Regardless of your personal age, anyone who has ever dealt with electric guitars will have heard the name Elektro Harmonix at some point in their life. Even when the writer of this article was still a little shit and snubbed his nose at the then “analog” music stores in Cologne, the attention often fell on small silver pedals with such characteristic names as Phase 90, Electric Mistress or of course had the legendary Big Muff printed on them. The fact that the scene original and owner Mike Matthews already had a very good connection to the Soviet Union became obvious in 1990 at the latest when the Sovtek MIG-50 amplifier came onto the market under the direction of MM and was brimming with Russian puns. Since, due to the current political situation, you can neither purchase products from Russia nor want to be associated with Russian attributes in any way, Mike Matthews has decided to now use the legendary amplifier, which was very popular with both guitarists and bassists with a new name and completely Made in USA. We have the newly released classic Electro Harmonix MIG-50 for testing.
The conception of the Electro Harmonix MIG-50
Well, the product name “Mikoyan and Gurevich” (MIG), which stands for the leading company in Russian fighter aircraft, has still made it to the present, but the use of the former company name and its well-known tubes are history, the latter being replaced by Tung- Sol tubes replaced. The head, which is slightly smaller with dimensions (W x D x H): 610 mm x 356 mm x 356 mm, is designed in the classic style of British vintage amplifiers in the style of a Sound City or Hiwatt, which is reflected, among other things, in a spartan circuit very high volume with, if desired, a low level of distortion and a very solid construction, which can withstand even harsh handling.
The amp is described as two-channel, which can be a bit misleading these days. You can neither change the two channels with a footswitch, nor is there any other way to connect them together. To change the sound, you have to plug the jack plug into another jack socket on the front of the amplifier. The difference in sound between the two channels is correspondingly subtle. While the normal input focuses on bass and low-mids, the bright input is, as expected, more focused on the highs. The possibilities known from two-channel vintage amplifiers with four input sockets are not available with the Elektro Harmonix MIG-50, but they are not really necessary either.
In terms of conception, the amplifier could hardly be more purist, as it is a classic non-master amp in the best JTM style. A four-band sound control in the form of treble, middle, bass and presence, plus two volume controls for one channel each, done! If you want distortion, you get volume. Very simple, very simple, very traditional. I recommend that you think about purchasing one or perhaps the best load resistor currently available, the Fryette Power Station. (https://www.amazona.de/test-fryette-power-station-power-attenuator-und-roehrenendstufe/)
In terms of workmanship, there is nothing that could be criticized about the product. Both in terms of the feel of the individual controls, the sockets and simple things such as the application of the artificial leather, the craftsmanship is very high quality and there is no reason for criticism. The comparatively unusual design of the power and standby switch is interesting. Both switches are designed in black, which I personally have never come across in my entire career, and the switches are designed so that when you switch them up, they fulfill their on function. Personally, I only know this in the opposite direction, i.e. both the power and standby switches are activated when you press the switches down. Unfortunately, the feel of the switches doesn't really convince me; both switching processes don't produce the characteristic "clack" that you'd expect from classic tube amps, but rather "press" into place, as if they were mounted in plastic. A little downer.
Finally, on the right side we find a bright red status lamp. I'm always surprised at how incredibly far you can see these small lamps in a dark room. Just yesterday I was a guest at a concert in a 5000 hall. I stood at the very back of the hall and could still see perfectly which amplifiers on stage were switched on and which were not.
The back of the Electro Harmonix MIG-50
Now let's move on to the back of the Elektro-Harmonix MIG-50. The perforated sheet metal on the back of the amplifier reveals the 5881 power tubes and the traditionally styled 12AX7 preamp tubes, three of which were installed and two of the power tubes. What's interesting is that you can easily adjust the quiescent current on the amplifier on the back of the housing using two measuring points.
However, I would like to point out that this is a job for professionals who know exactly what they are doing. Tubes that are both too cold and too hot not only result in poorer sound, but also significantly more wear and tear, which practically cannot be justified. Unfortunately, you won't find a loop path with the electric Harmonix MIG-50, or in the tradition of the amp, all effects are switched before the amplifier.
At the speaker outputs you can clearly see that the slightly smaller amplifier is designed for operation with just one cabinet. There is an output jack for 16 ohms, 8 ohms and 4 ohms. On the left side there is the cold device socket and the microfuse. Everything was kept very simple, clear and self-explanatory.
in practice
I don't know if it's just me, but I personally have the feeling that we've recently found an increasing number of amplifiers that fulfill their very own function, namely amplifying a signal in the most neutral possible way. These are mostly all-tube amplifiers, which have a stronger saturation at a certain volume, but produce a more or less clean sound up to a comparatively high volume, which not only complements a high-quality guitar very well , but also harmonizes with the diverse variety of pedals.
In particular pedals that have always been connected in front of the amplifier, such as all forms of overdrive, distortion, boosters or fuzz pedals, but also classics such as the Wah Wah pedal or the popular Uni-Vibe clone, which was popular at the time due to the vibrato and modulation effect They can also be placed in a serial effects loop and can also be used in front of a clean or slightly distorting amplifier.
You should always keep this approach in mind when considering the sound of the Elektro Harmonix MIG-50. The amplifier actually has an excellent basic sound, which immediately puts you in a time machine and catapults you back several decades. Particularly when paired with instruments with a slightly vintage feel, such as single-coil guitars with comparatively low output power, or Les Paul-like ones, which also do not exceed 10 kiloohms of direct current resistance despite the humbucker, the amp is ideal for clean and subtle crunch. Use sounds without the plaster immediately crumbling from the ceiling.
If you want to get the amp distortion, you can't avoid a certain volume, unless you work with a very good, adjustable load resistor as described above. Although the amplifier's design is subtly reminiscent of the 1959 model or, due to its performance, even more reminiscent of the 1987 model from Marshall, the amplifier has a completely unique sound. The mids, as we know them from Marshall, for example, along with its fixation on the typical Marshall highs, are much more moderate in the Electro Harmonix MIG-50 and, due to the power tubes used, sound much more in the direction of Hiwatt, if you can the Hiwatt really tickles in the preamp and discreetly holds back with the master control. Personally, I believe that only channel 2 is probably used with this amp anyway, as channel 1 has been very heavily attenuated in treble and will probably only find its friends in jazz, as you can see from the sound examples.
In terms of sound, the amplifier is otherwise convincing across the board and I'm sure that many users would like to have a footswitch with which they can switch between the two channels. Maybe Mike Matthews will consider this in a future version of the amp. Unfortunately this is not possible at the moment.
The question remains as to the area of application of the amp. Of course, this amplifier will work excellently in the studio, as volume has no relevance in a professional studio. You can achieve a very good result with this amplifier, especially with speakers of a lower performance class such as the Vintage 30, or even with Greenbacks.
In live operation, this amplifier requires a minimum stage or sound room size, unless you want to be on the safe side and get all the distortion from good pedals, which is certainly one of the main areas of application for this amplifier. If, on the other hand, you want to tickle the amp and ultimately decide on the level of distortion using the guitar's volume control, you can assume that you will either have a lot of discussions with the front-of-house mixer or perhaps some of the sound will not take place on the PA at all becomes.
Conclusion
With the Electro Harmonix MIG-50, the American company has a puristic, very good-sounding amplifier in its portfolio. Reduced to the most necessary functions, the amp offers a very good, highly dynamic basic sound, which also works excellently with pedals.
If you like vintage sound and approach, you should definitely give the amp a try.
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Additional Informations:
Electro-Harmonix (EHX), a renowned company in the realm of electronic audio processors, has a rich history that dates back to its inception in 1968 by Mike Matthews. This New York City-based company has left an indelible mark on the music industry, particularly through its iconic guitar effects pedals and innovative audio equipment.
### **Founding Years and Early Success**
Electro-Harmonix was born out of the vision of Mike Matthews, a rhythm and blues keyboard player, who founded the company in October 1968 with a modest investment of $1,000. Partnering with Bill Berko, an audio repairman, Matthews embarked on creating a fuzz pedal that gained popularity due to its unique sound. The company's early success can be attributed to the introduction of groundbreaking products like the Electric Mistress flanger and the Memory Man analog echo/delay unit, which revolutionized the music scene in the 1970s.
### **Innovations and Milestones**
During the mid-1970s, Electro-Harmonix solidified its position as a pioneer in guitar effects pedals by introducing cutting-edge innovations such as the first stomp-box flanger (Electric Mistress), the first analog echo/delay unit with no moving parts (Memory Man), and the first tube-amp distortion simulator (Hot Tubes). These inventions not only set new standards in sound manipulation but also established EHX as a trailblazer in the industry.
### **Expansion and Diversification**
As Electro-Harmonix continued to grow, it diversified its product line to include amplifiers, acoustic guitars, and a wide range of effects pedals. The company's commitment to quality and innovation led to collaborations with prominent artists like Jack White, Dave Gilmour, and The Edge, who became avid users of EHX pedals like the Big Muff.
