TEST: Rockboard HA 1

 I don't think I'm going out on a limb when I say that the majority of musicians who have left the rehearsal room are now working with an in-ear system on stage. Of course, depending on the type of instrument, moving air is still a very different sound experience and even the best earphones in the ambitious four-figure retail price range cannot reproduce the direct radiation of a 12-inch speaker in its entirety 1:1, but the advantages of in-ear systems in terms of spatial independence and mobility ultimately trump everything in terms of sound purism. Modern rock/pop shows with the corresponding entertainment can no longer be realized with cables, so that in high-end live productions, gigantic transmitter racks are piled up backstage to supply the corresponding artists with signals. But what if you don't need an extensive movement frame with the corresponding stage show as part of your stage function or, as in the case of the drummer, don't even have one available? This is where miniature in-ear amplifiers come into play, including the Rockboard HA 1 we tested.

The concept of the Rockboard HA 1

Anyone who comes from the music industry, such as cover, theater or revues, will probably already know the situation from their own experience. The singers take over the show area / communication with the audience and, apart from occasional interludes, the guitar / bass / keyboards (drums anyway) department stays in its assigned place, with a maximum radius of movement of perhaps 4 square meters. In such a habitat, it is more than questionable whether you really want to put up with monitoring via a wireless link with all its disadvantages such as battery management, interference, etc., especially if your own instrument is also possibly already connected to the amplifier via a cable and the mobility of the wireless link would not bring you any spatial gain.

In this environment, a cable-based amplifier makes much more sense, as the signal transmission is not only more stable and resistant to interference, but there is also no frequency adjustment within the band or at festivals, for example. I recently discovered on my last South America tour that my very high-quality transmission system on the LTE gap of 823 MHz in Argentina was unusable due to cracking interference that could not be eliminated and I had to switch to a cable at short notice. To serve this segment, there are said miniature in-ear amplifiers, which are usually attached to the waistband / guitar strap using a clip. The Rockboard HA 1 also works according to this principle, but has several practical advantages over the competition for this price range.

The immediate opponent of the Rockboard HA 1 is currently the Behringer Powerplay P2, especially since the two products only differ by one euro in retail price. The overall concept of a miniature in-ear ear amplifier is the same throughout. Using a lockable XLR / TRS plug, which receives a stereo signal, the signal is brought to a corresponding level via a mini jack socket for the in-ear earphone, which can then be adjusted in the overall volume using a corresponding potentiometer.

In addition to the expected demands on the sound of the product, it is above all the areas of workmanship, feel, quick access to the battery compartment and battery life that characterize a miniature in-ear amplifier. Let's start with the workmanship of the Rockboard HA 1. The Rockboard HA 1 has a solid aluminum housing, which should withstand hard knocks that will inevitably occur in its area of ​​application very well and is nevertheless very light due to the choice of material. In order to get to the inner workings of the product, 2 Allen screws would have to be loosened on each of the front sides, but this will normally never be necessary, as the Rockboard HA 1 has a battery compartment that is accessible from the outside. In contrast to some competitors, where the battery is changed using a pressure switch, which pushes the inner workings of the amplifier outwards like a sleeve, Rockboard has opted for a much more convenient battery compartment, which also turns out to be quicker to use.

Another very good detail is the fact that the lid of the battery compartment remains locked on the bottom when opened and cannot fall to the floor. This ensures that any battery change required during a show can be done in seconds. The lid also locks in place well and, thanks to its recessed placement in the housing, remains well protected against accidental opening during the show.

The battery life of the Rockboard HA 1 is stated by the manufacturer as 12 hours, which is the normal average for this product class. 2x AAA batteries are required, and a set of batteries is included with the product. With dimensions (L x W x H): 141 mm x 30 mm x 36 mm and a weight of 111 g, the amplifier can be described as very handy, so that it can actually be carried in almost any bag. In order to attach the Rockboard HA 1 to the waistband or guitar strap, an extremely tight clip has been attached to the side, which requires a certain amount of force to open, but also "bites" very securely onto the piece of clothing / guitar strap.

As is usual in the in-ear area, the Rockboard HA 1 also uses a mini jack socket to connect the corresponding earphone. This format has also become established for all earphone cabling, as regular 6.35 mm jack plugs would take up too much space despite their greater stability. The amplifier delivers a maximum output of 2 x 110 mW at 16 ohms, which also corresponds to the usual standard values. An XLR / TRS combo socket is used for the signal feed, which receives the preferably symmetrical signal from the monitor mixer / AUX path. The operating status of the Rockboard HA 1 is visually displayed via a status LED.

As a special feature, the Rockboard HA 1 has a mono / stereo switch, which solves a well-known problem with in-ear monitoring. As is well known, complex in-ear monitoring offers the possibility of acoustically depicting the stage very well in terms of the stereo image. If you can live with the fact that this acoustic image rotates 180 degrees when you look behind you, you can use it to generate your perfect stage sound. But if you share your setup with other musicians and can't cope with this stereo image, you have a problem. There are also many musicians who only use in-ear monitoring with one ear and remove the second earphone in order to hear the stage sound. Here, too, there is the problem of the stereo image, as the same instruments that are on the channel of the remote earphone are not perceived.

For these situations, the Rockboard HA 1 has the same mono / stereo switch, which allows you to switch your stereo image to mono with one hand if necessary. A very useful and practical setting, which can also be switched blindly behind your back during the show thanks to the good grip of the slider.

The Rockboard HA 1 in practice

I appreciate practical tests that basically only focus on the implementation of the points described above and are therefore correspondingly short. This is just such a test. The Rockboard HA 1 does what it should in every respect and what was assumed beforehand. The sound of the amplifier is neutral and is primarily determined by the in-ear earphones used.

The amplifier also has enough headroom to be able to reproduce a high volume without saturation, offers a uniform control range and is extremely easy to use. The mini jack socket grips firmly and holds the earphone sufficiently firmly so that an accidental slight pull on the earphone cable does not immediately push the plug out of the socket.

A very good amplifier that also has an excellent price/performance ratio.

Conclusion

The Rockboard HA 1 is a miniature in-ear amplifier on the market that has several practical detailed solutions. Thanks to the battery compartment, changing the battery is quicker and easier than with many other representatives of this product class, and the built-in mono/stereo switch even allows you to quickly switch the stereo image during the show.

The workmanship is impeccable, the concept is practical, and for me it is the current purchase recommendation in the area of ​​miniature in-ear amplifiers!

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Additional Informations:

In-ear monitoring (IEM) systems have revolutionized live stage performances by providing musicians with a personalized and precise audio mix. The development of in-ear monitoring amplifiers, in particular, has played a crucial role in enhancing the quality and reliability of these systems. This article delves into the history and evolution of in-ear monitoring amplifiers, tracing their origins, technological advancements, and impact on live music performances.

## Early Stage Monitoring: From Wedges to Wireless

### The Era of Floor Monitors

Before the advent of in-ear monitoring systems, stage monitoring primarily relied on floor monitors, also known as wedge monitors. These speakers, placed on the stage floor facing the performers, provided them with a mix of the audio signals being produced. While effective to some extent, floor monitors had several drawbacks:
- **Feedback Issues**: High sound levels often led to feedback, causing unpleasant squeals and interfering with performances.
- **Stage Clutter**: Multiple monitors on stage contributed to clutter, restricting performers' movements.
- **Inconsistent Sound**: The sound quality and levels varied depending on the performers' positions on stage.

### The Need for a Better Solution

The limitations of floor monitors drove the search for better solutions. In the late 1960s and early 1970s, as live performances grew larger and more sophisticated, the demand for more effective monitoring systems increased. The quest for better stage monitoring was driven by the need for:
- **Improved Sound Quality**: Clearer and more consistent audio for performers.
- **Reduced Feedback**: Minimizing the risk of feedback and related issues.
- **Enhanced Mobility**: Allowing performers to move freely without being tethered to a specific spot on stage.

## The Birth of In-Ear Monitoring Systems

### Early Experiments and Innovations

The concept of in-ear monitoring began to take shape in the late 1970s and early 1980s. Innovators in the audio industry started experimenting with ways to deliver audio directly to the performers' ears. The goal was to provide a more personalized and isolated listening experience, free from the limitations of traditional floor monitors.

One of the pioneers in this field was Marty Garcia, the founder of Future Sonics. In the late 1980s, Garcia developed one of the first in-ear monitoring systems, which used custom-molded earphones to deliver audio directly to the performers' ears. This early system marked a significant step forward, providing improved sound isolation and clarity.

### The Role of Wireless Technology

The development of wireless technology was a key enabler for the evolution of in-ear monitoring systems. Wireless in-ear monitors allowed performers to move freely on stage without being constrained by cables. Early wireless systems, however, faced challenges such as signal interference and limited range. Advances in wireless technology throughout the 1990s and 2000s addressed these issues, leading to more reliable and versatile in-ear monitoring systems.

## The Evolution of In-Ear Monitoring Amplifiers

### Early Amplifiers and Their Limitations

The initial in-ear monitoring systems used relatively simple amplifiers to drive the earphones. These early amplifiers, often integrated into wireless bodypack receivers, were basic in their design and functionality. While they provided a significant improvement over floor monitors, they had limitations:
- **Limited Customization**: Early amplifiers offered limited options for customizing the audio mix.
- **Sound Quality**: The sound quality, while improved, was still not optimal for all performers.
- **Durability and Reliability**: Early models were prone to wear and tear, impacting their reliability during performances.

### Advances in Amplifier Technology

The late 1990s and early 2000s saw significant advancements in amplifier technology, driven by the increasing demands of live performances and the growing popularity of in-ear monitoring systems. Key developments during this period included:
- **Improved Audio Processing**: Advances in digital signal processing (DSP) allowed for more precise control over the audio mix, including equalization, compression, and limiting.
- **Enhanced Customization**: Modern amplifiers provided performers with greater control over their audio mix, including the ability to adjust individual instrument levels and create personalized presets.
- **Higher Sound Quality**: Improvements in amplifier design and components resulted in higher fidelity audio, with better clarity and detail across the frequency spectrum.
- **Wireless Integration**: Integration with advanced wireless systems ensured more reliable signal transmission and reduced interference.

### Notable Manufacturers and Innovations

Several companies have played pivotal roles in the development of in-ear monitoring amplifiers. Notable manufacturers include:
- **Shure**: Shure has been a leader in wireless microphone and in-ear monitoring technology. Their PSM (Personal Stereo Monitor) series has set industry standards for reliability and sound quality.
- **Sennheiser**: Known for their high-quality audio products, Sennheiser's evolution wireless IEM series has been widely adopted by professionals for its robust performance and user-friendly features.
- **Ultimate Ears**: Ultimate Ears, a division of Logitech, has focused on custom-molded in-ear monitors and high-performance amplifiers, providing performers with tailored solutions for their monitoring needs.

