TEST: Digitech RP350

 "Modeling Guitar Processor".... What do these words want to tell us? ;-) Yes, a lot has happened in terms of the virtualization of sounds in the last few years. Who would have thought that simulating classic guitar sounds would ever become such a gigantic mainstream product. What, on the one hand, relieves the artist's burden immensely means that ambitious newcomers are completely overwhelmed, be it when it comes to defining the original sounds right through to connecting them to the guitar amp (how many users have Guitar > FX > Amp in their classic circuit). Speaker simulation still switched on...). In the course of this development, the main focus, in addition to the sound, is of course to be focused on the clarity of the effect chains and user-friendly handling.

As a long-standing manufacturer of effects devices, DigiTech, which presents a typical floorboard with the RP350, has the appropriate know-how when it comes to configuring the individual components. With the RP350, I have a variant to test that was designed for both live operation and studio work.


Construction:

The device, manufactured in the USA (! nothing Asia...), comes in a solid cast housing and gives a very stable impression. Due to the associated weight, the device has enough strength on 6 small hard rubber feet so that it does not slip on the stage floor due to stiff cables or wild, sometimes confused singers performing. Three sturdy plastic switches ensure program changes (up and down) or channel changes in a previously set amp simulation. An expression pedal, also made of metal, which outputs volume, wah or modulation commands depending on the programming, is located on the right edge of the device. Rubber pads on the pedal surface make it difficult for the shoe to slip during use. The movement of the pedal can be adjusted using a screw on the right edge.

Above the footswitches there are six endless knobs which cover the entire editing range, as well as a full display and a built-in tuner. Although the display area is slightly recessed, the endless controls protrude approx. 5mm above the housing bezel, which means that depending on the "trampling use" and shoe shape (yes, they still exist, the boot-wearing guild...) you can use the controls on one Switch insert operated from above or from the front. This sometimes proves to be unfavorable, as the Tone Library control in particular is designed as a push potentiometer and unwanted switching commands can occur in the heat of the stage battle. This shortcoming would be eliminated by reversing the arrangement within the display (channel display further down, rotary control further up).

There is great joy when looking at the front of the device. All relevant connections regarding input and output of the signal are represented here, be it unbalanced mono/stereo connections, headphone output, Aux in as well as the less common symmetrical XRL males along with a USB port. Both the unbalanced and the symmetrical range can be switched independently to speaker simulation (mixer) or without speaker simulation (amp) using a small pressure switch. A very commendable handling, so you have direct visual contact with this important preselection and don't have to desperately fight your way through the menu to verify the respective setting.

When switching on the device, as with many DigiTech devices, we are greeted by a clear green display with a two-digit red memory space display. What I find to be very successful is the fact that the display briefly shows which output and in which configuration is currently being used when you insert a plug. This also minimizes incorrect assignment. The Amp / Mixer pressure switch and the cabinet simulation programmed in mixer mode are also displayed.

According to the documents, DigiTech has emulated the following amp models:

- '57 Fender Tweed Champ
- '57 Fender Tweed Deluxe
- '59 Fender Tweed Bassman
- '65 Fender Twin Reverb
- '65 Fender Deluxe Reverb
- '65 Marshall JTM-45
- '68 Marshall 100W Plexi
- '68 Marshall Jump Panel
- '77 Marshall Master Volume
- '83 Marshall JCM 800
- '93 Marshall JCM 900
- '62 Vox AC15
- '62 Vox ACF30 Top Boost
- '69 Hiwatt Custom 100
- '81 Mesa Boogie Mark II
- Mesa Boogie Rectifier
- Matchless HC30
- Soldano SLO-100

and some in-house DigiTech solutions.

The solution to be able to name the original names along with the trademarks of the original manufacturers in the manual is also very good. Other manufacturers of emulation products often suffer from the requirement to only describe or describe the original models, since, for example, for trademark protection reasons, mentioning the names "Fender" or "Mesa Boogie" is prohibited!

Several closed 4x12" simulations from Marshall, Hiwatt, VHT and Johnson are used as cabinets, as well as open combo solutions such as 1x8", 1x12", 2x12" and 4x10".

