TEST: Seymour Duncan Tweak Fuzz

 Distortion, overdrive, fuzz and all the other subgroups for the most popular effect of all guitarists. Are there seriously any guitarists who don't own at least one "pedal mine" to cut half-waves? Hardly, which is why the selection of products available in the distortion field is almost endless. It is all the more interesting when an established manufacturer of another equipment area targets this segment to take on the top dogs. This is what happened with the company Seymour Duncan, which has primarily gained its fame due to excellent pickups.

Construction:

The Tweak Fuzz is usually mentioned in the same breath as the guitarist Blues Saraceno, especially since his father Alex designed the pedal. The sound approach was to design a pedal that is essentially similar to a vintage fuzz, but is characterized by greater flexibility. While most distortion pedals deliver a more or less fixed sound that can be rudimentarily varied in terms of tone control and distortion level, the Tweak Fuzz has a six-way selector switch to generate multiple presets using various transistors. Ideally, you would actually have six pedals in just one housing.

But hey presto, you'll have no problem finding the device on your pedal board even in the most diffuse stage light - that's what I call a screaming squeaky duck yellow! ;-) First impression after opening the packaging: the device comes in an ultra-stable design, visually flawlessly crafted. Two solid rolled sheets, the base of which is covered with non-slip corrugated rubber, protect the contents of the device against kicks or other rough treatment. Not even your beloved biker boots can cause this construction any problems. Only the three chickenhead-style controls protrude upwards due to the construction and could provide a point of attack if they are treated extremely badly, but who would intentionally treat their floor pedals so badly that they cause the potentiometer spindle to break? In addition to the "tweak switch" mentioned above, the control options are volume and gain. An input and output socket as well as a 9V power supply connection round off a good impression of the workmanship.

After loosening the 4 Phillips screws, the device reveals a neat and tidy interior. 2 circuit boards, short cable runs, a 9V block and a true bypass switch, that's all there is inside the "Fussel Zwickers". To replace the 9V battery, the screws on the base plate have to be loosened; there is no flap to make this work easier. However, since the Tweak Fuzz, like almost all other distortion devices, only requires a small amount of power, in this case 2 mA, this action will occur relatively rarely.

In order to be able to assess the practical suitability of a fuzz, you should first consider the area of ​​application of the device. In contrast to the overdrive, which is often switched on as an additional channel in front of a tube amp, or the distortion, which sometimes gives weak transistor amps a more or less assertive distortion sound, the fuzz occupies a niche that is not quite as mainstream as the above-mentioned protagonists of the "half-wave cappers".

We all know the advantages and disadvantages of a classic fuzz. On the plus side, we have a very characteristic sound, which gives single lines or a vintage distortion in particular the official sound. In addition, fuzz is very popular in the pop sector when it comes to supporting melodic lines on the electric guitar, as it has a high level of assertiveness and is not in danger of drifting into the rock area that pop/dance producers hate so much. On the problem side, many fuzzes suffer from the problem of "mud" coupled with a high "scratch" content in the high frequency range. If you really want to go all out, you should play a fuzz in attack mode without speaker simulation directly into the mixer and listen to it on the studio monitors, it doesn't get more like a razor! This sound is so broken that it's great again.

In order to retain the above advantages and still minimize the disadvantages if necessary, the Tweak Fuzz was equipped with the aforementioned selector switch. It gives the device the ability to sound like a typical fuzz, but also has a few special features up its sleeve, which are listed as follows:

Tweak switch position 1: The sound loses some of its low end, the sound becomes richer in treble and develops somewhat in the direction of a single coil in terms of resonance behavior. The result is a nice, crisp rock sound with a lot of power, suitable almost anywhere where a distorted rock sound in the direction of a "dirty Telecaster" is needed.

Tweak switch position 2: The bass is cut heavily, the midrange is slightly boosted. In this position, the Tweak Fuzz reacts particularly intensively to the guitar's volume control and can be driven almost towards clean when the level is reduced. The guitar sounds sharp, sometimes biting.

Tweak switch position 3: In this position, the Tweak Fuzz slightly touches the distortion terrain without losing its fuzz characteristics. Strong compression and a strong low-mid portion make this sound a kind of "bread and butter" setting. A good basic setting to familiarize yourself with the device.

Tweak switch position 4: Here we touch on typical fuzz terrain for the first time. The sound becomes slightly "mushy" and just manages to avoid the cliff of mud. Single lines are mostly played in this position; the compression is too strong for chord playing and the frequency content is too bass-heavy.

Tweak switch position 5: A variation of position 4, which also makes chord playing possible thanks to a more open sound character. Very thick in the end result and with targeted EQ settings a powerful rhythm sound. Here too, the fuzz sound is retained in a practical way.

Tweak switch position 6: And here is the official fuzz sound with all its typical peculiarities in the style of "take it or leave it". A very brutal low-mid cocktail that polarizes the target group with a strong presence component. You either love this sound or you hate it, black or white, you won't find any shades of grey.

Practice:

I chose a Marshall Head JCM 800 Mod. 2204 (single channel with master) + 4x12" Marshall cabinet with 75 watts Celestion as the basis for the sound sample recordings. The low input was also used to keep the basic distortion moderate. The sound clips were all recorded with a '76 Les Paul Deluxe with EMG 85 PUs, i.e. the basic level is consistently a bit hotter than with passive PUs. However, the Tweak Fuzz also mastered the high output of the active pickups without any problems.

The neutral sound immediately jumps out at you when the FX is turned off, thanks to the True Bypass switch, which can also be operated without the notorious crack when switched on. Another plus point for all settings is the homogeneous interaction of the device with the downstream amplifier. Many pedals give the amplifier a very strong sound of its own during operation or in standby mode, usually accompanied by a narrowed frequency band. Not so with the Tweak Fuzz. The device gives the impression that it is an additional, modified channel of the amplifier. You never have the feeling that there is a foreign body in the signal path; rather, the amplifier experiences an expansion of its sound spectrum.

The range of applications of the Tweak Fuzz can be expanded considerably compared to the classic fuzz, especially via positions 1 - 3. The typical overdrive is not far away here, but never in danger of losing its touch of scratchiness. The spectrum extends from pop rock and blues to modern country, in which the guitar can also hint at a few "balls".

Positions 4 - 6, on the other hand, justify the second part of the product name. With a specific area of ​​application and a basic knowledge of EQ settings, you can coax all the sounds that made the term fuzz famous out of the Tweak Fuzz, be it Hendrix live in a feedback frenzy or Black Sabbath's Tommy Iommi on "Paranoid". It scratches, it rumbles, it mushes and it roars so much that it's a real joy ;-) Nevertheless, the device remains practical without losing the extreme germanium transistor sound and ruining any useful use because of all the muddyness.

Conclusion:
It may be that the Tweak Fuzz opens up a different sound spectrum with other amplifiers, but the single-channel Marshall version in particular is known to harmonize well with upstream distortion pedals. Here you have to try it out, but in this and probably other spartan setups the Tweak Fuzz could or would be completely convincing. Its flexibility makes it stand out from the overly large pool of competitors with similar sounds, with positions 1 - 3 in particular exposing the variability of the device far beyond the box of a classic fuzz. A recommendable device with high practical suitability.

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Additional Informations:

### The History of Seymour Duncan Effects Pedals

Seymour Duncan, long celebrated for its exceptional pickups, ventured into the world of effects pedals with the same dedication to quality and innovation that had established its reputation in the guitar industry. The journey into effects pedal production reflects Seymour Duncan’s responsiveness to the evolving needs of guitarists and its continuous pursuit of sonic excellence. This article delves into the origins, development, and impact of Seymour Duncan’s effects pedals, illustrating the company’s commitment to enhancing the musician’s toolkit.

#### Early Beginnings and Rationale

The idea of expanding into effects pedals was driven by a growing demand among guitarists for versatile, high-quality effects that could complement the tonal characteristics of their pickups. By the late 1990s and early 2000s, the pedal market was burgeoning, with musicians seeking ways to diversify their sound palettes. Recognizing this trend, Seymour Duncan saw an opportunity to apply its expertise in tone shaping to the world of effects pedals.

The initial goal was to create pedals that not only provided superior sound quality but also met the practical needs of musicians. This meant focusing on durability, ease of use, and integration with other gear. The team at Seymour Duncan, comprised of engineers and musicians, embarked on a mission to design pedals that would stand out in a crowded market.

#### Design Philosophy and Development

The development process for Seymour Duncan’s effects pedals was marked by meticulous research and a commitment to maintaining the brand’s high standards. The company leveraged its extensive knowledge of guitar electronics and signal processing to create pedals that delivered both innovation and reliability.

One of the key aspects of Seymour Duncan’s design philosophy was to ensure that each pedal retained the integrity of the original guitar signal while providing a wide range of tonal possibilities. This involved careful selection of components and rigorous testing to achieve the desired sound quality. Additionally, the pedals were designed to be user-friendly, with intuitive controls that allowed musicians to quickly dial in their preferred settings.

The design process also involved extensive feedback from professional guitarists. Seymour Duncan collaborated with a range of artists to understand their needs and preferences, ensuring that the final products met the real-world demands of musicians. This collaborative approach was crucial in developing pedals that were not only technically advanced but also musically inspiring.

#### The First Releases

Seymour Duncan’s foray into the effects pedal market began with the introduction of the Pickup Booster and the Tweak Fuzz in the early 2000s. These initial offerings were well-received and set the stage for further expansion.

The Pickup Booster, released in 2002, was designed to enhance the output of any pickup without altering its natural tone. This pedal featured a transparent boost circuit that allowed guitarists to drive their amplifiers harder, achieving greater sustain and dynamics. The Pickup Booster quickly became a favorite among musicians looking to add extra punch to their sound without compromising clarity.

The Tweak Fuzz, introduced shortly thereafter, offered a modern take on the classic fuzz effect. It featured a unique “Tweak” knob that allowed users to adjust the pedal’s EQ response, providing a wide range of fuzz tones from vintage to contemporary. This flexibility made the Tweak Fuzz a versatile addition to any pedalboard, capable of delivering everything from smooth, singing sustain to aggressive, cutting distortion.

#### Expansion and Innovation

Encouraged by the success of its initial pedal offerings, Seymour Duncan continued to expand its effects pedal lineup, introducing a variety of models that catered to different musical styles and needs. Each new pedal reflected the company’s commitment to quality and innovation.

One notable release was the Twin Tube Classic, a tube-driven overdrive pedal that captured the warm, harmonically rich tones of vintage tube amplifiers. This pedal featured two 6021 subminiature tubes and provided a range of overdrive sounds from mild breakup to saturated distortion. The Twin Tube Classic was praised for its authentic tube tone and dynamic response, making it a popular choice among blues and rock guitarists.

