TEST: Dynacord PM 502

Children, if this continues, we will soon have power amplifiers of 2 × 2000 W in a housing the size of an iPad. The amount of power that is now housed in the smallest housings thanks to switching power supplies would have been absolutely unthinkable a few years ago. This development has helped the once unpopular power mixer to flourish again. Who doesn't remember with horror the always underpowered 2 x 80 watt or even worse 1 x 100 watt Quaker rehearsal room, which were always on the verge of direct current extinction due to their design and the associated constant overload.

This can easily be forgotten these days. Power mixer, The Next Generation aims to breathe new life into the epitome of wanting but not being able to. A modern representative of this genre is the Dynacord PM 502. The company, which now belongs to the Bosch Group and was the German answer to America's all-rounder Peavey decades ago, is preparing to use the latest technology and the unusual emblem "Made In Germany" to replace a relic of the old ones times to gain new popularity and new uses. In addition, with the resounding success of their Powermate series, Dynacord has accumulated a stable cushion of know-how to be able to think outside the box.

Let's see whether Dynacord manages to maintain the fast, simple and uncomplicated nature of the basic power mixer design and take it to a new level. Because we can all agree on one thing: the idea of simply laying a few speaker cables in the back and plugging in a microphone or something similar on the other side without having to do any further cabling or other major setting work is more than just tempting.

construction

The Dynacord PM 502 is a stand-alone device that can output 2 x 450 W RMS / 2 x 600 W at 4 ohms thanks to a Class-D power amplifier. The product concept is primarily tailored to installations in bistros, small clubs, lounges, boutiques, hotel bars and lobbies as well as churches, mosques and other similar applications. An integrated MP-3 player, which is powered via a USB port accessible on the front, makes it easy to play audio recordings stored on a USB stick or hard drive in MP3 and WAV formats. In addition, the product is particularly suitable for entertainers, DJs and small bands who are looking for a light and compact solution for the stage and rehearsal room.

What I personally really like is the flexibility in terms of setup options. The product can be operated as a desktop device in a slightly inclined position or screwed into the rack using an optionally available 19 inch frame. In terms of weight and dimensions, the product scores enormously with just 5 kg and dimensions of 395 mm x 244 mm x 241 mm. Even delicate women's hands can lift this mixer into the trunk without any additional help if necessary.

A special feature right at the beginning: in addition to the usual loudspeaker configuration, which in this case is operated via 2 Speakon sockets, the Dynacord PM 502 also has a so-called 100 V direct drive option, in which 100 V or 70 V loudspeaker lines are also available with high impedance Installation can be supplied, such as those often installed in churches or mosques. As expected, the product, in accordance with the Made-In-Germany banner, has all the necessary protective circuits that guarantee the highest level of operational safety.

In the mixer part, the product has five combination microphone/line inputs from Neutrik, which can optionally be supplied with 48 V phantom power. A corresponding pressure switch of tiny dimensions is located below the sockets. And yes, finally after a long time you will find lockable sockets again! One would have thought that there would be no more deliveries in the music industry. An integrated limiter and the very helpful talkover function (ducking) make it easier to announce messages (“Mrs. Müller, please dial 219, Ms. Müller please…”). For the purpose of sound tuning, all channels have a three-band sound control, which operates at 60 Hz, 2.4 kHz and 12 kHz as the center frequency. There are also 3 stereo inputs available either in the form of a jack or RCA / USB, also equipped with the same tone control.

While the microphone channels have continuous gain controls, the stereo channels can only be adjusted using a Hi/Lo pressure switch to determine the input sensitivity. However, since the stereo signals present usually have their own volume control, this shortcoming is negligible. However, all channels have in common an effect send regulator, an aux return and a level control. On the back of the Dynacord PM 502 there is a USB brand 2 in / 2 out with a real Asio driver for the purpose of feeding in digital signals.

The Dynacord PM 502 can show off its real strengths in the master area. Up to three separate rooms can be individually provided with sound and tuned via a respective seven-band master equalizer. Even a delay line was integrated into the master output B to compensate for delays of up to 50 meters. Here someone has finally thought through how to avoid classic deficits in routing options during the development process. The effects area includes 32 different programs, which include the classic standards in the form of spatial and modulation effects. All programs are editable and can also be operated with a foot switch if necessary. There is also a headphone connection on the front, but unfortunately it is only designed as a mini jack.

Practice

If you get a product like the Dynacord PM 502 on the table, there is always the “danger” that the practical test will be comparatively short, simply because the expectations you had in advance can be transferred 1:1 to practice. After switching on the product, it becomes apparent within a very short time that “unfortunately” everything can be implemented and operated exactly as expected during the training phase.

When it comes to flexibility, the Dynacord PM 502 is really hard to beat. I sat down for a moment and thought about whether there was a sound system configuration that would not be able to handle the product well, or even very well. I really couldn't think of anything. Starting with pure speech playback such as presentations, possibly with subtle background music, which discreetly disappears in the adjustable talkover area, through permanent installation in bars, halls and entrance areas to the typical rehearsal room setup or even club sound system with monitor path, the Dynacord PM 502 really masters every constellation .

Conclusion

With the Dynacord PM 502, Germany, the flagship for power mixers, has brought an excellent all-rounder onto the market. When it comes to flexibility, design and workmanship, I am currently unaware of any other product that is extremely practical and puts the Made-In-Germany rating in the light that stands for the extra class tick.

A real top product in its class and definitely recommended!

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Additional Informations:

Dynacord stands as a titan in the world of professional audio, renowned for its innovative solutions, unwavering quality, and commitment to excellence. The company's journey from its modest beginnings to its current status as a global leader in pro audio equipment is a testament to its pioneering spirit, technological prowess, and dedication to meeting the evolving needs of musicians, sound engineers, and audio professionals. This comprehensive article traces the rich history, milestones, and enduring legacy of Dynacord, highlighting its pivotal role in shaping the landscape of professional sound reinforcement.

Founding and Early Years:
The story of Dynacord dates back to 1945 when the company was founded in Straubing, Germany, by electrical engineer Kurt Heidemann and entrepreneur Arnold Kegel. In its formative years, Dynacord focused primarily on manufacturing amplifiers and public address systems for a variety of applications, including theaters, cinemas, and public events.

In 1956, Dynacord made a significant breakthrough with the introduction of the Echocord, one of the world's first tape echo machines. This innovative device revolutionized the world of audio effects, allowing musicians and sound engineers to create rich, immersive soundscapes previously unattainable with traditional recording techniques.

Expansion and Innovation:
Throughout the 1960s and 1970s, Dynacord continued to expand its product range and innovate in the field of audio technology. The company introduced a series of groundbreaking products, including the Corus line of mixing consoles, the VRS reverb system, and the CLS series of loudspeakers, each pushing the boundaries of what was possible in sound reinforcement.

One of Dynacord's most significant achievements during this period was the development of the Variodyn® compression system, a pioneering technology that revolutionized dynamic range control in live sound and recording applications. The Variodyn® system, first introduced in 1969, offered unprecedented flexibility and precision, allowing sound engineers to achieve greater clarity, punch, and impact in their mixes.

In the 1980s, Dynacord further solidified its reputation for innovation with the introduction of the PowerMate series of powered mixing consoles. Combining a mixer, power amplifier, and effects processor into a single compact unit, the PowerMate revolutionized the way live sound systems were designed and deployed, offering unmatched convenience, flexibility, and performance.

Global Reach and Recognition:
As Dynacord's product lineup expanded and its reputation for quality and innovation grew, the company began to establish a global presence, with distribution networks spanning Europe, North America, Asia, and beyond. From small clubs and theaters to large-scale stadiums and arenas, Dynacord's pro audio solutions became synonymous with reliability, performance, and sonic excellence.

Throughout the decades, Dynacord has garnered numerous awards and accolades for its contributions to the world of professional audio. From industry publications to trade shows and exhibitions, Dynacord's products have consistently been recognized for their innovation, craftsmanship, and superior sound quality.

Moreover, Dynacord's commitment to customer satisfaction and technical support has earned the company a loyal following of audio professionals who rely on its products day in and day out. Whether it's a touring musician, a sound engineer, or a rental company, Dynacord's pro audio solutions continue to set the standard for excellence in the industry.

Evolution and Adaptation:
In recent years, Dynacord has continued to evolve and adapt to the changing needs of the professional audio market. The company has embraced new technologies such as digital signal processing (DSP), networked audio, and wireless connectivity, enabling it to offer state-of-the-art solutions for modern sound reinforcement applications.

One example of Dynacord's commitment to innovation is the introduction of the SONICUE sound system software platform. Developed in collaboration with Electro-Voice, SONICUE provides intuitive control and optimization of Dynacord's amplifiers, loudspeakers, and signal processors, allowing users to achieve optimal performance with ease.

