TEST: Lake People MC 100

 The Lake People company from Konstanz on Lake Constance has enjoyed a very good reputation as one of the leading manufacturers of headphone amplifiers for many years. The integration of the regional value chain plus a consistent “Made in Germany” also ensures a good feeling when it comes to job security. Like any successful company, Lake People do not rest on the laurels they have already achieved, but are always striving to expand their portfolio. The manufacturer recently scored points with the microphone preamp category and now with the introduction of two monitor controllers. We have the “smaller” version of the two monitor controllers, the Lake People MC 100, for testing, which, unlike the €500 more expensive MC 100 Pro, does not have a 256-fold relay volume control. All other elements of the two variants are identical.

The construction of the Lake People MC 100

Anyone who takes just a quick look at the product in combination with the retail price of €1,799 will immediately see which customer group the Lake People MC 100 was designed for. The possibility of five different input sources in combination with 3 different monitor systems plus a separate subwoofer output shows that this is a real pro device.

The massive housing with dimensions (W x H x D) 290 mm x 90 mm x 254 mm and a weight of 3.4 kg is perfectly crafted and leaves a very durable impression. Interestingly, Lake People cannot deny its connection to the hi-fi sector, as the Lake People MC 100 rests on four feet, which are also often used in the same segment. Unfortunately, the Lake People MC 100 only has an external power supply, which brings with it the usual problem of placement. To be honest, I would have liked a power socket in this price range.

Except for the 3.5 mm stereo jack input, which is located on the front of the housing and will probably be used primarily in mobile devices, all other inputs are located on the back of the housing. Two XLR stereo pairs labeled IN1/IN2, as well as the unbalanced stereo inputs IN3, which is available as an RCA pair on the back, form the analog input section of the controller, with the two unbalanced inputs switching from -10 dBV to + 4 dBu let. A USB-C socket is used as the digital input, with the internal D/A converter allowing a resolution of up to 384 kHz / 32 bit (PCM) and DSD 256.

In the output area, the Lake People MC 100 uses three balanced stereo outputs plus an additional sub out, all of which are in XLR. A three-stage switch can be used to switch the output signal between 0, -6 and -12 dB. In addition, the Lake People MC 100 has two stereo outputs called Slave Out 1 and Slave Out 2, which allow the connection of additional peripherals in the form of, for example, analyzers or external headphone amplifiers, which can be operated independently of the output volume.

When it comes to headphone operation, Lake People has opened up to a new segment, the so-called crossfeed technology, which has been used for many years in SPL's top products. The effect is a more natural reproduction when using headphones, as occurs when using monitors due to the inclusion of the runtime differences. In addition to a separate headphone volume control, Lake People has installed a continuous X-Feed control with which the effect can be mixed continuously. The Lake People MC 100 offers a 3.5 mm and 6.35 mm stereo jack output, which can also be used at the same time if necessary. Both headphone operation and the crossfeed function can be switched using a pressure switch.

If you want to use several pairs of speakers at the same time, for example to send the signal in parallel to another room, this is also no problem. You simply hold down an output pressure switch while you switch on the desired second pair. This configuration is saved even after the device is switched off. In addition, the Lake People MC 100 has one of the most important functions of a monitor controller, such as solo switching of the respective L/R channels, an L/R swap, a phase reversal of the left channel, a mute function for the rear outputs, a DIM switch of -20 dB and a mono switch. All functions are displayed in their status with their own LED.

All controls and switches on the Lake People MC 100 are of the highest quality and should ensure a long service life. The visual concept is coherent and the feel is high quality. A 41-position Alps RK27 was used as the master volume control, which, as expected, attracts attention with a diameter of 5 cm. The controller runs smoothly and immediately conveys a high-quality feeling, which is what you would expect in this price range.

The Lake People MC 100 in practice

When you set up the Lake People MC 100 in your studio for the first time, the product immediately exudes a certain “grandeur”. Due to the weight in combination with the high-quality rubber feet, the product does not move if you accidentally push the device or if you boldly press the buttons. The practical test was carried out using Eve Audio SC408, Eve Audio SC204 with subwoofer TS 107 and two Fame near-field monitors. All cabling was done using Cordial cables.

The readability of the individual settings is a point that is very important to me personally in the studio. Either you're fighting against atmospheric, but occasionally dim lighting or, as in my case, with some direct sunlight in the studio due to the beautiful, large south-facing windows. The status LEDs on the pressure switches are extremely helpful here, as they directly and immediately display the switching status. The white markings and fonts on the black front panel also do their job very well and offer good legibility even in poor lighting conditions.

When it comes to sound characteristics, the Lake People MC 100 meets the highest demands in every respect. The signal is never colored, always remains transparent and is completely free of all kinds of background noise, such as switching noises or mains hum. Even at high level settings, the Lake People MC 100 does not create noise and remains absolutely noise-free over the entire control range.

As expected, the headphone amplifier area, Lake People's flagship discipline, also offers absolute top values. The amplifier has a very high headroom, so that there was never any saturation or even distortion, even at high volumes. The headphone area should in fact be seen as a separate, additional bonus area and in no way a bonus to a monitor controller. This fact also puts the ambitious retail price into perspective, as in addition to the controller section you also get a professional headphone amplifier.

Of course, I was also excited about the crossfeed function, as an SPL Phonitor Mini has been in use in my studio for years and has already served me very well with the internal matrix. In fact, Lake People starts at the same point in signal processing, although the effect is a little more subtle, but without any tonal changes. The extent to which one appreciates or condemns the unnatural reproduction of the extreme stereo setup of a headphone is up to each user, but with the crossfeed function you have an unpretentious option to shift the listening experience in the direction of monitor reproduction in just a few simple steps. This applies to both the professional and consumer sectors, where you can use the Lake People MC 100 as a high-end headphone amplifier and shift your listening experience more towards a concert hall.

Conclusion

With the Lake People MC 100, the German company has a monitor controller that is outstanding in every respect in its portfolio. Workmanship, audiophile properties, concept and flexibility allow the “Made In Germany” trademark to shine in the best light and offer the user craftsmanship at the highest level.

In addition to the very good controller properties, the product also offers an excellent headphone amplifier, which, thanks to the crossfeed function, offers a practical, first-class feature that, as far as I know, has only been offered by SPL in the Phonitor series.

An armada of excellent detailed solutions and top-class technology are only offset by the use of an external power supply and the very closely spaced headphone jacks, but this is not enough to really detract from the product.

All in all an outstanding product, which e.g. Currently one of the best that is available in this product category. The product is here to stay and is guaranteed to establish itself as a classic of this genre in the medium term.

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Additional Informations:

Introduction:
In the landscape of professional audio equipment, Lake People Audio stands as a beacon of craftsmanship, precision, and sonic excellence. Founded on a commitment to uncompromising quality and meticulous attention to detail, Lake People has earned a sterling reputation among audiophiles, recording engineers, and music enthusiasts worldwide. As we embark on a journey through the rich history of Lake People Audio, we uncover the story of a company driven by a passion for audio perfection and a relentless pursuit of sonic fidelity.

Founding Vision:
The origins of Lake People Audio can be traced back to the late 1980s when Fried Reim and his team embarked on a mission to create audio equipment that would meet the demanding standards of professional recording studios and audiophiles alike. Drawing upon their expertise in electrical engineering and a deep appreciation for high-fidelity sound reproduction, Reim and his colleagues set out to design and manufacture audio products that would elevate the listening experience to new heights of clarity and purity.

Early Innovations:
In the early years of Lake People Audio, the company focused on developing high-quality headphone amplifiers and headphone distribution systems, catering to the needs of recording studios, broadcast facilities, and critical listening environments. One of Lake People's early breakthroughs was the introduction of the G109P headphone amplifier, renowned for its transparent sound, low noise floor, and exceptional dynamic range. This pioneering amplifier quickly gained a reputation for delivering studio-quality sound reproduction, making it a staple in professional audio workflows.

Expansion and Diversification:
As Lake People Audio gained traction in the professional audio market, the company expanded its product lineup to include a broader range of audio equipment, including preamplifiers, power amplifiers, and digital-to-analog converters (DACs). Each product was meticulously engineered and handcrafted in Lake People's facilities in Germany, ensuring unparalleled build quality and sonic performance. The company's commitment to excellence and innovation attracted a loyal following of audio enthusiasts and industry professionals who sought out Lake People products for their reliability, transparency, and sonic purity.

Partnerships and Collaborations:
Over the years, Lake People Audio has forged strategic partnerships and collaborations with leading audio companies and professionals, further enhancing its reputation as a trusted name in the industry. Collaborations with renowned mastering engineers, recording studios, and artists have provided invaluable feedback and insights that have helped shape the development of Lake People's products, ensuring that they meet the exacting standards of audio professionals and enthusiasts alike. These partnerships have also allowed Lake People to stay at the forefront of technological advancements in audio engineering, incorporating the latest innovations into its product designs to deliver cutting-edge performance and reliability.

Global Recognition and Acclaim:
As Lake People Audio continued to expand its presence in the global audio market, the company garnered widespread recognition and acclaim for its commitment to excellence and innovation. Lake People products have earned numerous awards and accolades from industry publications and organizations, cementing the company's reputation as a leader in professional audio technology. Whether used in recording studios, broadcast facilities, or audiophile listening rooms, Lake People equipment is synonymous with uncompromising quality, precision engineering, and pristine sound reproduction.

