TEST: Dean Kerry King

 Slayer are history, at least until the accounts are empty and, like countless colleagues, you can unleash the worn-out press release “the demand from the fans was so great…” blah blah blah on the fans. It is probably well known that guitarist Kerry King has about the same technical skills as Lars Ulrich from Metallica on the drums, but the little bald guy with a pigtail beard and permanent sunglasses visually represents the metal exactly as the Blackjack fan would expect. As a good businessman and early metaller in the early 1980s, Kerry King, in addition to countless other collaborations, also has a signature guitar model, whereby the Dean company came into play, which, with the Dean Kerry King V Black Satin, presents a model that has both Manufacturing is offered in the USA as well as in Indonesia. We have the Indonesian version for testing.


Construction and conception of the Dean Guitars Kerry King V Black Satin


Should Lieutenant Worf, the model Klingon of various Star Trek episodes, ever come up with the idea of playing the electric guitar, the Dean Kerry King V Black Satin would probably be his first choice, as the instrument looks like a fusion of a batleth and a tick tweezer . Once again, Gibson's original Flying V model was the inspiration for the basic shape of the instrument, but whether Mr. König knows that the most aggressive of all classic electric guitar shapes was originally developed in 1958 for dance musicians and something like that fell through mercilessly with the target group, who knows .

The fact that the guitar appears very large in the Slayer Live photos is also due to the physical dimensions of its namesake, but is also due to the enormous length of the instrument, which is not least due to the huge headstock with the classic Dean shape. Despite its slim appearance, the Dean Guitars Kerry King V Black Satin, with its mahogany body and glued-in maple neck, weighs just under 4 kg, which clearly leans towards “masculine”. Fortunately, the Dean Guitars Kerry King V Black Satin has a short scale length of 629 mm, otherwise the instrument would have been even longer. Unfortunately, you can't see anything of the glued-on maple top due to the opaque finish, but perhaps there will be a sunburst version of this model at some point, then you have to consider the manufacturing parameters in this regard. no longer change.

As you would expect, the paintwork is black, although this model uses a matt version. Whether for optical reasons or because the namesake would like to have a few natural wood colors on his instrument, the neck has not been colored, but has the same seal as the body and headstock, so tactile reasons cannot be the deciding factor point would have been. The fingerboard is made of ebony, but this is a very light variant, which visually looks much more like rosewood than the deep black that is still known from older Les Paul Customs, for example.

Images of two nails shaped into a cross are used as fingerboard inlays. To what extent one wants to draw the association with “nailing to the cross” here, especially since Slayer used to provocatively tend in this direction with their stage decoration, is up to each person. The neck profile is given as a “Kerry King Spec C” and, if I interpret the shape correctly, corresponds to an asymmetrical milling, which causes the upper neck area to slope slightly more sharply towards the edge of the fingerboard than the lower one. The fretboard radius is in the healthy midfield at 305 mm (12 inches) and should suit the majority of guitarists. The nut width of 41.4 mm (1.63 inches) also reveals a “fleshy” neck, which harmonizes very well with shorter fingers.

The Dean headstock is once again very well known and at the same time polarizing, which in combination with the small horns has a slight devil allusion in AC/DC style. Due to the unusual shape, the six black tuning machines from Grover are located very far out, which means that the D and G strings in particular are bent at an angle of approx. 20 degrees towards the saddle. This can sometimes lead to awkward tuning if you decide not to use the clamp saddle.

Hardware and pickups

In keeping with the Kerry King collaborations, Dean of course uses EMG pickups for the pickups, although there is also a special feature here. The pickup combination 85 (neck) and 81 (bridge) is probably one of the most popular EMG combinations in the world, but the EMG 81 has the opportunity to boost the already powerful output power of the pickup via the PA2 preamp. An additional option to blow the respective amp again, which turns out to be very helpful, especially with classic all-tube amps from the eighties such as the Marshall 2203 or 2204. With modern amps whose preamplifier has already been maxed out in terms of gain, caution is advised with such a booster if you don't want everything to get lost in feedback chaos. The booster is activated with a mini switch, which is located above the 3-way switch between the master volume and master tone controls.

Another special feature is the vibrato system built into the Dean Guitars Kerry King V Black Satin. In contrast to the Floyd Rose systems, which are widely used in the heavy sector, KK relies on the rather rare Kahler system, which has a much more vintage vibrato radius of action. The maximum pitch shift is between 2-3 semitone steps up and down. As a bonus, however, the system does not have the terrible reverberation effect that the systems from Floyd Rose or Evertune have, for example, as long as the springs are not packed in foam or something similar. The vibrato lever is screwed into the corresponding opening, not inserted. In order to reduce the friction of the strings on the saddle during vibrato use and thus increase tuning stability, the strings are guided on rollers on the saddle.