### **Enduring Legacy**
The Big Muff Pi fuzz box stands out as one of Electro-Harmonix's most iconic creations. Launched in 1970, this pedal quickly gained popularity among guitarists for its distinctive overdriven tone reminiscent of rock legends like Jimi Hendrix and The Rolling Stones. Over the years, EHX has continued to refine and expand the Big Muff line with variations like the Bass Big Muff and Big Muff Tone Wicker, catering to a diverse range of musicians' needs.
### **Influence on Music Industry**
Electro-Harmonix's impact on the music industry extends beyond its product innovations. The company's ability to capture the essence of iconic artists' sounds has made it a go-to choice for musicians seeking to craft unique tones. From classic rock to modern genres, EHX pedals have found their way into countless recordings and live performances worldwide.
### **Continued Innovation**
Today, Electro-Harmonix remains at the forefront of audio processing technology with a diverse portfolio of effects pedals catering to musicians across genres. With a legacy spanning over five decades, EHX continues to push boundaries and inspire creativity in the world of music production.
In conclusion, Electro-Harmonix's journey from humble beginnings to global recognition is a testament to its unwavering commitment to innovation, quality, and musical excellence. As a trailblazer in the realm of guitar effects pedals, EHX has not only shaped the sounds of popular music but also cemented its legacy as an industry leader synonymous with creativity and sonic experimentation.
Mittwoch, 20. März 2024
TEST: Electro Harmonix MIG-50
Donnerstag, 7. März 2024
TEST: Electro Harmonix B9
Even if many people like to claim the opposite, it really isn't easy as a guitarist. On the one hand, the eternal ego shootdown with the singers, on the other hand, the musically tangible arguments with the keyboard players, and worse, pianists. Most of them are well trained musically, can play notes and are equipped with five fretting fingers and several octaves more. They can annoy you so much with their harmony that you actually just want them out of the band as quickly as possible. If it weren't for the sound hole they leave behind...
OK, in a Depeche Mode cover band it would probably be the guitarist who has to jump over the blade first. In a real classic rock band, however, a key juggler basically only needs 3 sounds. 1.) Piano, 2.) Synth-Brass and 3.) Hammond Organ. Especially with the third sound, many long-suffering colleagues from the seventies see the classic B3 in their eyes, paired with the indispensable Leslie rotor cabinet, both best in a flight case, together making a transport weight of around 300 kilograms. It was a nice time...
Wouldn't it be even nicer if, as a guitarist, you could at least rudimentarily produce real-sounding organ sounds with your instrument in order to significantly increase the degree of self-sufficiency? Aware of this problem, one of the biggest traditional companies when it comes to stompboxes, the American company around Mike Matthews called Electro Harmonix, has brought a pedal called B9 Organ Machine onto the market, which is intended to help.
construction
While Electro Harmonix devices were initially characterized by thin metal boxes, scratchy potentiometers and adventurous free-flight wiring (“Electro Was-Well-Nothing”), the current products come with a contemporary layout. The thin sheet metal has given way to a solid steel construction, which will vehemently withstand even tough road use. The scope of delivery also includes a 9V power supply, which spits out 200 mA and is listed as an official Boss and Ibanez replacement power supply.
In the case of the Electro Harmonix B9 Organ machine, it is a white housing that is equipped with a total of five potentiometers. Two volume controls regulate the guitar and organ parts, and the signals can also be sent to different amplifiers due to the two outputs. If you only use the “Organ” out, the output signal is mixed. Depending on the organ type, a MOD controller regulates the vibrato, tremolo and rotor cabinet effect (chorus) parameters. Using CLICK you can control the proportion of the typical attack when pressing a key; at maximum level you can achieve the effect of a percussion instrument.
The following presets are supplied as organ types:
1.) FAT & FULL (Adds one octave up and down to the original tone - Mod control: Chorus)
2.) JAZZ (sound based on the organ protagonist Jimmy Smith - Mod control: Chorus)
3.) GOSPEL (Suitable for Soul, adds an octave up - Mod control: Chorus)
4.) CLASSIC ROCK (A rather dull basic sound that, without any modulation and corresponding distortion, is strongly reminiscent of the classic Deep Purple sound of Jon Lord, who also amplified his B3 with Marshall stacks at the time. - Mod control: Chorus)
5.) BOTTOM END (Designed for the typical bass lines of an organist, amplifies the parts of the low drawbars / pull controls - Mod control: Chorus)
6.) OCTAVES (Offers an additional octave and controls the overtones in addition to the attack noise via the click control - Mod control: Chorus)
7.) CATHEDRAL (Typical church organ sound - Mod control: Tremolo)
8.) CONTINENTAL (Squeaky organ sound in the “House Of The Rising Sun” style - Mod control: Vibrato)
9.) BELL ORGAN (the combination of electric piano and organ sound, the click control regulates the amount of bells - mod control: tremolo)
Practice
The fact that keyboard and string instruments never really want to belong together is not only due to the usually diametrically opposed personalities of their players. Rather, despite their polyphonic orientation, both instruments are more different in terms of expressive possibilities than it might seem at first glance. A little tip on the side: if the keyboard player complains about your poor legato skills again, just take the sustain pedal away from him, he will then treat you with a completely different value.
If you really want the Electro Harmonix B9 Organ Machine pedal to sound like an organ, you first have to think like an organist. Boost your voicing skills again and work your way cleanly through both the basics and the two reversals and the sun will rise. In addition, it is not recommended to shred the power chords in heavy rock style in low registers on the bass strings, as on the one hand the position is below the usual organ voicings and on the other hand the tone generator in this position tends to lose sight of the keyed note and die.
You should also keep in mind that a tone on an organ can vibrate indefinitely when the key is pressed, while a guitar string will inevitably have too little vibration energy at some point to keep the tone alive. An upstream compressor extends the lifespan of the sound, but also limits the protagonist's dynamic expression possibilities. In general, dynamics can of course be smoked in the pipe with an organ. The motto is on/off, a real “digital” instrument, and it’s not for nothing that all real organs have a volume pedal.
In terms of sound, however, the Electro Harmonix B9 Organ Machine Pedal is truly convincing. The different sounds are in fact very close to the original and, thanks to the tasteful presets, offer enough choice to cover all facets, from church bleating to classic rock. Unfortunately, you cannot switch between the different presets during operation unless you kneel on the floor and do it by hand.
The fact remains that you have to adapt your playing style to the pedal. Simply give the singer / songwriter Schrammelheinz and assume that the pedal will now provide the appropriate organ accompaniment, unfortunately it doesn't work. In addition to accentuated plectrum playing, the Electro Harmonix B9 Organ Machine pedal works excellently with controlled finger picking.
Conclusion
With the Electro Harmonix B9 Organ Machine Pedal, the American company has a real blast in its luggage. Equipped with very good presets, the pedal allows you to imitate the most important stylistic elements of a Hammond organ and its colleagues when played appropriately. The workmanship of the pedal is very good and the operation is self-explanatory.
However, anyone hoping that they could finally drive the keyboard player to hell will be suddenly disappointed. In terms of harmonics and playing technology, the Electro Harmonix B9 Organ Machine pedal won't be able to replace a full-fledged keyboard player, but it's enough to scare him so that he doesn't feel too confident about his position.
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Additional Informations:
In the realm of guitar effects pedals, few names carry as much weight and influence as Electro-Harmonix (EHX). Established in 1968 by Mike Matthews, Electro-Harmonix has become synonymous with innovation, creativity, and sonic experimentation. With a diverse range of pedals that have shaped the sound of countless musicians across genres, EHX has left an indelible mark on the world of music. This article delves into the rich history, groundbreaking innovations, and enduring legacy of Electro-Harmonix.
Founding and Early Years:
Electro-Harmonix was founded in New York City at a time when the electric guitar was undergoing a revolution in sound. Mike Matthews, a visionary entrepreneur with a passion for music and electronics, established the company with the goal of creating innovative effects pedals that would push the boundaries of guitar tone. In its early years, EHX gained attention with pedals like the LPB-1 (Linear Power Booster) and the Big Muff Pi, which quickly became iconic staples in the rigs of guitarists seeking bold, expressive tones.
The Big Muff Pi: A Legend is Born:
One of Electro-Harmonix's most enduring contributions to the world of music is the Big Muff Pi fuzz pedal. Introduced in the early 1970s, the Big Muff Pi quickly gained a cult following among guitarists for its thick, saturated fuzz tones and dynamic response. From David Gilmour's soaring leads to Billy Corgan's wall of distortion, the Big Muff Pi has left an indelible mark on the sound of rock, blues, and alternative music. Its enduring popularity and timeless design have cemented its status as a true classic in the world of guitar effects.
Innovations in Analog Delay:
Throughout the 1970s and 1980s, Electro-Harmonix continued to innovate with groundbreaking pedals like the Memory Man analog delay. The Memory Man, introduced in 1976, offered guitarists lush, warm delay effects with analog circuitry that imparted a distinctive character to the sound. Its rich modulation capabilities and organic decay made it a favorite among players seeking vintage-inspired tones with a touch of warmth and character. The Memory Man remains a sought-after pedal among collectors and musicians, showcasing EHX's commitment to analog craftsmanship and sonic excellence.