In 2011, Seymour Duncan introduced the SFX-06 Paranormal Bass Direct Box, a pedal specifically designed for bass players. This direct box featured a built-in EQ and compressor, allowing bassists to shape their tone and achieve a polished, professional sound in any live or studio setting. The Paranormal Bass Direct Box underscored Seymour Duncan’s commitment to serving the broader musician community, not just guitarists.

#### Digital Integration and Modern Offerings

As digital technology advanced, Seymour Duncan embraced the potential of digital signal processing to create new and innovative effects. The company’s approach to digital effects was to combine the flexibility and precision of digital technology with the warmth and musicality of analog circuitry.

A prime example of this integration is the Andromeda Dynamic Delay, released in 2017. The Andromeda features advanced digital processing to deliver pristine delay effects, while its dynamic control capabilities allow the delay to respond to the player’s touch and dynamics. This blend of digital clarity and expressive control made the Andromeda a standout product in the delay pedal market.

Another significant release was the Fooz Analog Fuzz Synthesizer, which combines analog fuzz with a range of synthesizer-like modulation effects. The Fooz allows guitarists to create complex, evolving soundscapes by blending traditional fuzz tones with LFO-controlled filters and amplitude modulation. This pedal showcases Seymour Duncan’s willingness to push the boundaries of conventional effects design, offering musicians new ways to explore and express their creativity.

#### Artist Collaborations and Signature Models

Throughout its history, Seymour Duncan has collaborated with numerous artists to develop signature pedals that reflect their unique sound and style. These collaborations have resulted in some of the company’s most distinctive and popular effects.

For instance, the Palladium Gain Stage, released in collaboration with several high-profile guitarists, was designed to deliver the high-gain sound of a cranked tube amplifier in a pedal format. The Palladium features comprehensive tone-shaping controls, including a three-band EQ and a resonance switch, allowing players to achieve a wide range of heavy, saturated tones.

Another notable collaboration is the La Super Rica Fuzz, inspired by the classic fuzz sounds of the 1960s and 70s. This pedal features a vintage-style silicon fuzz circuit with modern enhancements, providing a rich, textured fuzz tone with adjustable mids and a range of tonal options. The La Super Rica Fuzz has been praised for its ability to capture the spirit of vintage fuzz while offering modern versatility.

#### Impact and Legacy

Seymour Duncan’s effects pedals have had a significant impact on the music industry, offering musicians high-quality, innovative tools to shape their sound. The company’s commitment to craftsmanship and attention to detail have earned it a loyal following among both amateur and professional musicians.

The success of Seymour Duncan’s pedal lineup is a testament to the company’s ability to evolve and adapt to the changing needs of musicians. By continually pushing the boundaries of what effects pedals can do, Seymour Duncan has established itself as a leading name in the world of guitar effects.

#### Future Prospects

Looking ahead, Seymour Duncan shows no signs of slowing down in its pursuit of innovation. The company continues to explore new technologies and design concepts, aiming to create effects pedals that inspire and empower musicians. Future developments may include further integration of digital and analog technologies, as well as new collaborations with artists to develop signature models that capture their unique sounds.

In conclusion, the history of Seymour Duncan’s effects pedals is a story of innovation, quality, and a deep understanding of the musician’s needs. From the early days of the Pickup Booster and Tweak Fuzz to the advanced digital capabilities of the Andromeda Dynamic Delay and Fooz Analog Fuzz Synthesizer, Seymour Duncan has consistently delivered products that enhance the musical experience. The company’s commitment to excellence and its willingness to push the boundaries of effects design ensure that it will remain a prominent force in the world of music for years to come.

TEST_ Seymour Duncan Powerstage

 Times have changed. Features such as portability, weight and dimensions have become massively more important in recent years. Along with a few other suppliers, Seymour Duncan has also responded to this trend and launched the Seymour Duncan Power Stage 170 and the Seymour Duncan Power Stage 700, two power amplifiers designed specifically for guitarists and designed for portability.

The concept of the Seymour Duncan Power Stage series

50 years ago, everything was very simple. Due to a lack of PA systems, you packed as many 412 cabinets and heads as you could get into a van or truck, set them up, switched them ALL on and filled the entire hall with sound from the stage. The end result: an excellent guitar sound and deaf musicians.

Those days are definitely over and not even the most die-hard vintage fans of recent times want this sound system back. The exact opposite is the sound constellation in which all musicians play directly into the desk using modeling amps and D.I. boxes and you can no longer hear any other instrument on the stage except the direct radiation of the drum sound. A dream for hall mixers, but the interaction between the guitar string and the moving air of the loudspeaker is lost. The result is a comparatively lifeless sound, which sometimes makes old-school musicians feel a kind of disgust.

The middle ground that is increasingly sought after is a mixture of both systems, i.e. you generate enough sound pressure on the stage using a comparatively quiet and small system to enable interaction with the instrument, but get the final volume from the individually adjusted in-ear system. Never before have so many 1x12" or 2x12" boxes been seen on stage, even in the harder faction, while the full-stack armada that is still often lined up to fill the stage mostly consists of empty dummy housings for weight reasons.

In order not to ruin the transport advantage by lugging around heavy all-tube tops, you need power amplifiers that are as small, light and good-sounding as possible, preferably the size of a stomp pedal and that can be connected directly to the floorboard if necessary. Do I see the first people pricking up their ears?

The Seymour Duncan Power Stage 170

The Seymour Duncan Power Stage 170 is a 170 watt Class D power amplifier aimed at two groups of musicians who both have the same concern or problem. It's about size and weight (as is always the case in life...). With dimensions (L x W x H): 292 mm x 176 mm x 56 mm and a weight of just under 2.8 kilograms, the power amplifier can actually be placed on the floorboard and secured with Velcro / cable ties.

This means, conversely, that with the right concept, you can leave your regular top at home and travel with just the floorboard, speaker and guitar. If you can find a working cabinet on site, or you share equipment with other bands on site, you can even travel to the show by public transport.

The second target group are professional musicians who often have to travel by plane to shows abroad. I myself know the problem well enough that, depending on which country you are playing in, the organizers only provide you with completely worn-out material in which not a single amplifier works perfectly. My personal "highlight" was the penultimate Russia tour, tour stop St. Petersburg. Three Marshall tops on site, one with a broken master volume control, one with oscillating power tubes and one that wouldn't turn on at all. Taking a "mini amp setup" with you in your personal suitcase can minimize many problems.

Some people will now rightly ask why the power amplifier has such a high output. It must be said that this value only applies to 4 ohms and, unlike a tube power amplifier, the power decreases with increasing ohm count. At 8 ohms, the power should be around 90 watts, at 16 ohms around 50 watts. But don't worry, always remember that to double the volume, the power must be increased tenfold, i.e. 170 watts is only just twice as loud as a 17 watt amplifier.

The Seymour Duncan Power Stage 170 is very simple in its design, which didn't stop the manufacturer from packing the product in a very attractive housing with a brushed aluminum top. The product, made in the USA, has a clean preamp and a three-band tone control that starts at frequencies of 87 Hz, 712 Hz and 6.61 kHz and allows a boost/cut of 13 dB. A large, protruding volume control allows you to adjust the volume with your foot during the show; theoretically, you can also raise the volume for a solo and then turn it back down on the fly. A powerful fan on the front ensures that the internal components are cooled. On the back there is an input and output, a power plug, an on/off switch, and that's it.

The Seymour Duncan Power Stage 170 in practice

The fact that the Seymour Duncan Power Stage 170 does not have any rubber feet alone shows that the entire concept is designed for pedalboard operation. The built-in preamp means that you can actually connect your pedals directly to the power amp and treat it as if it were the clean channel on your personal amplifier. Put bluntly, overdrive in front, distortion in front and you have a three-channel amp.

If you don't need any distortion for your sound, you can even plug the guitar directly into the power amp. Jazz musicians will be happy! There's also a tuner and you can go to the show with 2 pedals, or even just one with a clamp tuner. For my part, I took a three-channel Koch Amps Superlead pedal, connected a Line6 Pedal Modeler to the Superlead, sent the whole thing directly to the power amp and attached a 412 Marshall cabinet with 75 watts Celestion to the back.

It really made my jaw drop. I placed just 3 pedals on a small pedal board with a total weight, including all power supplies and cables, of less than 8 kilograms, and I got a sound that beats many high-quality all-tube tops. The sound is powerful, dynamic and yet subtly compressed, with the three-band tone control responding very well to the respective orientation of the speakers. The tone control works very tastefully, although the bass control is a bit too low for the standard tuning, but it can fully exploit its strengths with ERG guitars. At high volumes there is even a hint of saturation, which is very subtle and never initiates the notorious "transistor distortion".

The Seymour Duncan Power Stage 700

The big brother of the 170 power amplifier enters the stage with the Seymour Duncan Power Stage 700. I'm going out on a limb here. Even if the product is advertised as a pure guitar power amplifier, all the connections suggest that electric bass players could also find a home here. 700 watts at 4 ohms will destroy any normal guitar cabinet and even if the cabinet has 8 ohms, the approx. 350 watts are beyond good and evil. 16 ohm speakers are not supported. Bass players are more relaxed about such power outputs, however, as stable bass reproduction requires significantly more power reserves than the guitar spectrum.

The two outputs in Speakon / jack combo sockets in conjunction with the 4 / 8 ohm speaker specification also show a clear bass cabinet orientation; Speakon is actually not available in guitar speakers. Otherwise, the concept of the Seymour Duncan Power Stage 170 has been transferred to the 700 version, although the Seymour Duncan Power Stage 700 is a stereo version that also has an XLR connection to the FOH, which can be used for speaker simulation if required.

It is also great that the 700 has a multi-voltage power supply, which makes the power supply much easier for international performances. The power amplifier can also be installed in the rack using 2 rack angles, where it takes up less than 2 U.

Conclusion

With the two power amplifiers Seymour Duncan Power Stage 170 and 700, the American manufacturer is dedicated to the very specific target group of modeling amp players and working musicians. Both groups are supplied with very good-sounding products and a detailed range of features, with Seymour Duncan managing to generate a completely new type of transportability, particularly with the 170 version.

While the 700 version still raises a few small question marks for guitarists (high power output, only one volume control for 2 channels, Speakon outputs), the little sister convinces as an excellent niche product that many musicians have been desperately waiting for.

Top marks!

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Additional Informations:

### The History of Seymour Duncan PowerStage Amplifiers

Seymour Duncan, a name renowned for its high-quality guitar pickups, expanded its expertise into the realm of amplifiers with the introduction of the PowerStage series. This venture into amplification marked a significant evolution in the company’s product lineup, reflecting both its commitment to innovation and its responsiveness to the changing needs of musicians. The development of the PowerStage amplifiers is a story of meticulous engineering, market insight, and a deep understanding of the guitarist’s requirements.

#### Origins and Rationale

The concept of the PowerStage series emerged from the changing landscape of guitar amplification in the early 21st century. Traditional tube amplifiers, while cherished for their warm tones and dynamic response, posed practical challenges related to size, weight, and maintenance. With the rise of digital modeling and the increasing use of pedalboards, there was a growing demand for portable, reliable, and versatile power solutions that could seamlessly integrate into modern guitar rigs.

