TEST: Cort Luce L450C

 While a few years ago it was still a rarity to be able to purchase an acoustic guitar with a pickup, this ratio has been reversed in recent years. Even guitars in the lower price ranges usually offer a simple piezo pickup, which can usually only be adjusted in the basic parameters of volume and treble.

Aware of this, the Korean company Cort is taking the opposite approach with the Cort Luce L450C, foregoing the system mentioned above and using this approach to immediately endear itself to me. With a retail price of under 300 euros, the company has its sights set on young musical talent, or beginners to Western music. In this price segment, in my opinion, it makes no sense at all to squeeze a cheap-sounding pickup system into the instrument under price pressure. Rather, one should try to use the sales price to optimize the acoustic properties, which is what the Cort company is doing here.

Even if the name Cort is not necessarily the first synonym that comes to mind when thinking about the acoustic guitar world, the Asian manufacturing facilities can already look back on a remarkable history of over 50 years and have also manufactured many instruments as commissioned work from renowned manufacturers such as for example G&L, Schecter or Ibanez. But something is different, somehow the guitar is so dark, and it isn't even painted in color...


construction

Ah yes, Cort was probably able to buy the mahogany planks in bulk here. Not only the back and sides were made from tropical wood, the top also appears in a beautifully fine-pored, matt lacquered red-brown, which is considered an exception in acoustic circles. Why actually? Well, softwoods such as the well-known Sitka spruce are often used for the top, because with appropriate bracing the top lacks the necessary stability to counteract the high tension of the strings.

On the other hand, the wood must be soft enough to transfer the string vibration into a ceiling vibration without any loss of damping. Remember, the top of an acoustic guitar works like a speaker. String makes the top vibrate, top makes air vibrate, vibrating air comes out of the sound hole. Here you can prepare yourself for a sound that deviates from the mainstream without me even touching the instrument once. I'm curious.

When it comes to decorations, the instrument is very simple. There are no plastic decorations or even natural bindings to be seen on either the fingerboard or the edges of the top or bottom. Only on the headstock below the company logo and as a rosette around the sound hole can you see some optical decorations made of plastic and abalone, which is made from abalone snails, on the Cort Luce L450C. Since the neck was made from a single piece of mahogany and even the rosewood fingerboard has a comparatively high proportion of red in the coloring, one could confidently call the instrument built in China a redhead.

Although the body size of the instrument is just below a dreadnaught, it is comparatively delicate, which is probably also thanks to the slim neck. The majority of players will quickly become comfortable with a middle ground between D and C profiles, especially since the effort required to play them is fortunately kept within narrow limits. With a scale length of 643 millimeters and 20 vintage frets, the Cort Luce L450C also has the standard dimensions of an acoustic guitar.

I particularly liked the encapsulated Grover mechanics, which were really easy to turn and had a consistent control path. In addition, the wing ends made of black plastic adapt very well to the glued-on bridge, which is also made of black and which fixes the six strings with string clamps made of light-colored plastic. The bridge is length-compensated and has the backwards offset on the high E and B strings that is typical of steel-string acoustic guitars.

Practice

The first time you pick up the instrument is actually very uncomplicated. No excessive bulges that hinder the handling of the guitar, no excessive dimensions that put undue strain on the fretting hand. The look and feel of the guitar is appealing and the dimensions are appropriate. The only thing that gives me a bit of a headache is the unusual placement of the top strap pin. Although the instrument hangs comparatively balanced on the strap, playing in high registers is more or less affected depending on the position of the hand.

If you now replace the factory spin with a lockable variant from Schaller or Loxx, for example, which inevitably involves an extended protrusion of the locking construction, the playability can be seriously affected from around the tenth fret. In my opinion, a placement at the bottom of the base of the neck would have been the better option.

As already mentioned, I was very excited to hear the first note due to the wooden construction. I really wasn't disappointed. The guitar sounds significantly richer in highs and mids than you would expect from a comparable guitar with a spruce top. In particular, the characteristic mahogany midrange is omnipresent in the basic sound. The advantage is a quick response and a high degree of enforceability within a band or an acoustic ensemble.

The disadvantage of this choice of wood is a slight lack of bass parts, which makes the instrument appear somewhat thinner when used solo in direct comparison with similar instruments. This fact should be treated in a neutral way, as every musician has their own definition of their preferred sound, but should be taken into account in their preferred playing style. Visually, however, the Cort Luce L450C leaves nothing to be desired. The fine-pored wood structure of the mahogany tree is presented at different cutting angles across the entire instrument, creating partly standing and partly lying rings.


Conclusion

With the Cort Luce L450C, the Korean manufacturer has a very good entry-level or second guitar in its range for under 300 euros. Without using an inferior pickup, the company concentrates on a visually very attractive and technically easy-to-play guitar made in China, which offers a very high and mid-range sound due to the predominant use of mahogany as the tonewood.

Impeccable workmanship and the use of high-quality tuning mechanisms also ensure a stress-free introduction to playing the western guitar, which is otherwise quite strenuous.

———————-

Additional Informations:


Cort Guitars is a South Korean manufacturer of guitars, basses, and amplifiers. The company was founded in 1973 by Jack Westheimer and Yung H. Park. Cort is one of the largest guitar manufacturers in the world, and its products are sold in over 80 countries.

**The Early Years**

Jack Westheimer was an American businessman who had a passion for guitars. In the 1960s, he began importing guitars from Japan to the United States. In 1973, he partnered with Yung H. Park, a Korean businessman, to found Cort Guitars.

The early years of Cort Guitars were marked by rapid growth. The company quickly established a reputation for producing high-quality guitars at affordable prices. In the 1980s, Cort began to expand its product line to include basses and amplifiers.

**The 1990s and Beyond**

The 1990s were a decade of continued growth for Cort Guitars. The company introduced several new product lines, including the Earth series of acoustic guitars and the Curbow series of electric guitars. Cort also began to produce guitars for other brands, such as Fender, Squier, and Ibanez.

In the 2000s, Cort Guitars continued to expand its global reach. The company opened new factories in Indonesia and China. Cort also began to sponsor major music festivals and events, such as the NAMM Show and the Musikmesse.

Today, Cort Guitars is one of the largest guitar manufacturers in the world. The company's products are sold in over 80 countries. Cort Guitars is known for its high-quality products, affordable prices, and excellent customer service.

**Cort Guitars: A Timeline**

* 1960s: Jack Westheimer begins importing guitars from Japan to the United States.
* 1973: Jack Westheimer and Yung H. Park found Cort Guitars.
* 1980s: Cort expands its product line to include basses and amplifiers.
* 1990s: Cort introduces the Earth series of acoustic guitars and the Curbow series of electric guitars. Cort also begins to produce guitars for other brands.
* 2000s: Cort opens new factories in Indonesia and China. Cort begins to sponsor major music festivals and events.
* 2010s: Cort continues to grow and expand its global reach. The company introduces several new product lines, including the G290FAT and G260FAT electric guitars.
* 2020s: Cort celebrates its 50th anniversary. The company continues to be a leading manufacturer of guitars, basses, and amplifiers.

**Cort Guitars: A Legacy of Innovation**

Cort Guitars has a long history of innovation. The company has been responsible for several groundbreaking developments in the guitar industry, including:

* The introduction of the Earth series of acoustic guitars, which are known for their high quality and affordable prices.
* The introduction of the Curbow series of electric guitars, which are known for their unique design and comfortable playability.
* The development of the CFX pickup system, which is known for its natural sound and wide frequency response.

Cort Guitars is committed to innovation, and the company continues to develop new products and technologies. Cort is a leading manufacturer of guitars, basses, and amplifiers, and the company's products are used by musicians all over the world.

**Cort Guitars: A Global Company**

Cort Guitars is a global company with headquarters in Seoul, South Korea. The company has factories in Indonesia, China, and Vietnam. Cort's products are sold in over 80 countries.

Cort Guitars is committed to providing high-quality products to musicians all over the world. The company has a strong reputation for quality, and its products are backed by a comprehensive warranty.

**Cort Guitars: A Commitment to Quality**

Cort Guitars is committed to quality. The company uses only the finest materials and construction methods in its products. Cort's guitars are inspected and tested at every stage of production to ensure that they meet the company's high standards.

Cort Guitars is also committed to customer service. The company offers a comprehensive warranty on its products, and it has a team of customer service representatives who are available to answer questions and help customers with any problems they may have.

**Cort Guitars: The Future**

Cort Guitars is a leading manufacturer of guitars, basses, and amplifiers. The company is committed to innovation, quality, and customer service. Cort is a global company with a bright future.

**Some of the most popular Cort Guitars models include:**

* Earth70
* Earth100
* AD810E
* SFX-ME
* G

TEST: Cort KX508MS II

 If you want to experience the wide range of human facial features, give a regular 6-string guitarist an 8-string guitar, possibly in a multiscale version. The emotions that can be seen on the person's face range from curiosity to enthusiasm to desperation to disgust. But one thing is certain: the person you're talking to, unless he/she is an experienced 8-string player, will definitely pick up the instrument like a crate of beer; the tactile differences are already too great upon first contact. One of these “frequency range monsters” is available to us for testing today in the form of the Cort KX508MS II Marina Blue Burst.