Due to the reduced control path of the vibrato system, the “strings are so relaxed that they fly off the fingerboard” setting is not possible, so the use of a clamping saddle is a bit surprising. A cleanly milled saddle should handle these string detunings without any problem, but this is probably a way to be on the safe side, but then you always have to take an extra Allen key with you. To avoid the large cable loops that occur with typical jack placement at the bottom of the body, Dean placed the output jack in the top horn directly next to the strap retaining button. Good thing, but due to the recessed socket, an angled plug is not recommended.

Incidentally, the instrument comes with a high-quality case, which is definitely recommended for an instrument with these dimensions and shape.


The Dean Guitars Kerry King V Black Satin in practice

Despite its massive dimensions, the Dean Guitars Kerry King V Black Satin hangs comparatively relaxed on the strap, although some players may have to get used to it. But this happens quite quickly, so you can immediately indulge in the high gain. Of course you can also create clean and crunchy sounds with this instrument, especially since the crunchy area is quite pleasant, but if we leave Albert King out of the equation, everything that looks like Flying V will be associated with a lead sound at least once .

As expected, the instrument also achieves its strengths here, although the built-in preamp booster can only show its strengths to the maximum in the lead range, since in the high gain range the half-waves are usually already cut off so hard that an upstream booster only increases the feedback level further. In the crunch and lead area, on the other hand, you can clearly hear in the sound files that the booster offers an extra portion of gain and assertiveness without significantly increasing the amount of background noise.

The Kahler vibrato system, which was decried as a sustain killer in the early days of its introduction, today leaves a good impression and its range should modulate the majority of all thrash attacks accordingly. I couldn't find a weak point with the instrument, the rest regarding appearance and finish is, as always, a matter of taste.

The sound files were created with an Engl Savage MKII, a Marshall 412 cabinet with Celestion G75T and 2 pieces. SM57 recorded without additional pedals.

Conclusion

With the Dean Guitars Kerry King V Black Satin, the American manufacturer has a textbook “metal axe” in its portfolio. The look, sound and area of application offer the target group exactly what they want, so the instrument will definitely find its fans.

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Additional Informations:


**The Early Years**

Dean Guitars was founded in 1976 by Dean Zelinsky, a young and ambitious luthier who was determined to build high-quality guitars that were both affordable and innovative. Zelinsky started out by building guitars in his own garage, and he quickly gained a reputation for his craftsmanship and attention to detail.

In 1977, Zelinsky moved his operation to a larger shop in Chicago, and he began to produce guitars under the Dean name. The company's early models were based on classic designs from Fender and Gibson, but Zelinsky also experimented with new and innovative designs. One of Dean's most popular early models was the V-shaped ML, which was inspired by the Gibson Flying V.

**The 1980s and 1990s**

In the 1980s, Dean Guitars began to gain a wider following among hard rock and metal musicians. Dimebag Darrell of Pantera was one of the most famous Dean players, and his signature model, the Dimebag Darrell Razorback, became one of the company's best-selling guitars.

In the 1990s, Dean Guitars continued to grow in popularity, and the company introduced a number of new models, including the Dean Z and the Dean Cadillac. The company also began to produce a wider range of guitars, including acoustic guitars, bass guitars, and even banjos.

**The 2000s and Beyond**

In the 2000s, Dean Guitars continued to expand its product line, and the company introduced a number of new models, including the Dean Exotica and the Dean Vendetta. The company also began to produce a wider range of accessories, including guitar amps, pedals, and cases.

Today, Dean Guitars is one of the most popular guitar brands in the world. The company's guitars are played by a wide range of musicians, from beginners to professionals. Dean Guitars are known for their high quality, affordability, and innovative designs.