## Impact on Live Performances

### Enhanced Performance Quality

The evolution of in-ear monitoring amplifiers has had a profound impact on live performances. Performers benefit from:
- **Consistent Sound**: Regardless of their position on stage, performers receive a consistent and high-quality audio mix, allowing them to focus on their performance.
- **Hearing Protection**: In-ear monitors help protect performers' hearing by reducing the need for high stage volume levels.
- **Improved Communication**: Many modern in-ear systems include features that facilitate communication between band members and sound engineers, enhancing coordination and performance quality.

### Adaptation Across Genres

In-ear monitoring amplifiers have been embraced across various music genres, from rock and pop to classical and jazz. Their versatility and benefits have made them a standard tool for both large-scale productions and smaller, intimate performances.

### Case Studies and Success Stories

Numerous artists and bands have successfully integrated in-ear monitoring systems into their live performances. For example:
- **U2**: The iconic rock band U2 has long been a proponent of in-ear monitoring, using advanced systems to ensure flawless performances in their large-scale concerts.
- **Beyoncé**: Pop superstar Beyoncé relies on in-ear monitors to deliver her high-energy performances with precision and clarity.
- **The Rolling Stones**: Even veteran rock bands like The Rolling Stones have adopted in-ear monitoring to enhance their live sound and protect their hearing.

## The Future of In-Ear Monitoring Amplifiers

### Technological Trends

The future of in-ear monitoring amplifiers is likely to be shaped by several technological trends:
- **Digital Integration**: Greater integration with digital audio networks and systems, allowing for more seamless and flexible setups.
- **Artificial Intelligence**: The use of AI to automatically optimize audio mixes based on real-time analysis of the performance environment.
- **Enhanced Customization**: Continued advancements in personalization, including custom-molded earphones and personalized audio profiles.

### Challenges and Opportunities

While in-ear monitoring systems have come a long way, there are still challenges to address:
- **Latency**: Ensuring low latency in digital systems to maintain real-time audio monitoring.
- **Durability**: Enhancing the durability and reliability of wireless systems in demanding live environments.
- **Affordability**: Making high-quality in-ear monitoring systems more accessible to a wider range of performers and venues.

## Conclusion

The evolution of in-ear monitoring amplifiers has transformed the landscape of live stage performances, providing performers with unparalleled control over their audio environment. From the early experiments in the 1980s to the sophisticated systems available today, in-ear monitoring amplifiers have significantly enhanced the quality and consistency of live sound. As technology continues to advance, the future holds exciting possibilities for further innovation in this field, ensuring that performers can continue to deliver their best performances with confidence and clarity.

TEST: AEA RPQ3

 The AEA RPQ3 is a microphone amplifier which, in addition to its function as a regular preamp, can show its strengths particularly when used with ribbon microphones.

The special nature of ribbon microphones

There is rarely a product group in the studio where opinions are so divided as with ribbon microphones. What for some represents the ultimate naturalness in terms of sound is out of the question for others due to the special frequency characteristics when it comes to the practical recording of instruments.

Here is a rough list of the special features of ribbon microphones, without claiming to be complete:

Advantages:

Without a doubt, the sound itself is one of the great advantages of this type of microphone, especially with high-quality ribbon microphones. The directional characteristic, which is set to a fixed figure of 8, inevitably brings a very large spatial aspect to the recording, which ensures a great naturalness in the reproduction.

For example, it is also possible to create a good-sounding combination of close-up and room recording by positioning the microphone very close to the dome when recording a guitar, for example, and thus capturing a high proportion of the direct sound, while at the same time also getting the same proportion of the room from the back of the microphone on the recording. This ensures a very natural sound and, especially in rooms that sound good, a very pleasant listening experience.

In addition, a ribbon microphone is usually very fine in its resolution and manages to capture even the last fine breaths and smacks in the signal path when recording vocals, for example. Last but not least, you can also record two instruments at once with a ribbon microphone. For example, I have often seen a ribbon microphone positioned between the two hanging toms on a drum kit, for example to save a microphone channel.

Disadvantages:

In the minus range, however, the ribbon microphone also has a few points that make working with this type of microphone more difficult. Firstly, there is the consistently high sensitivity of these types of microphone, which is why you see these microphones comparatively rarely in live situations. Dropping a microphone, which is practically no problem with a dynamic microphone, for example, can destroy a ribbon microphone, assuming it is not specifically built for live use.

The microphone is also very sensitive to accidentally applied phantom power. There are also ribbon microphones that are specifically built for phantom operation, but this represents a very small minority. The majority are destroyed within seconds by the phantom power applied.

The two biggest disadvantages, however, one of which is specifically addressed by the AEA RPQ3 microphone amplifier presented here for testing, is the enormous bass-heavy nature of the ribbon microphone and the associated extremely low output power. In fact, most microphone preamplifiers, which on average provide up to 60 dB of gain, are working at the absolute limit of adequately amplifying a ribbon microphone that has to transmit a quiet signal.

The concept of the AEA RPQ3

This is where the concept of the AEA RPQ3 amplifier comes in, which is not designed and manufactured by the company AEA in Pasadena / USA for nothing. The company AEA has an extensive portfolio of in-house ribbon microphones and has built up a very good reputation in this area in recent years.

It is obvious that such a company is familiar with the problems of a ribbon microphone, which is why this microphone preamplifier actually provides up to 85 dB gain. This is a value that I personally have never seen in a 19-inch microphone preamplifier. The gain value on the 2-channel amplifier is set using an extremely stiff rotary control, which works in 5 or 6 dB steps from 7 to 85 dB. Using the output control, the level can be looped through at 0 dB, or amplified by up to 20 dB. A three-digit LED chain informs the user how much level is present on the device. Green means minus 20 dBu, yellow 0 dBu, red means plus 20 dBu. What may seem a bit spartan at first glance with regard to the LEDs turns out to be relatively easy to handle in practice.

Both channels have two bandpass filters each, the operating point of which can be continuously adjusted between 40 Hz and 675 Hz, or 2 kHz and 28 kHz, using pleasantly stiff controls. Both filters can be activated or deactivated independently of one another using switches, or placed in the signal path using a master switch.

The rear connections of the AEA RPQ3 are traditional but effective. In addition to the loop-in path, which will be mentioned later, we have lockable inputs and outputs in XLR format, which are of high quality. There is also a voltage selector switch that allows you to choose between North American and European voltages, a IEC socket and a corresponding fine-wire fuse.

The preamp also has the usual standard equipment, such as phantom power per channel (red switch) and a phase reversal, which can be activated if required. However, the product also has several special features in its repertoire, which we will go into in more detail shortly.

The special features of the AEA RPQ3

As the company AEA has a wealth of experience with ribbon mics and their special sound characteristics due to its history, you can see from the fact that each channel has a gain switch, which allows ±10 dB in the treble EQ and ±20 dB in the bass EQ. With this extensive sound control, you can tackle the bass-heavy nature of the ribbon microphones very well.

Another special feature is the use of an effects loop, which is attached to the back of the housing. The TRS inputs and outputs allow the signal to be branched off before the equalizer and the output controller or the signal to be fed back after the same components. This means that various signal processors such as additional EQs or compressors can be integrated into the signal path of the preamplifier.

Another special feature is that the output of the insert always carries the signal, regardless of whether the insert on the front of the housing is activated or deactivated using the switch. This makes it possible to forward the signal routed in the daisy chain process to additional input sources during recording.

The AEA RPQ3 in practice

To say it right away, yes, the AEA RPQ3 is indeed suitable for any type of microphone, but the microphone amplifier can only really show its full strengths with a ribbon microphone. The possibility of pre-amplification with up to 85 dB actually gives the device a unique selling point that is rarely found these days. Of course, it is not necessary to have this type of pre-amplification available all the time, but it is incredibly reassuring to know that you can actually manage any type of signal flow from any type of microphone in your studio.

It is also noticeable that the two equalizers per channel tackle the signal relatively discreetly. Even with heavy processing, the signal takes on more of a coloration than it is actually distorted in terms of frequency in the sense of an equalizer. It is therefore in the manufacturer's interest that the original sound of the microphone is preserved and that the basic sound of the microphone is only slightly interfered with if necessary. Really bending the frequency curve is not possible with these equalizers, but it is not necessary either.

It is also very pleasant to note that the AER RPQ3 remains completely free of background noise even at high gain levels due to the high-quality components used. Once you have got used to the unusual handling of the gain control, the product is an absolute no-brainer with which you can do little wrong and a lot right.

I also really like the concept of the loop path, as with just a few simple steps and the use of external components such as compressors, equalizers or de-essers, you can quickly blow up the microphone preamp to a complete channel strip, which turns out to be very useful in practice.

Conclusion

With the AEA RPQ3, the American manufacturer has a preamp in its portfolio that is specifically designed for ribbon microphones. The extremely high preamplification of up to 85 dB allows optimal adaptation to the design of the ribbon mics and enables good signal routing even with quiet signals.

Highly recommended, especially since the microphone amplifier also cuts a fine figure with regular microphones.

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Additional Informations:

AEA Audio, short for Audio Engineering Associates, is a renowned name in the world of professional audio, known primarily for its expertise in ribbon microphones. Founded by Wes Dooley, AEA has made significant contributions to the field of audio engineering, offering high-quality recording equipment that has become a staple in studios worldwide. This article delves into the history, products, and impact of AEA Audio, highlighting its commitment to innovation and excellence.

## History and Founding

AEA Audio was established in 1964 by Wes Dooley, a passionate audio engineer with a deep appreciation for the rich, natural sound produced by ribbon microphones. Dooley's fascination with audio began in his youth, and he spent years honing his skills and knowledge in the field. His dedication to capturing authentic sound led him to found AEA, with the aim of preserving and enhancing the classic ribbon microphone technology.

In the early years, AEA focused on repairing and maintaining vintage ribbon microphones, particularly those produced by RCA. Dooley's expertise and meticulous attention to detail earned him a reputation as a master craftsman. This experience laid the groundwork for AEA's later innovations in ribbon microphone design and manufacturing.

## Ribbon Microphones: The Heart of AEA

Ribbon microphones are known for their natural, smooth sound, making them ideal for recording vocals, strings, brass, and other acoustic instruments. Unlike condenser microphones, which use a diaphragm to capture sound, ribbon microphones use a thin, corrugated metal ribbon suspended within a magnetic field. This design allows for a more accurate and detailed capture of sound waves, resulting in a warm and balanced audio output.