Recognizing this shift, Seymour Duncan set out to design an amplifier that could meet these needs without compromising on tone and quality. The goal was to create a compact, powerful, and highly functional amplifier that could serve as the backbone of any guitarist’s setup, whether for live performance or studio work.

#### Design and Development

The development process for the PowerStage amplifiers was thorough and detailed. Seymour Duncan's team of engineers and designers embarked on extensive research and development, drawing on decades of experience in the audio industry. They focused on key attributes such as portability, ease of use, and tonal versatility.

One of the primary design challenges was achieving high power output in a compact form factor. Traditional amplifiers often require bulky transformers and large cabinets, but the PowerStage needed to be small enough to fit on a pedalboard. To address this, the team utilized Class D amplification technology, known for its efficiency and ability to deliver substantial power without excessive heat generation.

Another critical aspect was the tonal character. Guitarists have discerning ears, and the sound quality of the PowerStage had to meet the high standards set by Seymour Duncan’s pickups. The engineering team worked meticulously on the preamp and power amp sections to ensure that the amplifier could deliver rich, dynamic tones across a wide frequency range. They incorporated features such as three-band EQ and presence control to provide musicians with the flexibility to shape their sound precisely.

#### Introduction of the PowerStage 170

The first product in the PowerStage series, the PowerStage 170, was introduced in 2017. This compact, pedalboard-friendly power amp quickly garnered attention for its innovative design and practical features. With 170 watts of power, it was capable of driving virtually any speaker cabinet, making it an ideal solution for guitarists who needed a powerful yet portable amplifier.

The PowerStage 170 featured straightforward controls, including volume, bass, mid, and treble knobs, allowing users to quickly dial in their preferred sound. Its compact size and robust construction made it a reliable choice for gigging musicians, who appreciated the convenience of carrying an entire amplifier rig in a pedal-sized unit.

One of the standout features of the PowerStage 170 was its versatility. It could be used as a traditional amplifier, driving a speaker cabinet directly, or as a power amp in conjunction with digital modelers and preamps. This flexibility made it a popular choice among guitarists who utilized a variety of setups and needed a reliable power solution that could adapt to different scenarios.

#### Expansion with the PowerStage 700

Following the success of the PowerStage 170, Seymour Duncan expanded the series with the introduction of the PowerStage 700 in 2018. The PowerStage 700 offered even more power, with 700 watts available, catering to musicians who required higher output for larger venues or more demanding applications.

Despite its increased power, the PowerStage 700 maintained the compact and portable design of its predecessor. It featured an intuitive interface with more advanced controls, including additional EQ options and presence adjustment, providing greater tonal flexibility. The inclusion of stereo output capabilities also made it suitable for use in more complex rigs, where stereo effects and multi-cabinet setups were required.

The PowerStage 700 retained the same high-quality construction and reliable performance that had become the hallmark of the PowerStage series. Its ability to deliver clean, powerful amplification without coloration ensured that the natural character of the guitar and any connected effects were preserved, making it a valuable tool for both live performances and studio recordings.

#### Market Reception and Impact

The introduction of the PowerStage series was met with positive reception from both musicians and industry critics. Guitarists appreciated the combination of portability, power, and tonal flexibility, which addressed many of the limitations associated with traditional amplifiers and other compact power solutions.

Reviewers highlighted the build quality and performance of the PowerStage amplifiers, noting their ability to handle a wide range of musical genres and playing styles. The amplifiers’ compatibility with digital modelers and preamps also earned praise, as it allowed musicians to integrate their favorite tones into their live rigs without sacrificing quality or reliability.

The success of the PowerStage series reinforced Seymour Duncan’s reputation as a company that understands the needs of musicians and is capable of delivering innovative solutions that enhance their playing experience. The amplifiers became a popular choice among touring professionals, studio musicians, and hobbyists alike, further establishing Seymour Duncan as a versatile and forward-thinking brand in the music industry.

#### Ongoing Innovation and Future Prospects

Building on the success of the initial PowerStage models, Seymour Duncan continues to explore new possibilities in amplifier design. The company remains committed to innovation, seeking to develop products that meet the evolving needs of musicians while maintaining the high standards of quality and performance that define the brand.

Future developments in the PowerStage series may include advancements in digital integration, offering even greater control and customization options for users. As technology continues to evolve, Seymour Duncan is well-positioned to leverage new advancements to enhance the functionality and versatility of their amplifiers.

In conclusion, the history of Seymour Duncan’s PowerStage amplifiers is a testament to the company’s ability to adapt and innovate in response to the changing landscape of guitar amplification. From the initial concept to the successful introduction of the PowerStage 170 and 700, Seymour Duncan has demonstrated a commitment to providing musicians with practical, high-quality solutions that enhance their ability to create and perform music. The PowerStage series stands as a significant achievement in the company’s storied history, reflecting its dedication to excellence and its deep understanding of the musician’s journey.

TEST: Seymour Duncan Hyperswitch

 I can still remember quite well how around 40 years ago, the majority of guitarists succumbed to a tinkering urge with their pickups that had never been seen before. Up until then, people had been completely satisfied with the factory options of a 3- or 5-way switch, but at some point the first desires arose, for example to connect the bridge and neck pickups of a Strat together, or to try out how a Paula sounds with a single coil circuit. This trend culminated in constellations where a multitude of toggle switches, mini-switches and push-pull potentiometers were placed on the guitar with 3 freely combinable pickups and a serial, parallel, out-of-phase and single coil circuit, which made the guitar top seem more like a kind of cockpit than a surface. In addition, every switching process required a lot of mental effort and dexterity, which sometimes greatly distracted from personal playing. Seymour Duncan wants to counteract this fiddly work with its Seymour Duncan HyperSwitch by designing a programmable 5-way switch that combines all optional switching functions of pickups in one switch.

The concept of the Seymour Duncan HyperSwitch

The Seymour Duncan HyperSwitch is a classic 5-way switch that can be easily used in models that already have such a switch when they are delivered. In order to save the different switch positions, the Seymour Duncan HyperSwitch requires a 9V battery, which should find its place in most switch / pickup millings. For custom-made models, however, a further check is advisable to be on the safe side. As expected, the Seymour Duncan HyperSwitch only works with passive pickups, as the electronics of active pickups get in the way of the management concept.

The Seymour Duncan HyperSwitch is equipped with a Bluetooth module, which is switched on by switching back and forth between positions 1 and 5 of the switch several times. The connection can then be established to the personal mobile device, which, as expected, must have the associated Seymour Duncan app on it. The maximum variety of sounds can be found when as many pickups as possible are equipped with as many separate winding guides as possible, because this is the only way the switch can demonstrate its full performance. To put it bluntly, the 5-way switch still allows "only" a number of 5 different sounds, but these can be freely distributed across the 5 different switching positions. This means that constellations can be selected that couldn't be more different, but are still only one switching position further.

A big advantage of the Seymour Duncan HyperSwitch is that no solder is needed when installing the switch and pickups. All pickup wires are only plugged into the switch at the respective connections and then locked with a small screw. Very practical! Seymour Duncan gives a 4-year guarantee on the HyperSwitch, which speaks for a great deal of confidence in the workmanship of the switch made in China.

Installing the Seymour Duncan HyperSwitch

For all instruments that are delivered with a classic 5-way switch, such as Strats, many Ibanez models, etc., installation is quite simple. Remove the strings, loosen the pickguard, get the colored markings for the wires from the respective manufacturer's website and you can start with the new wiring. To separate the wires from the old 5-way switch, you can unsolder them or simply cut them off. The tone control and the volume control are also included in the new wiring.

The switch offers 4 wiring points per pickup, meaning 12 input points on one side and 6 input points on the other side for the input area of ​​the volume and tone controls. 2 inputs are already occupied by the 9V clip. If the cavity in the switch compartment is not large enough for the shape of the Seymour Duncan HyperSwitch, you can also "flip" the switch in its switch position so that you swap the order of the switch positions 1 - 5. This can be set accordingly in the Bluetooth app on the mobile device.

Wiring the Seymour Duncan HyperSwitch is a bit fiddly due to the very small screws, but can be done relatively easily thanks to the screwdriver provided. I recommend taking photos of the old wiring before starting any work so that you can use the original wiring as a reference for the area of ​​application if necessary. In addition to the screwdriver, 2 fastening screws and the plastic cap of the switch are also included.

The Bluetooth app

After downloading the app, you connect to the switch using the usual Bluetooth principle. Make sure that the 9V battery still has enough voltage; it should not have less than 65% remaining capacity. The app itself has a very nicely designed interface where you can activate your personal pickup constellation by tapping.

First of all, you should create an account on the Seymour Duncan website. When you first start using the app, there is a short overview of the individual features of the app, which also gives a little help with the individual menu items. The first suggestion then appears: a typical Strat circuit with 3 single coil pickups, which you can then adjust as you wish via the menu. Each pickup position can be selected separately, with Seymour Duncan offering pretty much every pickup from single coils, Strat size humbuckers, full size humbuckers to stacked pickups and P-rails. You can also mute a pickup position if required and thus set up a kill switch position.

Once you have made your pickup selection, you still need to configure the tone control, which is also done via a submenu. This is also where you set whether the instrument has one or two tone controls. To extend the battery life, you can set the activity time of the HyperSwitch in the app. It is set to 3 hours by default, but can be extended accordingly for longer shows or theater performances, for example. Of course, several pickup constellations can be saved with individual names and loaded accordingly depending on the area of ​​application. You can save both the individual switch position and the bundle of all 5 switch positions as a preset.

The Seymour Duncan HyperSwitch in practice

As soon as you have established the connection between the instrument and the app and the basic setup of the app has been completed, you can start programming your sets. The selected pickup lights up and can then be selected and saved according to the coil options. This is absolutely intuitive and can then be checked directly on the amp for its sound shaping. You can click on the respective coils of the pickups on the app or you can use the name of the respective circuit underneath. The selection options, especially with three humbuckers with separate coil tapping, are immense and you can easily run the risk of getting lost in the finer details. But that's not all, you can use the tone control to intervene in the sound again and save it. The tone control can be switched off, operated normally or operated with a 0.27 capacitor.

The variety of sounds offered by the Seymour Duncan HyperSwitch is truly enormous, but you should always keep in mind that the full range of sound variations decreases with increasing gain factor, so that in the high gain range the majority of the sound difference is ironed out. The full range of sound variations can ultimately only be perceived in the clean and subtle crunch range, and then loses some of its subtlety with each gain level. This fact is not due to the concept of the Seymour Duncan HyperSwitch, but rather a simple physical fact.

Nevertheless, the concept is convincing across the board and enables an incredible variety of sounds with minimal modification work, especially when you consider the massive woodwork that would be necessary for a purely analog circuit with such variation options.