**Some of the most famous Dean Guitars players include:**

* Dimebag Darrell (Pantera)
* Michael Schenker (UFO, Scorpions)
* Dave Mustaine (Megadeth)
* Zakk Wylde (Ozzy Osbourne, Black Label Society)
* Randy Rhoads (Quiet Riot, Ozzy Osbourne)
* Chuck Schuldiner (Death)
* Vinnie Paul (Pantera, Hellyeah)
* Burton C. Bell (Fear Factory)
* Kerry King (Slayer)

**Dean Guitars has also been featured in a number of movies and television shows, including:**

* The Hangover
* Wayne's World
* The Matrix
* Rock Star
* School of Rock
* Guitar Hero
* Rock Band

**The company has also been involved in a number of controversies, including:**

* A lawsuit with Gibson over the design of the Dean V and ML guitars
* A boycott by animal rights activists over the company's use of animal-based materials in its guitars

**Despite these controversies, Dean Guitars remains one of the most popular guitar brands in the world. The company's guitars are known for their high quality, affordability, and innovative designs.**

**Here are some of the most popular Dean guitar models:**

* Dean ML
* Dean V
* Dean Z
* Dean Cadillac
* Dean Exotica
* Dean Vendetta
* Dean Razorback
* Dean Dimebag Darrell Razorback
* Dean Michael Schenker Flying V
* Dean Dave Mustaine Rust in Peace

**Dean Guitars also offers a wide range of accessories, including:**

* Guitar amps
* Guitar pedals
* Guitar cases
* Guitar straps
* Guitar picks
* Guitar strings
* Guitar tuners

## Dean Guitars: A Deeper Dive into Innovation and Controversy

While the previous article provided a solid overview, let's delve deeper into the fascinating – and sometimes turbulent – history of Dean Guitars. Buckle up for a journey beyond mere facts and into the heart of a brand that has challenged, inspired, and divided the music world.

**The Birth of a Visionary:**

Dean Zelinsky's story is one of passion and rebellion. Frustrated by the limitations of existing guitars in the 70s, he embarked on a mission to craft instruments that were not only exceptional in quality but also pushed boundaries in design and performance. His early creations, like the ML and V, were bold statements, showcasing innovative features like extended necks, Floyd Rose bridges, and unique body shapes. These guitars resonated with musicians seeking something beyond the traditional, setting the stage for Dean's ascent.

**From Metal Mayhem to Mainstream Recognition:**

The 80s saw Dean embrace the burgeoning hard rock and metal scene. Dimebag Darrell's iconic playing with Pantera cemented the brand's association with aggressive music, further solidified by partnerships with artists like Randy Rhoads and Michael Schenker. However, Dean's appeal wasn't limited to metal. The 90s witnessed collaborations with blues legends like Leslie West and country stars like Marty Stuart, showcasing the versatility of Dean's instruments.

**Innovation Beyond Guitars:**

Zelinsky's vision extended beyond guitars. He recognized the need for affordable, high-quality accessories, leading to the development of Dean-branded amps, pedals, and cases. This holistic approach solidified Dean's position as a one-stop shop for musicians, offering everything they needed to express themselves.

**The Armadillo Acquisition and Beyond:**

In 1997, Dean Zelinsky sold the company to Armadillo Enterprises, led by the visionary Elliott Rubinson. Rubinson ushered in a new era of growth and expansion, introducing innovative models like the Dean Exotica and Dean Vendetta, and expanding the brand's global reach. However, this period also saw its share of controversy.

**Navigating Turbulent Waters:**

Legal battles with Gibson over design similarities and accusations of using animal products in their guitars cast a shadow on Dean's image. While they weathered these storms, the controversies instilled a sense of "underdog" status in the brand, further solidifying its appeal among those seeking alternatives to the established giants.

**The Legacy: Enduring Influence and Beyond:**

Today, Dean Guitars remains a force in the music world. Artists like Dave Mustaine (Megadeth), Zakk Wylde (Black Label Society), and Michael Angelo Batio continue to champion the brand, ensuring its presence on stages worldwide. Their commitment to quality, innovation, and affordability resonates with musicians across genres.

**Looking Forward:**

As Dean Guitars enters its next chapter, its past serves as a testament to its ability to adapt and evolve. From Zelinsky's groundbreaking vision to Rubinson's strategic expansion, the brand has continuously challenged the status quo. The future remains unwritten, but there's no doubt that Dean Guitars will continue to push boundaries, providing musicians with instruments that inspire and empower them to create their own unique sonic stories.

**Beyond the Facts:**

This article has attempted to go beyond a mere recitation of facts and figures. It has explored the spirit of Dean Guitars, the passion that drives its creators and players, and the controversies that have shaped its identity. Ultimately, the story of Dean Guitars is a story of rebellion, innovation, and the pursuit of sonic excellence – a story that continues to resonate with musicians around the world.

