

The latest addition to the family is the Express series, which is still very much in vogue as a low-power amp and is both developed and manufactured in the USA. In the test we have the Head Mesa Boogie Express 5:25+, which attracts attention with some very interesting detail solutions.


Construction

The first glance immediately reveals which model was the inspiration here. Anyone who has ever had a look at the Mark series will quickly recognize the similarity of the top. Why not, said forefather provided the legendary solo tone, which helped guitarists such as Carlos Santana to their status.

Conceptually, it is a two-channel all-tube top, which was equipped with 5 pieces 12AX7 preamp and 2 pieces EL 84 power amp tubes. Immediately a special feature at the beginning. Both channels can be operated in their output stage circuit independently of each other in these modes:

Single-ended Class A operation / One power tube (single-ended) active with 5 watts of power.
Push-pull Class A operation / both power tubes (push/pull) active with 15 watts output power
Class AB operation / both end tubes active with 25 watts of power

Front panel

With this circuit alone you can give the amp a lot of variation in saturation and compression. The whole thing is switched via two mini-switches on the front panel. Furthermore, the two channels can also be varied in their design via mini-switches. So channel 1 has the modes clean and crunch, while channel 2 comes up with blues and burn. The targeted sounds are self-explanatory.

As an innovation in the Express series, which has been on the market since 2007, the Mesa Boogie Express 5:25+ has the legendary graphic 5-position equalizer for the first time, which names the values 80, 240, 750, 2.2 kHz and 6.6 kHz as center frequencies, can be seen as an extension of the Contour control (referred to here as Depth) and which allows the typical bathtub position of the EQs to be mixed in continuously. Of course, both channels also have a triple tone control and a mix control for the internally installed reverb spiral.

A special feature is also the solo control, which raises the volume of the amplifier during solo passages and relieves the F.O.H. driver of the responsibility of fader movement. By the way, the scope of delivery includes a sturdy 4-way footswitch along with a padded carrying bag, which can take over the switching operations of channel change, reverb, EQ and solo if required. In order to be able to accomplish these switching operations of the amp in the MIDI compound, the same ranges are again at the back as TRS sockets.

Rear panel

Likewise one finds a tube-buffered FX loop and three connection sockets for the boxes on the back beside the cold device plug and the main fuse. Here Mesa has made 2 small thinking errors in my opinion. The mains plug is not led off horizontally to the rear as with most heads, but vertically downwards approx. in the middle of the head. To prevent the tension and vibrations of the cabinet from loosening the plug during the show, the power cord was screwed tightly to the wall with a clip. However, this means that the power cord will either have to be stuffed inside the head during transport, where it will damage the preamp tubes or the reverb coil plugs in the worst case scenario.

Also, the cable can fall out through a wide opening in the bottom of the head. The second possibility is that the cable and plug are carried outside the head during transport, which leads to the fact that it is very likely annoying in the area or but makes it difficult to pack the head in a case. This could have been solved more nicely.

The second point of criticism is the choice of cabinet impedances. You can choose between 1x 8 Ohm, 2x 8 Ohm and once 4 Ohm. OK, almost all 1x12" cabinets run at 8 ohms, but many 2x12" cabinets run at 16 ohms, not to mention the 4x12" cabinets. Even though many modern 4x12" cabinets can be switched to 2x 8 ohms or 1x 4 ohms, older or vintage cabinets run at 16 ohms as expected.

Well, hardly anyone will use this head with a full stack, but a transformer tap at 16 ohms should have every head in my opinion, especially since there would have been enough space on the back for another socket. A malicious who thinks evil, that all Mesa Boogie boxes run as standard on 8, respectively 4 Ohm mono and Long-Time-Competitor Marshall prefers the 16 Ohm variant. The Americans and their proprietary thinking ...


Practice

As expected, we start with the clean sound of the head and immediately get to one of the highlights of the amp. Even with rudimentary tone control without any EQ help, the amp sounds extremely fresh, clear and "sparkly". Not only does this sound have a refreshing effervescence, but it also supports the respective alignment of the guitar all the way to the peaks. A Tele sounds like a Tele, a Paula like a Paula, and each in its individual strengths. No "equalizer" mush, but the ultimate promotion of the individual. Outstanding!

