TEST: Hughes & Kettner Grandmeister 36

 Sometimes I wonder whether the Saarland guys from Hughes & Kettner expected this. Logically, the concept of the head was perfect for the “working musician”, but probably not even the true believers in the marketing department dared to predict such a great success for the Hughes & Kettner Grandmeister 36. I don't have exact figures, but I estimate that it is at least among the top 3 best-selling all-tube heads of the past year.

The reasons are quickly listed. Very compact dimensions, 128 fully programmable sounds in true all-tube quality without modeling, storable power amplifier power reduction, excellent sounds and a weight that allows you to travel on the German train or, if you are in good physical condition, even on a bike. Well, what do you do as an ambitious manufacturer when you own a product that is already running very well?

Well, you listen to the musician, or let's say a somewhat emotionally reduced end customer, whether you couldn't maybe do a few things better. And yes, a few points were found that could be improved, which were then implemented in the successor model, the Hughes & Kettner Grandmeister Deluxe 40.


construction

After the phenomenal success of the Grandmeister 36, H&K once again remains true to its optical concept.

You have to give it to H&K, the boys have always been consistent in their form and appearance. I just say glass and blinding blue light? Correct, it can only be one manufacturer. The marketing manager did everything right many years ago when you can tell from the back row of the concert hall which manufacturer is currently on stage, without being able to read the lettering. Respect for staying power!

To be honest, when I read that a product was developed in Germany, my expectations immediately increase by a few percentage points. Somehow you are constantly looking for that little or big extra point that local production represents. To put it bluntly, God knows there should be no shortage of that, as it turned out in the course of the test.

Let's start with the external values. The first Alemannic aha effect comes into play as soon as you unpack it. While the competition usually only includes a simple protective cover with the product, if at all, the Hughes & Kettner Grandmeister 36's almost 8 kilograms are transported in a road-suitable, padded gig bag with rubber feet and a side pocket. This does not have the ability to protect the 446 mm x 171 mm x 152 mm of the head in the style of a flight case against severe mistreatment, but the bag is definitely sufficient for standard transport in the band bus.

In terms of performance, the Hughes & Kettner Grandmeister 36, as expected, gets 36 watts from a quartet of EL84 power tubes, with three 12AX7s doing their job in the preamp. The final power can be reduced to 18, 5 or even just 1 watt using four pressure switches on the back of the housing, which opens up new possibilities for home practice or performance on very small club stages. The last pressure switch marked 0 Watt completely deactivates the power output of the amplifier and enables the guitar signal to be fed directly into a recording medium via the house product Red Box installed on the back.

In general, the back of the amplifier offers almost everything you could want from an amplifier of this type. Starting with the automatic adjustment of the output impedance between 8 - 16 ohms, which finally sends a mismatch between amp and cabinet to the eternal hunting grounds. It's not really surprising that there is only one output socket. It goes without saying that you shouldn't connect an amp of this class to a full stack.

Using an internally installed circuit called TSC, the amp automatically detects the failure of one power tube and compensates for this by switching off the other half-wave tube. The four built-in LEDs also provide information about the degree of power reduction on the power soak. There is also the threshold control for the noise gate, a line out for external power amplifiers, an additional FX loop and two MIDI sockets (In / Thru-Out) for connecting a MIDI strip or the one specifically designed for the Hughes & Kettner Grandmeister 36 tailored floorboard FSM 432 MKIII.

The floorboard alone is a number in itself. On the one hand, H&K impresses with its slightly curved, ergonomic design and intelligent management. On the one hand, you can skip through the saved presets, but you can also “just” choose the stompbox mode, where you can control the amp on a channel-based basis like a regular footswitch. The board also comes with a practical 9(!) meter cable (not always the poor 3-6 meters), which also serves its purpose on larger stages. The footswitch receives the necessary operating voltage from the amplifier. Why can't it always be like this...

As already mentioned, the Hughes & Kettner Grandmeister 36 comes into the race with four channels called Clean, Crunch, Lead and Ultra plus an additional boost function, which brings the keen engineer to the following question. How am I supposed to fit all the amplifier's controls on such a small front panel, let alone manage a multi-effects device with chorus, delay, tremolo, flanger, phaser and reverb? The solution lies in a special design of the potentiometers used called “Smart Rotary Controls”. With the exception of the master section with the Master, Presence and Resonance controls, all control settings can be saved or they take over several control ranges, depending on whether you are in amplifier or effects mode.

Four illuminated push switches on the front control the store, noise gate, FX loop and the internal FX area. If you now set a sound using the potentiometers, the head remembers the setting, regardless of whether this sound was ultimately saved or whether you just changed the channel. Even after the amp is switched off, these settings remain saved, as if you had four complete hardware sets of controls. A way of working that is only known from digital amps, but with the sound of an analog amp. Great implementation!

If all that isn't enough for you, you can also access an iPad app, which uses a MIDI interface to adjust all the parameters that can also be controlled on the head. However, this app does not have any major differences to the conventional method; only additional labeling of the presets is possible.

Practice

Anyone who thinks that 36 watts of solid tube power isn't enough to produce a decent noise will be proven wrong here. With the help of its variable Powersoak circuit, the amp actually manages to produce a very high-quality and varied sound across the entire volume range, from extremely quiet practice amp to fully stage-suitable head. From crisp clean to high gain, all garnished with the appropriate effects, the Hughes & Kettner Grandmeister 36 offers such a high number of top sounds that just listing the most important sounds would fill an entire test report.

I particularly liked the resonance control. Why? Well, anyone who has ever dealt intensively with an EL84 power amplifier knows the typical sound direction of this setup. British angular, fast response, brilliant crunch, but tends to have a bass hole, especially in high gain. This is where the resonance control comes in and actually manages to give the tiny thing the compression below 200 Hertz, which is otherwise only known from the EL34 or 6L6 quartet. An excellent detailed solution that further increases the flexibility of the product.


Conclusion

With the Hughes & Kettner Grandmeister 36, the Saarland company has outdone itself. I don't know of any other product in the lunchbox class that offers such a wide selection of practical solutions in the form of excellent sound, first-class workmanship and a brilliant concept.

Whether it's Top 40 show bands, original compositions with varied sound material or performances with reduced space or transport options, at the moment I really can't think of anything that could be improved on this amp in relation to its intended use.

The absolute highlight of its class, one of the big highlights of the last few years, clearly top marks!

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Additional Informations:

Introduction:
Hughes & Kettner, an illustrious name in the realm of musical amplification, has consistently set the bar high with its innovative approach to crafting amplifiers. Among its esteemed lineup, the Grandmeister series stands out as a pinnacle of engineering excellence and sonic versatility. This article embarks on an in-depth exploration of Hughes & Kettner's Grandmeister amplifiers, unraveling their evolution, features, and impact on the music industry.

Origins:
The genesis of the Grandmeister series can be traced back to Hughes & Kettner's enduring commitment to pushing the boundaries of amplifier technology. Founded in 1984 by Hans Stamer and Lothar Stamer, the company quickly established itself as a trailblazer in the world of amplification, renowned for its innovative designs and uncompromising sound quality.

In the early stages of development, Hughes & Kettner recognized the growing demand for amplifiers that offered unparalleled flexibility and control over tone. This realization laid the groundwork for the Grandmeister series, a line of amplifiers designed to empower musicians with a vast array of sonic possibilities.

Innovation:
At the heart of Hughes & Kettner's Grandmeister amplifiers lies a spirit of innovation that drives continuous evolution and improvement. Leveraging decades of experience in amplifier design and engineering, the company introduced groundbreaking technologies and features to redefine the standards of versatility and performance.

One of the most notable innovations incorporated into the Grandmeister series is the proprietary Spirit Tone Generator (STG) technology. This cutting-edge system utilizes advanced digital signal processing algorithms to emulate the characteristics of iconic tube amplifiers, delivering authentic tube-like tone with unmatched consistency and reliability.

Furthermore, Hughes & Kettner's Grandmeister amplifiers boast a comprehensive suite of onboard effects and sound-shaping tools, allowing musicians to sculpt their ideal tones with precision. From lush reverbs and dynamic delays to expressive modulation effects, the Grandmeister series offers a wealth of sonic textures to explore and exploit.

Product Range and Features:
Hughes & Kettner's Grandmeister series comprises a range of amplifiers tailored to meet the diverse needs of musicians across genres and performance settings. Whether for stage use, studio recording, or home practice, there's a Grandmeister amplifier to suit every application.

One of the hallmark features of the Grandmeister series is its versatility. Equipped with multiple channels, each with customizable voicings and gain structures, these amplifiers offer unprecedented flexibility in crafting a wide range of tones. Musicians can seamlessly transition from sparkling clean tones to blistering high-gain distortion with the flick of a switch, making the Grandmeister series a go-to choice for players seeking sonic versatility.

Moreover, Hughes & Kettner's Grandmeister amplifiers are equipped with intuitive controls and user-friendly interfaces, ensuring that musicians can easily dial in their desired tones without getting bogged down in complex menu systems or technical jargon. Whether adjusting EQ settings, tweaking effects parameters, or saving presets, the Grandmeister series empowers musicians to focus on their creativity without being hindered by technological barriers.

