TEST: ESI Maya 22 USB

 If any product segment has exploded in recent years, it is the field of small and micro interfaces. Due to the also explosively increased computing capacities of current notebooks, the purely stationary recording operation is by no means the rule in the budget studio sector anymore. Instead, today's sound engineers like to take a laptop with an interface and some cables under their arm to record the first demo steps on HD in the rehearsal room of the upcoming ambitious band.

Since, in addition to good technical values and compact dimensions, more and more visually attractive attributes are finding their way into the personal value mirror, today's manufacturers have to pay tribute to this if they don't want to get lost in the large range of competitors. Similar thoughts must have crossed the minds of ESI Audiotechnik GmbH, which has launched the ESI Maya 22 USB, an extremely compact stereo interface that visually resembles the market leader in recording notebooks from Cupertino. The number 22 in the product name already tells us the primary application of the product, which can be well described with 2 times input meets 2 times output.

Construction

From the basic values, the ESI Maya 22 USB is a USB 2.0 audio interface, which works on a sample rate of 96 kHz with a word width of 24 bit, whereby the sample rate can also be reduced to 48, respectively 44.1 kHz. Primarily aluminum was used for the casing of the innards, while smaller areas were covered with high-quality plastic. With a weight of only 250 grams and dimensions of 102 mm x 36 mm x 90 mm, the product seems virtually predestined for mobile use. The fact that the ESI Maya 22 USB receives its power via the USB socket also contributes to the transportability.

In general, the interface has no physical controls and is more of an AD/DA converter. For signal input, there are one L/R RCA, one XLR combo jack and one high-impedance Hi-Z jack as input, as well as a stereo headphone and L/R jack as monitor output.
jack as monitor output. In order to be able to use condenser microphones as well, a push switch is located next to the combo jack, which can be used to activate the commercially available 48V phantom power. A green LED provides information about the operating status. The high-impedance input and the combo jack can be used simultaneously if required.

In terms of delivery, the company ESI is spartan, only a USB cable and a simple manual is included with the product. The PC is the only area of application; iOS and the like unfortunately cannot satisfy the voltage requirements of the ESI Maya 22 USB.

As drivers, the standards in the form of ASIO 2.0, MME, WDM, DirectSound, DirectWIRE for PC and Core Audio for Mac OSX are used, whereby the Class Compilant driver is provided for Apple. It is still recommended to install the included software panel, since only this software allows access to internal settings like direct monitoring. Although the interface has only been visually reduced to the most necessary, the input selection is also determined here. If you choose the assignment microphone and Hi-Z, the microphone is only transmitted on the left channel, the high-impedance input only on the right channel.

Practice

With regard to the product's field of application, you should of course consider in advance which control options you need to demand from the interface for optimal use. If you frequently readjust the level, the software solution of the ESI Maya 22 USB is already a bit exhausting, but if you use the product with an analog mixer, you have an adjustment-proof interface that gets by with minimal dimensions.

What generally diminishes the very good overall impression a bit is the fact that the headphone output and the monitor outputs can only be adjusted together in their volume. It is questionable whether a small control could have been installed here, since the dependency of the two outputs in terms of volume can possibly lead to performance losses in practice.

In terms of sound, however, the ESI Maya 22 USB is quite respectable for the price, even though you should not expect absolute high-end quality from the built-in preamp. The line input leaves a consistently good impression, which processes all common signals flawlessly with a neutral basic sound. There are also no complaints in the microphone area, even though you have to make slight concessions in terms of resolution and coloration in direct comparison to the next higher price category.

However, it is also obvious that you won't make any recordings that will later be released on a professional record production with an interface in the street price range of less than 100 Euros. For the demo area or however in the speech use the ESI Maya 22 USB leaves however a really good impression.


Conclusion

With the ESI Maya 22 USB is an interface on the market, which shines with good values at a low price. The workmanship of the product is very good, the optics high-quality, the weight almost ridiculously low and the dimensions pleasantly small. Especially in mobile use, the product can fully play out its aforementioned strengths and will find its primary field of application in the demo or podcast area.

Those who can live with the slight limitations of the dependency in terms of output volumes should risk a look at the product, especially since the sonic aspect of the product deserves an in-depth study of the silver disc.


Additional Informations:

- ESI Audio is a Germany-based company that specializes in manufacturing high-quality audio products such as audio interfaces, MIDI controllers, studio monitors, and headphones. ESI Audio is known for its innovative and state-of-the-art products, which are designed to meet the needs of musicians, producers, and sound engineers.

History and Background

ESI Audio was established in 2003 by Claus Riethmüller, a musician and sound engineer, who was passionate about creating a company that would redefine the audio solutions market. Claus Riethmüller started the company with the goal of providing professional and affordable audio products for musicians, producers, and sound engineers.

Over the years, ESI Audio has grown to become one of the leading manufacturers of audio products in the world, with a reputation for producing high-quality and innovative products that are designed to meet the needs of both professionals and beginners in the audio industry.

Products

ESI Audio offers a wide range of products that are designed to meet the needs of musicians, producers, and sound engineers. Some of their most popular products include:

Audio Interfaces: ESI Audio produces a range of audio interfaces, including the U24 XL, the U22 XT, and the GIGAPort HD+. These audio interfaces are designed to provide high-quality audio recording and playback capabilities for musicians and producers.

MIDI Controllers: ESI Audio offers a range of MIDI controllers, including the M8U XL and the M4U XT. These MIDI controllers are designed to provide musicians and producers with intuitive control over their digital audio workstations (DAWs).

Studio Monitors: ESI Audio produces a range of studio monitors, including the nEar05 eXperience and the nEar08 eXperience. These studio monitors are designed to provide accurate and detailed audio playback, making them ideal for mixing and mastering.

