TEST: Danelectro Spring King

 When it comes to spatial effects, as a practicing artist you only have a very rudimentary range of options to choose from. Ultimately, you only have reverb and delay available, although strictly speaking the reverb is just an addition of a lot of echoes.

Nevertheless, there are conceptual differences that allow a sound to drift into completely different areas in terms of sound and, above all, image.

On the one hand, we have the digital reverb, which is sometimes peppered with highly complex logarithms and the corresponding CPU load and is intended to emulate the natural end of a previously entered room. Here you will also find the premier class of room simulators, where individual products easily exceed the five-digit euro purchase price.

A second representative of the reverb was the plate reverb, which was particularly popular in the sixties, in which special metal plates, which could sometimes take up a few square meters, were stimulated to vibrate in order to create a spatial reverberation. Not particularly high resolution, but very characteristic. Due to the huge effort involved in storage and design, their parameters can now only be found as logarithms in the aforementioned high-quality reverb devices.

The forefather of all reverbs was a fairly straightforward representative in terms of size, which was installed in many combos almost 50 years ago, the spring reverb. Depending on the manufacturer and product, two or more spiral springs were attached to a corresponding housing at the bottom of the combo, set to vibrate if necessary and mixed into the original guitar signal using a pickup.

Nothing in the world is as closely associated with the classic fifties/sixties guitar sound as a sometimes inflationary spring reverb. The Strat / Twin Reverb combination was considered the ultimate reference and can be heard on countless hits of this decade.

In order to reproduce this classic, Danelectro, who are already considered specialists of this decade, have packed the spring reverb into a stompbox pedal with the Spring King. Let's twäng.....


construction

You can see that not only sounds but also colors manifest an era when you unpack the device. The pastel yellow/ochre-colored housing, combined with a medium brown base, brings back memories of grandpa's VW Variant or grandma's living room curtains. Yes, it's hard to believe, motor vehicles actually used to be painted in such colors.

In contrast to most multi-effect stompboxes in the lower price ranges, which often lead you to believe that they have a mostly crudely emulated spring reverb, the Spring King does not generate its effect from a CPU, but rather from three approximately 20 cm long spiral springs, which are exactly the same is generated using the same principle of the combo spring reverb.

In addition to the input and output, there is also a 9V power supply connection on the front side, whereby the standard 300 mA version is sufficient for charging. Alternatively, the device can also be operated with a 9V battery, which can be changed on the bottom.

In addition to the ON/OFF switch, which tends to be a bit misunderstood if you accidentally hit it halfway with the edge of your shoe, there are the self-explanatory volume, tone and reverb controls on the control panel, as well as a kick pad that seems unusual at first glance.

Kick? Why on earth should I press my pedal? Well, let's turn the clock back a few decades and see how little Axel would like to move his first amplifier with a reverb spiral a little bit after he had already switched it on.

Then an infernal clanking and crashing sounded from the speakers, so that little Axel thought he had just worshiped his amplifier. Something so crashing can only be accompanied by the destruction of the most important components...

Wrong thought! Rather, the usually loosely suspended spiral springs came into contact with the housing walls due to the vibration and created this infernal noise.

The wild boys from the sixties discovered this and at a time when you could still provoke the middle class with distorted guitars and a rattling reverb spiral, the amplifiers flew over the stage like a flock of migratory birds at concerts by “The Who” and the like to create the popular “sound” that enhances the image.

In order to create the “wild” effect today in a more gentle way on the amplifier and tubes, the Kick Pad was created. If you want something a little more “realistic”, you can of course throw the entire pedal at a poorly prepared fellow musician or the drunk idiot in the front row who keeps trying to pull the cable out of your wah-wah during the show. ....;-)


Practice

What you immediately hear about the Spring King is its analogue structure, which, in contrast to many digital emulations, involves all kinds of interaction with the instrument and sometimes strange artifacts in the end.

Due to the mechanics, the product takes on a life of its own, which creates its own sound character with all sorts of non-linearities.

The best sound results are achieved when, in the old tradition, you simply switch the pedal in front of a clean amp. As expected, distorted sounds don't harmonize well with spring reverb, although of course it also depends on personal taste.

The sound of the reverb springs is very unique due to their length. The sound is significantly higher-pitched than other products in this genre. If this treble component is too pronounced for you, you can easily turn it back using the tone control.

The desired reverb effect is generated very well, although due to the design you cannot achieve the fullness of the great model, the Accutronics reverb. The springs are a bit too short for this depth, but otherwise do their job very well.

What disappointed me a bit, however, was the kick pad. Despite the massive kicking and stomping, the effect achieved was only very moderate and in no way comparable to the heavy clanking of a shaking amp.

Only with the help of real physical influences, such as kicking the pedal to the side, did we get the desired effect. However, the same effect cannot be achieved on a tightly screwed pedalboard, for example. (so throw the pedal at the fellow musician...;-)


Conclusion

The Spring King from retro specialist Danelectro manages to generate a real, mechanical spring reverb for relatively little money, which with its typical sound structures effortlessly turns the clock back by several decades.

The typical fifties/sixties sound in terms of reverb is generated very nicely, although you shouldn't expect the depth of a much longer and more expensive Accutronics reverb spring.

Danelectro once again comes up with an independent sound that pleases and fulfills its purpose. Then, Grandpa's Shadows vinyl records got out, Hank Marvin glasses put on and “Apache” practiced, you retro disciples!

———————-

Additional Informations:

Danelectro Guitars is a legendary name in the world of musical instruments, renowned for its unique designs, affordability, and unmistakable tone. Since its inception in the late 1940s, Danelectro has carved out a niche for itself, offering instruments that blend vintage charm with modern functionality. In this comprehensive guide, we'll delve into the rich history and diverse product lineup of Danelectro Guitars, exploring their iconic models, innovative features, and enduring appeal.

**A Brief History**

The story of Danelectro Guitars begins in the post-war era of the late 1940s when Nathan Daniel founded the company in New Jersey, USA. Initially, Danelectro focused on producing amplifiers and other electronics, but it wasn't long before they ventured into the realm of guitars.

One of Danelectro's early innovations was the "lipstick tube" pickup, named for its cylindrical shape resembling a lipstick container. This unique pickup design became a hallmark of Danelectro guitars, contributing to their distinctive sound.

In the 1950s and 1960s, Danelectro gained popularity among amateur musicians and professionals alike, thanks to their affordable yet high-quality instruments. Their guitars found favor in various genres, from rockabilly to surf rock, with notable artists like Jimmy Page and Syd Barrett using Danelectro guitars on iconic recordings.

Despite changing ownership and production locations over the years, Danelectro has remained true to its roots, continuing to produce instruments that capture the spirit of the original designs while incorporating modern enhancements.

**Product Lineup**

Danelectro offers a diverse range of guitars and basses, each with its own distinct character and appeal. Let's explore some of the standout models in their current lineup:

1. **Danelectro '59 Series**: The '59 series pays homage to the classic Danelectro guitars of the 1950s. These instruments feature the distinctive double-cutaway body shape, lipstick tube pickups, and retro aesthetic. Available in various finishes and configurations, the '59 series offers vintage tone and style at an affordable price point.

2. **Danelectro DC Series**: The DC series is characterized by its sleek offset body shape and dual lipstick pickups. These guitars deliver a balanced tone with plenty of clarity and definition, making them suitable for a wide range of playing styles. With their lightweight construction and comfortable playability, the DC series guitars are ideal for gigging musicians and studio professionals alike.

3. **Danelectro U Series**: The U series basses combine classic design with modern features to create versatile instruments suitable for any musical genre. Featuring a single-cutaway body shape and powerful humbucking pickups, these basses deliver rich, punchy tones with plenty of low-end depth. Whether you're laying down grooves in a funk band or holding down the rhythm in a rock ensemble, the U series basses provide the performance and playability you need.

4. **Danelectro 12-String Guitars**: For those seeking the shimmering, jangly sound of a 12-string guitar, Danelectro offers a range of affordable options. These guitars feature double courses of strings, providing a lush, ethereal tone that's perfect for adding texture and dimension to your music. Whether you're strumming chords or picking melodies, the Danelectro 12-string guitars offer a unique sonic signature that's sure to stand out.

5. **Danelectro Convertible**: The Convertible is a true icon of the Danelectro lineup, known for its convertible design that allows it to be played as either a standard electric guitar or a lap steel. With its distinctive "Coke bottle" headstock and lipstick tube pickup, the Convertible offers versatility and tonal options that few other guitars can match. Whether you're looking for classic twang or smooth, soaring leads, the Convertible delivers in spades.

**Innovative Features**

While Danelectro guitars pay homage to vintage designs, they also incorporate modern features and innovations to enhance playability and performance. Some of these include:

1. **Modern Hardware**: Danelectro guitars are equipped with high-quality hardware components, including tuners, bridges, and pickups, ensuring reliable performance and excellent tone.

2. **Upgraded Electronics**: Many Danelectro models feature upgraded electronics, such as improved wiring and capacitor choices, resulting in enhanced clarity, responsiveness, and tonal versatility.

3. **Lightweight Construction**: Thanks to their lightweight construction and ergonomic designs, Danelectro guitars are comfortable to play for extended periods, making them ideal for live performance and studio recording sessions.

4. **Unique Finishes**: Danelectro offers a range of eye-catching finishes and color options, allowing players to express their individual style and personality.

**Conclusion**

Danelectro Guitars has earned a reputation for crafting distinctive instruments that offer exceptional tone, playability, and value. From their iconic lipstick tube pickups to their innovative designs and affordable price points, Danelectro guitars continue to inspire musicians around the world.