When it comes to upstream distortion pedals or ground-in chorus / flanger effects, in addition to factory devices, we also stick to familiar names such as Ibanez (TS-9 / TS-808), MXR (Distortion +, Flanger), Pro Co (Rat), Boss (DS-1, MT-2, CE-2), TC Electronic or also Arbiter Fuzz Face, Roger Mayer Octavia or the pedals of "mine original" Mike Matthews and his Electro-Harmonix hodgepodge (Big Muff, Electric Mistress ).

Of course, the whammy pedal from our own company should not be missing either, as countless guitarists are still puzzling to this day as to how, for example, Tom Morello gave his guitar a spectrum of 3 octaves per side on “Rage Against The Machine”. The Whammy Pedal makes it possible ;-)




Sound:

The old problem of late birth in amp modeling. Who of today's up-and-coming generation of guitarists has ever had the opportunity to hear the modeled amps, let alone the vast number of pre-switched distortions or even different cabinets, in the original. The percentage is probably in the per mille range. This means that as a newbie you can't say whether the Amp and a much better way is to trust your own ears and make a pre-selection based on the principle - I like it / I don't like it. If you like the sound you can look up which combination you have chosen and change it if necessary.

Which brings us to the first challenge, how do you connect the device to your amp? A modeling processor is supposed to recreate amplifier models in particular. If I connect it in front of my actual amp, isn't this actually impossible? Let's say with restrictions...

First you have to select the clean channel of your amp, leave the tone control as neutral as possible and of course switch off the speaker simulation. However, coloring of the signal cannot be avoided with this circuit. It is better to only use the power amplifier or the speaker of the amplifier via an FX return and take the entire emulation and effects area from the RP350.

What catches your eye when looking at the presets is the unusually good reverb quality for a guitar processor; the small rooms in particular have an incredibly high level of plastic authenticity. The reverb area in particular is very computationally intensive for the CPU and is all too often treated as a half-baked compromise solution in FX processors. According to the manufacturer, these are logarithms which were licensed by the reverb expert Lexicon.

After I first listened to the most important factory presets, we come to the actual endurance test. I do the individual amp/pedal/cabinet simulations without any real FX component to test the approximation of the original sound.

To put it bluntly, the RP350 does this. a really good job! Through the above-mentioned possible combinations of pedal / amp and cabinet, we already have a theoretical variety of over 8000 possible combinations, although of course the preset factory combinations (e.g. JTM-45 + 4x12" Marshall or Fender Bassman with 4x10") sound the most authentic. I also really liked the Amp A/B switch, which did a good job of the classic channel changes of the respective amplifiers.

Very useful connection options open up, especially for musicians who need to quickly access many different sounds in a small space (e.g. cover band). The processor with speaker simulation is fed directly into the vocal system, the signal is placed on your own monitor, and you're done! Always provided that the guitarist unfortunately doesn't suffer from the usual profile neurosis and in order to be happy he has to have a full stack that is way too loud even at his work colleague's wedding...;-))

Personally, I like the RP350 best as an experienced all-rounder in the demo/home recording area, where a lot of things are played directly into the console. The USB connection can also score points here.

Conclusion:

If you are looking for a stable, good-sounding all-rounder for live and studio use, the RP350 is the perfect choice.

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Additional Informations:

Multi-FX Pedals: A Comprehensive Guide to Versatile Sound Exploration

In the ever-evolving landscape of music gear, multi-effects pedals stand out as versatile tools that offer musicians a wealth of sonic possibilities in a single unit. From guitarists seeking to expand their tonal palette to electronic musicians crafting intricate soundscapes, multi-FX pedals have become indispensable companions in the creative process. In this comprehensive guide, we delve deep into the world of multi-effects pedals, exploring their history, features, benefits, and notable examples.