Continued Evolution and Excellence:
As we look to the future, Lake People Audio remains dedicated to its founding principles of precision, passion, and sonic excellence. The company continues to push the boundaries of audio technology, exploring new avenues for innovation and refinement in pursuit of the perfect sound. With each new product release, Lake People reaffirms its commitment to providing audio professionals and enthusiasts with the tools they need to unlock the full potential of their music and audio productions. As the company's journey unfolds, one thing remains certain: Lake People Audio will continue to set the standard for uncompromising quality and sonic purity in the world of professional audio.

TEST: KRK S10G4

 KRK loudspeakers have been a constant companion in the audio segment since they were founded in 1986, and in recent years they have also been able to establish themselves very successfully in the budget sector from their early days, which were almost exclusively aimed at pro users. The Rokit series in particular has appealed to many newcomers to the field of near-field monitors due to its comparatively good quality for little money, enabling them to take their first steps in the audio sector. In keeping with this, but not exclusively aimed at the same series, the company, which now belongs to the Gibson Group, now also offers the fourth generation of subwoofers called the KRK S10G4, the middle representative of the three variations called the KRK S8G4, KRK S10G4 and KRK S12G4 .

The construction of the KRK S10G4

The KRK S10G4 is a subwoofer for budget-class project studios. With dimensions (W x H x D): 479 mm x 341 mm x 310 mm and a weight of 15.88 kg, it is easy to handle and does not take up too much space. The stated power of 160 watts Class D may seem moderate at first glance, but the maximum level of 117.2 dB makes you sit up and take notice, as this value is significantly higher than what is normally offered in this class.

Of course, KRK's optical trademark was once again installed in the KRK S10G4, the yellow membrane, although it is interesting that the 8- and 10-inch subwoofer membranes are made of glass-aramid composite, while the 12-inch subwoofers Version is made of Kevlar. The crossover frequency approach compared to satellites takes some getting used to. Active subwoofers always have a built-in crossover, which helps reduce the burden of low frequencies on the main monitors and ensures a good balance between the two elements. I found it interesting that in addition to the crossover frequencies of 60, 70 and 80 Hz, the S10G4's crossover has a maximum high frequency limit of 90 Hz, which compares to equivalent subwoofers from other brands that can go up to 120 Hz or even higher , is not particularly high.

What does this mean in practice? To get the most out of it, pair the S10G4 with main monitors that can comfortably go down to 90Hz without breaking a sweat, which usually means larger monitors. Users with very small monitors should instead choose the S8G4, which has a maximum crossover point of 100 Hz and in this case relieves the satellites better. Overall, the subwoofer has a frequency range of 30 - 110 Hz.

In terms of feel, the KRK S10G4 leaves an extremely massive impression. The workmanship of the product, which was built in China, is impeccable and its appearance means it can be tastefully integrated into most studio setups thanks to its rounded corners. However, the KRK S10G4 does not have any feet or other support points, which is why the product comes with a rubber mat, which is intended to prevent the underside from being scratched and to decouple the woofer a little from the floor. However, as most readers will know, the correct placement of the woofer in the room and the perfect balance to the satellites are significantly more important in terms of a well-rounded sound than a resonant decoupling from the floor. More on that later.


The connections of the KRK S10G4

As expected, all of the KRK S10G4's connections are located on the back of the case. You can see at first glance that KRK doesn't save money when it comes to connection options. We have XLR symmetrical in / out, we have TRS symmetrical in / out and for the consumer sector we also have RCA unbalanced in / out, a variety that I have only very rarely encountered before.

The system also has a jack connection for a foot switch, which not only deactivates the subwoofer, but also removes the frequency separation from the satellites. A very good thing if you want to quickly switch between an extended bass range and regular satellite playback. Should you work in a rental or condominium that is probably not acoustically decoupled. In case of doubt, this circuit also makes it possible to reduce the annoyance with the neighbors, so that you can only switch on the subwoofer sound at certain times, as it works its way through the walls comparatively quickly due to the long waves. There is a small LED next to it that provides information about the operating status and whether the standby circuit has activated. Once again we also come across a multi-voltage power supply that enables operation from 100 to 240 volts, so that use abroad is no problem worldwide.

Using 4 small mini switches, the KRK S10G4 enables the following control options:

Input Sensitivity: a comparison between balanced and unbalanced signals with regard to input sensitivity.

Polarity: A phase reversal in case there are standing waves or phase cancellations within the setup.

Stand By: Deactivates the circuit that puts the woofer into standby mode after 30 minutes.

Ground Lift: To help with ground loops or ground problems in general.

Finally, we have the cold device socket and a fine fuse that is accessible from the outside. The KRK S10G4 can be operated upright or lying on its side; its bass reflex opening is on the front of the housing.


The KRK S10G4 in practice


As we all know, the correct placement of a subwoofer in the room, especially when it comes to smaller rooms, is a tricky matter. Especially with regard to the distance to walls, possibly also slopes or ceilings, it must be taken into account that bass frequencies, with their circular radiation behavior, behave completely differently than radiation-directed mids and highs. Another point is the perfect balance in terms of frequency distribution and radiation behavior between the satellites and the woofer. Therefore, you need to pay a lot of attention to the correct placement of the subwoofer.

Even if there is a persistent assumption in some circles that everything below 300 Hertz can be placed anywhere in space since there is no longer any spatial positioning, the aim is still to place the woofer in the middle between the two satellites, if possible . In a typical budget studio setup, this usually results in the woofer being used below the worktop in the foot area. In general there is nothing wrong with this placement, but in most cases it is only a matter of time before one of your feet kicks the speaker or perhaps even damages it. To avoid this, you can purchase a suitable speaker grille, which counteracts this problem. Personally, I would definitely include this product in my budget planning, especially since the price of €22 is very moderate.

As is well known, using a subwoofer is not a panacea for spatial inadequacies or low-bass near-field monitors. If the room is unsuitable for music reproduction due to its symmetry, its arrangement or its radiation characteristics, even the best subwoofer cannot prevent the end result from being anything but satisfactory. In addition, there are still different opinions as to whether the bass range is better reproduced with powerful satellite woofers or whether a separate woofer is used, which of course significantly reduces the load on the satellites, but also has a different sound behavior. Everyone has to decide for themselves what is the best solution for them.

To put it bluntly, for a price of under 400 euros, the KRK S10G4 offers a lot for the money. The sound pressure of the system is indeed exceptional for this price and from the first tones you are literally surprised by the large volume of the product.

However, this also leads to the problem that the woofer quickly has to struggle with standing waves in a rather moderate control room, which can only be gotten under control after intensive testing of the installation position. For example, in my Studio 2, where the control room is only about 15 square meters, it turned out to be a good placement
wasn't that easy, as the walls repeatedly led to an increase in the low bass range. Nevertheless, you quickly feel very comfortable with the woofer, as its large volume gives off the classic feeling of the woofer.

However, the radiation behavior of the woofer itself is relatively indifferent and, depending on the music material, can quickly lead to booming. Particular attention should be paid to which satellites the KRK S10G4 is operated with. All in all, you have to give the product a good rating because it brings a lot of the attitude of the pro range into the budget range and ensures a good feeling.

Conclusion

With the KRK S10G4, the protagonist of the yellow membrane has a subwoofer in his portfolio that has a very good price/performance ratio. The workmanship and connection peripherals are well above the norm in this price segment, and the system also impresses with its exceptionally high sound pressure. When placed correctly, the KRK S10G4 is a useful addition to weak near-field monitors, which may lack deep bass.

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Additional Informations:

Introduction:
In the realm of professional audio monitoring, few names evoke as much reverence and acclaim as KRK Systems. Renowned for their precision, clarity, and reliability, KRK monitors have become indispensable tools for producers, engineers, and musicians around the world. But the story of KRK Audio is not just one of technological innovation; it's a testament to the entrepreneurial spirit, unwavering dedication to quality, and a deep understanding of the needs of audio professionals. In this comprehensive exploration, we embark on a journey through the rich history of KRK Audio, tracing its humble beginnings, pivotal milestones, and enduring legacy in the world of studio monitoring.

Founding Years:
The origins of KRK Audio can be traced back to the late 1970s when Keith Klawitter, an audio engineer and musician, founded the company in the small town of Chatsworth, California. Dissatisfied with the available studio monitors of the time, Klawitter set out to create speakers that would provide accurate, transparent sound reproduction, essential for critical audio tasks such as mixing and mastering. Armed with a passion for audio engineering and a vision for uncompromising quality, Klawitter began designing and building his own monitors in a garage workshop.

Pioneering Technology:
At the heart of KRK's early success was Klawitter's innovative use of unconventional materials and design principles. One of the company's breakthroughs was the development of the Expose Monitor, introduced in the early 1980s. The Expose series incorporated proprietary technologies such as Kevlar drivers and front-firing port designs, setting a new standard for accuracy, transient response, and low-frequency extension in studio monitors. These innovations garnered attention from audio professionals and established KRK as a leading force in the world of studio monitoring.

Expansion and Acclaim:
Throughout the 1980s and 1990s, KRK Audio continued to expand its product lineup and refine its monitor designs. The company's commitment to quality and innovation earned it widespread acclaim among recording engineers, producers, and artists. The introduction of the iconic V Series monitors in the late 1990s further solidified KRK's reputation for delivering superior sound quality and reliability. With their distinctive yellow cones and transparent sound signature, the V Series monitors became a fixture in recording studios and production facilities worldwide, cementing KRK's position as an industry leader.

Acquisition and Global Reach:
In 2003, KRK Audio underwent a significant transformation when it was acquired by the Stanton Group, a leading manufacturer of professional audio equipment. Under new ownership, KRK continued to thrive, leveraging the resources and expertise of the Stanton Group to further expand its product offerings and reach new markets. The acquisition also facilitated KRK's global expansion, allowing the company to establish a strong presence in key markets across North America, Europe, Asia, and beyond.

