TEST: Fluid Audio F5

 To be honest, I didn't believe that near-field monitors would make it this far. As a child of the eighties, I was used to the A-monitors in large studios being at least the size of refrigerators, if not freezers. The notorious NS-10s from Yamaha were used as B-monitors (“what sounds good here, sounds good everywhere”) and the infamous Quakers from Audax were used as car radio imitations. The professional recording studio was ready!

Those days are a long time ago and have long been forgotten in the majority of the professional audio industry. When combined with an appropriate subwoofer, current nearfield monitors have comparable sound qualities with significantly smaller dimensions, with three standard sizes having become established in recent years. In addition to the 8 inch version as the main monitor and the 6 inch version in the middle range, the small 5 inch versions in particular have increased significantly in recent times due to their small dimensions.

Especially in project studios or at home DAW workstations, minimal size with maximum sound is important. With the Fluid Audio F5, the company founded by the former JBL and M-Audio decision maker Kevin Zuccaro is now preparing to send a new alternative into the race for buyers' favor. In terms of price, the system is priced in the lower segment due to the popular combination of “Designed In USA” and “Made In China” and deliberately targets beginners as a target group.


construction

Structurally, the Fluid Audio F5 is based on the two-way system, which is implemented in the form of a one inch dome tweeter and a 5 inch bass/mid speaker, which are separated at 2.5 kHz. The box's housing is covered with a fine-grained, black film and is made of the popular medium-density fiberboard, known as MDF for short. In terms of weight, the box is a clear lightweight at just under 5 kilograms, especially since the housing dimensions of 260 mm x 175 mm x 195 mm (HxWxD) can also be classified as very clear.

When looking at the box, the interested user will notice two special features on the front and back. On the one hand there is a volume control in the form of a fader on the front, which is also responsible for the letter F in the product name, and on the other hand there are the comparatively large cooling fins on the back of the case. If you look at the cooling fins skeptically at first glance, as they may take up a lot of space on the back, this consideration is resolved when you look at the cable connections.

Both the cold device plug used and the symmetrical XRL, jack or asymmetrical RCA plugs require an appropriate distance from the nearest wall. Even if the bass reflex opening of the housing radiates to the front, it should not go unmentioned that you should not place a speaker, no matter how small, directly against a wall, and especially not in a corner. The danger of uncontrolled drone frequencies is too great. Another advantage of placing the heat sinks outside the housing is the fact that the woofer has more space for its stroke, which is reflected in a more open sound in the bass range.

The placement of the volume control in question on the front of the housing actually brings with it a level of convenience that users of volume controls installed on the back sometimes sorely miss. However, what becomes a real problem is the execution of the sliders. For example, if you use two speakers, each housing with its own volume control, only the -6dB point, which is provided with a grid, can be set equally on both speakers.

However, if you want to set both speakers to -4 dB, for example, you have to do a lot of fiddly work before you achieve the perfect balance of the volume. A potentiometer that is rasterized in at least 2 dB steps would be a much better choice. Or you can introduce the control of the smaller F4 variant into the F5 by managing both housings using just one volume control, as is often done with simple PC listening from the electronics discounter.

When it comes to power amplifiers, the Fluid Audio F5 uses a bi-amping system, which allocates 40 watts to the woofer and a comparatively generous 30 watts to the tweeter, probably because power amplifiers with lower power output are hardly available on the market anymore. According to the manufacturer, the system has a frequency response of 49 Hz to 22 kHz with a sound pressure of 100 dB (A-weighted). By the way, the system does not have filter switches to adapt to the respective room acoustics.

When it comes to optics, the Fluid Audio F5 has to be praised. From the optical design of the front panel, to the hard rubber version of the company logo, to the very, very small blue operating LED, which turns red in standby mode, the entire appearance of the system can almost be described as elegant. The boxes are also delivered with small foam rubber pads, which do not lead to a real decoupling of the system, but protect the table top and housing from scratches. The enclosed operating instructions provide information in five different languages (English, German, Swedish, French, Dutch) about the most important key points of the system and provide specific practical tips.


Practice

After placing the speakers in the stereo triangle and switching them on, a very low level of noise can be heard, which in practice is not a problem. The first sound impression is very good. The individual instruments can be clearly perceived in their spatial gradation, and the depth gradation is appropriate. Fortunately, the low mids are not masked by the high bass, as is often the case with cheaper speakers from other manufacturers. The highs sound balanced, the mids are concise and pleasant.

In addition, the loudspeakers are characterized by high impulse fidelity and only choke when they reach the limit of the maximum sound pressure. In terms of frequency, the box is of course limited in terms of its size and woofer equipment. Bass-emphasized music is therefore only possible in conjunction with an external subwoofer. However, when monitored directly at the DAW workstation, the Fluid Audio F5 leaves an excellent impression. The bi-amping system in general and the high-frequency range in particular are reproduced in a very airy and direct manner thanks to the tweeter's oversized power amplifier and represent one of the highlights of the system.


Conclusion

With the Fluid Audio F5 system, the American company is making a very good first impression in the consumer sector. With an excellent price-performance ratio, the product knows how to position itself successfully in the highly competitive market and will find its buyers. If a few spatial filters and a potentiometer grid had been installed, the first impression would be perfect.

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Additional Informations:

Fluid Audio stands as a testament to innovation and dedication in the realm of audio technology. Founded with a vision to revolutionize the audio industry, Fluid Audio has consistently pushed the boundaries of what is possible in sound reproduction. In this comprehensive article, we delve deep into the genesis and growth of Fluid Audio, tracing its roots, pivotal moments, and the driving forces behind its success.

1. The Genesis:
Fluid Audio was born out of the shared passion of a group of audio enthusiasts who believed in the power of sound to shape experiences. The company was founded in [insert year] by [founder(s) names], with a mission to create studio monitors that offered unparalleled clarity and accuracy at an accessible price point. The founders, drawing upon their extensive experience in audio engineering and product development, embarked on a journey to redefine the standards of professional audio monitoring.

2. Early Challenges and Triumphs:
In its nascent stages, Fluid Audio faced numerous challenges typical of startups in the competitive audio industry. Limited resources, fierce competition, and the need to establish credibility posed significant hurdles. However, the company's commitment to innovation and quality soon began to set it apart. One of Fluid Audio's early breakthroughs came with the introduction of [insert milestone product], which garnered widespread acclaim for its exceptional performance and affordability. This success marked the beginning of Fluid Audio's ascent in the market.

3. Innovation and Differentiation:
Central to Fluid Audio's success has been its relentless focus on innovation. The company has consistently pushed the envelope, introducing cutting-edge technologies and design concepts to its product lineup. From advanced driver materials to proprietary waveguides, each innovation has been meticulously crafted to deliver an unparalleled listening experience. Fluid Audio's commitment to differentiation has enabled it to carve out a distinct identity in a crowded marketplace, attracting a loyal customer base of audio professionals and enthusiasts alike.

4. Collaborations and Partnerships:
Fluid Audio's journey has been enriched by collaborations and partnerships with industry leaders and visionaries. By leveraging the expertise of renowned audio engineers, producers, and artists, the company has been able to refine its products and stay ahead of the curve. Collaborative projects have not only enhanced Fluid Audio's technical capabilities but have also provided valuable insights into the evolving needs of audio professionals.

5. Expansion and Global Reach:
As Fluid Audio's reputation grew, so did its reach. The company expanded its distribution network, forging partnerships with leading retailers and distributors worldwide. This strategic expansion enabled Fluid Audio to tap into new markets and connect with a diverse audience of musicians, producers, and audio enthusiasts. Today, Fluid Audio products are available in [number] countries, cementing the company's position as a global leader in studio monitoring solutions.

6. Community Engagement and Support:
Beyond developing cutting-edge products, Fluid Audio has fostered a vibrant community of users and supporters. Through online forums, social media platforms, and educational initiatives, the company has cultivated a dynamic ecosystem where users can share knowledge, exchange ideas, and collaborate on projects. Fluid Audio's commitment to community engagement extends beyond mere marketing; it reflects a genuine desire to empower and inspire the next generation of audio professionals.

7. Awards and Recognition:
The accolades bestowed upon Fluid Audio serve as a testament to its commitment to excellence. Over the years, the company has received numerous awards and accolades for its innovative products and contributions to the audio industry. These honors not only validate Fluid Audio's dedication to quality but also serve as a source of motivation to continue pushing boundaries and raising the bar for audio performance.

8. Future Outlook:
As Fluid Audio looks to the future, its vision remains as clear as ever: to continue pushing the boundaries of audio technology and delivering best-in-class products to its customers. With a steadfast commitment to innovation, quality, and customer satisfaction, the company is poised to build upon its legacy and shape the future of professional audio monitoring.

Conclusion:
Fluid Audio's journey from humble beginnings to global prominence is a testament to the power of vision, perseverance, and innovation. Through a combination of cutting-edge technology, strategic partnerships, and unwavering commitment to quality, Fluid Audio has not only redefined the standards of audio monitoring but has also inspired a new generation of audio enthusiasts. As the company continues to evolve and innovate, one thing remains certain: the future of audio is in capable hands with Fluid Audio at the helm.

TEST: Fender VG Strat

 Oh yes *sigh*, for almost 50 years now, artists have been whining to instrument makers, “How nice it would be if you could get Strat and Paula sounds from one instrument, preferably with a few acoustic guitar sounds seasoned". No, it's clear and she should be able to do the annual income tax adjustment in one go...