With crunch, the amp adds initial distortion to the tone. Very biting, but just at the limit of treble response before it spills over into scratchiness. Very high punch with a lot of bite. Very nice for AOR and classic rock. As expected, the amp also hangs very well on the guitar's volume control and allows for smooth distortion.

Channel 2 doesn't necessarily pick up where channel 1 leaves off in terms of gain. Rather, the interpretation of the channel was shifted more in the direction of warmer and more compressed. While Channel 1 is bursting with highs, Channel 2 is much more restrained in this area. In Blues mode, the first standing lead notes can be reached without dying off too early in the decay phase.

If you call a mode Burn, you know how to set it up. Here comes the classic boogie tone, which has legend status. The tone is brilliantly clear with plenty of sustain. However, one should keep in mind that this tone is a legend in the solo tone, but not in the rhythm section. If you are looking for the Rectifier Hub in the high gain range, you will search long and find nothing.


Conclusion

With the Mesa Boogie Express 5:25+, Mesa has an extremely versatile amp on offer, which, in addition to good cruch sounds, calls a legendary boogie solo tone and an outstanding clean sound its own.

Equipped with a variety of variation possibilities, the amp is one of the most versatile and best-sounding low-power amps that are currently on the market.

Additional Informations:

Mesa Boogie: Redefining the Sound of Rock Amplification
Introduction: Mesa Boogie, also known as Mesa Engineering, is an iconic American company renowned for its high-quality guitar amplifiers and innovative designs. Founded in 1969 by Randall Smith, Mesa Boogie has been at the forefront of amplifier technology, pushing boundaries and shaping the sound of rock music. This comprehensive report explores the rich history, notable achievements, and enduring legacy of Mesa Boogie.
Pioneering Amplifier Designs: Randall Smith's passion for guitar amplification led him to develop groundbreaking designs that would revolutionize the industry. Mesa Boogie introduced the world's first high-gain amplifier, the Mark I, in 1971. This innovative design provided guitarists with a new level of distortion and overdrive, giving birth to the "California sound" that became synonymous with Mesa Boogie amplifiers.

Signature Features and Tone: Mesa Boogie amplifiers are celebrated for their distinctive sound and unique features. The company's trademark "Multi-Watt" power amp technology allows players to adjust the wattage output, providing versatility for different playing environments. Additionally, the inclusion of adjustable graphic equalizers, independent channel switching, and various preamp and power tube options enable guitarists to shape their desired tone with precision.

Versatile Amplifier Models: Mesa Boogie offers a wide range of amplifier models, each catering to different musical styles and preferences. From the legendary Dual Rectifier series, known for its high-gain prowess, to the more vintage-inspired Mark series, and the versatile and compact Recto-Verb and Express series, Mesa Boogie provides options for guitarists across genres such as rock, metal, blues, and jazz.

Endorsements and Influence: Mesa Boogie amplifiers have garnered a loyal following among professional musicians. Numerous legendary guitarists, including Carlos Santana, John Petrucci, Keith Richards, and Eddie Van Halen, have relied on Mesa Boogie amps to shape their signature tones and deliver powerful performances. These endorsements and collaborations have solidified Mesa Boogie's influence and reputation in the music industry.

Studio-Quality Recording and Live Performance: Mesa Boogie amplifiers are renowned for their studio-quality sound reproduction, making them a preferred choice for both recording studios and live performances. The amplifiers' ability to capture the nuances of a player's performance and deliver articulate tones with exceptional clarity has made them a staple in professional studios and on stages worldwide.

Innovation and Technological Advancements: Mesa Boogie has consistently pushed the boundaries of amplifier technology. The company was one of the pioneers in introducing tube-driven effects loops, providing guitarists with greater flexibility in integrating external effects pedals. Mesa Boogie has also embraced digital technology with the introduction of their line of CabClone cabinet simulators and the innovative Rectifier Recording Preamp, combining classic analog sound with modern convenience.

Customization and Handcrafted Excellence: Mesa Boogie's commitment to craftsmanship and customization sets them apart from other amplifier manufacturers. The company offers various options for customizing amplifier configurations, allowing musicians to tailor their amps to their specific preferences. Each amplifier is handcrafted with meticulous attention to detail, ensuring the highest standards of quality and performance.