The concept of the Cort KX508MS II Marina Blue Burst

If there is a guitar company that has always attracted attention with its good quality, but has never risen above the status of a "gray mouse" due to the lack of its own "signature model", it is the South Korean company Cort. Nevertheless, the company enjoys a very good reputation, especially since it has already manufactured for companies such as Hohner and Kramer in its 50-year history. The legendary ax bass by stage performer Gene Simmons was also made by Cort.

All the more interesting is the fact that Cort is consciously venturing into an extreme niche with the Cort KX508MS II Marina Blue Burst, especially since the instrument, which is manufactured in Indonesia, is comparatively inexpensive with a retail price of only 899 euros despite the high-quality components at first glance . Although an eight-string instrument in the guitar sector is no longer on another planet in terms of popularity thanks to the respectable success of the band Meshuggah and the technical high-end prog of the band “Animals As Leaders”, but with the best will in the world you can't speak of it as mainstream .

The reason can be found in the fact that by extending the frequency spectrum downwards by a small seventh, the function of the bassist becomes obsolete and thus massively interferes with the traditional band structure. Their perfection is in fact achieved in “Animals As Leaders”, in which two 8-strings alternately share the bass/guitar function, thus creating an extremely dense sound field in a trio setting.

Ultimately, all 8-strings fight against the natural physics of a vibrating string. If you want to have the tight sound of a medium scale bass, you have to deal with a scale length of approx. 760 mm, at least in the bass range, which, however, results in significant compromises in the playability of the classic guitar range in the treble strings. On the other hand, if you stick with the classic long scale length of 648 mm, the low F # string, even with very thick diameters, will slop around on the fretboard as if you had hung up a clothesline.

In order to reduce these problems, Cort uses the multiscale scale length of 673 mm (treble strings) - 711 mm (26.5" - 28"), which entails a corresponding alignment of the saddle and the bridge construction. This achieves a comparatively balanced vibration behavior, which also benefits a regular 6-string guitar. The second problem with an 8-string guitar is the diametrical alignment between a fingerboard that can still be grasped in contrast to the distance between the strings between the individual strings. Here too, a compromise must be found, which Cort specifies in the form of a nut width of 56.5 mm. Although the strings are now much closer together than on a six-string, there are still some hanging guitar stands where the neck dimensions prevent you from getting the instrument into the stand. Should If you use such a tripod, be sure to test it out beforehand.

The structure of the Cort KX508MS II Marina Blue Burst

If you want to classify the Cort KX508MS II Marina Blue Burst into a category, you would have to fall back on the Powerstrat category. The body made of the African, comparatively soft Okume wood seems a bit small, but this is due to the excessively large dimensions of the neck, pickups and bridge construction. For visual reasons, a poplar ceiling veneer was glued on, which was painted in a kind of matt blue-green-yellow burst. The neck is screwed four times and consists of three strips of maple and 2 strips of amaranth, the fingerboard made of relatively light Macassar ebony. Teardrop inlays were used as fingerboard markings, which are located up to the 12th fret on the top and from the 13th fret on the underside of the fingerboard. The fingerboard has 24 frets. In order to quickly adjust the neck, the truss rod was made accessible from the body. In order to keep the headstock as stable as possible, a wooden thickening was placed on the opposite side of the saddle.

The hardware of the Cort KX508MS II Marina Blue Burst in the form of eight clamp tuners and eight individual riders with a string guide through the body is made of a mixed color of black / nickel and can be seen in one direction or the other depending on the incidence of light.

For the pickups, Cort once again relies on a Fishman Fluence Modern humbucker set, which comes in the form of 2 huge, diagonally installed soap bars. The usual pickup selection can be implemented using a three-way switch. The master volume and mastertone controls are designed as a push/pull version and allow you to switch between the two modes Modern and Vintage, as well as a single coil tap. The operating voltage required for the active electronics is supplied by a 9V battery, which is accessible via a plastic plate on the back of the guitar.

The Cort KX508MS II Marina Blue Burst in practice

When you pick up the Cort KX508MS II Marina Blue Burst for the first time, you notice two points in particular, apart from the slight confusion at first glance about the many strings. On the one hand, the combination of the flattened neck and the fingerboard radius of 400 mm (15.75"), which makes the neck appear almost like a plank, and the really very thin set of strings from 009 - 080, which gives you a very "floppy" despite the multiscale fingerboard “ approach offers. Imagine taking the A string of a regular medium scale electric bass and tuning it down to E, this is approximately the string tension that the low F# string on the D'Addario NYXL0980 offers.

I was able to easily pull the F# string up by a minor seventh (10 semitones) using bending, which gives an approximate impression of the string tension. It was correspondingly difficult for me to play the two low strings without the strings hitting both the fretboard and the pickups every time I played them. At least with this set of strings you have to completely change your playing style in order not to be overwhelmed by clicking noises. However, I am sure that this and the associated intonation problems of the vibrating string can be managed with correspondingly thicker sets of strings. I would recommend at least a 090 string on the F# string. By the way, the closer you get to the treble strings, the more defined the sound becomes, until finally, at the latest on the G string, a clean and defined tone is created due to the extra long scale length.

In terms of sound, the Cort KX508MS II Marina Blue Burst offers a lot of quality for the stated retail price. The playability is good for an 8-string guitar, especially since the multiscale fretboard interferes significantly less with your personal playing style in terms of fingering technique than you might expect at first glance. It should be clear to everyone that the instrument is not a regular electric guitar + 2 additional strings, but rather an independent type of instrument, so it is not surprising that you first have to learn a new instrument before you can use it 100% follows the brain's commands.

I'm not entirely sure whether the unusual body wood or the overall construction of the instrument is responsible for a unique sound that I didn't expect. The overall sound of the instrument is relatively high-mid-heavy, so that the low-mid and bass boost that one would have expected with this design was missing in practice. Everyone has to find out for themselves to what extent this more or less suits their personal taste; the attached sound files should help.

Another special feature is of course the fact that the damping technology that was developed on a 6-string guitar has to be revised again for an 8-string guitar. I myself had a bit of difficulty with a proper damping technique, especially with the bass strings, but it's probably just a question of practice.

Conclusion

With the Cort KX508MS II Marina Blue Burst, the South Korean manufacturer has a good and affordable eight-string guitar in its portfolio. The components used are of high quality and anyone who would like to get a taste of the world of djent can do so for a comparatively small course with this instrument.

———————-

Additional Informations:

Since its inception in 1960, Cort Guitars has burgeoned into a titan within the global guitar manufacturing industry. With a legacy spanning over six decades, Cort has consistently delivered instruments of exceptional quality, catering to the diverse needs of musicians worldwide. The enthralling saga of Cort's rise to prominence is a testament to innovation, perseverance, and an unwavering commitment to craftsmanship.

### Origins:
Cort's journey commenced in the picturesque city of Seoul, South Korea, where a small team of dedicated luthiers harbored a shared vision of crafting world-class guitars. In 1960, Jack Westheimer, an American entrepreneur with a profound appreciation for musical instruments, recognized the burgeoning potential of Korean craftsmanship and established the Yoo-Ah guitar company. This marked the nascent stage of Cort Guitars, laying the foundation for its eventual ascent to eminence.

### Evolution and Expansion:
Under Westheimer's astute guidance, Yoo-Ah steadily evolved, rebranding as Cor-tek in 1973 and later adopting the name Cort in 1987. Embracing a philosophy of continual improvement, Cort ventured into collaborations with renowned musicians and industry luminaries, amplifying its creative prowess and refining its manufacturing processes.

### Strategic Partnerships:
Cort's ascent was catalyzed by strategic partnerships with prominent brands and artists. In the 1980s, an alliance with Matt Raines, a seasoned American guitar designer, propelled Cort onto the global stage. This collaboration yielded a series of groundbreaking innovations, including the introduction of the "Superstrat" design, characterized by its sleek contours and versatile tonal palette.

### Technological Advancements:
Throughout its trajectory, Cort remained at the vanguard of technological innovation, integrating cutting-edge techniques to enhance instrument performance and playability. Notably, Cort pioneered the application of computer-aided design (CAD) and computer numerical control (CNC) machining, revolutionizing the precision and consistency of guitar production.

### Global Reach:
With a steadfast commitment to quality and innovation, Cort rapidly expanded its global footprint, establishing a network of manufacturing facilities and distribution channels across Asia, Europe, and North America. This strategic expansion facilitated greater accessibility to Cort instruments, fostering a burgeoning community of musicians and enthusiasts worldwide.

### Collaborations and Endorsements:
Cort's enduring legacy is punctuated by collaborations with an illustrious cadre of artists, whose indelible imprint adorns signature Cort models. From the iconic designs of Jeff Berlin and Frank Gambale to the refined craftsmanship of Matthew Bellamy's signature guitars, Cort's roster of endorsees reflects a diverse spectrum of musical genres and sensibilities.

### Commitment to Sustainability:
In tandem with its pursuit of excellence, Cort remains steadfast in its commitment to environmental sustainability and corporate responsibility. By implementing eco-friendly practices and sourcing ethically harvested tonewoods, Cort strives to mitigate its ecological footprint while safeguarding the planet's natural resources for future generations.