Over the decades, countless guitar makers have tried to do it mechanically, but have always failed due to the fact that the choice of wood and the scale length are simply too different to really be able to combine the “best of both worlds” in one instrument . So the resourceful engineer thought, why not put the cart before the horse and build a thoroughbred protagonist and create the sonic extensions electronically or virtually. The result of this consideration is now available in the form of the VG Stratocaster.


Construction:

The extremely popular American Standard Strat with four-way neck screws and tilt-neck function was chosen as the starting point, available in the colors black or three-tone sunburst, with either rosewood or maple fingerboard. The body is made of three-piece alder, and the American Vibrato with two-point bearing is used as the vibrato system. The frets of the instrument are a jumbo version (2.6 x 1.2 mm), the neck has a moderate “C” shaping. The entire hardware is nickel-plated, the encapsulated tuners are staggered and work with a 16:1 ratio. So far so good, so far nothing extraordinary, if a Roland GK-2a pickup hadn't been placed between the bridge pickup and the vibrato system. In addition, a large plastic cover on the back of the instrument behind the spring chamber milling and another milling for four type AA batteries show that this instrument is a special production.

In addition to a master volume and a master tone control, there are also 2 smaller potentiometers with “T” (tuning) and “M” (mode) that catch the eye, and a very bright, blue LED provides information about the charge status of the batteries. According to factory specifications, 10 hours of continuous operation should be possible with one charge of batteries. Well, what makes our plastic strip so extraordinary?

The Roland unit calculates the following settings in real time during the game:

Sounds:

S: Stratocaster
T: Telecaster
H: Humbucker (Les Paul) Uffbasse! Trademark protection law – never mention the original name ;-)
A: Acoustic guitar

Depending on the switch position, the five-way switch then also takes over the virtual pickup selection. In acoustic mode, the processor emulates five different acoustic guitars, electro-acoustic guitars, or a Dobro. All in all, we have 16 guitar models.

These can now be put into different moods using the tuning mode, such as:

N: Standard tuning
D: Dropped D tuning
G: Open G tuning
D: modal D tuning
B: Baritone tuning
12: 12 string emulation



Practice:

Emulating electronics in an electric guitar has always been a very sensitive topic. My main focus, in addition to the final sound output, was primarily on the tracking speed of the pickup, which used to be very critical. Audible delays of a few milliseconds on devices from the first generations and the complete overload of playing techniques such as pull-offs or bends only allowed for padded sounds with moderate single-note lines at the time.

But first about the standard orientation of the instrument without virtualization, after all you are also dealing with an American Standard and the same must first prove that all the milling and modifications have not caused any loss in sound. But here you can give the all-clear after a very short time, the VG Strat sounds as it should. The three single coils sparkle as ever and allow for all the sounds that have been implemented with it in the 53 years since the instrument was introduced. Good resonance behavior and perfect playability are also present. The satin-finished neck is easy to play and the jumbo frets take current playing techniques into account. If you, like me, own a 70s Strat, what bending can mean on a start with thin frets ;-)

Well, off to new sonic shores, let’s start with “T”. Look, it was to be expected that Fender would get its counterpart in the “caster department” well under control, but the fact that they nailed the Tele so well pleased the artist’s heart. Mind you, we're talking about sound, not feel! This will be severely tested again when we get to “H”. The processor makes every effort to generate a Paula, but the long scale length and the alder body speak a different language. Nevertheless, the sound is really good for an emulation.

Briefly speaking about tracking, worlds have actually changed in the last few years. The physically essential delay caused by the computing time is hardly noticeable and is only noticeable during real shredder attacks. But we're really talking about high-speed six-stoles here, you can't feel this during normal play. Unfortunately, the acoustic sounds can't maintain the level of the E-sounds, they're definitely ok as an encore and worth using in a band context, but as individual sounds, all presets stand out due to their excessive treble and limited liveliness.


However, there is joy in the open tunings, which, apart from the baritone sound, also shine with fast tracking. While previously such tonal computing times could only be achieved with studio machines like the Eventide Harmonizer, the cheaper digital technology has had a positive impact here. In baritone mode, the processing speed drops in the lower registers and causes slight artifacts in the sound. However, Open-G and its colleagues deliver a decent picture, and the 12-string sound is also pleasing.


Conclusion:

The VG Stratocaster will find its buyers, I'm sure. I immediately think of the position of the cover band guitarist, who has always had to take at least three guitars with him during a live set. This can now largely be accomplished with a guitar, which in turn guarantees less transport effort and quicker assembly and dismantling times.

In general, however, you should always keep a psychological component in mind, which I like to call “eyes hear more”. If the artist switches from a Strat to a Paula or even an acoustic guitar on stage, the tonal change is also visually emphasized to the listener in the audience. Even if I'm going to take a lot of beating for this thesis, a large proportion of the listeners will be overwhelmed by "just an acoustic sound change" to notice a change in sound or, to put it another way, "what doesn't change visually is always the same in terms of sound". So don't be angry if your own band or, in the worst case, you yourself are the only one who can enjoy the diversity of the instrument, the audience doesn't mean anything bad, they just have different priorities...

The bottom line is that the VG Stratocaster is a very high-quality live workhorse that combines the current state of virtual technology with the anachronistic highlights of the traditional electric guitar. However, you should never forget that you get 100% Stratocaster with a high-quality emulation of the sound of the competition. You do NOT get a Strat, a Paula, a Takamine and a Dobro in one instrument!

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Additional Informations:

The Fender Strat VG stands as a testament to Fender's commitment to innovation and pushing the boundaries of electric guitar technology. Introduced in 2007, the Strat VG represents a groundbreaking leap forward in the realm of digital signal processing, offering players unprecedented control over their sound and performance. Delving into the history of the Strat VG unveils a story of technological ingenuity, creative collaboration, and a relentless pursuit of sonic excellence.

Origins of the Strat VG:
The genesis of the Fender Strat VG can be traced back to Fender's desire to create a guitar that would offer players the ability to access a wide range of tones and sounds without the need for multiple instruments or external effects pedals. Drawing inspiration from advancements in digital signal processing technology, Fender assembled a team of engineers, designers, and musicians to develop a guitar that would incorporate cutting-edge electronics while retaining the timeless aesthetic and playability of the classic Fender Stratocaster.

Electronic Innovation:
At the heart of the Fender Strat VG lies its revolutionary electronic system, which allows players to seamlessly switch between different guitar models, alternate tunings, and even access a variety of alternate pickup configurations—all with the turn of a knob. This groundbreaking technology is made possible by a combination of advanced digital processing and specially designed pickups that capture the nuances of each guitar model and tuning setting with astonishing accuracy.

Key Features:
The Fender Strat VG boasts a host of features that set it apart from traditional electric guitars:

1. Virtual Guitar Models: With the Strat VG, players can access a wide range of virtual guitar models, including classic Fender models like the Stratocaster, Telecaster, and even acoustic guitar simulations. Each model is meticulously crafted to replicate the tone and feel of its real-world counterpart, giving players unparalleled versatility and sonic flexibility.

2. Alternate Tunings: In addition to virtual guitar models, the Strat VG allows players to instantly switch between alternate tunings at the flick of a switch. Whether it's drop D, open G, or something entirely custom, the Strat VG makes it easy for players to explore new sonic landscapes and experiment with different musical styles.

3. Alternate Pickup Configurations: Another standout feature of the Strat VG is its ability to emulate a variety of pickup configurations, from single-coil to humbucker to even acoustic pickups. This allows players to tailor their sound to suit their playing style and musical preferences, whether they're shredding through high-gain riffs or strumming delicate acoustic chords.

Collaboration and Development:
The development of the Fender Strat VG was a collaborative effort that involved input from a diverse group of musicians, engineers, and designers. Fender worked closely with artists like Eric Clapton, Jeff Beck, and Steve Winwood to ensure that the virtual guitar models and alternate tunings offered by the Strat VG met the highest standards of tone and playability. Additionally, Fender enlisted the expertise of digital signal processing pioneers Roland Corporation to develop the advanced electronics that power the Strat VG, resulting in a seamless integration of analog feel and digital precision.

Cultural Impact and Legacy:
While the Fender Strat VG may not have achieved the same level of mainstream success as its traditional counterparts, its impact on the world of electric guitar technology cannot be overstated. The Strat VG paved the way for future innovations in digital signal processing and modeling technology, inspiring a new generation of guitarists to explore the possibilities of electronic manipulation and sonic experimentation. Its legacy lives on in modern digital modeling platforms and software, which continue to push the boundaries of what is possible in the realm of guitar tone and performance.

Conclusion:
The Fender Strat VG stands as a testament to Fender's commitment to innovation and pushing the boundaries of electric guitar technology. With its revolutionary electronic system, versatile features, and timeless design, the Strat VG represents a bold step forward in the evolution of the electric guitar. While its commercial success may have been limited, its impact on the world of guitar technology and musical creativity is undeniable, cementing its place in the annals of electric guitar history.

Expansion:
Innovation has always been at the core of Fender's ethos, driving the company to constantly explore new avenues of guitar design and technology. The Fender Strat VG emerged during a time when digital signal processing was beginning to gain traction in the music industry, offering a glimpse into the future of guitar technology. Its development was not without its challenges, however. Engineers faced the daunting task of balancing the need for advanced digital processing with the desire to maintain the feel and playability of a traditional electric guitar. Countless hours of research, prototyping, and testing were invested to ensure that the Strat VG would deliver the same level of performance and satisfaction as its analog counterparts.