Innovation in the Digital Age:
As the audio industry transitioned into the digital age, KRK remained at the forefront of innovation, embracing emerging technologies to enhance the performance and functionality of its monitors. The introduction of the Rokit series in the early 2000s marked a significant milestone for KRK, bringing professional-grade monitoring capabilities to a broader audience of home studio enthusiasts and aspiring producers. The Rokit series quickly gained popularity for its affordability, versatility, and studio-quality sound, earning accolades from industry professionals and amateurs alike.

Continued Excellence and Evolution:
In the years since its founding, KRK Audio has continued to evolve and adapt to the changing needs of the audio industry. The company's commitment to excellence and innovation remains unwavering, as evidenced by the introduction of the latest generation of studio monitors, including the Rokit G4 series. Equipped with advanced DSP-driven room tuning capabilities, Class D amplification, and a host of connectivity options, the Rokit G4 monitors represent the pinnacle of KRK's technological prowess and dedication to providing audio professionals with the tools they need to achieve sonic perfection.

Legacy and Influence:
As we reflect on the remarkable journey of KRK Audio, it's clear that the company's impact extends far beyond the realm of studio monitoring. From its humble beginnings in a garage workshop to its status as a global leader in professional audio technology, KRK has inspired generations of musicians, producers, and engineers with its unwavering commitment to sonic excellence. With each new innovation and technological advancement, KRK reaffirms its position as a driving force in the evolution of studio monitoring, ensuring that the next chapter of its storied history will be as illustrious and influential as those that came before.

TEST: Koch Amps Supernova

 If you look up “supernova” in the dictionary, you will generally find an explanation along the lines of “the extremely bright flash of a star at the end of its life.”

I'm absolutely sure that when naming their new flagship, the Koch-Amps company wasn't thinking about the torching of the head at the end of a live show, but rather about the record 5(!) individual channels in a full-tube head .

People may prove me wrong, but as far as I know, this is the current pole position among amplifier manufacturers when it comes to channel diversity.

Although the company around Ober-Schrauber and mastermind Dolf Koch has earned an excellent reputation in the professional world with various amplifiers, such as the traditional Studiotone or the Powertone, which is very popular in the heavy sector (it is rumored that Paul Reed Smith wanted the company several times to have a kind of PRS amp manufactured there), the company's international breakthrough in popularity has so far failed to materialize, even though Carlos Santana, for example, left his Mesa Boogie behind after testing a Koch amp and took part in the show that same evening played this amp.



construction

A long history precedes the release of the Supernova Head. At the Musikmesse in 2006, Dolf Koch showed me a prototype that boasted the key points of the current model.

However, the incredibly high level of choice in terms of sound design gave me worry lines at the time, along the lines of “whether he can really handle it?”. When there was still no production model within reach at the 2007 trade fair, I saw my predictions of doom confirmed until the finished model with a bulwark of features finally saw the light of day in 2008.

The Supernova is available in a 120 watt mono version or in the 2x60 watt stereo version that I have. Both variants are identical in terms of the preamplifier and tone control, only the power amplifier concept and the associated FX loop configuration varies.

Total 8 pieces. 12AX7 in the preamp and 4 pieces. EL 34 in the power amplifier manage the complex sound design of the head,

Of course, the first thing that catches the eye is the high number of channels, of which 4 of the 5 channels actually have their own tone control (channels 1+2 bass, middle, treble - channels 3+5 bass, middle, treble, presence, channels 4+5 share a sound control). All channels can be varied in their final volume via two switchable master volumes.

But the real nitty-gritty begins on the control panel on the right, or on the back of the amplifier. A total of 14 mini switches, of which 9 are. Designed to be programmable, give an idea of what the user will face when needed.

The Supernova has 4 voicing switching options, specifically a bass boost (Low), a mid selector switch (Mid Shift), a treble boost (Bright) and a treble attenuation (HiCut).

The head also has switchable speaker attenuation, which emulates a more compressed (H), moderate (M) or open (L) speaker deflection at low volumes.

As an absolute special feature, the amplifier has an “OTS” (Output Tube Saturation) circuit that can be adjusted in drive and volume. This is a 0.5 watt power amplifier, which, however, is not designed to operate the speakers, but rather only adds the distortion behavior of a power amplifier, which is harmoniously designed to be diametrically opposed to a preamplifier, to the sound.

As we all (hopefully) know, a power amplifier distorts completely differently in terms of dynamics (interactive) and compression (velocity-dependent) than a strongly compressing and dynamically “flat-compressing” preamplifier. The OTS circuit now makes it possible to generate the above-mentioned sound parameters at room volume without having to use the “English setting” (death to the neighbors).

On the back you are almost overwhelmed by jack sockets. A total of 10 speaker outs (stereo power amplifiers!) allow any connection of individual speakers or their combinations.

And as if all of this wasn't enough equipment, Koch also adds a total of four (!) FX loops on top, two serial and two parallel ones with adjustable levels, three of them in stereo, of course, making a total of 15 sockets alone the FX loops! Ugh.....

In order to manage this variety of sounds, in the best case scenario you need a MIDI switcher or the optionally available Koch foot switch FS6 SN, which, however, costs a lot with an RRP of just under €260. The corresponding connection sockets are located on the left side of the back panel.


Practice

When you turn the amp on, you immediately notice the non-existent noise level of the amplifier, no hiss, no hum, nothing, even at high master levels.

As expected, let's start with channel 1. First of all, we have the option of choosing a “normal” or more high-pitched (bright clean) sound via the input jack. However, this socket only affects channel 1; the remaining channels are not affected.

And there it is, the very soft and very pleasing clean sound that you know from all Koch amps, always a highlight. I know musicians who only use this channel and do everything else with FX pedals. The sound stays clean until around 3 o'clock, then turns into the first harmonic distortions.

Channel 2 goes in the classic vintage rock direction, greetings from Australia's number one export hit. Wonderful crunches, very dynamic. But now, the secret weapon, I'm adding the OTS circuit.

Oh my goodness, what a sound! It's absolutely fantastic how soft and warm the power amplifier saturation suddenly colors the overall sound. AC/DC at room volume so that I can still experience that ;-)

Channel 3 now moves into the powerful hard rock corner. It's getting very British here, the old school of "New Wave of British Heavy Metal" in the style of the Iron Maidens or Birmingham's (former) Finest send greetings with controlled heavy crunch. Here, too, the OTS circuit helps to darken the sound significantly, even at a comparatively low final volume.

Channel 4 is already real high gain. Even with low preamp control, the sensitivity is very high and leads to distortion very early on. Hard dominant noise, often below the standard tuning, finds its customers here, without wanting to reduce the channel to this area of application.

Yes, and channel 5? Well, if you don't find the ultimate high gain here, you probably accidentally have an acoustic guitar hanging around your neck. Even single-winders elicit massive gain from this channel, with a corresponding increase in background noise, of course.

Now played with the voicing switches and the damping switch and the variety of sounds is almost too much. At some point you can no longer decide which sound you want to choose, especially since every sound you choose is in the range from very good to absolutely top class.

Even the highest gain levels never lack transparency, even the lightest crunch values have pressure and sound density. I am completely thrilled! EVERYONE can find a sound they like here, provided they have a minimum level of technical skills.

If there is anything about this head that is not absolutely top class, it is the somewhat poor instruction manual, which provides information about the functions of the amplifier, but does not present it in the form it deserves .

A few meaningful sound examples with an appropriate visual layout would work wonders here, in contrast to the usual stapled leaf look. But that's how it's always been with Koch, always a bit understatement, in the hope that the artist would recognize the qualities even without glossy marketing...


Conclusion

Anyone who knows me knows that I am generally not a fan of superlatives. On every corner you can find “the biggest”, “the best”, “the longest”, which in 99% of all cases turns out to be a pathetic marketing measure at RTL2 level or a hopelessly exaggerated self-assessment that is appearing more and more frequently. Just disgusting!

However, the quality, flexibility, sound and workmanship presented to me with the Supernova Head can only be considered with a maximum accumulation of rating points.

Detached from the exuberant number of “real” channels, the Supernova has an almost unmissable selection of sound options without losing sight of its own basic sound. The outstanding OTS circuit alone, coupled with a sonically convincing voicing circuit, would be worth its own review.

Objectively speaking, the Supernova is indeed one of the best amplifiers currently available on the planet due to its fantastic sound. Subjectively speaking, I'll go one better and say that it's THE best-sounding amplifier I've heard so far in my life!

It is completely clear to me that with such a, albeit subjective, assertion I am offering the greatest surface for attack that one can open up in the sometimes archaic blinkered camp of the guitarist faction, but hey, if you spend so much time and intensively dealing with amplifiers, you can you can give it a good smack every few years!

Today is the day. Supernova, it couldn't be better!

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Additional Informations:

Introduction:
Tube amplifier heads, also known as tube amp heads or full tube amp heads, have long been revered in the realm of audio amplification for their rich, warm tones and iconic sonic character. Their journey from humble beginnings to becoming staples in studios and stages worldwide is a tale steeped in innovation, engineering prowess, and the relentless pursuit of sonic excellence. In this comprehensive exploration, we delve into the fascinating evolution of tube amplifier heads, tracing their origins, key milestones, and enduring legacy.

Origins:
The story of tube amplifier heads traces back to the early 20th century when researchers and inventors were experimenting with vacuum tubes, also known as electron tubes or thermionic valves. These rudimentary electronic components served as the building blocks for early amplification technology. The first practical vacuum tube, the Fleming valve, was invented by John Ambrose Fleming in 1904, laying the groundwork for subsequent advancements in audio amplification.