### AEA R44 Series

One of AEA's most iconic products is the R44 series, a faithful reproduction of the legendary RCA 44 ribbon microphone. The original RCA 44, introduced in the 1930s, set a high standard for broadcast and recording quality. AEA's R44 series maintains the classic design and sound characteristics of the original, while incorporating modern materials and manufacturing techniques to ensure durability and consistency.

The R44 series is renowned for its ability to capture the full frequency spectrum with remarkable clarity and depth. It features a bidirectional polar pattern, which captures sound from the front and rear while rejecting noise from the sides. This makes it an excellent choice for capturing the ambiance of a room or recording in stereo.

### AEA R84

Another standout product in AEA's lineup is the R84 ribbon microphone. Designed as a more versatile and affordable alternative to the R44, the R84 has become a favorite among recording engineers and musicians. It offers a smooth, extended frequency response and a natural, open sound that is well-suited for a wide range of applications, from vocals to percussion.

The R84's compact size and lightweight design make it easy to position in any recording setup, while its robust build ensures reliable performance in various environments. It also features AEA's proprietary Big Ribbon™ technology, which uses a larger ribbon element to capture more low-end detail and provide a fuller sound.

### AEA KU4

The AEA KU4 is a modern interpretation of the rare RCA KU3A, also known as the “Skunk Mic” due to its unique appearance. The KU4 is a unidirectional ribbon microphone, offering the rich, smooth sound of a ribbon mic with the directionality of a cardioid pattern. This makes it an excellent choice for isolating sound sources in challenging acoustic environments.

The KU4's design reduces proximity effect, allowing it to capture close-up vocals and instruments without excessive bass buildup. Its tailored frequency response provides a natural and detailed sound, making it a valuable tool for both studio and live recording.

## Innovations and Contributions

AEA Audio is not only known for its high-quality products but also for its contributions to the field of audio engineering. The company's commitment to innovation and excellence has led to several advancements in ribbon microphone technology.

### Big Ribbon™ Technology

One of AEA's notable innovations is the Big Ribbon™ technology, which uses a larger ribbon element to capture more low-end detail and provide a fuller, more natural sound. This technology is featured in several AEA microphones, including the R84 and the KU4. The larger ribbon element allows for a more accurate capture of low-frequency sounds, making these microphones ideal for recording bass-heavy instruments and vocals.

### Active Ribbon Microphones

AEA has also developed a line of active ribbon microphones, which incorporate onboard electronics to provide higher output levels and improved signal-to-noise ratio. These microphones, such as the A440 and the N22, offer the smooth, natural sound of a ribbon mic with the added convenience and flexibility of active electronics. This makes them well-suited for use with a wide range of preamps and recording setups.

### TRP Ribbon Preamp

Understanding that ribbon microphones require preamps with high gain and low noise, AEA developed the TRP (The Ribbon Pre) specifically to meet these needs. The TRP is a high-gain, low-noise preamp designed to complement the unique characteristics of ribbon microphones. It provides the clean, transparent amplification needed to capture the full detail and nuance of ribbon mic recordings.

## AEA in the Studio

AEA's ribbon microphones have found their place in some of the world's most prestigious recording studios, used by top engineers and artists to capture everything from orchestral performances to rock vocals. The natural, detailed sound of AEA microphones has made them a go-to choice for recording professionals seeking to achieve the highest quality audio.

### Notable Users and Recordings

Many renowned artists and engineers have relied on AEA microphones to capture their recordings. For instance, Grammy-winning engineer Al Schmitt used the R44 on recordings with artists such as Frank Sinatra and Diana Krall. The R84 has been used by producers like Ross Hogarth for its versatility and natural sound, making it a staple in studios across genres.

### Educational Outreach

AEA is also committed to educating the next generation of audio engineers. The company frequently participates in workshops, seminars, and industry events to share its knowledge and expertise. By providing resources and training, AEA helps aspiring engineers understand the unique qualities of ribbon microphones and how to use them effectively in various recording scenarios.

## Conclusion

AEA Audio has established itself as a leader in the field of audio engineering, with a legacy built on the excellence of its ribbon microphones. From the faithful reproduction of classic designs to the development of innovative new technologies, AEA continues to push the boundaries of what is possible in audio recording. Through its commitment to quality and education, AEA ensures that the rich, natural sound of ribbon microphones will continue to inspire and captivate listeners for generations to come.

TEST: Rickenbacker 350V63 Liverpool

 Only very few companies are able to leave a real mark in both the electric guitar and electric bass sectors. Apart from the legendary Fender, who can also claim to have invented the electric bass, only the name Rickenbacker has been permanently etched into the minds of music enthusiasts when it comes to guitars and basses. On the plus side, the bass sector is very strong with names such as Geddy Lee, Paul McCartney, Chris Squire, Glenn Hughes and Lemmy, while on the guitar side there are names such as John Fogerty, Roger McGuinn, Tom Petty and, right at the top, the Beatles. With the Rickenbacker 350V63 Liverpool, the company has an offshoot that is based heavily on a very well-known model, but still has a life of its own.

The construction of the Rickenbacker 350V63 Liverpool

The name of the instrument says it all, as it is the sister model of the 325 model, the instrument that also began its triumphal march under the name "John Lennon guitar". In principle, this instrument could have taken the world by storm if it hadn't had a peculiarity that has put the majority of guitarists off. Unfortunately, the instrument only has an extremely short 527 mm scale length, which makes playing it almost impossible for real "men's hands". Comparatively small artist hands like those of Bangles singer/guitarist Susanna Hoffs felt right at home on this instrument, but the general response to this detail was rather low.

In order to eliminate this shortcoming of the otherwise legendary instrument, the company of Adolph Rickenbacher, a Swiss who immigrated to the USA in 1918 (who later changed his name to "Rickenbacker", which was easier for Americans to articulate), largely adopted the key data of the 325 model, but swapped the scale length for the short Gibson scale length of 628 mm. The result is an all-round successful model, which comes with all the trademarks such as "toaster pickups", semi-acoustic construction and an incredibly low weight of around 2.7 kg.

The instrument, built in the USA, is largely based on maple, which is used to make the three-piece neck and the two-piece body. Until 2017, the instrument was fitted with a Bubinga fingerboard, and from 2017 onwards with rosewood (Caribbean rosewood). The instrument has only 21 frets, a trapeze tailpiece, deluxe vintage mechanics and a bridge made up of 6 individual saddles, which is covered with a protective bar (can be removed if it gets in the way). In comparison to other Rickenbacker models, the instrument is designed in mono. An elaborate, high-end case is included in the delivery.

The pickups and the circuit

It's not just the look that allows you to travel back in time almost 6 decades, the electronics used are also strongly based on the legendary models of the sixties. Once again, a very important part of the original "Rici" sound (not only in the 12-string version) are the vintage single coil toaster pickups, those single coils that, with their very low output and a classic "hollow" sound, are largely responsible for the legendary sound.

In principle, it's self-explanatory, but just to be on the safe side, it should be mentioned again. These instruments were developed at a time when a distorted sound was either an indication of a defective/overloaded amplifier or of another defective component in the signal flow. One thing was certain, however, a distorted guitar sound was NOT desired UNDER ANY CIRCUMSTANCES. The idea that amplifiers decades later would be designed to be able to produce as MUCH distortion as possible on demand would have only elicited a loud laugh from the protagonists of his time.

Accordingly, it was also in the inventor's interest to design pickups with a comparatively low output power so as not to overblow the amplifier's preamp. Clean sounds ruled the guitar world, and in order to make a brief impression in a solo, the rear, usually sharper-sounding pickup was chosen. Channel change? Master volume? PA? FOH? No way. Therefore, the focus was mostly on being able to produce as varied a range of undistorted sounds as possible on the instrument, which brings us to the unusual control layout of the Rickenbacker 350V63 Liverpool.

The quick-and-easy Vintage Fender Strat, 3 pickups - 3-way switch solution seemed too "homemade" to Rickenbacker, which is why they soldered together a clever circuit consisting of a three-way switch and 5 rotary controls. Similar to other instruments of this decade, the bridge pickup was regulated as little as possible in order to be heard quickly in the solo/lead case with a simple movement of the pickup selector switch. This is also the case with the circuit of the Rickenbacker 350V63 Liverpool, where in switch position 3 only the bridge pickup with volume and tone controls can be heard. Interestingly, the volume controls on this instrument are both at the bottom as seen by the guitarist, whereas on almost all other instruments they are at the top. This also shows the importance of the volume control compared to the tone control.

In switch position 1, the same circuit applies to the neck pickup. Things get interesting in the middle position of the switch, where the neck and midrange pickups are controlled equally by the neck pickup controls and the bridge pickup can be mixed in continuously. The midrange pickup cannot therefore be operated on its own. In direct comparison to the neck and midrange pickups, the bridge pickup sounds significantly thinner, quieter and slimmer. In order to match the front two pickups in this respect, the Rickenbacker 350V63 Liverpool has the ominous fifth control knob, which reduces all three pickups to the same quiet and comparatively thin vintage sound. The flexibility of the clean sounds is as great as the above explanation is long.

The Rickenbacker 350V63 Liverpool in practice

If you want to experience the sound characteristics of the Rickenbacker 350V63 Liverpool in all their authenticity, you should use an appropriate amplifier from this decade. If you don't have a suitable representative such as the Rickenbacker 350V63 Liverpool, then you should try a different amplifier. If you have a guitar from Fender, Vox, Hiwatt or Marshall, for example, it should at least be the clean channel of a corresponding all-tube amp with as much headroom as possible. A touch of saturation is also allowed, but really only a very subtle crunch. Anything beyond that would immediately be met with brilliant feedback anyway.

You can tell with every fiber of the Rickenbacker 350V63 Liverpool who this instrument was made for. It is rare to experience such an acoustic sound as with the respective representatives of this company. Since the acoustic guitar had reached the limits of its amplification due to feedback at the time, you can literally feel how the company tried to maintain the acoustic character and still introduce the instrument into the era of stadium rock.

This succeeds extraordinarily well, not to say excellently. The glued-on neck produces an incredibly long sustain despite the not very solid construction, while the hollowed-out body can maintain the vibration behavior of a purely acoustic guitar over long distances. The result is one of the best sounding semi-acoustic guitars in the world, provided you want to stick to clean sounds. The longer scale length compared to its sister model is still in the short scale range, but allows for significantly better playability than the John Lennon scale length, which almost resembles a mandolin.