### Evolution and Origins:

The concept of multi-effects processing traces its roots back to the emergence of analog effects units in the mid-20th century. Early devices, such as the Maestro Echoplex and the Roland Space Echo, paved the way for the development of more sophisticated multi-effects processors in the digital era. The introduction of digital signal processing (DSP) technology in the 1980s marked a major milestone, allowing for the creation of compact, all-in-one units capable of emulating a wide range of effects.

### Features and Functionality:

Multi-effects pedals typically combine a variety of audio processing effects into a single unit, offering users the ability to manipulate their sound in real-time. These effects may include distortion, overdrive, delay, reverb, modulation (such as chorus, flanger, and phaser), pitch shifting, and more. Additionally, many multi-FX pedals feature built-in amp modeling, cabinet simulation, and expression pedal inputs for added versatility and control.

### Benefits of Multi-FX Pedals:

1. **Versatility**: One of the primary advantages of multi-effects pedals is their versatility. Instead of purchasing multiple individual stompboxes, musicians can access a wide range of effects from a single unit, saving space, time, and money.
   
2. **Portability**: Multi-FX pedals are often compact and lightweight, making them ideal for musicians who need to travel light or perform in venues with limited space.
   
3. **Ease of Use**: With intuitive interfaces and preset functionality, multi-effects pedals are user-friendly and accessible to musicians of all skill levels. Presets allow users to save and recall their favorite sounds with ease, streamlining the creative process.
   
4. **Experimentation**: Multi-FX pedals encourage experimentation and exploration by providing access to a diverse array of effects and parameter adjustments. Musicians can easily dial in unique sounds and textures to suit their artistic vision.
   
5. **Live Performance**: For live performers, multi-effects pedals offer the convenience of having all their effects in one place, eliminating the need for complex pedalboards and cable setups. This streamlined approach enhances workflow and minimizes the risk of technical issues during performances.

### Notable Examples:

1. **Line 6 Helix**: Renowned for its amp modeling capabilities and expansive selection of effects, the Line 6 Helix has become a go-to choice for guitarists seeking studio-quality tones in a live performance setting.

2. **Boss GT-1000**: With its advanced processing power and comprehensive feature set, the Boss GT-1000 offers unparalleled flexibility and sound quality in a compact pedal format.

3. **Strymon Mobius**: Designed for the discerning guitarist, the Strymon Mobius combines premium audio quality with a wide range of modulation effects, including choruses, phasers, flangers, and more.

4. **TC Electronic Flashback 2 Delay and Looper**: Known for its pristine delay sounds and versatile looper functionality, the TC Electronic Flashback 2 has become a favorite among guitarists looking to add depth and dimension to their playing.

5. **Zoom G Series**: Zoom's G Series of multi-effects pedals offers a range of affordable options packed with features, including amp modeling, effects sequencing, and built-in drum patterns.

### Conclusion:

Multi-effects pedals represent a convergence of technology, creativity, and convenience, empowering musicians to explore new sonic territories with ease. Whether in the studio, on stage, or in the rehearsal room, these versatile devices offer a wealth of possibilities for sound shaping and experimentation. As the music industry continues to evolve, multi-FX pedals remain essential tools for musicians seeking to push the boundaries of their craft and unlock their full creative potential.

TEST: Digitech Brian May Red Special

 Yes, they exist, but there are very few of them. We're talking about the guitarists who, through a combination of craftsmanship and technical specifications, have managed to create a unique sound that makes it possible to recognize them for who they are in just seconds. The name Brian May, alongside Freddy Mercury, the figurehead of the group QUEEN, must definitely be mentioned in the top 5 of this species. His unique tone in combination with his orchestral, polyphonic harmony arrangements have shaped and influenced countless musicians, including the author of this article.
Thanks to modern modeling technology, the company DigiTech, in collaboration with Mr. May, is now working to combine and reproduce the most important sounds that Brian May has created in his career in a single pedal, the “Brian May Red Special”.