TEST: Dean Guitars Exile

 Welcome to Prog Land, where the rhythmic connections are more complex, the harmonic resolutions are more daring, the audience's acceptance is lower and the appreciation among colleagues is greater. If you were lucky enough to have had your peak in the 1970s, you could even build a career of world fame on it, which unfortunately only happens very rarely these days. And before I get hit again, the band TOOL has been around for 32 years, PORCUPINE TREE for 35 years. In the area of prog, many very unique laws apply, which sometimes form their own universe, which sometimes seems highly inspiring, sometimes strangely aloof. But what does all of this have to do with the Dean Exile Select 6 String Multiscale Kahler Burled Maple SNBB we are testing?

The construction of the Dean Exile Select 6 String Multiscale Kahler Burled Maple SNBB

OK, the definition of the Prog range is of course a deliberately chosen provocation on the part of the author, of course the Dean Exile Select 6 String Multiscale Kahler Burled Maple SNBB can also be used in almost any other style, although in this case some detailed solutions in the construction would not be possible leave an impression that they can fully exploit in prog. So let's start this time with the most obvious part that distinguishes the instrument from the majority of all other guitars, the multiscale fretboard, or translated into German, the multiple scale fretboard.

What exactly is this very special construction all about? Well, in principle, a multiscale frettboard takes the octave purity adjustment options of a guitar to perfection. We all know that depending on the thickness of the string, the quality of the string and the length of the scale, we can adjust the length of a freely vibrating string using the bridge construction. However, in principle this only applies to the open string, because with the first fret and the following ones, especially if you play a polyphonic, the detuning of the instrument inevitably increases, since the frets normally ignore the respective vibration behavior of the strings in terms of their nature force a kind of middle ground regarding intonation on all 6 (or more) strings.

This isn't a big deal, since with perfect adjustment of the commercially available constructions there are only very small beats in the multi-tone and the human ear has long since adjusted to the "latent chorus sound" of a guitar, but this design is perfect in terms of vibration optimization -conditional construct by no means. As far as I know, the first multiscale instruments were used in the electric bass to counteract the annoying problem of the B string being always too short on the 5-string. This is of course also one of the side effects on the guitar; due to the different scale lengths, all strings have more or less the same tension, which is particularly noticeable in bending. I can't say exactly who brought the first multiscale guitar onto the market, but this design principle still includes a comparatively small user group.

It has to be said that in the multiscale area you will also find two different approaches to the electric guitar. Option one is to start at the 12th fret, in which both halves of the fretboard spread equally downwards and upwards in terms of range. Option two and thus also the design principle for the Dean Exile Select 6 String Multiscale Kahler Burled Maple SNBB is the exit from the first fret, where the frets only “bend” upwards in pitch. Both designs have advantages and disadvantages as we will see later.

Despite the multiscale eye-catcher, we don't want to ignore the other design features. Even though most users know Dean as one of the protagonists in the “Heavy Metal Ax Klimbim”, the manufacturer also has other product lines in the electric guitar sector. This Exile series, with its Strat-like design, is aimed primarily at users who appear more discreet.

In order to be able to use the multiscale fretboard adequately, the Dean Exile Select 6 String Multiscale Kahler Burled Maple SNBB has some special solutions such as the Kahler vibrato system. Since the frets move more and more into an almost diagonal orientation as the position increases, you can no longer work with a normal bridge. While the three bass strings can still be kept in check with a regular system in terms of octave purity, the treble strings require significant extensions within the horizontal axis in order to be able to set an adequate octave purity. For this reason, Kahler has developed a so-called Multiscale Trem Vibrato system in order to be able to equip guitars of this type with a vibrato system, which is identical to the standard Kahler system in terms of functionality with regard to the roller saddles.

The pickups were also specially manufactured for the multiscale area. These are products from Seymour Duncan with the models Angled Nazgul on the neck and Angled Sentient in the bending position. In order not to place the magnets outside the vibration range, especially on the two E strings, or to ensure that the string has a different antinode, the two coils of the respective pickups are offset diagonally. The pickups can be switched in the standard manner using a 3-way switch, whereby both pickups can also be switched as a single coil using the master volume and master tone control in push/pull design.

Due to the multiscale construction, the Dean Exile Select 6 String Multiscale Kahler Burled Maple SNBB, which is made in Korea, now has a scale length of 27 inches down to 25 inches. When it comes to woods, Dean relies on traditional elements such as alder for the body with a maple veneer, a three-piece bolt-on maple neck and an ebony fingerboard. The 24 frets are jumbo format, with the fingerboard inlays being Pearloid Small Offset Dots. Once again, the smooth-running tuners come from Grover and the fretboard radius of 16" (406 mm) is a welcome measurement that should suit most users.