### The Digital Age:
In the digital age, Cort continues to innovate and adapt, leveraging emerging technologies to engage with a global audience of musicians and enthusiasts. Through interactive online platforms and immersive virtual experiences, Cort fosters community engagement and empowers aspiring musicians to unleash their creative potential.

### Conclusion:
As Cort Guitars traverses the annals of time, its narrative emerges as a paragon of resilience, ingenuity, and artistic expression. From humble beginnings in Seoul to global acclaim on the world stage, Cort's trajectory epitomizes the transformative power of passion and perseverance. With each meticulously crafted instrument, Cort embarks upon a timeless journey, resonating with the melodies of generations past, present, and yet to come.

TEST: Chapman Guitars ML3 Modern

 It is surprising how much the popularity of instrument manufacturers is subject to fashion trends and coincidences. The British manufacturer Chapman Guitars has not yet been able to make it into the mainstream despite consistently good instruments at moderate retail prices. Why? Nobody knows. Even the well-frequented Facebook page only has 2 Facebook groups with just 2,000 - 3,000 users worldwide, which is also a mystery to me. Will the Britten only remain one of the two major flagship areas in the amplifier market? After all, with the Chapman Guitars ML3 Modern Red Sea, the manufacturer is once again trying to take advantage of the opportunity to draw attention to itself.

The concept of the Chapman Guitars ML3 Modern Red Sea

In order to achieve a retail price of €549, the manufacturer, like all competitors in this price segment, has to switch to Asian production. In recent years, Indonesia has become the top dog here and has overtaken the former guitar monopoly China, at least in this manufacturing segment. Unfortunately, I wasn't able to find out which factory Chapman Guitars has its instruments built in, but in recent years I haven't come across an Indonesian-made instrument whose quality wasn't significantly higher than the advertised retail price. Unfortunately, as is usual in this price category, the instrument is only delivered in a cardboard box with EPS rigid foam elements, which means that a high-quality gig bag or case must be included in your financial planning when purchasing.

This shouldn't be too difficult, as Chapman Guitars is relying on a type of "Powertele" with the ML3 series, the body shape of which, in contrast to the sprawling shapes of Explorer or Flying V and their adaptations, shouldn't cause any problems. What was slightly irritating, however, was the perception of the regular long scale length of 648 mm. I could have sworn that it was an extra-long scale length, the reversed headstock combined with the high bridge lengthens the impression so much. It was only after measuring that I was finally convinced.

Woods, hardware and electrical

In the area of wood construction, we all meet old friends, but they are far removed from the first series of electric guitars in the world. The Chapman Guitars ML3 Modern Red Sea only has the body shape and the scale length in common with a Tele; everything else could hardly be more diametrically designed. Although the Chapman Guitars ML3 Modern Red Sea also has a screwed, one-piece maple neck with a slightly rounded neck pocket on the body, a mahogany body and an ebony fingerboard are not normally found on a classic Tele. In order to generally increase playing comfort, the instrument was also given rib shaping on the back of the body.

The instrument has 24 frets, which are designed as jumbo frets and is therefore forced to move the neck pickup slightly back from the popular area below the 24th fret. Many users probably won't notice this at all in terms of sound, but in a direct comparison I prefer the classic pickup positioning. The fingerboard markings are very reserved and only include simple dot inlays on the fingerboard itself plus the neck side and an infinity symbol on the 12th fret. The neck uses a pleasant C-shaping, which should appeal to the majority of users.

The fact that it is very important to Chapman Guitars to optimize playing comfort right up to the highest registers can also be seen in the shaping in the cutaway of the instrument, which is referred to as the “spoon cut”. In fact, the comparatively small incision results in significantly greater playing comfort in the last 3 positions and is nevertheless designed so subtly that the vibration behavior of the instrument does not suffer. Despite the moderate retail price, the instrument has a medium-light binding, which gives the instrument a significantly “woodier” look. However, this is not the classic fake binding of a corresponding maple top, which was only glued on as a veneer for optical reasons. The same thing would not be possible at this retail price.

With a little imagination, you can actually interpret the waves of a lake in the grain of the flamed maple veneer and its very cleanly highlighted stain, so the instrument has a nice connection to the model name. To what extent you like the finish, each user can decide for themselves.

The entire hardware as well as the back finish of the instrument was finished in black, with Chapman Guitars working with in-house tuners in the 18:1 ratio and the bridge with the Strings Through Body variant again takes a hint towards Tele. Many colleagues attribute this bridge construction to a significant share of the legendary “Twang” sound, without being able to really substantiate it physically. However, I have to admit that all of the twang-heavy instruments in my portfolio also have this bridge construction.

When it comes to pickups, Chapman Guitars is once again relying on an in-house development called “Chapman Sonorous Zero” and switched with a 3-way blade switch. The pickups have ceramic magnets and offer a slightly increased direct current resistance of 10.5 kOhm (neck) and 12.5 kOhm (bridge). In order to increase the variety of sounds, you can tap into the coils using a push/pull potentiometer in the tone area and operate them in single coil mode.

The Chapman Guitars ML3 Modern in practice

I've written about it many times, but it's very striking how comparatively high quality comes from Indonesia these days compared to the retail price. The Chapman Guitars ML3 Modern is no exception in this regard. Even when not amplified, the instrument exhibits very good vibration behavior, with an unusually long sustain despite a screwed neck. The twang factor mentioned above can also be perceived with a little imagination and leaves a very good first impression. The entire workmanship is impeccable, not an unclean spot in terms of the paint, not an unclean dressing on the frets or anything similar. Even the factory setting for the string position impresses with its optimal adjustment, a point that in the past could not even begin to be expected with inexpensive instruments.

Connected to the amplifier, the in-house pickups take the lead and immediately stand out in the humbucker position due to their strong high-mid presence, among other things due to the ceramic magnets. Fortunately, the pickups do not “scratch” but remain stuck in their peak in the midrange, which gives the tone a subtly nasal sound with a high level of assertiveness. The output power of the bridge pickup allows for real high gain attacks and still manages to give the instrument a typical character due to the passive design, like other instruments from the Chapman Guitars portfolio.

The neck pickup is also in no way inferior in terms of tonal output and offers a good, warm basic sound, which is particularly convincing in the clean and slightly crunchy range, although in my opinion it lacks the last bit of character due to the offset position both in solo operation seems to be missing in the parallel arrangement with the bridge pickup. However, this is to be viewed purely subjectively.

While the humbucker operation of the Chapman Guitars ML3 Modern can undoubtedly be described as very good, the instrument unfortunately loses massively in both volume and sound quality in the single coil. Of course, no one will expect the sound volume of a pickup that has been optimized purely for single coil operation from a split humbucker, but unfortunately this single coil operation does not represent any added value for the instrument. The sound is unfortunately very thin, biting and without any assertiveness, so I would have Manufacturer foregoes this option in advance. Well, if you don't like the sound, you don't have to use it.

The conclusion is definitely a very good instrument with an excellent price/performance ratio, which, as an unusual Powertele adaptation, should attract interested looks here and there.

Conclusion

With the Chapman Guitars ML3 Modern, the British manufacturer has a good instrument with a very good price/performance ratio in its portfolio. The workmanship is very good, the sound is far above the expected quality, and the detailed solutions are practical.

If you don't need the unfortunate single coil sounds, you can get a more than decent instrument for just over 500 euros, which offers significantly more in terms of sound than what the retail price would suggest.

———————-

Additional Informations:


Chapman Guitars has gained prominence in the music industry for its diverse range of high-quality instruments that cater to the needs and preferences of modern guitarists. From sleek and ergonomic designs to versatile electronics and premium hardware, Chapman guitars offer a perfect blend of innovation, performance, and affordability. In this comprehensive guide, we'll delve into the various models offered by Chapman Guitars, exploring their unique features, technical specifications, and sonic capabilities.

**1. ML Series**

The ML Series stands as one of the flagship lines of Chapman Guitars, known for its versatility, playability, and exceptional tone. These guitars feature a familiar double-cutaway design with a contoured body for enhanced comfort and access to upper frets. Available in various configurations, including solid-body and semi-hollow models, the ML Series offers something for every guitarist.

* ML1 Pro Traditional:
  - Body: Mahogany
  - Neck: Maple, set-neck construction
  - Fingerboard: Ebony
  - Pickups: Chapman Stentorian humbuckers
  - Bridge: Tune-o-matic with stop tailpiece

* ML3 Modern:
  - Body: Swamp ash
  - Neck: Maple, bolt-on construction
  - Fingerboard: Pau Ferro
  - Pickups: Chapman Sonorous Zero single-coils (neck and middle), Chapman Venus Witch humbucker (bridge)
  - Bridge: Chapman String-through hardtail

**2. Ghost Fret Series**

The Ghost Fret Series exemplifies Chapman Guitars' commitment to pushing the boundaries of guitar design and aesthetics. These guitars feature a distinctive offset body shape with aggressive contours and bevels, providing a modern and edgy aesthetic that stands out on stage. With high-output pickups and versatile electronics, the Ghost Fret Series is well-suited for players seeking powerful tones and expressive playability.

