TEST: DBX Driverack

 Oh yes, there was always a brilliant sparkle from the stagehands' eyes when the truck with the P.A. Components drove up to the hall and you could smell the individual production components being unloaded. Experience has shown that there is a particularly great “joy” when loading the power amplifier racks and the associated outgear.

Who can follow me? 16 U racks with three old Peavey CS 800 plus rules on board and then please lift them onto a loading ramp! Does this perhaps ring a bell for one or the other? Worst smuggling doesn't even begin to describe what would have been appropriate here.

Recently, a lot has happened in the area of “power equals weight” due to switching power supplies and digital power amplifiers, but the necessary rules for active systems are still often split into several 19 inch components and require corresponding height units in the rack still be transported.

In order to eliminate this shortcoming, the DBX company has brought the Drive Rack PA onto the market, which, thanks to modern microprocessor technology, accommodates an immense arsenal of tools in just one height unit, which not so long ago would have filled a 20 U rack to capacity.

The Drive Rack claims to be the only device connected between the mixing console and power amplifiers, combining all the key elements needed for optimal management of loudspeaker systems and making every P.A. to help achieve a higher level of performance. A kind of Swiss army knife for the FOH.


Construction:

The Drive Rack is extremely compact in a single height unit and weighs just 2.5 kg. The device has two analog XLR line inputs on the back and an XLR RTA microphone input on the front for connecting a measuring microphone.

Up to three active stereo paths can be fed via a total of 6 XLR outputs on the rear. Internally, the signals are converted on a 24-bit basis with a dynamic range of > 110 dB. The cold appliance plug is also located on the back.


Overall, the Drive Rack has the following processing components:

Stereo feedback cancellation with 12 notch filters
double 28-band graphic EQ
DBX compressor
120A subharmonic synthesizer
2x3, 2x4, 2x5, 2x6 crossover configuration
Parametric multi-band EQ
Stereo output limiter
Alignment delay
Pink noise generator
Auto EQ with 28 band RTA
JBL and Crown Power Amp Tuning with Setup Wizard

everything distributed over a maximum of 25 storage locations.


The Drive Rack PA is the first in the DBX family to offer the AFS Feedback Elimination module. This is a very steep-edged notch filter with a high Q value, which allows the feedback frequency to be controlled much more precisely than the standard method with 1/3 octave equalizers. This suppression takes place automatically and very selectively when the AFS filter is activated.

In a fixed mode, only the fixed filters are updated during the performance. Even nicer, however, is the live mode, in which the feedback that arises during the performance is automatically recognized and regulated accordingly. Once all filters have been used up, they are replaced cyclically. Corresponding presets are available for Speech, Low Music, Medium Music and High Music.

The subharmonic synthesizer does exactly what you would expect from the opulent name, it boosts the low-frequency audio material, which is particularly used in the dance DJ sector or in film music. However, you should keep in mind that you are in the frequency range below the 60 Hertz mark, a range that is more in the area of structure-borne sound than in the audible range. In addition, this area eats up huge amounts of power reserves, so extreme caution is required here


When it comes to crossovers, you can use any form of active signal processing in three ways, be it a real three-way with separate treble, midrange and subwoofer area, two-way with woofers and satellites or even the monobass cube, somewhere in a corner where it doesn't get in the way Satellites placed centrally on the stage for stereo images.

When you think of DBX, you naturally think primarily of compressors or gates, as they used to be placed in abundance on the drum channel strips in the side rack. These empirical values benefit the internal compressor, which is installed in the signal path before the crossover module and promotes general compression of the signal. In particular, signal sources that are compressed to the limit in the studio, such as vocals or acoustic guitars, benefit from this module.

In order to compensate for the different running times of horns, speakers and subwoofers within their frequencies, the Drive Rack offers the Alignment Delay, with which you can optimize the overall signal in very fine steps.


Practice:

When you switch on the device, you are greeted by a bluish display, which, after correct adjustment, offers me a very spartan but functional interface. It is surprising how relatively clear and structured such a seemingly complex device appears in practice.

Using the quick start, you first select a speaker combination including woofer, speakers, etc. from the setup wizard. The database is quite extensive; if the systems used are not listed, select the Custom program item.

You then connect your RTA microphone and adjust its input level and the associated volume of the pink noise, which is now sent to the speakers. The EQ is now automatically adjusted to the room via Auto EQ.

Now activate the AFS module with the appropriate module, done! OK, OK, that was really a quick shot from the hip, but if you ever find yourself in a situation where you have to set up a system under severe time pressure, you will actually find yourself with this “quickie” solution to a large extent already at the final stage regarding the optimization of the system.

The presets are designed to be very practical and come very close to the final setting used. To what extent you want to give the AFS module a free hand is up to each FOH to find out for themselves, but the fact is that, especially in stressful situations, you can also leave the “autopilot” running if necessary and you can still enjoy the overall sound despite the singer's wild flailing around with the microphone Do not sink near the dome.



Conclusion:

The DBX Drive Rack is a real asset to any system. Using intelligently set presets, you can tune, optimize or simply “pimp” a fixed installation or a mobile production in a very short time ;-)

There is no system from which the Drive Rack does not get a bit more sound quality, no loudspeaker whose efficiency cannot be improved within a system.

In addition, the device also has the appropriate protective measures to protect a system not only from operational failure, which is usually already accomplished by various protective circuits within the power amplifiers, but above all from audio breakdown in the form of hidden clippings, which are usually in an active System in the different components also occur in different areas.