Conclusion

With the Seymour Duncan HyperSwitch, the American manufacturer has a very good tool in its portfolio when it comes to maximum sound variety with minimal modification work. The retrofittable 5-way switch, in conjunction with the appropriate Bluetooth app, enables an incredible variety of sounds, especially if you have equipped your instrument with 3 humbuckers.

Anyone who mainly plays with little gain will appreciate the extremely large selection of sounds, especially since you can use a corresponding preset database to adjust the respective pickup configuration to the desired band / project.

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Additional Informations:

### The History of Seymour Duncan Pickups

Seymour Duncan Pickups, a name synonymous with high-quality guitar pickups, has a rich history that reflects both innovation and a deep passion for music. The company's journey from its humble beginnings to becoming a major player in the music industry is a testament to the dedication and craftsmanship of its founder, Seymour W. Duncan, and the team that joined him on this journey.

#### Early Beginnings

The story of Seymour Duncan Pickups begins in the 1960s, a transformative era for rock and roll. Seymour W. Duncan, born in New Jersey in 1951, exhibited an early interest in music and electronics. As a young guitarist, he was particularly fascinated by the sounds produced by electric guitars and the pickups that amplified those sounds. This curiosity led him to experiment with winding his own pickups, a process that involves wrapping wire around a magnetic core to create the coils that capture the vibrations of guitar strings.

During these formative years, Duncan would spend countless hours dissecting pickups, learning their intricacies, and attempting to improve upon existing designs. His dedication to understanding the mechanics of pickups was driven by a desire to replicate the tones of his musical heroes, such as Jimi Hendrix, Jeff Beck, and Eric Clapton. This hands-on experimentation laid the groundwork for what would become a lifelong pursuit of perfecting the electric guitar pickup.

#### The Turning Point

A pivotal moment in Duncan's career came in the late 1960s when he had the opportunity to work with Les Paul, a legendary figure in the world of guitar design and innovation. This collaboration was not only a significant learning experience but also provided Duncan with invaluable insights into the art and science of pickup construction. Les Paul's mentorship helped Duncan refine his techniques and broaden his understanding of what made a great pickup.

After this influential period, Duncan moved to England in the early 1970s. The UK was then a hotbed of musical innovation and home to many of the era's most influential rock bands. In London, Duncan worked at the Fender Soundhouse, where he repaired and customized pickups for some of the most prominent guitarists of the time, including Jimmy Page and Eric Clapton. His reputation as a skilled pickup winder and repairer quickly grew, and he became a sought-after figure in the music community.

#### Founding Seymour Duncan Pickups

Upon returning to the United States in the mid-1970s, Duncan, along with his wife Cathy Carter Duncan, decided to establish their own company dedicated to manufacturing high-quality pickups. In 1976, they founded Seymour Duncan Pickups in Santa Barbara, California. The company started small, with Duncan winding pickups by hand in their garage. However, their commitment to quality and attention to detail quickly set their products apart in a crowded market.

The first major success for Seymour Duncan Pickups came with the introduction of the JB (Jazz Blues) model, designed to replicate the classic tones of the 1950s and 1960s. The JB pickup, characterized by its hot output and versatile sound, became an instant favorite among guitarists and remains one of the company's best-selling models to this day.

#### Innovation and Expansion

Throughout the 1980s and 1990s, Seymour Duncan Pickups continued to innovate and expand their product line. They introduced a range of pickups catering to various musical genres and playing styles, from vintage recreations to high-output models for heavy metal and hard rock. The company also embraced emerging technologies, experimenting with active pickups and modular designs.

One of the notable innovations from this period was the development of the Alnico II Pro pickup, which utilized Alnico II magnets to produce a warm, smooth tone. This pickup gained widespread acclaim and was famously used by Slash of Guns N' Roses, further cementing Seymour Duncan's reputation in the rock guitar community.

In addition to expanding their product line, Seymour Duncan Pickups also grew their manufacturing capabilities. They moved from the small garage operation to a larger facility in Goleta, California, where they could produce pickups on a larger scale while maintaining the high standards of quality that defined the brand.

#### Commitment to Craftsmanship

A core principle of Seymour Duncan Pickups has always been a commitment to craftsmanship and quality. Despite the company's growth, they have maintained a hands-on approach to pickup production. Many of the processes involved in winding and assembling pickups are still done by hand, ensuring that each product meets the company's rigorous standards.

This dedication to quality is evident in the meticulous testing and quality control procedures implemented at the Seymour Duncan factory. Each pickup undergoes thorough testing to ensure it meets the desired specifications and delivers the intended tone. This attention to detail has earned Seymour Duncan Pickups a reputation for reliability and consistency among musicians.

#### Artist Collaborations

Seymour Duncan Pickups has a long history of collaborating with artists to create signature pickups tailored to their specific needs and preferences. These collaborations have resulted in some of the company's most popular and enduring models. For example, the Pearly Gates pickup was developed in collaboration with Billy Gibbons of ZZ Top to replicate the tone of his famous 1959 Les Paul, known as "Pearly Gates."

Other notable artist collaborations include pickups designed for Yngwie Malmsteen, Dimebag Darrell, and Dave Mustaine. These signature models reflect the diverse range of tones and styles that Seymour Duncan Pickups can accommodate, from the smooth, vintage sounds of blues and jazz to the aggressive, high-gain tones of metal and hard rock.

#### Community and Education

Beyond manufacturing pickups, Seymour Duncan has also focused on fostering a sense of community and education among musicians. The company's website and YouTube channel feature a wealth of resources, including instructional videos, product demonstrations, and interviews with artists. These resources are designed to help guitarists understand how pickups work, how to choose the right pickups for their needs, and how to install and maintain them.

Seymour Duncan Pickups also engages with the music community through sponsorships and partnerships with guitar manufacturers, music schools, and festivals. These initiatives help to promote the brand and support the broader music community.

#### The Legacy of Seymour Duncan

As Seymour Duncan Pickups approaches five decades in business, the company remains a family-run operation with a strong commitment to its founding principles. Seymour W. Duncan continues to play an active role in the company, contributing his expertise and passion for pickups. Under his guidance, Seymour Duncan Pickups has remained at the forefront of pickup innovation and quality.

The legacy of Seymour Duncan Pickups is built on a foundation of craftsmanship, innovation, and a deep understanding of what musicians need to achieve their desired tones. From its modest beginnings to its current status as a leading pickup manufacturer, the company has consistently prioritized quality and customer satisfaction. This unwavering commitment has earned Seymour Duncan Pickups the loyalty of countless musicians around the world.

In conclusion, the history of Seymour Duncan Pickups is a story of passion, innovation, and dedication to the craft of pickup making. From the early days of winding pickups by hand to the present-day production of a diverse range of high-quality models, Seymour Duncan Pickups has established itself as a trusted name in the music industry. Through ongoing innovation and a steadfast commitment to quality, the company continues to shape the sound of modern music and inspire musicians across genres.

TEST: Sennheiser XSW-D

 Guitarists and bassists who want to play with a transmitter are familiar with the problem. Apart from the differences in sound, there is sometimes the problem, especially with 19-inch solutions, that the transmitted signal that arrives in the rack has to be fed back to the floorboard via cable, especially since this is where the tuner is usually located. With the Sennheiser XSW-D Pedalboard Set, Sennheiser has a combination of radio link and tuner in its luggage, which at least makes cable routing obsolete.

The design of the Sennheiser XSW-D Pedalboard Set

The Sennheiser XSW-D Pedalboard Set is a member of the XS Wireless family, which also includes models from the microphone and camera sector. They all have the function of wireless signal transmission in common. The guitarist version comes with a tuner / receiver floor pedal combination, a plug-in transmitter, 2 cables and a multi-voltage power supply, which also offers worldwide use thanks to the power adapter supplied.

The transmitter, which can either be plugged directly into the guitar's jack socket or attached to the guitar strap as a body pack using the extension provided, can be operated with one hand, provided you can remember the different color schemes of the built-in LED and push button. The battery life is specified as up to 5 hours, which corresponds to about 2 extended shows with your own songs or a cover band show with 4 - 5 sets.

Sennheiser promises a range of up to 75 meters, but this refers to an open field with no obstacles. My experience tells me that for practical use you should assume half the manufacturer's value, which in this case would still cover the largest open air stages in the country, especially since you should keep in mind that the receiver is located at the front edge of the stage due to the pedal design, which adds a few meters to the range.

The Sennheiser XSW-D Pedalboard Set also operates on 2.4 GHz and therefore has to deal with the big problems of thousands of cell phones in the audience area and, even worse, the sometimes very strong radiation from the stage radio, which is always used on large stages and, depending on the orientation, simply "knocks out" the signal. In order to be able to judge this, I will use the transmitter at several large festivals that I am attending in the next few weeks, including a tour in Japan. If there are any unexpected failures, I will mention them in an addendum. In general, however, I believe that the Sennheiser trademark, with a retail price of just under 400 euros, offers a more stable option than the various plug-and-play solutions in the almost three-digit range.

The play of colors of the Sennheiser XSW-D Pedalboard Set

The entire appearance of the Sennheiser XSW-D Pedalboard Set is designed for simple yet elegant handling, which should visually get by with as little information as possible. Therefore, the LED installed on the transmitter uses the following color play to provide an easily understandable information policy:

Briefly press the LED button for max. 1 second = switch on the transmitter - LED lights up green

Press the LED button again for max. 1 second = mute the transmitter - LED lights up yellow

Press the LED button for min. 3 seconds = switch off the transmitter

After switching on the transmitter, the LED briefly lights up green = battery power over 75%

After switching on the transmitter, the LED briefly lights up yellow = battery power between 5% - 75%

After switching on the transmitter, the LED briefly lights up red = battery power under 5%

Alternating red and green flashing = the range is exhausted

Charge level solid green = battery fully charged

Charge level flashing green = battery over 75% charged

Charge level flashing yellow = battery between 5% - 75% charged

Charge level flashing red = battery under 5% charged

The Floor pedal of the Sennheiser XSW-D Pedalboard Set

The floor pedal of the Sennheiser XSW-D Pedalboard Set contains not only the receiver but also a chromatic tuner, which does not have the usual red and green LEDs, but rather a monochrome, fairly large display. This has the advantage that the letters and symbols can be seen much better than with LEDs, especially in direct sunlight. Anyone who has ever played on an open-air stage at midday in direct sunlight knows what I'm talking about.

The pedal itself is very solid and should be able to withstand any tough stage use. If it is used without a pedal board, two rubber pads on the underside of the housing ensure the necessary grip on smooth surfaces. For floorboard use, Sennheiser also takes the really tough route if necessary. The scope of delivery includes a drilling template with which you can drill holes in your board to secure the pedal with the appropriate screws. If the Velcro / cable tie solution does not seem stable enough, here is the solution.