Headphones: ESI Audio offers a range of headphones, including the uniK 05+ and the uniK 08+. These headphones are designed to provide high-quality audio playback, making them ideal for recording, mixing, and mastering.

All of ESI Audio's products are designed to provide high-quality audio performance, with a focus on affordability and ease-of-use. ESI Audio's products are used by musicians, producers, and sound engineers around the world, and are known for their reliability and durability.

Innovation

ESI Audio is known for its innovative approach to audio solutions. The company is constantly pushing the boundaries of what is possible in the audio industry, with a focus on developing new technologies that can improve the audio experience for musicians, producers, and sound engineers.

One example of ESI Audio's innovation is their use of Class-A preamps in their audio interfaces. Class-A preamps are known for providing high-quality audio performance, with a warm and natural sound that is ideal for recording vocals and acoustic instruments. ESI Audio's use of Class-A preamps in their audio interfaces has set a new standard for audio quality in the industry.
Another example of ESI Audio's innovation is their use of DSP (Digital Signal Processing) technology in their studio monitors. DSP technology allows ESI Audio's studio monitors to provide accurate and detailed audio playback, with a focus on eliminating any distortion or coloration in the sound. This makes ESI Audio's studio monitors ideal for mixing and mastering, as they provide a clear and accurate representation of the audio.

Community and Support

ESI Audio is committed to supporting its customers, with a focus on building a strong community of musicians, producers, and sound engineers. The company offers a range of resources and support, including:

Online Forums: ESI Audio's online forums provide a platform for musicians, producers, and sound engineers to connect with each other to share their experiences.


- Audio Interfaces: A Crucial Tool for Professional Audio Production

An audio interface is a device that connects a computer or other digital audio device to external audio equipment such as microphones, instruments, and speakers. It is a crucial tool for professional audio production, providing high-quality recording and playback capabilities for musicians, producers, and sound engineers.

In this article, we will discuss the different types of audio interfaces, their features and benefits, and some factors to consider when choosing an audio interface for your professional audio needs.

Types of Audio Interfaces

There are several types of audio interfaces available on the market, each with its own set of features and benefits. The most common types of audio interfaces include:

USB Audio Interfaces: USB audio interfaces are the most popular type of audio interface, and are typically used by musicians and producers who require a portable and easy-to-use solution. These interfaces typically connect to a computer via USB, and provide high-quality audio recording and playback capabilities.

Thunderbolt Audio Interfaces: Thunderbolt audio interfaces are designed for professional use, providing high-speed data transfer and low latency for recording and playback. These interfaces typically connect to a computer via Thunderbolt, and are ideal for high-end audio production.
PCIe Audio Interfaces: PCIe audio interfaces are designed for use in desktop computers, and provide high-speed data transfer and low latency for recording and playback. These interfaces typically connect to a computer via PCIe, and are ideal for professional audio production.

FireWire Audio Interfaces: FireWire audio interfaces are an older type of interface that provides high-speed data transfer and low latency for recording and playback. However, they are less common today due to the prevalence of USB and Thunderbolt interfaces.

Features and Benefits of Audio Interfaces

Audio interfaces offer several features and benefits that are crucial for professional audio production. Some of these include:

High-Quality Audio Recording and Playback: Audio interfaces provide high-quality recording and playback capabilities, with a focus on accuracy and detail. This is essential for producing professional-quality audio recordings.

Low Latency: Audio interfaces provide low latency, which is crucial for musicians and producers who require real-time monitoring and recording capabilities.

Versatility: Audio interfaces are versatile, and can be used with a wide range of external audio equipment such as microphones, instruments, and speakers.

Multiple Inputs and Outputs: Audio interfaces typically provide multiple inputs and outputs, which is essential for recording and mixing multiple audio sources.

Factors to Consider When Choosing an Audio Interface

When choosing an audio interface, there are several factors to consider, including:
Budget: Audio interfaces can range in price from a few hundred dollars to several thousand dollars. It is important to choose an interface that fits within your budget, while still providing the features and capabilities that you need.

Number of Inputs and Outputs: The number of inputs and outputs that you require will depend on your specific audio production needs. For example, if you are recording a band, you may need an interface with multiple inputs to accommodate all of the instruments.

Compatibility: It is important to choose an interface that is compatible with your computer and other digital audio equipment.

Sample Rate and Bit Depth: The sample rate and bit depth of an interface determine the quality of the audio recording and playback. It is important to choose an interface that provides high sample rates and bit depths for professional-quality audio production.

Conclusion
In conclusion, an audio interface is a crucial tool for professional audio production, providing high-quality recording and playback capabilities for musicians, producers, and sound engineers. There are several types of audio interfaces available on the market, each with its own set of features and benefits. When choosing an audio interface, it is important to consider your budget, the number of inputs and outputs that you require, compatibility, and sample rate and bit depth. With the right audio interface, you can take your audio production to the next level

TEST: Epiphone 1961 Les Paul SG Standard CW

 One may hardly think it possible in view of the current prices of $500,000 and more, but the legendary Gibson Les Paul Standard of 1958 - 1960, of which about 2,500 copies were built, were economically a real Rohrkrepierer for Gibson. "Too heavy, too unwieldy, too traditional" and whatever else was cited by customers as downers for the handcrafted great instruments of its time. Everything wanted Fender's light, treble-rich, "modern" guitars, led by the biggest seller of all time, the Stratocaster. In their desperation, Gibson then also threw the concept given by Les Paul overboard in 1961 and gave the signature instrument a radical reboot that no longer had much to do with the original Les Paul. So it came that for a few years still the lettering "Les Paul" enthroned on the headstock, before the instrument in the mid-sixties finally became the uninspired "Solid Guitar", better known as SG. An edition of the sixty years ago faded era now offers the Gibson subsidiary Epiphone, which is before us for testing.