Global Reach and Legacy: Mesa Boogie amplifiers have achieved worldwide recognition and are utilized by professional musicians and enthusiasts in every corner of the globe. The company's commitment to innovation, tonal excellence, and meticulous craftsmanship has earned them a lasting legacy as one of the most influential and respected amplifier manufacturers in the history of rock music.

When it comes to comparing the sound of a Mesa Boogie amplifier with other amplifiers, it's important to note that the sonic characteristics of amplifiers can vary significantly based on various factors such as the model, design, and specific components used. However, Mesa Boogie amplifiers have a distinct sonic signature that sets them apart from many other amplifiers on the market.

Mesa Boogie amplifiers are known for their exceptional clarity, tight low-end response, and a rich harmonic complexity. They offer a balanced and focused tone with a generous amount of gain, making them highly suitable for rock, metal, and other high-gain genres. The high-gain channels of Mesa Boogie amps often provide a tight, punchy distortion that retains note definition even at high volume levels.

In comparison to some other amplifier brands, Mesa Boogie amplifiers are often praised for their versatility. They excel at producing both pristine cleans and high-gain distortion, allowing guitarists to cover a wide range of musical styles with a single amplifier. Mesa Boogie amps also have highly responsive EQ controls, allowing players to shape their tone with precision and dial in the desired amount of warmth, presence, and mid-range emphasis.

When compared to more vintage-inspired amplifiers, Mesa Boogie amplifiers often offer a more modern, hi-fi tonal character. While vintage-style amps may have a warmer and smoother tone, Mesa Boogie amps typically deliver a tighter low-end response and a more aggressive, cutting midrange that suits modern rock and metal styles.

It's worth noting that comparing the sound of different amplifiers is subjective and can vary based on personal preferences and playing styles. Some players may prefer the warm, vintage-inspired tones of certain brands, while others may gravitate towards the articulate, high-gain sound of Mesa Boogie amplifiers. Ultimately, it's essential for guitarists to try out different amplifiers themselves to determine which one best suits their playing style and tonal preferences.

Conclusion: Mesa Boogie has significantly shaped the sound of rock music through their innovative amplifier designs, distinctive tones, and commitment to quality craftsmanship. With a legacy spanning over five decades, the company's amplifiers continue to inspire and empower guitarists with their versatility, sonic capabilities, and unwavering dedication to pushing the boundaries of amplifier technology. Mesa Boogie remains a cornerstone of the rock music industry, delivering the power, clarity, and tonal excellence that musicians crave.

TEST: Martin DX1AE

 A name like thunder, at least in the field of acoustic guitars. What the protagonists Fender and Gibson are to the common electric guitarist, the instruments from the house of Martin have always been to the steel string acoustician. Whoever wanted to pluck along in the tonal national league of the strumming or picking department could not avoid dealing with this manufacturer at some point. If any manufacturer has succeeded in establishing the dreadnought myth, it's Martin.

But like all the other American manufacturers who have built their reputation on mostly "pricey" products over the past decades, Martin finally realized that even a dentist can't stock up on D-28s indefinitely, and the ambitious youngsters discreetly abandon their budget sails at price regions of just under €2,000. What to do, said Zeus, and went in search of low-cost production facilities and concessions in the choice of wood, so that the American trademark is not diluted by Asian manufacturing in the value, but a lower price does not move into the unattainable distance.

The solution to the riddle continues to lie in American production, just a few miles further south, in Mexico. Here, the parent company can ship its components very clearly in terms of distance, the supervisors do not have to cross the Pacific first, and the extremely important "Made In America" remains intact. Labor costs alone, however, can't drive manufacturing costs down arbitrarily; the mother ship must also come up with something in the selection of components. Here Martin surprises with an unexpected move....



Design

At first glance, the DX1AE looks very familiar, nothing that would elicit a frown from the expert. A solid Sitka spruce top, just like in the tradition of the fathers. But then, in contrast to the commonly used rosewood orgies in the sides and back, the Mexican is equipped with HPL construction elements, which in turn are covered with an imitation wood. HPL is a composite material in panel form, which is composed of several layers of paper and resin. Composite material? Imitation? I can already see the first protruding veins of anger blushing at the classic country picker. What's next? Harleys with 500 cc displacement?