The Birth of the Tube Amplifier:
The seminal moment in the evolution of tube amplifier heads came with the invention of the triode vacuum tube by Lee De Forest in 1906. The triode, with its ability to amplify electrical signals, revolutionized the field of electronics and paved the way for the development of audio amplifiers. Early tube amplifiers, often referred to as "valve amps" in some regions, were large, cumbersome devices primarily used in radio broadcasting and public address systems.

The Rise of Guitar Amplifiers:
The integration of tube amplification technology into musical instruments, particularly guitars, marked a significant turning point in the evolution of tube amplifier heads. In the 1930s and 1940s, pioneering companies such as Gibson, Fender, and Ampeg began producing guitar amplifiers powered by vacuum tubes. These early guitar amplifiers, though primitive by today's standards, introduced guitarists to the distinctive warmth and overdriven saturation that would become synonymous with tube amps.

The Golden Age of Tube Amplifiers:
The post-World War II era witnessed a surge in technological innovation and consumer demand for audio equipment, leading to what many enthusiasts consider the "golden age" of tube amplifiers. Companies like Marshall, Vox, and Fender emerged as titans in the industry, producing iconic amplifier models that would define the sound of rock 'n' roll and popular music for decades to come.

Key Technological Advancements:
Throughout the 1950s, 1960s, and 1970s, tube amplifier technology underwent significant advancements, driven by the quest for higher fidelity, increased power output, and enhanced reliability. Innovations such as push-pull amplifier designs, cathode biasing, and the development of more efficient tube configurations contributed to the refinement of tube amplifier heads, making them more versatile and reliable in professional audio applications.

The Influence of Guitar Legends:
The enduring popularity of tube amplifier heads owes much to the endorsement and use of these amplifiers by legendary guitarists. Icons such as Jimi Hendrix, Eric Clapton, Jimmy Page, and Eddie Van Halen played pivotal roles in popularizing the sound of tube amplifiers through their electrifying performances and recordings. Their sonic innovations and relentless pursuit of tone inspired countless musicians to embrace tube amplification as the gold standard in guitar tone.

Modern Innovations and Revival:
While the advent of solid-state and digital amplification technologies posed significant competition to tube amplifiers in the late 20th century, the allure of tube-driven tone remained undiminished. In recent years, a resurgence of interest in vintage gear and analog sound has fueled a revival of tube amplifier heads. Moreover, advancements in manufacturing techniques, component quality, and circuit design have enabled modern tube amplifiers to offer enhanced reliability, consistency, and performance, catering to the demands of contemporary musicians and audio professionals.

Conclusion:
From their humble beginnings as experimental devices to their status as enduring icons of musical amplification, tube amplifier heads have traversed a remarkable journey marked by innovation, craftsmanship, and sonic excellence. Despite the ever-evolving landscape of audio technology, tube amplifiers continue to captivate musicians and audiophiles with their timeless sound and unmistakable character. As they continue to shape the sonic landscape of the future, tube amplifier heads stand as a testament to the enduring legacy of analog craftsmanship and the power of innovation to inspire generations of music makers.

TEST: Koch Amps Superlead

 It's unbelievable what a few kilometers and a national border can do when it comes to popularity. While in our neighboring country, the Netherlands, the Koch Amps company is almost a permanent institution in the blues and rock scene, despite excellent products such as the Battleship Supernova or the Studiotone Combo series, the company is still somewhat of an insider tip in Germany latitudes. It can't be because of football; in fact, we Germans have a very strong affinity with the Anglo-American forefathers when it comes to our personal feeling of happiness when it comes to amplifier technology.

However, the whole thing only lasts until you accidentally stumble across a Koch product in a music store, a rehearsal room or at a music fair and lend it an ear. Then the wow and aha factor is immediately exposed like a logarithm and you ask yourself why you haven't had this company on your personal radar until now. This can be remedied, especially since Koch has a very hot iron in the fire with the Koch Superlead Preamp, which is once again preparing to expand one's personal horizons with a manufacturer name.


construction

Anyone who knows a little about the company's history around mastermind Dolf Koch knows that the Koch Superlead concept wasn't just whipped up overnight. Almost a decade ago, the company caused a powerful response in the musical forest with the Pedaltone, a 4-channel preamp in a stompbox design. The product sounded great, was very flexible to use, but struggled a bit with the dimensions and weight. This is where the Koch Superlead Preamp comes in, which is preparing to take on the flexibility of the Pedaltone, but as a kind of Swiss army knife preamp that can provide the necessary connections and sounds in almost every performance situation. The personal tube amp for the gig bag, so to speak.

Conceptually we are dealing with a 2-channel preamp, whereby the second channel can be boosted again, which ultimately results in 3 different sounds. A 12AX7 or ECC83 tube is used as the sound generator, which, in conjunction with a triple tone control, forms the basis of the pedal. Like the clean channel, the overdrive channel has its own volume control, paired with a gain control for the level of distortion. The intensity of the boost factor is fixed and cannot be changed. The sounds can be switched silently using two buttons plus their own LEDs.

In terms of dimensions, the preamp is comparatively moderate with dimensions (WxDxH) 13.2 cm x 20.5 cm x 6.4 cm and, with a weight of only 1.2 kilograms, can also be transported in a gig bag if necessary. The Koch Superlead gets its operating voltage from the included 12V power supply. In terms of processing technology, the product manufactured in Europe is once again way ahead, like all other Koch products. A solid steel housing, the best components inside the product, jack sockets screwed to the housing and smoothly running potentiometers speak for themselves. I also personally really like the purple used as the casing color.

Now let’s get to the connection options for the pedal. Anyone who thought they were looking at a classic tube booster will immediately notice when looking at the socket arrangement that this is a much broader concept. On the right edge of the housing, next to the input socket, there is a balanced XLR output for recording or P.A. Purposes to which a speaker simulation was switched and which has an additional ground lift. Next to it is the main output, which is optimized in terms of output level via a mini switch depending on the application in front of a clean amp, a power amplifier, or the FX loop return of an amp.

On the left of the housing there is an unbuffered, upstream pre-FX loop for connecting an external preamp, a buffered post-FX loop for connecting classic modulation or room effects, a remote control connection for external management, the input for the Included power supply and an additional 200mA output to supply other stompboxes with sufficient operating voltage. A very intelligent and sophisticated signal panel.

Practice

In order to enjoy the full range of the Koch Superlead, you should briefly take a look at the different areas of application. Mind you, this is a preamp, not a classic overdrive pedal.


Example 1.) – the Koch Superlead as an upstream pedal

Do you have a simple transistor amp that has enough volume, but an insignificant clean sound and a typical “chainsaw massacre overdrive” sound? In this case, the Koch Superlead is connected between the guitar and the clean channel of the amp, which is equivalent to a three-channel tube amp.


Example 2.) – the Koch Superlead as a preliminary stage

Do you have a power amplifier on hand, in case of doubt also a 19" car that was swapped for the lighter and louder Class D power amplifier when the P.A. was last cleaned out? Use the Koch Superlead as a preamp, connect one or more cabinets behind the 19" power amplifier and the guitar system is ready!


Example 3.) – the Koch Superlead as an amp extension

Do you have an amp with a good-sounding power amp and an FX loop, but are disappointed in terms of distortion in the overdrive channel and warmth in the clean channel before the associated preamplifier? Put the pedal tone in the return of the loop and you have combined the pedal tone as a preamp and your power amp. This function often proves to be very helpful at festivals. Marshall Heads from the TSL or DSL series are usually borrowed as the standard backline for the guitarist, which are then used by all local bands. With the Superlead in the FX loop you get your typical sound without having to transport your own top parts.


Example 4.) – the chef superleads directly into the P.A.

Do you play in a band that needs to sound good even at low volume? Maybe in a dance or cover band, where after the first bars of the first number, the “Guitar quieter” signs are held up in the back rows? With the Superlead via the speaker simulation directly into the mixer and listen to your sound via the monitor system.


Anyone who has ever played a Koch amp knows that Koch amplifiers all have an excellent, clean sound with a high level of warmth and character. Many musicians actually only use the clean channel of the amps to create the various overdrive areas with their favorite stompboxes. Aware of this, the clean channel of the Koch Superlead is also characterized by a high level of detail and a warm basic sound. The sound control intervenes tastefully, sometimes subtly, in the action. Alternatively, the channel can also be used as a booster to continuously increase the output level of the instrument.

If you switch to the Overdrive channel, you quickly notice how well the Dutch company is at home in blues and rock. The sound is smooth, creamy and has just the right amount of saturation to compress the tone without feeling like a limiter. The dynamics are retained even at high gain settings, and the pedal also hangs very well on the guitar's volume control and takes over the musician's personal style of playing.


Conclusion

With the Koch Superlead, the Dutch company once again has an excellent product that will attract attention. As the little sister of the Pedaltone, the product scores points in all areas due to its intelligent circuitry and excellent sound and should definitely be tested in view of its great flexibility.

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Additional Informations:

In the vast landscape of guitar effects pedals, few innovations have captured the imagination of musicians quite like tube-based effects pedals. These pedals, which incorporate vacuum tubes (or valves) into their circuitry, offer a unique warmth, richness, and dynamic response that is highly sought after by guitarists seeking to capture the elusive magic of vintage tube amplifiers. The story of tube-based effects pedals is a fascinating journey through the realms of technology, craftsmanship, and musical innovation.