Assuming a sufficient excursion into sound technology, the drive rack represents a real gain for every FOH, especially since the price is once again well below a European sales price due to the production in China.

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Additional Informations:

In the vast landscape of audio technology, few names resonate with the same authority and innovation as DBX Audio. Established in 1971, DBX Audio revolutionized the way we perceive sound, shaping the industry with its pioneering audio processing and noise reduction technologies. This article delves deep into the captivating genesis of DBX Audio, tracing its humble beginnings, key milestones, and enduring legacy.

**Humble Beginnings:**
DBX Audio was founded by David E. Blackmer, an esteemed engineer with a passion for pushing the boundaries of audio technology. Blackmer's journey into the world of audio innovation began during his tenure as an engineer at MIT's Lincoln Laboratory, where he worked on radar and missile guidance systems. His fascination with signal processing and noise reduction techniques laid the foundation for what would later become DBX Audio's hallmark technologies.

**Innovative Breakthroughs:**
The early 1970s marked a period of intense experimentation and innovation for DBX Audio. In 1971, the company introduced its first breakthrough product, the DBX Type I Noise Reduction System. This revolutionary technology effectively reduced tape hiss and background noise, setting a new standard for audio fidelity in recording studios worldwide.

Building on this success, DBX Audio continued to innovate with the introduction of the DBX Type II Noise Reduction System in 1973. This next-generation technology offered even greater noise reduction capabilities, further solidifying DBX Audio's position as a leader in the field of audio processing.

**Expansion and Diversification:**
Throughout the 1970s and 1980s, DBX Audio expanded its product lineup to include a wide range of professional audio equipment, including graphic equalizers, compressors, and limiters. These products were widely embraced by recording engineers, musicians, and audio enthusiasts alike, earning DBX Audio a reputation for uncompromising quality and performance.

In 1989, DBX Audio was acquired by Harman International Industries, a leading name in the audio industry. This strategic partnership provided DBX Audio with the resources and expertise needed to further expand its product portfolio and reach new markets around the world.

**Legacy and Influence:**
Over the decades, DBX Audio's innovative technologies have left an indelible mark on the world of audio engineering. From recording studios and concert venues to home entertainment systems, DBX Audio's products continue to set the standard for audio quality and performance.

One of DBX Audio's most enduring legacies is its impact on the field of sound reinforcement. The company's advanced signal processing technologies have played a pivotal role in improving the clarity and intelligibility of live sound, enhancing the concert experience for audiences worldwide.

**Struggles and Triumphs:**
Despite its groundbreaking innovations, DBX Audio faced its fair share of challenges along the way. In the early years, the company grappled with the task of convincing skeptics within the audio industry of the efficacy of its noise reduction technologies. Many viewed DBX's approach as unconventional, and it took time for the company to gain widespread acceptance.

Additionally, the competitive landscape of the audio industry presented its own set of obstacles. As rival companies vied for market share, DBX Audio had to continuously innovate and differentiate itself to stay ahead of the curve. This pressure to remain at the forefront of technological advancement fueled DBX's drive for excellence and spurred the development of new and innovative products.

**Technological Advancements:**
Throughout its history, DBX Audio has been at the forefront of technological innovation in the audio industry. In addition to its pioneering noise reduction systems, the company has introduced a range of groundbreaking technologies designed to enhance audio quality and fidelity.

One such innovation is the DBX Dynamic Range Expander, which works by increasing the dynamic range of audio signals, resulting in greater clarity and detail in both recording and playback. This technology has been widely adopted in professional recording studios and has become a staple feature in many high-end audio systems.

Another notable advancement is the DBX Subharmonic Synthesizer, which generates low-frequency harmonics to enhance the perceived bass response of audio systems. By accurately reproducing low-frequency content that may be lacking in the original source material, the Subharmonic Synthesizer allows listeners to experience deep, impactful bass even from smaller speakers or headphones.

**Cultural Impact:**
Beyond its technical innovations, DBX Audio has also had a significant cultural impact on the world of music and audio production. By providing recording engineers and musicians with the tools they need to achieve optimal sound quality, DBX Audio has played a crucial role in shaping the sonic landscape of popular music and media.

Countless hit records have been mixed and mastered using DBX Audio equipment, and the company's technologies have become synonymous with professional-grade audio production. From iconic albums to blockbuster films, the influence of DBX Audio can be heard across a wide range of artistic endeavors.

**Continued Innovation:**
As we look to the future, DBX Audio remains committed to pushing the boundaries of audio technology and innovation. The company continues to invest in research and development, exploring new ways to improve the quality and fidelity of audio reproduction.

Recent advancements in digital signal processing and artificial intelligence have opened up exciting new possibilities for DBX Audio, allowing the company to develop even more sophisticated audio processing algorithms and technologies. Whether it's creating immersive surround sound experiences or enhancing the realism of virtual reality audio, DBX Audio is poised to lead the way in shaping the future of audio technology.

**Conclusion:**
In conclusion, the story of DBX Audio is one of innovation, perseverance, and enduring impact. From its humble beginnings to its status as a global leader in audio technology, DBX Audio has consistently pushed the boundaries of what is possible, leaving an indelible mark on the world of sound. As we look ahead to the future, the legacy of DBX Audio serves as a testament to the power of innovation to shape the way we listen, create, and experience music and audio.