The concept of the Epiphone 1961 Les Paul SG Standard CW

Detached from the quality of the instrument, Les Paul was not really happy with the reorientation of his model. Although he still got his royalties on the instrument, the outward appearance was anything but optimal for a new model. But what exactly distinguished the two models from each other? Well, besides the modified body shape, it was mainly the call for lighter woods and less mass in general. The "ouch, ouch, back" faction had already at that time a very large influence on the economic turnovers of the manufacturers, so that Gibson reduced directly once the body thickness including the shaping by scarcely 30 - 40%.

However, what Epiphone shows here with the Epiphone 1961 Les Paul SG Standard CW in terms of weight, breaks all standards. The instrument weighs just 2.6 kg, which even an Ibanez RG can pass off as a "fat lump". According to the manufacturer, it's a solid, two-piece mahogany body plus a one-piece mahogany neck, but the knock test might also suggest some cavities. Personally, I don't know of any mahogany wood that is this light, but as we all know, you never stop learning. Be that as it may, as long as it doesn't negatively affect the vibration behavior of the instrument, there's nothing wrong with a weight reduction.

Otherwise, the Epiphone 1961 Les Paul SG Standard CW takes on all the trademarks that make up a classic SG and of course have been approved by the parent company. Short scale length, 2 non-splittable humbuckers (Burstbucker 2 and Burstbucker 3) along with 3-way switch and 2x Volume and 2x Tone, everything as known. Even if the SG / Les Paul comes primarily in the AC/DC color (guitarist Angus Young has chosen the model due to his height of only 157 cm also only for weight reasons) Cherry Red, so there were at his time in fact also some models in white, although this was often reserved for the models Junior and Custom. Epiphone tries to bring a little vintage character to the model with the "Aged White" color scheme, but I don't think they really succeed very well. Applying a matte finish instead of high-gloss doesn't make it vintage, and the "yellowed" neck binding has more of a tarnished Pattex glue seam than an aged plastic strip. However, both are perfectly crafted and bound.

The choice of fingerboard material is also unusual. Laurel, which is still quite rare, is used, which in my opinion visually goes somewhat in the direction of walnut. According to my records, Laurel is primarily struck in Costa Rica and northeastern South America, but according to Epiphone, it is "Indian Laurel," which suggests an impact on the subcontinent. All hardware parts are of high quality, for example, the tuners are Kluson copies made in-house. In combination with the Graph Tech saddle, the instrument can be tuned easily and evenly. The bridge and tailpiece also leave a high-quality impression and the 3-way switch is not the cheap bending plate solution of some competitors in this price segment, but a high-quality telephone relay switch, as you know it from the Gibson instruments.

By the way, the Epiphone 1961 Les Paul SG Standard CW is delivered in a well-made, trimmed to vintage brown hardshell case, which contains exactly the classic lining, as known from the most unusual color schemes of the Gibson past. Here, however, Epiphone has once again gone all out in terms of looks. The "pale pink" used for the interior is so kitschy that even the coloring-resistant Japanese would cover their eyes, but as I said, classic is classic! On the other hand, the case fulfills its function in terms of protection very well.

In practice

The Epiphone 1961 Les Paul SG Standard CW upholds the SG tradition, that much can be said from the first notes out of the amp. Once again I used 5 different channels of my Hughes&Kettner Triamp MKIII to give a balanced sound. Connected was a Marshall 412 Cabinet with Celestion G75 T speakers, miked with 2 Shure SM 57. Due to the extremely low weight, the instrument offers no pressure points, neither in sitting, nor in standing. However, the top-heaviness, which is latently present in an SG model anyway, comes to the fore a bit more. In the end, this shortcoming can still be handled well and for the typical SG player, this is no longer an issue anyway.

The instrument gives by its construction and the pickups the marching direction and this is "rock", whereby one should start from rock in the classical sense. Nix high gain metal scrubbing, nix djent low frequency slobbering, but typical vintage classic rock in the true sense. Of course, you can make up for missing gain reserves with overdrive or distortion pedals, but in this case you should always keep the noise in mind and place an additional noise gate behind the pedal.

On the other hand, if you are looking for a characterful crunch sound with a detour into the lead range for under 1,000 €, the Epiphone 1961 Les Paul SG Standard CW is the right choice. Although the pickups turn out to be comparatively low in treble, in combination with a latently "biting" vintage amp, however, the two shortcomings cancel each other out and result in a very nicely harmonized basic sound.

Playing-wise, the instrument feels good in the hand and, with the factory "SlimTaper C" neck profile, will give a lot of pleasure to the majority of the "Average User". The factory setting of the instrument was good and should suit most players with an average touch. In direct comparison with a Gibson SG costing just under twice as much, it is noticeable that the Epiphone 1961 Les Paul SG Standard CW does not quite have the characterful tone of the original and also comes along with a bit less volume. In return, however, you can buy 2 Epiphone for the same price if you want.

Ultimately, the bottom line is that Epiphone delivers quite a lot of guitar for the money. The subsidiary of Gibson has long since developed into a good instrument supplier of the middle class and still leaves room for the parent company. The basic construction is coherent, the workmanship good and the feel adequate. If you can overlook the sometimes somewhat "cheap" looking optical details, you will find a lot of good and classic sounds for a three-digit euro amount. In combination with a high-quality all-tube amp, you can elicit from the instrument the full range of all sounds that made the sixties and seventies so formative for the greatest guitar hits of all time.

Conclusion

With the Epiphone 1961 Les Paul SG Standard CW, the Gibson subsidiary has a good representative of the Classic Rock era in its ranks. The instrument picks up on the transitional era of Les Paul models and offers a high-quality collection of crunch and lead sounds that catapult you back 40 to 50 years in time in the blink of an eye.