Whether you're a seasoned professional or a beginner just starting your musical journey, there's a Danelectro guitar or bass that's perfect for you. With their blend of vintage charm and modern performance, Danelectro instruments are sure to provide years of musical enjoyment and inspiration.

TEST: Danelectro Reel Echo

 In the past.....If sentences begin with this word, probably every person who has not yet passed the age of forty will automatically lose their ability to pay attention. “Everything used to be better, everything used to be nicer, the standard used to be even higher and everything used to not be so bad.” But you could also say "I used to have more hair on my head, my belly wasn't so fat before, I didn't used to fall asleep in front of the TV and the competition wasn't so high before," depending on which side you're on.

However, what was actually different “before” (different, mind you, not necessarily better) is the signal management in music, keyword digital/analog. I would like to put forward the daring thesis that if you were born in 1989 or earlier, you no longer know the word “analog” in the field of musical signal management or are no longer consciously aware of it.

Of course, every signal that we perceive with our hearing is an analogue sound (we cannot hear a digital signal at all), but when it comes to signal processing, we have been in the digital realm for years, with very, very few exceptions.

What does this have to do with “before”? Well, have you ever asked yourself why, even in times of the most modern emulation technology, an all-tube amplifier is still praised as the measure of all things? With control technology from the Cretaceous period of electronics? And why the quality of the most modern amplifier technology is based exclusively on getting as close as possible to the sound of old devices? (Wow, sounds like a “real” amplifier). Think about it for a bit, I would be interested to know what you believe.

As part of this thinking, some suppliers also give their products a retro flair, sometimes in terms of circuitry, sometimes in terms of production or sometimes just visually. When it comes to vintage optics, the Danelectro company has been at the forefront for many years, including the Reel Echo that I have for testing.


construction

To put it bluntly, the Reel Echo is primarily an optical copy of a tape echo device. Neither the circuitry nor the production technology have any parallels to the protagonists over 40 years ago. Due to their tube design, the Copycat cars in question were not only used to generate the echo effect in question, but also often functioned as a booster in front of the amplifiers, which at the time only had a rudimentary tendency to distort.

Even Ritchie Blackmore, tired of heavy rocking and now dying as a pitiful Robin Hood in the Schallmaien and Lauten swamp, used an AKAI tape recorder in his hard rock phase, among other things with RAINBOW, to be able to play his Marshall Heads a little hotter. In the Reel Echo, on the other hand, pure digital technology works away, but is packaged in a masterful layout.

Jesses, what a color! If your wife notices a product in the recording studio just because of its color, as happened to me, that should give the product managers something to think about, both positively and negatively. The “pastel-colored mint” is on the same color level as the signature Jeff Beck Strat at the time! Jeff Beck Strat? An excellent guitar, best ingredients, best sound, best craftsmanship and the bottom of the list in terms of sales, guess why? ;-)

For the sake of honesty, I have to admit that the color kicks me. Yes, I know, “daring” is an understatement, but I still like it. Although I wouldn't have my backline painted in this color. ;-)

So you take a digital delay and give it the following control options:

Mix: the ratio between the original and effect signals
Lo-Fi: a passive treble fader that continuously reduces the treble component of the effect signal
Repeat: the number of repetitions, often referred to as “feedback” in other products.
Speed Range: The delay time in milliseconds, from 0 to 1500. The name alludes to the tape speed of the earlier devices, with the products at that time reaching a maximum of 400 ms.
Tone toggle switch: here you can choose between two presets in the effects area. “Solid State” allows the signal to pass through almost unprocessed and achieves a more neutral sound, “Tube” makes the sound sound more nasal and sharper.
Warble: Simulates the “shortcomings” of old tape echo devices such as unevenly running motors, wobbling tapes and dropouts in the magnetic coating.

The product also has two on/off switches, which can be used to activate/deactivate the effect and to activate a loop function at a delay time previously set on the device. Unfortunately, Danelectro has again installed these fiddly pressure switches, which can be misunderstood if you accidentally hit them with your shoe.

2 red LEDs inform you about the activation of the effect, the speed of the echo and the loop function. The device rests on four rubber feet that are not particularly non-slip, but they serve their purpose. The product is powered by a 9V battery or an external power supply, with 300 mA being sufficient as power supply.

The Reel Echo has one input and two outputs, whereby the two outputs are only suitable for a spatial slapback echo. To do this, turn the mix to 100% “wet” and then set the spatial offset using a suitable millisecond selection. Attention, this effect is only noticeable when you are in the “golden stereo triangle” in front of the two speakers (which both require their own amplifier).


Practice

When connected, the product does not cause any problems in terms of operation. Any musician who has ever worked with a delay will immediately feel at home with the Reel Echo. Only the two toggle switches, which are intended to ensure a moderate reminiscence of earlier eras, stand out somewhat from the standard procedure.

Their functionality is limited to two presets, which you can choose depending on your taste. However, the “Tube” circuit in question does not really create a saturation of the downstream effect, but rather creates an equalizer preset that you either prefer more or less.

The “Warble” switch also turns out to be more of a chorus effect than an emulation of the highly complex interactions of an aging vintage tape echo device. However, with a street price of less than €100, you shouldn't judge the product quite so harshly when it comes to authenticity. Ultimately, all presets sound satisfactory and practical, which shouldn't be underestimated.


Conclusion

The Reel Echo from Danelectro is a technically satisfactory, good workmanship and visually excellent digital delay, which sets itself apart from the majority of its competitors with a few small special features. However, the desired copy of an analog vintage tape echo device is only achieved in terms of appearance; in terms of sound, the Reel Echo is a regular digital delay with all the specific properties.

However, anyone who likes to add a touch of visual esprit to their mines is in good hands with the mint-colored bird of paradise. And since we are all self-promoters, this can only be an advantage ;-).

—————————

Additional Informations:

Title: The Technical Odyssey: Unveiling the Genesis of Danelectro Guitars' Pedals

Introduction:
In the realm of musical effects pedals, few names carry as much weight and historical significance as Danelectro Guitars. Renowned for their innovation, affordability, and distinctive sound, Danelectro pedals have left an indelible mark on the world of music. This article embarks on a technical journey through the annals of time, uncovering the fascinating genesis of Danelectro's iconic pedals and highlighting their enduring legacy in the realm of musical innovation.

1. Pioneering Spirit:
The story of Danelectro pedals begins in the post-World War II era, a time marked by technological advancement and cultural transformation. Against this backdrop, Nathan Daniel, the founder of Danelectro Guitars, set out to revolutionize the world of musical effects. Drawing on his expertise in electronics and a keen understanding of musicians' needs, Daniel embarked on a quest to create pedals that would push the boundaries of sonic experimentation while remaining accessible to aspiring musicians.

2. The Birth of the Danelectro Pedal:
In the early 1960s, Danelectro introduced its first line of effects pedals, marking a watershed moment in the history of musical instrument design. Utilizing cutting-edge transistor technology and innovative circuitry, these pedals offered musicians a palette of sound previously unimaginable. From the warm, vintage overdrive of the Danelectro Overdrive pedal to the lush, swirling modulation of the Danelectro Flanger, each pedal represented a leap forward in sonic exploration.

3. Technical Innovations:
At the heart of Danelectro pedals lies a commitment to technical excellence and innovation. Unlike their predecessors, which relied on bulky vacuum tubes and cumbersome wiring, Danelectro pedals embraced solid-state transistor technology, allowing for smaller, more compact designs without sacrificing sound quality. Moreover, Danelectro pioneered the use of true-bypass switching, ensuring that the pedal's circuitry had minimal impact on the guitar's tone when disengaged, a feature that would later become standard in the industry.

4. Iconic Designs:
In addition to their technical prowess, Danelectro pedals are celebrated for their iconic designs, which reflect a unique blend of form and function. The distinctive 'coffin' shape of early Danelectro pedals not only served as a visual hallmark but also allowed for easy placement on pedalboards and tight stage setups. Furthermore, Danelectro's use of durable, high-quality materials ensured that its pedals could withstand the rigors of the road while maintaining their pristine sound.

5. Enduring Legacy:
As the years passed, Danelectro pedals continued to evolve, incorporating new features and technologies while retaining the timeless appeal that made them beloved by generations of musicians. From the fuzzy distortion of the Danelectro Fuzz to the shimmering echo of the Danelectro Delay, each pedal offered a unique sonic signature that left an indelible mark on the world of music. Moreover, Danelectro's commitment to affordability ensured that its pedals remained accessible to musicians of all backgrounds, democratizing the process of sonic experimentation and innovation.

6. Contemporary Revival:
In recent years, Danelectro has experienced a resurgence in popularity, fueled by a renewed interest in vintage gear and analog sound. The company has reintroduced classic designs from its archives, offering musicians the opportunity to experience the timeless tones of yesteryear with modern reliability and craftsmanship. Furthermore, Danelectro has expanded its lineup to include new pedals inspired by vintage classics, ensuring that its legacy of innovation and excellence continues to thrive in the digital age.

7. The Quest for Sonic Excellence:
Behind every Danelectro pedal lies a relentless pursuit of sonic excellence. From the initial concept to the final product, Danelectro's engineers and designers work tirelessly to ensure that each pedal delivers unparalleled sound quality and performance. This commitment to sonic perfection is evident in every aspect of the pedal's design, from the carefully selected components to the meticulous attention to detail in the circuitry.