On the front side, in addition to the jack output for the other pedals or the amp, there is also the input for the included power supply and a 5V USB-C output for charging the transmitter. The transmitter can also be charged using a standard mobile phone power supply. It is only advisable to make sure that it is USB-C, as the increasingly popular plug variant has not yet arrived in all electronics stores.

The transmitter of the Sennheiser XSW-D pedalboard set

The transmitter of the Sennheiser XSW-D pedalboard set has a foldable jack plug that can be bent depending on the guitar model and personal preference. While this works very well with Strat-type models, it is a little more problematic with the LP-style side solution. Due to the long housing shape, the lateral torque is quite strong when used at an angle and sometimes twists the plug. If you don't move around much, you can of course also insert the plug straight down. In general, however, I would recommend backpack operation, which is also offered.

The Sennheiser XSW-D pedalboard set in practice

Switch on, pair, done. In fact, it is as easy as it sounds. The transmitter and receiver found each other within 2 seconds, which is really extremely fast. Let's start with the sound. In order not to start the cable discussion for the umpteenth time, here is a general statement. Yes, a transmitter sounds different to a cable. Yes, every transmitter, regardless of its design and retail price, sounds different to a cable. No, a transmitter does not sound worse, just different!

It is more than just tiring to read the forums about the eternal pros and cons of transmitters and cables. The fact is that a cable represents the most stable signal transmission and is a decisive criterion in the overall sound, especially with passive, high-impedance pickups. But it is also a fact that an entertaining stage presence suffers massively as a result. Anyone who only moves in the beer mat area should stay away from a transmitter. On the other hand, anyone who covers longer distances on stage and would like to entertain the audience with artistic interludes will not be able to avoid a transmitter.

In terms of sound, the Sennheiser XSW-D pedalboard set differs from a 6 meter (Cordial) cable in that the sound is a touch louder, a little more pronounced in the highs and a little more compressed. Especially for high gain guitars, these are all attributes that you would otherwise get from the amplifier and any floor pedals you might use. I personally really liked the overall tighter sound, especially since a latency of around 4 ms is no longer noticeable when playing.

The product had to pass a tough range test. I placed the product in the recording room of my recording studio, which was built like a room-within-a-room, closed both doors and looked at how far the signal could now reach. The device, which was shielded in this way, was still able to send the signal about 30 meters through the walls before it started to drop out. A really very good value when you consider that other products of this type gave up the ghost when the two doors were closed. Otherwise, the system generally leaves an excellent impression in terms of workmanship, practical use and performance data.

Conclusion

With the Sennheiser XSW-D Pedalboard Set, one of the big German flagship companies has launched an excellent product that shines with very good workmanship, practical implementation and very good performance data on a broad level. Anyone looking for a combination of tuner and transmitter system for string instruments should definitely try out this product.

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Additional Informations:

The story of Sennheiser, a name synonymous with high-quality audio equipment, began in the wake of World War II. In June 1945, Dr. Fritz Sennheiser, along with seven fellow engineers from the University of Hannover, founded the Laboratorium Wennebostel, known as "Lab W," in a farmhouse in Wennebostel, Germany. This small team, with limited resources but boundless determination, embarked on a journey that would transform the audio industry.

Initially, Lab W focused on producing measuring devices, with its first product being a voltmeter. However, the shift towards audio equipment began shortly thereafter. The company’s early forays into audio technology laid the foundation for its future success. By 1947, Lab W had developed its first microphone, the MD 2, a significant step towards establishing its reputation in the field of acoustics.

### The Transition to Sennheiser Electronic

In 1958, the company rebranded itself as Sennheiser Electronic, a move that marked the beginning of a new era. This period was characterized by rapid growth and innovation. Sennheiser's engineers were at the forefront of audio technology, continually pushing the boundaries of what was possible. The development of the MD 21 in 1953, an omnidirectional dynamic microphone, exemplified the company’s commitment to innovation. The MD 21 became widely used in radio and television broadcasting, further solidifying Sennheiser's position in the market.

### Breakthrough with the MD 421

The introduction of the MD 421 dynamic microphone in 1960 was a significant milestone. Known for its versatility and durability, the MD 421 found widespread acceptance across various applications, from broadcasting to music recording. Its success can be attributed to its robust design and exceptional sound quality, traits that have made it a mainstay in the audio industry for decades.

### Innovation in Wireless Technology

Sennheiser’s entry into the realm of wireless technology began in earnest in the late 1950s. In 1957, the company introduced the first wireless microphone system, the SK 1002, which utilized VHF transmission. This system was groundbreaking at the time, offering greater mobility and flexibility for performers and broadcasters. The development of the SK 1002 underscored Sennheiser’s commitment to innovation and its ability to anticipate the needs of the market.

### Advancements in the 1970s and 1980s

The 1970s and 1980s were a period of significant advancement for Sennheiser. The introduction of the HD 414 headphones in 1968 marked the beginning of a new chapter. The HD 414 was the first open-back headphone, a design that allowed for a more natural and spacious sound. This innovation revolutionized the headphone market and set a new standard for audio quality.

In the realm of wireless technology, the 1980s saw the development of UHF wireless systems, which offered improved range and reduced interference compared to VHF systems. The introduction of the SK 2012 in 1982 was a key development in this area. These advancements reflected Sennheiser’s ongoing commitment to enhancing the performance and reliability of its products.

### The Evolution of Digital Technology

The transition to digital technology in the late 1990s and early 2000s marked another major turning point for Sennheiser. Digital wireless systems offered numerous advantages, including better sound quality, reduced interference, and more efficient use of the available spectrum. The launch of the Evolution Wireless series in 1999 exemplified this shift. Designed for a wide range of applications, from live music to broadcasting, the Evolution Wireless series incorporated digital signal processing (DSP) technology, which allowed for more precise control over the audio signal.

### Expansion and Diversification

Throughout its history, Sennheiser has consistently expanded and diversified its product range. The company’s portfolio now includes a wide array of products, from professional microphones and headphones to consumer audio equipment. This diversification has allowed Sennheiser to cater to a broad audience, from audiophiles to professional sound engineers.

One notable development in recent years has been the growth of the consumer electronics segment. The introduction of the Momentum series of headphones in 2012 marked Sennheiser’s commitment to delivering high-quality audio products for everyday use. These headphones combined stylish design with superior sound quality, appealing to a new generation of consumers.

### Research and Development

Sennheiser’s commitment to research and development has been a driving force behind its success. The company invests heavily in R&D, with a focus on developing new technologies and improving existing products. This commitment is exemplified by the opening of the Innovation Campus in Wedemark, Germany, in 2015. The campus serves as a hub for research and development, bringing together engineers, designers, and acousticians to collaborate on new projects.

### Environmental Responsibility

In recent years, Sennheiser has also placed a strong emphasis on sustainability and environmental responsibility. The company has implemented various initiatives to reduce its environmental impact, including the use of eco-friendly materials and energy-efficient manufacturing processes. This commitment to sustainability reflects Sennheiser’s broader mission to create products that are not only exceptional in performance but also responsible in their production.

### Challenges and Adaptation

Despite its many successes, Sennheiser has faced its share of challenges. The rapidly changing technology landscape, increased competition, and shifting consumer preferences have all posed significant hurdles. However, the company’s ability to adapt and innovate has allowed it to navigate these challenges effectively. The decision to spin off the consumer electronics business in 2021, forming a partnership with Sonova, is an example of how Sennheiser has adapted to changing market dynamics while continuing to focus on its core strengths in professional audio.

### Conclusion

The history of Sennheiser is a testament to the company’s enduring commitment to innovation, quality, and customer satisfaction. From its humble beginnings in a farmhouse in Wennebostel to its current status as a global leader in audio technology, Sennheiser has consistently pushed the boundaries of what is possible in sound. Through continuous innovation and a steadfast dedication to excellence, Sennheiser has not only shaped the audio industry but has also set the standard for what high-quality audio equipment should be. As the company looks to the future, it remains well-positioned to continue its legacy of innovation and excellence in the world of audio.

TEST: Sennheiser EW 300

 Even though I have experienced it countless times in my career as a sound engineer and musician, it always surprises me how products that were only available to a very elite circle of top 10 artists a few years ago due to their price are now treated like bread and butter items.

This product category undoubtedly includes the wireless system, which most people will know better by its street name "in-ear monitoring". While the first practical wireless transmitters for guitar and bass were already a revolution, the same system enabled a singer, who could walk through the entire stadium of an open-air concert with the same monitor sound every time, using a wireless microphone, to make the ultimate quantum leap in performance.

Prices in the five-figure range with limited radio frequencies, dropouts every minute thanks to reinforced concrete and a battery life of a maximum of 70 minutes were not uncommon at the time, and yet the products were worshipped like a holy grail. In-ear = superstar, basta!

How practical, on the other hand, is a product like the Sennheiser EW 300 IEM today, which offers many times more operational reliability and flexibility at a price of a tenth of the price at the time.

One should not forget that said radio links are not only used in the music sector, but also, as is often forgotten, in the audio/video sector, or reporter work, whereby the requirements vary according to the area of ​​application.

While the music sector primarily places value on sound and operational reliability, in the video sector, interference resistance and in the reporter sector, signal stability even under adverse conditions are of great importance.

Construction:

The scope of delivery of the EW 300 radio link consists of a stereo receiver, stereo transmitter, a telescopic antenna, power supply, a set of earphones, two batteries for the transmitter and an instruction manual, packed in a sturdy foam case.

The EW 300 has five frequency ranges in the UHF band, each with 1440 transmit/receive frequencies, available for signal transmission. These ranges are divided as follows:

Range A: 518 - 554 MHz
Range B: 626 - 662 MHz
Range C: 740 - 776 MHz
Range D: 786 - 822 MHz
Range E: 830 - 866 MHz

The small EK 300 IEM G2 transmitter unit has a moderate weight of 170 grams, including the two Mignon AA batteries it requires for operation. Depending on the volume used, according to the manufacturer, one set of batteries should provide between 6 - 10 hours of operation.

The transmitter can also be operated with a battery pack, whereby the transmitter can be inserted directly into an external Sennheiser charger (L 2015) via two external contacts. The charger is not included in the scope of delivery and must be purchased separately.

A small but easy-to-read display provides all current information such as channel selection, transmission frequency, radio level, audio level, muting, pilot tone evaluation and locking of the device. A small, very flexible antenna with a plastic coating is used for signal transmission.

The receiver counterpart weighs a hefty 1100 grams due to its solid sheet steel coating. The device is supplied in half 19" size, 1 HE, and can be expanded to a full 19" width using the adapter supplied. An antenna extension cable is supplied for this so that the antennas can now be screwed onto the front of the extension. A small but very useful detail!

The receiver has 2 symmetrical XLR females on the back for signal feed-in, the data port is only designed for service purposes. The connections for the antenna and the strain-relieved connection for the external power supply are also located here. The EW 300 can handle anything between 10.5 - 16 volts at 300mA.