The instrument shines with an incredibly finely resolved, extremely characterful and of course legendary sound. There is hardly a person in the first and second world who has not heard at least 10 world hits in which a Rickenbacker guitar plays a crucial role. This is also the case with the Rickenbacker 350V63 Liverpool, which seamlessly continues the tradition in terms of sound.

At a time when music, both vocally and instrumentally, was defined by harmonies and not by frequencies, Rickenbacker provided a stable foundation to support choral singing at any volume that the amplifier could deliver. This is still the case today, although it will be much harder for the instrument to hold its own in the "more pressure, more pressure, more pressure" productions.

Conclusion

The Rickenbacker 350V63 Liverpool is a top-class instrument when it comes to clean electric guitar sounds. The sister model of the 325 "John Lennon Guitar" delivers the perfect "missing link" between an acoustic and a solid body guitar and impresses with excellent, legendary sounds, good playability and very good workmanship. An absolute must for fans of clean guitar sounds in all variations.

Definitely try it out!

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Additional Informations:

Rickenbacker Guitars, a name synonymous with innovation and iconic sound, has played a crucial role in shaping the music industry. From its pioneering efforts in the development of electric guitars to its association with legendary musicians, Rickenbacker’s history is a testament to its enduring legacy. This article explores the origins, key milestones, and lasting impact of Rickenbacker Guitars, tracing its journey from a small workshop in Los Angeles to a global musical powerhouse.

**Early Beginnings: The Birth of the Electric Guitar**

The story of Rickenbacker begins in the early 1930s, a time of significant technological advancements and changing musical tastes. The company’s origins can be traced to George Beauchamp, a talented musician and inventor, who was seeking ways to amplify the sound of his guitar. Frustrated with the limitations of acoustic guitars, Beauchamp envisioned an electrically amplified instrument that could produce a louder and more versatile sound.

**The Frying Pan: The World’s First Electric Guitar**

In 1931, Beauchamp, along with Adolph Rickenbacker, a Swiss-born engineer and toolmaker, developed the prototype of the world’s first electric guitar. This instrument, affectionately known as the “Frying Pan” due to its round, flat body, was a lap steel guitar equipped with an electromagnetic pickup. The pickup, a revolutionary device at the time, converted the vibrations of the strings into electrical signals, which could then be amplified and projected through a speaker.

The Frying Pan’s innovative design marked a significant departure from traditional acoustic guitars. It featured a solid aluminum body, which helped reduce feedback and sustain unwanted vibrations. This new design allowed for greater control over the amplified sound, paving the way for future developments in electric guitar technology.

**Founding of the Electro String Instrument Corporation**

Recognizing the potential of their invention, Beauchamp and Rickenbacker established the Electro String Instrument Corporation in 1932. The company, based in Los Angeles, began producing and marketing the Frying Pan under the brand name “Rickenbacker.” Adolph Rickenbacker’s expertise in metalworking and manufacturing was instrumental in bringing the Frying Pan to market, while Beauchamp’s musical background and innovative spirit drove the company’s early success.

**Expanding the Product Line: The Early Years**

Throughout the 1930s, Rickenbacker continued to refine its electric guitar designs and expand its product line. In addition to the Frying Pan, the company introduced several other electric instruments, including Spanish-style guitars and violins. These early instruments were well-received by musicians, who appreciated their unique sound and increased volume.

One of the most significant innovations during this period was the development of the Rickenbacker Electro Spanish Guitar. This instrument, introduced in 1935, featured a hollow wooden body and a magnetic pickup. It was one of the first commercially successful electric guitars and laid the groundwork for the solid-body electric guitars that would dominate the market in the following decades.

**World War II and Post-War Innovations**

The outbreak of World War II in the early 1940s brought significant challenges to the music industry. Materials shortages and labor disruptions affected production, but Rickenbacker persevered. During this time, the company continued to innovate, experimenting with new materials and designs.

After the war, Rickenbacker emerged as a leading manufacturer of electric guitars. The company’s post-war instruments, such as the Model B and Model 59, featured improved pickups and construction techniques. These advancements helped establish Rickenbacker as a respected name in the burgeoning electric guitar market.

**The 1950s: Entering the Rock ‘n’ Roll Era**

The 1950s marked a pivotal decade for Rickenbacker, as the company’s instruments became synonymous with the emerging rock ‘n’ roll genre. In 1953, F.C. Hall, a former distributor for Fender and Gibson, acquired Rickenbacker. Hall’s business acumen and vision for the company helped drive its success during this transformative period.

Under Hall’s leadership, Rickenbacker introduced several iconic models that would become staples of rock ‘n’ roll music. The Rickenbacker Combo 400, introduced in 1956, was one of the first commercially successful solid-body electric guitars. Its sleek design, distinctive sound, and innovative features, such as a neck-through-body construction, set it apart from other guitars on the market.

**The 1960s: The British Invasion and Beatlemania**

The 1960s brought unprecedented fame to Rickenbacker, thanks in large part to its association with The Beatles. In 1964, John Lennon received a Rickenbacker 325, a semi-hollow electric guitar, as a gift from the company. Lennon’s use of the 325 in early Beatles performances and recordings catapulted Rickenbacker to international prominence.

George Harrison, another member of The Beatles, also became a Rickenbacker enthusiast. His use of the Rickenbacker 360/12, a twelve-string electric guitar, on hits like “A Hard Day’s Night” and “Ticket to Ride” showcased the instrument’s unique jangly sound and solidified Rickenbacker’s place in rock history.

The British Invasion, spearheaded by The Beatles, led to a surge in demand for Rickenbacker guitars. Other British bands, such as The Who and The Byrds, also embraced Rickenbacker’s distinctive sound. Roger McGuinn of The Byrds, in particular, popularized the Rickenbacker 360/12, using its chiming tone to define the band’s folk-rock sound.

**The 1970s and 1980s: Continued Innovation and Enduring Legacy**

Rickenbacker continued to innovate and adapt to changing musical trends in the 1970s and 1980s. The company introduced new models, such as the 4000 series bass guitars, which became favorites among bassists for their powerful sound and distinctive looks. Notable bassists like Paul McCartney of The Beatles and Chris Squire of Yes used Rickenbacker basses to create iconic bass lines that defined the sound of their respective bands.

Despite the rise of new competitors and changing musical tastes, Rickenbacker maintained its reputation for quality and innovation. The company’s commitment to handcrafting instruments using traditional methods and high-quality materials set it apart in an increasingly mass-produced market.

**The Modern Era: Sustaining Tradition and Embracing Innovation**

In the 21st century, Rickenbacker has continued to uphold its tradition of craftsmanship and innovation. The company remains family-owned, with John Hall, son of F.C. Hall, serving as CEO. Under his leadership, Rickenbacker has maintained its commitment to producing high-quality instruments while embracing modern technologies and materials.

Rickenbacker’s modern product line includes reissues of classic models, as well as new designs that cater to contemporary musicians. The company’s dedication to preserving its heritage while adapting to the needs of modern players has ensured its continued relevance in the music industry.

**Impact and Legacy**

Rickenbacker’s impact on the music world is profound and enduring. The company’s instruments have been used by some of the most influential musicians in history, shaping the sound of rock ‘n’ roll, folk, and other genres. Rickenbacker’s commitment to innovation and quality has earned it a loyal following among musicians and collectors alike.

The distinctive sound of Rickenbacker guitars and basses, characterized by their bright, jangly tones and rich harmonics, continues to inspire musicians across genres. The company’s legacy is also reflected in its contributions to guitar technology, from the development of the electromagnetic pickup to the introduction of neck-through-body construction.

**Conclusion**

Rickenbacker Guitars has a storied history that spans nearly a century. From its pioneering efforts in the development of electric guitars to its association with legendary musicians, Rickenbacker has left an indelible mark on the music industry. The company’s commitment to innovation, quality, and tradition has ensured its enduring legacy, making Rickenbacker a name synonymous with excellence in the world of guitars. As the company continues to evolve and adapt to the changing musical landscape, its instruments will undoubtedly remain a cherished part of music history for generations to come.

TEST: Richter Strings

 I don't know how often Lars Richter will have heard this sentence, but it must have been countless times. "Why is Richter making strings now?" and according to internet research his answer was always "out of conviction". For anyone who doesn't know the name Richter, Richter Straps is one of the leading manufacturers of guitar/bass straps worldwide, probably even THE leading manufacturer worldwide, at least in the hard'n'heavy sector. In addition to numerous standard and signature straps, the company even covers the area of ​​vegan straps, such as the Sea Shepard strap, for which part of the sales price is donated to the animal and environmental protection organization. Lars Richter and his company certainly cannot complain about a lack of work, which makes it all the more interesting to find out what sets Richter Strings apart from its numerous competitors.

The concept of Richter Strings

It should be clear to every user that another pair of strings without any special features would have no chance of being noticed in the huge range of strings that are currently available. In addition, a regular 010 string set from Richter is in the high premium segment at €12.95 and therefore costs almost twice as much as a standard Daddario and even three times as much as a Pyramid set, which, like Richter Strings, are also manufactured entirely in Germany. In addition to the regional aspect, there must be something else that sets the strings apart from the majority of competitors.

There are two main differences with Richter Strings. Firstly, we have the "Support Your Local Dealer" aspect, in which Richter Strings says they consistently rely on cooperation in the area of ​​metal processing, packaging materials, etc. from the local region and thus secure local jobs. Secondly, Richter Strings uses an ion beam-supported coating technology that allows extremely thin coatings to be applied, which, according to Richter Strings, significantly slows down corrosion on the strings but does not have any negative effects on the sound.

Of course, coated strings are old hat in the string sector. Companies such as Elixier have been refining their coatings for years in order to continue to guarantee the excessive durability and, in turn, to make the playability of the strings as similar as possible to a standard string in terms of grip and slip resistance. Nevertheless, there is still an increasingly smaller, but still marginal, haptic and tonal difference between coated and uncoated strings. Richter Strings now wants to hit this mark by taking a middle path between the two protagonists.

The strings in practice

Due to the currently catastrophic conditions when it comes to air travel, I was (forced) to test 2 sets of Richter Strings under the most adverse conditions that can be presented to you. A few weeks ago I had to play two festivals in Spain and Bulgaria within 30 hours, where I had a time corridor of 25 minutes to change planes in Frankfurt. It was clear from the start that this would not be the case. The currently non-existent ground staff would not be able to load my instruments from one plane to the other within this time frame, so for the first time in my life I was forced to play on site with rental instruments.