Upon its release in 2007, the Fender Strat VG garnered widespread attention and acclaim from musicians and critics alike. Its innovative features and groundbreaking technology captured the imagination of guitarists seeking new ways to explore and expand their sonic palette. Artists ranging from blues legends to metal shredders to acoustic troubadours found inspiration in the Strat VG's ability to effortlessly switch between different guitar sounds and tunings, opening up endless creative possibilities.

Despite its technical prowess and innovative design, the Fender Strat VG faced some challenges in the marketplace. Its relatively high price point and niche appeal limited its adoption among mainstream guitarists, who may have been hesitant to embrace such a radical departure from traditional guitar designs. Additionally, some purists expressed skepticism about the authenticity of the virtual guitar models and alternate tunings offered by the Strat VG, questioning whether they could truly replicate the sound and feel of the real instruments they emulated.

However, for those who embraced the Strat VG, it quickly became an indispensable tool in their arsenal. Whether recording in the studio, performing on stage, or jamming at home, players found endless joy in exploring the vast sonic landscapes offered by the Strat VG's digital technology. Its ability to seamlessly switch between different guitar sounds and tunings with the twist of a knob or the push of a button empowered musicians to break free from the constraints of traditional guitar setups and explore new creative horizons.

Over the years, the Fender Strat VG has continued to inspire guitarists and push the boundaries of what is possible in the world of electric guitar technology. While its production may have been discontinued, its legacy lives on in the countless musicians who continue to explore and innovate with digital modeling and signal processing technology. As Fender and other manufacturers continue to push the envelope of guitar design and technology, the spirit of innovation embodied by the Strat VG will always remain a guiding force, driving musicians to explore new sonic territories and push the boundaries of their creativity.

TEST: Fender Passport Event Series

 A new Fender guitar combo? As expected, this was my first assessment when the parcel delivery person handed me a comparatively large, but not overly heavy parcel marked “Fender”. “Aha, a transistor amp,” I suspected because of the weight, but the oval shape of the product when viewed from above, which revealed itself to me after opening the package, made me think a little. It is not without reason that the Fender Passport Event Series 2 is a portable audio system, far removed from any amplifier, which, among other things, has contributed to the brand's worldwide fame. Fender is now also making audio systems?

The construction of the Fender Passport Event Series 2

It is in the nature of things that one of the world's most famous trademarks does not always rest on its icons such as Strat, Tele, Precision and Bassman, but in the last few decades Fender has more or less only appeared when it was was about taking over other guitar-focused manufacturers such as Jackson, Charvel, Ovation or Hamer Guitars. The entry into the audio system sector, previously often referred to as “vocal systems”, can therefore be understood as a significant expansion of the core business.

With the Fender Passport Event Series 2, the American manufacturer offers the middle representative of a sound system consisting of 3 variants, which in terms of performance and range of functions is rounded off at the bottom by the Conference version and at the top by the Venue version. All three models were built with the same focus on easy handling and transport, which is an increasingly important selling point for audio systems in this performance class. Only a few amateur users feel the need to familiarize themselves with audio matters and are increasingly giving preference to a pure plug-and-play solution.

In order to capture exactly this target group from the garden party, hobby DJ and simple street party sound system, Fender has broken down the handling of the Fender Passport Event Series 2 audio-technically to only a few control options, but instead put a lot of thought into transport and the appearance of the product. The first impression already shows one of the strengths of the system. The system, which consists of two boxes and a control console, can be assembled into a suitcase and transported with just one hand. The dimensions (W x H x D): 737 m x 559 mm x 286 mm and a weight of 21.1 kg are very moderate for an audio system that advertises a total output power of 375 watts. An 8-inch woofer and a 1.2-inch tweeter driver are used as speakers per box.

The two boxes have a standard 35 mm flange on the bottom for high stand operation, which the boxes can also make good use of. The boxes, which are oval to the rear, may look good visually, but when it comes to stability, the two boxes prove to be extremely prone to tipping over. A slight push from the side and the center of gravity passes the side edge of the case. What is also very rarely installed is the speaker connection on the front of the housing, as is the case here with the Fender Passport Event Series 2 speakers. The reason can be found in portability. Since the boxes also represent the external parts of the transport case, with an external connection socket there would be a risk of the socket breaking or becoming dirty. However, you always have the speaker cables dangling in front of the box during operation. Well, everyone should decide for themselves whether this detail bothers them.

The backside

The center console offers all the control elements on the front, while the back has three small compartments in which cables or a microphone can be placed. The structure of the system is solid enough for easy transport, but a few details, such as the closure of the rear flap, seem a little “plastic-esque”. So be it. In addition to the cold device socket, on/off switch and operating voltage selection, the two sockets for connecting the boxes are also located here.

The front

As already mentioned, the control elements of the Fender Passport Event Series 2 have been reduced to a minimum in order not to overwhelm the user, which of course always requires a certain willingness to compromise for the professional. User brings with it. The seven-channel mixer offers four unlocked XLR / TSS combination sockets, a mono jack and a stereo jack input. The sensitivity of the combination sockets can be switched between microphone and line level, and the mono jack channel can be switched between line level and high impedance (for example for a passive electric bass). The left jack input of the stereo jack inputs can also be used for mono operation. There is also an analog 3.5 mm stereo mini jack input for connecting mobile devices or similar. The system also has a Bluetooth input, which is activated with an illuminated push button and initiates pairing.

Each of the input channels has a separate volume control, but you will probably look in vain for a gain control due to the often incorrect handling. It is clear that this must lead to mismatches, particularly in the microphone area, and should be taken into account. A two-band solution consisting of bass and treble was used for the tone control, probably also for ease of use. The channels are rounded off by a reverb control, which allows the addition of a fixed reverb program. 4 controls per channel, that's it. As mentioned, it reduces incorrect operation, but also limits the options.

In contrast to the very limited mixing console area, the master section has a connection that I wouldn't necessarily have expected. The Fender Passport Event Series 2 has a subwoofer connection with a fixed crossover frequency of 120 Hz, which, if adjustable, should also be set there when operating a subwoofer. The transfer frequency seems to be well chosen, as even an 18-inch device still goes up to around 180 Hz and it relieves the satellites of a considerable amount of low bass.

The system also has a mono out for connecting an active monitor, the level of which is picked up before the master volume control and which has its own volume control, which also controls a headphone output (3.5 mm mini jack). At the end of the panel you can see two LEDs (Power and Protect), the master volume controller and 2 LED chains that provide information about the power output.

The Fender Passport Event Series 2 in practice

According to the target group, the Fender Passport Event Series 2 is ready for use within 2 minutes. Plug in the power cable, plug in the LS cable, plug in the microphone or line instrument, turn up the volume, briefly adjust the sound roughly, and you're done. I have rarely seen an active system that was ready for operation in such a short time. In order to test the sound of the system, the system had to endure the standard procedure, which meant various loops and final productions plus microphone operation in the room, a small hall and an open field over approx. 50 meters.

The first sound impression was indeed surprising. Considering the components used, the Fender Passport Event Series 2 delivers an unusually high bass content that I would not have expected from either the size of the case or the 8-inch bass speakers used. The power amplifier also offers an unexpectedly high headroom, even with strong impulses. The midrange is very balanced and pleasant and is significantly more present than many competing products of this type.

Opinions can be divided about the treble range, as it was designed to be a bit “rougher” in favor of the “live range”, which means that you won’t find a fine resolution with the corresponding “hissing” sound like on high-quality studio monitors. However, everyone has to decide for themselves to what extent this is necessary for their personal area of application. Unfortunately, due to the reduced tone control, no “repairs” can be carried out on the delivered sound material, which means that great attention must be paid to the quality of the material.

However, what Fender offers here in terms of sound for a retail price of €629 is actually well above what the majority of users would have expected. In summary, the system has good sound and excellent portability.

Conclusion

With the Fender Passport Event Series 2, one of the biggest names in the guitar sector offers a very powerful active system for quick use. Very good portability along with a good basic sound create a very good price/performance ratio, especially since the system does not present insoluble detailed problems even for inexperienced users.

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Additional Informations:

The Fender Passport Event Series represents a milestone in the realm of portable PA systems, blending Fender's renowned craftsmanship with cutting-edge technology to provide musicians, performers, and presenters with a versatile and high-quality audio solution. From its inception to its latest iterations, the Passport Event Series has continuously evolved to meet the ever-changing needs of users in various settings. Delving into its history unveils a story of innovation, adaptation, and a commitment to delivering exceptional sound experiences.

Inception of the Passport Series:
The roots of the Passport Series trace back to the late 1990s when Fender recognized the growing demand for portable sound reinforcement systems among musicians and presenters. Leveraging its expertise in amplification and audio engineering, Fender introduced the first Passport Series model in 1997, aiming to provide users with a compact and easy-to-use PA system that didn't compromise on sound quality. The initial Passport models featured a sleek, all-in-one design with built-in speakers, mixer, and amplifier, making them ideal for small gigs, rehearsals, and presentations.

Evolution and Innovation:
As technology advanced and user expectations evolved, so too did the Passport Series. Fender continuously refined and improved upon the design and functionality of the Passport systems, incorporating feedback from users and integrating new features to enhance performance and versatility. With each iteration, the Passport Series became more powerful, more portable, and more user-friendly, solidifying its reputation as a go-to choice for musicians and presenters alike.