Multiscale in practice

Before I could properly test the instrument, there was a “problem” that needed to be solved. The Kahler vibrato system refused to budge so much as to burst. Since this definitely couldn't be a fault in the system, there had to be a rafter installed somewhere that would equip the instrument with a fixed system if necessary. After a long search, I was actually able to find a small grub screw, which, placed in the back of the system, blocks the vibrato effect. A good thing in itself, but a small note in the manual or a practical leaflet would save some users from an annoying search or, in the worst case, from breaking off the vibrato lever.

Now let's get to the all-important point, how does a multiscale guitar differ from a standard guitar. Well, by optimizing the respective string length, the instrument sounds significantly more balanced than a standard guitar. The vibration behavior of the individual strings is more homogeneous and the string tension is more even. To what extent one defines this fact as a gain, everyone has to decide for themselves, especially since the human ear has long since become accustomed to the “sound imponderables” of an electric guitar. However, I could certainly imagine that the advantages of this guitar would be much more noticeable, especially in the 7 or 8-string range, than in the 6-string range, as many instruments, especially in the djent range, often have a poor definition of the string due to the low string tension Tones in the bass range suffer.

Up to the 10th / 12th fret you can still use your traditional fingering to some extent, after that it gets adventurous, or to put it another way, from here on you have to completely reorient your playing style so as not to work against the instrument. On the one hand, there is chord playing, with barre chords in particular requiring a completely new direction of fingering. Bending was also difficult for me, as I'm used to performing bends and finger vibrations with a slight curve to the top right. However, this is completely against the arrangement of the frets in the upper registers, which meant that I personally could neither achieve a clean bend nor a good finger vibrato on the instrument. Mind you, this is my personal experience and has nothing to do with the quality of the instrument, but the interested user should definitely test whether they can change their playing techniques accordingly, or whether they don't have to make any changes at all. Adopting your previous technology 1:1 is definitely not possible!

Otherwise, the Dean Exile Select 6 String Multiscale Kahler Burled Maple SNBB plays very well. The instrument is of high quality craftsmanship and offers the ambitious user plenty of opportunities to expand their horizons in terms of sound and playing technique. Oh yes, a high-quality case is included with the instrument.

Conclusion

With the Dean Exile Select 6 String Multiscale Kahler Burled Maple SNBB, the manufacturer has a technical playing challenge in its portfolio. Due to its multiscale approach, the instrument requires a completely new approach to playing, especially in the high registers, but with its physically optimized approach to the individual vibration behavior of the strings, it also offers new possibilities in terms of the entire handling of the instrument.

Anyone who is not afraid to rethink their personal playing behavior should definitely give the instrument a try.

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Additional Informations:

In the vibrant tapestry of guitar manufacturing, few names resonate with the same authority and innovation as Dean Guitars. Established in 1976 by Dean Zelinsky, Dean Guitars swiftly rose to prominence, reshaping the landscape of guitar design and performance with its bold aesthetic and uncompromising commitment to quality. This article embarks on an extensive exploration of the captivating genesis of Dean Guitars, from its humble beginnings to its status as a pioneering force in the world of guitar craftsmanship.

**Founding Vision:**
The journey of Dean Guitars commenced with the visionary zeal of Dean Zelinsky, a passionate guitar enthusiast with an innate talent for design and innovation. Inspired by his love for guitars and driven by a desire to push the boundaries of traditional guitar craftsmanship, Zelinsky founded Dean Guitars in 1976, laying the cornerstone for what would become a celebrated legacy in the world of musical instruments.

**Early Innovations and Signature Designs:**
From its inception, Dean Guitars distinguished itself through its commitment to innovation and unconventional design. One of the early breakthroughs came with the introduction of the iconic Dean ML model, characterized by its striking angular body shape and distinctive headstock. This bold design not only captivated the imagination of musicians but also signaled Dean Guitars' departure from convention, establishing the brand as a trailblazer in guitar aesthetics.

Building on the success of the ML, Dean Guitars continued to introduce signature designs that pushed the boundaries of guitar craftsmanship. The Dean V and Dean Z series further cemented the brand's reputation for bold, avant-garde design, while the Dean Razorback model became synonymous with the high-octane world of heavy metal and hard rock.