Additionally, Dynacord has expanded its product lineup to include solutions for a wide range of applications, including live sound, installed sound, broadcast, and recording. Whether it's a compact portable PA system for small venues or a sophisticated line array system for large-scale events, Dynacord offers a comprehensive range of products to suit every need and budget.

Conclusion:
The history of Dynacord is a testament to the company's unwavering commitment to innovation, quality, and customer satisfaction. From its humble beginnings in post-war Germany to its current status as a global leader in professional audio, Dynacord has remained at the forefront of technological advancement, shaping the way we experience sound in the modern world.

As Dynacord continues to push the boundaries of what is possible in sound reinforcement, one thing remains constant: its dedication to providing audio professionals with the tools they need to create unforgettable sonic experiences. Whether it's a concert, a conference, or a worship service, Dynacord's pro audio solutions continue to set the standard for excellence, reliability, and performance.

TEST: DV Mark Raw Dawg 60 EG

 There is a type of amplifier that has actually become very rare within the amplifier sector in recent years. We are talking about the so-called single-channel amplifiers, of which the Marshall types 2203 and 2204 are probably the best-known protagonists. These are amplifiers that can ultimately only produce a single sound, which cannot be switched between different gain levels or similar using a footswitch. In return, however, you get a sound that is usually groundbreaking and, in the case of Marshall, for example, has made world history in terms of guitar sound. The DV Mark Raw Dawg 60 EG is just such an amplifier and has interesting details in several respects.

Who is Eric Gales?

I have to admit, to my shame, that before I got the DV Mark Raw Dawg 60 EG amplifier to test, I had never heard of Eric Gales in my life. Fortunately, the Internet makes it very easy to bring your knowledge up to date. In particular, it made me think that if a company like DV Mark brings a signature amplifier onto the market, the artist in question should represent a certain amount of value as an advertising medium, so some research was indeed urgently needed. The result was an independent artist who, not only because he was left-handed, with his combination of guitar and vocals was latently reminiscent of his great role models Jimi Hendrix and Albert King.

However, as already mentioned, the special thing about his signature amplifier is the fact that it is a single-channel amplifier, which ultimately only represents a kind of large, neutral-sounding power amplifier, especially since Eric Gales uses the different distortion levels plus all the effects such as delay, reverb, modulation effects etc. via pedals. It was also important to him that the amplifier be as light as possible, have as small dimensions as possible and sound good with any cabinet that you might find in the local club or that is provided by a rental company. For example, you can reduce the cost of additional luggage on flights by using a floorboard, on which you can also place the amplifier itself, depending on the size and load.

The construction of the DV Mark Raw Dawg 60 EG

Given the specifications mentioned above, it is not really surprising that the amplifier weighs less than 2 kg and has dimensions (width by depth by height) of 200 mm by 221 mm by 70 mm. The amplifier is manufactured in Indonesia and was developed in Italy by the company DV Mark, which has the same parent company as the very well-known bass manufacturer Markbass. It is actually very interesting to observe how customers, depending on the company, only commit to a certain product line from a company. The Markbass company has achieved real fame worldwide, while the guitar department under DV Mark remains something of an insider tip. Something similar could or can still be seen with the Marshall company, who built up a legend in the guitar sector, but were punished time and again for their products in the bass sector and, economically speaking, suffered shipwreck with their bass products every time. Oh yes, who knows Ampeg guitar amplifiers? OK, Steve Morse in his early years.

The amplifier, with its control options, comes across as spartan and purely functional, meaning that there is only a volume control, a three-band tone control and a reverb control that can be switched using a foot switch. No offense, but the Italians have, let’s say, a “golden” relationship with the English language. While it starts with “Bass” and “Mid” and then ends with “Hi” instead of “High”, in any other country in the EU it would probably have gotten a slap in the face during the final inspection. In addition, external sound sources can be fed in for rehearsals via two mini jack sockets on the front via Aux and headphones can be connected via phones.

In terms of performance, the DV Mark Raw Dawg 60 EG uses an MPT power amplifier (Mark Proprietary Technology) to deliver 60 watts into 4 ohms and 50 watts into 8 ohms, which should easily be enough for any club in terms of volume. However, in order not to rely exclusively on solid state, a tube preamp in the form of a 6205 Micro tube was used in order to be able to make the saturation in the preamp area “softer”. On the back of the housing of the DV Mark Raw Dawg 60 EG amplifier we find two loudspeaker outputs connected in parallel, which require a minimum impedance of 4 ohms. So you can easily connect two 112 or 212 speakers, which, as is well known, are usually designed with an 8 ohm. In addition, there is a serial loop path for all effects pedals in the modulation and spatial area and, in addition to the foot switch already mentioned, there is also a voltage control that can be set to the range of 240 volts or 120 volts.
Finally, on the left side there is the familiar cold device socket along with the built-in main fuse in the form of a fine fuse underneath. It's also nice that DV Mark uses very high rubber feet, so that you can easily place the amplifier on any cabinet where the carrying handle is on the top of the housing, which is probably the case with most combo cabinets.

The DV Mark Raw Dawg 60 EG in practice

Even if or precisely because the DV Mark Raw Dawg 60 EG only has a very limited selection of control options, the product may pose a challenge for some users. Unless you grew up with the 1959 or 1987 Marshall models, you may find the way they work with just a single volume control on an amplifier a bit strange. Anyone who is used to having a separate control for the preamplifier or power amplifier, or sometimes even with a separate gain control, will be a little surprised at first that you can only cause the amplifier to achieve subtle saturation by turning it simply increase the volume. This behavior was practiced on all amplifiers in the early days of rock and roll simply because it was the standard way to build an amplifier. If you wanted more distortion, you had a higher volume, so it's no wonder that almost all guitarists in the 60s were partially to slightly deaf.

However, the tuning of the DV Mark Raw Dawg 60 EG is very successful in this respect and consistently adheres to the “clean” principle. The amp maintains a completely clean sound right up to the maximum volume of the amp, which is exactly what Eric Gales needs for his style of guitar tone. An amplifier that is as neutral as possible and adds very little of its own color to the sound up to high volumes. The basic sound of the amplifier is pleasantly warm and soft due to the components used, such as the tube in the preamplifier. The amplifier is particularly impressive when combined with single-coil pickups, such as the classic Strat set or anything else that has a P90, for example, and cushions the sometimes hard Fender tips of said pickups very well.

What I actually really like are the very compact dimensions of the product. Especially at a time when every square centimeter needs to be saved in transport, such an amplifier can significantly increase the transportability of the gear in just a few simple steps. The amplifier should even fit into various guitar bags so that it can be transported directly with the guitar. Maybe add a small backpack for the pedalboard and you're good to go, even by public transport if necessary. All in all, I would classify the amplifier in the tradition of the old classic Hiwatt amplifiers. Not in terms of sound, but in terms of concept, these same amplifiers were known for being able to reproduce immense volumes without even remotely leading to a heavy crunch, let alone high-gain distortion.

Conclusion

With the DV Mark Raw Dawg 60 EG, the Italian manufacturer consistently follows the path of a single-channel amplifier, which follows the approach of a high-quality power amplifier for FX pedals rather than that of a flexible amplifier top. The amp is very transport-friendly, delivers a high-quality basic sound and should interest all fans of the Marshall models 1959 and 1987 who are afraid of transporting the cars and are looking for a consistently clean and soft sound.

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Additional Informations:

DV Mark stands as a beacon of innovation in the world of guitar amplification, renowned for its cutting-edge technology and commitment to quality craftsmanship. The story of DV Mark's inception is one of passion, perseverance, and a relentless pursuit of sonic excellence. In this comprehensive article, we delve into the origins, evolution, and impact of DV Mark, tracing its trajectory from a humble startup to a global leader in amplifier design and manufacturing.

Founding Vision:
The roots of DV Mark can be traced back to Italy in the early 2000s, where a group of passionate musicians and engineers shared a common vision: to create amplifiers that not only delivered unparalleled tone but also embraced the latest advancements in technology. Led by Marco De Virgiliis, a seasoned amplifier designer with a knack for innovation, the team set out to challenge the status quo and redefine the boundaries of guitar amplification.

In 2007, DV Mark was officially founded, marking the beginning of a new era in amplifier design. From the outset, the company's mission was clear: to develop amplifiers that combined the warmth and richness of traditional tube amplifiers with the reliability and versatility of modern solid-state technology.

Innovation and Collaboration:
Central to DV Mark's success is its relentless pursuit of innovation and its commitment to collaboration with musicians at every stage of the design process. Unlike many other amplifier manufacturers, DV Mark actively seeks feedback from artists and incorporates their input into the development of new products.

Through partnerships with world-class guitarists such as Greg Howe, Frank Gambale, and Marco Sfogli, DV Mark has been able to fine-tune its amplifiers to meet the unique needs and preferences of professional musicians. By listening to the feedback of artists who rely on their gear night after night, DV Mark ensures that its amplifiers deliver the performance, reliability, and tone that players demand.