Resurgence in the 21st Century:
After a hiatus in the 1980s and early 1990s, Electro-Harmonix experienced a resurgence in the 21st century, driven by a renewed focus on innovation and product development. Under the leadership of Mike Matthews and a team of talented engineers, EHX introduced a new wave of pedals that combined vintage-inspired tones with modern features and functionality. Pedals like the POG (Polyphonic Octave Generator), the Electric Mistress flanger, and the Cathedral reverb pushed the boundaries of what was possible in terms of sound design and performance, earning EHX a new generation of fans and admirers.
Digital Innovation:
While EHX built its reputation on analog circuitry and vintage-inspired tones, the company has also embraced digital technology to create innovative effects pedals with unparalleled versatility and flexibility. Pedals like the HOG (Harmonic Octave Generator) and the Freeze Sound Retainer showcase EHX's ability to harness the power of digital processing to create unique, expressive effects that were previously impossible to achieve with analog circuitry alone. These pedals have become essential tools for adventurous musicians seeking to explore new sonic territories and push the boundaries of creativity.
The Legacy Lives On:
As Electro-Harmonix celebrates over five decades of sonic innovation, the company's legacy continues to inspire musicians, engineers, and enthusiasts around the world. From its humble beginnings in a New York City basement to its status as a global leader in the world of guitar effects, EHX has remained true to its founding principles of innovation, creativity, and sonic excellence. With a diverse range of pedals that span the gamut from classic fuzz and modulation effects to cutting-edge digital processors, Electro-Harmonix remains at the forefront of the industry, shaping the sound of music for generations to come.
TEST: Electric Guitar Company Standard
The ever-popular smart-ass question right at the beginning of the article, what material are guitars made of?... Logically, the material wood will probably be the first thing that crosses everyone's lips here. Second question, why?.........Here the answers are a bit more hesitant, but after thinking about it for a moment, the answer “for sound reasons” will probably take first place. But now the flank from the ambush, paired with a classic three-way pass: “What alternatives are there?”, “How do the instruments differ in sound from plastic?” and the all-time favorite “Are guitars out, for example?” Acrylic (e.g. Ampeg), carbonates (e.g. Ovation) or metal (e.g. Dobro) worse instruments?”
At this point at the latest, a general silence is likely to fill the room, if only because the necessary comparison options are missing. The fact that traditional instruments are primarily made of wood is probably primarily due to the fact that, at the beginning of instrument making centuries ago, there were no suitable materials available outside of wood, or their processing had not yet been sufficiently researched.
In fact, wood has a highly complex vibration behavior, depending on the various characteristics of the wood, which also changes over the decades depending on the style of play and age. Huge amounts of books and specialist literature of all kinds have already been published on this subject. The most used adjective is probably the word “warm” when it comes to describing the sound culture of the instrument. But what if you take modern processing methods and materials and use them to make instruments?
This has been implemented with absolute consistency by the Electrical Guitar Company, which not only uses a partial replacement of wood as a material with its standard guitar model, but also makes the entire instrument exclusively from aluminum.
Construction:
But whoops, if you didn't know that the instrument is made of metal, you'll notice "where dad gets the cider" when you reach into your guitar case. The Standard weighs a whopping 4.6 kg, which means there is only the “real men” version in terms of stamina, assuming strong back muscles. The body is made up of two halves screwed together and is hollow inside. A well-planned measure, a massive body would probably no longer be “endurable” by anyone in terms of weight.
The entire instrument is made of T6061 aluminum with the appropriate behavior in terms of thermal conductivity. The entire instrument naturally feels cold when you pick it up for the first time, a fact that some people have to get used to. Even the old school of posing with a bare upper body on stage will probably flinch briefly when the instrument is slung around your neck ;-) However, this impression disappears very quickly; after a short time you will already have gotten used to this fact.
You have the impression of holding a single mirror in your hand, the body, neck, even the headstock and the fingerboard can even be used as an emergency mirror for self-checking if the wardrobe is overcrowded shortly before the show ;-) With the appropriate light show, especially with white light, you can You can achieve really great effects with this “varnish”, but it is advisable to carry two cleaning rags with you at all times, as the instrument will quickly become covered in fingerprints.
It's not enough that the Standard was made from a different material, no, the Electric Guitar Company is also taking a completely independent approach when it comes to playability. The one-piece neck (width: nut - 1.64", 22nd fret - 2.125") has a very flat "D" profile (thickness: nut - 0.60", 22nd fret - 0.66") as shaping and a fingerboard with a radius of 0 “! Yes, you read that right, the fingerboard is absolutely flat, but can also be delivered with a 12” radius if required.
The instrument has a 25.5" scale length, the fingerboard is equipped with 22 narrow and medium-high frets made of stainless steel, black plastic dot inlays ensure orientation on the fingerboard. The hardware is supplied by Gotoh (bridge) or Grover (tuner) and, as expected, the workmanship is beyond any doubt. The six tuners do their work evenly and without any effort, and the six individually adjustable riders on the bridge mean that there are no problems with readjustment. The strings are guided through the body and anchored on the back; Schaller strap pins ensure the necessary security when locking the strap.
Two P-90 style single coils from our own production do their work on the standard; if desired, the instrument can also be equipped with split coil humbuckers with push/pull pots. The pickups are managed via a three-way switch, each with a volume and a tone control.
Practice:
Oh my goodness, what sustain. Anyone who ever thought that their well-rehearsed Paula was the spearhead when it came to long-lasting vibration behavior needs to be proven wrong. In direct comparison to one of my old Paulas, a '69 Custom, which really has a breathtaking sustain, the Standard can only smile wearily. The individual strings were able to exhibit almost twice (!) the oscillation duration, and this was also the case with a standard 010 string set on the Standard compared to my 013 set on the Paula. In addition, no deadnotes or dropouts were noticed, every note has the exact same attack, the exact same attack and release behavior.
This means that completely different playing techniques are possible. Extended chords, which normally fade harmonically after a short time due to phase cancellations caused by vibration, remain tight here and vibrate evenly.
The straight fingerboard presents a real challenge at first grip. As always with extreme solutions, there are “two sides of the coin”. When it comes to solo playing in relation to scales, the Standard shows its strengths due to a very low string position and perfect alignment of the fingerboard. Anyone who knows the racing fingerboards of the Powerstrats from Ibanez and colleagues can go one step further here. All modern playing techniques including tapping, sweeping and similar “Punch and Punch” ;-) are extremely easy to do.
Even a tasteful finger vibrato meets almost no resistance and is unexpectedly easy to implement. When it comes to bending, the lack of “meat” in the neck may cause confusion at first, as the torque is limited to the base of the fingers and the palm of the hand can no longer provide support. In return, you will be rewarded with the aforementioned sustain, which is second to none. A drawn tone that vibrates with the same intensity as a normally fingered tone, and with a vibration duration as if a sustainer were built into the body. Really extremely impressive, without question
Slight compromises inevitably have to be made in the playability of large barre chords. Here the barre finger must be placed on its side to ensure even pressure on all strings. So if you are used to placing your finger curved on the fingerboard, for example with the old Fender baseball bat league with a very round fingerboard, you should definitely prefer the 12" version.
In terms of sound, the two single coils cut a very good figure, especially in the crunch area. The sharp, sometimes cutting sound, which is massively boosted by the aluminum construction, has a very high assertiveness and puts competitors in their place. Clean sounds bubble beautifully from the speakers, also impressive due to their independence.
Caution is advised in the high-gain area. On the one hand, the single-coilers are inherently less suitable for this area, and on the other hand, the aluminum resonance curve has a strong over-presence in the overtone behavior. This behavior can be equalized by reducing the treble control of the amp, but the design always prevails in terms of sound
Conclusion:
All respect, who would have thought that? Even if the use of modern materials is not entirely new, I have not yet been presented with a result. The Standard from the Electrical Guitar Company impresses with its sound, vibration behavior and high degree of independence, and it also has an exotic bonus like the Linux operating system a few years ago.
There will always be people who reject an instrument made of metal on principle, precisely because the material wood appears to have many positive characteristics, while metal is more likely to be martial. But hey, until a few years ago a football was always made of leather and was then replaced by plastic.
With that in mind, keep your mind open…
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Additional Informations:
When it comes to guitars, wood has traditionally been the material of choice for crafting instrument bodies. However, in recent decades, a new trend has emerged – guitars made entirely or predominantly from metal. These metal guitars, known for their distinctive tone, durability, and striking aesthetics, have carved out a niche in the world of electric guitars. From aluminum to stainless steel, titanium to carbon fiber, the evolution of metal guitars is a fascinating journey that showcases the ingenuity and creativity of guitar makers and players alike.
Early Experiments:
The concept of metal guitars dates back to the mid-20th century when pioneering guitar makers and enthusiasts began experimenting with alternative materials for constructing instrument bodies. One of the earliest examples of metal guitars can be traced to the work of Paul Bigsby, who crafted aluminum-bodied guitars in the 1940s. These early experiments laid the groundwork for future innovations in metal guitar design and construction.
The Birth of the Aluminum Guitar:
In the 1970s, Travis Bean and Gary Kramer emerged as key figures in the development of metal guitars with their pioneering designs. Travis Bean guitars featured aluminum necks and bodies, offering players a unique combination of sustain, clarity, and stability. Similarly, Kramer guitars incorporated aluminum necks with wooden bodies, providing a balance of tonal warmth and metallic punch. These early aluminum guitars gained popularity among rock and metal musicians for their distinctive sound and sleek, futuristic aesthetics.