**The Early Days: The Birth of Tube Technology**

To understand the origins of tube-based effects pedals, we must first delve into the history of vacuum tube technology. Vacuum tubes, which were the primary amplification devices used in electronic equipment prior to the advent of transistors, were first developed in the late 19th century by inventors such as Thomas Edison and John Ambrose Fleming. These early tubes laid the groundwork for a revolution in electronics, enabling the development of everything from radios and televisions to amplifiers and effects pedals.

**The Emergence of Guitar Effects Pedals**

The use of vacuum tubes in guitar amplifiers dates back to the early 20th century when pioneering inventors like Les Paul and Leo Fender began experimenting with ways to amplify and shape the sound of the electric guitar. The introduction of effects pedals, which allowed guitarists to alter their tone and create new sonic textures, soon followed.

The earliest guitar effects pedals, such as the Maestro Fuzz-Tone and the Electro-Harmonix Big Muff Pi, relied on vacuum tube technology to achieve their distinctive sound. These pedals utilized simple circuits consisting of one or more tubes, capacitors, resistors, and potentiometers to generate and manipulate audio signals, resulting in effects like distortion, overdrive, and fuzz.

**The Golden Age of Tube-Based Effects**

The 1960s and 1970s marked a golden age for tube-based effects pedals, with numerous manufacturers releasing innovative and influential designs that would shape the sound of rock and roll for decades to come. Brands like Vox, Marshall, and Electro-Harmonix introduced iconic pedals such as the Vox Wah-Wah, the Marshall Supa Fuzz, and the Electro-Harmonix Electric Mistress flanger, each of which utilized vacuum tubes to achieve its signature sound.

One of the most notable tube-based effects pedals of this era was the Electro-Harmonix Big Muff Pi, which became synonymous with the fuzz-laden tones of artists like Jimi Hendrix, David Gilmour, and Billy Corgan. Featuring a circuit design based around four cascading transistor stages, the Big Muff Pi offered guitarists a thick, saturated distortion with a unique harmonic character that set it apart from other pedals of its time.

**The Decline and Resurgence of Tube-Based Effects**

By the 1980s, advances in semiconductor technology had led to the widespread adoption of solid-state components in guitar effects pedals, relegating vacuum tubes to the realm of vintage and boutique equipment. However, as digital modeling technology began to dominate the market in the late 20th century, a resurgence of interest in analog and tube-based effects pedals began to take hold among guitarists seeking a more organic and responsive sound.

In recent years, several manufacturers have capitalized on this renewed interest in tube-based effects pedals by introducing modern interpretations of classic designs, as well as entirely new innovations that combine vintage tube technology with modern features and functionality. Pedals like the Catalinbread Belle Epoch Deluxe and the JHS Pedals Bonsai Overdrive pay homage to iconic tube-based effects of the past while incorporating modern conveniences like tap tempo, expression pedal inputs, and preset storage.

**Conclusion: The Legacy of Tube-Based Effects Pedals**

In conclusion, the evolution of tube-based effects pedals is a testament to the enduring appeal of vacuum tube technology in the world of guitar amplification and effects. From their humble beginnings in the early 20th century to their continued relevance and influence in the 21st century, tube-based effects pedals have left an indelible mark on the history of music, shaping the sound of countless recordings and performances across a wide range of genres.

As guitarists continue to seek out new ways to express themselves and push the boundaries of sonic exploration, tube-based effects pedals remain a cherished tool for those who value the warmth, richness, and dynamic response that only vacuum tubes can provide. Whether recreating the iconic tones of the past or forging new sonic frontiers, tube-based effects pedals continue to inspire and captivate musicians around the world, ensuring their legacy will endure for generations to come.

TEST: Koch Pedaltone

 Preface:

An all-tube amp, small like a pedalboard but with the dynamics and tonal volume of an official head and, if possible, suitable as an all-in-one solution for almost all live and studio situations. Which guitarist hasn't felt the need to own such a construction?

Anyone who regularly moves their top speakers around for shows or recording purposes or, at the latest, as happened to me on my last Asian tour with my band DOMAIN, has a flight to the venues, would really appreciate a transportable solution without sacrificing sound appreciate.

Knowing the purpose of such a solution, the Dutch company KOCH AMPS has brought the Pedaltone onto the market, an all-tube preamp in a floorboard design that is intended to solve precisely these problems.



Construction:

The Pedaltone is a 4-channel tube preamp equipped with four 12AX7 preamp tubes. The special feature of the pedal tone is the fact that the amp is equipped with a 0.5 watt tube amplifier. The output of the power amplifier is not enough to sufficiently drive a 4x12" cabinet, but its area of application is only used for the important sound shaping in the power amplifier segment.

The Pedaltone comes in an extremely solid sheet steel construction with dimensions of 31 x 23.5 x 8.5 cm and a weight of 3 kg. Four solid rubber feet secure the device against unintentional movement in hectic everyday life on the stage. In the lower area there are 4 switching relays which carry out the following switching processes:

- Switch 1: Channel change 1 / 2
- Switch 2: Channel 2 Boost / Channel 1 Enhanced
- Switch 3: Poweramp on/off
- Switch 4: Volume Solo / Rhythm

Using the configuration mentioned above, a total of 8 different sounds can be accessed using a foot switch, plus two different volumes. In the area above the switches there is a control area divided into three sections and recessed for protection purposes:

- Channel 1 – volume control plus 2-band tone control
- Channel 2 – gain/volume control plus 3-band tone control
- Solo / rhythm volume adjustment plus volume and distortion level control power stage

There are 4 tubes in the head area, which are protected and ventilated by a cut steel sheet. In addition to the connection for the included power supply, the back of the device offers a variety of connection options, such as an output to a power amp, an output for the return of an FX path, a headphone output, a frequency-corrected output for P.A., a guitar input, a cleaner output for a guitar amp and a serial input buffered FX loop. In addition, the enhanced mode, a sound preset that makes the clean channel sound a little more “airy”, can be switched off with a small switch.


This offers a wide variety of areas of application for the pedal tone. Here some examples:

Example 1.) – the pedal tone as an upstream pedal:

You have a transistor amp whose outstanding characteristics are sufficient volume, but an insignificant clean sound and a “chainsaw massacre overdrive” sound. In this case, switch the pedal tone between the guitar and the clean channel of the amp and you have a complete 4-channel tube amp at your disposal!


Example 2.) – the pedal tone as a precursor:

Do you have a power amplifier on hand, or if in doubt, a 19" car that was left over from the last P.A. cleanout? Use the Pedaltone as a pre-amplifier, connect the cabinets behind the 19" power amplifier and the guitar system is ready!


Example 3.) – the pedal tone as an amp extension:

Do you have an amp with a good-sounding power amplifier and an FX loop, but are rather disappointed with the preamp that comes with it? Put the pedal tone in the return of the loop and you have combined the pedal tone as a preamp and your power amp!
I use this function very often at large festivals, for example. On such occasions, a standard backline is usually provided by the organizer, usually consisting of the usual TSL or DSL models along with cabinets from Marshall. In this case, I only use the power amplifier of the same amplifier and still have the entire range of sounds of the Koch available without having to transport large top parts.


Example 4.) – the pedal tone directly into the P.A.:

Do you play in a band that needs to sound good even at low volume? Maybe in a cover band where the “Guitar quieter” signs are held up in the back rows after the sixth bar of the first number? The pedal tone directly into the mixer and listen to your sound via the monitor system, it can't be quieter!



Sound:
Well, a power amplifier in a preamp, what's the point of that, some might ask. “My preamp from Asia-Heinz from Hinter-Thailand is really distorted even without a power amplifier, you know...”. Just ask your local music retailer about this kind of customer, they will sing you a polyphonic song about it for 2 hours ;-)

Let's first take a look at the clipping behavior of a preamp and a power amp. If we leave aside all the technical terminology of the “big” amplifiers, e.g. about the return current interaction of the amplifier with the loudspeaker etc., the distortion behavior of the two components can be roughly (!) divided as follows:

A preamp tube reacts very quickly to incoming currents after it has been driven into saturation, which means that it distorts very quickly and can be driven evenly to a more or less high level of distortion, depending on the components used. It processes the incoming signal in a relatively “equalizing” manner, i.e. signals that differ in volume are reproduced with a relatively small difference in sound. For example, if the musician plays a part with high dynamics and large differences in volume, these parts are relatively “equalized”.

A power amplifier tube, on the other hand, works with dynamic distortion, i.e. the artist's personal dynamic playing style is supported by this circuit in terms of sound technology. Loud peaks are reproduced with greater distortion and higher compression, while quieter passages remain in the clean range.
To be more precise, it is exclusively this specific sound behavior that has ensured the tube power amplifier's stable survival in a world dominated by transistors and semiconductors. Even if the emulations of a tube power amplifier are getting better and better and the logarithms of digital amplifiers are constantly being refined by various manufacturers, at the moment no circuit design, no matter how sophisticated, can accurately reproduce the archaic design of the tube dinosaurs.

Let's start with the clean sound. What many people probably don't know is the fact that Koch have a very good reputation for their clean sound. Some endorsers actually only use the clean channel of the amps and generate all other sounds via floor pedals. Even in the pedal tone, the clean sound (channel 1) is beyond any doubt. Warm, soft, a touch of the legendary Fender ambience wafts from the speakers. Do you have a bulky transistor horn that only delivers an angular or clinical clean sound? Put the pedal tone in front of the amp and you will be amazed at how warm your amp can sound. The additional Enhanced switch gives the sound a high “sparkle” content if necessary, very nice for cleanly plucked things or funky riffs. When the volume is fully turned up, channel one also saturates and the first harmonic distortions are introduced.