8. Customization and Versatility:
One of the hallmarks of Danelectro pedals is their versatility and adaptability to a wide range of musical styles and playing techniques. Whether you're a blues guitarist searching for the perfect overdrive tone or a shoegaze musician experimenting with ambient textures, there's a Danelectro pedal to suit your needs. Moreover, many Danelectro pedals feature intuitive controls and onboard EQ options, allowing musicians to fine-tune their sound to perfection.

9. Collaboration and Innovation:
Throughout its history, Danelectro has collaborated with musicians and artists to push the boundaries of pedal design and innovation. From signature artist models to limited-edition releases, these collaborations have resulted in some of the most sought-after and collectible pedals in the industry. Moreover, Danelectro continues to invest in research and development, exploring new technologies and techniques to further enhance the sonic capabilities of its pedals.

10. The Human Touch:
While Danelectro pedals may be products of cutting-edge technology and modern manufacturing processes, they are ultimately imbued with a human touch that sets them apart. Each pedal is assembled by skilled technicians who take pride in their workmanship and attention to detail. From hand-soldered circuit boards to hand-painted enclosures, every Danelectro pedal is a labor of love, crafted with care and precision to ensure years of reliable performance.

11. Global Impact and Influence:
The impact of Danelectro pedals extends far beyond the confines of the music industry, influencing artists and musicians from all walks of life. From the gritty garage rock of the 1960s to the ambient soundscapes of the 21st century, Danelectro pedals have left an indelible mark on popular culture. Moreover, their affordability and accessibility have democratized the process of musical experimentation, empowering aspiring musicians to explore new sonic territories and push the boundaries of creativity.

12. Conclusion: A Legacy of Innovation and Inspiration
As we reflect on the rich history and technical prowess of Danelectro pedals, one thing becomes abundantly clear: their legacy is one of innovation, inspiration, and sonic exploration. From their humble beginnings in the 1960s to their enduring popularity in the digital age, Danelectro pedals have continued to captivate and inspire musicians around the world. As we look to the future, one can only imagine the new sonic frontiers that await, guided by the timeless allure of Danelectro's iconic pedals.

TEST: Danelectro Daddy O + Fabtone

 Whatever comes and goes, whatever fashion sound is hyped only to disappear into obscurity a year later, HE remains! The distortion pedal is still the most popular FX pedal among guitarists. However, as a manufacturer these days you have to come up with something to stand out from the sheer confusing variety of “half-shaft cutters”.

Danelektro has recognized this problem and relies on a visually striking appearance for almost all of its pedals. For a comparison test, I have the Overdrive Daddy O. and his brother from the distortion faction Fab Tone, both easily recognizable by their distinctive outfit.



Construction:

Retro! This is the first association that is associated with the two mines. A large Danelectro “D” characterizes the appearance of the two distortions, which, when lined up next to each other, look a bit like a new chocolate/vanilla ice cream creation in terms of their coloring.

The interior of both devices was integrated into a fairly weighty and solid metal housing, which impresses with its sleek lines. Somehow the creations from Danelectro always remind me a little of the oversized American road cruisers from the fifties with their excess of chrome and optical gimmicks. Even though the trim is made of plastic instead of chrome, you first have to give Danelectro a real compliment for the design.

Both devices have a volume and a distortion level control (O.Drive / Fab). While the Fab Tone comes with a 2-band tone control consisting of bass and treble, the Daddy O. has an additional mid band for flexibility. All controls have a practical resistance on the potentiometer shafts, but the alignment of the controls, especially with the Daddy O., becomes a bit of fiddling.

The on/off switch on the front is visually very appealing due to its imitation metal, but it has to be in the middle to ensure a perfect switching process. If you hit it on the edge, the switch can jam, as happened to me with the Daddy O. during the test run.

A small red LED, which was placed between the controller, provides information about the operating status of the device. On the front there are the standard input/output sockets and the connection for an external 9V power supply.

On the underside of the devices, a large and unusually thick rubber mat ensures good stability and high slip resistance. The very easily accessible 9V block is attached behind a plastic clip. Probably in order to be able to operate sister models with 18V, two battery recesses were provided here.

In our 9V case you can use this recess to place a corresponding replacement battery here. The devices are once again manufactured in China.


Practice:

If you switch on the pedals, this happens without any switching noises. Even though the Fab Tone and the Daddy O. do not have a true bypass, the tonal discoloration that the devices caused in the signal path was absolutely negligible.

Both devices immediately stand out due to the very high effectiveness of their controls. The volume controls already fulfill much more than their main function of a catch-up amplifier. At around 12 o'clock they give a 1:1 value in terms of signal volume on / off FX sound, beyond that they switch to the booster function. And what a booster!

I have rarely seen a distortion device that blows the amp as hard as the Danelectro group. This behavior requires a very considered approach. What suits an Alltube head in crunch mode, depending on the target musical sound, can sometimes be met with very unpleasant half-wave cuts by a transistor preamplifier.

Here again the joy of experimentation is required. Even if I sometimes repeat myself in the distortion test, it must be said again and again that every distortion sounds COMPLETELY different depending on the type of amplifier. What causes a frenzy with Amp A sounds like flushing the toilet at exactly the same setting on Amp B. So be careful, always try out a distortion device with your own amp!

The sound control of the two devices is also very extreme in terms of their dB increase / decrease. The Fab Tone in particular has a boost in the treble range when turned to the right, which is in no way inferior to a pure graphic EQ. This orientation also needs to be brought under control and requires some experience. At the beginning, as a beginner, you should read the manufacturer's manual and use the sound examples as a guide; the information is simple but helpful.

A direct comparison of the devices immediately makes it clear that on the one hand it is an overdrive and on the other hand it is a distortion. The tonal side of the Daddy O. comes across as very soft, sometimes a bit wobbly. The guitar tone is recorded properly, but then tends to be a little irrelevant, although this is very well compensated for by the effective tone control.

If you now take care of the tone control, you have the opportunity to bend the signal very effectively in terms of sound. In the neutral setting (all controls at 12 o'clock) the guitar is deprived of a few basses and trebles, but these can be adjusted accordingly. In my opinion, the emulation of a preamp tube is a bit too “muted”, but it does a good job in terms of softness.

The FabTone works much tighter and sharper here. Even in the moderate setting it scratches its way through the sound spectrum and conveys much more aggression to the guitar than its retro look suggests. This distorter bites!

Both pedals have a very unique sound that will polarize fans. The electronics give the devices a consistently slightly treble-heavy sound with a touch of bass cut without boosting the mids. By using the tone control, the basic orientation is maintained and freshens up the sound, especially with amplifiers that tend to be rather grumpy.



Conclusion:

Once again Danelectro is sending two pedals into the race that offer a visual treat. The retro-inflected designer pieces represent a clear counterpoint to the puristic individual pieces from other manufacturers, which have also gained popularity recently.

Due to the unusually high intensity of the tone control and their strong boost behavior, Fab Tone and Daddy O. have a very large variety of sounds, which give even rather inconspicuous amps a new shine.

As always, whether you like the Danelectro basic sound is purely a question of taste and must be discussed purely subjectively by every musician.

———————-

Additional Informations:

Danelectro guitars were known for their unique sound and appearance. The company's use of Masonite, a type of hardboard, for the bodies of its guitars gave them a distinctive look and sound. Danelectro guitars were also known for their lipstick-tube pickups, which produced a warm, mellow tone.

In the 1960s, Danelectro began to experience financial difficulties. The company was sold in 1969, and went out of business in 1971. However, the Danelectro name was revived in the 1990s, and the company is now once again producing guitars.

**The Early Years**

Nathan Daniel was born in 1912 in New York City. He was a self-taught engineer, and began building his own amplifiers in the early 1940s. In 1947, he founded Danelectro Corporation, and began selling amplifiers to music stores.

Danelectro's amplifiers were quickly successful, and the company soon became one of the leading manufacturers of amplifiers in the United States. In 1954, Danelectro decided to expand its product line and begin producing guitars.

**The Danelectro Guitar**

The first Danelectro guitar was the Model 59. It was a solid-body guitar with a single lipstick-tube pickup. The Model 59 was followed by a number of other models, including the Model 66, the Model 1000, and the Shorthorn.

Danelectro guitars were known for their unique sound and appearance. The use of Masonite for the bodies of the guitars gave them a distinctive look and sound. Masonite is a type of hardboard that is made from wood fibers. It is a relatively inexpensive material, and it is also very durable.

Danelectro guitars were also known for their lipstick-tube pickups. Lipstick-tube pickups are small, single-coil pickups that are mounted in the body of the guitar. They produce a warm, mellow tone that is perfect for a variety of musical styles.

**The Rise of Danelectro**

Danelectro guitars quickly became popular with a wide range of musicians. In the 1950s and 1960s, Danelectro guitars were used by some of the biggest names in music, including Jimmy Page, Duane Eddy, and Link Wray.

Danelectro guitars were also used in a number of classic films. The Model 59 can be seen in the 1959 film "The Wild One," and the Model 66 can be seen in the 1955 film "Rebel Without a Cause."

**The Fall of Danelectro**

In the 1960s, Danelectro began to experience financial difficulties. The company was sold in 1969, and went out of business in 1971. There were a number of factors that contributed to Danelectro's demise.

One factor was the rise of competition from other guitar manufacturers. In the 1960s, Fender and Gibson began to produce guitars that were more expensive than Danelectro guitars, but were also of higher quality.