* Ghost Fret Pro:
  - Body: Mahogany
  - Neck: Maple, set-neck construction
  - Fingerboard: Ebony
  - Pickups: Chapman Primordial Zero humbuckers
  - Bridge: Chapman String-through hardtail

**3. ML-7 Series (Seven-String Guitars)**

For guitarists looking to explore the depths of low-end frequencies and extended range playing, Chapman Guitars offers the ML-7 Series. These seven-string guitars feature a longer scale length and extended range pickups, allowing players to delve into heavier genres like metal and djent while maintaining clarity and articulation.

* ML-7S:
  - Body: Mahogany
  - Neck: Maple, set-neck construction
  - Fingerboard: Ebony
  - Pickups: Chapman Titan 7 humbuckers
  - Bridge: Chapman String-through hardtail

**4. Traditional Series**

Inspired by classic guitar designs of the past, the Traditional Series pays homage to timeless instruments while incorporating modern features and improvements. These guitars boast vintage aesthetics, premium tonewoods, and traditional hardware, making them ideal for players who appreciate the nostalgia of vintage guitars combined with modern reliability and performance.

* ML2 Modern Traditional:
  - Body: Mahogany
  - Neck: Mahogany, set-neck construction
  - Fingerboard: Ebony
  - Pickups: Chapman Mojo Hand single-coils (neck and middle), Chapman 62 humbucker (bridge)
  - Bridge: Chapman String-through hardtail

**5. Baritone Series**

For guitarists seeking to explore lower tunings and expanded sonic possibilities, Chapman Guitars offers the Baritone Series. These guitars feature an extended scale length and specialized pickups, allowing players to achieve rich, resonant tones with enhanced clarity and definition in the lower register.

* ML1 Baritone:
  - Body: Mahogany
  - Neck: Maple, set-neck construction
  - Fingerboard: Ebony
  - Pickups: Chapman Stentorian Baritone humbuckers
  - Bridge: Chapman String-through hardtail

**Conclusion**

From the versatile ML Series to the edgy Ghost Fret Series and the extended-range ML-7 Series, Chapman Guitars offers a diverse lineup of instruments to suit every style and preference. With a commitment to quality craftsmanship, innovative design, and community engagement, Chapman Guitars continues to push the boundaries of guitar-making while empowering musicians to unleash their creativity on stage and in the studio.

TEST: Chapman Guitars ML1 Modern Baritone

 It's an interesting, albeit diametrically opposed, development in the guitar sector in recent years. On the one hand, especially with modern styles, you can hardly find a guitar that is still tuned in standard mode; on the other hand, the very popular downtunings are only very rarely used by baritone guitars, which are naturally designed for this range were designed for. Why is that? Is it really just due to the larger dimensions and the associated physical challenges or are there other reasons why many guitarists, even in the Drop A range, prefer to use the comparatively short standard scale length rather than the ambitious baritone scale length. In order to clarify this question, among other things, we are testing the Chapman Guitars ML1 Modern Baritone Rainstorm today, which might give us one or two answers.

The construction of the Chapman Guitars ML1 Modern Baritone Rainstorm

Maybe once again, why baritone guitar? The easiest way to explain the approach is with the structure of the string instruments within a classical orchestra. Imagine your standard electric guitar is the violin. The approach is now to transport the more or less the same string tension to lower registers. To ensure this, the diameter and length of the strings are increased, easily seen in violas and cellos. Exactly this principle also applies to a baritone guitar, which is reflected in the Chapman Guitars ML1 Modern Baritone Rainstorm in a scale length of 711 mm, i.e. approx. 63 mm longer than the long scale length of a standard electric guitar. This ensures that even with the standard baritone tuning B-E-A-D-F#-B, the strings do not appear limp and wobbly.

Chapman Guitars has most of its instruments built in Indonesia, whose factories have become the standard for inexpensive, yet high-quality instruments in recent years. With a retail price of 889 euros, the Chapman Guitars ML1 Modern Baritone Rainstorm is in the middle price segment and has to assert itself against several competitors. When it comes to the choice of wood, Chapman Guitars relies on a tried and tested mix, consisting of a mahogany body (the number of parts could not be determined due to the opaque finish), a four-screwed, matt lacquered neck made of maple and a very light fingerboard made of Macassar ebony. An exception is the ceiling made of comparatively soft poplar wood, which was mirrored and prepared very elaborately in terms of painting and staining various knotholes.

The ceiling is very thin and is only used for visual reasons; the diameter is too small to have an effect on the vibration behavior. In order to give the body a little more visual structure, a side binding was attached, which follows the shape of the armrest very nicely. When it comes to body shape, the Strat shape was once again used, although the rib milling is quite close to the original, while the armrest was a little more subtle. There are also 2 intensive millings on the lower cutaway for better playability of the instrument in high registers.

Due to the baritone construction, you can primarily tell from the neck dimensions that it is a different instrument than a regular electric guitar. The satin finish neck has a subtle C-shape that fits well in the hand. The fingerboard radius of 350 mm should also suit most users, as it has a good middle ground between low action (large radius) and ergonomic grip (small radius).

Electrical and hardware

In some of my previous tests of Chapman Guitars, the in-house pickups often didn't fare particularly well. I don't know to what extent other customers have noted this as a point of criticism and to what extent this may have led to them turning away, but the fact is that the Chapman Guitars ML1 Modern Baritone Rainstorm is now equipped with Seymour Duncan pickups. These are a Seymour Duncan Sentient in the neck position and a Seymour Duncan Pegasus in the bridge position, both pickups with Alnico magnets. Both pickups can be split using the push/pull function of the treble control, and the instrument also has a master volume control as a second control. In order to be able to switch the pickups, the Chapman Guitars ML1 Modern Baritone Rainstorm has a rather difficult 3-way blade switch, which enables the neck, neck bridge and bridge standards. In combination with the push-pull function of the treble control, there are 6 different sound combinations.

The hardware of the Chapman Guitars ML1 Modern Baritone Rainstorm is completely black. Once again the Chapman String-Through Hardtail is used, in which the strings are led through the body and countered on the back of the body. The advantage of this construction: the string tension is better transferred into the body, which mainly leads to better sustain behavior. Disadvantage of this construction: the strings are bent twice by 45 degrees, which increases the risk of string breakage and the associated string breakage. For optimal tuning stability, the manufacturer has equipped the instrument with locking mechanisms, which is reflected, among other things, in faster string changes.

The Chapman Guitars ML1 Modern Baritone Rainstorm in practice

From the very first grips you notice that, despite the longer scale, the instrument fits very well in the hand. The combination of neck and body harmonizes very well in terms of vibration; I couldn't find any dead notes or other vibration resistance. The transient response is necessarily a little slower due to the longer strings, but that's what physics dictates. However, you can counteract this by adding thicker strings to achieve an appropriate attack with the higher string tension. The very brave can also try my baritone signature set https://www.thomann.de/de/pyramid_axel_ritt_signature_baritone.htm, but the tension was calculated for a 760 mm scale length, so that the string tension on the Chapman Guitars ML1 Modern Baritone Rainstorm will be slightly lower.

However, given the really good vibration data and the very good workmanship, there were two points that didn't convince me, although in fairness I have to say that one point is probably due to my personal playing style. We're talking about the fact that if you play a little harder, the high B string tends to get caught under the bobbin of the neck pickup due to the larger deflection and can't find its way back onto the fingerboard until you pry the string out of the bobbin with your finger. I am aware that, due to my very hard touch, this problem will probably only occur to a few other guitarists, but I still recommend checking the instrument for your personal playing style if necessary.

Let's come to my subjective weak point of the guitar and this is (again) to be found in the pickups. While the original pickups from Chapman's own production used to sound a bit treble-heavy and pointed, the built-in Seymour Duncan pickups unfortunately go in the other direction, i.e. they have a fairly dull basic sound, especially in the humbucker setting. Unfortunately, this problem cannot be seriously solved by increasing the treble/presence, as this only increases the “scratchiness” of the sound, but not the midrange, which is somewhat underexposed here.

It is of course impossible to say what motivated Chapman Guitars to choose these pickups, but I am quite sure that the instrument would have performed much better with the Seymour Duncan standards such as the Jeff Beck model. Be that as it may, there must have been a reason and I really don't want to get involved in company politics. Since the instrument is otherwise convincing across the board, I would personally include two additional pickups in my budget for the sake of simplicity and everything should be fine.

The sound files were created with a Hughes & Kettner Triamp MKIII, a Marshall 412 cabinet with Celestion G12 75T and 2 pcs. Made Shure SM57. In the clean and crunch area, first in split mode, then in serial humbucker circuit.

Conclusion

With the Chapman Guitars ML1 Modern Baritone Rainstorm, the British manufacturer with Indonesian production has a very well-made and vibration-friendly instrument in its portfolio, which is convincing in almost every respect. The special features of the baritone concept were well captured and implemented very well.

Only the low-pitched and uninspiring sound of the two Seymour Duncan pickups detracts from the overall impression a little, but that doesn't change the overall very good impression of the instrument.

———————-

Additional Informations:


Chapman Guitars is a British guitar company founded in 2009 by Rob Chapman. The company started out as a one-man operation, with Rob designing and building guitars in his spare bedroom. However, Chapman Guitars quickly grew in popularity, and Rob soon found himself unable to keep up with demand.