TEST: db Technologies Flexsys FS10

 The days of specialists in the consumer sector seem to be numbered. Nowadays, anyone in the semi-professional or hobby sector who comes around with a purely isolated solution when it comes to sound reinforcement can actually pack their bags again straight away. Particularly in the wedge sector, there no longer seem to be any solutions that do not also provide sidefill or even vocal system functions for small events, and of course the same goes the other way around. There is hardly a 12/1 or 15/1 box that is not stretched as a trapezoid and therefore also takes on wedge functions. The dB Technologies Flexsys FM10 is the former variant, which performs its main function as a floor monitor.

About the usefulness of floor monitors

“Floor monitors, does that still make sense in times of in-ear systems?” Some people will ask themselves in advance. You could also ask, “All-tube amplifiers, does that still make sense in the age of Kemper?” or, more provocatively, “Playing live, does that still make sense in the age of backing tracks?” This game can be continued as you wish with all sorts of modifications, but the bottom line is that there are two main points in favor of floor monitors: operational reliability and sound.

Of course, radio links are now standard right down to the amateur level, but they differ massively in terms of operational reliability and sound. There is hardly an artist who hasn't been plagued by dropouts and has exposed at least one ear in annoyance to hear what's going on tonally on stage. From the chaos regarding released frequencies at large festivals to the sometimes massive interference from stage radio, what is freely transmitted through the air is always in danger of being disrupted, be it by visitors' cell phones.

Here you can sit back and relax with wedges, interference or dropouts are a foreign concept for (well-maintained) floor monitors. Added to this is the physicality of the signal. Very few artists would want to play with earphones and cables hanging down their necks if it weren't for the independence of the beam angle of a speaker construction. But if you stand at the perfect angle to the speaker, any form of playback has a more natural feeling, which cannot be reproduced even with the best in-ear systems.

The construction of the dB Technologies Flexsys FM10

The dB Technologies Flexsys FM10 is the middle version of the Flexsys trio in terms of performance and features. The system is based on coaxial technology and combines a 10 inch woofer with 160 watts RMS and a 1 inch compression driver with 40 watts in the axis, with the crossover frequency being 1950 Hz. Both speakers are protected by a massive grille that runs across half the housing construction. With dimensions of 370 mm x 290 mm x 410 mm, the box is very handy due to the coaxial arrangement and, weighing just under 12.8 kg, is comparatively light. In order to transport the system, a carrying handle was embedded on the front bottom. In principle, a single handle is sufficient for this weight, but the side edges have been cut relatively sharply, so you should pay attention to the outside of your index and little fingers when applying lateral force.

The beam angle is 60 x 90 degrees in the horn area, the transmission range is, according to factory specifications, 70 Hz - 20 kHz, the maximum SPL is 120 dB. The box can be set up at two angles and can therefore be placed both close and further away. The housing structure of the system is interesting. The actual housing is made of multiplex wood, which was covered with PVC for better protection against moisture etc., the two side parts are made of polypropylene. In order to fulfill the extended function in terms of sound reinforcement, there is a standard 35 mm flange on the left side of the housing so that the dB Technologies Flexsys FM10 can also be used in high stand operation if necessary. The entire system rests on 4 rubberized feet, which offer very good stability even on smooth surfaces due to the lower ribbing of the box.

When it comes to amplification, a DSP was installed in the preamp, which constantly monitors frequency response, internal clipping and phase position. Unfortunately, the dB Technologies Flexsys FM10 does not have a multi-voltage power supply, so make sure that when buying abroad you do not accidentally purchase the overseas version with 110 V operating voltage. The entire control and connection area is offset inwards in the housing by approx. 2.5 cm in an exemplary manner, so that the controller or plug runs significantly less risk of being broken off by external influences during transport.

In general, the housing, which was screwed exclusively with Allen screws except for the carrying handle, makes an excellent impression, which suggests a long service life. When it comes to input, the Italian manufacturer, which is manufactured in China, relies on a single, lockable XLR socket, which also loops the signal through an XLR output for daisy chain operation if necessary. Regarding the pre-amplification, you can use a slider to choose between a microphone or line level, which can then be continuously regulated between 0 and +4dB using a rotary potentiometer. Incidentally, the rotary control has no effect on the applied level; it is looped through without changing the level. 2 LEDs (green / red) monitor the switch-on process and any clipping that may occur. On the outside on the right, next to the cold appliance plug, there is the ON/Off switch and a main fuse that is accessible from the outside.

The most interesting part of the dB Technologies Flexsys FM10 is the preset department controlled via the DSP. A total of 8 different presets help with the optimal setting for the respective area of use. In detail:

1.) LIVE MONITOR. - Used for live applications as a stage monitor, suitable for instrumentalists and singers

2.) PLAYBACK MONITOR. - For playing music recordings. Boosts low and high frequencies in a kind of loudness curve.

3.) COUPLED MONITORS - For using multiple FM monitors at the same time. Compensates for the woofer coupling effect at low frequencies.

4.) MALE SINGER - Specially developed for male voices, the low mids are amplified and the risk of feedback in the lower frequencies is reduced to a minimum.

5.) FEMALE SINGER - Specially developed for female voices, the high mids are amplified and the voice is positioned much better in the sound. Voice feedback is also reduced to a minimum.

6.) ANTIFEEDBACK - Specially designed for cardiodid and hypercardiodid microphones. Also intended to reduce feedback specifically for these types of microphones.

7.) LIVE ON STAND - For using the FM monitor on a high stand, optimized for vocal operation

8.) PLAYBACK ON STAND - For using the FM monitor on a high stand, particularly suitable for music playback (MP3 player, CD, etc.).