Recognition and Legacy:
Since their introduction, Hughes & Kettner's Grandmeister amplifiers have garnered widespread acclaim and recognition from musicians, critics, and industry professionals alike. Praised for their exceptional sound quality, innovative features, and rugged reliability, these amplifiers have earned a reputation as indispensable tools for modern guitarists.

The legacy of the Grandmeister series extends beyond its technical specifications and performance capabilities. It embodies Hughes & Kettner's unwavering commitment to craftsmanship, innovation, and the pursuit of sonic excellence. As a result, the Grandmeister series stands as a testament to the company's enduring legacy and its dedication to empowering musicians to realize their sonic aspirations.

Looking ahead, Hughes & Kettner continues to push the boundaries of amplifier technology, exploring new avenues of innovation and refinement to meet the evolving needs of musicians in an ever-changing musical landscape. With the Grandmeister series leading the charge, Hughes & Kettner remains at the forefront of amplifier design, inspiring musicians to unleash their creativity and elevate their performances to new heights.

TEST: Hughes & Kettner Era 2

 Would the workforce of the company based in St. Wendel have dreamed of such success? One can only imagine, but the success of the award-winning Era acoustic guitar amplifier made the completely redesigned amplifier mutate into one of the main sales drivers of 2017 alongside the high-flyer Grandmeister 40 Deluxe. With the Hughes&Kettner Era 2, the company is consistently continuing the product line and giving the successor some innovations compared to its predecessor.

The construction of the Hughes & Kettner Era 2

When you take the Hughes&Kettner Era 2 out of its packaging for the first time, you should make sure that there is no percussionist or expandable drummer nearby. He will immediately sit on the amplifier made in Germany because he thinks it is a Cajon. In fact, the housing made of high-quality birch plywood with dimensions of 350 mm x 475 mm x 290 mm (W x H x D) looks like the percussion instrument that has now mutated into the mainstream, although the weight of just under 14 kilograms will make even a drummer think twice .

It looks pretty, the amplifier and so that the visual impression is retained for as long as possible, Hughes & Kettner, as with the Model 1, provides a very solid protective case, which cushions quite strong external influences and allows the user to purchase a case until further notice can be laid at the back. The protective cover also has two generous pockets in which you can, for example, B. can store the power cable and the included tilt adjuster of the amp.

The amp can be moved comparatively comfortably via a deeply recessed carrying recess, with the four rubber feet on the underside of the housing ensuring stability. An integrated 35 mm flange provides additional flexibility, which enables high stand operation. Compared to its little brother, the Hughes & Kettner Era 2 was given an additional 8 inch bass/midrange driver and its output was increased from 250 watts to 400 watts. A 1 inch dome tweeter does its job in both amplifiers. In terms of price, the two products Era 1 and Era 2 are almost 200 euros apart.

The frequency response of the amplifier is specified by the factory as 75 Hz - 15 kHz, which is more than sufficient for the transmission of acoustic instruments and vocals. Even though the Hughes & Kettner Era 2 is the focus of many acoustic guitarists, one should not forget that the amplifier can also amplify a wide range of other acoustic instruments, such as: E.g. accordion, string instruments or even a zither.

The amplifier section of the Hughes & Kettner Era 2

In order to be able to store the amp easily, all controls were installed recessed, which allows them to be stacked at right angles in the trunk or van. In terms of design, the Hughes & Kettner Era 2 has 2 identical channels, which, in addition to the gain control, have a 3-band tone control and an FX selector control for the internally installed 16-way FX device as well as an FX control. On the far right of the panel is the input control for the AUX-In, which is referred to as the third channel and to which, as expected, smartphones, MP3 players, etc. can be connected.

Using an EQ switch, the tone control can be changed in its center frequencies, whereby the designation Mode 1 was conceptually designed for harder basic sounds in the style of steel-string instruments, while Mode 2 was designed for softer sounds in the style of nylon-string instruments. If the Hughes & Kettner Era 2 is used for vocal amplification, Mode 1 should harmonize better with male voices, Mode 2 should harmonize better with female voices. The following center frequencies can be edited: Bass control 80 Hz (Mode 2 at 110 Hz) to +/-10 dB, Treble at 10 kHz (Mode 2 at 12 kHz) to +/-10 dB, Mid control at 700 Hz (Mode 2 at 1200 Hz) up to +/- 6 dB.

In addition, each channel has a clip indicator, which indicates that the input signal is too strong, a shape switch, which slightly lowers the mids and emphasizes the bass and treble, and a mute switch, which mutes the individual channels if necessary. The mute switch is particularly useful if you are playing with two guitars and want to prevent the second guitar from vibrating during the performance, or if you want to change an instrument between songs. This switching action can also be carried out using the FS-2 foot switch, which is not included in the scope of delivery.

In order to get all kinds of drone frequencies under control, the amplifier has a notch control in the master section, which can be adjusted proportionately from 40 - 180 Hz. The filter is deactivated when it is turned to the left. However, I don't really understand why this controller is used as a sum and not each channel is controlled separately with a controller.

The signal management of the Hughes & Kettner Era 2

For practical and probably also visual reasons, all inputs and outputs of the Hughes & Kettner Era 2 are located on the back of the case. The elegant wooden casing certainly doesn't deserve dangling cables, possibly in crisp colors like green or yellow, so discreetly laying them on the back is a much better option. Actually, this variant should also make a lot more sense for electric guitar amplifiers; the cable at the front of the housing is always routed to the back anyway, as it only interferes with the microphone, etc.

Lockable combination sockets (XLR / TRS) are available as input sockets for channels 1 and 2, with the option of connecting 48 V phantom power. Channel 3 provides a mini stereo jack and can be used together with channel 4 (TRS) to feed MP3 players or high-level instruments. Channel 4 also has a separate volume control.

The switching of the FX send via channel 4, with which an external FX processor can be used, turns out to be very practical. If this loop is used accordingly, the internal FX processor is deactivated and the FX knob controls the external processor. In this case the external processor must be set to 100% wet. In order to transfer the signals present to a P.A. To be able to continue conducting, the Hughes & Kettner Era 2 also included a D.I. Out in XLR form, which can be tapped either before or after the tone control and has a ground lift.

As if that wasn't enough, the Hughes&Kettner Era 2 also has two other special features in the form of an optical output and an auto sleep function. The optical S/PDIF Toslink enables direct access to a computer interface if necessary and, as an optical fiber, is known to be insensitive to all kinds of ground loops. The auto sleep switch takes over the order according to 1275/2008/EC on the energy saving regulation for products manufactured in Germany electronic devices where the device must deactivate itself after a certain period of time in idle mode. However, if this function causes confusion, you can deactivate it if necessary.

The Hughes & Kettner Era 2 in practice

When you turn on the Hughes&Kettner Era 2, you don't hear anything at first, the amp is so quiet in terms of background noise. The amplifier is therefore also suitable for locations where absolute silence is sometimes required on the stage, e.g. B. at theater performances. To test the sound, a Framus Legacy FD 28 with Fishman preamp was used, which was recorded via a Golden Age Project FC1 MKII microphone.

Of course, the microphone pickup does not create a true reproduction of the ambient sound, which would ultimately only be possible with an artificial head recording, but it is still much better suited than the D.I. Output that completely bypasses the sound of the speakers. Even with a neutral filter setting, the amp impresses with a very soft and pleasant reproduction of the instrument. If you add the filters, they work very discreetly and tastefully, so that even heavily turned up filters do not produce the infamous treble-as-treble-can click sound, which also makes high-quality instruments appear in a bad light due to the artificial sound. The shape switch in particular proves to be a frequency-technical secret weapon to better assert itself in a band context.

You should always keep in mind that the Hughes&Kettner Era 2 will ultimately be used either as a personal monitor or, for very small pub gigs, as a room sound system. Anything over 20 people in the audience has to have a more or less large P.A. anyway. managed, where the corresponding D.I. Outs come into play. The amplifier fulfills this task excellently, with the higher output power compared to Model 1 and the greater air movement through the second midrange driver coming into play.

No matter what volume you demand from the product, the amplifier never changes its basic sound and neither tends to oscillate nor gets into unpleasant saturation, even at high volumes. The sound is always powerful, refreshingly neutral and very detailed in resolution, which always gives the guitar the necessary touch of finesse that is particularly appreciated with high-quality acoustic sounds.

Conclusion

With the Hughes&Kettner Era 2, the company from St. Wendel raises the bar for acoustic amplifier quality once again. While the Saarlanders were able to firmly establish themselves in the top league of acoustic instrument amplifiers with the Era 1, they will continue on their chosen path with the Era 2.

Anyone who has an acoustic instrument to amplify should definitely try the product out.

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Additional Informations:

Introduction:
Hughes & Kettner, a renowned name in the world of musical amplification, has a rich history of crafting innovative solutions for musicians across genres. While the company is widely celebrated for its electric guitar amplifiers, its foray into acoustic amplification has also made significant waves in the industry. This article embarks on a detailed exploration of Hughes & Kettner's acoustic amplifiers, tracing their evolution from inception to the present day.

Origins:
Founded in 1984 by Hans Stamer and Lothar Stamer, Hughes & Kettner initially gained recognition for its groundbreaking electric guitar amplifiers. However, the company's commitment to pushing the boundaries of sound technology led to the development of acoustic amplifiers tailored to the unique needs of acoustic musicians.