I was given 2 Les Pauls for each show, which were in a fairly tolerable condition, but as expected were set to a 010 set. Since my technician and I were only allowed to travel with hand luggage without tools and due to the generally short time frames, it was not possible to set the instruments on site to my 013 - 056 signature strings, i.e. I had no choice but to play a show with the 010 strings, which were far too thin for me.

To put it briefly, in my opinion my technical performance on both evenings was terrible, but that's another story. What completely surprised me, however, was that the last time I played a set of 010s was around 35 years ago and over time I switched to thicker strings because 010s only last around 25 minutes for me due to my very hard attack. With the Richter Strings, on the other hand, I was able to play through the entire show, which I've never had to do with a set of 010s before. The instrument was completely out of tune after every song, but as I said, that was due to my playing style, not the quality of the strings. The fact that the strings lasted around 75 minutes at all is already extremely high praise from me.

In terms of sound, I didn't notice any drop in quality during the show, even though the strings were really put through their paces. Unfortunately, due to the situation, I couldn't check after how many shows the first signs of wear and tear would become noticeable, but the strings did indeed leave a very good impression, so I'm sure that the strings will meet the ambitious requirements.

Conclusion

Richter Strings is a new player in the field of electric guitar and bass strings, which wants to earn the same reputation with consistent quality that the manufacturer has already achieved worldwide with its guitar straps.

If you value high quality and German manufacturing, you should definitely try the strings.

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Additional Informations:

The development of steel strings for electric guitars is a captivating narrative that weaves together advancements in technology, changes in musical styles, and the innovative spirit of musicians and manufacturers. From the inception of electric guitars in the early 20th century to the modern high-performance strings used today, this article explores the origins, key developments, and the profound impact of steel strings on the music industry.

**Historical Context**

Before electric guitars, musicians relied on acoustic instruments, which primarily used gut or silk strings. However, as musical styles evolved and the desire for louder and more versatile instruments grew, the limitations of these traditional strings became apparent. Metal strings offered greater volume, durability, and tonal variety, which set the stage for their eventual adoption in electric guitars.

**Early Developments in Metal Strings**

The late 19th and early 20th centuries saw significant advancements in metallurgy and string-making techniques, driven by the industrial revolution. This period marked the beginning of experimentation with metal strings for various musical instruments, including the guitar. Early metal strings were typically made from iron or brass, but they faced several challenges, such as high tension and susceptibility to corrosion.

**The Birth of Electric Guitars**

The concept of electric guitars emerged in the 1920s and 1930s, with inventors and musicians seeking ways to amplify the sound of their instruments. The early electric guitars, often called "electric Spanish guitars," were essentially acoustic guitars fitted with rudimentary pickups to capture the vibrations of the strings. These pickups converted the mechanical energy of the strings into electrical signals, which could then be amplified and projected through speakers.

**The Role of Steel Strings in Electric Guitars**

Steel strings played a crucial role in the development and success of electric guitars. Their magnetic properties were essential for the operation of electromagnetic pickups, which became the standard in electric guitar design. The interaction between steel strings and pickups allowed for greater control over the amplified sound, enabling musicians to explore new tonal possibilities and playing techniques.

**Key Innovators and Milestones**

Several key figures and companies were instrumental in the evolution of steel strings for electric guitars:

1. **George Beauchamp and Rickenbacker**: George Beauchamp, a musician and inventor, co-founded the Electro String Instrument Corporation (later known as Rickenbacker) in the early 1930s. Beauchamp developed the first commercially successful electromagnetic pickup, which was initially used in the "Frying Pan" lap steel guitar. The success of this instrument demonstrated the potential of steel strings and pickups in creating amplified music.

2. **Les Paul**: Les Paul, a pioneering guitarist and inventor, made significant contributions to the development of electric guitars and string technology. In the 1940s, he experimented with different string materials and pickup configurations, leading to the creation of the "Log," an early solid-body electric guitar prototype. Les Paul's innovations laid the groundwork for future developments in electric guitar design.

3. **Leo Fender and the Fender Stratocaster**: Leo Fender's contributions to electric guitar design cannot be overstated. In the early 1950s, Fender introduced the Telecaster and Stratocaster, two iconic electric guitars that revolutionized the industry. The solid-body design of these guitars, combined with their innovative pickup systems, showcased the potential of steel strings in producing a wide range of sounds. Fender's guitars became the blueprint for modern electric guitars, influencing countless musicians and manufacturers.

**Advancements in String Manufacturing**

As the popularity of electric guitars grew, so did the demand for high-quality steel strings. Several advancements in string manufacturing emerged during the mid-20th century, enhancing the performance and reliability of electric guitar strings:

1. **Nickel-Plated Steel Strings**: In the 1950s, string manufacturers began producing nickel-plated steel strings, which offered a balance between the bright tone of steel and the smooth feel of nickel. These strings quickly became popular among electric guitarists for their versatility and durability.

2. **Winding Techniques**: Advances in winding techniques allowed for greater consistency and precision in string production. Roundwound strings, with their bright and articulate sound, became the standard for electric guitars. Later, flatwound strings were introduced, providing a smoother feel and mellower tone favored by jazz and blues musicians.

3. **String Gauges**: The introduction of different string gauges gave guitarists more options to customize their instruments' feel and sound. Lighter gauges offered easier playability and more expressive bending, while heavier gauges provided greater sustain and a fuller tone.

**Impact on Music and Playing Styles**

The development of steel strings for electric guitars had a profound impact on music and playing styles, influencing the evolution of various genres:

1. **Rock and Roll**: The bright, punchy sound of steel strings became a defining characteristic of rock and roll music. Pioneering artists like Chuck Berry, Elvis Presley, and Buddy Holly used steel-string electric guitars to create the energetic, rebellious sound that defined the genre.

2. **Blues and Jazz**: Steel strings enabled blues and jazz guitarists to achieve greater expression and dynamic range. The smooth bending and sustain of steel strings were perfect for the soulful, emotive playing of blues legends like B.B. King and Muddy Waters, as well as the intricate, sophisticated lines of jazz guitarists like Wes Montgomery and Joe Pass.

3. **Heavy Metal and Hard Rock**: The high output and aggressive tone of steel strings made them ideal for heavy metal and hard rock music. Bands like Led Zeppelin, Black Sabbath, and Metallica relied on steel strings to create the powerful, distorted sounds that defined these genres.

**Technological Innovations in Modern Steel Strings**

The evolution of steel strings for electric guitars did not stop with their initial development. Several technological innovations have further enhanced their performance and versatility:

1. **Coated Strings**: Introduced in the 1990s, coated strings feature a thin layer of polymer coating that protects them from corrosion and wear. This innovation extends the lifespan of the strings and maintains their tone for longer periods. Companies like Elixir and D'Addario have been at the forefront of this technology.

2. **Cryogenic Treatment**: Some manufacturers use cryogenic treatment, a process that involves freezing the strings to very low temperatures to improve their molecular structure. This treatment enhances the durability, tonal stability, and overall performance of the strings.

3. **Custom Alloys**: Advances in metallurgy have led to the development of custom alloys designed to achieve specific tonal characteristics. For example, cobalt strings offer increased magnetic response and output, making them ideal for high-gain playing styles. Similarly, stainless steel strings provide a bright, cutting tone with excellent corrosion resistance.

4. **Hybrid Sets**: Modern string sets often include hybrid gauges, combining lighter treble strings with heavier bass strings. This configuration provides a balance of playability and tonal richness, catering to the diverse needs of contemporary guitarists.

**Conclusion**

The evolution of steel strings for electric guitars is a testament to the ingenuity and creativity of musicians, inventors, and manufacturers. From the early experiments with metal strings to the sophisticated, high-performance strings available today, steel strings have played a crucial role in shaping the sound and versatility of electric guitars. Their impact on music cannot be overstated, influencing the development of genres and playing styles across the spectrum. As technology continues to advance, the future of steel strings promises even more exciting possibilities for musicians and guitar enthusiasts worldwide.

TEST: Richter Strings Acoustic Guitar

 You could have guessed it, but after the recently released electric guitar and electric bass strings from the well-known guitar strap manufacturer were received with great favor by the trade press, Richter Strings has gone one step further and is now releasing three different sets of western guitar strings in two different designs. Here, too, Lars Richter and his team are facing up to global, already overwhelming competition and are once again throwing German know-how combined with additional Made In Germany into the balance. Let's see what the company from Allmersbach in Swabia has to offer.

The concept of the Richter Strings western guitar

As in the test of the electric guitar strings from Richter Strings, see here, the production of the western guitar strings is based on the principle of high-quality basic materials, combined with a new manufacturing process, ion vapor deposition. If you haven't dealt with the topic yet, here is a brief summary of the process. Richter Strings uses an ion beam-assisted coating technique that allows extremely thin coatings to be applied, which Richter Strings says significantly slows down corrosion on the strings, but does not have any negative impact on the sound. Unfortunately, but understandably, I was unable to get any photos of the process, as Richter Strings does not want to disclose the ion vapor deposition process.

Richter Strings also consistently pursues the "Support Your Local Dealer" aspect, in which Richter Strings says they rely exclusively on cooperation in the field of metal processing, packaging materials, etc. from the local region, thus securing local jobs.

Richter Strings currently offers three different sets for sale:

1.) 12 - 53 Acoustic: (012 - 016 - 024W - 032W - 042W - 053W)

The strings are made of round steel with a high carbon content, with the winding coated with a copper alloy.

2.) 12 - 53 Acoustic PH: (012 - 016 - 024W - 032W - 042W - 053W)

The core of the string is made of hexagonal steel, also with a high carbon content, and the winding is made of phosphor bronze.

3.) 13 - 56 Acoustic PH: (013 - 017 - 026W - 035W - 045W - 056W)

Here too, the core of the string is made of hexagonal steel, also with a high carbon content, and the winding is made of phosphor bronze.

Thinner sets, such as a 011 or even a 010 set, are not currently available from the manufacturer, as the majority of classical acoustic guitar players practice traditional strumming, which produces significantly more volume with thick strings than with thinner strings. As is usual with western strings, all G strings are wound here, especially since most bridges on western guitars are adapted to this state in terms of their octave purity. However, this also means, if you ignore the winding of the strings, that the G strings are the thinnest strings in the set and are most at risk of breaking if they are played evenly.

In terms of price, the phosphor bronze strings from Richter Strings differ significantly from the copper strings, as the retail price is more than twice as high in direct comparison. This fact is probably also due to the current raw material prices, which are all playing up unpleasantly at the moment.