If you're looking for a classic styling with matching sounds in the triple-digit retail price range, or if you're looking for an affordable second guitar, you should definitely check out the Epiphone 1961 Les Paul SG Standard CW.


Additional Informations:

- Epiphone Guitars is a storied brand with a rich history dating back over 140 years. The company was founded in 1873 by Greek luthier Anastasios Stathopoulos in Smyrna, Turkey, and later moved to New York City. Since then, Epiphone has established itself as a major player in the guitar industry, producing a wide range of high-quality instruments that have been used by some of the most influential musicians of all time.

In the early 20th century, Epiphone began producing archtop guitars, which quickly became popular among jazz musicians. One of the company's most iconic models from this era was the Emperor, which featured a large body and elegant appointments like gold hardware and ornate fretboard inlays. The Emperor was used by legendary guitarists like Joe Pass and Wes Montgomery, and it remains a sought-after instrument to this day.

Epiphone continued to innovate throughout the mid-20th century, producing solidbody guitars like the Coronet and Crestwood that were used by rock icons like Jimi Hendrix and Pete Townshend. In the 1960s, Epiphone became part of the Gibson family of brands, and the two companies have since worked closely together to produce some of the finest guitars on the market.

Today, Epiphone offers a wide range of electric, acoustic, and bass guitars that cater to players of all skill levels and musical styles. In this article, we'll take a closer look at some of the most popular models in the Epiphone lineup, and explore what sets them apart from the competition.

Epiphone's electric guitar lineup includes a range of models that are designed to cater to different playing styles and tonal preferences. Whether you're a blues player looking for a gritty, vintage-inspired sound, or a metal shredder in need of a guitar that can handle high-gain distortion, there's an Epiphone electric guitar that's right for you.

One of the most popular models in the Epiphone lineup is the Les Paul, which is based on the iconic guitar design that was developed by Gibson in the 1950s. Epiphone's Les Paul guitars are known for their thick, meaty tone and sustain, which makes them ideal for rock and metal players. The Les Paul Standard is a classic model that features a mahogany body and neck, a maple top, and two humbucking pickups that deliver a powerful, high-output sound. The Les Paul Custom is a more upscale version of the guitar, with a stylish black and white finish and gold hardware.

Another popular Epiphone electric guitar is the SG, which was first introduced by Gibson in the 1960s as a lighter, more affordable alternative to the Les Paul. Epiphone's SG models feature a lightweight mahogany body and a slim, fast-playing neck that make them ideal for players who prefer a more nimble, responsive instrument. The SG Standard is a classic model that features two humbucking pickups and a fast-playing 24-fret fingerboard, while the SG Special is a more affordable option that's perfect for beginners or players on a budget.

For players who prefer a more modern, high-gain sound, Epiphone offers the Prophecy series of guitars. These guitars feature sleek, modern designs and a range of advanced features like locking tuners, high-output pickups, and coil tapping for maximum tonal flexibility. The Prophecy Les Paul features a carved maple top and a set of EMG 81 and 85 pickups that deliver a blistering, high-gain sound, while the Prophecy SG features a Floyd Rose tremolo and a set of Fishman Fluence pickups that offer a wide range of tonal options.

- Les Paul was a legendary musician and inventor who revolutionized the music industry with his innovative approach to guitar design and recording technology. Born Lester William Polsfuss on June 9, 1915, in Waukesha, Wisconsin, he started playing music at a young age, and by the time he was in his teens, he was already a seasoned performer.

Early Years

Les Paul's early musical influences included jazz and country music, and he began playing guitar in his early teens. He quickly became a sought-after session musician, playing with a variety of jazz and country bands and making his first recordings in the early 1930s.
In 1938, Les Paul moved to New York City and began performing with the Les Paul Trio, which featured himself on guitar, bassist Ernie Newton, and rhythm guitarist Jim Atkins (who later became Chet Atkins). The trio became popular on the club circuit, and in 1941 they signed a record deal with Decca Records.

Innovation in Guitar Design

Throughout his career, Les Paul was constantly experimenting with new guitar designs and technology, and his innovations helped pave the way for the modern electric guitar. In the 1940s, he began experimenting with solid-body electric guitar designs, which were still in their infancy at the time. His early designs featured a solid block of wood with pickups mounted directly to the body, which allowed for greater sustain and reduced feedback compared to hollow-body designs.
Les Paul continued to refine his guitar designs over the years, and in 1952 he teamed up with Gibson to produce the first Les Paul model guitar. The guitar featured a mahogany body with a maple top, a set neck, and a pair of P-90 pickups, and it quickly became popular among jazz and blues guitarists. Over the years, the Les Paul model evolved to include a variety of different features and options, including different finishes, pickup configurations, and hardware choices.
In addition to his work on the electric guitar, Les Paul also developed a number of other innovations that helped shape the recording industry. He developed a technique called "sound-on-sound" recording, which involved layering multiple tracks of audio onto a single recording, allowing for greater control over the final mix. He also developed the first 8-track tape recorder, which became a standard in the recording industry for many years.

Later Years and Legacy

Les Paul continued to perform and record throughout his later years, and he remained a beloved figure in the music industry until his death on August 13, 2009, at the age of 94. He was inducted into the Rock and Roll Hall of Fame in 1988 and was awarded a Grammy Lifetime Achievement Award in 1984.

Les Paul's legacy as a musician and inventor is one that will continue to inspire generations of musicians and innovators for years to come. His pioneering work on the electric guitar helped to shape the sound of modern music, and his innovations in recording technology helped to revolutionize the way that music is created and recorded. He will always be remembered as one of the true giants of the music industry.