In the early stages of acoustic amplifier development, Hughes & Kettner sought to address the inherent challenges of amplifying acoustic instruments while preserving their natural tonal characteristics. This endeavor marked the beginning of a journey towards engineering acoustic amplifiers that offered exceptional sound quality, versatility, and reliability.

Innovation:
Central to Hughes & Kettner's approach to acoustic amplification is a relentless pursuit of innovation. The company's engineering team drew upon decades of experience in amplifier design to develop cutting-edge solutions that catered specifically to the nuances of acoustic instruments.

One of the key innovations introduced by Hughes & Kettner is the incorporation of advanced signal processing technologies into their acoustic amplifiers. By leveraging digital signal processing (DSP) algorithms, Hughes & Kettner was able to enhance the sonic performance of their amplifiers, delivering pristine sound reproduction with minimal coloration.

Additionally, Hughes & Kettner's acoustic amplifiers feature intuitive onboard controls and connectivity options, allowing musicians to fine-tune their sound and seamlessly integrate with external audio equipment. Whether performing on stage or in the studio, musicians can rely on Hughes & Kettner amplifiers to deliver consistent, high-quality sound reproduction.

Product Range and Features:
Over the years, Hughes & Kettner has expanded its lineup of acoustic amplifiers to cater to a diverse range of musical styles and performance settings. From compact practice amps to powerful stage rigs, the company offers a comprehensive selection of amplifiers to suit every need.

One standout feature of Hughes & Kettner's acoustic amplifiers is their versatility. Equipped with multiple channels, onboard effects, and adjustable EQ controls, these amplifiers empower musicians to sculpt their desired sound with precision. Whether seeking warm, natural tones for folk ballads or crisp, articulate sound for fingerstyle guitar, Hughes & Kettner amplifiers deliver exceptional performance across the board.

Furthermore, Hughes & Kettner's commitment to quality extends beyond sound reproduction to encompass durability and reliability. Built to withstand the rigors of touring and frequent use, their amplifiers are constructed using high-quality materials and undergo rigorous testing to ensure long-term performance and reliability.

Recognition and Legacy:
Hughes & Kettner's dedication to excellence in acoustic amplification has earned the company widespread recognition and acclaim from musicians and industry professionals alike. Their amplifiers have been praised for their superior sound quality, innovative features, and robust build quality, cementing Hughes & Kettner's reputation as a leading provider of acoustic amplification solutions.

Looking ahead, Hughes & Kettner continues to push the boundaries of acoustic amplification, exploring new technologies and refining their designs to meet the evolving needs of musicians. With a legacy built on innovation, quality, and a passion for music, Hughes & Kettner remains at the forefront of acoustic amplification, inspiring musicians around the world to achieve their sonic aspirations.

TEST: Heil Sound Microphones

 For sound engineers who specialize in recording guitars, it's old hat; for advocates of other groups of instruments, the effort involved in guitar recordings, which sometimes borders on fanaticism, sometimes only causes astonished looks and perplexed shaking of the head. Why this monkey circus that is difficult to explain with rational arguments? Well, experts have long known that no single instrument is as complex in terms of tone formation as a distorted electric guitar. Anyone who wants to record real guitars with real amplifiers, real loudspeakers and real microphones is happy to travel kilometers between the control room and the recording room during a session, or maintain constant radio contact with the trainee who pushes the microphones. Just 5 millimeters change the sound dramatically, so that the sonic possibilities can be increased immeasurably. In this area, a new name, the American manufacturer Heil Sounds, has established itself in a comparatively short time, which is preparing to put the eternal dominance of the narrow protagonist with the 2 letters and 2 numbers into perspective.

Dynamic, condenser or what?

I venture the theory that without the inclusion of distorted guitars, the Shure SM57 (https://en.wikipedia.org/wiki/Shure_SM57), although it is of course still a snare classic to this day, would probably have been around ages ago would have been removed from the program, or at least would not continue to be priced well above the 100 euro mark. Instead, the dynamic microphone, equipped with the characteristic hollow “Mittennöck”, is THE guitar microphone par excellence and is at home millions of times on all stages and studios in the world.

Of course, there are a variety of options for recording guitars, even complex tube microphone solutions are favored by some artists, but when it comes to the global standard, to date no manufacturer has managed to economically match Shure's biggest revenue generator. So it seems suspicious that the manufacturer Heil Sound, or Heil for short, has been repeatedly mentioned in the same breath as the protagonist in recent months.

I first became aware of the company at the beginning of the year when the FOH Peter De Wint of my band GRAVE DIGGER (https://www.grave-digger-clan.de/) insisted on taking his own microphones with him on our European tour suggested the PR30 and PR31 models to me for live recording of the guitar. In order to be able to get a better picture in the studio, the Heil Sounds PR30, PR35 and PR40 models are now available for testing. This test deals exclusively with the recording of guitars, primarily in the crunch to high gain range, as the tonal differences are very massive due to the extremely high overtone content.

The structure of the Heil Sound PR30, PR35 and PR40 microphones

Heil Sound PR30

As with the PR40, the first thing to do with the PR30 is to clear up any optical confusion. Even if the microphone can easily be confused with a large diaphragm condenser microphone in terms of optics, the Heil Sound PR30 or PR40 is not discussed sideways, but axially. Aware of this, the manufacturer of a typical American operating manual has a warning about this in every conceivable place. placed. The champagne-colored microphone (also available with appendix B in black) has a cardioid characteristic and, despite its massive design, weighs just under 250 grams, which also allows it to be fixed to a long-stretched boom without massively crushing the screw fixation.

According to the manufacturer, the frequency response of the capsule is 40 Hz - 18 kHz, with the frequency response being comparatively linear. Only a subtle overemphasis at 80 Hz and a powerful boost of 10 dB at 4 kHz bend the curve a little, although the emphasis in the treble range is an advantage that should not be underestimated when recording guitars. As with almost all moving coil microphones, the Heil Sound PR30 is very tough when it comes to sound pressure. In this case it is 146 dB SPL.

When it comes to accessories, the manufacturer unfortunately only offers the absolute minimum, that is, a microphone clamp, which comes packed in foam in a cardboard box together with the microphone. For a microphone with a retail price of 349 euros, this is an indictment.

Heil Sound PR40

Visually quite close to the PR30 at first glance, the Heil Sound PR40 comes with a different capsule, which, like the PR30, has a comparatively large membrane and therefore great sensitivity for a dynamic microphone. The frequency response is a bit lower at 28 Hz - 18 kHz, and the maximum SPL is a touch higher at 148 dB.

The 4 kHz boost of the PR40 is missing here, but a slight treble exaggeration of 1.5 kHz rises evenly up to around 5 kHz, where it also remains with a boost of almost 10 dB up to around 10 kHz. An interesting curve, I'm curious to see how this affects guitar playback.

Heil Sound PR35

In contrast to the PR30 and PR40 models, the Heil Sound PR35 is designed as a handheld version and is toying with vocal transmission as its primary area of application, which is also reflected by the high-pass filter at 80 Hz, which can optionally be activated with a screwdriver. However, many vocal microphones have outstanding sound properties when it comes to guitar pickup; the SM58 is just one of many examples.

The Heil Sound PR35 also has a subtle emphasis between 70 - 100 Hz, but then runs almost linearly up to 1.5 kHz and only increases very moderately by 2 dB until just before 5 kHz, where it has another peak of almost 2 dB and then drop evenly back to the zero line up to 15 kHz.

The Heil Sound microphones in practice

As already mentioned, this test is “only” about distorted guitars, and even the 13 sound files can only reproduce a tiny part of the sound variations that can be produced with just 3 microphones. The sound files were recorded with a Celestion G12 65 12 inch speaker, built around 1981, in a matching 4x12 Marshall box. Three different channels of the Hughes & Kettner Triamp (https://www.amazona.de/hughes-kettner-triamp-mark-33/) were used as an amplifier without any pedals, and a Fame Forum IV Ironfinger was used as a guitar. All cabling was done with Cordial cables, and a Mackie 32-8-8 with deactivated tone control was used as a console.

Simply changing the amplifier, speaker or guitar would have increased the variety of sounds many times over, so I definitely recommend testing the respective microphone with your personal setup. The PR40 alone sounded catastrophic on a 75 watt Celestion speaker, with the same setting / amp / guitar on a 12 inch Koch speaker it sounded almost heavenly.

As a reference, in the first two setups one track was recorded with the SM57 as a reference, followed by the three protagonists. As a special feature, I then mixed two different Heil microphones, which resulted in some very interesting sounds due to certain phase cancellations and overemphasis.

Setup 1: Medium Crunch, Channel 2A

The Shure delivers the world-famous vintage retro sound as you know it. Lots of pressed high mids, little bass, some highs and an extremely high assertiveness.

The PR35 works completely differently here, more mids, less high-mids and the treble boost described produce a very pleasant sound with this level of distortion.

The PR40's larger diaphragm allows for a much more focused low-mid component, while still retaining a strong high-end component. The microphone also has significantly more headroom, which means more dynamics.

The PR30 focuses most clearly on the typical guitar frequencies. Lots of mids, subtly hollow, with a lot of punch and pressure.

The combination of two microphones creates a subtle scoop sound, which, depending on the gradation, excellently plugs the frequency holes that become available depending on the arrangement. Tonal diversity? Almost infinite.