Regarding the fact that the western guitar strings from Richter Strings are to be seen as coated strings, Richter has its own philosophy. The ion coating of the strings is not only intended to provide effective corrosion protection on the strings, but also to have a positive effect on the sound, as the strings are on par with uncoated strings in terms of sound, but retain their "bell-clear sound for a very, very long time". As with the electric guitar and bass strings, the ions bind to the surface and form a firmly bonded finish that cannot be removed or scratched off.

In practice

When you take the strings out of the packaging, the first thing you notice is that the strings sag very softly and evenly after development, despite the comparatively small bag diameters. Especially with large plain diameters, the products of some competitors tend to have a stiffer vibration behavior, which is particularly noticeable in the attack and decay phases. No dent or bend, no matter how small, can be detected, so that the strings describe a uniform arc if you place them in the middle over a finger, for example.

In fact, you can't see any haptic coating that could lead to a difference in the playing feel compared to uncoated strings. The strings sound very balanced, even and offer good coordination within the volume of the individual strings. Sliding and sliding over the strings also offers no greater or lesser resistance than you would expect from regular strings. I have been using the strings for about 5-6 hours now and can't detect any loss of sound, provided you dry the strings properly after each use, but that should be self-explanatory. The sound always remains clear, bell-like and never disappoints.

If you enjoy trying things out and want to give a German manufacturer a chance, you should definitely try the Richter Strings western guitar.

Conclusion

With the western guitar strings, Richter Strings has another hot iron in the fire when it comes to the portfolio of its new string brand. The strings sound excellent, have no tactile differences to uncoated strings despite their coating and retain their sound properties for a very long time.

Definitely worth trying!

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Additional Informations:

### The Evolution of Steel Strings for Acoustic Guitars

**Introduction**

The evolution of steel strings for acoustic guitars is a fascinating journey that intertwines the advancements in materials science, changes in musical styles, and innovations in guitar construction. This article delves into the historical context, key developments, and the impact of steel strings on the music world, tracing their origins from gut strings to the modern steel strings used today.

**Historical Context**

Before the advent of steel strings, acoustic guitars predominantly used gut strings, made from the intestines of sheep or cows. These strings were favored for their warm, mellow tone, but they had several limitations. Gut strings were susceptible to changes in humidity and temperature, had limited durability, and produced less volume compared to modern strings. The quest for more resilient and louder strings led to the exploration of alternative materials.

**Early Experiments with Metal Strings**

The shift towards metal strings can be traced back to the 19th century. The industrial revolution brought about significant advancements in metallurgy, making metal wires more readily available and affordable. Early metal strings were primarily made from iron or brass and were used on a variety of stringed instruments, including the piano, harpsichord, and the viol family.

Around the mid-19th century, guitarists began experimenting with metal strings. However, these early metal strings posed challenges due to their high tension, which traditional gut-string guitars were not designed to withstand. The increased tension could cause significant structural damage to the guitars, leading to broken necks or warped bodies.

**The Advent of Steel Strings**

The breakthrough for steel strings came in the late 19th and early 20th centuries. Several factors contributed to this development:

1. **Advancements in Steel Production**: The Bessemer process, developed in the 1850s, revolutionized steel manufacturing by making it more efficient and cost-effective. This made steel more accessible for various applications, including musical instruments.

2. **Improvements in Guitar Design**: Luthiers began to adapt guitar designs to accommodate the higher tension of steel strings. This included reinforcing the neck with metal rods, known as truss rods, and using stronger materials for the bridge and body. These innovations allowed guitars to handle the increased tension without compromising structural integrity.

3. **Influence of Other Stringed Instruments**: The popularity of the banjo, which traditionally used metal strings, influenced guitarists to experiment with steel strings. Banjos were known for their bright, punchy sound, which appealed to musicians looking for more projection and clarity in their playing.

**Key Innovators and Developments**

Several key figures and companies played pivotal roles in the development and popularization of steel strings for acoustic guitars:

1. **C.F. Martin & Company**: One of the most influential guitar manufacturers, C.F. Martin & Company, was instrumental in the transition to steel strings. In the early 20th century, Martin began producing guitars specifically designed for steel strings. The introduction of the X-bracing pattern, which provided additional strength and stability to the guitar's top, was a significant innovation that enabled the use of steel strings without damaging the instrument.

2. **Gibson**: Another major player in the early adoption of steel strings was Gibson. The company's archtop guitars, such as the Gibson L-5, were designed to use steel strings, offering a louder and brighter sound suitable for jazz and blues musicians.

3. **John D'Addario**: The D'Addario family, with a history dating back to string making in Italy in the 17th century, became one of the leading producers of guitar strings. By the mid-20th century, D'Addario had established itself as a premier manufacturer of steel strings, combining traditional craftsmanship with modern technology to produce high-quality strings.

**Impact on Music and Playing Styles**

The introduction of steel strings had a profound impact on the music world, influencing playing styles and the development of various genres. The louder, brighter sound of steel strings made them ideal for several musical styles:

1. **Blues**: Steel strings became a staple in blues music, offering the projection and sustain needed for the expressive bends and slides characteristic of the genre. Early blues musicians, such as Robert Johnson and Son House, relied on steel strings to convey their raw, emotional sound.

2. **Country and Folk**: The increased volume and clarity of steel strings made them popular among country and folk musicians. Artists like Woody Guthrie and Hank Williams used steel-string guitars to accompany their storytelling and vocal performances, creating a distinct sound that became synonymous with these genres.

3. **Rock and Roll**: The rise of rock and roll in the 1950s further cemented the importance of steel strings. The genre's energetic, amplified sound required the durability and brightness that steel strings provided. Pioneers like Chuck Berry and Elvis Presley used steel-string acoustic guitars in their recordings and performances, shaping the sound of rock music.

**Technological Advancements in Steel Strings**

The development of steel strings did not stop with their initial introduction. Over the decades, several technological advancements have enhanced their performance and versatility:

1. **Coated Strings**: Introduced in the 1990s, coated strings feature a thin layer of polymer coating that protects them from corrosion and wear. This innovation extends the lifespan of the strings and maintains their tone for longer periods. Companies like Elixir and D'Addario have been at the forefront of this technology.

2. **Alloy Variations**: String manufacturers have experimented with different alloys to achieve specific tonal qualities and durability. For example, phosphor bronze strings, introduced by D'Addario in the 1970s, offer a warm, balanced tone with increased resistance to corrosion. Nickel-plated steel strings provide a brighter sound, making them popular for genres like rock and country.

3. **Precision Manufacturing**: Advances in manufacturing techniques, such as computer-controlled winding machines, have improved the consistency and quality of steel strings. This precision ensures that each string meets exacting standards, providing reliable performance for musicians.

**Conclusion**

The evolution of steel strings for acoustic guitars is a testament to the interplay between technological advancements and musical innovation. From the early experiments with metal strings to the sophisticated, high-performance strings available today, the journey of steel strings has transformed the acoustic guitar into a versatile and powerful instrument. Steel strings have not only enhanced the sound and playability of guitars but also played a crucial role in shaping the musical landscape across various genres. As technology continues to advance, the future of steel strings promises even more exciting possibilities for musicians and guitar enthusiasts worldwide.

TEST: Richter Straps Vegan

 Whether in the clothing, furnishings or music industry, animal leather now has a serious image problem. Awakened by investigative videos about the cruel methods of keeping and slaughtering animals, particularly in India, Pakistan, Bangladesh and China, more and more customers are turning away from animal leather and looking for synthetic alternatives such as imitation leather or leatherette. The fact that there are now absolutely high-end products in this area is not only shown by the consistently used vegan leather seat covers from Tesla, which consistently receive top ratings from customers in terms of quality and user-friendliness. But it is not only Tesla that has recognized the signs of the times, but also the company Richter Straps, based in Allmersbach in Baden-Württemberg, which has consistently upgraded its portfolio of vegan bass and guitar straps in recent years and now has a selection of an impressive 42 models, which are available both as standard and as signature straps. As a small excerpt, we were kindly provided with 4 different vegan straps to test.

Those were the days my friend... the era of the textile strap

I don't know about you, but decades ago if you wanted to buy a strap without animal leather, you were at a loss. Even the textile straps included with the purchase of a Fender guitar/bass had strap ends made of animal leather, which was characterized by the fact that it quickly frayed on the strap pins provided and only gave the instrument a rudimentary hold. Security locks in the style of Schaller or Loxx had not yet been invented, so the only option was the unattractive Gaffa Tape solution, or you put on a stage show like Malcolm Young and Cliff Williams from AC/DC.

In addition, the different layers of most straps were poorly sewn, slipped around on the shoulder like wet ice on wet ice and constantly changed their length due to the simple buckle construction. So at the time the rating was always textile > "cheap", leather > "high quality". There were simply no alternatives and manufacturers were tripping over themselves to produce wide, masculine straps, often with branding or rivets. The internet was far away, and information options were marginal to non-existent.

Modern vegan straps, on the other hand, have to face several challenges compared to animal leather. At the top of the list is the comparison of durability, followed by feel, appearance and, for the olfactory nerds among musicians, the smell! One thing up front, anyone who reads this test to the end will definitely no longer have an argument for a strap made of animal leather, that's for sure.

One thing up front, in addition to the material to be processed, the width of the strap is a very crucial issue and is preferred differently by every musician. It is well known that very wide straps offer a more comfortable playing feel, as they distribute the weight of the instrument over a larger surface area on the shoulder and thus create less pressure per square centimeter. They also offer a wide area for personal or fashionable prints to increase the visual value of the artist. In return, these straps also cover up a lot of the personal outfit, so some artists deliberately use very narrow straps to show off their clothing better. As expected, you can't speak of "better" or "worse" here, but every artist should think in advance about which points they would prefer to others.

Incidentally, all Richter straps are handmade in Germany and thus support the regional labor market. So let's start with the selection.