TEST: Enki AMG Cases

 Times are changing, again. When the author of this article acquired his first guitars, a high-quality case was an integral part of every purchase. The same case was usually made of simple plywood, had a roughly matching molded cutout, the matching snaps and a carrying handle, covered with black Tolex. For the high price range, there was the "luxury shaped case" with a shaped cutout, usually in dazzling pink or purple, along with "support flaps", a padded handle and artificial leather cover in nappa leather look. An instrument without a case? Totally unthinkable! That's probably what the American company Enki thought with its Enki AMG Cases ...

Cause and effect!

The decline of protective cases began with the introduction of the guitar bag. At its time the ultimate tube when it came to the most flabby packaging of a classical / Spanish guitar, the leatherette flap kept just a few scratches off the surface. It's hard to estimate the number of bent tuning machines these sleeves had on their conscience. But they were cheap to make and fit the "beginner's instrument" so wonderfully. What works for acoustic guitars should also work for electric guitars with a few modifications, some resourceful manufacturers said to themselves, and sold their lined bags with the additional argument of carrying strap transportability like hot cakes for so long, yes, until you had to drive to the first gig with the station wagon or the Transporten ...

Nowadays, the packaging of an instrument has become almost completely the responsibility of the buyer. Even instruments beyond the three-digit sales price are partly delivered in cheapest cardboard packaging with rubber bands, a disrespectful behavior towards the instrument. Only in the ambitious midfield is a bag included, the case packaging is reserved for the high price range. So far, so good. But what if our friendly airline transport staff or the stagehands of the local promoter have a bad day? You think you've seen it all? You can be helped!

You can't get any worse

In my early days I also heard various horror stories regarding the loading of instruments and dismissed them as exaggeration until I myself became a victim of senseless violence against instruments several times. I myself had to witness a baggage employee abusing a guitar case of a colleague on the tarmac as a kicking pad to get to a nozzle on the wing of the plane. My own instruments flew off the trolley at maximum speed or were thrown over 2 meters. My collection of broken 3-way switches, chipped paint, and to top it off, a smashed hardshell case fill entire closets. A normal case can no longer withstand this, so that one can only take refuge in the flight case area.

Of course, these cases can be made almost indestructible, but this also brings with it the fact that you can hardly transport them as a single person for weight reasons, and much worse, you exceed the usual 23 kg maximum weight in the cargo area of the airlines. Therefore, the premise is to generate an ultra-stable, but still as light as possible case, in which the instrument(s) are optimally protected from the destructive rage of third parties.

This same market is very, very small worldwide, not to say that there has only been one manufacturer who, in addition to a few lateral entrants from the weapons market (rifle cases with a different molded cutout), has met all of the above criteria. It is the company Scott Dixon Cases from UK, which manufacture their cases from aluminum. The more professional a music festival is, the more said cases pile up in the backstage area. It was truly time for a new contender.

The concept of Enki AMG Cases

I myself was in the situation that my baritone guitars didn't fit into my Scott Dixon cases and I needed a new case with the ultimate protection mechanisms with bass case dimensions for my touring activities. Enki Cases were not a concept to me until I saw the following video by chance, which inspired me from the spot:


With the Enki AMG Cases, the complete focus is on stability and protection, combined with the lowest possible weight. Thus, the truly very imposing case with the dimensions 140 cm x 28 cm x 48 cm and a net weight of 11.8 kg including my two guitars manages to stay under 21 kg. Mind you, this is a bass case! The Enki Cases are always a double case, unless you take the version for the acoustic guitar, where, as expected, there is only room for one instrument inside.

The material used is Roto-Molded Polyethylene, which is very sturdy yet comparatively light. In contrast to stiff materials like wood or aluminum, the case is stretchable, so that small to medium impacts on the case can be cushioned. For easier transport, the case has 2 sturdy plastic wheels and a massive handle.

To protect the instruments themselves inside, EA foam is still the way to go, so it's no surprise that Enki AMG Cases have stocked up on it in abundance. Not only are the edges completely padded, but the body area has an insert of foam with a very important divider that prevents the instruments from hitting each other in the event of an impact. A little pressure
is required when placing the instruments inside, but this is beneficial for transport safety.

The guitar necks are also in a large foam block, which can be locked in height. The block is milled in such a way that it gives a good hold to straight headstocks up to angled Les Pauls. Those who own instruments with very strongly angled headstocks should "test place" once if necessary. The final touch is a block above the headstocks of the instruments, which is intended to prevent the headstocks from hitting the top of the case in the event of a fall.

A special feature is the removable lid of the Enki AMG cases. If you remove the lid, you automatically have a high-quality guitar stand for the stage, in which the main or spare instrument can remain during the show. As a guide, the lid has two sleeves at the bottom edge, which are slid laterally over two guide pins and which were attached to the case. Thus, with a little dexterity, it can be mounted and dismounted within 10 seconds. Inside the lid is another small, removable case, in which you can place small things like guitar strap, Inear System or cables. If placed intelligently, the guitar strap should also find its place inside the case next to the guitars.

The lid is protected against rainwater penetration by a rubber bead and has a massive snap closure for locking purposes. Last but not least, the case can be secured with 2 padlocks. But beware, what may still work in the EU, looks completely different for intercontinental travel. American and Russian security officials love to break open locked cases, here it remains to consider whether you secure the contents with a cable tie.


The Enki AMG cases in practice

In principle, I can save myself any comment, who has seen the above video, knows what to think of the case. I admit, I've always been a big fan of massive and stable cases that secure the contents, so the case really hits the mark for me. The case is easy to transport for its size, both the handle in general and the wheels on flat ground are a great relief. However, one should not forget that the case with its dimensions requires at least a station wagon for transport, but since there are very few vehicles with notchback anyway, this problem can probably be considered solved.

Conclusion

With the Enki AMG Cases, the American supplier has a protective case of the absolute Premier League in its portfolio. Only a small handful of manufacturers are even able to offer a case of this protection class, with Enki being among the top 2, if not number 1 worldwide.