Setup 2: Medium Crunch, Channel 2B

Here the whole thing with significantly more distortion and a different channel on the amplifier. Certain components are further exploited, others disappear completely. A completely new picture in terms of sound, even though only the amp channel was changed.

Setup 3: Medium Crunch, Channel 3A

This sound file was recorded with the third channel 3B of the Triamp on a Koch 60 watt 12 inch speaker in the matching 4x12 cabinet.

Conclusion

It's not for nothing that Heil Sounds is considered the current "hot shit" when it comes to guitar recording. The PR30, PR35 and PR40 models shine with their individual strengths and open up a wide range of sonic possibilities. Even if the comparatively high price may put some people off, you get a high value for money, which makes the purchase definitely worth it.

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Additional Informations:

Introduction:
Heil Sound stands as a testament to innovation and excellence in the realm of audio technology. Founded by Bob Heil in the late 1960s, the company has carved a niche for itself in the competitive landscape of sound equipment manufacturing. This article delves into the rich tapestry of Heil Sound's history, tracing its humble beginnings to its current status as a pioneering force in the industry.

Origins:
The story of Heil Sound begins with Bob Heil's passion for music and electronics. Born on October 5, 1940, in Marissa, Illinois, Heil demonstrated an early aptitude for tinkering with electronic devices. His fascination with sound engineering led him to establish a reputation as a skilled audio technician in his local community.

In the 1960s, Heil's expertise caught the attention of prominent musicians, including The Who and The Grateful Dead. He became their go-to sound engineer, earning accolades for his innovative approach to live sound reinforcement. However, Heil soon realized the limitations of existing microphone technology, particularly in capturing the nuances of musical performances.

Innovation:
Driven by his desire to enhance the audio experience, Heil set out to develop his line of microphones. Drawing inspiration from the principles of German engineering, he pioneered the use of large-diaphragm dynamic microphones in the music industry. This breakthrough innovation laid the foundation for Heil Sound's signature sound quality and reliability.

One of Heil's most significant contributions to microphone design was the PR-30, introduced in 1970. Unlike traditional microphones, the PR-30 featured a unique diaphragm design that improved transient response and frequency range. This innovation revolutionized the way sound engineers captured live performances, earning Heil Sound widespread acclaim in the professional audio community.

Expansion and Recognition:
As Heil Sound gained traction in the market, Bob Heil continued to expand his product line to cater to diverse audio applications. From broadcast studios to concert arenas, Heil microphones became synonymous with superior sound reproduction and durability. The company's commitment to quality and innovation garnered prestigious awards, including multiple TEC Awards for excellence in microphone design.

In addition to microphones, Heil Sound diversified its product portfolio to include speaker systems, headphone amplifiers, and audio accessories. Each product reflected Heil's relentless pursuit of sonic perfection, earning the trust of industry professionals and audiophiles worldwide.

Legacy:
Bob Heil's pioneering spirit and dedication to excellence remain the driving force behind Heil Sound's success. His vision of delivering uncompromising audio quality continues to shape the company's philosophy, inspiring a new generation of innovators in the field of sound engineering.

Today, Heil Sound stands as a beacon of innovation in the audio industry, with a global presence and a diverse range of products tailored to meet the needs of musicians, broadcasters, and sound engineers alike. From humble beginnings in a small town in Illinois to international acclaim, the journey of Heil Sound is a testament to the power of passion, perseverance, and innovation in shaping the future of sound technology.

TEST: Harley Benton Tube 15

 If I can be honest, when it was announced that Harley Benton had brought an all-tube combo onto the market for under €230, plus a 12-inch Celestion speaker, which normally already accounts for 50% of the fixed costs, I was gripped by skepticism. How often have I had very inexpensive all-tube tops and combos on the dissecting table, where it became apparent from the first sound from the loudspeaker or at first glance in terms of workmanship that the attribute “full-tube construction” only served to promote sales and the reputation of most of them Higher quality construction did more harm than good. But this wouldn't fit the demands of the Thomann house brand at all, which is why I was struck by curiosity when it came to the Harley Benton TUBE15 Celestion. Let's see what the little Chinese has to offer in terms of sound.

The concept of the Harley Benton TUBE15 Celestion

“A single channel? Just a sound? Even my practice amp from manufacturer Anyone who is in the know knows about the concept of an all-tube single-channel speaker, which provides a highly dynamic clean or crunch sound as a basis; the variety comes from pedals and the guitar's volume control. More on this later in the practical part.

The Harley Benton TUBE15 Celestion is in fact a single-channel all-tube combo, with a 12 inch speaker from Celestion (Seventy 80) and draws its power from 3 pieces of ECC83 (12AX7) in the preamplifier and 2 pieces of EL84 in the power amp. Using a switch you can switch the rehearsal room/club volume from 15 watts to 1 watt practice volume. The sound then changes somewhat, as expected, but largely retains the same tonal direction. Attention, don't forget, a noisy 50 watt combo is only about 30 - 40% louder than our protagonist, you can also play very loud club shows with 15 watts, especially since a 12-incher usually approaches the spectacle in a very mature way.

In addition to the classic three-band tone control (treble, middle, bass), gain and master, the channel strip consists of an unusual tone control and a reverb control. The first works on the basic tonal character of the combo with treble damping + stable bass, or bass clipping and more aggressive highs, the second controls the reverb level, which is actually generated by a small reverb spiral attached to the bottom of the housing. The effect can also be activated or deactivated by foot using a footswitch input on the back of the housing. A corresponding switch is not included with the combo but must be purchased separately.

The housing of the combo is pleasantly handy with dimensions (W x H x D): 427 mm x 435 mm x 235 mm and is comparatively light with a weight of 11.5 kilograms. The workmanship is impeccable; no imperfections could be found on edges, corners or transitions. On the back of the case there is also a serial FX loop and an additional speaker output, which requires an impedance between 8 - 16 ohms. If this input is occupied, the internal loudspeaker is deactivated. A very sensible setup, as in practice you can quickly decide whether the internally installed loudspeaker is sufficient for the show or whether you should switch to an external cabinet with 2 or 4 loudspeakers.

The power cable is permanently installed and, in the best Fender Combo style, is fixed to the side wall with a Velcro strip during transport so that the flying power plug does not accidentally damage the membrane of the speaker.


The Harley Benton TUBE15 Celestion in practice

Well then, what do you expect from a single-channel all-tube combo? First of all, the amp should cover 2 gain ranges, such as a decent clean sound that should remain undistorted even at higher volumes or a good crunch sound that depends properly on the guitar's volume control. Why these two sounds?

Of course, as a guitarist you can also play the same sound for an entire show, but this turns out to be quite monotonous when separated from your role as a rhythm guitarist in a reggae band. But if you have a stable, clean sound, preferably with good touch dynamics, you can use 2 pedals, e.g. B. an overdrive and a distortion pedal can quickly turn your amp into a three-channel amplifier. If you have a very good distortion pedal, even a single pedal is enough, as you can also use the guitar's volume control to create your overdrive sound.

On the other hand, a good crunch sound, which is generated by the amp, ensures a more or less undistorted clean sound when the volume control on the guitar is turned down and can be expanded into a three-channel amplifier using a booster or overdrive. In addition, many single-channel amps have a much stronger basic sound than sophisticated multi-channel amps, which are more acoustically convincing on their own at first glance, but are much less effective in a band context.

So let's first take a look at the clean sound of the amp. 2 points jump out at you from the first tones. On the one hand, the Harley Benton TUBE15 Celestion has an incredibly high bass content for an open combo. A very useful feature, as with most combos you have to constantly keep the bass control at its maximum position in order to absorb the radiated energy that is “lost” to the rear.

Secondly, Harley Benton did really well to give the little combo a branded speaker. The Seventy 80 may not necessarily be everyone's favorite from Celestion, but the loudspeaker makes an excellent impression, especially when it comes to implementing the sometimes somewhat brittle sounds from the decade of the 1970s. The latently high-pitched reproduction fits very well with the always subtly nasal-sounding productions of his time and makes classic rock productions of the Plexi era with small cutlery very close. How often have I experienced that in the entry-level combo class the cheapest cardboard was used, which sometimes drowned out good amplifier concepts in a squawking, biting sound. Of course, you can save most of the production costs with this component, but that's what it all sounds like in the end.

The sound samples were recorded with a Strat Texas Special from 1994 and a Les Paul Standard from 2014. You can really hear how extremely differently the amp reacts to the different designs of the protagonists. Corresponding to an all-tube combo, the sound is (fortunately) never “transistor-clean”, but can be made very clean with the help of the volume control. The sound is independent, stands out very well and, as expected, works excellently with various distortion pedals.

The crunch area, in which the Celestion loudspeaker can also use its strengths, is just as convincing. The combo delivers a stable, very dynamic sound until around 12 o'clock in the master area, from this point onwards the combo slowly fades into the sag area. What initially has its charm quickly turns into a fuzz-like rattle, which certainly finds its friends in the avant-garde area, but was a bit too “fuzzy” for me personally.