History:
In order to get an idea of the task to be mastered, you first have to look at Brian May's original setup, whereby you also have to differentiate between studio and live setup. First of all, we have his very unique guitar, the original model of which he made by hand as a young boy together with his father and which plays a large part in the overall sound due to its single-coil Burns pickups and the large option for phase switches. The generated signal goes into a treble booster, behind which there is an old FOXX phaser. In Brian May's live setup, the signal ultimately ends in one or more VOX AC 30s. For larger stages, they often stacked as much as they could, so there were sometimes 9 of them live. this classic on Mr. May's side of the stage, 3 pieces each. connected in series for Center, Delay L and Delay R. The analog effects triggered various phasing and chorus effects, which created a kind of “widening sound” provided the three signals were correctly placed in the stereo image.

In the studio, the so-called “Deacy” amp was also used for most things, an adventurous, battery-operated miniature amp that was supposedly cobbled together from parts of several old tube radios by QUEEN bassist John Deacon in the early 1970s.


Construction:
As a means of transport, the pedal comes with a cute black bag with an embroidered autograph from Brian May in which the pedal and power supply can be transported. Due to the high power consumption, the pedal can only be operated with the included power supply. Visually, the bright color and the “mahogany grain replica” paintwork make an appealing impression, and the device is built solid enough to counteract the sometimes gross motor trampling of the boot-wearing string guild.

In addition to the input for the guitar, there is a connection for an optional additional foot switch. On the opposite side there are 2 outputs in the modes Amp mono + Mixer mono (mixer out frequency corrected), Mixer Out Stereo or Amp (see ) Out stereo. In addition to its main area of use (switched directly in front of the amp), you also have the option of connecting the pedal directly to an exceptional device. There is enough soft hard rubber on the underside of the housing to give the pedal stability. The actual pedal also has a rubber pad and offers the foot enough support.

On the front there are 3 coaxial controllers + a selector switch, a total of 7 controllers plus a multifunctional LED. From left to right there are the following control options: Gain, output level, treble, bass, control (model-dependent control), guitar (whether a guitar with humbuckers or single-coil pickups is connected) + the model selection control.

Then, put the guitar in, connected the amp and.........nothing! Only the original signal from the guitar is beautifully looped through without any sound modulation. Despite violently rocking the pedal and helplessly turning all the controls, nothing happens! After 20 minutes of twisting and turning the device and the manual, I call the sales department in exasperation to get instructions. The friendly service technician explains to me: “We had the same problem, just put your full body weight on the pedal, the pedal cannot be activated when sitting.”

No sooner said than done, after a hearty kick (which I would never have dared to do with its intensity) the processor starts. The basic concept is based on the fact that, depending on the model variant, you can switch 2 sounds on, off or switch by pressing the pedal firmly towards the toe or heel. Depending on your choice, the multifunction LED lights up green or red or not at all in standby mode. You can also use the pedal to vary some parameters such as the speed or intensity of an FX while playing.

The following presets were created by the factory as basic sounds:

Model 1: “Keep Yourself Alive” (Intro with Flanger / Solo with Flanger)
Model 2: “Bohemian Rhapsody” (Solo / Rhythm)
Model 3: “Tie Your Mother Down” (Intro / Solo)
Model 4: “We Will Rock You / We Are The Champions” (Solo / Solo)
Model 5: “Crazy Little Thing Called Love” (acoustic intro / solo)
Model 6: “Brighton Rock - Live” (Delay Solo / Harmony Pitch)
Model 7: “Deacy / A Winters Tale” (Deacy Unprocessed / A Winter Tale – Solo)



Practice:
To put it bluntly, 50% or more of Brian May's sound comes from his fingers, combined with his polyphonic arrangements, which can only be rudimentarily implemented live without additional technical aids. You get a very nice impression of how QUEEN sounded live at the time on the live record “Killers” from 1979, a record that polarized the fans of his time due to its roughness and sometimes even punk-like “snot” on stage. But if you just concentrate on the main guitar, some of the presets stand out positively from the overall context.

The Model 4 knows how to please “We Will Rock You / We Are The Champions” with its quite authentic rendition. All the over-emphasis of the high mids, the hollow, phase-deleted basic timbre is present very nicely, depending on the pickup used. Model 2 “Bohemian Rhapsody” also nailed the two basic sounds well. Both the more nasal solo sound and the more earthy rhythm sound are pleasing in context. The Model 6 “Brighton Rock” with its two delays of 900 ms and 1800 ms respectively comes very close to the original and allows the typical delayed polyphony that underlies the solo part of the title.