If we go to the second channel, the response of the board changes fundamentally. It is much more compressed than in the clean area, and the sound development is also much more flexible thanks to the three-band tone control. Slightly distorted to strongly distorted calibers can be configured here. An even control path ensures a seamless transition within the distortion level. If you now press the boost switch, the distortion fraction kicks in. Depending on the feeding instrument, the result is an even tube board that still guarantees transparency.

But now let's come to the novelty of the pedal, the power amplifier. Even though all the sounds so far have been completely convincing, there is still no question that it is just a great-sounding preamp, which, like all preamps, has to make do with limited dynamics. Anyone who has ever tried to get an AC/DC sound a la JTM45 from a preamp or a moderately turned up tube amp will quickly notice that such attempts usually result in undynamic preamp distortion. Have fun and listen to channel 1 in a clean setting with the power amplifier turned up to full volume. All I'm saying is: damn close! Of course, a cute 12AX7 can't reproduce the stroke of one of the big bottles like the EL34 or 6L6, but the fact that such a sound is even possible with a floorboard deserves a very honorable mention! The second channel plus additional power amplifier is also a great cinema, the sound behaves exactly like a full-sized top including saturation and dynamics. Everything from light crunch to heavy hard rock is included here.

You have to be careful with the “All-The-Way-Through” setting, i.e. channel 2 plus boost plus power amplifier saturation, as it can slip into mud, especially with humbucker-supported guitars, as there is simply too much of a good thing in terms of distortion.


Conclusion:
Who would have thought that there would be an amp designer in “Oranje Land” who could stand up to the overwhelming power from overseas or even the German model manufacturers with his products. Despite excellent products and constantly growing popularity, Koch-Amps has still not overcome the status of an insider tip, especially in Germany. However, products like the Pedaltone ensure that the brand's reputation will continue to rise steeply. Rarely have I come across such a useful and outstanding sounding product with great practical value.

Depending on the equipment and area of application, the Pedaltone closes the gap between portable entry-level equipment and professional cutlery that requires a lot of transport effort by upgrading what is already there or supplementing what is coming.

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Additional Informations:

In the realm of guitar amplification, few names command as much respect and admiration as Koch Amplification. Renowned for their exceptional build quality, innovative design, and superior tone, Koch amps have earned a devoted following among professional musicians and enthusiasts alike. The story of Koch Amplification is one of passion, craftsmanship, and a relentless pursuit of sonic excellence.

**The Early Years: The Vision Takes Shape**

Koch Amplification traces its roots back to the Netherlands in the late 1970s when Dolf Koch, a talented guitarist and electronics enthusiast, set out to create amplifiers that would satisfy the discerning needs of fellow musicians. Armed with a deep understanding of tube technology and a keen ear for tone, Koch began experimenting with amplifier circuits in his workshop, striving to capture the elusive magic that defines great guitar amplification.

Koch's early creations garnered attention for their exceptional clarity, responsiveness, and dynamic range, earning him a reputation as a gifted amplifier designer. However, it wasn't until the early 1980s that Koch would officially launch his own amplifier company, Koch Engineering, marking the beginning of a new chapter in the history of guitar amplification.

**The Rise to Prominence: Innovation and Excellence**

Throughout the 1980s and 1990s, Koch Engineering established itself as a leader in the world of boutique guitar amplification, producing a range of amplifiers and speaker cabinets that quickly gained acclaim for their superior sound quality and reliability. Koch's relentless pursuit of innovation led to the development of groundbreaking technologies such as the Dynamic Responsive Amplification (DRA) circuitry, which dynamically adjusts the amplifier's response to the player's touch and technique, resulting in unparalleled tonal versatility and expressiveness.

One of Koch's most iconic amplifier series, the Twintone, debuted in the early 2000s and became an instant classic among guitarists seeking vintage-inspired tones with modern flexibility. Featuring a dual-channel design with independent EQ and gain controls, as well as built-in reverb and effects loop, the Twintone epitomized Koch's commitment to craftsmanship and sonic excellence.

**Expanding Horizons: Global Recognition and Acclaim**

As Koch Amplification's reputation continued to grow, so too did its global presence. The company's amplifiers found their way into the rigs of top-tier musicians and recording artists, who prized them for their exceptional tone, reliability, and versatility. From intimate club gigs to stadium-sized concerts, Koch amps proved themselves capable of delivering world-class sound in any musical setting.

Koch's commitment to quality and innovation did not go unnoticed within the industry, earning the company numerous awards and accolades for its contributions to guitar amplification. Koch amplifiers became sought-after tools for studio recording, live performance, and home practice, cementing their status as indispensable gear for discerning guitarists around the world.

**The Legacy Continues: Innovation and Excellence**

Today, Koch Amplification remains at the forefront of guitar amplification, continuing to push the boundaries of tone and performance with each new product release. The company's lineup includes a diverse range of amplifiers and speaker cabinets designed to suit the needs of players across a wide range of musical genres and playing styles.

Recent innovations from Koch include the introduction of advanced features such as onboard digital effects, MIDI compatibility, and power scaling technology, allowing guitarists to unlock new creative possibilities and tailor their sound with precision and ease. Additionally, Koch has expanded its product offerings to include a range of boutique effects pedals, speaker simulators, and accessories, further solidifying its position as a one-stop destination for premium guitar gear.

**Conclusion: The Koch Amplification Legacy**

In conclusion, the story of Koch Amplification is one of passion, innovation, and unwavering dedication to sonic excellence. From humble beginnings in a small workshop in the Netherlands to global recognition as a leading manufacturer of boutique guitar amplifiers, Koch's journey has been marked by a commitment to craftsmanship, quality, and the pursuit of the perfect tone.

As guitarists continue to seek out new sounds and experiences, Koch Amplification remains steadfast in its mission to provide them with the tools they need to unleash their creativity and expressiveness. With a legacy built on decades of innovation and excellence, Koch Amplification stands as a shining example of what can be achieved when passion meets craftsmanship in the world of guitar amplification.

TEST: Keeler Push

 When I started learning the electric guitar, the world in terms of amplifier technology looked a little different than it does today. Apart from the Mesa Boogie Combo, which was already beyond every student's budget, no regular combo or head was able to produce a sustain-rich solo sound from the factory. Not to mention the “cucumber department” that I was struggling with at the time.

Back then (and probably still today), a popular distortion pedal was the first pedal that every student bought in the hope of getting the same sound out of their second-rate makeshift combo as their personal idols did on vinyl. At that time the rule of thumb was that an official distortion device cost just under 100 DM (just under 50 €). (Note: there was also a rule of thumb: one mark per watt of speaker power, i.e. a 100 watt Celestion speaker cost €50 back then! Those were the days ;-))

Who would have thought that the distortion market would skyrocket in price both to the basement level and, thanks to the boutique trend, to unimagined heights. So one or the other is wondering what, apart from purely hand-made production, can cause the RRP price of a distortion device to rise above the €300 mark, especially if it is not equipped with interfaces, interfaces or control functions.

Exactly these attributes apply to the Keeler pedals, all handmade by Rob Keeler, one of the new names in the boutique heaven, who has been showered with great praise within the scene. My curiosity was piqued.

construction

The Keeler Design pedal I have for testing is called “Push” and belongs to the subgroup of overdrive pedals, so it is intended to simulate an overdriven tube of a tube amplifier. High-class pedals of this type are characterized primarily by the fact that they harmonize interactively with the guitar's volume control, i.e. they naturally reduce the level of distortion of the pedal when the volume on the guitar is reduced. Strictly speaking, it is THE quality feature that, in addition to a high-quality basic sound, should distinguish a low-budget Quaker from a high-end device with a price factor of 10.

Visually, the pedal comes in a wonderful “Gary Glitter Memory Purple Metallic”, one of the standard disco colors of the late seventies / early eighties. Laugh at me, but I stand by it, I like this color! Oh yes, and for me the discom music a la Saturday Night Fever is still the best dance music that ever existed, that's it! ;-)

You can see at first glance that this was made by hand. Sometimes one of the four rubber feet on the underside of the housing is not completely aligned, or the triangle pictograms of the input and output sockets are sprayed on in different sizes. It doesn't matter if the inner values are right, such small optical details are pure peanuts.

As expected, the Push has a (slightly wonky) true bypass, which completely removes the signal from the internal electronics when the effect is deactivated. The pedal can be powered either by a 9V battery or by an external power supply. When it comes to control options, the Push only has three controls, named “Volume”, “Gain” and “Treble” and their function is therefore actually self-explanatory.

The product comes in a solid metal housing and will easily withstand the kind of kicks that a pedal inevitably encounters. The pedal has an extremely bright blue LED as a status indicator. If you loosen the four screws on the bottom of the case, a very clear interior becomes apparent. Only the circuit board, which is cast in black plastic, attracts some attention, but as mentioned, it is completely submerged in the black mass to make copying more difficult and therefore cannot be explored further.

Despite being hand-crafted, the entire wiring is carried out cleanly, no overhangs or slag heaps (like in my first soldering attempts...), only the synthetic resin compound pulled a few small threads when it set. Well, that's it for the equipment, let's turn to the sound.


Practice

So, to be completely honest, if you've briefly looked into the innards of the Push and weighed the box from one hand to the other, you can't really imagine what a product like this should be worth almost €300 . Yes and then I connected the overdrive...

And then it really knocks your socks off! Let's keep it short, the Push is by far one of the best overdrive pedals I've ever heard in my life. It's hard to believe what Rob Keeler can achieve with just a few wires and a minimal circuit.