If you turn the gain control all the way, you have to be careful that the sound doesn't become too biting or muddy. The first can be tackled with the tone control, but with some loss of freshness, the second can only be tackled with the appropriate pickup selection. Especially in the stronger gain ranges, you can hear the combo's EL84 power tubes, which tend to sound a bit sharp in this range and are somewhat behind in terms of stroke and compression compared to their larger colleagues from the EL34 or 6L6 departments. Instead, they reach saturation earlier and allow for subtle power amp saturation even at small club shows, while the big bottles try to get their 50 watts or more to the crowd without FOH tirades.

Conclusion

With the Harley Benton TUBE15 Celestion, the Thomann house brand manages to create a lot of all-tube culture from a very small wallet. The combo is impeccably manufactured and, for a retail price of under €230, offers many of the adjustment features that make a full-tube single-channel system so popular. In conjunction with the right pedals, you can easily generate 3 good to very good sounds, so that with an additional small pedalboard and the appropriate playing culture you can make an entire evening sound interesting.

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Additional Informations:


Introduction:
Harley Benton, recognized for delivering quality musical instruments and equipment at affordable prices, has made significant strides in the realm of all-tube amplifiers. These amplifiers, revered for their warm, dynamic tones and responsive touch, embody the essence of classic tube-driven sound. In this in-depth article, we embark on a journey to uncover the intricacies of Harley Benton's all-tube amplifiers, exploring their history, features, sonic characteristics, and impact on the modern music landscape.

1. Legacy and Tradition:
The allure of all-tube amplifiers traces back to the early days of electric guitar amplification, where vacuum tubes served as the primary amplification technology. Harley Benton pays homage to this tradition by crafting amplifiers that harness the sonic richness and harmonic complexity of tube-driven circuits. With a keen understanding of vintage amplifier designs and modern manufacturing techniques, Harley Benton's all-tube amplifiers offer a nostalgic yet forward-thinking approach to amplification.

2. Craftsmanship and Construction:
At the heart of every Harley Benton all-tube amplifier lies a meticulously crafted circuit, comprising premium components and hand-selected vacuum tubes. From the iconic 12AX7 preamp tubes to the robust EL34 power tubes, each element is carefully chosen to ensure optimal performance and reliability. Moreover, Harley Benton amplifiers feature robust construction, with rugged enclosures and meticulous attention to detail, ensuring years of reliable operation on stage and in the studio.

3. Versatility and Flexibility:
While steeped in tradition, Harley Benton's all-tube amplifiers boast modern features and functionalities that cater to the diverse needs of today's musicians. Whether you're a blues guitarist seeking smooth, saturated overdrive tones or a metal shredder craving tight, articulate distortion, Harley Benton amplifiers deliver versatility and flexibility in spades. With intuitive controls, onboard effects, and extensive connectivity options, these amplifiers empower musicians to sculpt their signature sound with ease.

4. Sonic Characteristics:
The sonic signature of Harley Benton's all-tube amplifiers is characterized by lush harmonics, creamy overdrive, and touch-sensitive response. Thanks to the inherent warmth and natural compression of vacuum tubes, these amplifiers exhibit a dynamic range and expressiveness that is unrivaled by solid-state counterparts. Whether pushed to the brink of breakup or cranked to ear-splitting volumes, Harley Benton amplifiers deliver a tonal palette that inspires creativity and captivates audiences.

5. Performance and Reliability:
Beyond their sonic prowess, Harley Benton's all-tube amplifiers excel in terms of performance and reliability. Designed to withstand the rigors of touring and intensive use, these amplifiers offer rock-solid reliability and consistent performance night after night. With robust power supplies, rugged chassis, and meticulous quality control, Harley Benton amplifiers instill confidence in musicians, allowing them to focus on their craft without worrying about equipment failures or malfunctions.

6. Value Proposition:
Despite their exceptional quality and performance, Harley Benton's all-tube amplifiers remain remarkably affordable, making them accessible to musicians of all budgets. By leveraging efficient manufacturing processes and economies of scale, Harley Benton delivers premium tube tone without the premium price tag. Whether you're a seasoned professional or an aspiring enthusiast, Harley Benton amplifiers offer unparalleled value for money, allowing you to experience the magic of tube-driven sound without breaking the bank.

7. Customer Satisfaction and Reviews:
Feedback from musicians and reviews of Harley Benton's all-tube amplifiers have been overwhelmingly positive. Musicians praise the amplifiers for their authentic vintage tones, solid construction, and unbeatable value. Whether used in the studio for recording or on stage for live performances, Harley Benton amplifiers consistently exceed the expectations of players, earning praise from enthusiasts and professionals alike.

8. Conclusion:
In conclusion, Harley Benton's all-tube amplifiers represent a marriage of tradition and innovation, offering musicians a gateway to the timeless allure of tube-driven sound. With meticulous craftsmanship, versatile features, and unbeatable value, these amplifiers embody the essence of Harley Benton's commitment to providing quality gear for all. Whether you're seeking vintage-inspired tones or modern versatility, Harley Benton's all-tube amplifiers stand ready to ignite your musical journey with warmth, character, and sonic bliss.

TEST: Harley Benton SC 550

 When the author of this review was a curly-haired youth, there were 2! Guitar brands with which you could make a statement for your personal ego and your circle of friends. Both came from America, both were very expensive, one was called Fender, the other Gibson. Anyone who didn't come into the illustrious circle of these two providers had to make friends with an impressive hodgepodge of Japanese providers, all of which had the same shapes as the two protagonists, but differed massively from them in detail. Mind you, Japan was just starting to build electric guitars and had correspondingly little expertise, in China people were still walking around in boiler suits and God knows countries like Vietnam had other problems than building guitars for European boys like me. Anyone who receives an instrument manufactured in Asia today usually receives a completely different level of quality than in the early days of the electric guitar, which brings us to our test instrument, the Harley Benton SC-550 II DFB.

Structure and construction

The hanger of the Harley Benton SC-550 II DFB is associated with a very simple number, 279. That is the retail price in euros at Thomann for this Les Paul copy, which is manufactured in Indonesia. Just let this price melt in your mouth for a moment and then think about how it is even possible to sell an instrument, even if it is only of average quality, at this retail price. This is only possible due to direct imports, the elimination of middlemen and the use of OEM production, otherwise the instrument would have to have at least double the sales price.

Thomann's house brand Harley Benton serves the major trademarks of Gibson's #1 driving force, but skilfully avoids the details that have already ended up in court with many other providers. A direct model cannot be identified as a template; rather, Harley Benton incorporates several elements that were used in different decades of the Les Paul.

As expected, mahogany is the primary tonewood used in the body and glued-in neck. However, the neck has an inclined connection at the base of the neck, making it a little easier to play in the high registers. However, the first time you pick up the instrument it becomes clear that this instrument has a “chambered body” for weight reasons. The weight of still 3.7 kg would probably drive an RG player screaming out of the room, but the classic LP player can only smile at such information. Gibson itself recently shelved this design again because customers rejected the hollower and sustain-reduced sound in favor of protecting the back. The interested customer can form his own opinion here, for me personally an instrument can't be heavy enough, but that's another story.

As a visual eye-catcher, an intensively stained and eye-catching curly maple veneer was glued onto the mahogany body of the Harley Benton SC-550 II DFB, but this does not affect the sound of the instrument due to its small thickness. It's still pretty to look at though. The fingerboard was once again made of Pau Ferro, which comes very close to the resonance behavior of rosewood, but is significantly cheaper in price. Pearloid trapezoid inlays are used as fingerboard inlays in the LP Standard Style.

When it comes to the neck profile, Harley Benton is based on the 1960s LP neck profile from Gibson with the thicknesses of 20 mm on the 1st fret, 22 mm on the 12th fret and the shape of a moderate “C”, while, for example, the potentiometer attachments of both Volume and Tone Controllers were borrowed from the fifties collection. You can see that Harley Benton is not looking for authenticity, but rather pursues her own approach.

As befits an instrument of this shape, the short scale length of 62.8 cm was used, which means that the string tension is slightly lower than with the long scale length. 2 pieces were used as pickups. Tesla Opus-1 AlNiCo-5 humbuckers installed, a company I had never heard of before and which is apparently based in Korea.

Everything is fine so far? Now, I don't know which designer at Harley Benton has the final say before the instrument goes into production, but I believe that position should be filled as soon as possible. Unfortunately, the attractive appearance of the instrument is severely compromised in the area of the headstock. On the one hand, we have a saddle made of bright white plastic. Unfortunately, a real downer when you consider that all other plastic parts such as the binding on the neck and body, the frames of the pickups and the art plate below the three-way switch are in a vintage-colored cream / ivory. The visual discrepancy reduces the appearance enormously, especially since the cream-colored neck binding rests against the white saddle.

However, this is nothing compared to the tuning pegs of the mechanics, which were made in green (!)! Yes, you read that right, green! Not a bright grass green, more of a jade green, but definitely the most inappropriate color scheme on a Tobacco Burst colored guitar I've ever seen in my life. Whether the designer thought this is what vintage tuners would look like after decades of use, I have no idea, but if you value the visual appearance of your instrument, you should plan on getting a set of new tuning tuners when you buy the instrument. It's actually a shame, because there's nothing wrong with the mechanics in terms of their control and quality.