Those who now turn away with the words "only something for professionals" should always keep in mind that you can travel much more structured and relaxed with your instruments if you really don't have to worry about their condition on site at all.

Conclusion: An absolute top product, almost unrivaled and actually a must for every musician!


Additional informations:

- Enki Cases is a US-based company that specializes in the design and production of high-quality protective cases for professional equipment. Founded in 2016 by a group of engineers and designers with years of experience in the field, Enki Cases has quickly become a leading brand in the industry thanks to its innovative approach to product development, exceptional customer service, and commitment to quality.

At Enki Cases, the team's mission is to provide customers with the most reliable, durable, and customizable cases for their valuable equipment. Whether you are a photographer, videographer, musician, or industrial worker, Enki Cases has the perfect solution to keep your gear safe and secure in any environment.

The Enki Cases Difference

Enki Cases is not your average protective case company. What sets Enki Cases apart from its competitors is its commitment to innovation and customization. Each case is designed and built with the specific needs of the customer in mind, from the size and shape of the case to the type of foam inserts used to protect the equipment.

Enki Cases offers a wide range of customization options to ensure that each case meets the unique needs of the customer. Customers can choose from a variety of materials, colors, and finishes for the exterior of the case, as well as different types of foam inserts to protect their equipment. In addition, Enki Cases can create custom logos and branding for businesses and organizations.

Enki Cases also takes pride in its exceptional customer service. The team at Enki Cases understands the importance of providing a personalized experience for each customer, from the initial consultation to the final delivery of the product. They work closely with customers to ensure that each case meets their specific needs and requirements, and they are always available to answer any questions or concerns.

Products

Enki Cases offers a wide range of protective cases for professional equipment. From cameras and lenses to drones and musical instruments, Enki Cases has a solution to keep your gear safe and secure in any environment. Some of the most popular products include:

Camera Cases: Enki Cases offers a range of camera cases designed to protect your valuable camera equipment. Whether you need a case for a DSLR camera or a mirrorless camera, Enki Cases has the perfect solution.

Drone Cases: Enki Cases offers a range of drone cases designed to protect your drone and its accessories. Whether you need a case for a DJI Phantom or a DJI Mavic, Enki Cases has a solution to keep your drone safe and secure.

Musical Instrument Cases: Enki Cases offers a range of musical instrument cases designed to protect your valuable instruments. Whether you need a case for a guitar or a trumpet, Enki Cases has a solution to keep your instrument safe and secure.

Industrial Equipment Cases: Enki Cases offers a range of industrial equipment cases designed to protect your tools and equipment. Whether you need a case for power tools or electronic equipment, Enki Cases has a solution to keep your equipment safe and secure.

Materials and Construction
At Enki Cases, every case is designed and built to the highest standards of quality and durability. Each case is constructed using the finest materials and advanced manufacturing techniques to ensure that it can withstand the most demanding environments and conditions.
The exterior of each case is made from high-strength materials such as aluminum or polycarbonate, which provide superior protection against impact, water, and dust. The interior of each case is lined with custom-cut foam inserts, which are designed to fit the specific shape of the equipment and provide maximum protection against shocks and vibrations.
Enki Cases also offers a range of accessories and options to enhance the functionality and durability of each case. These include reinforced corners, locking mechanisms, wheels and handles, and custom branding.

- Guitar cases are an essential accessory for any guitar player who wants to protect their valuable instrument while traveling. A good guitar case not only provides protection against damage from bumps and impacts, but it also shields the guitar from environmental factors such as moisture and extreme temperatures. In this article, we will discuss the different types of guitar cases available and what to look for when choosing one.

Types of Guitar Cases

There are three main types of guitar cases available: hardshell cases, softshell cases, and gig bags. Each type offers a different level of protection and convenience, and the choice ultimately depends on the individual's needs and preferences.

Hardshell Cases

Hardshell cases are the most protective type of guitar case available. They are made from sturdy materials such as wood or ABS plastic and provide excellent protection against impact, moisture, and temperature changes. Hardshell cases are also the heaviest and bulkiest type of case, making them less convenient for travel.

Softshell Cases

Softshell cases are lighter and more compact than hardshell cases, making them easier to carry and store. They are made from materials such as nylon or polyester and have a padded interior to protect the guitar from bumps and scratches. Softshell cases offer less protection than hardshell cases but are still a good option for guitar players who need to travel frequently.

Gig Bags

Gig bags are the lightest and most portable type of guitar case. They are made from lightweight materials such as nylon or canvas and have a padded interior to protect the guitar from minor bumps and scratches. Gig bags offer the least protection among the three types of cases but are ideal for short trips or for carrying the guitar around town.

What to Look for in a Guitar Case

When choosing a guitar case, there are several factors to consider, including:

Size
The guitar case should fit the guitar snugly to prevent it from moving around inside the case. It is important to choose a case that is specifically designed for the type of guitar you have, whether it is an acoustic, electric, or bass guitar.

Protection
The case should offer adequate protection against impacts, moisture, and temperature changes. A hardshell case provides the most protection, while a softshell case or gig bag is suitable for less demanding environments.

Durability
The case should be made from high-quality materials and should be able to withstand wear and tear over time. The hardware, such as the latches and hinges, should be durable and easy to operate.

Convenience
The case should be easy to carry and store. A hardshell case can be heavy and bulky, while a softshell case or gig bag is more portable and easier to carry around.

Price
The price of the case should be reasonable and within your budget. While a high-quality case can be expensive, it is worth the investment to protect your valuable instrument.