Model 1 + 3 can be described as very neat, but they do not stand out from the context due to their solid orientation. Personally, I would like to consider Model 7 as a bonus and the acoustic guitar simulator from Modell is simply a failure, but let's be honest, not all acoustic guitar simulators for electric guitars are nothing more than a cry for help against that inevitable guitar change? So you should be able to get over this failure.

As in the original lineup, the background noise level is sometimes very high due to the treble booster. Everything that is available in terms of highs and high-mids is boosted disproportionately. In conjunction with a single-coil pickup that is already more susceptible to background noise, this can sometimes reach adventurous proportions. Now you can position yourself skillfully near a tube monitor and the sound engineer will tear out clumps of his hair during the record production ;-) But that's the way it is, dear people, listen to the quiet passages on the record “A Day At The Races “What a waterfall is rushing out of the speakers in the background, the original is just the original....

It should also be noted that single-coil instruments are much more authentic in terms of originality, which is no surprise since Brian May's original instrument is also equipped with extremely low-performance single-coil instruments, which were stolen from a worn-out Burns guitar at the time. Using a guitar knob you can thin out the low mid and bass range of an instrument equipped with humbuckers to get closer to the original. Interestingly, however, I liked the single coil setting for humbuckers much better than the optional factory thinning.

Conclusion:
Anyone who wants to have the most important QUEEN guitar sounds ready at the push of a button, be it in a cover/tribute band, or just for personal use, is well served with the Red Special. If you take into account the immense purchase and transport costs of the original setup, the signed hand robust pedal represents a transportable and effective solution, which is particularly popular at the moment due to the QUEEN musical boom and the, let's say, half Reunion of the band has its right to exist.
However, if you want to have the most accurate Brian May tone possible, you also have to look at the artist's playing technique. I once saw Brian May on a midnight talk show with Germany's flagship jokester Thomas Gottschalk, armed only with his guitar and a pocket-sized 3-watt "practice squeaky". Believe it or not, even with this dwarf equipment, his sound was as unique as it was on stage or in the studio…

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Additional Informations:

Brian May, the iconic guitarist of the legendary rock band Queen, is not only renowned for his virtuosic musicianship but also for his multifaceted talents and remarkable life journey. From his formative years in suburban England to his meteoric rise to rock stardom and beyond, May's story is a testament to passion, perseverance, and the pursuit of excellence. In this extensive exploration, we delve deep into the life and career of Brian May, tracing his evolution from guitar prodigy to cultural icon and scientific luminary.

### Early Life and Musical Beginnings:

Brian Harold May was born on July 19, 1947, in Hampton, Middlesex, England. Raised in a loving family environment, May's early years were marked by a fascination with music and a natural aptitude for the guitar. Inspired by rock 'n' roll pioneers like Elvis Presley and Buddy Holly, young Brian honed his skills on a makeshift guitar constructed by his father from an old fireplace and household materials.

### The Formation of Queen:

May's musical journey took a pivotal turn when he crossed paths with singer Freddie Mercury, drummer Roger Taylor, and bassist John Deacon in the early 1970s. Together, they formed the band Queen, embarking on a musical odyssey that would captivate audiences around the world. May's distinctive guitar sound, characterized by soaring solos, intricate harmonies, and innovative techniques, became synonymous with Queen's anthemic rock anthems and operatic masterpieces.

### Musical Mastery and Innovation:

As Queen's lead guitarist and primary songwriter, Brian May played a pivotal role in shaping the band's sonic identity. His virtuosic playing and imaginative approach to the guitar set new standards for rock musicianship, earning him widespread acclaim and adoration from fans and fellow musicians alike. From the iconic riffs of "Bohemian Rhapsody" to the majestic solos of "We Will Rock You," May's contributions to Queen's catalog are nothing short of legendary.