The dB Technologies Flexsys FM10 in practice

The first setup that I carry out for the purpose of a practical check is of a very simple nature. Vocal microphone via XLR into the monitor box, done! This setup will probably find favor in most rehearsals where it's just a matter of checking your own vocals without a desk or advanced mixes and what can I say, the result is excellent. Even in preset 1, the vocals are very clear, the relevant frequencies are transmitted very well, and unnecessary power guzzlers such as deep bass are radically cut off. The result is a loud sound that does not provide any feedback even at the limit. Although a few more power reserves would be desirable compared to a drummer playing dynamically in close proximity, this volume should easily be sufficient for normal music use.

For music transmission, however, you have to accept compromises if you want to experience real physicality via the wedge. The design cannot guarantee a loud kick or a powerful bass either as a floor monitor or in high-stand operation; this type of deep bass transmission is not designed for that. In return, the system reproduces the same instruments very well in terms of sound, i.e. H. The dB Technologies Flexsys FM10 performs its actual function, monitoring, excellently.

The bottom line is an outstanding vocal monitor for very little money with great flexibility. A convincing idea!

Conclusion

With the dB Technologies Flexsys FM10, the Italian company has a very portable, yet excellent floor monitor in its range. The wedge, which is primarily optimized for singing, is characterized by an excellent basic sound in combination with excellent feedback control.

The workmanship is very good, the concept is coherent, and the flexibility is very high. For anyone looking for a handy wedge as a main monitor or as a backup solution, be sure to check it out!

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Additional Informations:

db Technologies stands tall as a prominent figure in the realm of professional audio, renowned for its cutting-edge products, unwavering commitment to quality, and relentless pursuit of sonic excellence. In this detailed narrative, we embark on a journey through the captivating history and evolution of db Technologies, tracing its humble beginnings to its current stature as a global leader in sound reinforcement technology.

**Genesis: Founding and Early Years**

The saga of db Technologies commenced in Italy during the vibrant musical landscape of the 1970s. Founded in 1974 by Adriano De Bernardi, the company originally bore the name "De Bernardi" and focused on crafting high-quality audio equipment for the burgeoning live music scene.

From its modest beginnings in a small workshop in Bologna, Italy, De Bernardi quickly gained recognition for its innovative designs, superior craftsmanship, and uncompromising dedication to sound quality. Drawing upon Italy's rich tradition of artistry and engineering prowess, De Bernardi's products found favor among musicians, sound engineers, and audio enthusiasts seeking top-tier performance and reliability.

**Innovation and Evolution: Pioneering Technologies**

As the company continued to grow and evolve, it rebranded itself as db Technologies, reflecting its commitment to pushing the boundaries of audio technology and innovation. Throughout the 1980s and 1990s, db Technologies cemented its reputation as an industry trailblazer, introducing a slew of groundbreaking products and pioneering new approaches to sound reinforcement.

One of db Technologies' earliest breakthroughs was the development of active loudspeakers, which integrated amplification and signal processing directly into the speaker cabinets. This innovative approach not only simplified setup and configuration but also delivered unparalleled performance and efficiency, setting a new standard for sound quality and versatility in live sound applications.

Moreover, db Technologies was among the first companies to embrace digital signal processing (DSP) technology, leveraging its power to optimize sound reproduction, mitigate acoustic anomalies, and achieve precise control over every aspect of the audio signal. This commitment to innovation and excellence earned db Technologies a reputation as a trusted partner for professionals in the live sound, installation, and touring industries.

**Global Expansion and Influence: Building a Worldwide Presence**

Armed with a portfolio of innovative products and a reputation for excellence, db Technologies embarked on a journey of global expansion, establishing a network of distributors and partners spanning every continent. From Europe and North America to Asia, Africa, and beyond, db Technologies' products became synonymous with uncompromising quality, reliability, and performance.

In venues ranging from intimate clubs and theaters to stadiums and arenas, db Technologies systems delivered pristine sound quality, seamless coverage, and immersive audio experiences that captivated audiences and performers alike. Whether powering a rock concert, a corporate event, a worship service, or a sporting event, db Technologies' presence was felt in every corner of the globe, leaving an indelible mark on the world of professional audio.

**Looking Ahead: Innovation, Excellence, and Beyond**

As db Technologies charts a course for the future, its founding principles of innovation, excellence, and customer focus remain steadfast. With a diverse lineup of products designed to meet the evolving needs of the professional audio market, the company is poised to continue shaping the future of sound reinforcement for years to come.

Whether developing state-of-the-art line array systems for large-scale events, compact portable speakers for small venues, or innovative software solutions for system optimization and control, db Technologies remains at the forefront of audio technology, pushing the boundaries of what's possible and inspiring industry-wide innovation and advancement.

In conclusion, the journey of db Technologies from its humble beginnings in Italy to its current status as a global leader in professional audio is a testament to the power of passion, perseverance, and innovation. By staying true to its core values and continually pushing the boundaries of audio technology, db Technologies has earned its place as a true pioneer and trailblazer in the world of sound reinforcement.