There is an additional headphone connection on the front for monitoring purposes, the volume of which can be adjusted using a volume control. The on/off switch is also located here, as well as two rocker switches and a set switch. The easy-to-read display is located in the middle of the panel and provides information about the channel bank, channel number, frequency range and audio level parameters.

In order to increase the signal-to-noise ratio for wireless sound transmission, the transmitter and receiver are equipped with the patented, non-switchable HDX noise reduction system, a broadband compander that compresses the audio level on the transmitter side in a db 2:1 ratio and expands it again on the receiver side.

The earphones supplied have various plastic attachments to accommodate different sized ear canals.

In practice:

After the power supply has been plugged in, a red ring around the on/off switch informs us that the device is being supplied with power. After activation, the EW 300 automatically searches for a free frequency on which it can transmit the signal. Activation works without problems on the first attempt.

The transmitter can be attached to your trousers or belt in a few simple steps, where it stays during the entire test without wobbling or even slipping.

I would describe the sound of the earphones as good with a light to medium high-mid emphasis. Personally, I find the basic sound a bit too "biting", but this is a purely subjective criterion and does not affect the evaluation.

In order to make it really difficult for the EW 300 in terms of its operational reliability, it was allowed to demonstrate its transmission capabilities from the basement of my house. The facts: 1960s construction, very high steel content in the reinforced concrete ceilings and blessed with a "Faraday cage effect" up to the stand-up collar. You can't make it more difficult for a transmitter.

None of my Macs' Airport Stations made it across more than one ceiling here, and with the second ceiling, any detection of even the smallest field strength is a pure stroke of luck. Whatever comes through here has outstanding transmission power!

And off we go. The fed-in signal is at full deflection and I start walking. First solid wall, still at full deflection. The first floor, the first reinforced concrete ceiling, one beam less, full sound without any dips. The second reinforced concrete ceiling, one more beam less, still no problems.

Now I want to know! Two reinforced concrete ceilings plus a walk outside. After 20 meters the first dropouts in the stereo image, after 30 meters the first distortions in the earphones, after 40 meters it's time to call it a day!

But oops! Now that's what I call a transmission! The values ​​given by the manufacturer of up to 150 meters with direct line of sight do not seem exaggerated at all. Anyone who can master this hellish structure in my basement has nothing to fear!

Conclusion:

All respect, Sennheiser has pulled off a remarkable feat with the EW 300! The device is excellently manufactured, extremely easy to use and impresses with its outstanding transmission and reception performance.

A very good product, Made In Germany, which will not disappoint its users!

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Additional Informations:

In the realm of audio technology, few names command the respect and recognition that Sennheiser does. Known for its innovative contributions and high-quality products, Sennheiser has played a significant role in the development of wireless microphone systems. This article provides a detailed account of the evolution of Sennheiser's wireless systems, tracing their history from the early days of analog technology to the sophisticated digital systems used today.

### Early Beginnings: Post-War Innovation

Sennheiser was founded in 1945 by Fritz Sennheiser and a group of seven engineers from the University of Hanover. Initially named Laboratorium Wennebostel (Lab W), the company focused on measuring devices. However, it quickly diversified into audio technology. By the early 1950s, Sennheiser had made significant strides in the development of microphones and other audio equipment.

The concept of wireless microphones began to take shape in the 1950s, driven by the need for greater mobility and flexibility in live performances and broadcasting. Early wireless systems were rudimentary, often plagued by issues such as interference and limited range. However, Sennheiser's engineers were undeterred, recognizing the potential of wireless technology to revolutionize audio recording and transmission.

### The SK 1002: Pioneering Wireless Technology

One of Sennheiser's first major breakthroughs in wireless technology came in 1957 with the introduction of the SK 1002. This portable wireless microphone system marked a significant advancement in the field, offering a more reliable and user-friendly solution compared to its predecessors. The SK 1002 utilized VHF transmission and was designed for use in television and radio broadcasting, as well as live stage performances.

The SK 1002 featured a compact transmitter that could be easily clipped to the user's clothing, along with a receiver that connected to the audio system. This design allowed for greater freedom of movement, making it ideal for performers and broadcasters who needed to move around without being tethered by cables. Despite its relatively primitive technology by today's standards, the SK 1002 laid the groundwork for future developments in wireless audio.

### Advancements in the 1970s: Refining Wireless Systems

Throughout the 1960s and 1970s, Sennheiser continued to refine its wireless technology. The introduction of the SK 50 in 1972 marked another significant milestone. The SK 50 was one of the first wireless systems to use frequency modulation (FM), which offered improved sound quality and reduced interference compared to earlier amplitude modulation (AM) systems.

The SK 50 also introduced the concept of diversity reception, which used two antennas and two receivers to minimize signal dropouts and ensure a more stable transmission. This technology became a standard feature in many of Sennheiser's subsequent wireless systems, significantly enhancing their reliability and performance.

### The Evolution of UHF Technology: Entering a New Era

The 1980s saw a major shift in wireless technology with the advent of ultra-high frequency (UHF) systems. UHF offered several advantages over VHF, including a greater range of available frequencies and improved resistance to interference. Recognizing the potential of UHF, Sennheiser introduced its first UHF wireless system, the SK 2012, in 1982.

The SK 2012 represented a significant leap forward in terms of both performance and versatility. It was designed to operate in the UHF spectrum, which allowed for more channels to be used simultaneously without interference. This made it ideal for large-scale events and complex audio setups where multiple wireless systems needed to operate in close proximity.

### The Evolution Continues: Digital Technology and the Evolution Wireless Series

The transition to digital technology in the late 1990s and early 2000s marked another major turning point for Sennheiser's wireless systems. Digital wireless systems offered several key advantages over analog systems, including better sound quality, reduced interference, and more efficient use of the available spectrum.

In 1999, Sennheiser launched the Evolution Wireless series, which quickly became one of the company's most popular product lines. The Evolution Wireless series was designed to provide high-quality, reliable wireless performance for a wide range of applications, from live music and theater to broadcasting and corporate events.

The Evolution Wireless series featured digital signal processing (DSP) technology, which allowed for more precise control over the audio signal and improved sound quality. It also included a range of advanced features, such as automatic frequency scanning and synchronization, which made it easier to set up and operate.

### Recent Developments: Digital 6000 and Beyond

In recent years, Sennheiser has continued to push the boundaries of wireless technology with the introduction of the Digital 6000 series in 2017. The Digital 6000 series was designed for professional use in demanding environments, offering superior audio quality, reliability, and ease of use.

The Digital 6000 series uses Sennheiser's proprietary Long Range (LR) mode, which provides a more robust and reliable transmission even in challenging RF environments. It also features advanced intermodulation-free operation, which allows for more channels to be used simultaneously without interference.

Another key feature of the Digital 6000 series is its ability to transmit audio in the AES 256-bit encrypted format, ensuring that the signal is secure and protected from eavesdropping. This makes it an ideal choice for applications where security is a top priority, such as corporate events and government functions.

### Looking Forward: The Future of Sennheiser Wireless Systems

As Sennheiser looks to the future, the company remains committed to innovation and excellence in wireless audio technology. The ongoing development of new technologies, such as 5G and advanced digital signal processing, promises to bring even greater performance and flexibility to wireless systems.

Sennheiser is also focused on sustainability, with a commitment to reducing the environmental impact of its products and manufacturing processes. This includes the use of eco-friendly materials, energy-efficient production methods, and recycling programs for end-of-life products.

### Conclusion

The history of Sennheiser's wireless systems is a testament to the company's dedication to innovation, quality, and reliability. From the early days of the SK 1002 to the advanced digital systems of today, Sennheiser has consistently pushed the boundaries of what is possible in wireless audio technology.

While challenges remain, particularly with the ever-changing regulatory landscape and the increasing demand for spectrum, Sennheiser's commitment to excellence ensures that it will continue to be a leading force in the industry. With a focus on innovation, sustainability, and customer satisfaction, Sennheiser's wireless systems are poised to meet the needs of the audio professionals of today and tomorrow.

TEST: Sendy Audio Aiva

 When I first heard the name Sendy Audio, I had to admit to my shame that I had never heard this name before. However, a little research made me aware that the Chinese manufacturer appears to be an established manufacturer in the HiFi sector that now wants to expand its presence into the pro studio area. For testing, we have the Sendy Audio Aiva, which, with a retail price of €649, is in the upper price range and faces plenty of competition from established manufacturers such as Beyerdynamic, AKG, Fostex and many others. Let's see what the Aiva has to offer in terms of setting features.

The packaging and accessories of the Sendy Audio Aiva

Anyone like me who has around 15 headphones to store in their studio is always happy to have packaging that offers stacking as a third storage option in addition to the usual stuffing in drawers or sometimes helplessly hanging them on microphone stands. Here, Sendy takes the pole position by adding a durable hard case with a coarsely toothed zipper plus 4 plastic feet for upright positioning to the headphones. Unfortunately, a few threads came loose from the zipper seams after a short time, but these could be cut off.

What is an absolute no-go, however, is the repeated use of real leather within the product. The entire cover of the hard case and, as it later turned out, the carrying strap and the ear pads were made from so-called high-protein leather, which is no longer ethically sustainable these days. There is a huge amount of synthetic leather, such as that used in all Apple accessories, which is even superior to the skin of dead animals in several wearing and care aspects and excludes the suffering involved in obtaining real leather.

In addition to the actual headphones, there is also a small fabric bag inside in which the connecting cable and an adapter are housed. This is where you come across the first unusual approach that the Sendy Audio Aiva has to offer. The copper-colored, double-sided and pluggable headphone cable is supplied in the basic version with the extremely rare 4.4 mm Pentaconn plug. Well, it may be that the acceptance of this plug may increase in the future and a short adapter cable is also included for regular stereo mini jack operation, but wait, isn't there something missing? It's hard to believe, but it's actually true that anyone who wants to use these headphones with the standard 6.3 mm jack output, which is used in 99.9% of all listening situations in the studio, has to buy an additional adapter. A decision that I absolutely cannot understand.

Well, maybe the manufacturer is focusing more on the classic mobile device as a sound source, which would also explain the low impedance of just 32 ohms, but here too the adapter solution is not convincing. The Pentaconn mini jack adapter is very solid, but also so heavy that it puts excessive strain on a headphone jack when in use, not to mention a lightning to 3.5 mm adapter. For me personally, this is a very questionable and completely impractical solution in every respect.

The design of the headphones

Let's turn to the headphones. As expected, the real wood shells are the big eye-catchers, which are made from zebra wood (zebrano), a protected tropical wood grown in West Africa. The foam pads are cut asymmetrically and try to compensate for the shape of the face, which normally gets slimmer towards the bottom, to ensure even pressure. In my case, this worked very well. The unusual hinge solution for adjusting the head width was also impressive in detail, although a little stiff.