Moreover, DV Mark's collaboration with leading engineers and experts in amplifier design has allowed the company to stay at the forefront of technological advancements. By embracing new technologies such as digital modeling, Class-D amplification, and lightweight materials, DV Mark has been able to create amplifiers that offer unparalleled performance and portability without sacrificing tone or reliability.

Product Development and Expansion:
Since its inception, DV Mark has continued to expand its product lineup, introducing a wide range of amplifiers, cabinets, and accessories to meet the diverse needs of musicians. From compact practice amps to high-powered stage rigs, DV Mark offers solutions for guitarists of all styles and skill levels.

One of DV Mark's most notable achievements is the development of the Multiamp series, a line of digital amplifiers that combine the flexibility of digital modeling with the warmth and responsiveness of analog circuitry. Launched in 2010, the Multiamp series has garnered praise from musicians and critics alike for its realistic amp simulations, intuitive user interface, and studio-quality effects.

In addition to amplifiers, DV Mark has also expanded into other areas of musical instrument manufacturing, including speaker cabinets, pedalboards, and accessories. By offering a comprehensive range of products that complement its amplifiers, DV Mark has positioned itself as a one-stop shop for guitarists seeking professional-grade gear.

Global Reach and Recognition:
Over the years, DV Mark has grown from a small startup to a globally recognized brand, with distribution networks spanning the globe. From Europe to Asia to North America, DV Mark amplifiers can be found in music stores, recording studios, and concert stages around the world.

This global reach is a testament to the universal appeal of DV Mark's products and the company's unwavering commitment to quality and innovation. Whether performing in intimate clubs or headlining major festivals, musicians trust DV Mark amplifiers to deliver the tone, reliability, and performance they need to excel on stage and in the studio.

Moreover, DV Mark's dedication to customer satisfaction has earned the company a loyal following of guitarists who swear by its products. From amateur enthusiasts to seasoned professionals, musicians of all stripes rely on DV Mark amplifiers to inspire creativity and elevate their performance.

Conclusion:
The story of DV Mark is a testament to the power of innovation, collaboration, and a shared passion for music. From its humble beginnings in Italy to its global presence today, DV Mark has remained true to its founding vision of creating amplifiers that push the boundaries of sonic excellence.

As the company continues to innovate and expand its product lineup, one thing remains constant: DV Mark's unwavering commitment to quality, reliability, and performance. Whether you're a bedroom guitarist, a weekend warrior, or a touring professional, DV Mark amplifiers offer the tone, versatility, and portability you need to take your playing to the next level.

TEST: Digitech Whammy 4

Only ten years on the market and already a classic! What, after only 10 years, the accolade of the imperishable (if this classification even exists in the pop / rock category...)?

Well, if you actually manage to establish a truly NEW effect, especially in the FX pedal market, which was already saturated to the brim with distortion, modulation and spatial effects, you actually deserve a lot of respect, including from the competition.

We're talking about the Digitech Whammy Pedal, an effect that you have to master as an audiophile, as it appears extremely three-dimensional, but the inexperienced listener initially assumes it is due to the artist's dexterity.

In 2000, thousands of guitarists were racking their brains as to how Tom Morello of RAGE AGAINST THE MACHINE managed to use his already exalted guitar work to reach fingerboard heights that came close to the area above the (theoretical) thirtieth fret, without using a bottleneck or other obvious aids .

Or the current Punch and Judy troupe DRAGONFORCE, who, with their Nintendo Metal, alienate their guitar sounds with the help of Pro Tools and the Whammy Pedal, thus presenting many predominantly male/pubescent guitar students with a difficult process of discovery.

Only by listening closely and seeing the action on the fretboard, which is technically insoluble, do the ambitious musician realize that an effects pedal has to be involved. The same product goes by the name Whammy Pedal and hit like a grenade at its time.

DigiTech, which is part of the Harman Group, has now brought Version 4 of the Whammy Pedal onto the market, with the product gaining a few more layers of flexibility compared to its grandfather.

Although based in the USA, the Whammy Pedal 4 is also assembled in China to keep labor costs low.


construction

The bright red pedal has a very solid construction and has excellent stability due to its 1.6 kg weight and four rubber feet, which have a very good “stickiness” on smooth surfaces.

A robust rocker with a non-slip pad and a sturdy true bypass switch also provide a high level of confidence in terms of longevity.

The device is normally placed as the first link in the signal chain between the guitar and the amplifier input, before any distortion that may be used, and has one input and two outputs (dry, wet added).

The wet output is connected to the amp or other mines, the dry out can be fed to a tuner if necessary. This is a nice detailed solution, so if in doubt you can also use “lower quality” tuners for live use, which should not be in the main signal path in normal operation due to the loss of sound with their electronics.

The pedal's different programs can also be managed remotely via a MIDI-in socket. Alternatively, you can select the individual programs using an endless controller. A 9V mains connection, which requires a whopping 1.3 A current flow, completes the connection area.

The Whammy Pedal has a total of 17 presets, which are divided into 3 different function groups:


Function 1: Harmony (a second tone of the same volume is added to the tone played)

Interval 1: Oct up / Oct Dn (pure octave above with pedal pressed, pure octave below with pedal pulled)

Interval 2: 5th Dn / 4th Dn (perfect fourth below with the pedal pressed, perfect fifth below with the pedal pulled)

Interval 3: 4th Dn / 3rd Dn (minor third below with the pedal pressed, perfect fourth below with the pedal pulled)

Interval 4: 5th Up / 7th Up (minor seventh above with pedal pressed, perfect fifth above with pedal pulled)

Interval 5: 5th Up / 6th Up (major sixth above with the pedal pressed, perfect fifth above with the pedal pulled)

Interval 6: 4th Up / 5th Up (perfect fifth above with the pedal pressed, perfect fourth above with the pedal pulled)

Interval 7: 3rd Up / 4th Up (perfect fourth above with pedal pressed, major third above with pedal pulled)

Interval 8: Min 3rd Up / 3rd Up (major thirds above with pedal pressed, minor thirds above with pedal pulled)

Interval 9: 2nd Up / 3rd Up (major third above with pedal pressed, major second above with pedal pulled)



Function 2: Detune (the signal is doubled and slightly to strongly detuned)

Shallow: slight upset

Deep: stronger detuning




Function 3: Whammy (the signal is pitched up or down via the rocker over the set interval)

Interval 1:2 Oct Up (the signal is pitched up two pure octaves)

Interval 2: 1 Oct Up (the signal is pitched up a pure octave)

Interval 3: 1 Oct Dn (the signal is pitched down a pure octave)

Interval 4: 2 Oct Dn (the signal is pitched down two pure octaves)

Interval 5: Dive Bomb (the vibrato use of a Floyd-Rose system is simulated over 3 octaves downwards)

Interval 6: Drop Tune (the signal is shifted down two semitones)



Practice

Connected, selected interval and off you go. The first thing you notice is the excellent quality of the sound signal. The processor works very well in terms of sound and lets the signal through with almost no discoloration.

In Whammy mode, the processor also works very quickly; you can hardly notice any latency even when playing fast. In detune mode, the CPU strangely needs a few milliseconds more to reproduce the processed signal, but the computing speed is absolutely sufficient even for faster passages.

The mechanical alignment of the pedal's rocker takes a little getting used to, as its actual control path in whammy mode only begins after about half of the tilting movement. Personally, I would prefer smooth control from the first foot movement, but this is a personal interpretation.

In the Harmony range, however, the rocker works from the first centimeter and therefore allows for finer adjustment than in Whammy mode.

And the effect? Well, as already mentioned, life is comfortable when you have “invented” an effect that is second to none and is of course protected by appropriate patents. If you want Whammy, you need DigiTech, it's simple ;-)

You can achieve both subtle alienation of the signal and completely exaggerated effect passages from the “big pants” department, all in very good audio quality and with the corresponding AHA effect.



Conclusion

The Whammy effect is actually one of the few outstanding effects that have achieved worldwide fame in recent years. Its unique effect parameters still leave the six-string group open-mouthed today and rarely fail to have their effect.

The targeted and well-dosed use of the product enriches the range of effects of the ambitious solo guitarist and is convincing in the right tonal context.

Good workmanship, good sound quality, unique effect, what more could you want?

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Additional Informations:

Unraveling the Intricacies of Harmonizer Effects in Music

Introduction:
In the realm of music production and performance, the use of effects pedals has become an indispensable tool for shaping and enhancing sound. Among the vast array of effects available to musicians, harmonizer effects stand out as versatile tools for creating lush, multi-dimensional textures and expanding the sonic palette. In this comprehensive guide, we embark on a journey through the intricate world of harmonizer effects, exploring their origins, technical principles, creative applications, and impact on contemporary music.