### Beyond the Stage: An Academic Pursuit:

In addition to his musical pursuits, Brian May's intellectual curiosity led him to pursue academic interests in astrophysics. Despite achieving early success with Queen, May remained committed to his studies, eventually earning a Bachelor of Science degree in Physics and Mathematics from Imperial College London in 1974. However, his passion for music never waned, and he continued to balance his academic pursuits with his musical career.

### A Return to the Spotlight:

Following the passing of Freddie Mercury in 1991 and the subsequent dissolution of Queen as a touring act, Brian May embarked on a diverse array of projects that showcased his versatility as a musician and creative visionary. From solo albums to collaborations with other artists, May continued to explore new avenues of expression while keeping the spirit of Queen alive through live performances and tribute concerts.

### Scientific Stardom and Philanthropy:

In recent years, Brian May has garnered acclaim not only for his contributions to music but also for his advocacy in the fields of science and conservation. As a passionate astrophysicist and animal rights activist, May has lent his voice to numerous causes, using his platform to raise awareness about issues ranging from climate change to wildlife preservation. His work in these areas has earned him recognition and accolades from scientific organizations and humanitarian groups alike.

### Legacy and Influence:

As one of the most revered guitarists in rock history, Brian May's impact on music and popular culture is immeasurable. His innovative playing style, distinctive tone, and boundless creativity continue to inspire generations of musicians across genres. Moreover, his dedication to academic pursuits and philanthropic endeavors serves as a shining example of the transformative power of passion and purpose.

### Conclusion:

In the annals of rock 'n' roll history, few figures loom as large or cast as long a shadow as Brian May. As the architect of Queen's epic soundscapes and a respected academic in his own right, May has transcended the confines of musical stardom to become a cultural icon and scientific luminary. Whether dazzling audiences with his virtuosic guitar solos or championing causes close to his heart, Brian May remains a true Renaissance man whose influence reverberates far beyond the stage.

TEST: Death By Audio Disturbance

 That's what I call a company name that comes across as a mixture of omnipotent and disturbing. An excellent achievement in terms of marketing, a manufacturer with the name “Death By Audio” knows how to attract attention in advance. It goes without saying that you can't compete with the hundredth TS9 clone with a name like that, which made me even more excited to see what extraordinary sound effects could be achieved with the Death By Audio Disturbance pedal.

The concept of Death By Audio Disturbance

The Death By Audio Disturbance Pedal is a modulation stompbox that can produce the filter, flanger and phaser effects, whereby the phaser name is referred to as “Fazer” due to the more catchy “Triple F” naming. Only one effect can be called up at a time; saving the effects or recalling them via MIDI is not possible.

The pedal, handmade in NYC / USA, comes in a very high-quality, mirrored metal housing and feels like it is in the absolute top league of pedals. Not only does the mirrored look look very elegant, the New Yorkers have also managed to ensure that no fingerprints appear on the surface thanks to an additional varnish. Each switch or controller and each socket also has counteracted axes and a smooth/smooth control path, which indicates maximum durability and a long pedal life. It is not for nothing that the American company gives a lifetime guarantee on its products and promises free repairs if, contrary to expectations, a product should give up the ghost. However, I don't understand how such high-quality controllers and the corresponding housing can be damaged other than through malice or stupidity

The pedal must be operated with a 9V power supply; battery power is not provided. Despite the fact that it is a modulation pedal, which used to have higher demands on current consumption, the Death By Audio Disturbance Prdal only has a current consumption of 67 mA, which even the simplest 100 mA power supplies can easily deliver. The pedal sits on four soft, high-quality rubber feet, which ensure a very good grip even on a glass plate. With dimensions (L x W x H) 126 mm x 100 mm x 66 mm and a weight of approx. 369 grams, the pedal is in the middle class in terms of size and should also be able to be placed on any Nano class pedalboard.