Conclusion
A good guitar case is an essential accessory for any guitar player who wants to protect their valuable instrument while traveling. Whether you choose a hardshell case, softshell case, or gig bag, it is important to consider factors such as size, protection, durability, convenience, and price when choosing a case. By investing in a high-quality guitar case, you can ensure that your instrument stays safe and protected on the go.

TEST: Cordial Metal Cable

 It is what it is, some product groups captivate the inclined user already because of their outer appearance, while other products are perceived more as a necessity than as acoustic jewelry. Who hasn't been fascinated by a quintuple maple top or stood in awe in front of a fat fullstack? And what do all these products have in common? They depend on the most inconspicuous and at the same time the most important element of the signal chain, the cable.

Apart from the fact that cables significantly determine the quality of the sound, they are also the 95% that cause a defect. Therefore, the sound quality and workmanship of a cable can not be emphasized enough in terms of practicality. So far, so good, in fact up to here not really something new for the experienced musician.

However, up to now there was a kind of "speed of light" in the unbalanced instrument cable sector, or rather a cable length, which led to a merciless devaluation of the sound after exceeding the same, whereby one must say for the sake of fairness that this was used by some blues musicians as a welcome aid to curb the biting highs of their vintage single coils. Normally, however, due to the capacity of a cable, anything above 6 meters was accompanied by a reduction in treble.

The maximum of feelings was represented by the 9 meter cable, which slightly scratched the height barrier, but basically still corresponded to 90% of the original sound of the pickups. Cable lengths longer than that could no longer be bought as ready-made, if at all you had to solder the length yourself, or have it soldered by the screwdriver of your choice.

Why do I keep using the past tense in my test so far? Well, the German company Cordial has brought with the Cordial CSI 15 PP-Metal for the first time a ready-made 15 meter cable on the market, which apparently does not want to adhere to the empirical values from physics and the associated economy. Daring, one might think, or maybe not?

Concept

To clarify it right away, who now follows the test with his EMG axe a bit incredulous in the sense of "I've never noticed that with the cable length", may lean back relaxed and trust his ears again. The capacity analysis described above only applies to passive, i.e. high-impedance pickups. EMG, the most popular representatives of active pickups, work with low impedance signals, which allows the use of cables with a length of up to 30 meters without any loss of sound. The same "only" need to pay attention to the processing of the instrument cables, the capacity is of secondary importance here.

The classic rock, pop and blues guitarist, on the other hand, most likely uses passive pickups, which so far have stretched the sails at said 9 meters. Attention, not to forget, if one operates a pedalboard, which is equipped exclusively with true bypass switch and one has placed no buffer amp in the signal path, also already 2 pieces of 6 meter cable can grow by the addition to 12 meters!

Well then, how can the Cordial CSI 15 PP-Metal cable help us solve the problem? Cordial has gone and maxed out the copper content in their Metal series. The Conductive Plastic covered cable, which is based on the Cordial CGK 175 meter cable, has an extremely low capacitance of only 88pF / m due to the use of oxygen-free copper and the unusually high number of 42 inner conductor strands. Matching the copper base color of the cable, a special edition of gold-plated Neutrik connectors was also installed. The processing is, as always with Cordial cable in this league absolute top class.



Practice

OK, the first question, why do you need 15 meters of cable at all? Wacken, ok, Rock am Ring, also clear, but even at an average open air stage, the guitarist / bassist is hardly more than 9 meters away from his amp / floorboard, right? And then he surely has a transmitter, right? Regarding the transmitter, here there are simply 2 camps, some love transmitters, others hate them. The sonic and technical differences would go beyond the scope of this test, so we'll just leave it at that and devote ourselves to the camp that wants to play with cable.

If you just want to plug the cable between guitar and amp, shorter lengths may be enough, but then the good piece lies across the stage and the great friend of the guitarist, the agile front man, traps on the same at every opportunity and thus promotes the wear of the product. If you want to prevent this, lay the cable at the edge of the stage around the entire stage and lead it back to the amp. The same applies to the output floorboard connection to the amp.

It's also nice if the guitar tech has its place on the other side of the stage. If there's a problem during the show, it's always easier to run to the tech with a long cable than to draw his attention with wild hand-waving movements.

Sound

This is explained very quickly. I don't know how Cordial managed it, but there is virtually NO difference in sound between the 9, 12 and 15 Metal cables of the Cordial CSI 15 PP-Metal series! The 6 meter variant still has a little tick'n more treble in the basic sound, but from there the sound actually remains identical, although it should decrease purely mathematically in quality. Fantastic!


Conclusion

With the Cordial CSI 15 PP-Metal, Cordial brings by far the best-sounding 15 meter instrument cable to the market. What previously seemed unfeasible in terms of sound, the German company has managed due to their vast experience and using the best materials. Sound differences can no longer be perceived between the 9, 12 and 15 meter versions, which in the future will allow increased use of the length that is often more useful in practice.

Top rating, definitely test it!


Additional Informations:

- Cordial Cables is a German company that has been manufacturing high-quality audio and video cables for over two decades. Founded in 1995 by Manfred Niederauer, Cordial Cables has become a leading name in the audio and video industry, delivering top-notch products to professional musicians, recording studios, and broadcasting companies all over the world.

Quality and Innovation

Cordial Cables is known for its commitment to quality and innovation. The company uses only the best materials and production techniques to create its cables. Each cable is hand-assembled and tested by skilled technicians to ensure that it meets the highest standards of quality and reliability. This attention to detail has earned Cordial Cables a reputation for producing some of the best audio and video cables in the industry.

In addition to its dedication to quality, Cordial Cables is also known for its innovative approach to cable design. The company has developed a range of patented technologies that improve the performance and durability of its cables. For example, Cordial Cables' "Anti-Kink" technology prevents cables from becoming twisted or tangled, while its "Triple Shielding" technology minimizes interference and noise.