The Harley Benton SC-550 II DFB in practice

When you pick up the instrument for the first time, everything seems very familiar. Harley Benton easily manages to create a good feel for the game from the first moment and does not create any haptic inconsistencies. As is already known from other Harley Benton products, the vibration quality of the instrument is well above the advertised retail price. While you used to get a plank of plywood with the vibration characteristics of a kitchen table for this course, the Harley Benton SC-550 II DFB offers a good basis for a satisfying game. Although the body cavities once again prove to be easy sustain killers and give the instrument a latently hollow sound approach, the always solid construction of the instrument in general easily compensates for this point.

Only the Tesla pickups don't really convince me. Although the pickups in the crunch area leave a really good impression with their subtly brittle sound and the high gain area is also quite acceptable, the clean area in particular shows that the pickups lack sonic character. The basic sound seems a bit “occupied”, it lacks liveliness and the necessary frequency peaks to climb to the next higher level in the quality scale. But you should also keep in mind the retail price, which sets its economic limits somewhere. If you want, you can always buy a set of high-quality humbuckers and it will still cost just under €500.

Incidentally, the tester received the instrument very well set up, a fact that is still not a matter of course with inexpensive Far East production. Proper adjustment of the instrument during the final inspection must always be done by hand, takes at least 20 minutes and since human handwork is the main factor in the final price of the instrument, other manufacturers are sometimes happy to save money here. What didn't I get from Asia in the past, concave necks that you could slide a finger under, crooked necks, octave purity, what is that?

All in all, the Harley Benton SC-550 II DFB impresses in many areas and will not only appeal to users who will only focus on the retail price. The sound files were created with an ENGL Savage MK II, Cordial cables, a Marshall 412 cabinet with Celestion G75T and 2 pcs. Shure SM 57 created.

Conclusion

With the Harley Benton SC-550 II DFB, the Thomann house brand has a good and very affordable LP copy in its portfolio. The instrument is very well made, offers a good basis in terms of vibration and, thanks to OEM production and direct import, delivers an outstanding price/performance ratio. If you can get used to the somewhat brittle sounding Tesla pickups and ignore the most mismatched tuning pegs of all time, you should give the instrument a try.

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Additional Informations:

Introduction:
Harley Benton, a brand renowned for its affordable yet high-quality musical instruments and equipment, has gained attention for its range of products that bear striking similarities to those of other manufacturers. These offerings, often referred to as replicas or inspired gear, have sparked discussions within the music community about their ethical implications, quality, and value proposition. In this comprehensive article, we delve into Harley Benton's replicas and inspired gear, examining their origins, characteristics, and impact on the industry.

1. Origins and Evolution:
Harley Benton's foray into replicas and inspired gear can be traced back to the brand's mission of providing musicians with access to quality instruments and equipment at affordable prices. Recognizing the popularity of certain iconic designs and sounds, Harley Benton began offering replicas and inspired versions of sought-after gear, ranging from guitars and basses to effects pedals and amplifiers.

2. Replication vs. Inspiration:
It's essential to distinguish between replicas, which are exact copies of existing products, and inspired gear, which draws inspiration from existing designs but incorporates unique features or modifications. While some Harley Benton products closely resemble those of other manufacturers, others take inspiration from classic designs while adding modern improvements or innovations.

3. Ethical Considerations:
The production and sale of replicas and inspired gear raise ethical questions within the music industry. Critics argue that replicas may infringe upon intellectual property rights and undermine the originality and creativity of designers and manufacturers. However, proponents argue that replicas and inspired gear make iconic designs more accessible to a broader audience while fostering innovation and competition in the market.

4. Quality and Craftsmanship:
One of the primary concerns surrounding replicas and inspired gear is their quality and craftsmanship compared to their original counterparts. While some musicians may perceive replicas as lower-quality imitations, others attest to the impressive build quality and performance of Harley Benton's offerings. Factors such as materials, construction techniques, and attention to detail all contribute to the overall quality of replicas and inspired gear.

5. Value Proposition:
Despite the ethical and quality considerations, Harley Benton's replicas and inspired gear offer a compelling value proposition for musicians. By providing affordable alternatives to expensive or hard-to-find instruments and equipment, Harley Benton enables musicians of all backgrounds and budgets to access iconic tones and designs. Additionally, the brand's commitment to quality control and customer satisfaction ensures that musicians can rely on their replicas and inspired gear for reliable performance and longevity.

6. Range of Replicas and Inspired Gear:
Harley Benton offers a diverse range of replicas and inspired gear across various product categories. From guitars inspired by classic models from Fender and Gibson to effects pedals inspired by vintage circuits, the brand's lineup caters to a wide range of musical styles and preferences. Whether you're a beginner looking for your first instrument or a seasoned player seeking an affordable alternative to a boutique pedal, Harley Benton's replicas and inspired gear provide viable options.

7. Community Reception and Reviews:
Feedback from musicians and reviews of Harley Benton's replicas and inspired gear have been mixed. While some musicians praise the brand for offering affordable alternatives to iconic designs, others express concerns about originality and authenticity. However, many users appreciate the value and performance of Harley Benton's offerings, highlighting their reliability, playability, and sound quality.

8. Future Directions and Innovations:
As Harley Benton continues to expand its product lineup and reach, the brand may explore new directions and innovations in replicas and inspired gear. This could involve collaborating with designers and manufacturers to create unique hybrid designs or incorporating proprietary technologies and features into existing replicas. By staying attuned to the evolving needs and preferences of musicians, Harley Benton remains poised to push the boundaries of what's possible in replicas and inspired gear.

9. Conclusion:
In conclusion, Harley Benton's replicas and inspired gear occupy a unique space in the music industry, offering affordable alternatives to iconic designs while sparking debates about ethics, quality, and value. Whether you view them as innovative interpretations or contentious imitations, there's no denying the impact that replicas and inspired gear have had on musicians worldwide. As Harley Benton continues to evolve and innovate, its replicas and inspired gear will undoubtedly remain a topic of discussion among musicians, enthusiasts, and industry insiders alike.

TEST: Harley Benton Power Plant

 So guys, something for pedaling fans today! No, no, Amazona has not set up a new category for mountain bikes, rather it is about the self-confident guild of electrified string pluckers in general and the representatives of six-strings in particular.

You remember, counting back decades towards your birthday, the first stompboxes came onto the market to potentiate the sound of the guitar in terms of its parameters. Dynamic, modulation and spatial effects first populated the stage floor sporadically, then increasingly, and over time bassists and keyboardists integrated them into their setup, especially in the experimental era of the 1970s.

However, what gave all pedals of his time a varying nerve factor was the extremely time-consuming and fiddly-intensive replacement of the 9V block(s). In addition, the high-performance alkaline battery with its long running time was just wishful thinking in those days; we don't even want to talk about corresponding accumulators!

If you still had a few decent power guzzlers in the signal path, like various flangers back in the day, which drained two 9V blocks during just one show and could only be opened with screwdrivers, you can easily imagine how much time was spent during one The trip was only spent on the extremely annoying task of changing the batteries. I remember in horror, not to mention the environmental impact of drained batteries...

So the wildest home constructions were knitted out of the “board bugs” (plug-in power supplies) that were first appearing at the time. As soon as you were crazy excited about getting hold of such a device in the local music shop, your mood sank to absolute zero because you had accidentally received a non-stabilized version from the seller, which when activated runs at a massive 50 Hertz. A humming noise drew attention to himself in a similarly penetrating way, like a partner feeling neglected on a Saturday evening.

So back to the store, changing the power supply, but then! Cables were split, extended, field-forest-and-meadow solutions were tried out that would bring tears of pure despair to an electrical engineer's eyes and send various voltage converters to their eternal hunting grounds.

Aware of this fact, the music industry began to equip its floor pedals with power supply connections, which, apart from the constantly changing +/- assignment at the time, (finally) resulted in a certain standardization. Over time, three operating voltages emerged, 9V, 12V and 18V; other voltages were/are compensated for, if at all, by an included power supply.

But what if, in the good old tradition, you own 5 FX pedals or more in your live setup and want to supply them all with operating voltage from a power supply? Anyone who, like me, tried to solve this problem with one power supply per device knows the problem of having to take up almost 50% of the space due to all the board bugs (one bug eats up the space of 2! Schuko sockets), along with their cabling and power strips available on his floorboard, loses due to the disruptive power supply. Doesn't make for relaxed work and looks like shit too!

So what could be more obvious than placing a central supply unit on the floorboard, which supplies each floor pedal with the necessary operating voltage? The Thoman house brand Harley Benton offers the POWERPLANT for this purpose, which is intended to fulfill this purpose.

Construction:

But Hoppela, that's what I call a weight! The small, dark blue metal box weighs over one kilogram due to the components used and the massive construction.

Similar to a brick, the Powerplant has no bulges and only sits on four small, somewhat smooth rubber discs. If you roughen the rubber feet a little, this immediately provides a little more grip on smooth surfaces.

In my opinion, this puristic design, coupled with the rather high weight, results in a small problem in live use. Over time, three methods of fastening a floorboard have become established:

1.) Screw roughly (replace the factory screws with extended versions and insert them through a hole in the floorboard from behind into the pedal or similar)

2.) Screw carefully (you buy/make four straight metal plates, which you drill through twice and then clamp a hole between the existing screws on the pedal and use the other hole for screwing next to the pedal)

3.) Double-sided adhesive Velcro tape (the use is self-explanatory)


If you now want to place the Powerplant on a floorboard (this is where it is primarily used), you will encounter the following problems:

to 1.) The device has no holes on the bottom

2.) The device has four holes on the side, which means you have to bend the holding plates at a 90 degree angle and align them precisely. Not impossible, but you do need to take some initiative.