I. Origins and Evolution:
The concept of harmonization, or the simultaneous sounding of multiple musical pitches, dates back centuries and has been explored in various forms throughout musical history. Early attempts at creating harmonizer effects can be traced to analog tape-based techniques, where engineers manipulated tape speed and pitch to achieve basic pitch shifting and harmonization effects. However, it was the advent of digital signal processing in the late 20th century that paved the way for the development of sophisticated harmonizer effects with greater precision and flexibility.

II. Technical Principles:
Harmonizer effects operate by altering the pitch of an incoming audio signal in real-time, creating harmonies that follow a predetermined interval or musical scale. This process is achieved through digital algorithms that analyze the incoming audio, generate additional pitches based on the desired harmony, and blend them with the original signal to create a harmonized output. Modern harmonizer pedals often feature a range of controls and parameters, allowing users to adjust parameters such as harmony interval, scale, and mix level to tailor the sound to their liking.

III. Types of Harmonizer Effects:
Harmonizer effects come in various forms, each offering unique features and capabilities suited to different musical contexts and applications. Some common types of harmonizer effects include:
1. Pitch Shifters: Basic pitch-shifting effects that allow users to transpose the pitch of the input signal up or down by a specified interval.
2. Intelligent Harmonizers: Advanced harmonizer effects that analyze the input signal and generate harmonies based on the musical context, allowing for precise control over harmony intervals and scales.
3. Whammy Pedals: Expression pedal-controlled pitch-shifting effects that enable real-time manipulation of pitch and harmony, popularized by the iconic Digitech Whammy pedal.
4. Dual-Voice Harmonizers: Harmonizer effects that generate two simultaneous harmony voices, enabling users to create rich, multi-part harmonies and layered textures.

IV. Creative Applications:
Harmonizer effects offer a wealth of creative possibilities for musicians and sound designers across a wide range of genres and styles. Some common applications of harmonizer effects include:
1. Vocal Harmonization: Adding rich, multi-part harmonies to vocal performances, enhancing vocal arrangements, and creating lush backing vocals.
2. Guitar Harmonization: Generating harmonized guitar lines and melodies to add depth and complexity to guitar solos and riffs.
3. Instrumental Harmonization: Applying harmonizer effects to non-vocal instruments such as keyboards, brass, and strings to create orchestral textures and layered arrangements.
4. Experimental Sound Design: Pushing the boundaries of conventional harmony and exploring avant-garde sonic landscapes through the use of extreme pitch-shifting and modulation effects.

V. Influential Artists and Albums:
Throughout the history of popular music, harmonizer effects have been used by countless artists and producers to create iconic recordings and signature sounds. Some influential examples include:
1. Brian Wilson and The Beach Boys: Wilson's pioneering use of harmonizer effects, particularly on albums like "Pet Sounds," helped define the lush, multi-part vocal harmonies that became synonymous with the Beach Boys' sound.
2. Jimmy Page and Led Zeppelin: Page's use of the Eventide Harmonizer on tracks like "Whole Lotta Love" and "Kashmir" introduced innovative pitch-shifting effects to the rock guitar lexicon, paving the way for future generations of guitarists.
3. Imogen Heap: Heap's innovative use of vocal harmonizer effects, particularly on her album "Speak for Yourself," showcased the creative potential of real-time pitch manipulation in contemporary pop music.
4. Radiohead: Radiohead's experimental approach to production and sound design, exemplified on albums like "Kid A" and "Amnesiac," often incorporates harmonizer effects to create otherworldly textures and atmospheres.

VI. Modern Developments and Trends:
In recent years, advancements in technology have expanded the capabilities of harmonizer effects, leading to the development of innovative new pedals and software plugins. Some notable trends and developments in the world of harmonizer effects include:
1. Polyphonic Harmonizers: Pedals and plugins capable of generating multiple harmonized voices simultaneously, enabling users to create complex, choir-like textures and harmonies.
2. Intelligent Harmonization: Algorithms that employ artificial intelligence and machine learning to analyze musical context and generate harmonies with greater accuracy and musicality.
3. Integration with DAWs and Digital Workflows: Harmonizer effects that seamlessly integrate with digital audio workstations (DAWs) and recording software, allowing for precise control and automation of harmonized vocals and instruments in the studio.
4. Hybrid Analog-Digital Designs: Pedals that combine the warmth and character of analog circuitry with the flexibility and precision of digital signal processing, offering a unique blend of vintage and modern harmonizer tones.

VII. Conclusion:
In conclusion, harmonizer effects have become essential tools for musicians and producers seeking to explore new sonic territories and enhance their creative output. From their humble origins in analog tape manipulation to their modern-day incarnations as sophisticated digital processors, harmonizer effects have continuously evolved to meet the demands of musicians across genres and styles. Whether used to add depth and complexity to vocal performances, create otherworldly guitar textures, or push the boundaries of experimental sound design, harmonizer effects remain indispensable assets in the musician's toolkit, offering endless possibilities for sonic exploration and artistic expression.

TEST: Vocalist Live 5

 Let's not kid ourselves, even if guitarists, keyboardists or other instrumentalists don't want to admit it, as soon as you leave the path of instrumental music, it is almost exclusively the singer who is noticed by the audience and who ( r) decides whether a show wins or loses. Apart from lousy announcements, unpleasant appearance or unprofessional preparation, it is the pure craftsmanship in the form of intonation and charisma that can be the vocalist's downfall on stage. If you now want to entice the listener to nod their heads in appreciation with the supreme discipline of live performance, polyphonic singing, the problems mentioned above multiply.

If you now have an official men's singing club like the Eagles, Doobie Brothers, or even the Champions League a la Manhattan Transfer in mind, you can be prepared for several years of vocal training, which not only takes a lot of time, but also a lot of commitment and effort means. It is not for nothing that many musical styles have finally said goodbye to vocal singing due to the complexity, or even, as is common in some metal styles, the “singers” can no longer even manage a single vocal line and give in to noise-filled grunts.

Anyone who is now able to sing can get electronic support when it comes to singing sentences, especially since you can freely choose the number and direction of your singing colleagues. The American company Digitech has been successfully involved in this segment for a long time with its Vocalist series and, in addition to desktop and 19 inch products, also has floor pedals in its catalog, which are primarily designed for the singing guitarist or for singers who have a guitarist in the band lead. The latest addition is called Vocalist Live 5 and, who would have thought, is the successor to the successful version 4.



construction

The Digitech Vocalist Live 5 is a floor effects device that is intended to be used both in the studio and especially in the live area. Especially in the second segment, the device must have the necessary resistance to be able to cope with the sometimes slightly trampy guitarist. This is not a problem with the Digitech Vocalist Live 5, the metal/plastic combination will be able to cope with one or two missteps.

With dimensions of 358 mm x 65 mm x 211 mm (WxHxD) and a weight of 1.5 kilograms, the pedal can easily be transported in a medium-sized bag. The scope of delivery includes the appropriate power supply, but be careful, the classic proprietary Digitech solution is once again used here. The power supply delivers 1.3 amps (!) alternating current (!!!), a value that is probably not supplied by any other company. Forgetting the power supply at home doesn't mean you can't sing a sentence! Unfortunately, the enclosed manual is only in English and is primarily aimed at the experienced user who already has some knowledge of harmony and parameter editing.

When it comes to handling, you can operate the pedal in two ways. Either you program your preferred scales and keys into a corresponding preset, or you hand over the responsibility to the patented musIQ tone analysis, which gets its information from a connected guitar. It doesn't matter whether you're using an acoustic guitar with an integrated pickup or an electric guitar, as long as you've optimized the input level. You can choose in advance whether you loop the guitar through in this first processing stage and then send it to an amp or mixing console, or from then on you mix the guitar as a third sound source with your own singing and the choir songs produced. There are three controls on the front for quick editing.

The Digitech Vocalist Live 5 has a total of 100 memory slots, 50 overwritable user presets and 50 permanent factory presets, which should be more than enough for a normal show. The product provides a wide range of editing functions, which relate to the microphone setting, the choirs and the guitar signal. Fortunately, when it comes to the guitar signal, they only concentrated on processing an acoustic guitar signal and didn't make the mistake of offering pedestrian electric guitar management via amp and speaker simulations.


When it comes to microphone and choir editing, however, Digitech brings out the big guns. Starting with various preamp settings, dynamic processing (compressor / gate), various filters and room effects (reverb / delay), the device comes with an elaborate channel strip. If necessary, a bit of Punch and Judy show with robot voices or similar is also used. Oh yes, users who are unsure of their intonation can also get some help with Pitch Correct. In the choir area, however, up to 4 additional, harmonized voices can be generated; the side job with the local gospel choir can be considered secure.