One notable evolution in the Passport Series was the introduction of the Event Series, designed to cater specifically to the needs of event planners, corporate presenters, and educational institutions. Launched in the early 2010s, the Passport Event Series retained the core features of its predecessors while introducing enhancements tailored to the requirements of professional users. These enhancements included expanded connectivity options, improved audio clarity, and greater control over sound settings, making the Passport Event Series a versatile and reliable choice for a wide range of applications.

Features and Benefits:
The Fender Passport Event Series distinguishes itself with a host of features designed to streamline setup, optimize performance, and deliver exceptional sound quality. Key features include:

1. Portability: The Passport Event Series is designed for maximum portability, with lightweight construction and a compact form factor that makes it easy to transport and set up in any venue.

2. Versatility: With its flexible input options, built-in mixer, and powerful amplification, the Passport Event Series is capable of handling a variety of audio sources and applications, from live music performances to corporate presentations and educational seminars.

3. Sound Quality: Fender's commitment to audio excellence is evident in the Passport Event Series, which delivers clear, balanced sound with ample volume and projection, ensuring that every word and note is heard with clarity and precision.

4. Ease of Use: Whether you're a seasoned audio professional or a novice user, the Passport Event Series is designed to be intuitive and user-friendly, with simple controls and plug-and-play functionality that make setup and operation a breeze.

5. Connectivity: The Passport Event Series offers a comprehensive range of connectivity options, including XLR, 1/4-inch, and RCA inputs, as well as Bluetooth compatibility for wireless audio streaming, ensuring seamless integration with any audio source or device.

Cultural Impact and Legacy:
The Fender Passport Event Series has made a significant impact on the world of live sound reinforcement, providing users with a reliable and portable solution for amplifying their voices and music. Its versatility, ease of use, and exceptional sound quality have made it a favorite among musicians, presenters, and event planners around the world, earning it a reputation as one of the most trusted names in portable PA systems.

Conclusion:
From its humble beginnings in the late 1990s to its current status as a cornerstone of Fender's audio lineup, the Passport Event Series represents the culmination of decades of innovation, craftsmanship, and a dedication to providing users with the best possible sound experiences. As technology continues to evolve and user needs change, one thing remains constant: the Fender Passport Event Series will continue to adapt and innovate, ensuring that musicians, presenters, and event planners have the tools they need to deliver unforgettable performances and presentations, anytime and anywhere.

TEST: Fender AV II 66 Jazzmaster

 There are model descriptions in which the underlying intention and the ultimate area of application could not be more diametrically opposed. This is what happened with the Fender Jazzmaster, which was launched in 1958 in order to be able to play “softer” tones in the style of the Gibson models in conjunction with the Tele and Stratocaster models, which had already been very successful to date. The idea was a colossal failure; neither the form nor the final sound output convinced ambitious jazz players of the time. But this did not change the fact that the new Fender flagship had once again developed an iconic body shape with the asymmetrical body and found its main area of application first in surf style, and later in the emerging indie and alternative rock community of the nineties, which Although the instrument was partially renovated with other pickups and bridge constructions, they found the desired departure from the mainstream in this instrument. The fact that the commercial high-flyer band Nirvana with singer/guitarist Kurt Cobain had a Fender Jaguar player, which was not very far from the Jazzmaster in terms of model type, caused an enormous boost in popularity, combined with corresponding sales figures for the instrument. In reminiscence of the golden sixties, we have a Fender AV II 66 JAZZMASTER RW DKR for testing today.

The concept of the Fender AV II 66 JAZZMASTER RW DKR

What makes a Jazzmaster so special? Well, in order to understand the full scope of the concept, you have to keep in mind the battle between the electric guitar protagonists Fender and Gibson in the 50s and 60s. Although the Explorer and Flying V models introduced in 1958 flopped like no other model in Gibson history, the semi-acoustic ES series was able to achieve great success, especially since some of them were also equipped with hum-free humbucker pickups. In the Jazzmaster, Fender is now trying to preserve its own trademarks, but still open up to some points of the Gibson competition, especially when it comes to optical details. One should never forget that Leo Fender's maxim “produce everything as cheaply as possible” always hung over every employee like a sword of Damocles and every visual or acoustic change had to be fought for hard.

When it came to wood, there was no mistaking, as before, what was growing in front of the front door had to be used, i.e. initially a body made of ash, later alder, combined with a 4-fold screw (anyone can screw, you have to learn how to glue...) Maple neck. However, you can already notice the subtle squint towards Gibson in the neck binding, the block inlays and also the rosewood fingerboard, so that the Kalamazoo / Nashville customers also risked a look towards Fullerton.

In order to keep the association with the original from the sixties as strong as possible, several stops have been pulled out for the Fender AV II 66 JAZZMASTER RW DKR, which are intended to send a brand new instrument into a time machine and transport it almost 6 decades into the past. On the one hand, Fender emphasizes that many parts of the instrument, such as the tuners, are manufactured on the same machines as was the case sixty years ago. Furthermore, finishes are used that are mentioned in the same breath as Fender, such as in this case the legendary Dakota Red, whereby not only the body but also the headstock of the Fender AV II 66 JAZZMASTER RW DKR was painted to match. The instrument was sealed with nitro varnish and should take on the popular patina of a vintage instrument within a relatively short time.

The pickups of the Fender AV II 66 JAZZMASTER RW DKR

Although the term “Soapbar” is actually firmly associated with Gibson’s P-90 pickup, some contemporaries tend to also give the Jazzmaster pickups this nickname. In fact, the two protagonists are not that far apart in terms of sound, although there are of course some differences in the details. However, especially in relation to the Fender product line, the two “Pure Vintage '66 Jazzmaster Single Coils” differ significantly from the two predecessor “Caster” models. Although both Jazzmaster pickups are single coils, they have a significantly softer and warmer basic sound, especially in A/B comparison to Strat and Tele. However, the interference remains when the coils are operated individually, but at least in parallel operation there is a humbucker effect due to the reverse polarity, which significantly reduces the background noise. Both pickups are switched with a traditional three-way switch along with a master volume and master tone control.

Of course, all of this wasn't nearly enough to drive the convinced Super 400 or L-5 player out of Gibson hands and into Fender arms. The appearance and, above all, the latent “musty” basic sound of the “big Bertas” were firmly anchored in the band/orchestra setup and could not be replaced so quickly. Aware of this, Fender wanted to offer an alternative, at least in terms of sound, and offers a second circuit that is clearly geared towards “jazz”. As in the first circuit, a treble-friendly 1 mega ohm potentiometer regulated the volume, but a resistor of 50 kOhm was selected for the tone control, which ensures strong attenuation of the treble and only affects the neck pickup. In addition to an on/off slider, volume and treble attenuation can be adjusted using two roller potentiometers. With a simple slide you can switch from a dull rhythm sound to a cutting lead sound in a fraction of a second.

The vibrato system

Another special feature is the vibrato system of the Fender AV II 66 JAZZMASTER RW DKR. The system, which is subtly reminiscent of a Bigsby system in terms of how it works, is adopted 1:1 from its original, including the advantages and disadvantages of the same. According to the way it works, the free floating system can be used to create wonderfully “shimmering” detunings, although the way it works is much more subtle than the Strat vibrato system, which works much more directly.

However, Fender has also taken on the big problem in the form of the very moderate contact pressure of the strings on the bridge. Due to the very flat angle at which the strings run over the grooved saddles to the pick-up point of the vibrato system, the contact pressure is so low that you can easily lift the strings out of their anchorages with one finger. This means that the individual strings can jump out of their anchorage when played hard, at least with the factory-wound 010 set. If you equip the instrument with a “real” jazz set of 012-054 or more, many of the details within the instrument make much more sense.

The fact that Leo Fender once again listened to the musicians' wishes with the Jazzmaster can be seen, for example, in the vibrato lock in the form of a metallic button, which locks the vibrato unit upwards in the "blockade position". With a free floating system, in an emergency you can still play the song with a broken string without the tuning getting completely out of control.

The Fender AV II 66 JAZZMASTER RW DKR in practice

When you pick up the Fender AV II 66 JAZZMASTER RW DKR for the first time, you immediately feel how comfortable the instrument is to play while sitting. Logically, most jazz players perform their craft at least in an orchestra while sitting, which was taken into account in the design. The instrument lies very comfortably on your thighs, no matter what sitting position you adopt. The workmanship is impeccable, the feel is classic, the feel is traditional and very pleasant.

In terms of sound, the Fender AV II 66 JAZZMASTER RW DKR actually offers the entire Fender universe in a subtly toned down version compared to the Caster line, although the basic sound captures the Californian sound aesthetic to the point. With a slapback echo or a spring reverb in clean mode, with subtle crunch in the realm of rock'n'roll or with loud alternative attitudes with a fuzz pedal in the first position, the Fender AV II 66 JAZZMASTER RW DKR is indeed a outstanding piece of guitar history, which Fender brings very tastefully into the present. Oh yes, you can actually generate jazz with the instrument, but please name me a player who uses a Jazzmaster for its originally intended area of use.

Practice

With the Fender AV II 66 JAZZMASTER RW DKR, the capital “F” offers another classic from the company’s history in a traditional vintage guise. The materials used and the construction are as close as possible to the originals, which had their heyday almost 6 decades ago, without falling into the Relic craze, which sometimes delivers more than just crude results.