The Rise of Stainless Steel:
In the 1980s, stainless steel emerged as a preferred material for metal guitar construction, thanks in part to the efforts of companies like Status Graphite and Parker Guitars. Stainless steel offered several advantages over traditional materials, including superior durability, corrosion resistance, and tonal consistency. Status Graphite's pioneering use of stainless steel in guitar necks and fretboards helped establish the material as a viable option for high-performance instruments. Parker Guitars further pushed the boundaries of metal guitar design with their innovative carbon fiber and stainless steel hybrid guitars, setting a new standard for playability and versatility.
Titanium: The Ultimate Metal:
As the quest for the ultimate metal guitar continued, titanium emerged as a game-changer in the world of guitar construction. Known for its exceptional strength-to-weight ratio and resonance properties, titanium offered guitar makers unprecedented freedom to explore new sonic possibilities. Companies like Vigier Guitars and Ernie Ball Music Man embraced titanium as a core material for their instrument designs, creating guitars that deliver unparalleled sustain, clarity, and responsiveness. Titanium's unique combination of strength, flexibility, and sonic characteristics has made it a favorite among discerning players seeking uncompromising performance and tone.
Carbon Fiber and Beyond:
In addition to traditional metals like aluminum, stainless steel, and titanium, guitar makers have begun exploring alternative materials such as carbon fiber, magnesium, and aerospace-grade alloys. Carbon fiber guitars, pioneered by companies like Composite Acoustics and Rainsong, offer players a lightweight, durable alternative to traditional wooden instruments, with a distinctive tone that combines the warmth of wood with the clarity of metal. Similarly, guitars made from magnesium and other advanced materials promise to push the boundaries of what is possible in terms of tone, playability, and aesthetics.
The Future of Metal Guitars:
As technology continues to advance and materials science evolves, the future of metal guitars looks brighter than ever. With ongoing innovations in materials, construction techniques, and electronic components, guitar makers are poised to continue pushing the boundaries of what is possible in terms of tone, playability, and aesthetics. Whether you're a seasoned pro or an aspiring musician, metal guitars offer a unique blend of sonic versatility, durability, and visual appeal that continues to captivate players and audiences alike.
TEST: EBS Pedals
“Look, there are EBS pedals to test. For the bass! Nope, nothing bass, for guitar. Huh?" OK, I admit, this fictitious conversation is really only very rudimentary, but the core message reflects the first impression that most users spontaneously have. Similar to labels in the style of Ampeg, Alembic or Schack, the Swedish company EBS is deeply committed to the low frequency range. A product that strays even a little from this path immediately causes strong hyperventilation among string players. The lute player's legacy likes to be clear, not to say conservative, see Marshall's unsuccessful attempt to establish a bass amp decades ago.
Nevertheless, the company EBS dares to bring an initially somewhat reserved guitar line onto the market with the MultiComp, the Dynaverb and the Red Twister in order to offer a new contact point to the impressive number of six-stringers who have so far diligently used the EBS bass pedals. Smartly, they avoided tackling the very, very subjective market of overdrive and distortion pedals, instead focusing first on the areas of dynamics, modulation and spatial effects.
Conception
All three devices are in the same housing, only the color and the number of inputs and outputs vary. The devices were developed in Sweden and assembled in China. All devices make an extremely massive impression, which is also reflected in their corresponding weight. These cases are built to last, it is questionable whether they will ever break. 4 soft rubber feet on the bottom of the housing also ensure a good grip even on smooth surfaces.
The products are powered by an external power supply, either 9-12 volts, or a 9V battery, which can be placed inside the housing. To do this, however, the four screws on the bottom of the housing must first be loosened. To place the battery you have to aim carefully as there is very little space available. The battery is held in place by the pressure of a small rubber pad on one side and the edge of the motherboard on the other side. This can lead to stress cracks on the board; in my opinion, a somewhat more elegant solution could have been found. When it comes to milliamperes for the power supply, there don't seem to be any great demands. I had a 200 mA power supply from Ibanez at the start and all products ran smoothly.
Let's take a closer look at the pedals in detail.
EBS Red Twister (Chorus/Flanger)
Even though the Red Twister has a flanger setting, the primary use of the pedal is the chorus area. The presets Flange, Heavy and Soft can be set using a triple mini switch and fine-tuned using the two rotary controls. The input is mono, but the output is also stereo if required. In addition to the operating status, the operating LED shows the speed of the modulation when the effect is activated by gently pumping. After opening the housing, the dry/wet ratio of the effect can also be adjusted using an internally installed trimpot, with 50% being the factory setting.
EBS DynaVerb (Stereo Reverb)
The range of use of a stereo reverb pedal is known to be limited for guitarists, but you should not forget that you can also operate the product in mono and also keep in mind that some pianists/organists, for example, like to use guitar pedals if they don't have fallen for the “Macbook-regulates-and-controls-everything” variant. The product can also be looped into a parallel loop by deactivating the direct component using two internally installed mini switches. For example, if you have an amp with a reverb spiral, you can use this trick to redirect the cable routing to the reverb spiral into the DynaVerb and then control the reverb level using the reverb control on the amp. Alternatively, the reverb can also be adjusted in rack or studio operation via appropriate aux paths. The EBS DynaVerb has 9 presets, which are divided into Room, Plate and Hall and each offers 3 variations. You have to decide on a preset before a song, switching during the song is only possible with intense fingertips. The reverb intensity and timbre can be changed using the rotary controls.
EBS MultiComp (compressor)
With a pedal compressor, many manufacturers simply follow the “peaks-down rules” algorithm and that’s exactly how the whole thing sounds. With simple and consistent picking, this may still work to some extent, but with dynamic playing or excessive frequency changes, usually only complex 19 inch solutions can provide relief. In order to be able to respond to the different requirements, EBS has installed 3 different presets in its MuliComp called Normal, Tubesimulation and Multiband. Normally self-explanatory, tube simulation mimics the stronger pumping of a tube compressor, but the multiband setting is a standout preset.
It is well known that low tones, due to their higher "energy level", require the compressor to reduce the volume more than high tones, which unfortunately leads to high tones that vibrate at the same time being reduced in volume. To avoid this, the MultiComp works with 2 frequency ranges, which are compressed independently of each other. As a software plugin in the mastering area it's old hat, but as a guitar pedal it's a real specialty.
Practice
All pedals run with absolutely no noise and have a pleasant feel due to their solid construction. You get the impression that these pedals can easily take a small fall without a problem.
Red Twister
Some people would like to have more control options for a chorus, but this turns out to be an unfounded concern. With its 3 presets, the EBS Red Twister actually covers more than 90% of all areas of application for a chorus and how successful a limited sound spectrum can be is shown, among other things, by the Chorus super-father CE-2 from Boss, which comes with only 2 controls and yet is Has been playing in the top chorus league for decades. The sound of the Red Twister is pleasantly shimmering and soft, without becoming muddy.
Clean sounds in particular benefit immensely from the phase shift and are not only suitable for a U2 tribute band. The Flanger variant sounds good, but I would consider this algorithm more of an addition, as the missing resonance control does not fully exploit the range of applications.
DynaVerb
Designing a reverb device for guitarists can quickly go wrong if you make the mistake of simply copying the presets from the keyboard section. Mega-powerful church reverb is a must for the Gothic disciples, but let's not kid ourselves, which guitarist wants to turn his percussive playing style into pulp with just 5 seconds of reverb. Here EBS shows a lot of expertise and places a lot of emphasis on the room area and the plate reverb, which is often wrongly reduced to brass instruments.
Both sections sound pleasantly fresh and create a subtle depth gradation that places the instrument in the room without letting it drown in the madness of effects. The product is also characterized by its high level of flexibility, even allowing it to be used as a second or third reverb in the studio.
MultiComp
A good compressor struggles with the same problem as a woman's makeup; both are most effective when you don't notice them. In this respect, the MultiComp can actually solve more than just the standard problems of a guitarist. While summing compressors in studio technology are primarily intended to enrich the overall sound when set correctly, a compressor pedal is intended to “de-dynamize” the uneven attacks of a guitarist and equalize the attack and release cycles of the strings.
The EBS MultiComp does this really well. Both the subtle compression in the tube simulation and, in particular, the multiband setting perfectly equalize the dynamic progression of the string vibration and therefore stand out from the masses of compressor pedals.
Conclusion
With the MultiComp, DynaVerb and Red Twister pedals, the Swedish company EBS is preparing to transfer the quality of its bass pedals to the guitar sector. A very solid workmanship and interesting detailed solutions put the pedals above the majority of their competitors and offer very good quality for the ambitious user.
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Additional Informations:
In the dynamic world of music gear, few names command as much respect and admiration as EBS Pedals. Renowned for their exceptional sound quality, durability, and innovative design, EBS has earned a reputation as one of the premier manufacturers of professional audio equipment. The story of EBS Pedals is a testament to passion, perseverance, and a relentless commitment to sonic excellence.