On the one hand, we have an excellent basic sound from the pedal. Until around 2 o'clock, the treble control stays in the slightly musty range and can have a nice Texas muffle, before it becomes noticeably sharper in its accentuation. In the gain range, all distortion intensities of a tube can be accessed, from almost completely clean to very strong crunch, just like with a full tube amp.

I find it particularly remarkable that in my opinion the push not only simulates the overload behavior of a preamp tube, but rather you have the feeling that you are controlling a non-master volume head, the interaction with the pedal can be controlled so beautifully. Even at high gain, the compression remains manageable and controllable and doesn't get bogged down in sustain monotony. Nevertheless, the attack phase remains soft and solid without bringing too much sharpness and edges into the sound.

If you bring the volume control more into play, the Push can also be used as a booster; it all depends on the interaction of the guitar, pedal and amplifier.



Conclusion

Yes, I was a little blinded by the first impression. At first glance, I wouldn't have given the colorful disco king too much credit, but it turns out once again that even the experienced tester should just keep his mouth shut until he has really heard the product in its entirety.

The Push from Keelerdesign is an absolute top-class overdrive and impresses in terms of sound! Rarely has a semiconductor-based distortion pedal been able to make me rave as much as this product. Sound-neutral and with minimal control options, the Push meets all the parameters you would hope for from an overdrive pedal.

Everyone has to decide for themselves whether they are willing to pay a street price of around 260 euros for the inconspicuous box with the big sound, but if they want an overdrive from the Bundesliga, the push is absolutely the right choice.

By the way, the sound files were recorded with a Tele Black & Gold, hence the strong bass reduction when the volume control is closed.

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Additional Informations:

**The Evolution of Guitar Effects Pedals: A Comprehensive Journey**

The world of electric guitars is as much about innovation and experimentation as it is about virtuosic playing. At the heart of this sonic exploration lie effects pedals, those small, often unassuming boxes that have the power to transform a guitarist's sound into something entirely new and unexpected. Among the myriad of effects pedals available, one category stands out for its ubiquitous presence and profound impact on modern music: the world of floor-based effects, or more commonly known as "stompboxes." This is the story of their evolution, particularly focusing on the genesis and development of floor-based effects pedals.

**The Birth of Guitar Effects**

To understand the origin of floor-based effects pedals, we must first look back to the early days of electric guitar and amplifier experimentation. In the 1940s and 1950s, pioneering guitarists and inventors began to explore ways to modify and enhance the sound of the electric guitar. One of the earliest examples of this experimentation was the use of tape echo machines, such as the Maestro Echoplex, to create repeating, echo-like effects.

As the 1960s dawned, the demand for more portable and practical effects units grew. This led to the development of compact effects pedals, which could be easily controlled and manipulated by the guitarist's foot while playing. The first of these pedals, such as the Maestro Fuzz-Tone and the Electro-Harmonix Big Muff Pi, laid the groundwork for what would become a flourishing industry of guitar effects.

**The Rise of Floor-Based Effects Pedals**

The true genesis of floor-based effects pedals can be traced back to the late 1960s and early 1970s when guitarists sought ways to incorporate a variety of effects into their live performances. Prior to the widespread adoption of stompboxes, many guitarists relied on rack-mounted effects units, which were bulky, expensive, and often difficult to control in a live setting.

The breakthrough came with the introduction of the Electro-Harmonix Electric Mistress flanger and Memory Man delay pedals in the early 1970s. These pedals, along with other innovations like the MXR Phase 90 and Uni-Vibe, demonstrated the potential for compact, floor-based effects units to deliver studio-quality sounds in a live performance setting.

**The Birth of Iconic Pedals and Brands**

Throughout the 1970s and 1980s, numerous iconic effects pedals were introduced, each contributing to the rich tapestry of guitar tones heard on countless recordings and live performances. Brands like Boss, MXR, and Ibanez emerged as leaders in the field, producing a diverse array of pedals ranging from overdrive and distortion to modulation and time-based effects.

One of the most influential pedals of this era was the Ibanez Tube Screamer, which became synonymous with the classic rock and blues tones of artists like Stevie Ray Vaughan and John Mayer. Similarly, the Boss DS-1 Distortion and MXR Phase 90 found favor with guitarists across a wide range of genres, cementing their status as staples of the pedalboard.

**Technological Advancements and Innovation**

As technology advanced, so too did the capabilities of floor-based effects pedals. Digital signal processing (DSP) technology revolutionized the industry, allowing for greater versatility and control over a wide range of effects. Pedals like the Line 6 DL4 Delay Modeler and Eventide H9 Harmonizer showcased the potential of digital effects processing, offering guitarists unprecedented flexibility and sonic possibilities.

At the same time, analog purists continued to champion the classic sounds of vintage effects pedals, leading to a resurgence of interest in analog circuitry and "boutique" pedal builders. Companies like Strymon, EarthQuaker Devices, and JHS Pedals emerged, offering handcrafted pedals with unique sounds and features that appealed to discerning musicians seeking something beyond the mass-produced offerings of larger manufacturers.

**The Modern Landscape of Effects Pedals**

Today, the world of floor-based effects pedals is more diverse and dynamic than ever before. Guitarists have access to an unparalleled array of pedals, ranging from faithful recreations of vintage classics to cutting-edge digital effects units with advanced features like preset storage and MIDI connectivity. The rise of online communities and forums has facilitated the sharing of knowledge and expertise, allowing guitarists to discover new sounds and techniques from around the world.

In conclusion, the evolution of floor-based effects pedals is a testament to the ingenuity, creativity, and passion of musicians and engineers alike. From humble beginnings as simple tape echo machines to the sophisticated digital processors of today, effects pedals have played an indispensable role in shaping the sound of modern music. As technology continues to advance and new innovations emerge, one thing remains constant: the enduring appeal of the effects pedal as a tool for sonic exploration and expression.

**The Influence of Guitarists and Musical Trends**

Beyond technological advancements, the evolution of floor-based effects pedals has been heavily influenced by the creative genius and musical experimentation of guitarists themselves. Throughout history, pioneering musicians have pushed the boundaries of what was thought possible with guitar effects, inspiring both manufacturers and fellow players to innovate and explore new sonic territory.

In the 1980s, the rise of heavy metal and hard rock brought about a demand for high-gain distortion pedals capable of producing searing lead tones and crushing rhythm sounds. Pedals like the Boss HM-2 Heavy Metal and the Pro Co RAT became essential tools for metal guitarists seeking aggressive and articulate distortion.

Similarly, the alternative rock movement of the 1990s saw the emergence of new effects pedals designed to create unique and atmospheric sounds. Bands like My Bloody Valentine and The Smashing Pumpkins popularized the use of pedals like the Electro-Harmonix Big Muff Pi and the BOSS CE-1 Chorus Ensemble, pushing the boundaries of conventional guitar tones and inspiring a generation of musicians to experiment with texture and ambience.

**The Role of Innovation and Competition**

Innovation and competition have also played a significant role in shaping the landscape of floor-based effects pedals. As the demand for new and exciting sounds continues to grow, manufacturers are constantly striving to outdo one another, introducing groundbreaking features and technologies to capture the attention of discerning guitarists.

One notable example of this competitive spirit is the proliferation of multi-effects pedals, which combine a variety of effects into a single unit. Brands like Line 6, TC Electronic, and Boss have released flagship multi-effects processors packed with an extensive range of amp models, effects, and customizable parameters, offering guitarists unparalleled versatility and convenience in a single package.

Another area of innovation is the integration of digital connectivity and software-based control into effects pedals. Pedals like the Strymon Timeline and the Eventide H9 feature USB and MIDI connectivity, allowing guitarists to access additional presets, update firmware, and even create custom sounds using dedicated software applications. This level of integration represents a paradigm shift in how guitarists interact with their effects pedals, opening up new possibilities for creativity and performance.

**The Future of Floor-Based Effects Pedals**

Looking ahead, the future of floor-based effects pedals appears brighter and more exciting than ever before. Advances in technology, coupled with the boundless creativity of musicians and manufacturers, promise to usher in a new era of innovation and sonic exploration.

One trend that is likely to continue is the convergence of analog warmth with digital precision. Manufacturers are increasingly incorporating analog circuitry and components into digital effects pedals, resulting in pedals that offer the best of both worlds: the classic tone and responsiveness of analog circuits, combined with the flexibility and functionality of digital processing.

Additionally, we can expect to see continued experimentation with alternative power sources and form factors. With the growing emphasis on sustainability and environmental consciousness, manufacturers are exploring innovative ways to power pedals using renewable energy sources such as solar power and rechargeable batteries. Similarly, advancements in miniaturization and ergonomic design may lead to the development of smaller, more portable pedals that offer the same level of performance as their larger counterparts.

In conclusion, the evolution of floor-based effects pedals is a testament to the enduring spirit of innovation and creativity within the guitar community. From humble beginnings as crude tape echo machines to the sophisticated digital processors of today, effects pedals have remained at the forefront of sonic experimentation and artistic expression. As technology continues to evolve and new musical trends emerge, one thing is certain: the journey of exploration and discovery with floor-based effects pedals is far from over.