Management is done via 5 endless controllers, which take on multiple functions depending on the submenu. Below there are 5 pressure switches, which have the effect area, the harmony function, the presets and now, an A/B function per preset. This means that you can, for example, switch between different harmony settings within a song, for example verse and chorus. On the back, the Digitech Vocalist Live 5 has an extensive repertoire of inputs and outputs, such as a lockable Neutrik XLR / TSR combination socket, guitar in/out, balanced XLR stereo outs with ground lift, stereo jack out, a headphone jack, an expression pedal jack and the power supply socket.


Practice

Connecting the required signal transmitters proves to be uncomplicated. Connect the microphone, control it, done. Then the guitar, control, also good. The instrument can also be tuned using an internal tuner. Alternatively, a keyboard can also be used, but you should keep an eye on the input level. If you step through the individual programs, you will immediately notice how easy the display is to read. However, you should read the abbreviations in the manual beforehand so as not to despair because of the sometimes cryptic characters.

In terms of sound, however, the product impresses across the board. The naturalness of the voices produced are of very high quality and can also be made very human in terms of their “uncleanliness”. The chord recognition is also very fast and, even with power chords, is comparatively very good in terms of guessing the thirds within the tonal genders, unless you want to add a Beatles style singing to wild chromatic root notes/fifth scrubbing in Slayer style. In general, however, cutting out the chord you play has great advantages in terms of harmony, so you should try to work in triads, unless you just want to double or octave your singing.

When using an acoustic guitar with a pickup, you can also mix the signal very nicely via the outputs used, thereby saving you the need for an acoustic guitar amplifier. You can achieve the same thing with an electric guitar, but only with clean sounds. If you want to add an amp modeler, you should make sure to keep the level of distortion as low as possible and avoid using modulation effects if possible.


Conclusion

With the Digitech Vocalist Live 5, the American manufacturer is once again setting a bold mark when it comes to harmony singing. The floor pedal shines with a first-class sound, large editing options and excellent chord recognition, which allows even inexperienced musicians to open the door to singing in terms of harmony.

If Digitech now included a multilingual, somewhat more lovingly designed manual with the product, the overall impression would be perfect.

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Additional Informations:

Polyphonic vocal harmony, the art of blending multiple melodic lines to create rich, textured harmonies, has been a hallmark of musical expression since ancient times. In the context of bands, the development of polyphonic vocal arrangements has evolved over centuries, shaped by cultural, technological, and artistic influences. In this comprehensive exploration, we trace the fascinating history of polyphonic singing in bands, from its early origins to its modern-day manifestations.

I. Early Origins:
The roots of polyphonic vocal harmony can be traced back to ancient civilizations, where communal singing played a central role in religious ceremonies, communal rituals, and cultural celebrations. Early forms of polyphony emerged in various cultures, including medieval Europe, where Gregorian chant and early sacred music featured simple vocal harmonies created by overlapping melodic lines.

II. Renaissance Polyphony:
The Renaissance period witnessed a flourishing of polyphonic vocal music, characterized by intricate contrapuntal techniques and lush harmonic textures. Composers such as Josquin des Prez, Giovanni Pierluigi da Palestrina, and Thomas Tallis explored the possibilities of polyphony in choral settings, creating elaborate motets, madrigals, and choral compositions that showcased the beauty and complexity of multiple vocal lines interweaving harmoniously.

III. Baroque and Classical Periods:
During the Baroque and Classical eras, polyphonic vocal harmony continued to evolve, with composers like Johann Sebastian Bach, George Frideric Handel, and Wolfgang Amadeus Mozart incorporating rich vocal textures into their compositions. The emergence of opera and oratorio provided new opportunities for polyphonic singing, with soloists, choruses, and instrumental ensembles coming together to create grandiose vocal works of unparalleled beauty and complexity.

IV. Folk and Traditional Music:
In parallel to the classical tradition, folk and traditional music cultures around the world developed their own forms of polyphonic vocal harmony. From the close-harmony singing of Appalachian folk music to the intricate vocal layering of African choral traditions, polyphony became a vital element of cultural expression, passed down through generations via oral tradition and communal singing.

V. The Rise of Vocal Groups:
The 20th century witnessed the rise of vocal groups and ensembles dedicated to exploring the possibilities of polyphonic singing in popular music. Groups like The Mills Brothers, The Andrews Sisters, and The Ink Spots popularized close-harmony singing styles, blending intricate vocal arrangements with catchy melodies and rhythmic accompaniment. These vocal groups laid the groundwork for the emergence of modern-day a cappella and vocal harmony groups.

VI. The Beatles and the British Invasion:
The Beatles, with their innovative use of vocal harmony and multi-part arrangements, played a pivotal role in popularizing polyphonic singing in the context of bands. Songs like "Nowhere Man," "Because," and "This Boy" showcased the band's mastery of vocal harmony, with tight, intricate arrangements that added depth and richness to their sound. The Beatles' influence inspired countless bands to experiment with vocal harmony, shaping the sound of popular music for decades to come.

VII. Progressive Rock and Art Rock:
The progressive rock movement of the 1970s saw bands like Yes, Genesis, and Pink Floyd pushing the boundaries of polyphonic vocal harmony in rock music. Complex vocal arrangements, intricate harmonies, and elaborate vocal overdubs became defining features of the genre, as bands explored new sonic territory and sought to expand the possibilities of vocal expression in a band context.

VIII. A Cappella Renaissance:
In recent decades, there has been a resurgence of interest in a cappella music, fueled by popular television shows like "The Sing-Off" and "Pitch Perfect." A cappella groups like Pentatonix, Voctave, and Straight No Chaser have gained widespread acclaim for their innovative arrangements, virtuosic vocal performances, and creative use of polyphonic vocal harmony. These groups continue to push the boundaries of vocal expression, blending traditional choral techniques with modern pop sensibilities to create a fresh and dynamic sound.

IX. Modern Trends and Innovations:
In the digital age, advancements in recording technology and music production have opened up new possibilities for polyphonic vocal harmony in bands. With the advent of multi-track recording, bands can layer multiple vocal tracks to create intricate harmonies and lush vocal textures that were previously unattainable in a live setting. Vocal processing tools and pitch correction software have further expanded the creative possibilities, allowing artists to manipulate and enhance vocal performances with precision and control.

X. Conclusion:
From its humble origins in ancient rituals to its modern-day manifestations in popular music, polyphonic vocal harmony has remained a timeless and universal expression of human creativity and emotion. As bands continue to evolve and innovate, the tradition of polyphonic singing will undoubtedly endure, enriching our lives with its beauty, complexity, and profound capacity for emotional resonance. Whether performed by a small vocal ensemble or a stadium-filling rock band, polyphonic vocal harmony serves as a testament to the power of music to unite, inspire, and uplift the human spirit.

TEST: Digitech Freqout

 It's not easy as a pedal manufacturer these days. On the one hand, the pool of ground effects is maxed out, and on the other hand, it makes little sense to release the two hundredth TS-9 clone, be it as a deluxe-made-in-the-one-and-one-at-a-full-moon-lace. only-deepest-heart-of-USA boutique pedal or as an even cheaper pressed cardboard version for €19.99.

I don't want to know how many engineers around the world are tearing their hair out in the hope of getting inspiration so that a really new, but above all useful, pedal might see the light of day. Apparently Digitech has one of these enlightened people somewhere in the development department who comes up with a real innovation, if not a sensation, every few years. Who doesn't remember the big bang with which the whammy pedal made the music scene sit up and take notice of its time. Not one electric guitarist in the world who asked themselves during the group's debut “Rage Against The Machine” how Tom Morello implemented the crazy solo on the song “Killing In The Name”.

And now the Digitech Frequout Pedal. And? What's so innovative about it? Wait!

History lesson

“Oh no,” I can already hear the first ones groaning, “not again the Axel department talking about the eighties / Grandpa talking about the war.” Sorry, we have to turn back the clock a little, otherwise at least the younger ones among our readers may suffer from the problem of late birth.

Anyone who wants to really rip open their new amp alone in the rehearsal room will know the effect. Feedback fills the room. But in addition to the annoying effect of microphonics (the disgusting high-pitched whistling, which also occurs very quickly with awkwardly positioned microphones), the ambitious guitarist also notices a very pleasant side effect when he turns his body accordingly and chooses the right volume and level of distortion.

Depending on the note played, the side turns into an overtone wave and delivers a theoretically infinite sustain. High-quality wood and the best workmanship of instruments in the higher price ranges are very conducive to this behavior, so that the effect described used to be a sign of a very good instrument. Prerequisite: at least crunch distortion, better high gain and above all, a very high volume. Must listen: Gary Moore - “Parisienne Walkways” from the album “Blues Alive” at 2:24!