3.) Only if you remove the rubber feet and cover the entire underside with Velcro will the device have enough support even when transported vertically (we know that floorboards are always squeezed upright somewhere on the side in the belt bus) and freely arranged not to come off the bottom of the floorboard.

None of these are problems that cannot be solved, but how nice it would be if the Powerplant came with four small, perforated bulges from the factory.

When it comes to supply voltages, the Powerplant is very well positioned. A total of eight 9V outputs with max. 500mA ensure comprehensive coverage of the majority of FX pedals.

The 12V supply, which is available as both direct current and alternating current at two different sockets, is also very successful. It would be very nice if there was at least an 18V connection. Due to the higher headroom, this form of supply voltage is usually only found on old pedals from, for example, MXR (Flanger, Blowtorch), Ibanez (AD80) or some of their new editions, but it would really cover the entire range.

The power supply is switched by an on/off switch, which is located directly next to the power plug and the fine fuse access. The scope of delivery includes a power cable and a wild mix of all common connection cables/plugs in sufficient floorboard length.


Practice:

Very short, very simple, the device works without any grumbling or noise, is extremely quiet (no audible transformer hum) and does exactly what it is supposed to do! After pressing the power switch, a very bright blue LED lights up on the side and, together with the red light on/off switch, indicates the operating status of the device.


Conclusion:

A practical block that Harley Benton brought onto the market there! The extremely massive power supply covers the majority of all required operating voltages and conveys the robustness of an old-school brick that has been fired several times.

Here you can easily support yourself with one leg in the heat of the wild stage battle without it (as has often happened with cheaper FX components) damaging one or another potentiometer or even the entire plastic housing!

A sensible purchase at a low price, which also benefits the environment due to the abandonment of batteries and accumulators of all kinds!

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Additional Informations:

Introduction:
Harley Benton, a brand synonymous with quality musical instruments and equipment at affordable prices, has carved a niche for itself in the world of effects pedals. With a diverse range of pedals catering to various musical styles and preferences, Harley Benton has become a go-to choice for musicians seeking budget-friendly yet high-quality effects. In this comprehensive article, we delve into the fascinating journey of how Harley Benton effects pedals came to be, exploring their inception, evolution, and impact on the music industry.

1. Origins and Inspiration:
The story of Harley Benton effects pedals begins with the brand's overarching mission to democratize access to musical gear. Born out of the desire to offer musicians affordable alternatives to expensive pedals without compromising on quality, Harley Benton embarked on a journey to design and produce effects pedals that would meet the needs of players across different genres and skill levels.

2. Collaborative Development:
Harley Benton's approach to developing effects pedals involves collaboration with musicians, engineers, and industry experts. By engaging with the music community and listening to the needs and feedback of players, Harley Benton ensures that its pedals are designed to deliver the tones and features that musicians desire. This collaborative development process has been instrumental in shaping the evolution of Harley Benton effects pedals.

3. Research and Innovation:
Behind every Harley Benton effects pedal lies a commitment to research and innovation. The brand invests in exploring new technologies, circuit designs, and manufacturing processes to continuously improve the performance, reliability, and versatility of its pedals. Whether it's developing analog circuits for classic vintage tones or integrating digital processing for modern effects, Harley Benton pushes the boundaries of what's possible in effects pedal design.

4. Quality Control and Testing:
A cornerstone of Harley Benton's philosophy is a rigorous quality control and testing process. Each effects pedal undergoes thorough inspection and testing to ensure that it meets the brand's standards for performance, durability, and reliability. From component selection to final assembly, every step of the production process is meticulously monitored to deliver pedals that inspire confidence and satisfaction in musicians.

5. Range of Pedals:
Harley Benton offers a diverse range of effects pedals to suit various musical styles and applications. From essential pedals like overdrive, distortion, and delay to specialty effects like modulation, reverb, and wah, the brand's lineup caters to the needs of guitarists, bassists, and other instrumentalists. Whether you're a blues guitarist searching for creamy overdrive tones or a shoegaze musician experimenting with ambient textures, Harley Benton has a pedal for you.

6. Affordable Pricing:
One of the key factors that set Harley Benton effects pedals apart is their affordability. By leveraging efficient manufacturing processes and economies of scale, Harley Benton is able to offer high-quality pedals at prices that are accessible to musicians on a budget. This commitment to affordability has made Harley Benton effects pedals a popular choice among beginners, hobbyists, and gigging musicians alike.

7. Positive Reception and Reviews:
Feedback from musicians and reviews of Harley Benton effects pedals have been overwhelmingly positive. Musicians praise the pedals for their solid construction, great tone, and excellent value for money. Whether purchased individually or as part of a pedalboard setup, Harley Benton effects pedals consistently impress users with their performance and reliability, earning praise from players of all backgrounds and experience levels.

8. Evolution of Design Philosophy:
Harley Benton effects pedals are the result of a carefully crafted design philosophy that emphasizes simplicity, versatility, and tone. The brand understands that not every musician needs a pedal with countless knobs and switches, so they focus on creating pedals that offer essential features and intuitive controls. This approach ensures that players can easily dial in the desired sound without being overwhelmed by unnecessary complexity.

9. Response to Market Trends:
Throughout their evolution, Harley Benton has remained attuned to market trends and emerging technologies in the effects pedal industry. Whether it's responding to the resurgence of interest in analog pedals or incorporating digital innovations like programmability and USB connectivity, Harley Benton continually adapts its product lineup to meet the changing needs and preferences of musicians.

10. Community Engagement and Support:
Harley Benton places a strong emphasis on building and nurturing a supportive community of musicians. Through online forums, social media channels, and events like gear demos and workshops, the brand fosters a sense of belonging and camaraderie among its customers. This community engagement not only provides valuable feedback for product development but also creates opportunities for musicians to connect, collaborate, and share their passion for music.

11. Environmental Sustainability:
In addition to prioritizing affordability and quality, Harley Benton is committed to environmental sustainability in its manufacturing processes. The brand seeks to minimize its carbon footprint by sourcing eco-friendly materials, reducing waste, and implementing energy-efficient production methods. By aligning with environmentally conscious practices, Harley Benton demonstrates its commitment to responsible stewardship of the planet.

12. Educational Resources and Support:
Recognizing the importance of education and support for aspiring musicians, Harley Benton provides a wealth of educational resources and support materials. From instructional videos and online tutorials to product manuals and troubleshooting guides, the brand equips musicians with the knowledge and tools they need to get the most out of their effects pedals. This commitment to education empowers musicians to unleash their creativity and explore new sonic possibilities.

13. Future Innovations and Expansion:
Looking ahead, Harley Benton shows no signs of slowing down in its quest for innovation and expansion. The brand continues to explore new avenues for growth and development, from expanding its product lineup to exploring new markets and distribution channels. With a finger on the pulse of the music industry, Harley Benton remains poised to anticipate and adapt to the evolving needs and preferences of musicians worldwide.

14. Conclusion:
In conclusion, the genesis of Harley Benton effects pedals is a testament to the brand's unwavering commitment to quality, affordability, and innovation. From humble beginnings to becoming a trusted name in the music industry, Harley Benton has stayed true to its mission of making music accessible to all. By listening to the needs of musicians, embracing emerging technologies, and fostering a supportive community, Harley Benton continues to push the boundaries of what's possible in effects pedal design. Whether you're a beginner picking up your first pedal or a seasoned pro adding to your collection, Harley Benton effects pedals offer a gateway to endless sonic exploration and creative expression.

TEST: Harley Benton Mighty 15TH

 A full tube head for under 250 euros? Some people will ask themselves, not without reason, whether this can work, especially since comparable products from the ranks of established trademarks are often sold five times or more and competitors such as e.g. For example, there is the 6505 Mini Head from Peavey, which costs almost 200 euros more, but is also a real 2-channel speaker with a large sound range. Of course, this only works if certain direct marketing methods are used, such as those used by Thomann's own brands. As is well known, the house brand in the string sector is Harley Benton and with the Harley Benton Mighty-15TH, Europe's leading sales house is once again setting out to raise incredulous faces when it comes to price/performance.

The structure of the Harley Benton Mighty-15TH

In order to be able to maintain a retail price like the one mentioned above, production in Asia is an integral part of any calculation. While much of the manufacturing of instruments has now been relocated to Indonesia, the majority of electronic component production is still carried out in China. The Harley Benton Mighty-15TH is also built in China and delivered directly to the warehouse of the Thomann music store without an intermediary, which also explains the very low retail price.

The Harley Benton Mighty-15TH is a mix of modern and traditional. The single-channel master volume alignment must be seen as a tradition, as it began its triumphal march around the world almost 40 years ago with the 2203 / 2204 models from Marshall. The lunch box class, on the other hand, can be seen as modern, which brings the increasingly important issue of portability to the fore.

In addition, it is always a good idea to save on the output power, as you can take advantage of the effect of power amplifier sagging even at comparatively low volumes. This means you can drive the amp between 7 and 15 watts, which is probably achieved using a triode/pentode circuit. But be careful, a roaring loud 50 watt all-tube head is only about 30 percent louder than the Harley Benton Mighty-15TH in the 15 watt circuit, i.e. H. Even with these performance specifications, power amplifier saturation is not possible at room volume!