TEST: DAS Audio Vantec 12A

 Active 12" full-range speakers are the basic equipment whenever you need a moderate presentation or background sound. As small as possible, as light as possible and visually as discreet as possible, they are the workhorses that do their job inconspicuously on distance rods, as wedges or as small sidefills and usually get by with a peak of around 400 - 500 watts. But what if a manufacturer doesn't rely on distributing around 3 - 4 of the standard products in the open field or in a larger room, but rather a single box with around 525 watts sine, 750 watts RMS and an impressive 1,500 watts peak brings to the market? These strong numbers are emitted by the DAS Audio Vantec-12A, which immediately encouraged us to test it.

The structure of the DAS Audio Vantec-12A

The Spanish provider DAS Audio is certainly not the first name that comes to mind for an ambitious dance musician / DJ when asked to name a handful of their favorite 12/1 sound reinforcement solutions. However, the more you move into the area of professional rental or PA sound systems, the more often the name appears in your personal portfolio, as the provider, in addition to the compact solution mentioned above, also offers line arrays, curved sources, column PAs and stage monitors in addition to the corresponding amplifiers in its offer.

With the DAS Audio Vantec-12A, DAS Audio consistently relies on maximized power output with minimal transport dimensions. Something similar could be noticed a few years ago in the guitar speaker department, when, for example, Celestion brought a guitar speaker with a power capacity of 150 watts (no neodynium!) onto the market with the intention of using a 100 watt all-tube head on just a 1x12" speaker to be able to operate. A good idea, but it never really caught on because the psyche of the guitarists wasn't taken into account. Either you are the “big pants” type, in which case you have no problems lugging a 412 cabinet to the show, or you are the minimal type, who would still play with a 112 cabinet, but in return you definitely won’t have a full tube head , ideally still in the case, would be carried with you.

However, since a full-range box is not an “artistic performance” in general, where psychological aspects have to be taken into account in the planning, you can plan purely from a technical perspective and completely different rules apply here than in the area of instrumentalists. In addition to the fact that you only need a fraction of the cubic meters in the van than with a larger number of less powerful competing products, you should also keep in mind the reduced space required when positioning the boxes. As an example, it should be mentioned that 4 pieces of DAS Audio Vantec-12A, controlled in the daisy chain process, deliver a peak of 6 KW, mind you without a suitable subwoofer.

Every commercially minded person will understand that a corresponding performance with an impressive sound pressure of 135 dB cannot be obtained for little money, so it is not surprising that the DAS Audio Vantec-12A costs €1,198 per box . In return, there are also several features that make the hearts of professional sound artists beat faster. On the one hand, the box is designed to be very massive, but this also comes with a weight of 21.5 kg. On the other hand, the system is still easy to handle thanks to the two large recessed grips on the right and left of the housing. The cabinets are made of birch plywood, which is also used in the top lines of the famous 412 Marshall Cabinets due to its very good strength and resonance properties.

Two different troughs for the spacer rods on the lower part of the housing ensure upright or slightly tilted forward (10 degrees) positioning. Flight operations were also taken into account, so the system has a total of 12 flight points in the standard M10 format. The DAS Audio Vantec-12A can also be used as a floor monitor due to its trapezoidal shape.

On the input side there are 2 combination sockets (XLR / TRS) plus a mini jack for direct feeding of AUX devices, whereby the two combination sockets each have a separate gain control, which visually represent a rough design of the signal sources present. There is an XLR out for daisy chain operation, or you can use the internal wireless audio function, which can transmit both the signal present via an external device and the signals transmitted in the network via radio up to 20 meters each. The setup is managed via a corresponding app, which is available in common app stores. In the DSP area you can choose between the voicing presets Live, Dance, DJ and Vocals, depending on the operating mode, while a three-band EQ also offers editing options.

If you want to operate the DAS Audio Vantec-12A with an additional subwoofer, you can lock the box in satellite operation according to a suitable crossover frequency in order to relieve the system of the power-consuming deep bass transmission. As a delay tower there is also a delay correction and for very quiet environments an expander operation, which is similar to a noise gate. By the way, the display is very easy to read and calmly provides information about all the important data, including the current power output with corresponding bar displays.


The DAS Audio Vantec-12A in practice

You can tell the alignment of the system from the first tones coming from the speakers. In fact, I have never heard a full-range box of this size that can deliver such a powerful punch when required as the DAS Audio Vantec-12A. Starting with the comparatively neutral “Live” setting, the box delivers a clear and neutral basic sound right up to high volumes, which enables a very fast and differentiated attack, especially in the midrange. The famous center hole, which often appears in a 1/15 combination in the crossover frequency range, cannot be heard here. The solid housing not only leaves a very good tactile impression, but also allows the speakers to achieve their maximum efficiency. Due to the clean workmanship and the high-quality components, the box only colors minimally as the volume increases and offers the headroom you want.

It should be clear to everyone that a 12-inch device cannot generate “real” deep bass, so if you have the appropriate sound material and the “body bass” you want, you should consider purchasing an additional subwoofer. However, if you are already satisfied with the “normal” bass range, you should give the system a try, especially since the “Boost” setting pushes the bass range very tastefully without overwhelming its reserves.

I particularly liked the “Vocals” setting because it frees the human voice from all unnecessary frequencies in the Extreme Low and Extreme High range and instead has sophisticated mid-range processing for very good intelligibility in both speech and sound Vocal area ensures. With this setting, the speaker can shine in an area that is often completely forgotten by many competing products, the classic vocal system. Be it in the rehearsal room or at small club gigs without an external PA, with 2 speakers of this type, or perhaps even with one speaker in the optimal orientation, you can easily hold your own against your electrified colleagues. Especially since the high power headroom means that saturation and the associated risk of feedback decrease significantly.