We're back in 2017. Inear systems dominate live stages, making high stage volumes obsolete. 50% of all guitarists play Kemper amps or comparable systems and no longer have any sound pressure at all on stage. What makes the hearts of most FOHs beat faster also ensures that there is no longer any interaction between guitar and speaker using moving air. Types of play like the above-mentioned controlled feedback are therefore impossible.

construction

Or should I say, were impossible? This is exactly where the Digitech Freqout comes in. It generates 7 different feedback frequencies (1st, 2nd, 3rd, 5th, Nat Low, Nat High and Sub) into which a vibrating string can tip. The double potentiometer Gain / Onset controls the intensity of the effect and the time period from which the effect should begin. When the effect is switched on, 2 mini switches also allow the activation of continuous operation or “momentary” operation and the mix of the original sound and effect or the effect can be listened to solo. Normally you will mix the two sounds, but in solo mode you can really hear how the effect works and when it starts.

Last but not least, a 9-way LED chain on the left side also visually shows how the effect works. The pedal, built in China, is very solid and should have a long life ahead of it. Unfortunately, the pots and mini switches have no protection against carelessly used footwear, so a little caution is required on stage.

Practice

It's always nice when a product triggers an AHA effect. This is the case with the Digitech Freqout. When activated for the first time, the product does what it is supposed to do, but everyone has to find their own personal setting in the areas of gain and onset. If you want the effect to sound natural, experience from the rehearsal room or on stage can help. The effect shouldn't start too quickly, as the string needs a moment to build up the interaction. But too late doesn't make sense either, as natural feedback rarely only occurs after 3 seconds or later.

In terms of sound, the original sound is slightly changed when activated, but like the Whammy, it is within acceptable limits. Attention, the Digitech Freqout does not replace volume on stage! It is completely unsuitable for rhythm and chord playing; its intended use is solo playing, where only a single note is played. But he can do it like no other.


Conclusion

With the Digitech Freqout, the pedal manufacturer from Utah has once again achieved a very innovative feat. The previously unique effect generates the feedback effect even at the lowest volumes, which previously could only be achieved with the use of high volumes. A brilliant effect for small club gigs that revive the feel of a hall concert, but also another piece of the puzzle of the disenchantment of time-honored rock'n'roll.
 
For the innovation alone: top marks

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Additional Informations:

Feedback, that characteristic howl or wail produced when the sound from an electric guitar's amplifier is picked up by its own pickups and re-amplified, is an integral aspect of electric guitar playing. While often perceived as an unwanted nuisance, feedback can be harnessed as a powerful tool for artistic expression and sonic experimentation. In this comprehensive guide, we will explore the nuances of feedback, its underlying principles, and techniques for harnessing its potential to elevate your electric guitar performance.

I. Understanding Feedback:
Feedback occurs when the sound produced by an electric guitar's amplifier is captured by the guitar's pickups and re-amplified, creating a loop of sound that sustains and grows in volume. This phenomenon is primarily influenced by the interaction between the guitar, amplifier, and environment, including factors such as volume, proximity to the amplifier, room acoustics, and guitar setup.

II. The Physics of Feedback:
At its core, feedback is governed by the principles of acoustics and signal processing. When sound waves emitted by the amplifier reach the guitar's pickups, they induce a voltage in the pickup coils, which is then amplified and sent back through the amplifier. This continuous loop of sound reinforcement leads to the sustained oscillation characteristic of feedback.

III. Types of Feedback:
Feedback can manifest in various forms, each with its own sonic characteristics and implications for performance. Common types of feedback include harmonic feedback, in which specific frequencies are accentuated, and chaotic feedback, characterized by unpredictable and uncontrollable oscillations. Understanding these distinctions is essential for harnessing feedback creatively.

IV. Harnessing Feedback Creatively:
While feedback is often viewed as a nuisance to be avoided, skilled guitarists have learned to embrace it as a creative tool. By manipulating factors such as guitar position, amplifier settings, and proximity to the amplifier, guitarists can control and shape the feedback to create unique textures, drones, and harmonic overtones. Experimentation is key to unlocking the full potential of feedback as a creative resource.

V. Feedback Techniques:
Numerous techniques can be employed to manipulate feedback and incorporate it into your playing. These include:
1. Controlled Feedback: Deliberately inducing feedback at specific moments to enhance dynamics and add intensity to your performance.
2. Feedback Loops: Creating complex feedback loops by routing the guitar signal through effects pedals or signal processors to generate evolving and unpredictable sonic textures.
3. Feedback Melodies: Using feedback to generate melodic lines and harmonic sequences by carefully controlling the guitar's position and proximity to the amplifier.
4. Feedback Swells: Gradually increasing the volume and intensity of feedback to create dramatic swells and crescendos in your playing.

VI. Practical Considerations:
While harnessing feedback can yield exhilarating results, it's essential to approach it with caution and mindfulness. Excessive feedback can overpower other instruments and disrupt the balance of a mix, so it's crucial to exercise restraint and use feedback judiciously. Additionally, be mindful of your ears and equipment, as prolonged exposure to high volumes of feedback can cause hearing damage and potentially harm your gear.

VII. Incorporating Feedback into Performance:
Integrating feedback into your live performances requires careful planning and rehearsal to ensure optimal results. Experiment with different setups, techniques, and amplification systems to find the approach that best suits your artistic vision and musical style. Remember that feedback is just one tool in your sonic arsenal, and its effective use requires creativity, skill, and experimentation.

VIII. Pushing the Boundaries:
As with any aspect of music, pushing the boundaries of feedback experimentation can lead to new and exciting sonic territories. Don't be afraid to think outside the box and explore unconventional techniques and approaches to feedback utilization. Embrace the unexpected and allow yourself to be guided by the serendipitous discoveries that arise from fearless experimentation.

IX. Historical Significance:
The utilization of feedback in electric guitar playing has a rich historical significance, dating back to the earliest days of amplified music. Pioneering guitarists like Jimi Hendrix, Pete Townshend, and Jeff Beck were among the first to explore the sonic possibilities of feedback, incorporating it into their groundbreaking performances and recordings. Their innovative use of feedback paved the way for generations of guitarists to come, inspiring countless musicians to experiment with this unique sonic phenomenon.

X. Cultural Impact:
Beyond its technical and artistic significance, feedback holds a profound cultural impact within the realm of music. Its raw, visceral sound has become synonymous with the rebellious spirit of rock 'n' roll, symbolizing the untamed energy and creative freedom of the electric guitar. From the blistering solos of heavy metal to the avant-garde experimentation of experimental music, feedback remains a potent symbol of artistic expression and defiance against convention.

XI. Feedback in Recording:
In the studio environment, feedback can be manipulated and sculpted with even greater precision, thanks to the availability of advanced recording techniques and signal processing tools. Engineers and producers often employ feedback as a creative effect, using it to add depth, texture, and atmosphere to recordings. Techniques such as microphone placement, amplifier isolation, and signal routing enable precise control over feedback, allowing artists to achieve the desired sonic result with precision and finesse.

XII. Feedback in Live Performance:
Live performance presents a unique set of challenges and opportunities for utilizing feedback effectively. In a concert setting, factors such as venue acoustics, stage layout, and audience interaction can all influence the behavior of feedback, requiring performers to adapt and improvise in real-time. Skilled guitarists develop an intuitive understanding of their instrument and amplification system, allowing them to harness feedback spontaneously and incorporate it seamlessly into their performances.

XIII. Feedback as a Collaborative Tool:
Feedback is not limited to solo guitar performances but can also serve as a collaborative tool for musical exploration and improvisation. Bands and ensembles often use feedback as a means of collective expression, building upon each other's ideas to create immersive sonic landscapes and dynamic interactions. By listening and responding to the nuances of feedback, musicians can engage in a dialogue of sound that transcends individual performance and fosters a deeper sense of connection and cohesion within the ensemble.

XIV. The Future of Feedback:
As technology continues to evolve, so too will the possibilities for utilizing feedback in electric guitar performance. Advancements in amplifier design, signal processing, and digital modeling offer new avenues for exploring the sonic potential of feedback, pushing the boundaries of what is possible in terms of tone, texture, and expression. Additionally, emerging technologies such as virtual reality and augmented reality present exciting opportunities for immersive feedback experiences, allowing performers to interact with feedback in entirely new ways.

XV. Conclusion:
In conclusion, feedback is not merely a byproduct of amplified sound but a dynamic and versatile tool for artistic expression and sonic exploration. Whether used subtly to add depth and dimension to a recording or unleashed in a torrent of raw energy during a live performance, feedback has the power to captivate audiences and inspire musicians to push the boundaries of their creativity. Embrace feedback as a source of inspiration and discovery, and let its unpredictable beauty guide you on a journey of sonic exploration and musical discovery.

TEST: Digitech EX7

 I don't know about you, but I always have problems with the term "pedal". When I first came into contact with “pedals” at the tender age of around 14, there were actually only two types of pedals, a volume pedal (also often called a “swell”) and the classic wah-wah. Both had a rocker of some kind on the top with which you could control the effect or volume with your foot. Basta! The other was “stompbox effects devices” or just “effects devices” (19” effects were only known from expensive recording studios...). Even little Axel understood everything verbally and simply in two drawers.