In 2011, Rob moved Chapman Guitars to a larger workshop in Southend-on-Sea, England. This allowed him to increase production and expand his team. Chapman Guitars continued to grow rapidly, and in 2014, the company moved to its current headquarters in Rayleigh, Essex.

Today, Chapman Guitars is one of the most respected guitar brands in the world. The company's guitars are used by professional musicians all over the globe, and they have been praised for their quality, playability, and sound.

**The Early Years**

Rob Chapman was born in 1979 in Southend-on-Sea, England. He started playing guitar at the age of 13, and he quickly became a proficient player. In his early twenties, Rob began working as a guitar teacher, and he also started a YouTube channel where he gave guitar lessons and reviews.

Rob's YouTube channel quickly became popular, and he soon had a large following of guitarists from all over the world. In 2009, Rob decided to use his platform to launch his own guitar company. He called it Chapman Guitars.

The first Chapman guitar was the ML1 Pro. It was a modern take on the classic Les Paul design, and it was packed with features that were not typically found on guitars in its price range. The ML1 Pro was a huge success, and it helped to put Chapman Guitars on the map.

**The Growth of Chapman Guitars**

In the years that followed, Chapman Guitars continued to grow and evolve. The company released a number of new models, including the ML2 Pro, the Ghost Fret, and the T Series. Chapman Guitars also began to offer a wider range of options, such as different body woods, pickup configurations, and finishes.

As Chapman Guitars grew, it also began to attract the attention of professional musicians. A number of well-known guitarists, such as Rabea Massaad, Plini, and Yvette Young, began to use Chapman guitars. This helped to further increase the company's popularity.

**Chapman Guitars Today**

Today, Chapman Guitars is one of the most respected guitar brands in the world. The company's guitars are used by professional musicians all over the globe, and they have been praised for their quality, playability, and sound.

Chapman Guitars offers a wide range of guitars to suit all budgets and playing styles. The company's guitars are available in a variety of body shapes, pickup configurations, and finishes. Chapman Guitars also offers a number of left-handed models.

In addition to guitars, Chapman Guitars also offers a range of accessories, such as amps, pedals, and cases. The company also has a thriving online community where guitarists can share tips, tricks, and ideas.

**The Future of Chapman Guitars**

Chapman Guitars is a company that is constantly looking to the future. The company is always innovating and developing new products. Chapman Guitars is also committed to providing excellent customer service.

With its focus on innovation, quality, and customer service, Chapman Guitars is well-positioned for continued growth in the years to come.

**Here are some of the key factors that have contributed to the success of Chapman Guitars:**

* **High-quality products:** Chapman Guitars are known for their quality construction, materials, and sound.
* **Innovative designs:** Chapman Guitars offers a number of innovative features that are not typically found on other guitars.
* **Affordable prices:** Chapman Guitars offers high-quality guitars at a fraction of the cost of many other brands.
* **Strong online presence:** Chapman Guitars has a strong online presence, which allows it to connect with guitarists all over the world.
* **Excellent customer service:** Chapman Guitars is committed to providing excellent customer service.

**If you are looking for a high-quality, affordable guitar, then Chapman Guitars is definitely a brand worth considering.**

TEST: Chapman Guitars ML3 Std Bea Mensis

 It's the same thing with signature instruments. The ultimate for the manufacturer is a guitar that represents the ultimate in mainstream in terms of shape and design and is also played by a well-known musician in all styles of music. The problem is, this guitar already exists in the form of the Les Paul, which, in collaboration with Gibson, brought almost the best-selling guitar of all time onto the market in 1952, only topped by Leo Fender's ingenious budget option, the Stratocaster. But what if neither the manufacturer of the instrument nor the artist supported has overcome insider status? This doesn't have to mean anything, as you can see with the Chapman Guitars ML3 Std Bea Mensis.

Who is Bea Mensis?

I have to admit that until today I was completely unaware of Chapman Guitars and only realized that the company was based in the UK when I saw the print on the box. This fact alone is a special feature, because in contrast to what is probably the richest history when it comes to all-tube amps, there is comparatively almost nothing happening on the island when it comes to instrument making. I would even dare to say that the UK is probably one of the lowest places in the EU rankings when it comes to electric guitar making, maybe even the last. OK, Luxembourg... But maybe Chapman Guitars can change that.

I was surprised to see that the Chapman Guitars ML3 Std Bea Mensis was listed under “Signature Instruments” on the manufacturer's website, only to find out that the artist supported was not called Bea Mensis, but rather Rabea Massaad, which I didn't know either said. A look at YouTube showed a stocky gentleman with a fuzzy head and revealed that he was a member of a band called “Dorje” (that doesn’t tell me anything either…). Unfortunately, I couldn’t find any live performances by the band anywhere, although I could find some playalongs by Rabea Massaad for the studio recordings. Well, a name-dropping bandwagon looks different, which is perhaps why the artist's name doesn't even appear in the instrument's type designation.

The construction of the Chapman Guitars ML3 Std Bea Mensis

A look at the box in which the instrument was delivered reveals a very interesting instrument that you can never tell was made in Indonesia. The retail price of €749 also seems incredibly inexpensive if you rely on the first impression. When it comes to the body, it becomes clear very quickly who was the inspiration here, although the telephoto copy only shows the rough outline of the instrument. In contrast to the almost lumpy-looking original, the Chapman Guitars ML3 Std Bea Mensis has several tasteful shapes in the armrest, stomach rest and cutaway area.

Weighing just under 3.2 kilograms, the instrument is within the average weight range and should not put too much strain on even the most delicate of souls. The body is made of alder and has a flamed maple top. In combination with the natural binding, a visually appealing design. The color of the body is described by the manufacturer as “transparent black”, but to me it is more of a grayish blue. Well, it's all a matter of definition. By the way, the finish is matt, which once again means that it's best to always carry a microfiber cloth with you in your gig bag/guitar case. 15 minutes of playing time and the entire body is covered in fingerprints. Unfortunately it cannot be prevented, but if you have the foresight, a polishing cloth is included in the scope of delivery.

The neck with the attached reversed headstock is made of maple, although the dark coloring suggests the “roasted” treatment, which has recently become very popular with maple necks. According to the specs, the fingerboard is made of ebony, although it is a comparatively bright version that varies greatly in color. The manufacturer is very reserved with fingerboard markings; only a curved infinity symbol was embedded in the 12th fret. Otherwise, you only have the inlays on the side of the neck for orientation. The neck is screwed four times and the base of the neck has been rounded off for better handling in the high registers.

Two in-house humbuckers are used as pickups, with the neck pickup being designed in the form of mini rails. Both pickups are switched via a 3-way switch, while the tone control also allows switching to single coil mode using the push-pull version. When it comes to hardware, the Chapman Guitars ML3 Std Bea Mensis relies on a hardtail with strings passed through the body and 6 locking mechanisms manufactured in-house. The belt pins are once again from Schaller. All hardware is considered black, but is a dark nickel.

The Chapman Guitars ML3 Std Bea Mensis in practice

When you pick up the Chapman Guitars ML3 Std Bea Mensis for the first time, the guitar appears quite “feminine”, i.e. everything is a touch “rounder” than other instruments in this class. Especially when you consider the original stick from the USA, which, as Keith Richard shows you here https://youtu.be/AJ_P1vfZYo4, can easily get even a pushy fan off his feet.

What also catches the eye from the first notes is the excellent vibration behavior that the Chapman Guitars ML3 Std Bea Mensis exhibits, which is probably largely due to the roasted neck. The often used “twäng”, which has been associated with this body shape for decades, is also sufficiently present, although not quite to the same extent as in a good version of the original. But you should also keep in mind that this instrument was not designed for country sounds, but is more interested in heavy music.

Particular attention should be paid to the Chapman Guitars ML3 Std Bea Mensis pickups, which in my opinion will be very polarizing. The bridge pickup must be considered dominating everything. The Chapman Henchman pickup is not only a ceramic pickup with a very high DC resistance of 15 kOhm, it is also comparatively high-pitched, which is really surprising given the high number of windings. Everyone has to find out for themselves whether they like this sound, but you quickly run the risk of developing an unpleasant circular saw sound very quickly, especially if you work with speaker simulations that tend to drift into scratchiness, as you do in the following Video by Rabea Massaad can be heard very well.

https://youtu.be/l3iCRPnNa2I

Detached from personal taste, the neck pickup with its comparatively moderate 8.5 kOhm hardly has a chance, especially since the pickup lacks a bit of character, which is really difficult in the immediate vicinity of the “rough block” in the bridge position. Interestingly, the bridge pickup leaves an exceptionally good impression in the clean area. The sound is extremely voluminous and can also be convincing in the subtle crunch range, but only in humbucker mode. If you switch the pickup to single coil, the pickup quickly becomes unpleasantly biting and thin. Especially with the Chapman humbuckers, it is once again obvious how difficult it is to build a split pickup that is convincing in both humbucker and single-coil operation. With a good all-tube amp, however, you can also generate very good sounds from the unusual pair.