Another factor was the changing tastes of musicians. In the 1960s, many musicians began to prefer guitars with a brighter, more aggressive sound. Danelectro guitars were not able to compete with these guitars.

**The Revival of Danelectro**

In the 1990s, the Danelectro name was revived by a new company called Danelectro Corp. The new company began producing guitars that were based on the original Danelectro designs.

The new Danelectro guitars were a success, and the company quickly became one of the leading manufacturers of reissue guitars. In 2006, Danelectro Corp. was acquired by the Music Group (now known as Ernie Ball Music Man).

**Danelectro Today**

Danelectro is still producing guitars today. The company offers a wide range of guitars, including reissues of classic models, as well as new models. Danelectro guitars are still popular with a wide range of musicians, and they continue to be used in a variety of musical styles.

**Danelectro Pedals**

In addition to guitars, Danelectro also produces a line of pedals. The company's first pedal was the Danelectro Honeytone, which was released in 1954. While the Danelectro Honeytone marked their initial foray into pedals in 1954, their true journey in stompboxes unfolded later. Let's explore their unique path:

**From Amps to Effects:**

While Danelectro's early focus was on innovative amplifiers, effects units weren't completely absent. They offered the "Nuggets of Tone" series in the 60s, featuring simple but effective distortion and tremolo pedals. However, Danelectro's pedal legacy took a hiatus following the company's closure in 1971.

**The Revival and Beyond:**

The revived Danelectro Corp. in the 90s reintroduced pedals alongside their iconic guitars. Initially, they focused on reissues of classic models like the Honeytone and "Nuggets of Tone." These affordable, quirky pedals resonated with players seeking vintage sounds and distinctive aesthetics.

**A Burst of Creativity:**

From the 2000s onwards, Danelectro ventured beyond reissues, developing new and innovative pedals. Their unique approach embraced affordability, functionality, and vintage-inspired charm. Here are some key highlights:

* **Danocaster Series:** Introduced in the early 2000s, these offered classic overdrive, distortion, and fuzz tones in compact, colorful housing. Models like the Dano Distortion and Dano Fuzz became popular for their affordability and punchy character.
* **Fab Echo and Fab Chorus:** Released in 2006, these offered classic analog echo and chorus tones in a unique mini format. Their small size and affordability made them attractive for pedalboard real estate and experimentation.
* **Cool Cat Series:** Launched in 2008, this series expanded their offerings with diverse effects like tremolo, vibrato, and analog delay. These pedals continued their emphasis on affordability and distinctive sounds.
* **Collaboration with DOD:** In 2014, Danelectro collaborated with fellow effect pedal giant DOD, releasing limited-edition versions of DOD classics like the Bi-Fet Chorus and Gonkulator fuzz. This further expanded their appeal to vintage stompbox enthusiasts.
* **Continued Innovation:** Today, Danelectro maintains its commitment to affordable and unique pedals. Recent releases include the Black & White Series, offering classic modulation and overdrive effects in sleek designs, and the Mini Amp series, recreating iconic amp tones in pedal format.

**Danelectro Pedals: A Legacy of Affordability and Character**

While not as extensively documented as some major pedal manufacturers, Danelectro's impact on the effects world is undeniable. Their pedals offer:

* **Vintage-inspired tones:** Many models draw inspiration from classic circuits, providing warm, organic sounds at an accessible price point.
* **Unique aesthetics:** Eye-catching designs and colors set them apart from the crowd, appealing to players who appreciate individuality.
* **Affordability:** Danelectro pedals have consistently been accessible to budget-conscious musicians, democratizing access to quality effects.

Whether you're a seasoned pedal collector or a beginner searching for your first stompbox, Danelectro offers a distinct value proposition. Their pedals might not be for everyone, but they have carved a niche with their unique sonic character and commitment to affordability, ensuring their continued relevance in the ever-evolving world of effects.

**Further Exploration:**

* Explore specific Danelectro pedal models and their features in detail.
* Compare Danelectro pedals to other brands within similar price ranges and sonic profiles.
* Investigate the influence of Danelectro pedals on specific genres or players.
* Consider the impact of Danelectro's revival on the broader stompbox market.

By delving deeper into these aspects, you can gain a comprehensive understanding of Danelectro's contributions to the world of guitar effects pedals.

TEST: Danelectro LH4 BB

 Anyone who knows me knows that I have made one or two enemies for myself by telling the truth more often than is good for me. The truth is that the visual attitude of the Danelectro company captivated me when I saw their instruments for the first time on a TV show about 35 years ago, but by no means made me a fan of their extravagant shapes .

The body shape, which is sometimes reminiscent of Emperor Nero's lyre (“Burn, Rome, Burn!”), polarizes right up to the stand-up collar and at first glance only allows for the two thumb positions from the Colosseum.

But the truth is that with every year that passed, my taste slowly changed and I currently find the curves of the “cardboard colleagues”, which sometimes take getting used to, very distinctive. It's strange how everything changes in an artist's life.

By the way, the LH4 BB bass I have is a truly “old” friend. I discovered the design in question in the above-mentioned TV show with the group “The Who”, where bassist John Entwistle played a Danelectro bass.

Legend has it that Danelectro was the only company at the time to equip its basses available in Europe with unpolished strings. Entwistle was so excited about this sound that he wore out the strings to the point where he couldn't do it anymore. However, when they started to break, he bought more Danelectro basses, but only to get the unpolished strings due to a lack of distribution channels.

That's what I call consistency, coupled with a good portion of luxury ;-)


Construction:

Masonite. The building material, which almost exclusively and equally anachronistically represents Danelectro, originally comes from boat building and is a type of fiberboard, which is attached to a plywood frame and creates the body of the instrument. That means the instrument is hollow.

The instrument has a maple neck that is comfortable to grip and has a rosewood fingerboard with 24 medium jumbo frets. The body is attached using 4 medium-sized screws. The fingerboard markings are white plastic dots.

In keeping with the style of its heyday, the “Swinging Sixties”, the LH4BB only has a medium scale length of 76 cm, which takes away some of the low and high end of the instrument, but in return makes it extremely easy to play.

In addition to fiberboard and “Bodies From Outer Space”, the third trademark of the company founded by Nathan Daniel in 1947 should not be missing: the Lipstick pickups. Born more out of necessity at the time by buying up an overproduction of lipstick tubes, the pickups are still at the forefront in terms of aesthetics, even if the construction tends to be very microphonic due to their large air pockets.

Two representatives of this category, controlled by a master volume control, a master height control and a three-way switch, do their job on this instrument. A small, transparent striking plate protects the surface against excessive punctures due to excessive use of the pick. By the way, the instrument is manufactured in Korea.

A simple but effective bridge construction, which rests on just three screws, allows individual adjustment of the individual riders.

4 tuning mechanisms, whose diameter would be more likely to be assigned to the guitar bearing, perform an unexpectedly smooth operation on the black lacquered headstock. In general, the current models have made up a lot of ground compared to their forefathers when it comes to hardware, as detailed solutions made of wood were often used in those days, whereas today solid steel ensures more strength and better sound.

P.S. I still have to get used to the painted trash can on the back of the headstock, which according to the waste law now has to be attached to every instrument. Another example of stupid legislation in the great incompetence round...


Practice:

A hint of blue metallic sunburst hits the eyeball as the instrument is stripped of its foliage. Tastefully and cleanly executed, I like it. The neck and headstock, however, are painted opaque black.

In terms of playing technology, the Longhorn knows how to convince within seconds, as the medium-scale bass offers more of the handling of a baritone guitar than the physicality of the top dog Longscale, which is sometimes associated with hard work.

It is extremely easy to handle, even complex runs in the lowest positions. Especially the third guitarist, who was forcibly recruited by the ego-ridden lead guitarist (“You're learning bass!”), will be happy to find a scale length that proves to be significantly more homely than the 84 cm plus giants in the conversion process to the low-frequency range.

In terms of sound, the LH4BB can, as expected, due to its vintage orientation, be used both in the “fingerstyle-neck-pickup-we-muffle-our-way-through-the-sixties” and in the “plektron-Bert-Kämpfert-Knackbass-I-am-almost-so-loud”. “Like-the-singing” sound is completely convincing.

Of course he has to admit defeat to many other representatives of his craft when it comes to pressure, punch and attack, but anyone who grew up in a beat era has other priorities than the ultimate low tone beyond the 150 Hertz mark.

Played while sitting, the bass exudes an unusual lightness, as all the notes are significantly closer to the human torso than usual. This helps you play in a relaxed manner; you are inclined to call a travel bass your own.

However, when the belt is used, the clouds darken a little on the horizon. Due to the neck strap pin being located far back, the Danelectro tends to be quite top-heavy, but you get used to it quite quickly.


Conclusion:

Once again, Danelectro never tires of polarizing. Actually, it is tedious to discuss the advantages and disadvantages of the construction; experience has shown that even this test report will reach fewer bass players than the instrument deserves, the bias towards the optics is too great.

But if you manage to overcome your bias or if you are even one of the fans of the “boat building guild”, you will find an instrument that does exactly what it is supposed to do for little money. The spirit of a highly creative but long-ago decade is included for free.

Anyone who likes vintage in general, plays in a real oldies band or has promised their valuable free time to the 12-stroke engine will find an ideal fulfillment assistant in one of the great classics of the beat era.

And I also like the color...

——————-

Additional Informations:


In the annals of musical history, certain instruments stand out not just for their sound but for the stories behind their creation. Among these, the bassline of Danelectro Guitars holds a special place. Born out of innovation and necessity, its journey reflects the ingenuity and creativity inherent in the world of musical instrument design. This article delves into the rich tapestry of events and influences that led to the development of Danelectro's iconic bassline.