Overall, the DAS Audio Vantec-12A has to be given a very good rating in all respects. Concept, implementation, performance and workmanship are directly related and depend on each other for an excellent end result. Of course, many hobby users will find the retail price too high, but anyone who places great value on a professional feel combined with a neutral, very dynamic sound, or even makes a living with music, will love this product.

Conclusion

With the DAS Audio Vantec-12A, the Spanish manufacturer has a top-class 12/1 system in its portfolio. The system, which can be operated in standards such as live sound, wedge operation and sidefill use, impresses with its very good workmanship, a neutral sound and a huge headroom in terms of its power output. Personally, I have never come across a box of this size that packs such a punch.

Highly recommended for professional rental and ambitious personal operations!

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Additional Informations:

DAS Audio has etched a significant mark in the industry with its innovative products, commitment to quality, and unwavering dedication to sonic excellence. In this detailed exploration, we embark on a journey through the rich history and evolution of DAS Audio, tracing its humble beginnings to its current status as a global leader in sound reinforcement technology.

**The Genesis: Founding and Early Years**

The story of DAS Audio begins in the late 1970s in Valencia, Spain, where a group of passionate audio engineers and enthusiasts came together with a shared vision: to revolutionize the world of sound reinforcement. Founded by Juan Alberola, the company initially operated under the name "Diseños Acústicos SA," which translates to Acoustic Designs Inc. in English.

In its formative years, DAS Audio focused on designing and manufacturing loudspeaker systems for a variety of applications, including live concerts, corporate events, and installations. Drawing upon the rich musical heritage of Spain and the vibrant culture of Valencia, DAS Audio quickly gained a reputation for delivering superior sound quality, reliability, and performance.

**Innovation and Expansion: Pioneering Technologies**

Throughout the 1980s and 1990s, DAS Audio continued to push the boundaries of innovation, introducing groundbreaking technologies and pioneering new approaches to sound reinforcement. One of the company's early breakthroughs was the development of the "Vantec" series of loudspeakers, which utilized advanced DSP (Digital Signal Processing) technology to achieve unprecedented levels of clarity, precision, and control.

Additionally, DAS Audio was among the first companies to embrace the concept of powered loudspeakers, integrating amplification and signal processing directly into the speaker cabinets for enhanced convenience and efficiency. This innovative approach helped to streamline setup and reduce the complexity of sound systems while delivering exceptional sound quality and consistency.

As DAS Audio expanded its product lineup to encompass a wide range of professional audio solutions, including line arrays, stage monitors, subwoofers, and installation speakers, the company's reputation for excellence continued to grow. Musicians, sound engineers, and audio professionals around the world began to recognize DAS Audio as a trusted brand synonymous with uncompromising quality and performance.

**Global Reach and Influence: Building a Worldwide Presence**

Driven by a relentless commitment to customer satisfaction and a passion for innovation, DAS Audio quickly established itself as a global leader in the professional audio industry. With a network of distributors and partners spanning every continent, the company's products became a fixture in venues, stadiums, theaters, and concert halls worldwide.

From the bustling streets of New York City to the sprawling metropolises of Asia and beyond, DAS Audio systems could be found delivering pristine sound quality and immersive audio experiences to audiences of all sizes. Whether powering a rock concert, a corporate event, a worship service, or a sporting event, DAS Audio's presence was felt in every corner of the globe.

Moreover, DAS Audio's commitment to research and development ensured that its products remained at the forefront of technological innovation, incorporating the latest advancements in acoustics, materials science, and digital signal processing. By continually pushing the boundaries of what was possible in sound reinforcement, DAS Audio solidified its position as a trailblazer in the industry, inspiring competitors and collaborators alike to raise their standards and strive for excellence.

**Looking Ahead: Innovation, Excellence, and Beyond**

As DAS Audio looks towards the future, its founding principles of innovation, excellence, and customer focus remain as strong as ever. With a diverse lineup of products designed to meet the evolving needs of the professional audio market, the company is poised to continue shaping the future of sound reinforcement for years to come.

Whether developing cutting-edge line array systems for large-scale events, compact portable speakers for intimate venues, or innovative software solutions for system optimization and control, DAS Audio remains committed to pushing the boundaries of what's possible in audio technology. By staying true to its roots while embracing the opportunities and challenges of the digital age, DAS Audio is well-positioned to lead the industry into a new era of sonic excellence and innovation.

In conclusion, the journey of DAS Audio from its humble beginnings in Valencia to its current status as a global powerhouse in professional audio is a testament to the power of passion, perseverance, and innovation. By staying true to its core values and continually pushing the boundaries of what's possible, DAS Audio has earned its place as a true pioneer and leader in the world of sound reinforcement.

TEST: Danelectro Triple Wah

 It's really not easy as a manufacturer of effects devices these days. In terms of sound technology, many areas have already been exhausted to the max, which makes the introduction of further innovations immensely difficult. So what do you do as a resourceful manufacturer if you already have an established product on the market but want to give it a major boost in popularity in terms of attention?

Some interesting technical sound details are combined with a highly exalted appearance, as is the case with the Trip L Wah from Danelectro. The WahWah comes in an extremely eye-catching outfit, available in either the “Zebra” or “Leopard” styles. The company also points out the fact that there are three pedals with different sounds in one housing, which of course requires an intensive test report.

Construction:

With some devices it is really a shame that they will probably never be noticed by the audience due to their placement on the floorboard. This is clearly the case with the TripleWah. I have never come across a stompbox that had such an impressive look. The first visual impression is really more than impressive and puts all competitors in their place.