To round out the design in terms of "unusual component selection", Martin also deviates from the safe path in terms of neck construction and gives the DX1AE a neck made of Stratabond, a wood laminate that is used in hunting bows and rifle stocks, among other things. Better to build instruments with it, then. Finally, the fair plastic collection is joined by a fingerboard and bridge made of black Richlite, a rather dense material made of recycled paper and phenol. One is inclined to say the guitar is made entirely of plastic except for the top. Even Ovation didn't dare to do that!

Be that as it may, the tropical rainforest will be pleased, because wood from sustainable cultivation still cuts the best figure in unbeaten condition as the green lungs of the earth. However, I can understand the skepticism that occurs everywhere, especially since Martin is THE traditional company in acoustic guitar manufacturing. In terms of pickups, the instrument has the Fishman Sonitone, which is located rather in the spartan corner in terms of control. However, it is nice that it is housed almost completely invisible in the sound hole and the sides do not have to be drilled out as usual. Otherwise, everything as usual, 20 frets, a 644 millimeter scale, all optical trademarks, a real Martin just.



Practice

- When you pick up the guitar for the first time, you immediately get that familiar "Martin feeling". Despite the unfamiliar construction materials, nothing feels strange or even unpleasant. And then, the first critical chord.... Well, to be quite honest, I had imagined it differently. The guitar sounds really good! It would have been a lie to say that one would not approach new materials with a certain skepticism, but it is always nice to be proven wrong.

Logically, the vibration behavior of the instrument is different. The acoustic sound is tighter, richer in treble and harder, but this will ensure better assertiveness in live operation. Only the pickup suffers a bit from the plastic buildup, it sounds relatively harsh, but knows how to convince in the overall context. Purely acoustically, however, the sound turns out much better than I would have expected, which is why the sound samples were also made with a Fame large-area microphone in various positions. Once you get used to the treble-rich sound and find the right pick, you may not believe that you are almost exclusively surrounded by imitation, recycled paper and plastic.

Vibration-wise, the spruce top serves its purpose and transmits a balanced sound. This shows that despite all the alternative materials, a wooden top cannot (yet) be replaced with composite materials, although I'm almost certain that Martin will have worked on this as well. In terms of workmanship, there are no deficiencies to be seen and in terms of handling, as I said, a real Martin. Already the factory setting is very neat, subsequent adjustment of string action or bridge insert was fortunately omitted.

Since the X-series is dedicated to the beginner and the sales price should be kept as low as possible, the manufacturer has dispensed with superfluous decorations. No binding, no fretboard inlays and only a spartan rosette as decoration around the soundhole, paired with a standard scratchboard.



Conclusion

Well who would have expected that. Let's be honest, plastics wherever you look and such nasty words like imitation and laminate, doesn't that make every guitarist dread and doesn't it build up horror visions of children's hands and mass-produced instruments of Chinese construction? Martin shows that there is another way with his entry-level product DX1AE.

Despite a more than unusual combination of various materials, US-Finest succeeds in bringing a well-balanced, sometimes very good sound with a comparatively low price to the customers. Once again, a traditional company shows that with the appropriate research and development, it is actually possible to generate a low price without sacrificing quality or completely relocating its production facility to Asia and only flirting with the once acquired name of yesterday.


Additional Informations:

Martin Guitars: A Legacy of Excellence and Craftsmanship
Introduction: Martin Guitars, formally known as C.F. Martin & Company, is a prestigious American guitar manufacturer that has been crafting exceptional instruments for over 185 years. Founded in 1833 by Christian Frederick Martin, the company has built a stellar reputation for producing guitars of unmatched quality, innovation, and timeless beauty. This comprehensive report explores the rich history, notable achievements, and enduring legacy of Martin Guitars.