1. The Genesis of Danelectro:
To understand the birth of Danelectro's bassline, we must first explore the origins of the company itself. Founded in the late 1940s by Nathan Daniel, Danelectro Guitars emerged during a transformative period in American music. Daniel, a skilled craftsman and innovator, sought to provide high-quality instruments at an affordable price point, catering to aspiring musicians who couldn't afford the premium offerings of established brands.

2. The Context of Post-War America:
The post-World War II era was marked by a burgeoning interest in popular music, fueled by the rise of rock and roll and the advent of television. As musical tastes evolved, so did the demand for instruments that could produce the distinctive sounds of the era. Danelectro seized this opportunity, leveraging innovative designs and cost-effective manufacturing processes to carve out a niche in the competitive musical instrument market.

3. The Birth of the Danelectro Bassline:
Central to Danelectro's success was its commitment to pushing the boundaries of instrument design. In the early 1950s, the company introduced its first electric bass guitar, which would lay the foundation for the iconic bassline that would follow. Drawing inspiration from traditional bass designs while incorporating unique features, Danelectro's bass guitars quickly gained popularity among musicians seeking a distinct and versatile sound.

4. Innovative Design Features:
What set Danelectro's bassline apart were its innovative design features, which combined functionality with aesthetic appeal. The use of lightweight materials such as masonite and poplar wood allowed for a comfortable playing experience without sacrificing tone quality. Additionally, Danelectro pioneered the use of lipstick pickups, which imparted a unique sonic character to their instruments, characterized by warmth and clarity.

5. Cultural Impact and Legacy:
As Danelectro bass guitars found their way into the hands of musicians around the world, they left an indelible mark on popular music. From the throbbing basslines of rock and roll classics to the funky grooves of soul and R&B, Danelectro's instruments became synonymous with the sound of an era. Moreover, their affordability and accessibility democratized music-making, empowering countless aspiring musicians to realize their creative potential.

6. Evolution and Adaptation:
Over the years, Danelectro has continued to innovate and evolve, adapting its bassline to meet the changing needs and tastes of musicians. From reissues of classic models to the development of new designs incorporating modern technology, the company remains committed to honoring its heritage while embracing the future. Today, Danelectro bass guitars continue to inspire musicians of all genres, carrying forward a legacy of innovation and excellence.

7. Influence on Musical Styles:
The impact of Danelectro's bassline extends beyond its technical specifications; it has profoundly influenced various musical styles and genres. In the realm of rock music, Danelectro bass guitars have been favored by legendary bassists such as Jack Casady of Jefferson Airplane and John Entwistle of The Who. Their distinctive sound, characterized by punchy lows and clear highs, helped shape the sonic landscape of rock music in the 1960s and beyond.

8. The Sound of Motown:
In addition to rock, Danelectro bass guitars found a home in the vibrant world of Motown and soul music. Musicians like James Jamerson, the iconic bassist for Motown Records, relied on Danelectro instruments to lay down the infectious grooves that defined the Motown sound. The combination of the Danelectro bass's unique tonal characteristics and Jamerson's virtuosic playing style contributed to countless hit records and cemented its place in music history.

9. DIY Culture and Customization:
One of the hallmarks of Danelectro's bassline is its appeal to DIY enthusiasts and tinkerers. The simple yet robust design of Danelectro bass guitars makes them ideal candidates for customization and modification. From swapping out pickups to refinishing the body, musicians have long enjoyed the opportunity to put their personal stamp on their instruments. This DIY ethos has fostered a vibrant community of Danelectro enthusiasts who share tips, tricks, and mods online, further enhancing the legacy of the brand.

10. Enduring Popularity and Collector's Appeal:
Despite the passage of time, Danelectro bass guitars continue to enjoy widespread popularity among musicians and collectors alike. Vintage models fetch premium prices on the collector's market, driven by their historical significance and timeless appeal. Moreover, Danelectro's commitment to quality and affordability ensures that its instruments remain accessible to musicians of all skill levels and backgrounds, ensuring that the legacy of the bassline will endure for generations to come.

11. Collaborations and Special Editions:
In recent years, Danelectro has collaborated with artists and designers to create limited-edition bass guitars that pay homage to its rich heritage. These special editions often feature unique finishes, custom hardware, and signature pickups, offering collectors and fans a chance to own a piece of musical history. Furthermore, these collaborations serve as a testament to Danelectro's ongoing relevance and its ability to adapt to changing trends while remaining true to its roots.

12. Conclusion: A Continuing Legacy of Innovation
As we reflect on the enthralling journey of Danelectro's bassline, one thing becomes abundantly clear: its story is far from over. From its humble beginnings in post-war America to its enduring legacy in today's music scene, the Danelectro bassline continues to captivate and inspire musicians around the world. Whether on stage, in the studio, or in the hands of collectors, Danelectro bass guitars stand as a testament to the power of innovation, creativity, and passion in the world of musical instrument design. As we look to the future, one can only imagine the new chapters that await in the ever-evolving saga of Danelectro Guitars and its iconic bassline.

TEST: Danelectro Baritone

 "So what is that"? Almost all of my colleagues react one way or another when they see the Danelectro Longhorn Baritone guitar for the first time. Hardly any other body shape polarizes as much as the classic Longhorn shape from the American manufacturer. In fact, the striking shape due to the very long horns of the upper and lower cutaways has to be included in the range of body forefathers immediately after the giants from Gibson and Fender. Especially in the golden electric guitar years of the 50s and 60s, Danelectro guitars and basses were a trademark in contemporary music, as their sounds can be heard on thousands of surf titles.

John Entwhistle from The Who also bought several Danelectro basses at the time, but only because roundwound strings were not yet available on the British market at that time and the only way to get these strings in the UK was to buy a Danelectro bass , which came with these same strings. Not bad either, buying a new bass when the strings are worn out sounds like “selling a car when the ashtray is full...” ;-)

The company, founded in 1947, has an eventful history behind it. Initially established as an amplifier manufacturer for Sears and Mongomery Ward, the company began building its own instruments in 1954. Despite the above-mentioned peak phase, the company was unable to stay on the market and was closed again in 1969. In 1990 the label was rediscovered and reactivated.

But why baritone guitar? What kind of strange thing is that anyway? At the time of its construction, the instrument was seen as a hybrid between a standard guitar and a bass. Your tuning normally corresponds to a guitar tuned a perfect fourth lower and is therefore designed with B-E-A-D-F#-B. Concise guitar or bass lines were often doubled with such an instrument in order to transfer them to the next higher or lower voicing. In the age of downtuning (which has now become mainstream...), these instruments can now boast a completely different feature that is usually sorely missed with a short (625 mm) or long (648 mm) standard scale: string tension.

The mostly unsuccessful attempt to add something like “tension” to the (formerly) E string using a 013 set with a dropped B tuning is achieved worlds better with the 760 mm long baritone scale length.
Even very deep tunings retain a clear definition and can be clearly located in the sound structure. The inconsequential “chattering” that is produced by almost all seven-string guitars or “four-semitone-lower-and-more tunings” comes to an end with such an instrument; here, even with extreme “basement tuning”, you can really get hands on with the instrument again hip, trendy, popular.



Construction:

One of the great special features of Danelectro is the body material from which the instrument is built. The bodies of the instruments are hollow and are made from a poplar wood frame laminated with Masonite. Masonite is a type of plastic that was also used to make boats at the time. This construction has the advantage that the weight of the instruments is very limited; no instrument exceeds the 3 kilogram limit. Of course, on the other hand, this design significantly limits the sustain of the instrument; if you expect singing and standing tones, you are completely wrong with this design. However, if you are looking for crisp lines with a high level of assertiveness, primarily played with the plectrum, you will find a good partner in this design.

The neck of the instrument is made of maple and has a medium-strength “D” profile, the fingerboard is made of rosewood and has medium-strength jumbo frets. The neck was screwed onto the body a little carelessly with a slight overhang, you won't find seamless transitions or detailed fine work, here only a neck was connected to a body! The saddle is screwed from the headstock and made of aluminum. Six encapsulated and chrome-plated tuners do an impeccable job and can easily cope with the significantly increased string tension. The bridge construction allows for individual height adjustment of the individual riders and is attached to the body with a total of three screws.

In addition to the unusual body construction, there is a second feature that has always made Danelectro instruments stand out from the crowd: the “Lipstick” pickups. Visually as if it had come from a designer's design, the history of the pickup's origins is rather mundane. In order to keep production costs low, the company bought large stocks of over-produced lipstick tubes in order to place its Alnico pickups in them. All you can see is the elegant chrome-decorated brass casing, no magnets or coils can be seen, which gives the concept a very dignified appearance. The pickups are fixed in height from the back with 2 screws each.

The switching of the instrument is quite spartan, a three-way switch and a master volume and a rather ineffective master tone fader have to suffice to carry out all switching operations. To protect the high-gloss finish, a small, transparent pickguard with two screws is attached to the body


Practice:

Danelectro polarizes! It has always been that way and will always remain that way. The latent “cardboard character” that the instrument exudes makes it an unparalleled cult object with tonal charm and independence for some, while others simply consider it a cheap instrument without the necessary punch. The fact is that Danelectro is unparalleled in its area of application. In the clean range, the instrument is absolutely convincing, especially since its hollow sound makes it relatively easy to locate it in the sound structure. Even in moderately crunchy areas, the Longhorn works with its head held high, but as the gain increases it runs out of steam in terms of sound culture and sensitivity. But this was to be expected, as the entire retro design is designed for a clearly defined area of use.