In terms of playing technology, however, the instrument is convincing across the board. The neck, defined as a C-shape, is extremely easy to hold in the hand, the attack and release behavior in combination with a very good attack is exceptionally good and, as already mentioned, the sustain is far above what you would normally expect from a screw-on neck construction may. Here you are almost at the full neck level, which really impressed me. Otherwise there is really nothing wrong with this instrument. However, I would be interested to know how they manage to deliver such high manufacturing quality for such a price in Indonesia.

Conclusion

With the Chapman Guitars ML3 Std Bea Mensis, the British manufacturer offers a lot of instrument for the money. For less than 800 euros you get an instrument which, if manufactured outside of a low-wage country, would in many respects cost a four-digit sum in the ambitious price segment.

The workmanship is excellent, the individual components are very good, and the visual presentation is appealing. Everyone has to find out for themselves to what extent they can get used to the sound of the built-in pickups. In my opinion, there might still be some room for improvement here, but this is a purely subjective opinion without any general validity.

——————

Additional Informations:


Chapman Guitars, a prominent name in the world of electric guitars, has captivated musicians worldwide with its blend of quality craftsmanship, innovative design, and community-driven ethos. Founded by British guitarist and YouTube personality Rob Chapman, the company has carved out a unique niche in the competitive guitar market. Let's delve into the captivating story of how Chapman Guitars came to be, tracing its origins, pivotal moments, and enduring impact on the music industry.

**Origins and Vision**

The story of Chapman Guitars begins in the early 2010s when Rob Chapman, a seasoned guitarist and entrepreneur, recognized a gap in the market for high-quality, affordable instruments that catered to the needs and preferences of modern players. Armed with a vision to democratize the guitar-making process and empower musicians to express themselves creatively, Chapman set out to create a brand that prioritized innovation, accessibility, and community engagement.

**Crowdfunding and Collaborative Design**

One of the defining moments in Chapman Guitars' history came with the launch of its first guitar model, the ML-1, through a crowdfunding campaign on the popular platform, Kickstarter. Embracing a collaborative approach to design, Chapman invited his online community of guitar enthusiasts to provide input and feedback throughout the development process, ensuring that the final product reflected the collective wisdom and expertise of its future users.

The campaign was a resounding success, surpassing its funding goal and garnering widespread attention within the guitar community. This early triumph solidified Chapman Guitars' reputation as a brand that valued transparency, inclusivity, and customer engagement, setting the stage for future endeavors and collaborations.

**Innovative Design and Quality Craftsmanship**

Central to Chapman Guitars' appeal is its commitment to innovative design and meticulous craftsmanship. Drawing inspiration from classic guitar models while incorporating modern features and improvements, Chapman guitars offer a perfect balance of vintage charm and contemporary performance.

From the versatile ML-1 to the sleek and ergonomic ML-3, each Chapman model is carefully engineered to meet the diverse needs and preferences of today's guitarists. Whether it's the resonant tonewoods, precision hardware, or hand-wired electronics, every aspect of a Chapman guitar is crafted with precision and attention to detail, ensuring exceptional playability, tone, and reliability.

**Community Engagement and Endorsements**

At the heart of Chapman Guitars is its vibrant and passionate community of musicians, affectionately known as the "Chapman Family." Through social media platforms, online forums, and community events, Chapman has fostered a sense of camaraderie and belonging among guitar enthusiasts, encouraging collaboration, creativity, and mutual support.

Moreover, Chapman Guitars has collaborated with prominent artists and musicians to develop signature models that reflect their unique playing styles and sonic preferences. From the versatile ML-1 Rob Scallon signature model to the high-performance ML-2 Norseman designed in collaboration with guitarist and composer Rabea Massaad, these signature guitars showcase the brand's commitment to innovation and artistic expression.

**Expansion and Global Reach**

Over the years, Chapman Guitars has expanded its product line to include a diverse range of instruments, amplifiers, and accessories, catering to guitarists of all skill levels and musical genres. From affordable entry-level guitars to premium custom-shop models, Chapman offers something for everyone, ensuring that players can find their perfect instrument within the Chapman lineup.

Furthermore, Chapman Guitars has established a strong global presence, with distribution channels spanning across Europe, North America, Asia, and beyond. Through strategic partnerships with retailers, distributors, and online platforms, Chapman has made its products accessible to musicians worldwide, further cementing its status as a leading player in the guitar industry.

**Legacy and Future Endeavors**

As Chapman Guitars continues to evolve and grow, its commitment to innovation, community engagement, and quality craftsmanship remains unwavering. From its humble beginnings as a passion project to its current status as a global brand, Chapman Guitars has stayed true to its founding principles while embracing new opportunities and challenges along the way.

Looking ahead, the future of Chapman Guitars appears bright and promising, with a dedicated team of designers, craftsmen, and musicians working tirelessly to push the boundaries of guitar design and performance. With a loyal fan base, a spirit of creativity and collaboration, and a relentless pursuit of excellence, Chapman Guitars is poised to leave an indelible mark on the music industry for years to come.

TEST: Carl Martin Plexitone

 I seriously doubt that Jim Marshall would ever have expected the gigantic success of his amplifier, which he achieved due to the constant whining from the big names of the scene at the time, such as: B. Pete Townsend simply made it by copying a Fender Bassman 1:1 and inflating the performance. It's hard to imagine how many technical coincidences were involved that the saturated power amplifier sag produced the legendary sound, which to this day remains one of the eternal top 5 all-tube sounds and which has already been used by countless programmers in the IR copying department drove me crazy. With the Carl Martin Single Channel PlexiTone, another warrior ventures into the fray to get closer to the legendary, but anything but easy-care tone.

Where is the problem?

It is probably generally clear that the various Marshall models, which are called “Plexi”, get their nickname from the front panel, which was initially made of Plexiglas and later made of sheet metal. However, the fact that models with completely different sounds are also listed under this name reveals a problem that one is not immediately aware of. In fact, there is no such thing as THE Plexisound, especially since the large manufacturing tolerances of the individual components of the time made every amp sound different anyway. This means that when it comes to sound, you can only move within a rough framework of parameters that the majority of the Plexi family fulfills.

Furthermore, since today's youth usually find a master volume all-tube amp too big, too heavy and too expensive, they would probably be scared away with a non-master amp. The idea that such an amp only reveals its sweet spot at a final volume close to physical harm reduces its practicality in any club to almost zero. A small side note: the “English setting” (everything at 10), which is often used for potency reasons, is absolute nonsense. Even a Plexi sounds completely crappy in this area. As soon as the power amp leaves the saturation with a subtle sag aspect and goes into real distortion itself, an amp just sounds "broken" and can perhaps still be used for punk rock, but no longer for the sweet, highly compressed legendary tone.

The art and challenge for every product that is committed to the “Plexisound” is, above all, to reproduce the saturated EL34 characteristics, together with the slightly collapsing sound behavior of the driver stage, etc., at a moderate volume, or in terms of sound to get as close as possible. Because we can all agree on one thing: a 1:1 copy is never possible, it's just a matter of getting close to the original. Now then, on to the Plexitone pedal.

The conception of the Carl Martin Single Channel PlexiTone

The Carl Martin Single Channel PlexiTone is a further development of the Plexitone Lo-Gain variant, which was almost in the booster corner, and the original Plexitone in its large version. In collaboration with Youtuber Pete Thorn, the pedal was given a slightly different basic sound in which the highs and basses were reduced a little and in return the mids were boosted a little more. (“It’s all in the middle!”).

Another special feature is that the Single Channel Plexitone now has a 9V DC connection for practical reasons. For sound reasons, the previous model still had the impractical 12V power supply, which was responsible for a large part of the sound, but was not supported by the majority of power supplies. This problem was solved by feeding in 9V, but transforming the voltage internally back up to 12V so as not to suffer any loss in sound. Higher voltages usually also offer higher headroom and therefore higher dynamics, which is also the characteristic of a high-quality all-tube amp.

In terms of feel, the pedal leaves a good impression. The housing is solid and was designed in the typical ocher-gold color, probably to increase the association with the Marshall panel. The Carl Martin Single Channel PlexiTone is advertised as a distortion pedal, but is designed as a typical overdrive, i.e. H. As expected, even at maximum drive level, the pedal never reaches the dimensions of a distortion pedal. But the pedal is not designed for that. The pedal's control options are also in the typical overdrive department with level, drive and tone. Plus a power supply input on the front and the on/off switch, and you're done.

The Carl Martin Single Channel PlexiTone in practice

In order to capture the sound of the Carl Martin Single Channel Plexitone in its entirety, you must pay particular attention to the amp/cabinet combination used. Anyone who believes that they have finally found the final Plexisound with the pedal before their Kemper or similar will unfortunately have to be disappointed. As expected, it's not about squeezing the complexity of the Plexi sound into a pedal in any way, but rather it's about driving a good-sounding amp, preferably an all-tube amp, at a moderate volume into a Plexi mode below the pain range.

So what's better than using an amp that's very close to the original Plexi? For this purpose I took my 1976 Marshall Model 1987 (Non-Master) and adjusted its sound so that it did NOT distort, but only generated a touch of saturation. Of course, the cabinet used was a Marshall 412 with Vintage 65s from Celestion installed. The whole thing was removed with 2 pieces. SM57 replicas called MS57 from FAME.