Founding and Early Years: Christian Frederick Martin, a German immigrant, established Martin Guitars in New York City before relocating to Nazareth, Pennsylvania in 1839. Martin's commitment to superior craftsmanship and innovation laid the foundation for the company's success. The early years were marked by the introduction of groundbreaking design features, including X-bracing and the "fan" internal bracing system, which significantly improved the tonal qualities and structural integrity of the guitars.
The Dreadnought Revolution: In the early 20th century, Martin Guitars introduced the Dreadnought, a larger-bodied acoustic guitar that would go on to revolutionize the instrument industry. The Dreadnought's powerful, balanced sound and increased volume made it a favorite among musicians, particularly in the realm of country, folk, and bluegrass music. This iconic design has become synonymous with Martin Guitars and remains highly sought after by guitarists worldwide.

Legendary Models and Innovations: Martin Guitars has an extensive lineup of models that cater to diverse musical styles and preferences. From the iconic D-28 and D-45 to the versatile OM and 000 series, each model is meticulously crafted with attention to detail and precision. Martin has also been at the forefront of guitar innovation, introducing features such as cutaways, acoustic-electric models, and alternative tonewoods, while staying true to the company's commitment to exceptional sound and craftsmanship.
Commitment to Sustainability and Responsible Sourcing: In recent years, Martin Guitars has taken significant steps towards sustainability and responsible sourcing of materials. The company has implemented initiatives to promote responsible forestry practices and has introduced alternative materials, such as responsibly harvested tonewoods and high-pressure laminate (HPL) options, without compromising the superior sound and playability for which Martin is known.

Endorsements and Influence: Martin Guitars has earned the respect and admiration of countless musicians across genres. Renowned artists like Eric Clapton, Johnny Cash, Bob Dylan, Ed Sheeran, and John Mayer have turned to Martin Guitars for their exceptional tone, playability, and enduring craftsmanship. These endorsements and collaborations have further solidified Martin's reputation as a leading guitar manufacturer and contributed to the instrument's iconic status in popular music.

Custom Shop and Limited Editions: The Martin Custom Shop offers discerning musicians the opportunity to create bespoke instruments tailored to their specific requirements. From customized tonewoods and inlays to personalized bracing and finishes, the Custom Shop embodies Martin's commitment to individuality and craftsmanship. Additionally, Martin Guitars releases limited-edition models each year, featuring unique designs, rare tonewoods, and special collaborations, further captivating guitar enthusiasts and collectors alike.

Legacy and Cultural Impact: Martin Guitars' legacy extends far beyond the realm of instrument manufacturing. The company's guitars have been integral to the creation of countless iconic songs, spanning generations and genres. Martin's instruments have become symbols of artistry, craftsmanship, and musical expression, embodying the rich heritage of American acoustic guitar-making.

Conclusion: Martin Guitars' unwavering dedication to crafting exceptional instruments has solidified its position as one of the most respected and revered guitar manufacturers in the world. With a legacy spanning nearly two centuries, Martin continues to inspire musicians, set industry standards, and redefine the possibilities of acoustic guitar craftsmanship. Whether in the hands of professionals or aspiring musicians, Martin Guitars represents the epitome of excellence, innovation, and the pursuit of sonic perfection.

- Dreadnought Acoustic Guitars: The Powerhouse of Acoustic Music
Introduction: Dreadnought acoustic guitars hold a prominent place in the world of music, renowned for their powerful sound, versatility, and iconic design. The term "dreadnought" originally referred to a class of large battleships, and it perfectly captures the commanding presence and robustness of these guitars. This comprehensive report delves into the history, characteristics, influential models, and enduring impact of dreadnought acoustic guitars.

Origins and Evolution: The dreadnought guitar design was first introduced by the C.F. Martin & Company in the early 20th century. Martin's innovative dreadnought model, with its large body and square shoulders, revolutionized the acoustic guitar industry. The design was inspired by the desire to create a guitar that could produce a powerful, balanced sound capable of cutting through ensemble playing or providing a robust solo performance.

Iconic Features and Construction: Dreadnought guitars are characterized by their large, square-shouldered bodies, deep bodies, and wide bouts. These dimensions contribute to their deep, resonant tone and enhanced volume. The guitar's top is typically made of solid spruce, while the back and sides are often crafted from mahogany, rosewood, or other tonewoods. Dreadnoughts usually feature a 14-fret neck joint, providing easy access to higher frets.