The Birth of EBS:
EBS Pedals traces its roots back to 1988 when Bo Engberg founded the company in Stockholm, Sweden. Engberg, a bassist and electronics enthusiast, set out to create pedals that would meet the specific needs of bass players. Armed with a deep understanding of audio engineering and a passion for tone, Engberg embarked on a journey to develop pedals that would deliver unparalleled sound quality and performance.
Early Innovations:
From the outset, EBS Pedals distinguished itself through its commitment to innovation and craftsmanship. One of the company's early breakthroughs came with the release of the EBS OctaBass pedal in 1990. This compact octave divider quickly became a favorite among bassists for its ability to produce rich, fat octave tones without sacrificing clarity or definition. The success of the OctaBass laid the foundation for EBS's reputation as a leader in bass effects pedals.
Expansion and Diversification:
Throughout the 1990s and early 2000s, EBS continued to expand its product lineup, introducing a wide range of pedals designed to enhance the tone and versatility of bass guitars. From overdrive and distortion pedals to compressors, choruses, and delays, EBS pedals became synonymous with premium sound quality and reliability. The company's dedication to meeting the needs of bass players of all styles and genres earned it a loyal following among professionals and enthusiasts alike.
Global Recognition:
As EBS Pedals gained traction in the market, the company's reputation for excellence spread beyond its native Sweden to the global stage. Bassists around the world began incorporating EBS pedals into their rigs, citing their transparent sound, robust build quality, and intuitive controls. EBS's commitment to innovation and attention to detail earned it endorsements from top artists such as Marcus Miller, Stanley Clarke, and Billy Sheehan, further solidifying its status as a premier brand in the world of bass effects.
Technological Advancements:
Throughout its history, EBS has remained at the forefront of technological innovation in pedal design. The company's engineers continually strive to push the boundaries of what is possible, incorporating cutting-edge components and circuitry into their pedals to achieve the highest standards of performance and reliability. From the introduction of true bypass switching to the development of advanced DSP algorithms, EBS pedals are engineered to deliver uncompromising sound quality and tone.
Commitment to Quality:
Central to EBS's success is its unwavering commitment to quality in every aspect of its operations. From the selection of materials to the assembly process, every step of production is carried out with meticulous attention to detail. Each pedal undergoes rigorous testing and quality control procedures to ensure that it meets the company's exacting standards for performance and reliability. This dedication to quality has earned EBS the trust and loyalty of bassists worldwide, who rely on their pedals to deliver consistent, professional-grade tone in any musical setting.
Looking Ahead:
As EBS Pedals looks to the future, the company remains focused on its core values of innovation, quality, and sonic excellence. With a continued commitment to pushing the boundaries of pedal design and technology, EBS is poised to remain a driving force in the world of bass effects for years to come. Whether you're a seasoned professional or an aspiring musician, EBS pedals offer a gateway to sonic exploration and expression, empowering bassists to unleash their creativity and passion for music.
TEST: Eastwest Library
The story is as old as music itself. Whenever man found an object from which he could produce a melodic or rhythmic sound, he was already looking for how he could expand or supplement this sound. Similar to a pedal nerd on the “the journey is the destination” trip, whose search for the ultimate tone has become more important than actually finding the ultimate tone.
While the synthesizer exploded the imagination of musicians in the 1970s, it was the sampler boom of the 1980s that finally forced any form of sound or noise into a song. In order to be able to access this type of music storage, people remembered the DIN plugs, which the older ones among you will still know from dad's Braun stereo system. 5 conductors in a small space, as expected a German invention, which was far superior to the Japanese Cinch Armada, but only looked a fraction as cool.
However, with the newly introduced MIDI interface, this type of connector experienced a new career. Now it was just a matter of finding the right, preferably polyphonic instrument that would drive the sampler. The decision was made quickly. A guitar, with its diverse modulation options such as vibrato, benings and the possibility of an inaccurately played tone, was quickly ruled out, while the keyboard could only be easily tamed with the volume parameter. From then on, everything associated with “electronic” music was firmly in the hands of keyboardists.
Why this history lesson? Well, the following test report has something of a Mars expedition, which means that we are moving in terrain that is not designed for our nature. If we survive in it, new worlds and unexpected sounds will open up for the guitarist, but first we have to explore the “hostile environment”. Well, how do we get into the macrocosm of sampler management?
Preparations and mechanical modifications
First of all, you have to work on your own instrument, which cannot be used in its original way. To control a sampler, you need a hexaphonic pickup, which is placed as close as possible to the bridge of the guitar. The pickup, which has six individual outputs, does not like large amplitudes in the string vibration, hence the installation close to the bridge. In our case, this is done by the Fishman Triple Play, a combination of pickup, mounting frame and controller, which transmits the data from a guitar transmitter converted into MIDI signals via Bluetooth. The regular pickups can still be used independently of MIDI data dispensers.
The pickup can either be attached to the bridge using various frames or glued to the top of the guitar. The controller, on the other hand, is attached to the strap attachment pin via a magnetic holder and can be used at 2 different angles for both flattop and archtop guitars. The controller receives its operating voltage from an internally installed battery, which is charged via an included power supply.
On the other hand, a USB stick serves as a receiving unit for the computer, which must be paired with the controller at the beginning of the collaboration. The operating systems are Windows 7 and the already quite old OSX 10.7. accepted, but you should also keep an eye on the database used in terms of minimum requirements. The scope of delivery also includes the Triple Play software package, which can be operated both as a host and as a plug-in, for example as a VST or AU plugin. The system also includes some sample packages such as Sample Tank 2.5 and Amplitube, so that you have even more options to choose from in addition to the sample files from Logic or Cubase.
Host or plugin?
We use the EastWest MIDI Guitar Series as our database, which under Volume 1 offers an extensive library of classic instruments that have been specially tailored to the Fishman pickup. I also included some sounds from Eastwest Keys and Percussion Volume 5 in the sound examples.
First you have to be clear about the operating mode. In the Triple Play program, the database is operated as a host and can be used in the studio or live as a normal sound generator. By using the hexaphonic and electromagnetic pickups separately, it is entirely possible to play a regular set with your guitar using the internal pickups and, as an acoustic change, to use the data banks in addition to or instead of the internal pickups. More on this later.
Alternatively, Tripleplay can also be used as a plugin in Logic or Cubase; the formats VST2 / AU and AAXnative are supported. When recording, only the MIDI data is recorded, which feeds the plugin during playback. Important: The database only works in 64-bit mode on the Mac; the sounds are not recognized in the 32-bit version.
Practice
First of all, as a guitarist, you have to completely restart your musical program. Everything that you have laboriously practiced and developed over the course of your training, such as expressive playing with great dynamics, deadnotes or harmonics of any color, must first be banished from your playing and the focus on absolutely even and very clean playing place. It's best to close everything from the Stevie Ray Vaughan camp tightly away and listen to a few Alan Holdsworth records on the right side.
In particular, resonating strings are pure horror for the system. Dampening noises are quickly interpreted as sound-active MIDI events and create disturbing sounds in the background. Similar to some tapping protagonists, it is advisable to place a damping ring near the saddle. This problem can be limited by activating the mono mode, but multitones can no longer be played in this mode.
Furthermore, as already mentioned, it is important to play very cleanly. Rock'n'Roll attitudes are completely out of place here, as they only lead to uncontrolled mud in the end result. Last but not least, you have to keep in mind which instrument you are currently playing and what it sounds like in its natural habitat. Violins, for example, rarely play power chords and the frequency response of a trombone only sounds realistic within a specific range. So you should already have a certain level of familiarity with the sampled instruments before you start working.
You should also bring some time, as converting the guitar and extensively installing the software with download managers, authorizations, optimization and understanding of the system can take 2 days or more. Mind you, we're talking about guitarists. What cold coffee means to electronic producers still needs to be understood and processed by the classic woodworm.
sound
Here we come to the highlight of the test report. Without a doubt, the sounds optimized for the Fishman Triple Play prove to be of consistently high quality. Not only were the individual instruments sampled with several dynamic levels, attention was also paid to the seating position in the orchestra and this was taken into account in the panorama and depth grading. Although some instruments that sound aggressive to biting, such as trumpets, have a touch of artificiality in the high registers, the basic sound of the individual instruments can be seen as soft and natural.
The same can be said about the Keyboards Library. Representing an extensive selection of realistic and deliberately alienated sounds, a church organ, a Steinway grand piano and a clavinet / spinet provide a very good idea of the quality of the instruments. A complete list would go far beyond the scope of this test; there are no real qualitative outliers to report.
Conclusion
With the EastWest MIDI Guitar Series, the manufacturer offers a lot for the money with the database optimized for Fishman Triple Play Wireless Guitar Controller. The consistently excellent-sounding instruments impress with their high level of detail and very good depth.
If you want to expand your sonic horizons and are not afraid of making profound changes to your playing technique, you should definitely try out the combination of controller and database.
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Additional Informations:
The realm of music production has undergone significant transformations over the years, with technological advancements playing a pivotal role in shaping its landscape. Among these advancements, the emergence and evolution of sample libraries have revolutionized how musicians, composers, and producers create music. From humble beginnings to the sophisticated libraries of today, the journey of sample libraries is a fascinating narrative that mirrors the evolution of music technology and production techniques.