The output volume in this class is almost always generated using 1, 2 or 4 pieces. EL84 power tubes, which, with their subtly sharp sounding basic sound, clearly differentiate themselves from the EL34 or even 6L6 range. In terms of sound, this is all a matter of taste, but the larger glass bulbs and transformers etc. simply cannot be accommodated in a housing like this amp with the dimensions W x H x D): 330 mm x 162 mm x 146 mm. Like many small amps, the Harley Benton Mighty-15TH runs in Class A, i.e. continuous full load, with the preamplifier running at 2 pcs. 12AX7 (ECC83) tubes and, as a special feature, was equipped with a 6E2 indicator tube.

The hefty readers among the readers will probably still remember the legendary effect when they found their grandma's tube radio in the attic and after switching on the device after a few seconds a turquoise-colored bar lit up, its time as the " “magic eye”. Depending on the load on the power amplifier, the strip “pumps” outwards and gives the listener/viewer a beginner’s light organ for pedestrians. Based on this effect, Harley Benton also installed this “funny thing” and visually entertains the user with a turquoise light play depending on the strength of the touch, but here in the vertical direction. Visually pretty, but sonically meaningless.

In terms of its general appearance, the head could also be said to be “Russian” manufactured; with its solid, metallic appearance in every respect, the amp conveys a long service life and sufficient resistance to clumsy colleagues or sometimes stupid stage hands. The clean workmanship in every respect as well as the solid metal sheets also have to be paid for with a weight of 9.5 kg, although as a bonus there are four strong feet and a high-quality folding handle as a carrying handle.

In general, you get the impression that Harley Benton put a lot of effort into the visual appearance of the amplifier, despite the comparatively small margin. The outfit of white lettering and silver or black components is nice to look at and gives the amplifier enough opportunity to dissipate the heat inside. Not only the front and back panels and the top have ventilation slots, no, even the side panels each have 3 small covered slots. Also pretty.

When it comes to controls and switches, the Harley Benton Mighty-15TH is very purist and even does without the usual presence control. In addition to a standard three-band tone control and the gain / master function, the amp also offers a boost switch for a little more steam in the boiler. A special feature is that the power selector switch is located on the front of the housing and has been integrated into the standby switch, which turns out to be not entirely practical. If you want to switch the amp to standby, you can only do this with a lot of feeling, or you can use 2 fingers, as you like to get to the middle switch position with a lot of momentum, so that you regularly slide over the standby position and into the other Power setting lands. Unfortunately, all of the controls, including the two toggle switches, protrude significantly to the front and would not survive a flat force applied from the side. I therefore definitely recommend giving the amplifier a corresponding case and packing it heavily in foam.

The back is even more spartan, with only 3 speaker outputs (1x 16 Ohm plus 2x 16 Ohm, or 1x 8 Ohm) plus an IEC socket and main fuse. An FX loop is not offered, which means that all effects, including delay and reverb, must be placed before the amplifier's preamp.

In practice

Anyone who uses a single-channel all-tube system for live operation usually chooses between two different orientations when it comes to its use. Option 1 is the “AC/DC Tribute Band” variant, which means you have found a perfect sound and don’t have to change it during the entire live show, apart from perhaps working a little with the guitar’s volume control. Option two is the variant in which you use the amp as a more or less clean base station and generate all gain levels via external pedals, as guitarists of the caliber of Michael Landau do, for example. To put it bluntly, the Harley Benton Mighty-15TH cuts a fine figure in both versions.

As is well known, single-channel speakers are almost never bred for high-gain sounds. Why? Well, it would significantly limit the “flexibility” of the amp. If the preamplifier were designed to be gain-heavy, a real clean sound would be lost and the volume control could be used to achieve something closer to a crunchy sound, but usually with the background noise associated with the gain setting. But if you use the amp as a clean / subtle crunch representative, you get a lead sound with an additional overdrive and a clean sound with the volume control turned back, or you set the amp clean and use 2 pedals, overdrive and distortion for one additional gain variation. Works perfectly, tons of amps in the 2203 / 2204 style speak for themselves.

If you take the Harley Benton Mighty-15TH for the clean sound, you immediately notice a slight shortcoming that affects all of the available sounds. The amp sounds decent, but has a latent “insignificance” in the sound. The sound is always a little dull and lacks the “liveliness” that you get from higher-priced competitors.

Of course it would be presumptuous to label the amp with the boutique department or reissue editions, for example. B. from Marshall, the price differences are simply too high. Overall, however, the amp does what it promises. Depending on the design and the DC resistance of the pickups, it offers everything from clean to crunch and also works well with all kinds of distortions, which can imprint their very own sound profile on the amp. Exactly the right choice for guitarists who know what they want and need a small, stable and inexpensive all-tube single-channel speaker.

Conclusion

With the Harley Benton Mighty-15TH, the Thomann house brand is launching a price war in the all-tube lunchbox amp class. The head is very well made, comparatively easy to transport and offers a wide range of clean and crunchy sounds.

The very favorable price compensates for the somewhat colorless basic sound, but this does not detract from the practicality of the amp.

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Additional Informations:

Introduction:
Harley Benton, a brand known for its affordable yet high-quality musical instruments and equipment, has made significant strides in the amplifier market. Offering a wide range of amplifiers catering to different needs and preferences, Harley Benton has garnered attention from musicians worldwide. In this comprehensive guide, we delve into the world of Harley Benton amplifiers, exploring their features, performance, and value proposition.

1. History and Background:
Harley Benton, a brand under the umbrella of Thomann, emerged as a response to the demand for affordable musical instruments and equipment without compromising on quality. With a focus on providing musicians with budget-friendly alternatives, Harley Benton quickly gained popularity, particularly among beginners and intermediate players. Over the years, the brand has expanded its product lineup to include amplifiers, ranging from practice amps to gig-ready models.

2. Range of Amplifiers:
Harley Benton offers a diverse range of amplifiers to suit various musical styles, performance settings, and budgets. The lineup includes:

   a. Tube Amplifiers: Harley Benton's tube amplifiers combine classic tube warmth with modern features. These amps are favored by guitarists seeking authentic vintage tones and responsive dynamics.

   b. Solid-State Amplifiers: Solid-state amplifiers from Harley Benton offer reliability, versatility, and affordability. With features like built-in effects and amp modeling, these amps are suitable for a wide range of musical genres and playing styles.

   c. Hybrid Amplifiers: Hybrid amplifiers combine the best of both worlds, featuring a blend of tube and solid-state technology. These amps deliver the warmth of tubes with the reliability of solid-state circuitry, making them ideal for players who value versatility and tone quality.

3. Features and Technology:
Harley Benton amplifiers come equipped with a variety of features and innovative technologies aimed at enhancing the overall playing experience. Some common features found in Harley Benton amps include:

   a. Built-in Effects: Many Harley Benton amplifiers feature built-in effects such as reverb, delay, chorus, and overdrive. These effects allow players to customize their sound without the need for external pedals.

   b. Amp Modeling: Certain Harley Benton amps incorporate amp modeling technology, allowing players to emulate the tones of various classic amplifiers. This feature provides flexibility and versatility, enabling musicians to explore different sounds and styles.

   c. Power Scaling: Some Harley Benton tube amplifiers feature power scaling functionality, which allows players to adjust the output wattage to suit different playing environments. This feature is particularly useful for achieving desirable tube saturation at lower volume levels.

   d. Bluetooth Connectivity: Modern Harley Benton amplifiers may offer Bluetooth connectivity, enabling wireless audio streaming from compatible devices such as smartphones and tablets. This feature enhances convenience and expands the amplifier's functionality beyond traditional guitar applications.

4. Performance and Sound Quality:
One of the key factors that contribute to the popularity of Harley Benton amplifiers is their performance and sound quality. Despite their affordable price point, Harley Benton amps are renowned for delivering impressive tone, dynamics, and responsiveness. Whether you're practicing at home, recording in the studio, or performing live on stage, Harley Benton amplifiers excel in providing reliable and great-sounding amplification.

5. Value Proposition:
Harley Benton amplifiers offer exceptional value for money, providing musicians with access to high-quality amplification at affordable prices. Compared to other brands in the same price range, Harley Benton amps stand out for their solid construction, versatile features, and impressive sound quality. Whether you're a beginner looking for your first amplifier or a seasoned player seeking a backup or practice amp, Harley Benton offers a compelling value proposition.

6. Customer Satisfaction and Reviews:
Feedback from customers and reviews of Harley Benton amplifiers have been overwhelmingly positive. Musicians praise the brand for its commitment to quality, affordability, and customer satisfaction. Many users commend Harley Benton amps for their reliability, durability, and excellent tone, making them a popular choice among players of all skill levels.

7. Conclusion:
In conclusion, Harley Benton amplifiers represent a compelling option for musicians seeking high-quality amplification without breaking the bank. With a diverse range of models catering to different needs and preferences, Harley Benton continues to make waves in the amplifier market. Whether you're a bedroom guitarist, a recording artist, or a gigging musician, Harley Benton amplifiers offer the perfect balance of performance, features, and affordability.