Versatility and Musical Styles: One of the key strengths of dreadnought guitars is their versatility across different musical genres. Originally associated with country, folk, and bluegrass music, dreadnoughts have found their way into various styles, including rock, pop, blues, and even jazz. The powerful projection, strong bass response, and balanced tonal characteristics of dreadnoughts make them well-suited for both strumming and fingerpicking styles.

Influential Dreadnought Models: The Martin D-28, introduced in the 1930s, is widely regarded as the quintessential dreadnought guitar. With its spruce top, rosewood back and sides, and timeless design, the D-28 has been favored by countless musicians, including folk icon Woody Guthrie and country legend Hank Williams. Other iconic dreadnought models include the Gibson J-45, Guild D-40, and Taylor 810, each contributing their unique tonal qualities and playing experience.

Impact on Music and Artists: Dreadnought guitars have had a profound impact on the world of music. Their robust sound and projection have made them the instrument of choice for many legendary artists. From Johnny Cash's strumming on "Folsom Prison Blues" to Kurt Cobain's powerful chords on "About a Girl," dreadnoughts have shaped the sound of countless songs across genres. Their ability to deliver rich, resonant tones has made them a staple on stages and in recording studios worldwide.

Modern Variations and Innovations: While traditional dreadnoughts continue to be revered, guitar manufacturers have introduced variations and innovations to cater to evolving player preferences. This includes options such as cutaways for improved access to higher frets, built-in pickups for amplification, alternative tonewoods for environmental sustainability, and ergonomic design modifications to enhance playability.

Enduring Legacy: The legacy of dreadnought acoustic guitars is a testament to their enduring popularity and influence. Their distinct sound, versatility, and recognizable design have solidified their status as iconic instruments. Whether played by beginners, professionals, or collectors, dreadnoughts continue to inspire musicians and serve as an emblem of acoustic music's power and expression.

Conclusion: Dreadnought acoustic guitars have left an indelible mark on the music industry. Their powerful projection, balanced tone, and versatile nature have made them a preferred choice for musicians across genres. From their inception as a groundbreaking design by C.F. Martin & Company to their continued relevance in modern music, dreadnought guitars embody the essence of acoustic music's strength, versatility, and timeless appeal.

TEST: Marshall Studio Classic SC20H

 When the (still) biggest name in the instrument industry sets out to reissue a lost classic in a modified form, joyful anticipation is paired with skeptical concern about a deterioration. With the Marshall Studio Classic SC20H, the long-established British company picks up on several current trends in order to steal the thunder from the second-hand market as comprehensively as possible.

The story of the Marshall 2204

As an outsider, you should be careful not to criticize the decision-making processes of a global company too much, since you rarely have the concrete figures or trends that lead to the exclusion of a product. However, one can probably be sure that in the end it always has to do with sales and profit, which probably also led to the death of the Marshall 2204. The 50 watt counterpart to the 100 watt 2203 model was probably not in enough demand in times of multiple channels, MIDI controls and integrated FX devices and disappeared from the Marshall catalog a few years ago without any announcement.

One may understand the decision, since already the 2203 is blessed with probably THE best basic rock sound in electric guitar history, but as a true single-channel only the volume control of the guitar and additional booster / overdrive / distortion pedals available for sonic diversity. Yes, this produces a fantastic sound in the right hands and fingers for 90% of all songs and no, in times of Kemper and colleagues this is no longer enough for many musicians in terms of variability. I myself still own 2 pieces of 2204, which in my productions in combination with a distortion pedal THE official metal sound of the eighties delivers, for my live shows, however, both lunchbox amps and heavy all-tube bolides with several channels are used.

It comes as it always comes, what is no longer officially available and has a strong trademark, increases almost hourly in price at vintage dealers. If you want to make the purchase of a used classic from the willing buyer, you have to give the indirect successor a few current developments on the way. Well then, what does the Marshall Studio Classic SC20H have to offer?