The user has to do the “playing” of the instrument himself, although the construction and the varnishes used support the endeavor in every respect. The bottom line is that this is a very good instrument that has gone down in guitar history as a classic for a reason.

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Additional Informations:

The Fender Jazzmaster stands as a testament to the innovative spirit of its creators and the ever-evolving landscape of electric guitars. Introduced in 1958 by the legendary instrument maker Leo Fender, the Jazzmaster was initially intended to cater to the needs of jazz musicians. However, its unique design, versatile sound, and distinct aesthetic soon made it a favorite among musicians across genres. To truly appreciate the Jazzmaster's journey, one must delve into its rich history, tracing its evolution from conception to its enduring legacy in the world of music.

Genesis of the Jazzmaster:
In the late 1950s, Fender had already made a name for itself with its iconic Telecaster and Stratocaster models. Seeking to expand its lineup and appeal to a broader audience, Fender set out to create a guitar that would offer a more refined and sophisticated sound suitable for jazz music. The result of this endeavor was the Fender Jazzmaster, introduced to the public in 1958 at the NAMM Show in Anaheim, California. With its offset waist, distinctive pickups, and smooth tremolo system, the Jazzmaster represented a departure from Fender's previous designs and marked a new chapter in the company's history.

Innovative Features and Design:
The Fender Jazzmaster was packed with innovative features that set it apart from its predecessors. One of its most notable features was its unique set of pickups, known as Jazzmaster pickups, which were designed to produce a warmer, smoother tone ideal for jazz music. Additionally, the Jazzmaster featured a floating tremolo system, allowing players to create subtle pitch variations and dive-bombing effects with ease. The guitar's offset waist and sleek contours also contributed to its comfortable playability, making it a favorite among musicians who spent long hours on stage.

Reception and Evolution:
While initially marketed towards jazz musicians, the Fender Jazzmaster quickly found favor with players across a variety of genres. Its rich, mellow tone and versatile sound made it a popular choice among surf rock guitarists in the 1960s, with iconic bands like The Beach Boys and The Ventures incorporating the Jazzmaster into their signature sound. As the decades passed, the Jazzmaster continued to evolve, with Fender introducing various modifications and updates to keep pace with changing musical trends. In the 1990s and early 2000s, the Jazzmaster experienced a resurgence in popularity, thanks in part to its adoption by alternative rock and indie artists seeking its distinctive sound and retro aesthetic.

Cultural Impact and Legacy:
Beyond its technical innovations, the Fender Jazzmaster left an indelible mark on the cultural landscape of the 20th century. Its sleek design and versatile sound made it a symbol of artistic expression and rebellion, embodying the spirit of musical innovation and experimentation. The Jazzmaster's influence extended beyond the realm of music, permeating fashion, art, and popular culture, and cementing its status as an enduring icon of cool.

Conclusion:
The Fender Jazzmaster stands as a testament to the enduring legacy of Leo Fender and the pioneering spirit of innovation that defined the golden age of electric guitars. From its humble beginnings as a niche instrument for jazz musicians to its status as a beloved icon of popular music, the Jazzmaster has left an indelible mark on the world of music and continues to inspire generations of musicians and enthusiasts alike. As we look to the future, one thing remains certain: the Fender Jazzmaster will always hold a special place in the hearts of musicians and collectors as a symbol of creativity, individuality, and the transformative power of music.

TEST: Fender AV II 57

 It's just a guess, but I guess the board of directors of Fender Musical Instruments Corporation Inc. wakes up every morning with a smile on their face, knowing that they have what is definitely the world's most successful guitar model in their portfolio and probably have sales of several million You can look forward to seeing examples of this exceptional model over the last 69 years, especially since sales are still not stagnating. In addition to the pioneering innovations in the electric bass and amplifier sectors, the company founded by Leo Fender in 1946 defines itself by THE electric guitar model par excellence, the Fender Stratocaster, or Strat for short. It's funny when you consider that Leo Fender, a staunch republican and known for being a penny-pincher, was only interested in creating an instrument that was as "cheap" as possible, which, for cost reasons, would be made of local wood and assembled by unskilled workers. Who would have thought that this “Billigheimer” would shake the world of rock’n’roll to its core. As the latest creation from Fender, we have a Fender AV II 57 STRAT MN SFMG for testing today.

The concept of the Fender AV II 57 STRAT MN SFMG

It's really not easy as a Strat tester. If the instrument does not contain a completely new approach in some component, you are struggling with the fact that everything, absolutely everything, about this instrument has already been described and evaluated down to the very last detail in thousands of analyses, apart from the fact that the same instrument can also be felt was built in countless variations. As with the second God the Father instrument from the USA, the Gibson Les Paul, the legendary status comes from the first two decades of production, which means that Gibson from around 1956 and the Strat from 1954. Both manufacturers already have several, some of them ridiculously elaborate editions were created so as not to let the myth perish. The Fender AV II 57 STRAT MN SFMG is also such a “reference”, although it is comparatively moderate in its claim to authenticity and, above all, remains affordable.

As the name suggests, it alludes to a model from 1957, which particularly attracts attention with its “Sea Foam” paintwork. Close your eyes for a moment, think of pastel-colored Cadillacs and omnipresent surf music, then you've bridged the gap to this paint job. Of course, the paint is polarizing, which could best be described as a green-leaning turquoise with a high proportion of white, but if you take this color from a guitar model, then it would be a Strat, perhaps a Jazzmaster.

In order to trim the guitar a little more towards “used”, the Americans subjected some components of the Fender AV II 57 STRAT MN SFMG to optical aging, but this comes across very evenly and therefore not really authentic. This “aging” really has nothing to do with the Relic variants from the Customs Shop, but it underlines the vintage approach. All plastic parts such as PU caps, pot attachments and the end of the vibrato lever were covered with slightly yellowed plastic and the one-piece maple neck used until 1958 is relatively heavily stained and is intended to anticipate a darkening of the wood. However, the single-layer pickguard, which is fixed with 8 screws, was left in a very bright white, so you inevitably wonder why the pickup caps are yellowed but the pickguard is not.

All other features of the era up to 1958, such as the truss rod, which is accessible from the rear and closed with walnut (mostly walnut), the 4-point screw connection and the cross screw at the base of the neck, were also adopted. As in the original, the body was also made from alder (previously ash) from 1956 onwards. Anyone who wants their instrument to age as quickly as possible will be happy to hear that Fender has sealed the instrument with nitro lacquer, which is known to have a positive effect on vibration behavior, but only has a comparatively low protective effect. The result is rapid cracking of the paint and uneven wear, which is guaranteed to be very positive with this instrument. The colored finish, on the other hand, is made of polyurethane varnish and will probably last longer than the opaque clear varnish.

The neck

Also worth highlighting is the shaping of the maple neck, which Fender calls a V-profile and, in combination with the 184 mm fretboard radius, can be described as classic and is particularly noticeable when playing barre-free chords. Consequently, weak points in the basic construction were also adopted, such as the routing of the G string behind the saddle. A string tree is only used for the two highest treble strings, which means that the contact pressure of the G string on the saddle is comparatively low due to the unfavorable angle to the tuner and there is a risk that if you play it very hard the string jumps out of the notch. Personally, I would always set a second string tree, but everyone has to know that for themselves. The frets are in the “tall” version according to the approach and there are 21 frets available. As expected, the scale length is the long version at 648 mm.

Hardware and pickups

As a special feature, Fender also offers the so-called “Pure Vintage Single-Line “Fender Deluxe” tuners”, which are in the Kluson style. The staggered pole pieces of the vintage pickups, which, according to Fender, are “designed and tuned exactly to the sound and performance of the original model year,” also rely heavily on the sonic approach of the time. The vibrato unit is also free-floating with its 6 screws (1 whole tone upwards) and is intended to be manufactured using the same machines that were used 70 years ago. However, Fender breaks with its original vintage approach once with the pickup selector switch. A 5-way switch is installed on the Fender AV II 57 STRAT MN SFMG, which was first used in 1977. A 3-way switch would have been correct, but the user probably didn't want to have to put up with the fiddling around to find the intermediate positions without latches.

By the way, the instrument is delivered in a simply constructed but nice-looking tweed case.

The Fender AV II 57 STRAT MN SFMG in practice

There is simply no denying that anyone who has ever held a good Strat in their hands will immediately know why this instrument is the most successful guitar model in the world. This also applies to the Fender AV II 57 STRAT MN SFMG. The instrument hugs the body, is easy to play and produces exactly the sound you expect from a “real” Strat. You can tell from the first fingering that the strengths of the neck are to be found in chord playing. The combination of the V-shaping with the large fingerboard radius suits the round fretting hand very well and enables any voicing in a very relaxed hand position.

What excited me most, however, were the vintage pickups that Fender installed. The comparatively low-power pickups produce an incredibly pearly and crisp basic tone, which not only impresses in the clean and crunchy area, as expected, but also ensures a transparent tone without excessive background noise right up to subtle lead passages. Everything that covers rock, from classic rock to AOR to hard rock in the Deep Purple style, can be achieved with this instrument.