From a technical point of view, the significantly longer scale length is surprisingly easy to play. Although the fret spacing is naturally larger than with the standard scale length, the changeover phase is surprisingly quick. When it comes to chord strumming and moderate lead passages, there are actually no problems at all, only fast runs in the lower registers are a little more difficult than usual. As expected, the bends also have to be carried out with a greater amount of force, on the one hand because of the string tension, and on the other hand because the distance that you have to cover on the fretboard for a half note or full note bend is different due to the longer scale length.


Conclusion:

You can say what you want, this instrument has something. It feels good, has a lot of spirit and is guaranteed to be noticed by everyone visually and acoustically. In addition, with this moderate selling price, the inclination towards a second instrument is obvious; you can definitely expand your tonal range with the Longhorn Baritone.

—————-

Additional Informations:

Danelectro guitars were known for their unique sound and appearance. The company's use of Masonite, a type of hardboard, for the bodies of its guitars gave them a distinctive look and sound. Danelectro guitars were also known for their lipstick-tube pickups, which produced a warm, mellow tone.

Danelectro guitars were popular with a wide range of musicians, including Jimmy Page, Duane Eddy, and Link Wray. The company's guitars were also used in a number of classic films, including "The Wild One" and "Rebel Without a Cause."

In the 1960s, Danelectro began to experience financial difficulties. The company was sold in 1969, and went out of business in 1971. However, the Danelectro name was revived in the 1990s, and the company is now once again producing guitars.

**The Early Years**

Nathan Daniel was born in 1912 in New York City. He was a self-taught engineer, and began building his own amplifiers in the early 1940s. In 1947, he founded Danelectro Corporation, and began selling amplifiers to music stores.

Danelectro's amplifiers were quickly successful, and the company soon became one of the leading manufacturers of amplifiers in the United States. In 1954, Danelectro decided to expand its product line and begin producing guitars.

**The Danelectro Guitar**

The first Danelectro guitar was the Model 59. It was a solid-body guitar with a single lipstick-tube pickup. The Model 59 was followed by a number of other models, including the Model 66, the Model 1000, and the Shorthorn.

Danelectro guitars were known for their unique sound and appearance. The use of Masonite for the bodies of the guitars gave them a distinctive look and sound. Masonite is a type of hardboard that is made from wood fibers. It is a relatively inexpensive material, and it is also very durable.

Danelectro guitars were also known for their lipstick-tube pickups. Lipstick-tube pickups are small, single-coil pickups that are mounted in the body of the guitar. They produce a warm, mellow tone that is perfect for a variety of musical styles.

**The Rise of Danelectro**

Danelectro guitars quickly became popular with a wide range of musicians. In the 1950s and 1960s, Danelectro guitars were used by some of the biggest names in music, including Jimmy Page, Duane Eddy, and Link Wray.

Danelectro guitars were also used in a number of classic films. The Model 59 can be seen in the 1959 film "The Wild One," and the Model 66 can be seen in the 1955 film "Rebel Without a Cause."

**The Fall of Danelectro**

In the 1960s, Danelectro began to experience financial difficulties. The company was sold in 1969, and went out of business in 1971. There were a number of factors that contributed to Danelectro's demise.

One factor was the rise of competition from other guitar manufacturers. In the 1960s, Fender and Gibson began to produce guitars that were more expensive than Danelectro guitars, but were also of higher quality.

Another factor was the changing tastes of musicians. In the 1960s, many musicians began to prefer guitars with a brighter, more aggressive sound. Danelectro guitars were not able to compete with these guitars.

**The Revival of Danelectro**

In the 1990s, the Danelectro name was revived by a new company called Danelectro Corp. The new company began producing guitars that were based on the original Danelectro designs.

The new Danelectro guitars were a success, and the company quickly became one of the leading manufacturers of reissue guitars. In 2006, Danelectro Corp. was acquired by the Music Group (now known as Ernie Ball Music Man).

**Danelectro Today**

Danelectro is still producing guitars today. The company offers a wide range of guitars, including reissues of classic models, as well as new models. Danelectro guitars are still popular with a wide range of musicians, and they continue to be used in a variety of musical styles.

## Deep Dive into Danelectro Models:

**1. The Model 59:** This solid-body, single-pickup wonder was the first commercial electric guitar Danelectro offered in 1954. Its features and impact are worth unpacking:

* **Unique Design:** Made entirely from Masonite, a then-unconventional material, it had a distinctive "lipstick tube" pickup and a sleek, almost futuristic look that set it apart from traditional wooden guitars.
* **Sound Characteristics:** The Masonite construction gave it a warm, mellow tone with less sustain than wooden guitars, but perfect for twangy surf rock and bluesy riffs. The lipstick tube pickup provided a smooth, even response, further contributing to its character.
* **Notable Players:** The Model 59 attracted players like Jimmy Page (Led Zeppelin), Link Wray (songwriter of "Rumble"), and Dick Dale (king of surf rock). Its affordability and unique sound made it a favorite among beginners and established musicians alike.

**2. The Model 66 U2:** This hollow-body beauty, released in 1956, offered a distinct contrast to the Model 59:

* **Construction:** Featuring a masonite top and back with a maple core, it resonated like a semi-acoustic guitar, producing a richer, fuller sound with more sustain.
* **Versatility:** The dual lipstick tube pickups allowed for tonal variations, making it suitable for jazz, blues, and even rockabilly styles. Players could switch between pickups or combine them for a wider sonic palette.
* **Famous Users:** Lonnie Mack (rockabilly pioneer), Bruce Springsteen (early recordings), and John Lennon (on The Beatles' "Revolution") all utilized the Model 66 U2's sonic versatility.

**3. The Longhorn:** This eye-catching bass, introduced in 1956, boasted an unorthodox, long-horned body that turned heads:

* **Design Innovation:** The Longhorn's body shape wasn't just for aesthetics; it improved balance and weight distribution, making it comfortable to play. The single lipstick tube pickup delivered a punchy, focused bass sound.
* **Genre Influence:** The Longhorn became synonymous with early rock and roll, thanks to players like Jerry Garcia (Grateful Dead) and Jack Casady (Jefferson Airplane). Its unique look and tone contributed to the rawness and energy of those early rock sounds.

These are just a few examples, and each Danelectro model has its own story to tell. By exploring their design choices, sonic characteristics, and impact on specific music genres, we gain a deeper appreciation for the innovative spirit and lasting legacy of Danelectro guitars.

SPECIAL: Smartphone / Tablet Brackets

 When the author of this article was in his musical formative phase, music stands on a stage were only ever clearly assigned to one musical genre, classical music with the corresponding orchestral musicians. Perfect notists, who were forbidden any personal expression in the game, read the score like a novel and therefore did not need to memorize any passages. Impressive, but without a personal touch. Perhaps the area could be expanded to include dance musicians who had to be proficient in accompanying artists or who, due to an extremely high repertoire, needed support here and there with the lyrics or certain phrases.

But that was it when it came to the music stands, which always entailed a certain degree of stiffness. Rock music, for example, with music stands, completely unthinkable, downright blasphemy. The horror was all the greater when I first saw Wolfgang Niedegen, singer of the group BAP, on stage in front of him with a wooden music stand that seemed to cover half of his body, from which he was reading his lyrics, since it was apparently not possible for him to learn them by heart.

Those days are long gone. All forms of smart devices have long since made their way onto the stage, especially since 90% of all drum sets have a MacBook on the side from which the artists play their backing tracks, although they are not able to perform them live. In addition, a tablet today only takes up a fraction of the space that was previously taken up by music stands and, in addition to their main function as a textual support, these same devices have long since developed into a kind of digital control center in some areas, where amplifiers can be controlled remotely . can regulate your personal mix on the in-ear remotely via the digital console.

Today we want to take a look at the current products from the three largest providers in the area of smartphone / tablet holders and address the respective areas of application of the holders. Our three providers are the company Gravity Stands, which is one of the brands of the Adam Hall Group, the company Hercules Stands, which is a brand of the Taiwanese company KHS Musical Instruments Co. and the top dog from Wertheim in Germany, König & Meyer. The focus of the test is on attaching it to or on a microphone stand, but we will also look at table mounts, which should be of interest to both instrumentalists and podcasters in the table or keyboard area.


The basic orientation

All mobile device holders struggle with the same problem.

1.) Weight:

The products must be as light as possible. If the device were to exceed a certain weight, there would not only be a risk of a tripod tipping to the side, the device would also run the risk of moving downwards during the performance, as the respective holders may not be able to support the additional weight .


2.) Stability:

The products must be as stable as possible. The constant assembly and dismantling of the product and the very tight tightening of the screws always put a lot of strain on the product, so the metal and plastic materials have to be of a much higher quality than is generally the case.


3.) Transportability:

The products must be easy to transport, which means that they should have as many folding and bending elements as possible, which can be folded up so that the product can be transported in a small bag, but on the other hand can also be locked firmly again as quickly as possible , which means you don't have to fix too many joints every time for an upcoming performance.


4 Compatibility:

The respective holders must be able to accommodate different dimensions in terms of width, height and, above all, depth. For example, many devices are transported in a protective cover, which requires a high level of flexibility in the area of depth recording.