It is also important to find the right guitar for the pedal. This time I intentionally didn't use the active EMG pickups that I usually like to use, but instead opted for a Strat Lim. Ed. from 1994 and a standard Paula from 2014, neither of which are vintage giants, but good tools for a moderate mainstream sound. In order not to distort the sound, nothing was edited, nothing was mixed, nothing was improved, nothing was optimized.

To make a long story short, the Carl Martin Single Channel PlexiTone sounds really great. I had fun and compared the sound with my Plexi, which I drove to saturation, and the result is truly impressive. The pedal really manages to recreate both the feel and the classic compression behavior very well, provided you give the pedal a chance to spread out in front of a very good sounding amp.

Many will ask, why have the Plexitone when I already have a good sounding amp? Shouldn't I work better with a load resistor to curb the amp? Well, a load resistor has a very strong influence on the interaction with the speaker. It's a matter of taste, of course, but I've never been impressed with the sound of a load resistor if you want to route playback primarily through the loudspeaker.

Here I find the Carl Martin Single Channel PlexiTone approach much more interesting, as its sound is particularly impressive on vintage amps. Two more words about the regulation. Be careful with both the level and the tone controls. The 12 o'clock position otherwise chosen by the manufacturers regarding level in / out = the same volume is already at around 10.30 o'clock for this pedal, i.e. H. At 12 o'clock the amp is already blowing properly. The tone control should also be used discreetly, unless you prefer the classic 60s bite sound. What is considered appropriate for a Paula is quite good for a Strat.

Depending on the guitar/amplifier setup, the sound result varies from good to great, so if the sound is not within the desired range, it is probably not the pedal that is to blame, but the general conditions.

Conclusion

With the Carl Martin Single Channel PlexiTone, the USA-based company has a very special but excellent overdrive in its range that masters the great challenge of Plexi Sound adaptation very well. The overdrive, which is specially designed for the power amplifier saturation, saves many tonal Plexi attributes in the moderate volume and thus allows a practical volume without the band members and FOH having to raise the white flag.

———————

Additional Informations:

**The Genesis of Carl Martin Pedals: A Journey Through Innovation**

Carl Martin Pedals, a renowned name in the realm of guitar effects, has a rich history intertwined with innovation, passion, and a commitment to quality. Founded by Carl Martin, a Danish musician and electronics enthusiast, the company has left an indelible mark on the world of music with its exceptional range of pedals. Let's delve into the fascinating journey of how Carl Martin Pedals came to be, tracing its origins, key milestones, and enduring legacy.

**Origins and Early Beginnings**

The story of Carl Martin Pedals traces back to the late 1980s when Carl Martin, fueled by his passion for music and electronics, embarked on a quest to create high-quality guitar effects pedals. Born and raised in Denmark, Martin's journey into the world of music began at a young age. He honed his skills as a guitarist, exploring various genres and styles while developing a keen interest in the technical aspects of sound manipulation.

Driven by his desire to enhance the sonic capabilities of his guitar, Martin delved into the world of electronics, immersing himself in the intricacies of circuitry and signal processing. His relentless experimentation and meticulous craftsmanship soon yielded promising results, as he began crafting his own custom-designed pedals in his workshop.

**Innovations and Breakthroughs**

One of the defining characteristics of Carl Martin Pedals is its relentless pursuit of innovation. Martin's early creations garnered attention for their exceptional sound quality, durability, and innovative features, setting a new standard in the industry. Among his notable innovations was the implementation of dual-mode circuits, allowing players to switch between different tonal characteristics with ease.

Another breakthrough came in the form of the Hot Drive'n Boost pedal, which combined the warmth of a vintage overdrive with the versatility of a clean boost. This pedal quickly gained popularity among guitarists worldwide, earning praise for its dynamic range, responsiveness, and ability to enhance the overall tone of any amplifier.

**Expansion and Growth**

As demand for Carl Martin Pedals grew, so did the company's reach and reputation. Martin's commitment to quality and innovation resonated with musicians of all genres, from aspiring beginners to seasoned professionals. In response to this burgeoning demand, the company expanded its product line, introducing a diverse range of pedals catering to various sonic preferences and playing styles.

From overdrives and distortions to delays, reverbs, and modulation effects, Carl Martin Pedals offered something for everyone. Each pedal was meticulously designed and handcrafted, ensuring unparalleled performance and reliability on stage and in the studio. This dedication to craftsmanship earned the company a loyal following and solidified its position as a trusted name in the world of guitar effects.

**Enduring Legacy**

Today, Carl Martin Pedals continues to uphold its legacy of excellence, with a commitment to innovation, quality, and craftsmanship. While the company has grown and evolved over the years, its core values remain unchanged. Every Carl Martin pedal is still crafted with the same attention to detail and passion for music that drove Carl Martin himself all those years ago.

Moreover, the company's dedication to customer satisfaction and support has endeared it to musicians around the globe. Whether it's providing expert advice, troubleshooting technical issues, or simply sharing in the joy of creating music, Carl Martin Pedals remains deeply invested in the success and happiness of its customers.

In conclusion, the story of Carl Martin Pedals is a testament to the power of passion, innovation, and craftsmanship. What began as a humble pursuit of sonic perfection has blossomed into a world-renowned brand synonymous with quality and excellence. As Carl Martin Pedals continues to push the boundaries of guitar effects technology, one thing remains certain: the journey is far from over, and the best is yet to come.

**A Closer Look at Carl Martin Pedals' Product Line**

Central to the success of Carl Martin Pedals is its exceptional range of guitar effects, each meticulously designed and handcrafted to deliver unparalleled performance and tone. Let's take a closer look at some of the flagship products that have helped define the company's legacy:

**1. Hot Drive'n Boost**

The Hot Drive'n Boost pedal is perhaps one of Carl Martin's most iconic creations, renowned for its versatility and tone-shaping capabilities. Combining the warmth of a vintage overdrive with the clarity of a clean boost, this pedal offers a wide range of sonic possibilities, from smooth bluesy tones to searing rock leads. With intuitive controls for drive, level, and tone, the Hot Drive'n Boost empowers guitarists to sculpt their perfect sound with ease.

**2. EchoTone**

The EchoTone pedal represents Carl Martin's foray into the realm of delay effects, offering pristine digital delay with analog warmth and character. Featuring intuitive controls for delay time, feedback, and level, this pedal allows guitarists to dial in everything from subtle slapback echoes to expansive ambient textures. With its high-quality signal processing and built-in tap tempo function, the EchoTone is a versatile tool for adding depth and dimension to any performance.

**3. Quattro**

For guitarists seeking maximum versatility in a compact package, the Quattro pedal offers a comprehensive solution with four essential effects in one unit. Combining overdrive, distortion, delay, and reverb, this pedal covers a wide range of sonic territory, from vintage-inspired tones to modern ambient textures. With independent controls for each effect and the ability to save presets, the Quattro is a powerhouse of creativity for guitarists of all styles and genres.

**4. Octa-switch**

Rounding out Carl Martin's lineup is the Octa-switch, a versatile pedal switcher designed to streamline the organization and control of multiple effects pedals. With eight individual loops and programmable presets, this pedal allows guitarists to create complex signal chains and switch between them seamlessly. Whether it's organizing a pedalboard for live performance or optimizing a studio setup for recording, the Octa-switch offers unmatched flexibility and convenience.

In addition to these flagship products, Carl Martin Pedals offers a diverse range of effects pedals, including modulation effects like chorus, flanger, and tremolo, as well as specialty pedals like the Andy Timmons Signature Compressor and the Headroom Spring Reverb. Each pedal is crafted with the same attention to detail and commitment to quality that has become synonymous with the Carl Martin name, ensuring a lifetime of musical inspiration and enjoyment for guitarists around the world.

TEST: Carl Martin Acoustic Gig

 What a misery it used to be with live amplification on an acoustic guitar. In old videos you can still see the tense playing style of many acoustic guitarists, how they remain comparatively rigid in front of an SM58 or something similar that is fastened in a quick position in order to at least get some debriefing effect. With the introduction of the piezo pickup in the bridge inlay (I seem to remember that Ovation was the big dog here at the time) this pitiful practice changed rapidly, but only to a certain extent, as the appropriate amplification had not yet been developed. So it was time to send it to the wedge or PA via the DI box/monitor desk and hope that there was enough signal for a good performance, both to one's own ear and to the audience. These days are also long gone, as you can see from the Carl Martin Acoustic Gig multi-effects pedal available for testing.

A pedal for all occasions?

“Why not just use the clean channel of my amp?” some users will rightly ask themselves. “Why is there always such fuss when amplifying the acoustic guitar?” Well, the only thing an acoustic guitar has in common with an electric guitar are the (regularly used) 6 strings, otherwise the alignment in terms of sound, playing style, Handling and effects management couldn't be more diametrically opposed.

In addition to the fact that an A guitar should ALWAYS remain as clean as possible, you also have to face the latent problem of soaring feedback in the bass range! and the transmission of completely different frequencies than with a distorted electric guitar. While in the electric guitar sector you make use of the inertia of a 12 inch loudspeaker, for example, which has its peak between 2-3 kHz and drops to its knees at the latest at 4 kHz, to keep the caustic highs of a distorted guitar in check , exactly these frequencies are vital for a crisp sound on an A guitar. Nothing works without a separate tweeter.