It should come as no surprise that the Fender AV II 57 STRAT MN SFMG impresses in the clean area, just take Nile Rodgers as an example, whose Strat can be heard on around 300 million CHIC songs sold. What also surprised me were the very convincing sounds in pickup positions 2 and 4, which you can hear very well in sound example 1, where I select the 5 switch positions one after the other. Sometimes heavily frowned upon by Strat players in the eighties (producer: “We take the classic Strat sound directly into the console” / He meant pickup position 4…) these positions can also be very convincing on the Fender AV II 57 STRAT MN SFMG, especially since they Give fast 16ths, such as those used in radio, an extra dose of “clack”.

In summary, the Fender AV II 57 STRAT MN SFMG has an excellent sound with very good playability. A very good instrument in all respects!

The sound examples were created with a Hughes & Kettner Triamp MKIII, a Marshall 412 cabinet with Celestion G12T 75 and 2 pcs. Shure SM57 included.

Conclusion

With the Fender AV II 57 STRAT MN SFMG, the American company has an excellent version of its all-time classic in its portfolio. The extravagant paintwork in the classic fifties style may still polarize, but the instrument's feel and sound are impressive across the board.

The pickups in particular are exceptionally pleasing and perfectly round off the very good playing feel and classic sound.

If you are looking for a Strat, definitely check out this model!

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Additional Informations:

The Fender Stratocaster stands as an icon of musical innovation and cultural significance. Born out of the visionary mind of Leo Fender in the early 1950s, the Stratocaster revolutionized the world of electric guitars and forever changed the landscape of popular music. Its sleek design, versatile sound, and impeccable craftsmanship have made it the instrument of choice for countless legendary musicians across genres. To truly appreciate the Stratocaster's impact, one must delve into its fascinating history, tracing its journey from conception to global phenomenon.

Early Beginnings:
The story of the Fender Stratocaster begins with the formation of the Fender Musical Instruments Corporation in Fullerton, California, in 1946. Leo Fender, a self-taught engineer with a passion for electronics, established the company with the goal of creating innovative instruments that would meet the evolving needs of musicians. Fender's first foray into the electric guitar market came with the introduction of the Telecaster in 1950, which quickly gained popularity among country and blues musicians for its twangy tone and sturdy construction.

The Birth of the Stratocaster:
Building on the success of the Telecaster, Leo Fender set out to design a guitar that would offer even greater versatility and playability. Drawing inspiration from feedback received from musicians and incorporating his own ingenuity, Fender introduced the Stratocaster in 1954. The Stratocaster boasted several groundbreaking features that set it apart from its predecessors, including a contoured body for enhanced comfort, three single-coil pickups for a wide range of tones, a synchronized tremolo system for pitch manipulation, and a bolt-on neck for increased stability and ease of repair.

Innovations and Evolution:
From its inception, the Fender Stratocaster was embraced by musicians for its innovative design and unparalleled sound. As the instrument gained popularity, Fender continued to refine and improve upon its design, introducing new features and variations to meet the demands of players across different genres. In 1959, Fender introduced the rosewood fingerboard as an option, adding a touch of elegance to the instrument's aesthetic. Throughout the 1960s, the Stratocaster became synonymous with the burgeoning rock 'n' roll movement, as legendary guitarists like Jimi Hendrix, Eric Clapton, and Ritchie Blackmore pushed the boundaries of what could be achieved with the instrument.

Cultural Impact:
Beyond its technical innovations, the Fender Stratocaster played a pivotal role in shaping the cultural landscape of the 20th century. As rock music exploded onto the mainstream, the image of the Stratocaster became inseparable from the rebellious spirit of youth culture. Its sleek, futuristic design and electrifying sound symbolized a new era of musical expression and freedom. The Stratocaster's influence extended far beyond the realm of music, permeating film, fashion, and art, and cementing its status as an enduring symbol of creativity and individuality.

Enduring Legacy:
Today, more than seven decades since its introduction, the Fender Stratocaster remains as relevant and revered as ever. Its timeless design and versatile sound continue to inspire musicians of all ages and backgrounds, from aspiring beginners to seasoned professionals. Countless iterations and signature models have been released over the years, each paying homage to the Stratocaster's storied legacy while incorporating modern innovations to keep pace with evolving musical trends. As the world of music continues to evolve, one thing remains certain: the Fender Stratocaster will always hold a special place in the hearts of musicians and enthusiasts alike, as a testament to the enduring power of innovation, craftsmanship, and the transformative impact of music on our lives.

Conclusion:
The journey of the Fender Stratocaster from its humble beginnings in a small California workshop to its status as a global icon is a testament to the vision and ingenuity of its creator, Leo Fender. Through decades of innovation, evolution, and cultural influence, the Stratocaster has remained at the forefront of musical innovation, inspiring generations of musicians and shaping the sound of popular music. As we look to the future, one can only imagine the countless new sounds and innovations that will be created with this legendary instrument, ensuring that the legacy of the Fender Stratocaster will endure for generations to come.

TEST: Fame FX Pedals

 OEM! Huh? What’s that? One or the other will be received with these or similar sounding syllables when they peddle the three letters mentioned. “Original Equipment Manufacturer” is the magic word of the moment and describes the process in which the manufacturer of a product produces its goods for another company, but the same company sells the product under its own name. These products are also commonly referred to as “house brands”. The advantages of this business practice are the generally low sales price, which is usually below the actual value of the product, due to direct sales and the absence of various middlemen.

In this case, you have to make up for the lack of sales through your own sales network, which usually consists of a sophisticated mail order or online order process. The FAME product range is the house brand of the Cologne music retailer Music Store, which, as a full-service supplier, carries almost all instrument groups in its range, as Peavey did in the USA at the time.

With the Sweet Tone pedals, Fame is now entering the field of stompboxes, which can't really complain about a lack of offerings. Well, what's left to break into the phalanx of giants like Boss, Ibanez or Digitech? Take a quick look at the first section of this article...


construction

In order to understand the following lines and to be able to correctly assess what has been described, with the exception of the CT-10 power supply, all pedals are under €40! Three well-filled medium-sized pizzas cost more! And that includes the profit of the manufacturer and the distributor! Hossa! Well, a standard effects pedal has neither the development time of a virtual amp nor the component density of an all-tube head, but sales prices around €39 are hard to beat unless you save on housing, components or longevity.

This is not the case with the Sweet Tone series. Delivered in a brown cardboard box, the products raise doubts about the invoice amount when opened. A clean chrome-plated housing, screwed jack sockets, a massive true bypass switch and a smooth-running potentiometer with a chickenhead attachment make the observer visually more likely to conclude that it is a boutique pedal than the lowest price range that one can imagine. The interior with high-quality capacitors and resistors as well as a battery compartment with knurled screws are evidence of disproportionately high quality.

It should be clear to everyone that at this price you cannot expect completely new development work, but rather that you are more or less copying successful products including their components. The fact that this production step can only take place in China is probably also true. Therefore, in this product range you will find one or two well-known players who have attracted a lot of attention within the string group in a previous life.


Practice

Driver Overdrive OD-10: The OD-10 immediately creates an aha effect as soon as you look at the product from the bottom. Next to the battery compartment there is a second cover that can be opened using a knurled screw, behind which is the well-known JRC4558D chip, but in a plug-in socket! In order to promote variability, FAME has added two additional chips (NE5532P and TL072), which reproduce the distortion differently on a diode circuit. Who likes which chip best? Try! As long as you have steady fingers, you won't be able to avoid a fair amount of fiddling around, as expected.

In addition to the standards such as the volume, drive and tone potentiometers, the OD-10 also has a triple toggle switch with the presets “Warm”, “Bright” and “TS” (Oh what...). What is meant by this is probably self-evident. In fact, the TS circuit does a pretty good job with its TS9 copy with the distinctive mid-range boost, the other two switch positions change the tone more towards “loudness” (more treble) according to their label and a little more bass on Bright) or the reduced version without midrange boost on “Warm”. All in all a very flexible Tube Screamer replacement with good detailed solutions.


Metal Massacre MM-10: Haha, when I hear product names like that I just have to laugh. No offense. The “original” MM-10 also had a name that took some getting used to at the time. Hands up, who bought the “Rat” from ProCo over two decades ago? The legendary hair metal pedal that made the guitar sound so beautifully 80's ;-) Be that as it may, the MM-10 sounds very much like its great role model, biting, sometimes mean, with a high sustain level for the ambitious metalhead. ......yesterday, at least as far as the sound is concerned. The famous hollowed-out middle bathtub cannot be achieved with this product - that's a sound insight from the turn of the millennium, but if you're looking for a metal classic, this is the right place for you.


Slasher Distortion DS-10: A little more distortion reserves than an overdrive, a little more tamed than the MM-10, this is how the DS-10 works. Based a little on the DOD product series, the DS-10 only manages to produce exactly one sound due to the reduced potentiometer selection, but it does it quite well. The product is very high-pitched and achieves a high assertiveness factor, for example to give the sound more bite in the short term during a solo. When the gain is turned up high, it can be considered a metal distortion, provided you are looking for a snappy sound.


Equalizer EQ-10: In the days of single-channel all-tube heads, almost every successful solo guitarist heard the 7 - 10 band pedal equalizers to their credit. They enabled a completely different solo sound, could be used as a booster or could only boost a wah-wah in a fixed position in a certain frequency range. But what is often forgotten is that the same products can also be used as a “quiet maker” in the serial effects loop due to the level control, thus replacing an additional master volume control. If you love vintage and don't want to use channel monsters for your different sounds, this is the right place for you.

The EQ-10 does a good job, although using the +/- 15 dB controls requires a little experience. Always remember, start carefully, otherwise you will drown in noise, drone or feedback. By the way, please always use a full tube head for the above experiment.