In addition to the self-explanatory “Tensity” and “Width”, two controls attract attention due to their unusual names for guitarists/bassists. We're talking about the "Center Point" and "LFO Speed" controls, which, both visually and by their name, would be more likely to be in the electric sector than in the guitar section and thus also fuel the experimental character of the pedal. Center Point actually allows for modulation of the envelope, which smoothly places the effect deflection at the beginning or end of the envelope, depending on your preference. LFO Speed goes one step further and allows you to control not only the modulation speed of the pedal using an internally installed trim potentiometer via a jack output on the side, but also external effects that have an expression input. The modulation speed can be adjusted using the speed controller and is also displayed visually via a pulsating green LED. The LFO can be switched accordingly using the trip footswitch, while the entire pedal is activated/deactivated via another footswitch.

When the LFO is deactivated, the sound is “frozen” according to the control settings, which in itself brings with it a wide range of crazy sounds. I assume that the tonal approach of a flanger or phaser is known; the filter of a wah wah pedal is a steep-edged bandpass filter, which can either be fixed on a fixed pedal or routed according to the LFO setting.

The choice of positioning within a classic guitar setup is not entirely clear. In terms of construction, the pedal is probably aimed more at the classic amp user, who, depending on the design, also uses the serial FX loop of their amp. Classic modulation effects such as the flanger or phaser would most likely be placed in the FX loop, while filter modulation would often start before the gain stages between the guitar and the amp preamp. Here it is important to find your personal sound. Depending on your approach and requirements, placement in front of the amp or in the FX loop can work. ATTENTION, don't forget, with two 6 meter FX loop cables, unbuffered signal routing is already clearly audible due to the treble attenuation, so always place a buffer amp or a corresponding pedal at the end of the pedal signal chain!

The Death By Audio Disturbance Pedal in practice

Even with the first control settings, the user quickly realizes that the areas of application of the Death By Audio Disturbance pedal go far beyond the guitar area. Especially when it comes to “sick” sounds from the electronic sector in combination with distortion, the Death By Audio Disturbance can clearly score points when it comes to attention. This is less about “beautiful” sounds and more about impressive sounds, which can sometimes polarize. But bass sounds through to drum machines can also benefit from the variation options of the Death By Audio Disturbance pedal as part of an asymmetrical signal routing.

Of course, classic guitar sounds such as the popular Van Halen flanger or phaser sound can also be created, but the Death By Audio Disturbance pedal is not required for this “moderate” use. This is more about really “bad” sounds, which can produce a lot of acoustic noise even without distortion and do justice to the manufacturer’s name. However, whether you want to play through an entire song with a corresponding sound is of course up to the artist.

For the sound files, I switched the Death By Audio Disturbance pedal in front of the amp, so some sounds come out a little sharper than if you looped in the pedal. At the same time, the sounds also gain in “bite” and can assert themselves better in the overall sound. The tonal variation possibilities of the Death By Audio Disturbance are truly diverse and are well beyond what you can get out of a “One Trick Pony” pedal. From the subtly flattering phaser to the flanger, which has a strong regeneration effect, it has everything you can offer in terms of modulation effects. Depending on the setting, you can easily move the sounds to the Rotary area. What becomes apparent in some settings, however, is a reduction in the volume of the original sound, which cannot be made up for due to the lack of a level control. However, this only applies to clean sounds, as the compression effect equalizes the different volumes as the gain increases.

I can already hear the first voices calling for MIDI management, which would fundamentally change the basic concept of the pedal and would certainly lead to a price increase. Still, it's a shame that you can only change the unusual sounds manually and who wants to kneel on the floor and adjust the parameters of their pedal after a song or, worse, during a song. Of course, you could also buy several of the Death By Audio Disturbance pedals and use them for different sounds, but only very few musicians will actually do this.

In summary, you have to give Death By Audio Disturbance a very good rating. The pedal offers a very wide variety of sounds and opens up new playgrounds, especially for sound tinkerers, where they can let off steam. Anyone who also takes a look at the pedal prices in the boutique area, which are currently quoted for a pedal with a single function, will come to the conclusion that this is a comparatively inexpensive pedal, especially in view of American development and production.