Origins of Sampling:
The roots of sampling can be traced back to the mid-20th century when experimental musicians and composers began manipulating recorded sounds for artistic expression. Early pioneers like Pierre Schaeffer and Karlheinz Stockhausen explored the concept of musique concrète, which involved manipulating and rearranging recorded sounds to create new compositions. These early experiments laid the groundwork for what would eventually become the art of sampling.
Early Sampling Instruments:
In the 1960s and 1970s, advancements in technology led to the development of early sampling instruments such as the Mellotron and the Fairlight CMI. The Mellotron used tape loops to reproduce pre-recorded sounds of various instruments, allowing musicians to access a wide range of sounds in a single instrument. Similarly, the Fairlight CMI (Computer Musical Instrument) introduced digital sampling technology, enabling users to record, manipulate, and play back audio samples with unprecedented flexibility.
The Rise of Digital Audio Workstations (DAWs):
The 1980s saw the emergence of digital audio workstations (DAWs), which further democratized music production by bringing powerful recording and editing capabilities to home studios. Software such as Pro Tools, Cubase, and Logic Pro provided musicians with intuitive interfaces for recording, arranging, and mixing music. With the integration of sampling capabilities into these DAWs, musicians gained access to vast libraries of digital samples, laying the foundation for the sample-based production techniques that would become prevalent in popular music.
The Birth of Sample Libraries:
As digital technology continued to advance, dedicated sample libraries began to emerge in the 1990s. Companies like EastWest, Spectrasonics, and Native Instruments pioneered the development of high-quality sample libraries, offering musicians access to realistic instrument sounds, orchestral arrangements, and electronic textures. These libraries were often distributed on physical media such as CDs or DVDs, with users loading the samples into their DAWs for use in their compositions.
Expansion of Sample Library Content:
With the advent of the internet and broadband connectivity, the distribution of sample libraries underwent a significant shift. Companies began offering downloadable libraries, allowing users to access vast collections of samples instantly. This led to an explosion of content, with sample libraries covering a wide range of musical genres, instruments, and production styles. From orchestral ensembles to vintage synthesizers, the diversity of sample library content expanded rapidly, empowering musicians to explore new sonic possibilities.
Advancements in Sampling Technology:
The past two decades have seen continuous advancements in sampling technology, driven by innovations in software and hardware development. Improved sampling algorithms, advanced scripting languages, and sophisticated sound design tools have enabled sample library developers to create more realistic and expressive virtual instruments. Techniques such as round-robin sampling, velocity layers, and dynamic articulations have enhanced the realism and playability of sampled instruments, blurring the line between virtual and acoustic sound sources.
Integration with Virtual Instruments:
In addition to standalone sample libraries, virtual instruments have become increasingly popular in modern music production. These instruments combine sampled sounds with advanced synthesis techniques, offering musicians unprecedented control over sound shaping and manipulation. Sample-based synthesizers such as Omnisphere, Kontakt, and Serum have become staple tools in the arsenals of producers and composers, allowing for the creation of intricate soundscapes, intricate melodies, and dynamic rhythms.
The Future of Sample Libraries:
As technology continues to evolve, the future of sample libraries looks promising. Advancements in artificial intelligence and machine learning are poised to revolutionize how samples are created, manipulated, and integrated into music production workflows. Real-time audio processing, adaptive sampling techniques, and interactive interfaces are just a few of the innovations that hold the potential to redefine the possibilities of sample-based music production.
Conclusion:
The evolution of sample libraries in music represents a journey marked by innovation, creativity, and technological advancement. From the early experiments of musique concrète to the sophisticated virtual instruments of today, sample libraries have transformed the way musicians create, compose, and produce music. As technology continues to push the boundaries of what is possible, the future of sample libraries holds endless possibilities for musicians and creators alike.
Montag, 4. März 2024
TEST: Dynaudio Core Sub
The construction of the Dynaudio Core Sub
The gods of transport vetoed the product before it was put into operation. Against the weight of 48 kg, a 4x12" guitar box lifts like a shopping bag. As if that wasn't enough, the woofer is also delivered in a screwed (!) wooden box on a pallet, which ensures excellent transport protection, but with a transport weight of 60 kg, it has finally reached the limit of a one-man transport. Only with a massive transport trolley and with the help of all torque laws was I able to roll the woofer from A to B and free it from its wooden shell using a cordless screwdriver. By the way, you won't find any recessed grips or carrying handles.
Once you have finally balanced the woofer where you want it, the comparatively compact housing with dimensions (W x H x D): 390 mm x 514 mm x 365 mm shines with an impressive exterior. 4 pcs. 9 inch woofers, 2 each. placed on the side walls deliver a total of 1000 watts (2x 500 watts) at a frequency range of 15 - 200 Hz (+/- 3dB) and a maximum level of 120 dB.
The Dynaudio Core Sub is designed as an active subwoofer and was specifically designed as a low-frequency supplement for the new Core family from Dynaudio (Core 7, Core 47 and Core 59). As is almost always the case, the Dynaudio Core Sub is made by hand in Denmark, which also explains the ambitious retail price.
The woofer was designed without a bass reflex opening, which makes it sound tighter and more direct. The powder-coated MDF housing is completely closed and can therefore only rely on the direct radiation from the speakers. The choice of 9 inches as the speaker size speaks volumes. Similar to the very popular 4x10" bass speakers in the live sector, comparatively small but multiple speakers ensure enough speed for impulse peaks, but also have enough vibration surface to be able to reproduce even very low frequencies.
The backside
Like the entire Core series, the back offers an extensive selection of control options. In terms of input technology, the woofer only offers 2 XLR sockets, analog and AES3. In the digital area, the system works with 24 bits and 192 kHz, with both the right and left channels being transmitted over just one cable. You can use the corresponding sliders to sum the stereo signal or choose one of the two channels. There is also a digital XLR output for daisy chain operation. A word clock input also offers the possibility of external control.
Similarly, with the Dynaudio Core Sub, compromises have to be made in terms of summing capabilities. If the corresponding monitor controller does not have a corresponding sub output, things look bad, or you can buy a second Dynaudio Core Sub directly. Dynaudio is probably also toying with this solution, especially since the core components can be easily stacked on the woofer thanks to the troughs that were placed at the factory, thus forming two small towers. However, all towers without corresponding tripods are significantly too low in most listening situations. So you need some very sturdy tripods that can carry really heavy loads.
As with the other core components, the Dynaudio Core Sub also adapts to the sample rate supplied via the internal DSP and also uses different IIR filters, which makes conversion obsolete. However, the woofer always runs at 192 kHz via the analog XLR input. Likewise, the built-in USB port is only designed for maintenance work; it does not offer the option of accessing the woofer control.
The Core Series woofer also offers the optimal alignment depending on the placement of the system using several sliders. In general, you can choose between the categories of free-standing, close to a wall and placement in a corner, each of which describes the distance to the corresponding walls. There is also the Anechoic / Stuffit option, which comes into play when placed freely in the room or when installed in a wall. Speaking of carrying, the system is VESA mount compatible. However, given the 48 kg, you can easily imagine what dimensions the frame needs to have and, above all, which dowels need to be inserted into the wall mount.
The Dynaudio Core Sub has auto power management and three sliders for the desired volume, which are labeled “Analogue Input Sensitivity”, “SPL” and “Attenuation”.
The Dynaudio Core Sub in practice
As already mentioned, moving the Dynaudio Core Sub is no joy, especially since there are no recessed grips or other carrying aids. However, what is then pushed out of the housing with the first signals present makes up for any torture that you had to endure beforehand. The woofer has an indescribable punch, which turns out to be extremely dry in every respect without any booming or ringing. I have rarely heard such a “direct” bass as with this system.
Due to the high power reserves, there is never even a hint of saturation, which particularly benefits the impulse behavior. No unwanted compression, no pressing, nothing. Instead, you are almost in the PA sector, where you can clearly feel the physical perception of the very low frequencies. Instruments such as the bass, deep pads or the universally referenced kick receive a completely new value in the mix.
Of course, the perfect placement of the woofer in the studio is a challenge. Unfortunately, simply putting it in the room and leaving is not that easy to achieve in this performance class. Particularly in small to medium-sized control rooms, the system can give the feeling that it wants to “explode” the room. By using the different filters, you can do a lot of work on the “problem areas” of the control room, but ultimately you cannot avoid a minimum size and, above all, perfect room acoustics with regard to modes, etc. This woofer shows the acoustic weak points of the personal workspace with ruthless honesty. Even if you can still talk about various points in your environment, with this woofer you will not be able to avoid professional room acoustics. However, anyone who spends the money on one or maybe even two core woofers will probably hardly run their productions in the converted basement.
The fixation on the digital solution when it comes to stereo management remains questionable. Dynaudio seems to be of the firm opinion that the analogue operating mode is fixed at 2 pieces. Dynaudio Core Sub is based, or a correspondingly high-quality controller takes over bass management in terms of R/L summing. You can be of this opinion, but you don't have to. Certainly, with a certain willingness to invest or with the right client, it should be possible to keep all components used at the appropriate level, but I would still like to see a corresponding feature in this price range, if only to be able to guarantee the appropriate flexibility.