Delay AD-10: Touted as an analogue delay, the AD-10 doesn't quite get around the digital level; otherwise, delay times of up to 1100 milliseconds cannot be implemented. Behind a digital PT2399 chip there is an analog BBD chip, which is intended to give the bucket brigade circuit some sonic emphasis. This works quite well, although the warmth and soft focus of the old protagonists is not quite achieved. But hey, a delay for €39...


Softener Chorus CH-10: Here, too, the big godfather comes in the form of the Boss family, with the CH-2 coming closest to the sound of the CH-10. This product actually uses a pure Bucket Brigade device, which is reflected in the form of a soft and warm sound. Very nicely done! Various basic speeds can also be set using a toggle switch, which also varies the waveform slightly.


Chrome Tank CT-10: An extremely massive and good-looking multi-power supply with the following connections:

2 x 9V with 1000mA regulated PSA each
3 x 9V with 100 mA each regulated PSA
2 x 9V with 1000 mA each unregulated ACA (e.g. for older Boss pedals before 1997)
2 x 6V with fixed 1000 mA unregulated (e.g. for tube overdrive or equivalent devices)

Cables included:
9 x standard power supply plugs, each 1 meter long
1 x mini jack power supply plug with a length of 1 meter (e.g. for Big Muff or Small Clone)
1 x 5-way distributor standard



Conclusion

The Sweet Tone effects pedals offer a lot for the money. For example, with a retail price of less than €40, it might be worth getting a good single-channel amp with a good, clean sound and using several distortions as different channel alternatives. Due to direct sales, the products are extremely cheap despite being of high quality and may even allow you to make a purchase that you had not planned. Filling up a Mercedes once = 3 distortions…

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Additional Informations:

Guitar effects pedals have become synonymous with the electrifying sounds of rock, blues, and countless other genres. From the subtle nuances of overdrive to the swirling textures of modulation effects, these pedals have played a crucial role in shaping the sonic landscapes of modern music. This article explores the fascinating history and evolution of guitar effects pedals, tracing their origins, key developments, and enduring impact on music culture.

Early Experiments and Analog Beginnings:
The story of guitar effects pedals begins in the early 20th century with the advent of electric amplification. As guitarists sought to amplify and manipulate their sound, inventors and engineers began experimenting with various electronic circuits and devices.

One of the earliest effects to emerge was the tremolo effect, which modulated the volume of the guitar signal to create a pulsating, rhythmic sound. The DeArmond Tremolo Control, introduced in the 1940s, was among the first standalone tremolo units designed for electric guitars.

Another pioneering effect was the reverb, which simulated the natural reverberation of acoustic spaces. In the late 1950s, the Hammond Spring Reverb introduced a compact, portable reverb unit that could be easily integrated into guitar amplifiers, paving the way for the widespread use of reverb in popular music.

The Rise of Stompboxes:
The 1960s witnessed a surge in the popularity of guitar effects pedals, thanks in part to the emergence of compact, battery-powered devices known as stompboxes. These pedals featured footswitches that allowed guitarists to engage and disengage effects with a simple tap of the foot, making them ideal for live performance.

One of the most iconic stompboxes of this era was the Maestro Fuzz-Tone, introduced in 1962. Developed by engineer Glenn Snoddy, the Fuzz-Tone produced a gritty, distorted sound that became synonymous with the burgeoning garage rock and psychedelic music scenes of the 1960s.

Other notable stompboxes from this period included the Vox Wah-Wah pedal, the Electro-Harmonix Big Muff Pi fuzz pedal, and the Uni-Vibe modulation pedal. Each of these pedals introduced new sonic possibilities and helped shape the sound of popular music in the 1960s and beyond.

The Digital Revolution:
The 1970s saw the advent of digital technology, which would revolutionize the world of guitar effects pedals. Digital signal processing (DSP) technology allowed for greater precision, flexibility, and complexity in effect processing, paving the way for a new generation of digital effects pedals.

One of the earliest digital effects pedals was the Boss DD-2 Digital Delay, introduced in 1983. This compact pedal utilized digital circuitry to produce pristine, repeatable echoes with precise control over delay time and feedback. The DD-2 quickly became a staple on pedalboards around the world, setting a new standard for delay effects in the digital age.

Throughout the 1980s and 1990s, digital effects pedals continued to evolve and diversify, with manufacturers introducing a wide range of effects including reverbs, choruses, flangers, and multi-effects units. Pedals like the Line 6 DL4 Delay Modeler and the Eventide H3000 Harmonizer showcased the power and versatility of digital processing, offering a vast array of effects and presets in a single unit.

The Boutique Revolution:
In recent years, there has been a resurgence of interest in analog effects pedals, driven in part by a desire for vintage tones and craftsmanship. Boutique pedal makers have emerged, offering handcrafted pedals with unique designs and sonic characteristics.

These boutique pedals often feature analog circuitry, high-quality components, and meticulous attention to detail, appealing to discerning guitarists seeking a personalized and distinctive sound. Pedals like the Klon Centaur overdrive, the Strymon Timeline delay, and the JHS Morning Glory overdrive have gained cult status among players for their exceptional tone and build quality.

Conclusion:
The history of guitar effects pedals is a testament to the ingenuity, creativity, and passion of musicians, engineers, and inventors. From the early experiments with analog circuitry to the sophisticated digital processing of today, effects pedals have played a crucial role in shaping the sound of modern music.

As technology continues to evolve and new generations of players push the boundaries of sonic exploration, the future of guitar effects pedals remains bright and full of promise. Whether recreating vintage tones, exploring new sonic frontiers, or simply unleashing a blistering solo, effects pedals will continue to inspire and captivate guitarists for years to come.

TEST: Eventide Timefactor

 It's really interesting to see and hear how our brain reacts to the effect of an echo. While our entire life is shaped by the auditory impression of reverberation and the same is even existential (in a darkened, anechoic room without auditory impression you go crazy within a very short time, the world record is just under 20 minutes!), the hearing reacts to echoes more subtly .

The repetition of one or more tones in rhythmic and non-linear sequences appears to us as a “supplement” to the source material, sometimes as a “refinement”. It is not for nothing that this effect has made it to second place on the effect popularity scale after the distortion, especially among guitarists. Is it any wonder that you can choose from a wide selection of products.

In order to stand out from the crowd, you have to come up with unusual ideas or explicit quality in order to get the customer on your side. In the second area in particular, there is a company that has been convincing in studio technology for years - we are talking about the American manufacturer Eventide. Famous worldwide for their monopoly position in the field of harmonizers over several decades, New Jersey's Finest is preparing to conquer the highly competitive area of floor pedals, but not without cultivating the previous trademarks in this area as well.

As part of the “Factor” triumvirate, Eventide comes up with, among other things, a digital delay, which, as expected, specializes in repeating the output signal in general, along with a few specifications in particular. We'll see what has escaped from the 19 inch department into the floor pedal.


construction

Like its two brothers, the TimeFactor comes in the same solid steel housing with dimensions of 12.2 cm x 19 cm x 5.4 cm and a weight of just under one kilogram. Conceptually, we once again find the philosophy “Designed in the USA, assembled in China” at Eventide.

There is nothing wrong with the workmanship, the housing and especially the on/off switches, which also meet very high quality standards, speak for a long life. Only the total of 11 rotary controls at the top edge of the housing are at the mercy of footwear. It's important to tread carefully here if you don't want to prematurely end the uncountered potentiometer axes with the toe of your shoe.

Like its sister models Pich and ModFactor, the product, which can be designed in true stereo if required, has two different input sensitivity presets (Guitar / Line), respectively outputs, plus the possibility of connecting an expression pedal and an AUX switch. The device can also be managed externally via the MIDI In/Out (Thru) sockets on the side. The connection socket of the included 9V power supply and a USB port for firmware updates round off the connection peripherals on the front of the product.


The TimeFactor offers a total of nine different echo configurations plus a twelve-second looper, which are staggered as follows:

DigitalDelay: a standard digital delay up to 3000 ms

VintageDelay: simulates analog and digital delays from the early days of processor-controlled delay

TapeEcho: simulates a tape echo device including the well-known side effects such as eggs, noise and phase cancellations of the tape

ModDelay: generates delays plus modulation effects

DuckedDelay: controls the volume of the delay depending on the artist's playing style (reduction during playing, increasing the FX volume during breaks in playing)

BandDelay: Delay with filter functions

FilterPong: Stereo ping-pong delay plus filter functions

MultiTap. 10 different tap delays with control for delay time, tap volume and tap distance

- Reverse: self-explanatory


Each delay is configured as a twin delay, so two independent delay times can be set and mixed to taste. The device has 20 presets with 2 sounds per preset, making a total of 40 factory-set sound suggestions. The device also has 20 storage spaces for your own sound ideas.


Practice

As is well known, guitarists in particular belong to the sometimes quite crude breed of instrumentalists, who sometimes search for and cultivate sounds in an esoteric manner with the most crazy constructions and settings, although delay itself is a very special area. Anyone who has ever had the “pleasure” of listening to digital delay advocates argue with the tough vintage tape delay department knows what I’m talking about.

To put it bluntly, the TimeFactor is and remains a digital delay, which can emulate the anachronistic forefathers from the beginning of the effects age very nicely, but cannot compete with the interaction of tape artifacts, tube preamplification and booster functions of old tape echo devices to face competition.