So, as test devices for the recording ability there is a current iPhone 15 in a slim protective case, an older iPhone X in an Otterbox case and an iPad Air in a massive protective case. We'll start with the smartphone holders. You can choose from brackets that are screwed onto a regular tripod or products that come with their own tripod.


The brackets in detail

K&M smartphone holders

The K&M smartphone holders 19761 and 19762 represent the simple variant of a smartphone holder that is also known from car holders. They allow a smartphone with a width of 4.5 - 9 cm to be held using a simple fold-out function in the foot area A ball joint allows a 360 degree rotation, although a real headstand cannot really be recommended due to the only one-sided, lower support despite the side clamps. The big advantage of these products is that they are easy to use, as you can lock the smartphone with one hand if necessary. The version 19762 is screwed directly onto a standard tripod with a 3/8" connection, while the version 19761 allows clamping for a tube diameter of 10 - 30 cm.

The 19755 version, on the other hand, with a height of 130 - 180 mm and a depth of 15 mm, is aimed at particularly tall or wide smartphones that require a stable hold on all 4 sides. The smartphone is much more secure in the recording due to the 4 holders, but this version has the disadvantage that, unlike the models 19761 and 19762, you cannot use the main camera because it is covered by the holders.

The holder of the model 19755 is also available in the 19756 version as a table tripod, which can be used both in the office and on stage in the backliner area or on a keyboard, with the color changing from the pure black of the 19755 to a black/gray mixture changed. In this case, however, I would refrain from using a touchscreen control, as the underside of the table tripod is not rubberized and can be moved relatively easily. However, if the smartphone is controlled via Bluetooth, for example by a foot switch, you can of course view and use the product as a purely visual element.

The same holder is also used on the 19759 smartphone tripod, which allows a height of 600 - 1,400 mm and can therefore be placed very well on stage as a standalone solution. Here, too, the smartphone can be easily removed from the holder by simply folding the clamping device, which is located on the back of the holder, backwards using your thumb. This action can also be easily carried out with one hand.

A little fun on the side. All three brackets contain a black tube as a connecting piece of the very high-quality metal elements in classic K&M style, which at first glance looks like metal, but at second glance turns out to be plastic, which is very stable and which can be bent in all directions . I was really surprised when I unpacked the products and spent several minutes thinking about how I should bend a piece of metal.


Hercules Stands smartphone holders

The company Hercules Stands takes a slightly different approach with its HCDG-207B smartphone holder. The holder in the classic yellow / black Hercules “wasp layout” is suitable for smartphones with a diagonal of 12 - 17.5 cm. The system can be attached to 3 cm tables, round and rectangular bars, and the case or holder for the smartphone does not have to be removed. The weight of the holder is only 320 g and can withstand a maximum load of 1 kg. The system works with a simple spring tension and must be operated with two hands.

An interesting plus point of the system is an integrated “cold shoe” adapter, which is particularly useful for extended audio or video recordings. A "cold shoe adapter" or "cold shoe mount" is a mount that is located on the top of a mounting plate. It is called "cold" because it does not have its own power source. The additional devices are connected to the camera via cable. There are many options for mounting devices ranging from external microphones to another mini camera like Gopro.

However, the HCDG-207B can only demonstrate its full flexibility with the Podcast Arm HCDG-107B. In addition to mounting on a desk, it can also be clamped to round or square tubes, such as a keyboard stand. The arm can also be used with the tablet holder described later. In addition to the fact that the position of the clamp and the thread can be swapped as desired, so that the podcast arm can be attached to the surface with either the long or the short arm side, I particularly liked the “TightVice” holder Both arms can be fixed in a 360 degree position with just one screw, which extremely speeds up the assembly and dismantling of the product.


Now let's move on to the area of tablet holders.

K&M tablet holders

We'll start with the K&M 19743 Tablet PC Holder, a universal tablet holder with a clamping mechanism for all tablets measuring approximately 10" to 16". A special feature of the tablet is that the tablet holder is made of bio-based plastic. These plastics contain a proportion of over 50% to 100% of renewable plant raw materials and, by using renewable raw materials, help to conserve oil reserves and reduce CO2 emissions. Once again, K&M is committed to producing its products in the most environmentally friendly way possible; the company has been known for years for its recycling operations, its avoidance of pollutants in its products and for the treatment of its process water to drinking water quality. More information about bio-based plastics can be found at: biokunststoff.k-m.de.

The clamping range of the tablet PC holder is between 158 and 280 mm. According to the manufacturer, the holder is particularly suitable for using tablets with a protective cover or case up to a thickness of 18 mm, which is indeed the case. Even my iPad, which is in a very thick protective case, could be placed on the holder without me having to remove the protective case. The holding arm with clamping prism is suitable for clamping to pipe diameters up to 30 mm. As an additional side guide, K&M uses a perforated steel bracket, which ensures upright operation. If possible, attaching the metal bracket should be combined with a quick look at the operating instructions, as you need to press an inconspicuous plastic pressure lever for the “ratchet lock”. After that, the system is rock solid. The same holder is also available in the 19765 version, which comes without a steel bracket on the side and is only designed for upright operation.

If you don't want to attach your tablet to a microphone stand, but would rather have it placed in its own stand, you're on the right track with the 19789 model, where the 19765 model comes with its own stand. The tripod, which was designed specifically for tablet use, is extremely solid and, with a 300 mm diameter and 4.5 kilo cast gray cast base, offers great stability, which means that almost nothing will sway even at the full support height of 1,430 mm.




Gravity Stands tablet holders

The company Gravity Stands also has two interesting tablet holders in its range, both of which shine with very interesting details. At the very front is the MA TH 01 B holder, which in the typical gravity green / black offers a continuously adjustable clamping range of 150 to 295 mm and is suitable for pipe diameters of 15 - 35 mm using a solid fastening clamp. The tablet is fixed with two triangular holders made of plastic, while in the background a tubular steel construction locks all joints centrally using a single adjusting screw thanks to the Vari-Arm system, which also speeds up assembly and dismantling. Despite the steel construction, the product weighs only 0.662 kg and can be easily transported in any bag.

With the MA T TH 01, however, the range includes a plastic holder that can attach both a smartphone and a tablet to a microphone stand if necessary. This is particularly helpful if, for example, you need a device to read text and want to use the other device as a control unit for products in the background. In single operation, both the tablet unit and the smartphone unit can be attached to the microphone stand at a 360° angle using a ball joint. However, if you want to use dual mode, the smartphone unit is latched onto the lower part of the holding arm using a small tab and then holds the smartphone in landscape format below the holder, while the tablet unit can be locked at the front in normal 360° operation. as you need it for your business. The tablet unit is controlled with two tabs on the back of the holder, with the top tab locking the height of the tablet while the bottom tab sets the width of the two lower arms. Although the product is “only” made of plastic, it gives a very stable and durable impression, which is not the case with many plastic products from other manufacturers.



Hercules Stands tablet holder

With the HCDG-307B, Hercules Stands has a tablet holder in its portfolio, which at first glance attracts attention primarily due to the solid design of the metal arm, which can be attached not only to tables, round and rectangular bars up to 3 cm thick , but can also be swiveled twice over 360 degrees using 2 screws. Tablets or large smartphones with a width/height of 15.5 - 33 cm can be inserted. The tablets are held by two strong spring mechanisms, which have to be pulled apart with two hands, meaning that inserting the tablet into the holder requires a bit of practice at the beginning. What I really like about the system is the fact that you can rotate the four holding points by 360 degrees and, depending on what kind of product you want to attach to the holder, you can use the long sides, cross sides or the corners with them Breakpoints optimally reached. The product also impresses with its very compact dimensions and can be transported in the smallest bag. If you are willing to separate the actual plastic holder from the metal arm, the product can be folded even smaller.


Finally, I have the 23874 tablet PC holder bundle on offer, which, however, is primarily suitable for stationary operation or for FOH or monitor space, due to the gas pressure spring, tablets from 10" to 16" with a Weight of up to 8 kg can be positioned. Here too, a “biobased” holder is used. The clamping range of the tablet PC stand holder is between 158 and 280 mm, although thanks to the table clamp (up to 85 mm thick), the entire holder can be mounted comparatively quickly. USB-C and Lightning connectors can also be guided through the arm, leaving a tidy impression, especially since the entire system can be continuously adjusted in height up to 350 mm when the gas pressure spring is correctly adjusted and can also be rotated between portrait and landscape format.



In summary, I was really surprised at how much the quality of all three providers has improved in recent years. You can clearly see that a lot of brainpower and development work was put into the products by the respective engineers, because the mounts I found from other providers in this area a few years ago basically had the quality of hobby products, which were neither durable nor long-lasting stable yet structurally appropriate for the professional sector. What I found here are all high-end products, which have a high level of stability, very good workmanship, interesting detailed solutions and, above all, a solid design, which is definitely recommended today due to the constantly evolving application possibilities .

All very good products, with K&M getting another extra point for their environmental protection.

SPECIAL: Rehearsal Room Part 1

 Hardly any other topic in music is as comprehensive in terms of style and the personal orientation of the musicians as the topic of rehearsal space or finding a rehearsal room. No matter what kind of creative output you want to present to the listener, music is inevitably linked to the propagation of sound waves and when it comes to enjoyment or inedibility, every person has a completely different idea of what they want to expose to their hearing and what they don't. In short, you need a location where you can give free rein to your creativity, free from external disruptive influences.

In this special we want to talk about the search for a rehearsal room and the special features of such a room. Another special deals with the acoustics of a rehearsal room, its equipment and the technical implementation. But first of all, how do you even get a rehearsal space?