TEST: Jackson RRX24

 Let's not kid ourselves, in principle all relevant solid body guitar shapes were already on the market at the beginning of the sixties. The two market leaders Fender and Gibson managed to cover pretty much the entire spectrum of practical shapes with a total of six guitar shapes (Strat, Tele, Les Paul, SG, Explorer, Flying V) and even dismissed the designers in-house with only the possibility of a modification (e.g. Firebird) back to their drawing tables. Only a few manufacturers managed to develop an independent product line in the following decades, but the Jackson company with its RR series must be counted, whose models are based on the preferences of Quiet Riot / Ozzy Osbourne guitarist Randy Rhoads, which is particularly important for many guitarists in the 50+ department were a great inspiration. From this series we have the Jackson

The construction of the Jackson X Series Rhoads RRX24

How exactly the shape of the RR model came about cannot be clearly determined, especially since you can no longer ask the inventor of the layout. One theory is that Randy Rhoads was bothered by the lower horn of his Flying V, with which he was often seen live, and one day he sawed off one of the horns. Another theory says that the somewhat clumsy prototype that he created at the time using simple means was the original form for his model.

Be that as it may, the shape polarizes accordingly and can enjoy all sorts of adjectives from “the sharpest metal ax ever” to “ugly”. The interested reader should form his own opinion. From a purely tactile perspective, the unusual shape is undoubtedly convincing, although you can't avoid an unpleasant peculiarity of the shape. Experienced Flying V players will know the problem, but the RR model tops it all off. We are talking about the “wear” of the tip of the upper horn of the body.

It is completely impossible to set the guitar down anywhere without that end and its paint hitting the floor. Even if you have a hanging guitar stand, it's only a matter of days, maybe even hours, before the paint starts chipping off in that spot. At least these days you can get a molded case for this form for comparatively little money, the dramas that arose when it was introduced in the eighties. It's hard to imagine today. On the other hand, anyone who can visually cope with the shape, which could have arisen from a liaison between a Flying V and a Boomerang, will be rewarded with very good playability up to the 24th fret.

The instrument, manufactured in Indonesia, uses the currently popular manufacturing method in its construction, meaning a continuous neck, in this case made of maple, with attached basswood wings. Even in the cheaper product ranges, the fact has arrived that a continuous neck offers a level of sustain that is only achieved with glued or screwed necks at the highest level of production and makes the instrument sound many times more high-quality than the retail price would suggest .

When it comes to the fingerboard, Jackson also takes a modern approach and uses Laurel, which is native to Central and South America, on the Compond Radius (12" - 16"), which looks very close to a medium-dark rosewood variant. The fingerboard has 24 jumbo frets. The model has a reversed headstock, which beautifully takes up the angle of the lower, shortened horn and visually gives the guitar a certain “lightness” in contrast to the classic “pick heel”. Speaking of lightness, with a weight of 3.3 kg, the instrument can be described as very light even without the optical lift.

When it comes to the finish, Jackson doesn't do things by halves either and serves the target group with a total of 4 different paint finishes. The black version with neon-green rally stripes we were testing is polarizing, as is the shape of the Jackson X Series Rhoads RRX24, but it fits the intended style perfectly. Alternatively, there is the black-yellow, black-red and, for the bravest among you, black-violet variants. The bright colors are not only tastefully placed on the body, but also continue the color scheme in the fingerboard inlays in the Jackson-typical shark fin layout. Why the green isn't continued in the Jackson lettering and instead changed to light green isn't entirely clear to me. Perhaps for reasons of better readability at a greater distance.

Where Eighties Metal is written, two classic components should of course not be missing. We're talking about the Floyd-Rose vibrato system and active pickups. Despite the expired patent including the locking saddle, the former is still purchased from Floyd Rose, version of the union nut, the latter does not come from the top dogs EMG or Fishman, but from the company Seymour Duncan with the names Blackouts AHB-1B (Bridge) and Blackouts AHB-1N (neck). Access to the battery compartment is located on the back of the body and is designed as a separate compartment.

Both pickups are switched with a 3-way switch in LP style without a coil tap. The tuners, on the other hand, come from our own production and are called Sealed Die-Cast, the controls are designed as speed domes. The pickup switch used turns out to not be of the highest quality in terms of usability and is probably a victim of the red pen. Overall, however, the instrument must be said to be of significantly higher quality than what the retail price of just €778 suggests.

The X Series Rhoads RRX24 in practice

First of all, let's come to a fact that is probably already known, but which is always forgotten. If you plan to play the instrument primarily while sitting, or worse yet, plan to play the instrument while sitting for YouTube videos, you should look for a different format. There is nothing more embarrassing than the cramped leg position you are forced to adopt when playing this instrument, which is more reminiscent of a very urgent need to urinate than of a relaxed or at least self-confident sitting position. This instrument can only be played while standing up, or you can expose yourself to ridicule.

When it comes to sound, the inclined user gets exactly what the optics promise. As expected, the entire orientation of the instrument is hard'n'heavy, although the basic sound character differs from many of its competitors. I don't want to start the basic discussion again about the tonal impact of the guitar shape on the overall sound, but the fact is that the instrument's resonance behavior with its subtle nasal sound is much more in the direction of a Flying V than, for example, the other end of the scale, a Les Paul oriented.

Otherwise the gain control in the RR camp rules. The included sound files were made with an ENGL Savage MKII and despite the high tonal variety of the amp, it was not possible to get a crystal clear sound from the amp. The output of the Seymour Duncan pickups only knows one direction, which has its advantages in the half-wave cut, but excludes many sounds in the clean range. On the other hand, who would want to create clean sounds with such an instrument and if necessary there is always the volume control.

In terms of sound, the Jackson X Series Rhoads RRX24 differs from the competition, particularly in the pickup configuration. The sound is quite unique for an active pickup and takes a significantly different approach than, for example, the reference class from EMG. The volume of the classics is somewhat missing, especially in the low-mid range, and the compression has also been significantly reduced. This has a positive effect in the crunch and lead areas, but leads to a somewhat “insignificant” sound in the high gain area.

In terms of workmanship, the instrument can be described as excellent; I couldn't see any defects in terms of paintwork or transitions, as is so often the case with “Made In Indonesia” lately. If you don't want to go for the USA models, which are around 500% more expensive, you have the opportunity to impress visually and acoustically with Asian production without noticing too big a difference at first glance.

Conclusion

With the Jackson X Series Rhoads RRX24, the manufacturer offers very good quality for little money in the hard'n'heavy range. Workmanship, sound and general appearance offer fans of distorted sound a wide variety of options, especially as the general appearance in both shape and finish will attract attention.

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Additional Informations:

In the annals of guitar history, few instruments have achieved the iconic status of the Jackson Randy Rhoads models. Born out of a collaboration between two titans of the industry, the late Randy Rhoads and Grover Jackson, these guitars represent a fusion of innovation, artistry, and a relentless pursuit of excellence. The story of their inception is a fascinating journey through the realms of music, craftsmanship, and personal ambition.

**The Protagonists: Randy Rhoads and Grover Jackson**

Randy Rhoads, the virtuoso guitarist, rose to fame as the lead guitarist for Ozzy Osbourne's band. His playing style, characterized by lightning-fast runs, neoclassical influences, and emotive solos, captivated audiences and inspired a generation of guitarists. Rhoads was not only a remarkable musician but also a visionary who sought to push the boundaries of guitar design.

Grover Jackson, on the other hand, was a luthier and entrepreneur with a passion for crafting exceptional guitars. He founded Jackson Guitars in the late 1970s, initially focusing on custom instruments. Jackson's commitment to quality and innovation quickly earned him a reputation as one of the premier guitar builders in California.

**The Conception of the Randy Rhoads Model**

The genesis of the Randy Rhoads models can be traced back to a chance encounter between Rhoads and Jackson in the late 1970s. Rhoads, dissatisfied with the guitars available on the market, approached Jackson with a unique proposition: to design a guitar that combined the playability of a Gibson with the sleekness of a Fender Stratocaster.

Jackson, intrigued by the challenge, set to work on realizing Rhoads' vision. The result was the Jackson Concorde, a radical departure from traditional guitar designs. With its aggressive angular body shape and distinctive "shark fin" inlays, the Concorde embodied Rhoads' rebellious spirit and avant-garde sensibilities.

**The Evolution of the Rhoads Model**

The initial Concorde prototype laid the foundation for subsequent iterations of the Rhoads model. Rhoads provided invaluable feedback on playability, tone, and aesthetics, guiding Jackson through the iterative design process. Together, they refined the guitar's features, incorporating elements such as a through-body neck construction, compound radius fretboard, and high-output pickups to meet Rhoads' exacting standards.

The collaboration between Rhoads and Jackson was not without its challenges. Rhoads, a perfectionist by nature, demanded nothing short of excellence, pushing Jackson to continually innovate and refine his designs. Despite the occasional creative differences, their shared passion for music and craftsmanship forged a deep bond that permeated every aspect of the Rhoads model's development.

**The Legacy of the Rhoads Model**

The Jackson Randy Rhoads models made their debut in the early 1980s, garnering immediate acclaim from guitarists and critics alike. Rhoads himself wielded these instruments on stage, showcasing their unparalleled playability and sonic versatility to audiences around the world. His tragic death in 1982 only served to cement the Rhoads model's status as a timeless icon of rock and metal.

In the years that followed, the Rhoads model underwent numerous revisions and iterations, each one building upon the legacy of its predecessor. From the budget-friendly JS Series to the high-end USA Custom Shop models, the Rhoads lineup continues to evolve, catering to the diverse needs and preferences of modern guitarists.

**Conclusion**

The Jackson Randy Rhoads models represent more than just instruments; they are symbols of creativity, collaboration, and the relentless pursuit of perfection. Born out of a partnership between two visionaries, these guitars continue to inspire musicians and fans alike, embodying the spirit of innovation and artistic expression that defined Randy Rhoads' legendary career. As long as there are guitarists seeking to push the boundaries of music, the legacy of the Rhoads model will endure, reminding us of the transformative power of passion and creativity.