Due to the beefy fenders, the fusion of a street cruiser from the 50s and a means of transport from one of the Terminator films, coupled with the painted zebra look, appears quite massive, although some lovingly detailed solutions bring real joy. In particular, the front, which is modeled on a martial vehicle front, causes the viewer to raise the corners of his mouth.

What would have been classified as metal due to its weight turns out to be a heavy, rather solid, plastic housing. The housing rests on four strong rubber feet (car tires), which give the pedal good stability even when you use your foot heavily. In addition, another rubber surface was added to the rear area, which gives the pedal additional sure-footedness. This is urgently needed due to the extra long chassis. The rubber feet and support surface are held in their respective positions by small slotted screws.

There is also a plastic clip on the bottom behind which there is access to the 9 volt battery. A simple circuit is also recorded, which explains the functions of the individual switches and sockets of the device. The contact surface for the foot has a coarse-grained rubber surface, which adequately protects the shoe against slipping. A certain visual parallel to a Nike sports shoe cannot be completely dismissed. ;-)

On the front there are the input and output sockets (headlights) as well as the 9V connection for an external power supply. Visual gimmicks such as a plastic radiator grille, the Danelectro logo and eight stylized exhaust pipes on the side of the housing have no acoustic relevance, but they increase the entertainment value immensely.

An interesting sonic extension is hidden behind the two teardrop-shaped switches, which are located on the top of the housing. As we all know, a WahWah pedal is a steep-edged bandpass filter that is shifted across the frequency range using the rocker. The factory-set main frequency is set heavily in the treble range. Using the two pressure switches you can now shift this frequency range more towards the mids or bass. Three red LEDs at the rear of the device (rear lights) inform the artist which frequency range has been activated, with the middle LED again being very nicely stylized in the shape of a Danelectro “D”.

Practice:

When you use the pedal for the first time, you notice the relatively high level of background noise that the pedal makes when it is used in dry operation without an amplifier. This is due to the fact that the plastic housing has a different damping than the commercially used metal housings. Not that this represents a sound impairment in any way, it's just a bit unusual. In my opinion, the control path of the pedal could use a little more “moveability”, but this is a subjective approach and should be discussed by everyone themselves.

The Trip L Wah war has a high recognition value due to its very nasal basic characteristics. The sharp, sometimes biting tone holds up well, especially with retro amplifiers, which sometimes have a slightly musty sound design, although caution is advised in the treble range from around 3 Khz.

This area can be tastefully moved downwards using the two pressure switches. Depending on the type of amplifier and level of distortion, completely different basic sounds are actually produced, with each user having to explore and find their own way. An all-round carefree package, as is often requested, does not exist here; the possible variations are too great.

In order to activate or deactivate the switches during operation, you need a little practice with your own footwear. The internal switch can be easily operated using the rocker, but the pressure switches require the foot to be bent from the front. This can be easily accomplished in a low shoe or sneaker, but if you have heavy footwear such as boots for stage use, you will not be able to avoid activating it with the heel. It is doable, but just for the sake of a confident presentation on stage, do this in a quiet room away from the public. Nothing is more embarrassing than an artist stumbling or even slipping on stage!

Especially when it comes to working with a fixed pedal, there are a huge number of possible variations that vary completely depending on the type of amplifier. What hits exactly the center frequency that needs to be boosted in amplifier one, leads to a treble boost in amplifier two, which causes your own pet to make a wild attempt to escape from the room.

I also noticed the very narrow Q factor of the bandpass filter. Danelektro really has a very steep approach here, which is in favor of assertiveness but at the expense of “smoothness”. Due to the diverse sound possibilities, it is essential to test the Triple Wah with your own equipment. Even though this is a standard procedure for all effect devices, it is often forgotten that the tonal output is largely determined by the instrument or amplifier used. The included sound files can only reflect a snapshot of the sound options available.

Conclusion:

Even if one or two reviewers have apparently heard the word “kitsch” when it comes to the look, I really like the funky kick. We are in show business and, as we all know, an extravagant look has never harmed anyone, quite the opposite.

In terms of sound, the Trip L Wah occupies a niche that needs to be explored. Thanks to the variation options in the frequency range, every ambitious sound tinkerer will find something for themselves, and visually no one can hold a candle to this device anyway. ;-)
In addition, the Triple Wah also has Danelectro's usual low retail price, which further increases its value.

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Additional Informations:

Danelectro's influence extends far beyond the realm of guitar manufacturing. Throughout its history, the company has played a significant role in shaping the sound of popular music and influencing the culture surrounding electric guitars.

In the 1950s and 1960s, Danelectro guitars were favored by a diverse array of artists spanning various genres. From the twangy tones of country music to the raucous sounds of early rock and roll, Danelectro instruments could be heard on countless recordings and live performances.

One of the factors contributing to Danelectro's widespread appeal was its commitment to affordability without compromising on quality. By utilizing innovative manufacturing techniques and materials, Danelectro was able to produce guitars and basses that punched well above their weight class in terms of tone and playability.

Furthermore, Danelectro's willingness to experiment with unconventional designs and features set them apart from other guitar manufacturers of the era. From the unique "Coke bottle" headstock of the Convertible model to the iconic "Shorthorn" body shape of the '59 series, Danelectro instruments exuded personality and character.