1.) Rubber Duck II Black

Anyone expecting a rubber belt based on the name is mistaken. The 5 cm wide belt is actually made up of 3 elements. Firstly, there is the front part, which, including the hanging holes, makes up almost 2/3 of the belt length, a middle part, which allows for stepless length adjustment and an end piece, which, like the front part, is riveted to the middle part and holds the rear belt pin. The end pieces and the outside of the shoulder part are made of robust, strong and torsion-free coated webbing. The belt itself is made of "Oekotex 100", a certified polypropylene webbing (PP) made in Germany. This is very light, absorbs hardly any water and contains no plasticizers. This material is used for military purposes (belts, carrying straps, etc.), among other things. It is particularly noteworthy that polypropylene can be completely recycled several times and burns into water and CO2 at the end of its life without leaving any residue.

https://youtu.be/KHQUwn1_mmw

Now let's move on to the material that Richter Straps focuses on for its vegan straps and which, as much as we can already reveal, can be described as "sensational". Richter calls the material "Leatherette" and, according to the company management, a lot of time and money has been invested in creating this material, which is also used in the furniture industry. The result is indeed more than impressive, but let's go through the points listed above one by one:

a.) Durability: All neuralgic points are secured with a circumferential seam and thus protected against tearing. Even with a screwdriver and massive exertion, I was unable to create a tear in the hanging holes, which I was able to do with straps made of animal leather.

b.) Appearance: Anyone who still knows first-generation artificial leather usually had no problems distinguishing it from animal leather. The grain was almost always even and had a touch of artificiality. This is no longer the case with Richter's Leatherette straps. Even with a magnifying glass, the grain of animal leather cannot be distinguished, even with the best will in the world.

c.) Feel: The straps are extremely light. According to my kitchen scales, even the large straps are under 200 grams, so you can't really feel the weight. The cold foam straps are slightly stiffer, but this does not affect playing comfort.

d.) Smell: The real sensation of Leatherette! When I unpacked the straps, I was sure that Richter had accidentally sent me the wrong straps. What the average consumer defines as a typical leather smell wafted out of the plastic covers and filled the room. Smelling the strap directly also confirmed my belief that "it must be animal leather". No way! An email with the owner, Lars Richter, brought clarity to the situation. What the consumer defines as a "leather smell" is a treatment of the material that is provided with pigments and PU components. This covers up the natural features of the animal skin and can "make up" unsightly leather. This is a finish that many people today associate with the smell of leather. Leatherette can therefore no longer be distinguished from processed animal leather in terms of smell.

Here are the characteristics of the different strap types again:

2.) Backline Black guitar strap: Width: 8 cm, length adjustable: 92 - 144 cm, padding made of special cold foam. Strap with a medium width and an extremely low weight of just 160 grams.

3.) Springbreak I Leatherette White: Width: 7 cm, length adjustable: 98 - 158 cm, surface 100% polyurethane, base fabric: 65% polyester, 35% cotton. For those who find the color black too "boring" or who play a white instrument.

4.) Springbreak III Leatherette Black: Width: 11 cm, length adjustable: 98 - 158 cm, padding made of special cold foam. A very wide strap that evenly distributes the weight of instruments in the 5 kg class across the shoulder.

To get straight to the point, I have never come across a quality like that offered by the vegan straps from Richter Straps. No matter how hard you try, you simply cannot find a single point of criticism with the products, but in return you find a whole collection of innovative implementations that reduce the discrepancy with animal leather to zero. Regardless of workmanship, quality, concept, implementation and philosophy, everything is of the highest standard and is also made in Germany.

Conclusion

With their huge selection of vegan straps, Richter Straps is not only in line with the times, but also shows that thanks to new materials, the difference to animal leather no longer exists. All aspects such as durability, quality, feel and even the smell are identical to the best straps made of animal leather, but without supporting the cruel husbandry and slaughter methods in Asia. If you are planning to buy a new strap and want to do something about animal suffering, Richter Straps is the right place for you.

In every respect, the absolute top rating!

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Richter Straps is a distinguished name in the world of guitar accessories, renowned for its premium quality guitar straps. Established in Germany, the company has earned a reputation for excellence, blending traditional craftsmanship with innovative designs to create products that meet the needs of musicians around the globe. This article delves into the history, product range, craftsmanship, and the unique selling points that make Richter Straps a preferred choice for guitarists.

**History and Founding**

Founded by Lars Richter in 2008, Richter Straps began with a simple yet ambitious goal: to produce the highest quality guitar straps in the market. Jörg, a passionate guitarist himself, recognized a gap in the market for straps that combined durability, comfort, and aesthetic appeal. His vision was to create straps that not only looked good but also provided the necessary support and comfort for long hours of playing. The company's headquarters are located in Bad Berleburg, a small town in Germany known for its rich history and tradition of craftsmanship.

**Product Range**

Richter Straps offers a diverse range of products, catering to different styles and preferences of guitarists. The product lineup includes:

1. **Leather Straps**: Made from premium quality leather, these straps are known for their durability and classic appeal. The leather is carefully selected and treated to ensure it is soft yet sturdy, providing maximum comfort and support.

2. **Nylon Straps**: Ideal for those who prefer a lighter and more flexible option, Richter's nylon straps are both robust and stylish. They come in various colors and patterns, appealing to a wide range of tastes.

3. **Bass Straps**: Specifically designed for bass guitarists, these straps are wider and thicker, offering extra support to handle the weight of a bass guitar. They are meticulously crafted to distribute the weight evenly, reducing strain on the shoulders and back.

4. **Signature Series**: Richter collaborates with renowned musicians to create signature series straps. These straps reflect the personal style and preferences of the artists, often featuring unique designs and special materials.

5. **Custom Straps**: For those who want something truly unique, Richter offers custom strap services. Customers can choose the materials, colors, and designs to create a strap that perfectly matches their style and personality.

**Craftsmanship and Materials**

One of the hallmarks of Richter Straps is their commitment to craftsmanship. Each strap is handmade by skilled artisans, ensuring attention to detail and high-quality standards. The company uses only the finest materials, including full-grain leather, which is known for its durability and rich texture. The leather is sourced from reputable tanneries that follow sustainable practices, reflecting Richter's commitment to environmental responsibility.

The production process involves several steps, starting with the selection of the leather. The leather is then cut into straps, and the edges are rounded and polished to ensure a smooth finish. The straps are stitched using high-strength threads to ensure they can withstand the rigors of regular use. Additional features such as padding, adjustable buckles, and decorative elements are added based on the specific design of the strap.

**Innovation and Design**

While Richter Straps values tradition, it also embraces innovation. The company continuously explores new materials and technologies to improve the functionality and aesthetics of their straps. For instance, they have introduced padded straps that offer enhanced comfort, particularly for musicians who play for extended periods. They have also experimented with different types of leather finishes and colors to offer a broader range of options.

Richter's design philosophy is centered on the needs of musicians. They understand that a guitar strap is not just an accessory but an essential part of a musician's gear. As such, they prioritize ergonomics, ensuring that their straps provide the right balance of support and flexibility. The designs are both functional and stylish, catering to the diverse tastes of musicians.

**Collaborations and Endorsements**

Richter Straps has garnered the attention and endorsement of many professional musicians. Their collaborations with artists have led to the creation of signature series straps that are highly sought after by fans. Some of the notable musicians who have endorsed Richter Straps include:

- **Kirk Hammett**: The legendary guitarist of Metallica has his own signature series with Richter, featuring designs that reflect his unique style and persona.
- **Billy Gibbons**: The ZZ Top frontman has collaborated with Richter to create a series of straps that combine classic rock aesthetics with modern comfort.
- **Peter Frampton**: The iconic guitarist's signature straps are known for their elegant designs and superior comfort.

These collaborations not only enhance the brand's visibility but also provide valuable feedback that Richter uses to refine and improve their products.

**Customer Experience**

Richter Straps places a strong emphasis on customer satisfaction. Their website is user-friendly, allowing customers to easily browse through the product range and place orders. They offer detailed product descriptions and images, helping customers make informed decisions. The company also provides excellent customer service, addressing any queries or concerns promptly.

For customers who want a more personalized experience, Richter's custom strap service is a great option. The process is straightforward: customers can contact the company with their specifications, and the team at Richter will work closely with them to create a strap that meets their exact requirements. This level of personalization sets Richter apart from many other companies in the industry.

**Sustainability and Ethical Practices**

In today's world, sustainability and ethical practices are more important than ever. Richter Straps is committed to these values, sourcing their materials from tanneries that adhere to sustainable practices. They ensure that the leather is produced using environmentally friendly processes and that the animals are treated humanely.

Additionally, Richter strives to minimize waste in their production process. They use off-cuts and remnants to create smaller accessories, ensuring that no material goes to waste. Their commitment to sustainability extends to their packaging as well, using recyclable materials whenever possible.

**Conclusion**

Richter Straps has carved a niche for itself in the world of guitar accessories through its dedication to quality, craftsmanship, and innovation. Their diverse range of products caters to the needs of musicians of all styles and preferences, while their commitment to sustainability and ethical practices sets them apart in the industry. Whether you're a professional musician or a hobbyist, Richter Straps offers a combination of comfort, durability, and style that is hard to match. As the company continues to evolve, it remains true to its founding principles, ensuring that every strap they produce is a testament to their legacy of excellence.

TEST: REVV Generator 100R MK3

 They still exist, the all-tube heads, which make it clear as soon as you unpack them which customer group they were designed for. Almost 21 kg have to be pulled out of a very extensive packaging of 2 boxes, a protective cover and 2 huge "plastic sausage edge protectors". A weight for real men, which may only bring a weary smile to the face of an Ampeg Classic bassist, but will drive a Kemper user out of the room screaming. This test is intended to show to what extent powerhouses such as the Revv Generator 100R MK3 we are testing do not seem like pure anachronism in times of "profiling" and "emulation" with minimal weight and dimensions.

The structure of the Revv Generator 100R MK3

First of all, I would like to give a big, sincere compliment to the Canadian company, which has not only managed to draw the attention of tube enthusiasts to an otherwise geographically rather virgin area of ​​amplifier construction, but has also managed to make a name for itself in the overwhelming competition of countless small and large competitors in the field of high gain top parts in recent years. The development and professional distribution of an all-tube head alone requires a great deal of dedication and perseverance, which is why countless manufacturers have already given up, or sales figures have stagnated in the single-digit annual range.

First of all, a retail price of just under €3,000 seems truly reasonable for what is on offer and because it is manufactured in Canada, but why the American distributor is offering the amp almost 25% cheaper, i.e. over €700, is not really clear to me. Of course, many American companies such as e.g. Apple and the like also do a 1:1 conversion from dollars to euros, but this is a different story. However, if you are now happy to order from the USA store, be warned that you will only get a 120 V version of the head, which would ruin your operation in all of Europe and beyond.

However, if you can warm to the top part, you will get a lot for your money. Once again, a manufacturer is relying on a typical three-channel model, the individual channels of which can be flexibly handled in their voicing. The name MK3 indicates that this is the second development of the amp. As far as I know, the main difference relates to the introduction of a digital reverb and a noise gate. Unfortunately, I cannot judge whether the sound orientation of the Revv Generator 100R MK3 has changed significantly compared to its predecessors, as I did not test the first two versions.