Conclusion

With the Death By Audio Disturbance, the American company has a top-class modulation pedal in its portfolio. The pedal offers a control range in three types of modulation that goes far beyond the usual representatives of this type of effect. Whether subtle floating to brutal noise attacks, the Death By Audio Disturbance pedal meets all requirements and also shines with excellent workmanship on all levels.

If you are looking for a special kind of phaser, flanger or filter, this pedal is the right choice. Be sure to try it out!

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Additional Informations:

In the vibrant landscape of the music industry, where innovation and creativity reign supreme, Death By Audio Pedals emerges as a beacon of ingenuity and sonic exploration. Founded in the heart of Brooklyn, New York, this trailblazing company has carved a niche for itself in the world of guitar effects pedals, earning acclaim for its boundary-pushing designs and commitment to craftsmanship. In this comprehensive exploration, we delve into the rich tapestry of Death By Audio's origins, tracing its humble beginnings to its meteoric rise and enduring legacy.

### Inception and Early Days:

The story of Death By Audio Pedals begins with its visionary founder, Oliver Ackermann. A musician and artist with a penchant for experimentation, Ackermann established Death By Audio in 2002 as a communal workspace for artists and musicians in Brooklyn's burgeoning underground scene. The space served as a hub for collaborative projects, DIY ethos, and sonic exploration, embodying the spirit of creativity and innovation that would come to define the company.

### The Genesis of Innovation:

Driven by a passion for both music and engineering, Ackermann began crafting custom guitar pedals for himself and fellow musicians using salvaged parts and repurposed electronics. These early creations, born out of necessity and a desire for unique soundscapes, laid the foundation for Death By Audio's signature aesthetic – gritty, unpredictable, and relentlessly creative.

### DIY Ethos and Community:

At its core, Death By Audio Pedals embodies the do-it-yourself ethos that permeates Brooklyn's artistic community. Ackermann and his team embraced experimentation and imperfection, eschewing mass production in favor of handmade craftsmanship. This commitment to quality and authenticity resonated with musicians seeking to push the boundaries of their sonic palette, fostering a loyal community of enthusiasts and collaborators.

### Breakthroughs and Milestones:

As word of Death By Audio's innovative designs spread, the company gained traction within the music industry, attracting attention from both independent artists and established musicians alike. Key breakthroughs, such as the release of the Total Sonic Annihilation pedal in 2008, solidified Death By Audio's reputation as a force to be reckoned with in the world of effects pedals. Characterized by its feedback loop and self-oscillation capabilities, the Total Sonic Annihilation pedal exemplified the company's willingness to challenge conventional wisdom and push the limits of what was possible in guitar effects.

### Collaborations and Cross-Pollination:

Throughout its journey, Death By Audio has embraced collaboration as a cornerstone of its philosophy, partnering with like-minded artists and musicians to create unique, limited-edition pedals. These collaborations not only expanded the company's creative horizons but also fostered a sense of community and camaraderie within the music industry. From collaborations with renowned musicians like Wilco's Nels Cline to partnerships with experimental music festivals such as the Northside Festival, Death By Audio's collaborative spirit has helped shape its identity and foster a diverse ecosystem of sonic innovation.

### The Legacy Continues:

As Death By Audio Pedals continues to evolve and innovate, its legacy remains firmly rooted in the principles of creativity, authenticity, and community. From its humble beginnings in a Brooklyn warehouse to its status as a global leader in effects pedals, the company has stayed true to its DIY roots while continually pushing the boundaries of sonic possibility. With each new release, Death By Audio reaffirms its commitment to empowering musicians to explore new sonic frontiers and redefine the possibilities of music.

### Conclusion:

In a world where conformity often reigns supreme, Death By Audio Pedals stands as a testament to the power of innovation, creativity, and community. From its inception in the heart of Brooklyn's underground scene to its status as a pioneering force in the music industry, the company's journey is a testament to the enduring spirit of DIY ethos and sonic exploration. As musicians around the world continue to seek out new ways to express themselves, Death By Audio Pedals remains a guiding light, inspiring generations of artists to defy convention and forge their own path in the pursuit of sonic perfection.

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.

————————

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.