The fairy tale of the perfect rehearsal room

I don't know about you, but throughout my career I've always had to make more or less compromises when it comes to a rehearsal space. The problem is rooted in the fact that on the one hand there can be infernal volumes that need to be mitigated and on the other hand there are musicians who do not have much financial flexibility to pay for this rehearsal room, especially at the beginning of their career or the journey to the same.

That's why when I was a teenager there was always the saying “no matter how dirty, dirty or moldy a room is, you can still rent it out as a rehearsal room”. I rehearsed in the attics of disused grain mills with 83 steps, had a storage room next to a pigsty closed by the veterinary office and, as a highlight, rehearsed in walled-off rooms under a railway line, including an undetected water intrusion, so that the mattresses from behind were moldy in all fungal colors. It goes without saying that none of the rooms had heating and that in the winter the rooms were laboriously heated with gas burners, which swallowed up all the oxygen.

Looking back, I can only shake my head when I think about what they had to put themselves through at the time, but there was simply no other alternative than to bite into these more than just sour apples. The “culprit” of this problem is quickly identified, although in this case it was inevitably the drums. E-drums didn't exist yet and if you wanted to even remotely reproduce the stage volume, an unbelievable volume immediately developed in the rooms, which were usually far too small, which made any form of differentiated listening impossible.

This is in no way meant to be reproachful, as acoustic drums were invented at that time in order to generate the highest possible volume. If you go and accuse this instrument of being too loud, you are doing more than just injustice to this instrument and its users.

We will discuss the extent to which virtual solutions can provide a remedy here in another special. Today it's all about where and how to find a rehearsal room where high volumes are possible without getting on other people's nerves too much.


1.) Rehearsals in private rooms

Even if it is hard to believe, the majority of all rehearsals can be held in private rooms. If we assume a free-standing building that has the appropriate minimum distances from neighboring houses, acoustic instruments such as acoustic guitars, double bass, moderate percussion instruments and unamplified vocals, for example, move within a sound level range of up to 90 dB. This corresponds to the noise of a busy street or a lawnmower.

If this room has normal masonry and modern double or triple glazing, the noise emitted to the outside is not a problem within the legal framework, provided you stick to the midday rest period. In Germany there is no nationwide regulation for midday rest, but many municipalities and cities have their own regulations that specify a rest period over midday. These local regulations are usually set out in the respective noise protection regulations or municipal statutes. The midday rest period is intended to allow citizens to have an undisturbed rest and, above all, limits noisy activities that could disturb the neighborhood, such as music.

The typical lunchtime rest time is between 1:00 p.m. and 3:00 p.m., but can vary depending on the location. In some areas, the nap time may be 12:00 p.m. to 2:00 p.m. or another time slot. It is important to find out about the specific regulations regarding midday rest from the relevant municipality or city administration, as these can vary from place to place. In addition, rental agreements or house rules may also contain special agreements on rest periods that must be adhered to by the residents of an apartment building or residential complex. The same applies to the night quiet, which usually applies from 10 p.m. to 6 a.m., but can also vary depending on the municipality.

If the ensemble forces you to work at higher volumes, most people are drawn to the basement of their house. What seems better at first glance can turn out to be a fallacy at second glance, since you also have to completely hermetically seal a basement room in order to benefit from sound insulation. Even a slightly leaky window or a poorly closing door with a tiny gap allows the sound to “squeeze through” and destroy the supposedly better location in the ground.

What many musicians don't know or shy away from because of the perceived effort involved is the room-in-room construction, which, if implemented correctly, can make even a rented apartment on the second floor so "quiet" that you can no longer hear drums acoustically in the neighboring apartment can perceive. The room-in-room principle is based on building a second room in an existing room and acoustically decoupling it from the outside room, i.e. the ceiling, walls, floor, windows and doors are actually installed twice and separated from each other by vibrating connections.

The result is that the inner space in which the high volume takes place begins to vibrate, but cannot pass this vibration on to the outer space. This means that the sound is dead in the space between the two rooms and does not reach the outside. All professional recording studios are built according to this principle in order to be able to withstand extremely high volumes 24-7 without disturbing the neighbors or other residents.

But be careful, even a single nail that penetrates both walls will destroy the entire construction by acting as a sound conductor. There is a variety of relevant specialist literature available to buy and there are also some very good video tutorials on YouTube from which you can learn the basics.


2.) Rehearsals in public buildings

Another way to get rehearsal rooms is in public buildings, such as youth centers, schools or community centers.

Even if you have the problem here that you may have to make compromises regarding opening times and access options, you still have the advantage that if the responsible priest, teacher or leader is a fan of your music, you can get a very cheap one, usually too well-kept space can come.

In return for the space, which could sometimes even be used for free, there were only one or two concerts per year in my time where you had to play with your band at some performance for free.

In return, you not only had a clean room, some of which even had a cleaning staff, but the institutions were insured and what should not be forgotten: the instruments were comparatively safe and were at least largely secured against theft or vandalism.

The disadvantage of these rooms is that the respective rooms are usually acoustically comparatively unsuitable for louder types of music. Converting the room in terms of acoustic conditions is also usually difficult, as in most cases the rooms are handed over as they are and have to be returned in this format.

Structural measures that are not easy to remove are usually not necessary in such rooms, which means that you may have to make do with a reverberant room, which has a negative impact on the overall sound.



3 rehearsals in rented rooms

However, the majority of rehearsal rooms will probably be managed through regular rental agreements. The shades that can arise here range from small hobby rentals with no intention of making any profit to highly professional ones.


a.) Rehearsal room rental on a friendly basis

Everyone probably knows someone who has a space that they don't really need. Be it an old garage, an old barn, a cellar or storage room that he would like to make available as a rehearsal room in a friendly environment.

This has advantages and disadvantages.

The advantages are that you are probably well served with very little money in the form of a flat rate electricity fee or other small charges and you may have a room that is close by and can be accessed relatively quickly for little money.

The disadvantage is that everything that is in the realm of friendship can turn around at some point. I once had this case many years ago, when the landlord regularly said in the evening after the third beer that he absolutely had to intervene in the rehearsal room, be it as a spectator, listener or advisor and of course you couldn't just throw him out due to the incredibly favorable conditions. Difficult situation that everyone probably has to sort out for themselves.

The question of liability, for example in the event of burglary, theft, fire or other things, should also be clarified with the landlord to see to what extent his insurance applies in this regard, or you should take out additional insurance yourself.

b.) Rehearsal room rental in a commercial context

When it comes to renting out space commercially, the situation is basically the same as on the open housing market. Every tenant tries to get a room as cheaply as possible and every landlord tries to get as much money out of the landlord as possible. This is no different when renting rehearsal rooms.

Many years ago I once had the situation near Mannheim when a huge warehouse was divided by a professional investor into many small rehearsal room plots, including a large parking lot and a small attached music store.

The system was great in principle, but the plots were only separated by simple plaster walls. This means that as soon as the next room made even a little bit more noise or the drummer played a little more dynamically, you had to shout in your own room to make each other understandable. As expected, insulating the walls with simple carpets or similar didn't bring any improvement at all.

The risk of theft is also always a problem when there is a large concentration of rehearsal rooms. I don't know how many times we've had a microphone stolen simply because someone went to the bathroom and didn't lock the rehearsal room or left the door open.

On the plus side, with a commercial landlord you have the advantage that there is a minimum of comfort and hygiene. A commercial rental definitely includes sanitary facilities, water access and usually also protection in terms of distribution boxes for electricity, etc. This is all the more important because central heating is rarely available in commercial areas and in winter you often have to protect 2 oil radiators plus a backline in terms of fuse distribution. In this context, it is also important to pay attention to the agreed electricity supply. Is there a flat rate or does the room have a separate meter?

In addition, a commercial provider usually has appropriate parking space, so that you can easily load and unload your equipment when an upcoming gig.

Many people will probably be familiar with the bunkers from the Second World War that still exist in the Rhine-Main area and the Ruhr area, and whose demolition would have cost so many millions that it was decided to turn these reinforced concrete monsters into rehearsal rooms. These are now managed by professional landlords and are actually rented primarily to music bands.

As long as you keep the ventilation flaps closed, the issue of noise in such rooms is of course no problem at all with 1.50 m reinforced concrete ceilings, walls and floors. But you have a perpetual ventilation problem in these rooms. Another problem is the fact that you can never, I emphasize, never really get a room like this warm and you would leave the heating running for what feels like a year. In addition, the rooms are always slightly musty because almost 90 years of moisture have accumulated in the cracks.

Everyone has to find out for themselves to what extent they feel comfortable in such spaces. I spent many years in rooms like this and learned to appreciate and hate many things at the same time.


4.) Rehearsals in the rehearsal/recording studio

Probably the most luxurious way to rehearse is to work in one of the recording rooms of a recording studio or a rehearsal studio. This is particularly useful if, for example, you are preparing for a tour or just holding spontaneous rehearsals, which also means that you can quickly set up and dismantle your equipment.

For my part, I often rehearsed in the former Abbey Road Institute, now Studio 301, a very good, highly professional studio, which I was able to access because I knew the owner and one of the institute's teachers very well.

The big advantage here is of course to be found in the professional sound insulation and the professional acoustics of the room, but you also have to always keep in mind that you have to go behind the regular recording studio operation, i.e. H. You always have to coordinate your rehearsal and working times with the studio company.

In the second part of the rehearsal room special, we will cover everything that a rehearsal room has to offer in terms of operation, acoustics and technology once you have finally found your dream room.