**Danelectro's Enduring Legacy**

While Danelectro experienced periods of decline and resurgence over the years, the brand's legacy has endured through the dedication of musicians, collectors, and enthusiasts worldwide. Vintage Danelectro guitars are highly sought after by collectors for their historical significance and unique aesthetic appeal.

In recent years, Danelectro has experienced a resurgence in popularity thanks to a renewed focus on quality, craftsmanship, and innovation. The company has introduced new models and updated versions of classic designs, attracting a new generation of players drawn to Danelectro's retro charm and distinct sound.

Moreover, Danelectro's commitment to affordability makes their instruments accessible to players of all skill levels and budgetary constraints. Whether you're a professional musician looking for a reliable gigging instrument or a beginner embarking on your musical journey, Danelectro guitars offer an excellent balance of performance and value.

**Exploring Additional Danelectro Models**

In addition to the models mentioned earlier, Danelectro offers a range of other guitars and basses to suit a variety of musical preferences and playing styles:

1. **Danelectro Longhorn Bass**: The Longhorn Bass is a classic Danelectro design known for its elongated horn shape and distinctive sound. With its unique pickup configuration and lightweight construction, the Longhorn Bass delivers punchy, articulate tones that cut through the mix with ease.

2. **Danelectro Wild Thing**: The Wild Thing is a modern take on the offset guitar design, featuring a radical body shape and aggressive styling. Equipped with high-output pickups and a fast-playing neck, the Wild Thing is tailor-made for players who crave power, versatility, and stage presence.

3. **Danelectro Hodad**: The Hodad is a retro-inspired guitar with a nod to the surf culture of the 1960s. With its bright, beach-friendly colors and vintage vibe, the Hodad captures the carefree spirit of an era gone by while offering modern playability and performance.

4. **Danelectro Baby Sitar**: For those seeking a truly unique sound, the Baby Sitar combines elements of a traditional sitar with the playability of a guitar. Featuring sympathetic drone strings and a distinctive bridge design, the Baby Sitar produces authentic sitar-like tones that add a touch of exotic flair to any musical composition.

**Innovative Features and Design**

Danelectro's commitment to innovation has resulted in several groundbreaking features and design elements that set their instruments apart from the competition. Some of these innovations include:

1. **Lipstick Tube Pickups**: Perhaps the most iconic feature of Danelectro guitars, the lipstick tube pickups are known for their unique appearance and distinct sound. Originally housed in surplus lipstick tubes, these pickups deliver a bright, clear tone with plenty of sparkle and definition.

2. **Masonite Construction**: In the quest to keep costs down without sacrificing quality, Danelectro pioneered the use of Masonite, a type of hardboard made from pressed wood fibers, for the construction of their guitar bodies. This lightweight yet durable material contributes to the unique resonance and character of Danelectro instruments.

3. **Sealed Enclosures**: Danelectro was among the first guitar manufacturers to utilize sealed enclosures for their electronics, providing increased protection against dust, moisture, and other environmental factors. This innovation ensures long-term reliability and consistent performance, even in demanding playing conditions.

4. **Tape Delay Effects**: In addition to their guitars and basses, Danelectro also produced a range of effects pedals, including the iconic Reel Echo tape delay. This pedal emulates the warm, saturated sound of vintage tape echo units, adding depth and dimension to your guitar tone.

**Impact on Music History**

Danelectro guitars have left an indelible mark on music history, shaping the sound of numerous genres and influencing generations of musicians. From the twangy tones of country and rockabilly to the jangly sounds of surf rock and indie pop, Danelectro instruments have been a staple of countless recordings and live performances.

Icons of the guitar world, such as Jimmy Page, Syd Barrett, and Jack White, have all wielded Danelectro guitars, contributing to their mystique and allure. Whether used as a primary instrument or as a distinctive sonic flavor in a larger ensemble, Danelectro guitars have a knack for cutting through the mix and making their presence known.

Furthermore, Danelectro's affordability and accessibility have democratized the world of electric guitars, making high-quality instruments available to musicians of all backgrounds and skill levels. This democratization of music production has empowered countless artists to express themselves creatively and share their music with the world.

**Global Reach and Community**

Danelectro's influence extends far beyond its New Jersey roots, with a global community of players, collectors, and enthusiasts spanning every continent. From the bustling music scenes of New York City and London to the remote corners of the globe, Danelectro guitars can be found in the hands of passionate musicians who appreciate their unique blend of vintage charm and modern performance.

Online forums, social media groups, and fan communities provide a platform for Danelectro enthusiasts to connect, share their experiences, and geek out over gear. Whether discussing the finer points of pickup winding techniques or trading stories of memorable gigs, these communities serve as a testament to the enduring appeal of Danelectro guitars.

Furthermore, Danelectro's commitment to customer satisfaction and support ensures that players feel valued and supported throughout their musical journey. Whether you're a seasoned professional or a beginner just starting out, Danelectro is there to provide the tools and inspiration you need to make music and create memories that last a lifetime.

**Conclusion**

Danelectro Guitars stands as a testament to the power of innovation, creativity, and passion in the world of musical instrument manufacturing. From their iconic designs and innovative features to their enduring impact on music history and global community, Danelectro continues to inspire generations of musicians to push the boundaries of what's possible with a guitar in hand.

As the journey of Danelectro Guitars continues into the future, one thing remains certain: their commitment to craftsmanship, quality, and innovation will ensure that their legacy endures for years to come, empowering musicians to create, connect, and share their music with the world.

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!

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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 ;-).

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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.

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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.