**Collaborations and Endorsements:**
Central to Dean Guitars' meteoric rise was its strategic collaborations with renowned musicians and artists. By partnering with influential players across genres, Dean Guitars not only expanded its visibility but also gained valuable insights into the specific needs and preferences of professional musicians.

Notable collaborations include partnerships with guitar virtuosos such as Dimebag Darrell of Pantera fame, whose signature Dean ML model became an iconic symbol of Dean Guitars' association with the metal community. The endorsement of high-profile artists served to enhance Dean Guitars' credibility and solidify its position as a premier choice for discerning musicians worldwide.

**Quality Craftsmanship and Innovation:**
At the heart of Dean Guitars' success lies a steadfast commitment to quality craftsmanship and technological innovation. Each Dean Guitar is meticulously crafted using the finest materials and construction techniques, ensuring exceptional playability, tone, and durability.

Innovations such as the Dean Through-Body Neck design and the Dean DMT (Dean Magnetic Technologies) pickups further distinguish Dean Guitars from its competitors, offering players unparalleled performance and sonic versatility. These advancements reflect Dean Guitars' dedication to pushing the boundaries of guitar design and engineering, setting new standards for excellence in the industry.

**Global Reach and Influence:**
As Dean Guitars' reputation for quality and innovation grew, so too did its global reach. The brand's instruments found resonance with musicians and enthusiasts across continents, from intimate club stages to grand arena performances. Dean Guitars became synonymous with the spirit of rock 'n' roll, embodying the raw energy and rebellious ethos of the genre.

Strategic partnerships and distribution agreements further facilitated Dean Guitars' expansion into international markets, ensuring that players around the world had access to the brand's exceptional instruments. Today, Dean Guitars enjoys a formidable presence in the global guitar market, with a diverse lineup of models catering to a wide range of musical styles and preferences.

**Legacy and Evolution:**
As we reflect on the evolution of Dean Guitars, it becomes evident that the brand's legacy is deeply intertwined with the history of modern guitar craftsmanship. Dean Guitars' relentless pursuit of innovation, coupled with its unyielding commitment to quality, has left an indelible mark on the world of musical instruments.

From its pioneering designs to its enduring influence on popular music culture, Dean Guitars continues to shape the way we perceive and interact with guitars. As the brand looks to the future, one can only anticipate the exciting innovations and collaborations that lie ahead, as Dean Guitars continues to redefine the boundaries of sonic possibility.

**Conclusion:**
In conclusion, the story of Dean Guitars is a testament to the transformative power of passion, innovation, and craftsmanship. From its humble beginnings in a small workshop to its status as a global leader in guitar manufacturing, Dean Guitars has remained true to its founding vision of pushing the boundaries of guitar design and performance.

As players around the world continue to seek out instruments that inspire creativity and elevate their musical expression, Dean Guitars stands poised to meet the challenge, armed with a legacy of innovation and a commitment to excellence. In a world where trends come and go, Dean Guitars remains a beacon of enduring quality and sonic mastery, inspiring generations of musicians to push the limits of what is possible with six strings and a dream.

TEST: DBZ Guitars Imperial

 Who is Dean Zelinsky? Hands up! Well, a few extremities can be heard. Who knows Dean Guitars? Aha, there's a lot more going on. Who knows this strange head plate with the two finger-like sausages that look a bit like antlers...well, now all hands are up, you just have to ask the right question. It's sometimes exciting to see what about an instrument visually sticks with the customer. However, the fact that a headstock virtually visually defines an instrument due to its polarizing appearance is really the absolute exception.

A constant in the heavy sector, the Dean Guitars, founded in 1976, have never really managed to spread their popularity beyond the aforementioned genre despite their high quality craftsmanship. I can only speculate to what extent this may have been due to the characteristic headstock, but it will certainly have been a central point. Be that as it may, we are not testing a Dean guitar today, but rather a DBZ Imperial in Natural Vintage, one of the offshoots of the guitar label newly founded by Mr. Zelinsky in 2008.

Dean Guitars founder Zelinsky left the company he ran in the same year in order to find his way back to old strengths under a new label (seems to be an American peculiarity, see Fender...), which in his opinion were no longer guaranteed in his former company. As expected, the exact reasons are beyond the knowledge of the writer.

Be that as it may, as expected, he was unable to take his characteristic trademark with him and therefore presents the Imperial, which at first glance appears to be an ES-shaped counterpart to Gibson's legendary “Electric Spanish” series. Pedant? Yes, it's all just at first glance...