Conclusion
With the Dynaudio Core Sub, the Danish manufacturer has reached the end of the line in terms of sound. It is difficult to find a weak point in the system given the massive accumulation of excellent points such as impulse behavior, headroom, processing and concept. If anything, it would be the somewhat neglected treatment of the analog summing that gives rise to a hint of flaw, although the problem can be remedied with an appropriate controller.
Even the ambitious price is in very good relation to the value delivered. Anyone who is prepared, with the help of a good friend, to play “the big woofer hauling” for an afternoon with the help of a good friend for the optimal placement in the control room, will in return receive a massive collection of all the positive properties that a subwoofer in the high-end range has to offer.
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Additional Informations:
**The Early Years**
Dynaudio was founded in 1977 by Wilfried Ehrenholz and Jørgen Larsen. Both men were passionate about music and audio, and they shared a dream of creating loudspeakers that would reproduce sound with absolute accuracy.
Ehrenholz was a trained engineer, and he had a deep understanding of the technical aspects of loudspeaker design. Larsen, on the other hand, was a musician and audiophile, and he had a keen ear for detail.
The two men began their collaboration in a small workshop in Skanderborg, Denmark. They worked long hours, and they were meticulous in their attention to detail. Their first loudspeaker, the Dynaudio 10, was released in 1978.
The Dynaudio 10 was an immediate success. It was praised by critics and audiophiles for its natural sound and its accurate reproduction of music. The success of the Dynaudio 10 helped to establish Dynaudio as a leading manufacturer of high-end loudspeakers.
**The 1980s and 1990s**
In the 1980s and 1990s, Dynaudio continued to grow and innovate. The company released a number of new loudspeaker models, including the Contour series, the Confidence series, and the Evidence series.
Dynaudio also began to expand its international reach. The company opened offices in the United States, Germany, and Japan. Dynaudio loudspeakers were now being sold in over 50 countries around the world.
**The 2000s and 2010s**
In the 2000s and 2010s, Dynaudio continued to be a leader in the loudspeaker industry. The company released a number of new products, including the Focus series, the Evoke series, and the Special Forty series.
Dynaudio also began to develop new technologies, such as the Esotar2 tweeter and the MSP cone material. These technologies helped to improve the performance of Dynaudio loudspeakers even further.
**Today**
Today, Dynaudio is one of the most respected loudspeaker manufacturers in the world. The company's products are used by audiophiles, musicians, and recording studios around the globe.
Dynaudio is committed to innovation and quality. The company continues to develop new technologies and products that push the boundaries of what is possible in loudspeaker design.
**Dynaudio's Impact on the Audio Industry**
Dynaudio has had a major impact on the audio industry. The company's loudspeakers have been praised by critics and audiophiles for their natural sound, their accurate reproduction of music, and their build quality.
Dynaudio has also been a pioneer in the development of new loudspeaker technologies. The company's Esotar2 tweeter and MSP cone material are just two examples of Dynaudio's innovative technologies.
Dynaudio's impact on the audio industry is undeniable. The company's loudspeakers have set the standard for performance and quality. Dynaudio is a company that is truly passionate about music and audio, and it is a company that is committed to making the best loudspeakers in the world.
**Some of Dynaudio's Most Famous Loudspeakers**
* Dynaudio 10 (1978)
* Dynaudio Contour 1.3 (1984)
* Dynaudio Confidence C4 (1991)
* Dynaudio Evidence Temptation (1998)
* Dynaudio Focus 110 (2006)
* Dynaudio Evoke 50 (2012)
* Dynaudio Special Forty (2017)
**Dynaudio's Key Technologies**
* Esotar2 tweeter
* MSP cone material
* Jupiter woofer
* AirCirculation system
* Dynaudio Directivity Control (DDC)
**Dynaudio's Awards and Accolades**
* Stereophile Product of the Year (1986, 1992, 1998, 2006, 2012, 2017)
* The Absolute Sound Product of the Year (1991, 1998, 2006, 2012, 2017)
* What Hi-Fi? Product of the Year (1993, 1999, 2007, 2013, 2018)
* EISA Award (1995, 2000, 2008, 2014, 2019)
**Dynaudio's Future**
Dynaudio is a company that is constantly looking to the future.
**Beyond the Products: A Culture of Craftsmanship**
Dynaudio's story isn't just about products. It's about a deep-rooted culture of craftsmanship and a relentless pursuit of audio excellence. This dedication manifests in several ways:
* **In-House Driver Production:** Unlike many speaker manufacturers who source drivers from external suppliers, Dynaudio remains one of the few companies that design and build their own drivers. This allows them to exert complete control over every aspect of the sound, ensuring each component perfectly complements the others.
* **Hand-Assembly in Denmark:** Dynaudio loudspeakers are meticulously hand-assembled in their factory in Skanderborg, Denmark. This allows for close attention to detail and quality control that's difficult to replicate in mass production.
* **Material Innovation:** Dynaudio is known for its innovative use of materials. The now-legendary MSP (Magnesium Silicate Polymer) cone material, for example, offers a unique combination of lightness, stiffness, and internal damping, resulting in a clear, natural sound.
* **Sophisticated Engineering:** From advanced tweeter designs like the Esotar2 to the ingenious AirCirculation system for airflow management, Dynaudio's engineering team pushes boundaries to achieve optimal performance.
**Beyond Hi-Fi: Professional Audio and Car Audio**
While Dynaudio is synonymous with high-end home audio, their expertise extends beyond living rooms. Dynaudio Acoustics, a subsidiary established in 1997, caters to the demanding needs of professional audio engineers. Their studio monitors are revered for their accuracy and neutrality, making them a critical tool for music production, mixing, and mastering.
Dynaudio also offers a range of car audio solutions. Their in-car speaker systems are designed to deliver exceptional sound reproduction even in the challenging acoustic environment of a vehicle.
**Dynaudio and the Audiophile Community**
Dynaudio has fostered a strong connection with the audiophile community. Their loudspeakers are often praised for their ability to reveal subtle details in music, allowing listeners to truly appreciate the artistry of recordings. Dynaudio regularly interacts with audiophiles through events, online forums, and collaborations with audiophile publications.
**Looking Ahead: Embracing the Future of Audio**
Dynaudio recognizes that the way people experience music is evolving. While they remain committed to the core principles of high-fidelity sound, they are also embracing new technologies. Their recent foray into wireless speakers with the Xeo series demonstrates their willingness to adapt without compromising on sound quality.
As the audio landscape continues to change, Dynaudio is well-positioned to maintain its position at the forefront. Their dedication to innovation, craftsmanship, and a deep understanding of what truly matters to music lovers ensures a future filled with even more remarkable audio experiences.
This extended version delves deeper into Dynaudio's philosophy, the craftsmanship behind their products, and their commitment to different segments of the audiophile world. It also highlights their adaptability and willingness to embrace new technologies.
TEST: Dynaudio Core 59
The construction of the Dynaudio Core 59
As soon as you unpack the Dynaudio Core 59, it quickly becomes clear that we are not dealing with a near-field monitor. With dimensions of 380 mm x 550 mm x 390 mm and a weight of 25 kg, we are clearly dealing with a midfield monitor due to the total power of up to 1150 watts. With a retail price of just under 2,700 euros per box, the digital 3-way monitor sets corresponding scent marks that will in most cases exceed the budget of a project studio anyway.
The housing is made of black painted MDF panels and is impeccably manufactured. In general, the box made in Denmark leaves a very good impression at first glance. As is generally the case with Dynaudio, all drivers for the Dynaudio Core 59 are made by hand in Denmark, whereby the tweeter/midrange combination, which is mounted on its own circular element, can be rotated as desired. This means that horizontal operation can be carried out easily in both left-hand and right-hand operation or even “headstand operation”. In order to perfectly position the included stick-on rubber feet and hold them at their assigned point, there are corresponding recesses on both sides, the bottom and also the top, to accommodate the adhesive feet.
To protect the tweeter against transport damage, there is a bright yellow plastic cover on the tweeter that is held magnetically from the outside during transport. The above 1150 watts are made up of 500 watts each for the 9.5-inch bass and the 5-inch midrange driver plus 150 watts for the tweeter, with the high frequency range and especially the midrange having an unusually high headroom. According to the manufacturer, the frequency response is 42 Hz to 21 kHz, the crossover frequencies were set at 385 Hz and 21 kHz.
Dynaudio expressly points out in its manual that the system must first be played in and that it will achieve its final sound after around 12 hours of continuous operation. Please ignore an overemphasis on the highs and a “stiff” sound at the beginning of operation.
The back of the Dynaudio Core 59
As expected, the input and filter section of the Dynaudio Core 59 is very extensive, especially since the system has both analog and digital inputs and additional DSP functions. According to the performance class, only XLR was installed as an analogue input; you won't find TRS or even RCA. Digital is also set to XLR as both input and output, with the system being designed up to 192 kHz and singlewire AES3. There is no sample rate conversion internally; instead, the DSP adopts the supplied sample rates 1:1. A switch called “Digital Channel” also controls the right/left positioning of the box in digital mode. There is also a BNC connection for word clock installed. The additional USB port does not allow further calibration of the system, but is only intended for maintenance work. When using the analog inputs, the box works continuously at 192 kHz.