What worried me personally, however, was the very heavy weight of the headphones in my test model, which weighed 460 grams without a cable and 540 grams with a cable, which caused several problems. Firstly, I found the latent pressure on the neck area to be quite tiring, and secondly, the weight of the headphones meant that when I turned my head quickly, they exerted a lot of centrifugal force, which made them unstable on my head at least. However, everyone should decide for themselves whether they can cope with this weight.

For people with small heads, there may be problems with the pressure of the headphones. For my head shape, the smallest setting was just enough to give the headphones the necessary stability; unfortunately, a tighter setting was not possible. Although you can open the connection of the strap using a Torx screwdriver, it is unfortunately not possible to increase the tension due to the widened shape of the strap.

The technical data of the Sendy Audio Aiva

The first setting feature of the Sendy Audio Aiva is the planar magnetic drivers, which are said to be very insensitive to any kind of sound distortion due to their design (very thin film between 2 magnets) and also impress with a very fast response and an extremely neutral sound. According to the data sheet, the headphones have a frequency response of 5 - 50,000 Hz, which is far above what the human ear can perceive in both the bass and treble ranges. The extent to which this approach makes sense is controversially discussed by several experts, so I don't want to open up this can of worms in this test report. The headphones are designed to be open, with the sound pressure reaching a rather low value of 96 dB.

The sound of the Sendy Audio Aiva

Connected to an iPhone X, the headphones seem relatively quiet at first glance despite their comparatively low impedance. In order to get a decent level, I had to use the Lightning adapter to turn up the volume to the upper quarter. When using a high-quality headphone amplifier, in my case an SPL Phonitor, this point was of course irrelevant. In terms of sound, however, the headphones are convincing in several respects. Firstly, the headphones sound very "calm" without sounding too analytical. The general sound impression is very balanced and immediately leaves a pleasant basic mood. The detail is very good and, even with heavily mastered material, still provides enough instrumental differentiation, which is often lacking, especially with tonally questionable material. A very good example is the hi-hat or the entire cymbal area of ​​a drum set, which in many heavy productions only exists on paper, but here it can sometimes hold its own very well in the sound.

The often problematic mid-range is also convincing. In several productions, both in the reference range and in albums I produced myself, the guitars, whether in standard or drop tuning down to baritone tuning, held their own and were reproduced with accentuation. The vocals were also drawn with sufficient detail without the corresponding sibilants being resolved too finely.

In terms of tone, the Sendy Audio Aiva brings out the typical planar magnetic sound, i.e. the headphones are extremely quick to respond, bring out the bass range discreetly but tightly and color the highs very slightly with a touch of compression. The ultra-high range is somewhat reduced than with other headphones, but this does not detract from the good overall sound. In contrast to its limited wearing comfort, in my opinion, the long-term acoustic use offers no reason for criticism. The sound is still pleasant even after a long studio session and enables fatigue-free work.

In general, the Sendy Audio Aiva makes a variety of signals sound "better" than is sometimes the case. This headphone is very suitable for "feeling good", but you should definitely listen to it again and again on various "challenging" monitors to be on the safe side.

Conclusion

The Sendy Audio Aiva leaves a polarizing impression in its overall impression. In terms of sound, the planar magnetic headphones impress with a very balanced and cleanly accentuated sound, which is very relaxed with plenty of headroom and is a very good tool for longer sessions.

On the other hand, it scares users off with its high weight, impractical cabling including a lack of adapter accessories, limited wearing comfort with a small head circumference and the use of ethically questionable materials.

If the Chinese manufacturer were to eliminate the negative points, which are all very easy to fix, you would be dealing with a top-class headphone that only sounds excellent. As it is at the moment, everyone has to decide for themselves whether to give the Sendy Audio Aiva a chance.

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Additional Informations:

In the realm of high-fidelity audio, few brands have emerged with such impact and reverence as Sendy Audio. Known for their commitment to craftsmanship and exceptional sound quality, Sendy Audio has quickly established itself as a prominent player in the world of audiophile headphones. This is the story of how Sendy Audio began, the challenges it overcame, and the innovations that have defined its journey.

### The Vision: Where Passion Meets Precision

Sendy Audio was founded with a singular vision: to create headphones that offer unparalleled sound quality and design. This vision was the brainchild of a group of passionate audiophiles and engineers based in China. United by their love for music and high-fidelity audio, they aimed to challenge the status quo and deliver products that could rival the best in the industry.

From the outset, the founders of Sendy Audio were driven by a deep understanding of sound and a commitment to quality. They believed that exceptional audio equipment could enhance the listening experience, allowing music to be heard as the artist intended. This belief became the cornerstone of Sendy Audio's philosophy and guided every aspect of their work.

### Early Challenges: Building a Brand from the Ground Up

Like many startups, Sendy Audio faced numerous challenges in its early days. The company began as a small operation, with limited resources and a tight-knit team of engineers and designers. Despite these constraints, the team was determined to create headphones that stood out in a crowded market.

One of the biggest challenges was sourcing high-quality materials that met their exacting standards. The team spent countless hours researching and testing different materials, from diaphragms to ear pads, to ensure that every component contributed to the overall sound quality and durability of the headphones. This meticulous attention to detail would become a hallmark of Sendy Audio's products.

### The Breakthrough: Introduction of the Aiva

Sendy Audio's breakthrough came with the introduction of the Aiva, an open-back planar magnetic headphone that quickly gained acclaim for its exceptional sound quality and craftsmanship. The Aiva was a product of years of research and development, embodying the company's dedication to innovation and excellence.

The Aiva featured a unique design with a handcrafted wooden ear cup, adding a touch of elegance and sophistication. But it was the sound quality that truly set it apart. The planar magnetic drivers delivered a wide, immersive soundstage with precise imaging and rich, detailed bass. Audiophiles and critics alike praised the Aiva for its ability to reproduce music with remarkable clarity and accuracy.

The success of the Aiva put Sendy Audio on the map, earning the company a reputation for producing high-end headphones that could compete with established brands. It also provided the momentum needed to continue developing new and innovative products.

### Innovation and Expansion: Pushing the Boundaries of Sound

Building on the success of the Aiva, Sendy Audio continued to innovate and expand its product line. The company invested in state-of-the-art manufacturing facilities and advanced research and development to push the boundaries of what was possible in headphone design.

One of the key areas of focus was the development of planar magnetic technology. Sendy Audio's engineers worked tirelessly to refine and enhance this technology, resulting in headphones that offered even greater precision and performance. Each new model incorporated the latest advancements in materials and design, further solidifying Sendy Audio's position as a leader in the industry.

### The Spirit of Craftsmanship: A Commitment to Quality

At the heart of Sendy Audio's success is a commitment to craftsmanship and quality. Every pair of headphones is meticulously crafted by skilled artisans who take pride in their work. From the selection of materials to the final assembly, each step of the manufacturing process is carefully monitored to ensure that every product meets the highest standards of excellence.

This dedication to quality extends to customer service as well. Sendy Audio is known for its responsive and attentive customer support, ensuring that every customer receives the best possible experience. Whether it's answering questions about products or providing assistance with warranty claims, the company's commitment to its customers is unwavering.

### Collaborations and Partnerships: Enhancing the Listening Experience

Sendy Audio's commitment to excellence has led to several collaborations and partnerships with renowned audio engineers and musicians. These collaborations have played a crucial role in the development of new products and have helped the company stay at the forefront of the industry.

One notable collaboration was with a leading acoustic engineer who helped refine the tuning of the Aiva and subsequent models. This partnership resulted in headphones that not only met but exceeded the expectations of even the most discerning audiophiles. Such collaborations exemplify Sendy Audio's dedication to working with the best in the industry to create products that set new standards of quality and performance.

### Looking Ahead: The Future of Sendy Audio

As Sendy Audio looks to the future, the company remains committed to its core values of innovation, quality, and craftsmanship. With a strong foundation built on years of experience and a relentless pursuit of excellence, Sendy Audio is well-positioned to continue shaping the future of high-fidelity audio.

The company plans to expand its product line, exploring new technologies and materials to create headphones that offer even greater performance and value. Additionally, Sendy Audio is committed to sustainability, implementing environmentally friendly practices and materials in its production processes. This commitment to sustainability reflects the company's broader mission to create products that are not only exceptional in performance but also responsible in their production.

### Conclusion: A Journey of Passion and Precision

The story of Sendy Audio is one of passion, innovation, and a commitment to excellence. From its humble beginnings to its status as a leader in the high-fidelity audio industry, Sendy Audio has consistently pushed the boundaries of what is possible in headphone design and performance. With a focus on quality, craftsmanship, and customer satisfaction, Sendy Audio continues to set new standards in the world of audiophile headphones, creating products that inspire and enable music lovers to experience their favorite tracks in all their glory.

TEST: SE Electronics VR1 / VR2

 Ribbon microphones or ribbon mics are in fact a thing of their own and continue to polarize the scene. The highly valued "authentic" sound is often offset by a latent bass-heavy quality combined with very restrained highs. In terms of overload resistance and sensitivity to external influences, this type of microphone also requires more attention than the majority of condenser microphones, and even more so the dynamic ones. Aware of this, the Chinese manufacturer SE Electronics has launched the SE Electronics VR1 Voodoo and VR2 Voodoo, a passive and active model that is intended to provide relief in the critical areas.

The designs of the SE Electronics VR1 Voodoo / SE Electronics VR2 Voodoo

The Voodoo series from SE Electronics are in fact no newcomers to the market, having been available since 2010. It is worth mentioning, however, that the prices have been massively reduced to €389 (VR1) and €499 (VR2) in order to boost sales. While the VR1 version is a passive ribbon microphone, which is known to react to phantom power within a very short time with total destruction, the VR2 type requires the same with a value of 48V +/- 4V in order to function. So be careful when assigning voltage.

Many people have probably often asked themselves why ribbon microphones continue to lead a niche existence despite their advantages. The main reason is probably that the main advantage of the design is also its disadvantage. Why is this? Well, for one thing, the constant figure-8 characteristic can actually only be used in the studio for individual recordings and even here, good rooms are required to produce a good, balanced sound. On the other hand, ribbon microphones are considered to have very little treble and, due to their low output voltage, require a very low-noise preamp that has the necessary gain reserves.

In contrast, high-quality ribbon microphones in particular have a pleasant, voluminous sound, which generates a very authentic sound, especially when recording guitars or drums. Aware of this, SE Electronics also has two types of the Voodoo series in its portfolio, with the active V2 variant in particular aiming to do away with the problems of the low output level and the lack of treble.

Both microphones are delivered in a wooden box with a magnetic closure and a foam cutout or transport bag, which ensures that the sensitive products are very safe during transport. A tripod mount and a spider are also included in the delivery. Both microphones handle a very high sound pressure of up to 135 dB and can therefore even handle drum recordings, if you ignore the placement inside the kick, which can actually damage the sensitive ribbon.