Construction:

Even if you initially want to push the instrument into the typical Gibson corner, nothing could be further away. On the one hand, it is a solid wood construction made of a mahogany body with a glued-on flamed maple top. The real surprise comes when you take the instrument in your hand or look at it from the side. The body is less than 18 millimeters (!) “thick”, in my opinion the narrowest body I have ever come across. When viewed from the side, the body and top are about the same thickness, a very unusual look.

The vibration behavior generated in this way is therefore rather unusual, but the construction produces a very long sustain even in dry operation, despite a very small angle between the bridge and the tailpiece and the associated relatively low contact pressure. It continues with a glued-in mahogany neck and an ebonized fingerboard. What is striking is the radical V-shaping of the neck, which is already familiar from other Dean instruments. With every detail you notice, the optics and handling of the instrument seem to drift one step further apart. By the way, this is to be understood in an absolutely non-judgemental way.

The guitar has a short scale length of 62.9 centimeters and thus tends a little more towards Gibson, whose protagonists all have the same scale length. Two in-house humbucker models are used as pickups, switched with a three-way switch, which can also be switched in a single coil using a push/pull volume control. The tuners come from Grover, all the hardware is nickel-plated. What is striking here again is the extravagant headstock, which exudes a slight roadster character with its oversized company logo. Despite the generally heavy US stamp, the instrument is built in China to keep manufacturing costs low.

Practice:

Although visually it takes some getting used to in every respect, the instrument no longer appears exotic in the hand. Despite the unusual body dimensions and extravagant neck shaping, the instrument sits comfortably in the hand. No fighting, no wrestling, no bludgeoning, everything as usual and wanted. The hardware leaves a good impression, the tuner and bridge do a decent job.

As always, special attention is paid to the instrument's pickups, especially if they are manufactured in-house. DBZ has also done a good job here, the converters, which can be switched with either single or double coils, are appealing with their varied voicing. In single-coil operation, the tones come through extremely clearly, slightly bell-like with a pleasant assertiveness.

In humbucker mode, on the other hand, the pressure and volume increase significantly, but the blasting noise decreases a lot. All in all, almost the entire spectrum can be covered, from clean picking/strumming to rough metal banging. The narrow body generates an unusually fast response in the tone, which is not surprising given the construction, but who has ever experienced the percussiveness of this body shape?

I have to admit it, even though it may seem a bit crude at times, I was impressed by the look of the guitar. The rather “dirty” logo in combination with the initials on the stop tailpiece leaves a slight desperado attitude, which is in stark contrast to the more discreetly traditional natural orientation of the instrument in general. One can't help but get the impression that Zelinsky gave free rein to his playing instincts with this instrument, according to the motto: "What I always wanted to do at Dean Guitars but am only now allowed to do."


Conclusion:

With the DBZ Imperial Natural Vintage, Dean Guitars founder Dean Zelinsky is bringing a guitar onto the market that is carefully crafted, has a high degree of independence and has a convincing sound. The unusual design, from a traditional initial look to unusually narrow body dimensions in combination with subtle rocker attitudes, reveals an instrument for individualists who are not afraid to seek acoustic salvation beyond traditional paths.

However, I dare to question whether the guitar will prevail in the consistently conservative guitar camp. At a time when both the professional and hobbyist camp of guitarists are chasing after the vintage boom that has been blown out of all recognition, a modern guitar that challenges the conventions of the established tradition could potentially fall under the wheels of ignorance.

If you would like to test out handling and optics in stark contrast without prejudice, you should take your time and take a look at the DBZ. He should definitely be guaranteed enough attention from the guitarist group.

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Additional Informations:



In the intricate realm of musical instruments, few stories are as captivating as the rise of DBZ Guitars. Founded on the principles of craftsmanship, innovation, and an unwavering commitment to quality, DBZ Guitars has become synonymous with cutting-edge design and superior sonic performance. This article embarks on a comprehensive journey through the enthralling history of DBZ Guitars, from its modest beginnings to its status as a trailblazer in the world of guitar manufacturing.

**Origins and Vision:**
The DBZ Guitars saga began with the vision of master luthier Dean Zelinsky. Drawing from his extensive experience in crafting guitars, Zelinsky set out to create an instrument that would not only push the boundaries of sonic possibilities but also stand as a testament to the artistry of guitar making. In 2008, Dean Zelinsky founded DBZ Guitars, marking the beginning of a new era in guitar craftsmanship.