But then the Anglo-American armada of names hit us and then it started. Suddenly almost all types of floor-stationary effects devices are “pedals”, sometimes “stompboxes”, sometimes “switches” or even “multi-FX”. Now the child had fallen into the well in terms of naming, a sometimes crude undertaking to use the correct terminology here. So, in the spirit of the bicycle, let's agree that a pedal has a rocker and a stop box houses one or more on/off switches. Woe betide me now someone comes with a floor tuner...;-)

Over the decades, not only have classics emerged in the area of stompboxes, no, products have also been developed in the pedal segment, which are still in heavy use today and are massively trampled on. With the EX-7 Expression Pedal, DigiTech is trying to emulate several classics from this guild and combine them in just one housing, so that the heavy stuffing department on the floorboard is somewhat contained.


construction

At first glance, the EX-7 is way ahead in terms of workmanship and appearance. Manufactured in the USA (!) is extremely solid, which also explains its weight of just under 1.5 kilograms. The product also has a very nice carbon fiber look, which visually sets it apart from the competition. The product is operated via an included 9V power supply, which delivers 1.3 (!) amps. Operation via a 9V block is not possible.

Strictly speaking, the EX-7 is an expression pedal, which suggests that, depending on the subject's programming, different parameters can be managed with the pedal function. DigiTech has chosen seven different pedals, although some emulations are not pedals in the true sense, but rather certain parameters such as the speed of a modulation effect are controlled via the pedal function.

In addition, DigiTech has adopted the seven distortion presets from the DF-7 Distortion Factory, so that a total of 14 typical stompboxes (there it is again, that expression ;-)), which are usually placed in front of the preamplifier of the amplifier, are available.

Specifically, the following effect devices are emulated:

Pedal effect modules:

Dunlop cry baby
Vox Clyde McCoy Wah
DigiTech XP300 Space Station
DigiTech Whammy
Unicord Uni Vibe
Leslie 147 Rotary Speaker
A/DA Flanger


Distortion modules:

DOD Overdrive
ProCo advice
DigiTech MetalMaster
Boss Metal Zone
EH Big Muff
Ibanez TS9
Boss DS-1


One distortion and one pedal emulation can be individually placed together in one storage location. Unfortunately, the choice of one of the seven storage locations can only be changed by hand, unless you get the FSX3 footswitch, which can at least step through the individual storage locations. For the live musician, this is the only possible choice to avoid having to kneel on the floor between songs and tweak the model controls.

In terms of control options, the EX-7 has three concentric double potentiometers in addition to the module selector, with the outer rings managing the three classic distortion parameters gain, tone and volume, while the three inner potentiometers manage different control functions of the pedal function. The Ex-7 can also be used as a volume pedal.

In terms of connection options, the EX-7 has a mono-in and the connection socket for the above-mentioned foot switch on the right side of the housing. On the left there is a stereo output for connection to an amplifier and a frequency-corrected stereo output for connection to a mixer. Both outputs can also be switched mono if necessary.




Practice

Boy oh boy, it's actually extremely rare to see so many copyright symbols printed in one place, the booklet hardly gets a sentence without TM, R or C ;-) On the other hand, these same trademark symbols are usually printed in abundance on all kinds of emulation products You don't have a swarm of well-dressed men from various law firms standing at your door 10 minutes after the product's release.

After wiring the device, the first thing you notice is that the EX-7 boosts the volume level of the guitar and the treble portion of the sound, with the exception of position 7, where it acts as a volume pedal. It is therefore important to adjust the gain range of the amplifier accordingly if necessary. To activate the pedal, you shouldn't be too squeamish, especially the pedal function (foot switch under the toe) needs to be used hard. The distortion function (foot switch under the heel), however, is a little easier to activate.

Let's get straight to what I think is the EX-7's biggest shortcoming. Unfortunately, the built-in parameters of the DF-7 pedals can only be used in conjunction with a pedal emulation, so anyone hoping to find two independently operating DigiTech products in one pedal will unfortunately be disappointed. In this respect, it is unfortunately only possible to see in a rudimentary way to what extent the distortion emulations reach their protagonists, since the sound formation of a wah-wah or something similar always lies above everything.

The relatively short control path of the pedal still has to become second nature, but this is achieved after a short training period. As expected, the EX-7 provides the closest approximation to the original when it comes to in-house presets such as the Whammy. All other emulations sound good to decent, although the wah-wah section comes across as a bit sterile. However, if you consider the design of the device, the limitation is completely okay.



Conclusion

Even if purists will, as expected, blow this test out of my face, the concept, workmanship and sound output of the EX-7 ensure it receives a good test result. Even if there is a hint of syntheticness hovering over all the presets, the original sound of the guitar is changed even without any FX component and the individual emulation test subjects always lag a little behind their originals in terms of dynamics and tonal depth, I know from my own experience that it is There are more and more shows where you only want to or even have to travel with small luggage.

The never-ending problem of excess luggage at shows abroad where you can only travel by plane is just one of many examples where you're happy to be able to leave your floorboard in the rehearsal room and instead just have to stuff a single pedal into your hand luggage. If you are willing to accept the limited access options for the effects offered in favor of the compactness of the product, you have a useful helper at your side in the DigiTech EX-7, which offers a lot in a small space.

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Additional Informations:

Digitech, a pioneering name in the realm of audio effects, has been revolutionizing the music industry since its inception. Among its myriad offerings, Digitech pedals stand out as veritable gems, cherished by musicians and sound engineers worldwide. In this comprehensive guide, we delve into the intricate world of Digitech pedals, exploring their diverse range, innovative features, and unparalleled sonic capabilities.

I. Evolution of Digitech Pedals:
Since its establishment in the late 1980s, Digitech has continuously pushed the boundaries of audio technology, introducing groundbreaking innovations in pedal design and functionality. From early classics like the Digitech Whammy to modern marvels such as the Digitech RP Series, each pedal reflects the company's commitment to excellence and innovation.

II. The Digitech Pedal Ecosystem:
Digitech boasts an extensive lineup of pedals catering to a wide spectrum of musical styles and preferences. Whether you're a guitarist seeking lush reverbs, blistering distortions, or intricate modulation effects, Digitech has a pedal to suit your needs. From compact stompboxes to multi-effects powerhouses, the Digitech pedal ecosystem offers something for everyone.

III. Cutting-Edge Features:
What sets Digitech pedals apart are their cutting-edge features and advanced technologies. Many Digitech pedals incorporate proprietary algorithms and digital signal processing techniques to deliver studio-quality sound in a compact, pedalboard-friendly format. Features like built-in expression pedals, amp modeling, and USB connectivity further enhance their versatility and performance capabilities.

IV. Signature Pedals and Artist Collaborations:
Over the years, Digitech has collaborated with renowned artists and musicians to develop signature pedals tailored to their unique sonic preferences. From iconic artists like Eric Clapton to modern virtuosos like Tosin Abasi, Digitech's signature pedals capture the essence of their distinctive tones, empowering musicians to unleash their creativity on stage and in the studio.

V. Performance and Reliability:
Digitech pedals are renowned for their robust construction, reliability, and stellar performance in any musical setting. Whether you're gigging night after night or recording in the studio, Digitech pedals deliver consistent, top-tier performance, ensuring that your sound remains pristine and professional at all times.

VI. Endless Possibilities:
With Digitech pedals, the sonic possibilities are virtually limitless. Whether you're experimenting with unconventional signal chains, creating ambient soundscapes, or crafting face-melting solos, Digitech pedals empower you to explore new sonic territories and unlock your full creative potential.

VII. The Future of Digitech Pedals:
As technology continues to evolve, so too will Digitech's pedal offerings. With the advent of artificial intelligence, machine learning, and cloud connectivity, the future holds boundless opportunities for innovation in pedal design and functionality. Whether it's pioneering new effects algorithms, integrating smart features, or expanding compatibility with digital audio workstations, Digitech remains at the forefront of audio technology, shaping the future of music production and performance.

Conclusion:
In conclusion, Digitech pedals represent the pinnacle of innovation and craftsmanship in the world of audio effects. With their unparalleled sound quality, versatile features, and rock-solid reliability, Digitech pedals have earned their place on the pedalboards of musicians and sound engineers worldwide. Whether you're a seasoned professional or an aspiring enthusiast, Digitech pedals offer a gateway to sonic exploration and musical expression like no other.

TEST: Digitech Drop

 Oh man, who doesn't know this problem. You have laboriously sacrificed your precious free time to finally adjust your new, beloved six-string instrument to your personal playing style in terms of neck curvature, string thickness and vibrato system, and then the singer comes along and asks for one or two semitones to be downtuned, since it is " "Something is scratching your throat today and you probably won't be able to play the high notes today."