Both microphones are unusually slim with dimensions of 3.3 cm x 1.7 cm and, due to the internal electronics of the V2, only differ in length from 12.7 cm (V1) to 18.7 cm (V2). This offers the advantage that the microphones can also be positioned in narrow slots, which large-diaphragm microphones cannot due to their dimensions. If you pick up the microphones, however, you are surprised at how massive the microphones appear, which is also reflected in the weight of 230 grams (V1) and 360 grams (V2).

In practice

The often-mentioned sound image of the "natural" room sound, which a ribbon microphone reproduces with its figure-8 characteristic, offers many possible uses, but also categorically excludes others. To ensure an overview, I have created 3 different situations in which this type of microphone is often used. The sound files were recorded via a GAP preamp, which was sent to the interface via a neutrally set Mackie 32-channel console. It was very important to me that no tone controls or compressors, whether external or the internal console saturation, intervened in the signal in order to be able to judge the pure sound of the microphones.

1.) Electric guitar recording

Everyone knows the great classic of the distorted electric guitar, the SM57, which with its typical "mid-range nock" has shaped the sound of the electric guitar for decades. Even though there are much “better” sounding microphones for guitar recording, in a band context the SM57 sound always stands out like a spearhead when it comes to asserting itself against the other instruments in the high gain range.

This is exactly the sound that the two Se Electronics microphones do not offer, and for good reason. The basic sound is already much more connected to the room thanks to the figure-8 characteristic and is more suitable for open, "big" clean or crunch sounds, and less so for fast 16th-note chopping. The strong bass boost also contributes to the guitar sound becoming more voluminous, but also quickly becoming swallowed up, so you should always have a suitable high-pass filter on hand.

For the files mentioned below, a 94' Strat with Texas Special pickups was used via a Fender Deluxe Combo in the drive channel, the combination of which has refined countless world hits with their characteristic sound. The passes each contain 2 pickup positions, starting with the neck pickup and ending with the bridge pickup. Interestingly, the two microphone types did not differ as much in terms of sound as should be the case with the following sound files, which is primarily due to the high mid-range portion of the signal. The proximity effect is very moderate, although the high level naturally also leads to a decent compression beyond the very hard close pickup.

The amp was slightly saturated at the power stage, so that the microphones were exposed to a fairly high sound level. Both handle this very well for a ribbon microphone. However, both sounds seem a bit "dull" and lack a little "sparkiness" to give the sound the necessary assertiveness. The EQ would indeed have to help here. Unfortunately, moving the microphones towards the dome did not produce the desired effect.

2.) Acoustic guitar recording

A relatively simple instrument from the basic class from Framus was deliberately chosen as the instrument in order to make it as difficult as possible for the microphones to produce a voluminous sound. The microphones were placed on the 12th fret and the signal was not compressed, contrary to all other usual acoustic guitar recordings.

Here the microphones were able to show off their strengths across the board, as long as you keep in mind that the microphones have a high bass content. It is therefore advisable to orient yourself towards the headstock rather than the sound hole. The sound is a bit harsh due to the lack of compression, but this cannot be blamed on the microphones. In this segment you can also hear the clear sound differences between the two models. While the V1 has a typical ribbon sound, the V2 has a higher midrange content and clearly perceptible compression, which is already very good. I would normally process both signals with an appropriate compressor, EQ, and possibly an enhancer, but the basic sound is quite promising.

3.) Voice recording

The speech section also represents room recordings in general and once again shows the sound differences between the two types. The V2 sounds "more expensive", which it is, but to a much greater extent than the approx. 20% price difference would suggest. The basic sound is very balanced, the high frequency range sounds soft without sounding musty, the low mids are voluminous. A very pleasant basic sound that I can imagine in many room recordings.

However, the very low output power of the VR1 must be mentioned, which demanded a lot from the preamp due to the low signal level. For the first time, the MK73 did not have to be set to the full amplification power, but at least to the second highest level in order to ensure an acceptable signal level.

In general, both microphones leave a very plastic sound impression due to their room integration, which can play to its strengths especially with sparse instrumentation.

Conclusion

With the passive SE Electronics VR1 Voodoo and its active V2 counterpart, the Chinese manufacturer has two good-sounding representatives of the ribbon mics in its portfolio. The microphones try to compensate for the structural disadvantages without the sonic strengths in the form of the "natural" sound behavior suffering as a result.

Depending on the application, they sometimes succeed in this better, sometimes worse, but all in all, the microphones impress with a pleasant basic sound due to their structural low-mid focus. In direct comparison to other ribbon microphones, they also produce significantly more highs, which further increases their application area.

We also like the extensive accessories included in the form of a magnetically closed wooden box, transport bag, microphone holder and spider. High-quality equipment for a successful product.

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Additional Informations:

In the realm of professional audio equipment, few companies have garnered the respect and recognition that SE Electronics enjoys today. This reputation is the result of decades of innovation, perseverance, and a relentless pursuit of quality. The story of SE Electronics is not just about microphones and audio gear; it is a tale of vision, passion, and the drive to revolutionize the audio industry.

### The Early Days: From China to the World

SE Electronics was founded in 2000 by Siwei Zou, a classical musician and composer. Zou, born and raised in Shanghai, China, had a deep appreciation for music and sound. He recognized a gap in the market for high-quality, affordable microphones that could meet the demands of both professional and amateur musicians. With this vision in mind, he set out to create a company that could deliver products with exceptional performance at a reasonable price.

The early days of SE Electronics were challenging. The company started in a small workshop in Shanghai, with limited resources and a handful of dedicated employees. Despite these humble beginnings, Zou's determination and expertise in music and acoustics propelled the company forward. He was heavily involved in the design and development of the products, ensuring that each microphone met his high standards.

### The Breakthrough: SE 5000 and SE 2200

The company's first major breakthrough came with the introduction of the SE 5000, a large-diaphragm tube microphone. This model quickly gained popularity due to its warm, vintage sound and affordable price. It was a bold move that showcased SE Electronics' commitment to quality and innovation. The success of the SE 5000 put the company on the map and laid the foundation for future developments.

Building on this momentum, SE Electronics released the SE 2200 in 2002. This condenser microphone was designed to offer exceptional clarity and detail, making it suitable for a wide range of applications, from vocal recordings to instrument miking. The SE 2200 received rave reviews from both users and industry experts, further establishing SE Electronics as a reputable manufacturer of professional audio equipment.

### Innovation and Expansion

With the success of the SE 5000 and SE 2200, SE Electronics continued to innovate and expand its product line. Zou and his team were dedicated to pushing the boundaries of microphone technology, constantly experimenting with new materials, designs, and manufacturing techniques. This commitment to innovation resulted in several notable products that have become staples in studios and live sound environments around the world.

One such product is the SE Z5600a II, a multi-pattern tube condenser microphone that offers incredible versatility and performance. Its ability to switch between different polar patterns makes it an invaluable tool for recording engineers, allowing them to capture sound with precision and flexibility. The Z5600a II's success further cemented SE Electronics' reputation for producing high-quality, innovative microphones.

### Collaborations and Partnerships

SE Electronics' commitment to excellence has led to several fruitful collaborations with renowned audio engineers and musicians. These partnerships have played a crucial role in the development of new products and have helped the company stay at the forefront of the industry. One of the most notable collaborations was with Rupert Neve, a legendary figure in the world of audio engineering.

The collaboration with Neve resulted in the creation of the SE RN17, a small-diaphragm condenser microphone that combines SE Electronics' cutting-edge technology with Neve's legendary design expertise. The RN17 is known for its exceptional clarity, detail, and musicality, making it a favorite among recording professionals. This partnership exemplifies SE Electronics' commitment to working with the best in the industry to create products that set new standards of quality and performance.

### The Birth of the Reflexion Filter

One of SE Electronics' most significant contributions to the audio industry is the Reflexion Filter. Launched in 2006, the Reflexion Filter is a portable acoustic treatment device designed to reduce unwanted room reflections and ambient noise during recording. This innovative product revolutionized the way musicians and engineers approached recording in untreated or acoustically challenging environments.

The Reflexion Filter quickly became a game-changer, allowing users to achieve professional-quality recordings without the need for expensive and permanent acoustic treatment. It has been widely adopted by both home studio owners and professional engineers, becoming an essential tool in the recording process. The success of the Reflexion Filter further solidified SE Electronics' reputation as an innovative and forward-thinking company.

### Continuing the Legacy: New Products and Future Directions

As SE Electronics moved into the 2010s and beyond, the company continued to build on its legacy of innovation and quality. New products, such as the SE V7 dynamic microphone and the SE8 small-diaphragm condenser microphone, have been well-received by the audio community. These microphones are designed to offer exceptional performance and durability, catering to the needs of live sound engineers and studio professionals alike.

The SE V7, in particular, has garnered praise for its robust build and excellent sound quality, making it a favorite among live performers. Its feedback rejection and clarity have made it a go-to microphone for stage use, demonstrating SE Electronics' ability to create products that excel in demanding environments.

### Commitment to Quality and Sustainability

In addition to its focus on innovation, SE Electronics is committed to maintaining high standards of quality and sustainability. The company has invested in state-of-the-art manufacturing facilities and rigorous quality control processes to ensure that every product meets its exacting standards. This commitment to quality is evident in the durability and performance of SE Electronics' microphones, which are built to withstand the rigors of professional use.

Moreover, SE Electronics is dedicated to sustainable manufacturing practices. The company has implemented environmentally friendly processes and materials in its production, minimizing its impact on the environment. This commitment to sustainability reflects SE Electronics' broader mission to create products that are not only exceptional in performance but also responsible in their production.

### Global Reach and Influence

Today, SE Electronics has a global presence, with its products being used by musicians, engineers, and studios around the world. The company's microphones can be found in some of the most prestigious recording studios and are used by top artists and producers. This global reach is a testament to the quality and reliability of SE Electronics' products, as well as the company's ability to meet the diverse needs of the audio community.

SE Electronics has also expanded its product line to include a range of accessories and recording tools, further enhancing its reputation as a comprehensive provider of audio solutions. From pop filters and shock mounts to isolation packs and acoustic treatment solutions, SE Electronics offers everything needed to achieve professional-quality recordings.

### Looking Ahead: The Future of SE Electronics

As SE Electronics looks to the future, the company remains committed to its core values of innovation, quality, and sustainability. With a strong foundation built on decades of experience and a relentless pursuit of excellence, SE Electronics is well-positioned to continue shaping the future of the audio industry. The company's dedication to meeting the evolving needs of musicians, engineers, and producers ensures that it will remain a leader in the world of professional audio equipment.

In conclusion, the story of SE Electronics is one of passion, innovation, and a commitment to excellence. From its humble beginnings in Shanghai to its status as a global leader in audio technology, SE Electronics has consistently pushed the boundaries of what is possible in microphone design and performance. With a focus on quality, sustainability, and collaboration, SE Electronics continues to set new standards in the world of professional audio, creating products that inspire and enable musicians and engineers to achieve their best work.