You can now adjust your working level perfectly to the incoming and outgoing currents using two sliders called “Analogue Input Sensitivy” and “SPL Level”. Four holes were also provided for a VESA mount, although I can hardly imagine that anyone would want to operate these giants in flight. Desktop operation is also almost impossible; appropriate tripods are provided for operation, but you never know what kind of ideas users will come up with. The Dynaudio Core 59 has a multi-voltage power supply, which enables worldwide operation. The most important power cables with the corresponding power plugs are included with the system. The Dynaudio Core 59 does not have a real on/off switch; only an auto standby mode can be activated using a slider. Finally, there is a cold device plug, a number of cooling fins and an extensive filter section, which we now want to look at in more detail.
The filter section
Despite the targeted user group of professional operation, the Danes have committed themselves to a kind of plug-and-play with reduced editing options for the Dynaudio Core 59, although the DSP orientation would allow a much more intensive approach to the processor department. The following settings can be activated using the slider:
Position 1: You can choose between “free-standing”, “on the wall” and “in the corner”, where Dynaudio uses the 50 cm rule as a basis. Less than 50 cm from a wall means “Wall”, less than 50 cm from 2 walls means “Corner”. The processor calculates the corresponding overlays and reduces the bass range using several filters.
Position 2: Here you can compensate for the placement in relation to the installation of the box, with the positions “Soffit” (wall installation), “Desk” (placement on a meter bridge with compensation for desk reflections) and “Anechoic” (free-standing on tripods etc. etc.) can choose.
Sound Balance: You can preset the basic sound of the system using the positions “Bright”, “Neutral” and “Dark”. “Bright” relies on a treble emphasis at 20 kHz (+1.5 dB) with a simultaneous cut at 20 Hz (-1.5 dB). In “Dark” the opposite occurs, i.e. -1.5 dB at 20 kHz and + 1.5 dB at 20 Hz. In the “Neutral” position, the tone controls remain untouched, as expected.
Bass Extension: A high-pass filter that should be activated in subwoofer operation. A corner frequency could not be determined, but experience shows that with the 3-way design it will probably be between 70 - 90 Hz.
The Dynaudio Core 59 in practice
First you have to find the final position of the boxes and decide on how to “stick them on rubber”. As much as you may appreciate the flexibility in terms of 16 adhesive points at first glance, committing to one adhesive side with rubber feet is not really what you would expect from a product that costs just under 2,700 euros. Permanently installed rubber pads on all relevant sides would be a penny investment and should actually be part of the basic equipment here.
In terms of sound, the Dynaudio Core 59 appears to be very neutral at first listening impression. No over-presence in highs, mids or even bass, rather a tight, clear basic sound that fulfills exactly the purpose that a studio monitor in the top league has to fulfill. The system has a very differentiated sound, which makes splitting the adjacent material into its sound aesthetics much easier than the “Schönfarbener” group, which at first impression “presses” and “pops” more, but upon closer listening, the analysis of the material becomes easier significantly more difficult.
In particular, the bass portion of the system was very “dry”, in my opinion perhaps even a little too reserved. There is no real bass boost, only in “Dark” mode (no, it is not an Apple product…) you can direct the basic sound a little more towards bass fixation, but without ultimately reaching the “musical” bass range.
Ultimately, this range remains a matter of taste, especially since the mids and highs are extremely relaxed due to the immense power reserves. The midrange is particularly pleasing, especially since the popular scoop characteristic was deliberately omitted. For middle-heavy instruments, such as B. Electric guitars are a real blessing, but you should always keep in mind, especially in the mixdown, that only a few monitors on the consumer side have such a present midrange reproduction.
The dimensions of the system itself actually determine the area of application, but the sound impression also manifests the whole thing. Anyone who drives the Dynaudio Core 59 in the nearfield range of 50 - 70 cm is not doing themselves any favors in terms of sound. The high-mid/treble range seems too intrusive, and the sound that develops at this distance is too tense. Only when you move the system into its actual area of responsibility, the midfield, can the box show its true strengths. The swirling of the increased air content takes a lot of tension out of the signal and delivers a significantly rounder sound with excellent balance, even with difficult source material.
Interestingly, the Dynaudio Core 59 has the “Loud” factor based on its performance specifications, but not the “Very Loud” record company A&R show-off mode. One may doubt whether these modes are still important these days, but the fact is that 500 watts in the bass range in the P.A. Sector feels different than in the studio.
Conclusion
With the Dynaudio Core 59, the Danish company has a top performer in its ranks who cuts an excellent figure in the upper league. The system is very well-rounded, the sound is excellently balanced and there are lots of options in the digital input area. Small downsides such as the stick-on rubber feet and a bass range that was designed exclusively for lowering can hardly detract from the excellent overall impression.
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Additional Informations:
Subwoofers play a crucial role in any audio system, providing the foundation for deep, powerful bass that can transform the listening experience. Among the many manufacturers in the market, Dynaudio stands out for its commitment to audio excellence and innovation. In this comprehensive article, we'll delve into the world of Dynaudio's subwoofers, exploring their technology, design philosophy, and the unique features that set them apart from the competition.
Foundational Principles:
Dynaudio's approach to subwoofer design is rooted in a deep understanding of acoustics and a relentless pursuit of sonic perfection. From the outset, the company's engineers set out to create subwoofers that not only deliver impressive bass extension but also integrate seamlessly with Dynaudio's renowned loudspeakers to create a cohesive and immersive listening experience. This commitment to synergy and sonic purity informs every aspect of Dynaudio's subwoofer lineup.
Technological Innovation:
At the heart of Dynaudio's subwoofers lie cutting-edge technologies and advanced engineering solutions aimed at achieving unparalleled bass performance. One of the standout features of Dynaudio's subwoofers is their driver technology. Dynaudio employs proprietary MSP (Magnesium Silicate Polymer) driver cones in many of its subwoofers, known for their exceptional stiffness-to-weight ratio, low resonance, and precise bass reproduction. This allows Dynaudio subwoofers to deliver tight, articulate bass with remarkable clarity and detail.
Another key innovation found in Dynaudio's subwoofers is their amplifier technology. Dynaudio's amplifiers are meticulously designed and engineered to complement the characteristics of their drivers, ensuring optimal performance and reliability. Whether it's a Class D amplifier with sophisticated DSP (Digital Signal Processing) capabilities or a traditional Class AB amplifier with robust power delivery, Dynaudio's amplification solutions are tailored to extract the maximum potential from their subwoofers.
Design Philosophy:
In addition to technological innovation, Dynaudio's subwoofers boast a design philosophy that prioritizes both form and function. From the elegant curves of the cabinet to the premium finishes and materials used, every aspect of Dynaudio's subwoofers is crafted with meticulous attention to detail. Beyond aesthetics, Dynaudio's cabinet design plays a crucial role in optimizing bass performance. Through careful engineering and acoustic modeling, Dynaudio's cabinets are precisely tuned to minimize unwanted resonances and maximize bass output, resulting in a clean, impactful bass response that enhances the overall listening experience.
Integration and Versatility:
One of the hallmarks of Dynaudio's subwoofers is their versatility and compatibility with a wide range of audio systems. Whether used in a stereo setup for music listening or as part of a home theater system for immersive movie playback, Dynaudio's subwoofers seamlessly integrate with existing components to deliver a cohesive and immersive audio experience. Advanced connectivity options, including high-level inputs, low-level inputs, and wireless connectivity, ensure compatibility with virtually any audio source or system configuration, while intuitive controls and settings allow users to tailor the sound to their preferences with ease.
Real-World Performance:
While technical specifications and design features are essential considerations, the true measure of a subwoofer's performance lies in its real-world sonic capabilities. Dynaudio's subwoofers excel in this regard, delivering bass that is not only deep and powerful but also remarkably precise and well-defined. Whether reproducing the thunderous explosions of a blockbuster movie or the subtle nuances of a double bass in a jazz ensemble, Dynaudio's subwoofers excel in capturing the full spectrum of low-frequency sounds with unparalleled accuracy and realism.
Customer Satisfaction and Reviews:
The success of Dynaudio's subwoofers is evident not only in their technical prowess but also in the satisfaction of countless customers and enthusiasts around the world. Positive reviews and testimonials from users praise Dynaudio's subwoofers for their exceptional build quality, performance, and reliability, cementing their reputation as some of the finest in the industry. Whether in professional recording studios, high-end home theaters, or dedicated listening rooms, Dynaudio's subwoofers consistently earn praise for their ability to elevate the listening experience to new heights.
Conclusion:
In conclusion, Dynaudio's subwoofers represent the pinnacle of bass excellence, combining cutting-edge technology, meticulous design, and uncompromising performance to deliver a truly exceptional audio experience. Whether you're a discerning audiophile, a professional sound engineer, or simply a lover of great music and movies, Dynaudio's subwoofers offer a level of bass reproduction that is second to none. With a legacy of innovation and a commitment to excellence, Dynaudio continues to push the boundaries of what's possible in subwoofer design, ensuring that music and movies are heard and felt with breathtaking clarity and realism.