The power amplifier selection in the form of 4 6L6s, which can be increased to 120 watts of output power if required (along with a big slap from the FOH), gives the basic sound more of an "American" sound in the form of more bass, more treble, less mids and stronger compression, which can of course be adjusted individually. Alternatively, the amp can also be throttled to 10 watts of output power. Each of the three channels has its own 3-band tone control plus a bright switch for raising the treble, and a cut and fat switch on channels 2 and 3 also enable mids to be processed in two directions. In the power amplifier area there is also a presence control for the treble and a depth control for the bass. The amp has 2 master volume controls, perfect for quickly increasing a solo spot without the FOH having to adjust accordingly. By the way, always offer the FOH the maximum level during the sound check, nobody likes to have the pre gain exceeded during the show!

The back

Although the Revv Generator 100R MK3 already impresses with all sorts of control options on the front, the real special features are on the back of the amplifier and also explain some unusual switches and controls on the front of the head. First of all, you notice the high number of DIN sockets, which make up a total of four. In addition to a MIDI In, MIDI Thru and a footswitch input (the six-way footswitch is included in the scope of delivery!), the offer also includes a very unusual "Cab Lighting" output, which allows the lettering of a matching Revv cabinet to also light up in the style of the head. Nice eye-catcher and double advertising for the manufacturer on stage.

Revv does without the rotary and slide switches of some competitors when it comes to impedance selection and provides 5 different outputs in the form of 1x16 Ohm, 2x 8 Ohm and 2x 4 Ohm, everything you need in a normal environment. By the way, it is always exciting what some stage assistants understand by Ohm's law, especially in South America, where every city has its own laws regarding speaker cabling, which have absolutely nothing to do with physics ;-)

The fuse accesses are also very nice, which are not just limited to the main and high voltage fuses, but also separately protect the 4 output tubes in areas 1/3 and 2/4 working in A/B mode and report any damage to the tubes within one of the pairs via LEDs. This means that if one tube fails, you can at least finish the show with reduced power. The idle current of the output tubes can also be read at 3 tap points. The power setting between 120 watts and 10 watts is also selected here with a push button.

The two XLR sockets on the back of the housing are unusual, but they reveal the practical approach of the Revv Generator 100R MK3. Here the amplifier signal can be tapped using a speaker simulation from Torpedo, a company that enjoys a good reputation in the home recording sector, provided you do not have the option of recording the guitar signal with high-quality microphones. A USB input and a Bluetooth receiver enable management via the corresponding Torpedo software. A further push button can be used to add a load resistor to the amp during speaker simulation, which is also urgently needed, as otherwise the amplifier will run dry and be destroyed within a very short time. On the front of the panel you will then find a rotary switch that enables 5 different speaker simulations and is managed using a level control via a jack output.

The Revv Generator 100R MK3 in practice

First of all, the Revv Generator 100R MK3 makes a very tidy impression. Despite the extensive controls, you can find your way around the amp very quickly, and management is intuitive. The sound files were recorded with an LP Standard, a Marshall 412 with Celestion G75 T and 2 SM57s, a standard setup, where it is immediately noticeable that the amp saturates relatively quickly in the clean range despite the moderate output of the burst buckers. Since the gain control is missing in the clean channel, I recommend the classic guitar volume control solution if necessary.

In keeping with its design, the focus of the amp is on the mid gain and high gain range, which the head also covers with many variations. The different voicings allow for great flexibility and, depending on the application, manage to cover almost all styles from very moderate to very bad. Despite the many options, the amp faces a large number of competitors. Engl, Friedman, Soldano, Bogner and, last but not least, Diezel are in the same price league and have already divided up the majority of the market between themselves. In contrast to the competitors mentioned above, however, the Revv Generator 100R MK3 lacks the unique selling point of its own sound, which sets it apart from the competition. Although the sounds are all of high quality, I personally find the sound a little lacking in transparency. The high gain sounds in particular seem a little muffled, but this is a purely subjective opinion and should not be seen as generally valid.

All in all, the Revv Generator 100R MK3 is a solid, high-quality amp, which also offers a good home recording solution, which increases the flexibility of the amp immensely.

Conclusion

With the Revv Generator 100R MK3, the Canadian manufacturer has a highly developed all-tube head in its range, which shines with great flexibility and extensive control elements. The amp is very well made and offers its owner a stately vehicle, which is nevertheless also equipped for home recording thanks to the Torpedo software.

Anyone looking for a high-quality all-tube amp that can be used both on stage and in the studio and who has enough arm strength should give the amp a try.

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Additional Informations:

REVV Amplification, a Canadian company founded in 2014, has quickly established itself as a significant player in the world of guitar amplifiers. Known for their high-quality construction, innovative features, and versatile sound, REVV amps cater to a wide range of musicians, from bedroom players to touring professionals. This article provides an in-depth exploration of REVV amps, including their history, product line, technological innovations, and impact on the guitar community.

## History and Background

### Founding and Vision

REVV Amplification was founded by Dan Trudeau, a passionate guitarist and engineer, with a vision to create amplifiers that combine the best of modern technology with the timeless qualities of classic tube amps. Located in Winnipeg, Canada, REVV Amplification set out to design and manufacture amplifiers that offer unparalleled tonal flexibility, reliability, and innovation.

### Growth and Recognition

Since its inception, REVV has grown rapidly, gaining recognition and respect within the guitar community. Their amplifiers are now used by professional musicians around the world, and they have earned a reputation for quality and innovation. REVV’s commitment to customer feedback and continuous improvement has played a significant role in their success.

## Product Line

REVV Amplification offers a diverse range of amplifiers designed to meet the needs of various guitarists. Their product line includes everything from compact pedalboard amps to full-sized heads and cabinets. Key models include:

### REVV Generator Series

The Generator Series is REVV’s flagship line, known for its versatility and powerful tone. It includes:

- **Generator 120 MK3**: A 120-watt head with four independent channels, offering a wide range of tones from clean to high-gain.
- **Generator 100P MK3**: A 100-watt head designed for modern metal tones, featuring three channels with extensive tone-shaping options.
- **Generator 100R MK3**: Similar to the 100P but tailored for rock and classic metal tones, with a different voicing on the overdrive channels.

### REVV Dynamis Series

The Dynamis Series is aimed at players seeking more vintage and versatile tones. Key features include:

- **D20**: A 20-watt all-tube head that can switch down to 4 watts, offering a wide range of clean and overdriven tones. It’s compact and perfect for studio or small gig use.
- **G20**: A 20-watt head similar to the D20 but designed with high-gain players in mind, featuring the acclaimed Purple Channel from the Generator series.

### REVV Cabinet Series

REVV also offers a range of high-quality cabinets designed to complement their amplifiers. These include:

- **1x12, 2x12, and 4x12 cabinets**: Loaded with WGS (Warehouse Guitar Speakers) speakers, known for their clarity and punch.

### REVV Pedal Series

Expanding their product line, REVV has also entered the pedal market with offerings such as:

- **G2, G3, and G4 Pedals**: These overdrive and distortion pedals are designed to replicate the tones of their amp channels, making them perfect for players who want REVV’s signature sound in a compact format.

## Technological Innovations

### Reactive Load and Two Notes Torpedo Integration

One of REVV’s standout features is the integration of Two Notes Torpedo technology into their amplifiers. This allows players to use reactive load and cab simulation features, making it easier to achieve great recorded tones without needing a traditional speaker cabinet. The D20 and G20 models feature this technology, providing direct output with cabinet simulation for recording or direct PA use.

### Custom Transformers and Circuit Design

REVV amps are known for their custom transformers and meticulous circuit design. These components are crucial in shaping the amp’s tone and ensuring reliability. REVV’s transformers are designed to deliver consistent performance and are a key part of their amplifiers’ robust sound.

### MIDI Control and Versatility

The Generator series amps come equipped with MIDI functionality, allowing for seamless integration into modern guitar rigs. This feature provides extensive control over channel switching, effects loops, and other parameters, making it easy for players to customize their setup and switch settings on the fly.

### Build Quality and Durability

REVV amps are built with durability in mind. They use high-quality components and rugged construction techniques to ensure that their amplifiers can withstand the rigors of touring and heavy use. This commitment to build quality has earned them a reputation for reliability among professional musicians.

## Tone and Performance

### Clean Tones

REVV amps are known for their pristine clean tones, which can be found across their product line. The clean channels on the Generator series, for example, offer a wide range of tonal possibilities, from bright and glassy to warm and jazzy. These clean tones are highly responsive to playing dynamics and guitar volume adjustments, making them versatile for various musical styles.

### Overdrive and Distortion

REVV’s overdrive and distortion tones are highly regarded for their clarity, saturation, and definition. The Generator series, in particular, provides a broad spectrum of gain levels, from mild overdrive to extreme high-gain distortion. The G3 and G4 pedals capture these tones in a pedal format, making them accessible to players who prefer a compact setup.

### Versatility and Tone-Shaping

One of the key strengths of REVV amps is their versatility. The multiple channels and extensive tone-shaping options allow players to dial in a wide range of sounds, from classic rock and blues to modern metal and everything in between. The ability to switch between different voicings and gain structures makes REVV amps suitable for any musical context.

## Impact on the Guitar Community

### Artist Endorsements

REVV Amplification has garnered a strong following among professional guitarists. Notable artists who use REVV amps include Dustie Waring of Between the Buried and Me, Shawn Tubbs, and Mark Lettieri. These endorsements highlight the respect and admiration that REVV amps have earned within the guitar community.

### Community Engagement

REVV is known for its active engagement with the guitar community. They frequently interact with customers and fans through social media, offering insights, answering questions, and providing support. This approachability and willingness to listen to feedback have helped REVV build a loyal customer base.

### Innovation and Continuous Improvement

REVV’s commitment to innovation and continuous improvement is evident in their product development. They regularly release updates and new models, incorporating feedback from users and staying ahead of industry trends. This dedication to pushing the boundaries of amplifier design ensures that REVV remains at the forefront of the market.

## Conclusion

REVV Amplification has made a significant impact on the world of guitar amplification in a relatively short period. Their combination of innovative technology, high-quality construction, and versatile sound has earned them a place among the top amplifier manufacturers in the industry. Whether through their flagship Generator series, the vintage-inspired Dynamis series, or their line of pedals and cabinets, REVV continues to push the envelope and set new standards for what guitar amplifiers can achieve.

With a focus on craftsmanship, innovation, and community engagement, REVV Amplification is poised to continue its growth and influence in the guitar world. Their amplifiers are not just tools for musicians but instruments that inspire creativity and elevate performance, making them a top choice for guitarists seeking the best in tone and reliability.