Or the chief songwriter of the house ensemble has discovered that his creative outpourings sound a lot fatter in C sharp and he now really wants to tune four semitones lower for two songs. Even hardened Fender or Gibson players are now tearing their hair out as they find themselves confronted with loose strings, convex neck curvatures or at least one or two spare guitars that need to be transported as well as maintained.

However, the colleague with the free-floating vibrato system a la Floyd Rose will go completely crazy. Because of the aforementioned construction, even if the string breaks, he will not be able to finish the song, let alone put the guitar in a different tuning. Wouldn't it be wonderful to have an electronic solution that not only has minimal latency, but also the lowest possible sound artifacts during processor operation? The man can be helped.

America's specialist in effects and more, Digitech, recently launched the Whammy DT, not only a further development of its legendary pedal, but also included a subsection with which you can transpose the original signal up or down by seven semitones, or one octave can. Those responsible asked themselves why not offer this area as a separate effect with only a downtuning function at a low price, and hey presto, the Digitech Drop was born.


construction

To underline its lineage, the Digitech Drop comes in the classic Whammy Red. Whether you like the color or not is irrelevant; it sticks to the product like a Ferrari. With dimensions of 121 mm x 73 mm x 45 mm and a weight of 360 grams, the Digitech Drop is within normal pedal dimensions. The internal electronics were packaged in very solid sheet steel, which should also withstand heavy trampling.

You really can't go wrong with the Digitech Drop. Input, output, true bypass foot switch and a connection socket for the included power supply make a wiring error actually impossible, well, almost ;-) You can set the desired interval with an endless rotary control, and you also have the option of using a toggle switch to change the functionality of the foot switch can be varied between permanently or only while the switch is pressed. This of course opens up adventurous interactions with personal gaming operations.


Practice

First of all, let's take a look at the Octaver function, as we know it from various competing products. What is immediately noticeable in terms of sound is the product's extremely fast processor, as was already installed in the Whammy DT. Even with extremely fast solo shredding passages of the wild variety, the original sound does not manage to outpace the effect signal. You are spared the sometimes horrible results of the first Octaver pedals, which struggled more than well due to the CPU performance and sometimes calculated so slowly that you had to adapt your personal playing style to the product. Here you get the impression that you have an eventide in the signal path in terms of computing speed.

Now to downtuning, which can also be done relatively quickly. It just sounds excellent. Of course, the tonal artifacts increase a fraction with each semitone, but when you consider the haptic effort you save with this pedal, everything is put into perspective. The highlight, however, is the momentary mode of the footswitch, which allows for adventurous riffs in song terms. Heavy prog storm with a standard tuning guitar that mutates into a baritone guitar for seconds for heavy passages and then immediately returns to standard mode, that's something. This is not even possible at this speed with the original Whammy pedal.


Conclusion

The Digitech Drop is an excellent sounding and exemplary workmanship special pedal for a wide range of applications. Whether unusual prog orgies, shortening endless tuning sessions, saving on special instruments or just the whining whiner on the vocal microphone, the Digitech Drop solves many problems in no time.

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Additional Informations:

Digitech Pedals, a pioneering force in the world of guitar effects, has left an indelible mark on the music industry with its groundbreaking innovations and commitment to sonic excellence. From its humble beginnings in a small garage to its status as a global leader in effects pedals, Digitech has continually pushed the boundaries of what is possible in sound manipulation. In this comprehensive exploration, we delve deep into the rich history of Digitech, tracing its evolution from a passion project to a household name among musicians worldwide.

### The Genesis of Innovation:

Digitech was founded in 1984 by two friends and electrical engineering enthusiasts, Tom Cram and Dave DiFrancesco, in Salt Lake City, Utah. Fueled by a shared passion for music and technology, the duo set out to create innovative audio products that would revolutionize the way musicians shape their sound. Drawing inspiration from emerging digital signal processing (DSP) technology, Cram and DiFrancesco embarked on a mission to develop effects pedals that offered unparalleled flexibility and sonic quality.

### Early Breakthroughs and Milestones:

In its formative years, Digitech made significant strides in the realm of digital effects processing, introducing pioneering products that would set the stage for its future success. One of the company's earliest breakthroughs came with the release of the DSP128, a digital multi-effects processor that showcased Digitech's prowess in harnessing the power of DSP technology for musical applications. The DSP128 laid the groundwork for subsequent innovations, establishing Digitech as a trailblazer in the field of digital effects.

### The Birth of Iconic Pedals:

Throughout the 1990s and early 2000s, Digitech solidified its reputation as a leading manufacturer of effects pedals with the introduction of several iconic products that would become staples in the rigs of guitarists worldwide. Among these groundbreaking pedals was the Whammy, a pitch-shifting pedal that allowed players to create dramatic pitch bends and dive-bomb effects with the tap of a foot. The Whammy's distinctive sound and innovative design made it a favorite among artists ranging from rock icons to experimental virtuosos.

### Expansion and Diversification:

As Digitech continued to grow and expand its product lineup, the company diversified its offerings to cater to a broader range of musicians and musical styles. In addition to its flagship effects pedals, Digitech introduced a variety of other products, including amp modelers, vocal processors, and recording equipment. This expansion into new markets further solidified Digitech's position as a leading innovator in the audio technology industry, with a product catalog that appealed to musicians of all backgrounds and genres.

### The Influence of Technology:

Digitech's success can be attributed in large part to its relentless pursuit of technological innovation. Throughout its history, the company has remained at the forefront of advancements in digital audio processing, continually pushing the boundaries of what is possible in terms of sound manipulation and expression. From the development of proprietary algorithms to the integration of cutting-edge hardware components, Digitech's commitment to technological excellence has been a driving force behind its success.

### Enduring Legacy and Impact:

Over the years, Digitech has left an indelible mark on the music industry, influencing generations of musicians with its innovative products and groundbreaking technologies. From the iconic sounds of the Whammy to the versatility of its multi-effects processors, Digitech pedals have become synonymous with creativity, expression, and sonic exploration. Moreover, Digitech's dedication to quality, reliability, and customer satisfaction has earned the company a loyal following of musicians who continue to rely on its products in the studio and on stage.

### Embracing Change and Adaptation:

In the dynamic landscape of the music industry, Digitech has demonstrated a remarkable ability to adapt to changing trends and technologies while staying true to its core values of innovation and quality. As digital audio technology has evolved, Digitech has continued to refine its products, incorporating new features and functionalities to meet the evolving needs of musicians. From the transition to more compact and user-friendly designs to the integration of wireless connectivity and mobile app compatibility, Digitech has remained at the forefront of advancements in effects pedal technology.

### Collaborations and Artist Endorsements:

A key factor in Digitech's enduring success has been its partnerships with influential artists and musicians. Collaborations with renowned guitarists and performers have not only provided valuable feedback for product development but have also helped to raise the company's profile and expand its reach within the music community. From signature pedals designed in collaboration with artists like Joe Satriani and Brian May to endorsements from top-tier performers across genres, Digitech's association with high-profile musicians has played a significant role in shaping its brand identity and cultivating a loyal customer base.

### Customer Engagement and Community Building:

Digitech has fostered a strong sense of community among its customers through various initiatives aimed at engaging with musicians and enthusiasts. From online forums and social media groups to educational content and product demonstrations, Digitech has created platforms for musicians to connect, share experiences, and exchange ideas. By actively listening to customer feedback and incorporating user suggestions into product development, Digitech has built a reputation for being responsive to the needs and preferences of its user base, further solidifying its position as a trusted ally in the quest for sonic exploration.

### Commitment to Quality and Reliability:

At the heart of Digitech's success lies a steadfast commitment to quality and reliability. From the materials used in construction to the rigorous testing procedures employed during manufacturing, Digitech places a premium on ensuring that its products meet the highest standards of performance and durability. This dedication to excellence has earned Digitech the trust and confidence of musicians worldwide, who rely on its pedals to deliver consistent and inspiring tones in a variety of musical settings.

### Looking Ahead: Innovation and Continuity:

As Digitech looks to the future, the company remains committed to pushing the boundaries of innovation and creativity in the pursuit of sonic excellence. With advancements in digital technology continuing to drive new possibilities in sound manipulation and expression, Digitech is poised to remain at the forefront of the music technology industry, inspiring musicians to explore new sonic territories and push the limits of their creativity. With a rich legacy of innovation and a steadfast commitment to quality, Digitech Pedals is poised to continue shaping the future of music for years to come.

### Conclusion:

In an industry characterized by constant change and evolution, Digitech Pedals stands as a beacon of innovation, creativity, and reliability. From its humble beginnings in a small garage to its status as a global leader in effects pedal technology, Digitech has remained true to its founding principles of pushing the boundaries of sonic possibility. With a rich history of groundbreaking innovations, a commitment to quality and reliability, and a dedication to fostering community and engagement among musicians, Digitech Pedals is poised to continue shaping the future of music for generations to come.