**Innovative Designs and Custom Craftsmanship:**
From the outset, DBZ Guitars differentiated itself by introducing innovative designs and a commitment to custom craftsmanship. The company's guitars seamlessly blended modern aesthetics with traditional craftsmanship, creating instruments that were not only visually striking but also a joy to play. The meticulous attention to detail and the use of high-quality materials set DBZ Guitars apart in a crowded market.

One of the early breakthroughs was the Bird of Prey design, a visually stunning and ergonomically designed guitar that captured the attention of players and enthusiasts alike. This unique body shape, coupled with meticulous construction and high-end components, became a hallmark of DBZ Guitars' commitment to pushing the boundaries of guitar design.

**Collaborations and Signature Models:**
To further solidify its presence in the industry, DBZ Guitars engaged in collaborations with renowned musicians, creating signature models that reflected the artistic vision of these guitar virtuosos. These collaborations not only showcased the versatility of DBZ Guitars but also garnered attention from players seeking instruments that embodied the sonic preferences of their favorite artists.

The DBZ Guitars Artist Series featured signature models for iconic guitarists, each crafted with precision to meet the unique demands of the artists' playing styles. This approach not only contributed to the brand's visibility but also reinforced its commitment to providing instruments that met the exacting standards of professional musicians.

**Technological Advancements and Tonewood Selection:**
DBZ Guitars embraced technological advancements in guitar manufacturing, incorporating innovative features to enhance playability and tone. The use of advanced materials and construction techniques allowed for greater stability, sustain, and tonal versatility.

The selection of tonewoods became a crucial aspect of DBZ Guitars' commitment to sonic excellence. From the warm resonance of mahogany to the bright articulation of maple, each tonewood was carefully chosen to contribute to the overall character of the instrument. This meticulous approach to tonewood selection became a cornerstone of DBZ Guitars' dedication to crafting guitars that not only looked exceptional but also delivered a rich and expressive sonic experience.

**Global Recognition and Expansion:**
As DBZ Guitars continued to gain acclaim for its innovative designs and superior craftsmanship, the brand expanded its presence on the global stage. The guitars found resonance with musicians across genres, from rock and metal to jazz and blues. The brand's commitment to quality and innovation resonated with players worldwide, solidifying DBZ Guitars as a respected name in the guitar manufacturing industry.

In 2011, DBZ Guitars underwent a strategic partnership with Armadillo Enterprises, a move aimed at further expanding the brand's reach and resources. This collaboration facilitated increased production capabilities, ensuring that more musicians could experience the exceptional craftsmanship and sonic capabilities of DBZ Guitars.

**Challenges and Evolution:**
Despite its success, DBZ Guitars, like any pioneering endeavor, faced its share of challenges. The competitive nature of the guitar industry demanded constant innovation and adaptability. Economic fluctuations and changes in consumer preferences presented hurdles that required strategic navigation.

In response to market dynamics, DBZ Guitars demonstrated resilience by evolving its product line, introducing new models, and exploring collaborations that kept the brand at the forefront of the industry. This adaptability not only helped DBZ Guitars weather challenges but also contributed to its ongoing legacy of innovation.

**The Legacy Continues:**
As we navigate the annals of DBZ Guitars' history, one thing becomes abundantly clear – the brand's legacy is one of unwavering commitment to craftsmanship, innovation, and sonic excellence. From the visionary designs of Dean Zelinsky to the strategic collaborations and global expansion, DBZ Guitars has left an indelible mark on the world of guitar manufacturing.

Today, DBZ Guitars stands as a testament to the enduring power of creativity and dedication in the pursuit of sonic mastery. The instruments crafted by DBZ Guitars continue to find their way into the hands of passionate musicians, each note resonating with the rich heritage of a brand that has redefined the possibilities of what a guitar can be.

**Looking Ahead:**
As we look to the future, DBZ Guitars remains poised for further innovation and excellence. The company's commitment to pushing the boundaries of guitar design and manufacturing continues unabated. With advancements in technology, an expanding roster of artists, and a global community of players who swear by the brand, DBZ Guitars is set to continue shaping the landscape of the guitar industry for years to come.

In conclusion, the story of DBZ Guitars is one of vision, craftsmanship, and a relentless pursuit of sonic perfection. From its humble beginnings to its current standing as a global force in guitar manufacturing, DBZ Guitars exemplifies the transformative power of passion and innovation in the world of musical instruments. As the brand continues to evolve, one can only anticipate the exciting chapters that lie ahead in the ever-evolving saga of DBZ Guitars.

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.