The Marshall Studio Classic SC20H concept

To say it right away, the Marshall Studio Classic SC20H is not a clone of the 2204, it only reminds of the classic. On the one hand the preamp of the 2203 was taken over and 3 ECC83 (12AX7) in the preamp / driver stage together with 2 EL34 in the power amp provide parallels to the predecessor. Also the tone control (Bass, Middle, Treble, Presence), the Gain / Mastervolume and the two different impedance inputs High / Low were taken over. Here end but already the parallels to the 2204, from here begins the own life of the Marshall Studio Classic SC20H.

First, the housing of the Marshall Studio Classic SC20H is significantly smaller and lighter than the classic briquette of the eighties. With dimensions of only 510 mm x 240 mm x 240 mm and a weight of just 9.7 kg, you truly look twice to see if it is indeed an all-tube amp. By the way, the amp is built in GB and reassures the buyer regarding the cheap products manufactured in Vietnam, which sometimes had such a disastrous sound that they caused serious damage to the Marshall brand.

Another special feature is the power switch on the front of the case, which was integrated into the standby switch. The power is switchable between 20 and 5 watts, once again proving that the Marshall Studio Classic SC20H is only conditionally similar to the sound of the 2204, which got 50 watts out of the same tube lineup.

By the way, the Marshall's workmanship is impeccable. Cleanly glued, coarse-grained leatherette without glue seams or the like, 8 nailed plastic corners, 4 rubber feet and a strong carrying handle, all neatly executed and craftsmanship.

The back of the Marshall Studio Classic SC20H

The back of the Marshall Studio Classic SC20H is also spartan. Except for the vintage products, there are almost only different speaker outputs with different impedances at Marshall. These are marked with a red cap nut, so that even the inexperienced does not put his cabinet in the FX loop or the like and then heaven the output transformer at the first strong chord. Speaking of the FX loop, a serial loop and on / off switch plus a frequency-corrected D.I. output are the only sockets found on the rear panel. Straight, clear and without frippery, just as you want a Marshall.

The Marshall Studio Classic SC20H in practice

So, now we come to the area that finally counts, the sound. We take of course first of all the high input, which is much louder and more distortion than the low input, everything times on 12 o'clock and lo and behold, the sound is good, depending on the guitar used even very good. Starting with a Strat with Texas Special pickups and the bridge pickup a wonderfully biting basic sound, which cuts without hurting. The sound is extremely well asserts itself and offers from a standing start a sound that is already 80% of all rock / cover rock bands very well to mind.

This sound is followed by the same with the neck pickup, which can again put a notch on top. Friends of the Red Hot Chilli Peppers sound or similar may already rub their hands, in general, all who prefer funk in a "angrier" playing style. Also SRV disciples should keep an open ear here, because the Texan always had a Marshall in his backline besides his Fender Armada. The sound stands like a one and allows a very dynamic play without lacking pressure. By the way, the slightly trebly sound is due to the pickups. In conjunction with the Shure SM 57 used and the Marshall Cabinet with Celestion Vintage 65 watt speakers, the sound bites very neatly here as well.

Let's turn the clock back another three and a half decades and we find ourselves in the middle of a combination that has shaped the eighties in the field of hard rock and metal like no other. We're talking about the combination of EMG pickups, which at that time were on the rise, with a 2203, for solos then also gladly something like TS9 in between. The EMG pickups, which at that time due to their active circuit always tickled that little bit more gain out of the amp than comparable passive humbuckers, provided every amp with exactly the sound that countless guitarists had hoped for. I recorded this sound with a Fame Ironfinger Forum IV, once with gain at 12 o'clock, once with right stop. By the way, the master is still at 12 o'clock, so that it compresses discreetly but does not drift into the sag yet.

With this sound it is noticeable that with increasing gain a clear reduction of the highs to notice. The sound becomes muddier and less transparent despite the EMG pickups. Also, the amp has more gain reserves than the 2204, which in my opinion is not good for it. The sound is not bad, but can not keep up with the previously mentioned sounds, especially with the single coil department in terms of character and quality.

The last thing to come is the Low Input, which many like to forget. First of all, the channel offers only a fraction of the volume, which is due to the low sensitivity of the preamp. Here you can also turn the master to the stop, nothing distorts. Depending on the gain control, one or the other very discreet crunch mixes into the sonic action, but the input lives up to its orientation. Also here a clear difference to the 2204, which goes to work with the crunches earlier.