So you can go and buy a special acoustic amplifier that already has the right equipment for high-quality signal transmission, or you can buy a special acoustic effects pedal that transforms an active speaker or floor monitor into an acoustic amp. We are dealing with just such a pedal today.

The construction of the Carl Martin Acoustic Gig

First of all, where do we actually use the Carl Martin Acoustic Gig? Of course, you can also use the pedal to record an acoustic guitar in the studio, but if a sound engineer comes to you with this solution, he is either just lazy or doesn't have high-quality microphones. Even the very best, internally installed pickups on an acoustic guitar only come close to the sound of high-quality large-diaphragm microphones, which is why the Carl Martin Acoustic Gig is primarily used on the stage.

And you can see that on the pedal too. The housing, made in China, is extremely solid and consists of a plastic tub covered with a steel frame, which protrudes slightly on the right and left so that you can lift the pedal better. The two elements are screwed together with six Phillips screws. Four large, rectangular rubber feet ensure a stable hold. In the effects area, the pedal has a complex three-band tone control with a compressor, an echo and a reverb area, as well as three other effects plus a tuner, the operating status of which is all displayed with a separate LED. The effects in detail:

Mute: When the mute switch is activated, the internal tuner is activated and shown on a large display.

3 Band Parametric Preamp: Carl Martin goes all out here and demands a lot of specialist knowledge from the user. In addition to a level control, which adjusts the signal strength of the filter when activated, three freely adjustable frequencies can each be raised or lowered by 15 dB. NOTE: With targeted reduction and simultaneous level correction, you can usually achieve a better sound, especially in the midrange, than by increasing a frequency. With three small level controls you can now freely select the bass range (20 Hz - 500 Hz), midrange (220 Hz - 5.1 kHz) and high frequency range (1.5 kHz - 16 kHz). The versatility it offers definitely has the quality of a studio filter, but it also offers plenty of opportunities for mismatching. If you haven't worked extensively with a parametric EQ yet, you may want to get some help from experienced colleagues in advance.

The fact that the frequency ranges overlap already shows the practical thinking of the developers. Regarding 20 Hz, it should go without saying that this frequency range can of course only be used as a high-pass filter. Please NEVER come up with the idea of wanting to boost anything in the double-digit Hz range on an A guitar! The entire EQ can be removed from the signal path with a push switch. The Carl Martin Acoustic Gig also has a phase switch in case unpleasant standing waves or frequency cancellations occur.

Boost: As the name suggests, you can continuously adjust the volume increase of up to 12 dB for solo passages.

Reverb: A reverb control that has the special feature of adding a few chorus modulations when the amount is higher.

Echo: A delay effect that can be adjusted in delay volume, number of repetitions and sound of the repetitions. The speed can be adjusted using a tap switch with your foot and converted into dotted eighths using a pressure switch.

Compressor: Still one of the most important effects on the acoustic guitar, adjustable in compression and level. Finer gradations such as threshold, ratio, attack and release have been combined in one controller to make it easier to use.

The front of the Carl Martin Acoustic Gig

In addition to jack input and output, the Carl Martin Acoustic Gig also offers an XLR DI output for feeding into the PA. An additional serial FX loop also offers the option of looping external processors into the signal path. Finally, there is the power supply input socket, which processes any DC voltage from 9 - 12 volts and which ensures a maximum power consumption of 500mA. The voltage is looped through an output socket using the daisy chain method and can also supply other pedals with power if the power supply features are designed accordingly.

In practice

Let's tune the instrument first. The tuner is easy to read, but in my opinion there would have been enough space for an LED display with more than three digits. Next we look at the equalizer, which, let's say this much, turns out to be the absolute highlight of the pedal. The basic sound of the preamp plus the EQ can be described as very successful. The frequencies grip well, don't bite, but have enough assertiveness in the band context. If you know how to use an appropriate filter and can hear the final sound of the instrument, it is a real pleasure to work towards the final sound.

The compressor does a good job, but I miss the ratio control a little. During strong forte passages, the compressor works almost like a limiter, which limits the natural dynamics somewhat. However, the controller works perfectly for uncomplicated, quick volume adjustment. The fixed reverb sound sounds a little artificial, but otherwise does its job well. Adjusting the delay time using just your foot may seem a bit unusual at first impression, but it shows that it is very practical. A delay only really makes sense in a rhythmic context, so the tap function is to be welcomed.

Although all switches fulfill their function well, I personally would have preferred switches of a higher quality for a product over the 600 euro mark, which were a little softer and less fiddly in their switching process. All of this is balanced out by the great preamp / parametric three-band tone control, which in itself is worth the retail price.

Conclusion

With the Carl Martin Acoustic Gig, the Danish manufacturer offers an upper-class acoustic guitar multi-effects pedal. Excellent workmanship with the currently best combination of preamp / parametric three-band tone control available in an acoustic guitar floor pedal make the pedal a clear favorite when it comes to professional amplification of an acoustic guitar.

If you can't take a high-quality acoustic amplifier with you to your gigs for transport reasons, you should definitely take a look at the pedal, it's worth it!

————————-

Additional Informations:

The tale of Carl Martin Pedals is a narrative steeped in the tradition of craftsmanship, innovation, and an unwavering commitment to quality. Founded in Denmark, a country known for its rich design heritage and acoustic excellence, Carl Martin has grown from a modest enterprise into a revered name within the global music industry, particularly among guitarists and bassists seeking premium effects pedals.

### Beginnings and Philosophical Foundations

The inception of Carl Martin dates back to the early 1990s, when founder Søren Jongberg sought to bridge the gap between the guitarist's need for superior sound quality and the technological limitations of existing effects pedals. Jongberg's vision was clear: to craft effects pedals that combined the sonic richness of studio-quality processing with the durability and simplicity required for live performance. This vision was rooted in a deep appreciation for music, an understanding of the musician's craft, and a commitment to excellence that would become the hallmark of the Carl Martin brand.

### Crafting the Sound: The Early Innovations

Carl Martin's initial foray into the effects pedal market was marked by the release of the Hot Drive'n Boost, a pedal that quickly gained acclaim for its warm, tube-like overdrive and versatile boosting capabilities. This early success was a testament to Jongberg's meticulous approach to design and sound quality, setting the stage for future innovations.

Following the Hot Drive'n Boost, Carl Martin continued to expand its lineup with a series of pedals that addressed specific needs of guitarists, from the Compressor/Limiter, recognized for its studio-quality compression, to the PlexiTone, which offered the coveted tones of classic rock in a compact format. Each pedal was designed with the musician in mind, combining intuitive controls with a breadth of sonic possibilities.

### The Distinctive Carl Martin Approach

What sets Carl Martin apart in the crowded field of effects pedal manufacturers is not just the quality of its sound, but also its approach to design and production. Carl Martin pedals are characterized by their robust construction, ensuring they can withstand the rigors of touring, and their user-friendly interface, making it easy for musicians to dial in their desired sound.

Moreover, Carl Martin has been at the forefront of incorporating high-quality, regulated power supplies into their pedals, a feature that contributes to the pedals' consistent performance and noise-free operation. This attention to detail reflects the brand's philosophy that to truly enhance a musician's performance, every aspect of the pedal, from its sound to its functionality and reliability, must be of the highest standard.

### Collaboration and Community

A pivotal aspect of Carl Martin's development has been its collaboration with musicians. The company has always valued the feedback and insights of guitarists from various genres, allowing them to refine existing products and inspire new creations. This collaborative approach has led to the development of signature pedals, such as the Andy Timmons Signature Compressor/Limiter, designed to meet the exacting standards of the artists themselves.

Furthermore, Carl Martin's engagement with the music community extends beyond product development. The company is known for its active participation in music trade shows, workshops, and online forums, where they share their expertise and engage with musicians. This community-focused approach has helped Carl Martin not only to build a loyal customer base but also to stay attuned to the evolving needs of musicians.

### Expansion and Evolution

Over the years, Carl Martin has not rested on its laurels. The company has continuously sought to innovate, expanding its product range to include multi-effects units, power supplies, and even amplifiers. Each new product category has been approached with the same commitment to quality and innovation that defined Carl Martin's early pedals.

One notable innovation is the Quattro, a multi-effects pedal that combines several of Carl Martin's most popular effects into one unit, offering guitarists a versatile and high-quality effects solution. The development of such products reflects Carl Martin's understanding of musicians' needs for both versatility and quality in their gear.

### The Legacy and Future of Carl Martin

Today, Carl Martin stands as a testament to the enduring value of quality, innovation, and collaboration in the music industry. The brand's dedication to crafting pedals that enhance the musical experience has earned it a place on the pedalboards of amateur and professional musicians around the world.

Looking to the future, Carl Martin remains committed to its founding principles while also embracing new technologies and trends in music production. With a legacy of excellence and a forward-looking approach, Carl Martin is poised to continue its journey as a pioneer in the world of guitar effects, contributing to the music landscape with tools that inspire creativity and elevate performances.