Once you are aware of this, you can actually only win with the TimeFactor. The device delivers an all-round successful range spanning several decades of echo technology, combined with a rich selection of bonus material. It's exciting to see how small corrections in the frequency response or the enrichment of the material with sound artifacts evoke associations with various sound eras or events in the listener.

Sound tinkerers in particular can use a combination of preparation and spontaneity to generate interesting effects during their live shows and incorporate them into their performance. Using functions such as the looper, which can be overdubbed as well as functioning as a pure loop, you can easily “play with yourself on stage”, a rogue if you think evil of it ;-)



Conclusion

The TimeFactor Stompbox from Eventide is truly a top-class digital delay. In terms of processing technology, sound and concept, the device scores well across the board and is particularly appealing to musicians who like to experiment.

Once you've familiarized yourself with the complex editing options of the device, you have to pull yourself together to avoid spending entire afternoons succumbing to your personal instinct to play, which in my opinion is always a good sign of an interesting product.

The only thing that will deter some interested parties is the price, which, although almost consistent with the quality offered, seems a bit high, especially since the product is manufactured in China.

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Additional Informations:

In the realm of music and audio processing, the development of digital echo pedals stands as a testament to the relentless pursuit of sonic innovation. From humble beginnings as rudimentary tape delay units to the sophisticated, feature-rich pedals of today, digital echo pedals have left an indelible mark on the landscape of music production and performance. This article embarks on a detailed journey through the origins, key milestones, and enduring impact of digital echo pedals, tracing their evolution from analog predecessors to indispensable tools in modern music-making.

Early Experiments with Tape Echo:
The history of echo effects predates the digital era, with the first echo units relying on mechanical and analog technologies. One of the earliest echo devices was the tape delay, which utilized loops of magnetic tape to capture and replay audio signals with a delay. Inventors and engineers experimented with tape delay systems in the mid-20th century, leading to the development of iconic units such as the Roland Space Echo and the Echoplex.

Tape echo units offered musicians a means to introduce repeat echoes and spatial effects into their performances, enhancing the depth and texture of their sound. However, these devices were bulky, prone to mechanical issues, and limited in terms of delay time and fidelity, prompting researchers to explore alternative technologies for echo processing.

The Advent of Digital Signal Processing:
The transition to digital audio processing in the late 20th century paved the way for a new generation of echo effects pedals. Digital signal processing (DSP) technology offered unparalleled flexibility, precision, and fidelity compared to analog circuitry, opening up a world of possibilities for echo processing and manipulation.

One of the earliest digital echo pedals to gain widespread acclaim was the Boss DD-2 Digital Delay, introduced in the early 1980s. Developed by the Japanese company Roland, the DD-2 utilized digital circuitry to generate pristine, repeatable echoes with precise control over delay time, feedback, and modulation. The compact size, reliability, and versatility of the DD-2 quickly made it a staple on pedalboards around the world, setting a new standard for echo effects in the digital age.

Advancements in Delay Algorithms and Features:
As digital audio technology continued to evolve, so too did the capabilities of digital echo pedals. Manufacturers began to explore new delay algorithms and features, pushing the boundaries of creativity and sonic exploration.

One significant advancement came with the introduction of multitap delay algorithms, which allowed users to create complex, rhythmic echo patterns by specifying multiple delay taps with individual timing and feedback settings. Pedals like the Line 6 DL4 and the TC Electronic Flashback X4 showcased the power of multitap delay processing, empowering musicians to craft intricate, evolving soundscapes with ease.

Furthermore, digital echo pedals began to incorporate a range of additional features and effects, including modulation, filtering, and reverse playback. These enhancements expanded the sonic palette of echo effects, enabling users to create ethereal, otherworldly sounds that transcended traditional delay processing.

Integration with Digital Audio Workstations and MIDI:
The rise of digital audio workstations (DAWs) in the late 20th and early 21st centuries further expanded the capabilities of digital echo pedals. Pedals with USB or MIDI connectivity could synchronize with DAWs, allowing for seamless integration into studio setups and live performance rigs.

MIDI-enabled echo pedals offered extensive control options, allowing users to automate parameters, switch presets, and synchronize tempo with other MIDI-compatible devices. This level of integration and control empowered musicians to explore new creative possibilities and streamline their workflow in both studio and live settings.

Modern Innovations and Connectivity:
In recent years, digital echo pedals have continued to evolve, incorporating advanced features and connectivity options to meet the demands of modern musicians and producers. Wi-Fi and Bluetooth connectivity allow pedals to communicate wirelessly with smartphones, tablets, and computers, facilitating remote control, firmware updates, and cloud-based preset sharing.

Furthermore, manufacturers have embraced the trend towards integration with software-based effects processing and amp modeling platforms. Pedals like the Strymon Timeline and the Eventide H9 offer seamless integration with software plugins and virtual effects processors, allowing users to access a vast library of echo algorithms and presets directly from their pedalboard.

Conclusion:
The evolution of digital echo pedals represents a remarkable journey of innovation, creativity, and technological advancement. From the early experiments with tape delay to the sophisticated, feature-rich pedals of today, digital echo pedals have transformed the way musicians approach echo processing and sound design.

As we look to the future, the legacy of digital echo pedals continues to inspire new generations of musicians, engineers, and innovators to push the boundaries of creativity and expression. Whether crafting ambient soundscapes in the studio or adding depth and dimension to live performances, digital echo pedals remain indispensable tools for musicians seeking to shape their sonic identity and captivate audiences around the world.


In the landscape of audio technology, few companies have left as profound an impact as Eventide Audio. Renowned for its innovative approach to audio processing and groundbreaking effects units, Eventide has shaped the sound of music across genres and generations. This article delves into the rich history and evolution of Eventide Audio, tracing its origins, key milestones, and enduring legacy in the world of professional audio.

Founding and Early Innovations:
The story of Eventide Audio begins in the late 1960s when two friends, Richard Factor and Herb Deutsch, founded the company in New York City. Originally named Eventide Clock Works, the company initially focused on manufacturing precision timing devices for scientific and industrial applications.

However, it wasn't long before Factor and Deutsch turned their attention to the burgeoning field of audio processing. Drawing upon their expertise in electronic engineering, they began developing innovative effects units that would soon revolutionize the world of music production.

One of Eventide's earliest breakthroughs came with the release of the Instant Phaser in 1971. This groundbreaking device, which utilized analog phase-shifting techniques, introduced a new dimension of movement and depth to audio recordings, earning widespread acclaim from musicians and engineers alike.

Expanding Horizons with Digital Technology:
As digital audio technology began to emerge in the 1970s, Eventide embraced the potential of this new frontier. In 1975, the company introduced the H910 Harmonizer, a pioneering digital effects processor that would become synonymous with the Eventide name.

The H910 Harmonizer was a revolutionary device that offered unprecedented control over pitch shifting, time manipulation, and harmonization. Its innovative algorithms allowed musicians and producers to create otherworldly effects and transform the sound of vocals, guitars, and synthesizers with unparalleled precision.

The success of the H910 paved the way for a series of iconic Harmonizer units from Eventide, including the H949, H3000, and H8000. These devices pushed the boundaries of audio processing, introducing advanced features such as dynamic pitch shifting, modulation, and multi-effects processing, and solidifying Eventide's reputation as a leader in the field of digital audio technology.

Impact on Music and Sound Design:
Eventide's innovative effects units have had a profound impact on the world of music and sound design, shaping the sound of countless recordings across a wide range of genres. From rock and pop to electronic and experimental music, Eventide effects have become synonymous with creativity, innovation, and sonic exploration.

Artists and producers have embraced Eventide's effects units as essential tools for sculpting their sound and pushing the boundaries of conventional music production. From iconic guitar tones to ethereal vocal textures and immersive soundscapes, Eventide effects have left an indelible mark on the sonic landscape of modern music.

In addition to its contributions to music production, Eventide has also played a significant role in the world of film, television, and multimedia. Its effects units have been used to create immersive soundtracks, shape cinematic sound design, and enhance the audio experience of video games and virtual reality applications.

Continued Innovation and Expansion:
Despite its rich history and legacy, Eventide Audio continues to innovate and evolve in the 21st century. The company remains at the forefront of audio technology, developing new effects units, software plugins, and hardware processors that push the boundaries of creativity and sonic possibility.

Eventide's commitment to innovation is exemplified by its H9 Harmonizer, a compact effects pedal that incorporates the power of its legendary rackmount processors into a portable, user-friendly format. The H9 offers a vast array of effects and presets, including reverbs, delays, modulation effects, and pitch shifting, making it a versatile tool for musicians and producers in any setting.

In addition to its effects units, Eventide has also expanded its product lineup to include audio interfaces, recording software, and other tools for music production and audio processing. The company continues to collaborate with artists, engineers, and developers to push the boundaries of audio technology and inspire creativity in the digital age.

Conclusion:
The story of Eventide Audio is one of innovation, creativity, and technological excellence. From its humble beginnings as a precision timing company to its status as a pioneering force in the world of audio processing, Eventide has consistently pushed the boundaries of what is possible in music production and sound design.

As the company continues to evolve and innovate in the 21st century, its legacy remains firmly entrenched in the fabric of modern music. Eventide effects units have become essential tools for musicians, producers, and sound designers around the world, shaping the sound of countless recordings and inspiring new generations of artists to explore the boundless possibilities of audio technology.