Overall, one must attest the Marshall Studio Classic SC20H a good to very good sound behavior, although it can not keep up with the adjusted 2204. The great open and the characteristic "Mittennöck" around 3 kHz, which makes the 2204 as one of the most characteristic rock sounds par excellence, it does not quite want to succeed. On the other hand, it is smaller, lighter and less expensive than its grandfather, which in themselves are truly good arguments.

Conclusion

With the Marshall Studio Classic SC20H, the British manufacturer has filled the gap left by the painful discontinuation of the 2204. Although it can not quite reach the sound culture of its vintage role model, the amplifier leaves a good to very good impression, especially if you like distorted single coil sounds with proper dirt.

Additional Informations:

Marshall Amplification: Revolutionizing the World of Guitar Amplifiers
Introduction: Marshall Amplification, commonly known as Marshall, is a legendary British company that has made an indelible mark on the music industry. Established in 1962 by Jim Marshall, the company has become synonymous with high-quality guitar amplifiers and is celebrated for its iconic sound, innovative designs, and enduring influence on rock music. This comprehensive report delves into the rich history, notable achievements, and enduring legacy of Marshall Amplification.

Founding and Early Years: Jim Marshall, a drum shop owner in London, started Marshall Amplification after numerous guitarists approached him seeking better amplification solutions. In response, Marshall began modifying existing amplifiers and eventually developed his own line of guitar amplifiers. The first-ever Marshall amp, the JTM 45, debuted in 1962 and gained quick popularity among British musicians due to its superior tone and power.

Legendary Sound and Signature Features: Marshall amplifiers are renowned for their distinctive sound characterized by rich, warm tones, exceptional clarity, and powerful distortion capabilities. This unique sonic signature was shaped by a combination of factors, including the use of EL34 power tubes, "Plexi" circuitry, and the integration of Celestion speakers. These components, along with Marshall's meticulous craftsmanship, contributed to the creation of a sound that would define the genre of rock music.

Amplifier Models and Evolution: Over the years, Marshall has introduced a wide range of amplifier models to cater to the diverse needs of guitarists. The company's product line includes iconic series such as the JTM, JMP, JCM, and the modern-day JVM and CODE series. Each series has its own distinct characteristics, offering musicians a vast palette of tones, from vintage blues to high-gain metal.

Influence on Music and Artists: Marshall amplifiers have played a pivotal role in shaping the sound of rock and roll. Countless renowned guitarists, including Jimi Hendrix, Eric Clapton, Jimmy Page, Slash, and Angus Young, have relied on Marshall amps to achieve their signature tones. Marshall's amplifiers have become synonymous with rock music and have been an integral part of iconic performances and recordings that have defined the genre.

Innovation and Technological Advancements: Marshall has consistently pushed the boundaries of amplifier technology. In the early 1970s, they introduced the Master Volume feature, allowing musicians to achieve power amp distortion at lower volumes. This innovation revolutionized live performances and studio recording techniques. Marshall has also embraced digital technology with the CODE series, offering guitarists versatile tones and effects through modeling technology.
Expansion and Global Reach: Marshall's success expanded beyond the shores of the United Kingdom, reaching a global audience. The company established a strong presence in the United States and various international markets, solidifying its position as one of the leading amplifier manufacturers worldwide. Today, Marshall amplifiers can be found on stages, in recording studios, and in the hands of guitar enthusiasts worldwide.

Enduring Legacy and Cultural Impact: Marshall Amplification's legacy extends far beyond the world of music equipment. The company's iconic logo, featuring the bold white script on a black background, has become an emblem of rock culture. Marshall amps have become symbols of rebellion, power, and the spirit of rock music. Marshall's contribution to the music industry has earned them a place in history as one of the most influential and respected amplifier manufacturers of all time.

Conclusion: Marshall Amplification's journey from a small drum shop to a global powerhouse in the music industry is a testament to its unwavering commitment to quality, innovation, and the pursuit of the perfect guitar tone. By consistently delivering exceptional amplifiers that have shaped the sound of rock music, Marshall has cemented its position as an industry icon. The Marshall brand continues to thrive, inspiring generations of guitarists and leaving an indelible mark on the world of music.