Product Line

Cordial Cables offers a wide range of audio and video cables to meet the needs of professional musicians, recording studios, and broadcasting companies. Its product line includes:
Instrument Cables: Cordial Cables' instrument cables are designed to provide high-quality sound transmission and durability. The company offers a range of cables for different instruments, including electric guitars, basses, and keyboards.

Microphone Cables: Cordial Cables' microphone cables are designed to deliver clear, accurate sound with minimal interference and noise. The company offers a range of cables for different microphone types and applications.

Speaker Cables: Cordial Cables' speaker cables are designed to deliver high-quality sound with minimal loss or distortion. The company offers a range of cables for different speaker types and applications.

Patch Cables: Cordial Cables' patch cables are designed to provide reliable connections between audio equipment. The company offers a range of cables for different applications, including effects pedals, studio equipment, and rack-mounted gear.

Video Cables: Cordial Cables' video cables are designed to provide high-quality image transmission with minimal interference and noise. The company offers a range of cables for different video formats, including HDMI, VGA, and DVI.

Custom Cables: Cordial Cables also offers custom cable design and production services. The company can create custom cables to meet the specific needs of individual customers.
Sustainability

Cordial Cables is committed to sustainability and social responsibility. The company uses environmentally friendly materials and production techniques wherever possible, and it takes steps to minimize its impact on the environment. Cordial Cables also supports charitable organizations and community projects in its local area.

Conclusion

Cordial Cables is a leading name in the audio and video industry, known for its commitment to quality, innovation, and sustainability. The company's dedication to creating high-quality, reliable cables has earned it a reputation as one of the best in the industry. Whether you're a professional musician, recording studio, or broadcasting company, Cordial Cables has a wide range of products to meet your needs.


- Copper: Properties, Uses, and History

Copper is a chemical element with the symbol Cu and atomic number 29. It is a soft, ductile metal that has excellent thermal and electrical conductivity, making it a valuable resource in modern technology. In this article, we will explore the properties, uses, and history of copper.

Properties of Copper

Copper is a reddish-orange metal that is soft and malleable. It has a relatively low melting point of 1,984°F (1,083°C) and a boiling point of 5,301°F (2,927°C). Copper is an excellent conductor of heat and electricity, and it is highly resistant to corrosion.
In its pure form, copper is relatively soft and malleable, making it easy to work with. However, when it is alloyed with other metals, such as zinc or tin, it becomes stronger and more durable. Copper alloys are used in a wide range of applications, from electrical wiring to construction materials.

Uses of Copper

Copper has been used for thousands of years, dating back to ancient civilizations such as the Egyptians and the Romans. It was prized for its beauty and durability, and it was often used to make decorative objects, jewelry, and weapons.

Today, copper is used in a wide range of applications, including:
Electrical Wiring: Copper is an excellent conductor of electricity, which makes it the ideal material for electrical wiring. It is used in everything from power grids to household appliances.

Plumbing: Copper is also commonly used in plumbing because of its excellent corrosion resistance and durability. It is often used to make pipes, fittings, and valves.

Construction Materials: Copper is used in construction materials such as roofing, gutters, and flashing. It is also used in architectural features such as sculptures, statues, and domes.
Industrial Applications: Copper is used in a wide range of industrial applications, including heat exchangers, radiators, and boilers. It is also used in the production of alloys, such as brass and bronze.

Medical Applications: Copper is used in medical applications such as dental fillings, surgical instruments, and prosthetics. It is also used in some medications and dietary supplements.

History of Copper
Copper has been used by humans for thousands of years. The oldest known copper artifacts date back to the 8th millennium BC and were found in present-day Iraq. Copper was also used in ancient Egypt, Greece, and Rome, where it was prized for its beauty and durability.

During the Industrial Revolution, copper became even more important as a resource. It was used in the production of steam engines, telegraphs, and electrical wiring. The demand for copper continued to grow throughout the 20th century as new technologies such as automobiles and computers were developed.

Today, copper remains a valuable resource in modern technology. It is used in everything from smartphones to solar panels. The global demand for copper continues to grow, and it is estimated that the world will need over 40 million metric tons of copper by 2035.

Conclusion

Copper is a valuable resource that has been used by humans for thousands of years. It has excellent thermal and electrical conductivity, making it ideal for a wide range of applications in modern technology. Copper is used in everything from electrical wiring to medical applications, and its demand continues to grow as new technologies are developed. As one of the most versatile and useful elements on the periodic table, copper will undoubtedly continue to play a vital role in our lives for many years to come.

TEST: Chapman Guitars ML3 Bea Rabea Massaad Baritone

 OK, I admit it, I love baritone guitars when it comes to drop tunings. No standard guitar, no matter how high quality, is able to reproduce the crisp and incisive tone of a quality baritone guitar. Why? Coming up in the test! What are we testing? A Chapman Guitars ML3 Bea Rabea Massaad Baritone!

Why baritone guitars?

OK, a bit of physics must be involved, but really only in a very rudimentary way. When our piece of wire, called a string, is stretched between 2 points with a certain tension, a certain tone will sound when it vibrates. If we shorten this distance but keep the tension, the tone will be higher, the other way around, if we lengthen the distance but keep the tension, the tone will be lower. So far, so good. This means that if we shorten the scale length of an instrument, the string tension decreases for the same pitch, or increases for a longer scale length.

So, for fun, let's take a standard 010 set in standard tuning. Already with a drop tuning of 2 semitones we have a single slobber on the fingerboard. The alternative, a thicker set of strings, e.g. a 011 set. This game can be continued 1 to 2 times, but at the latest from the 012 set the G-string is already wound and at the latest at 013 it's over, unless you take a special set, such as my signature string set ( https://www.thomann.de/de/pyramid_axel_ritt_013_056_string_set.htm ), whereby I play this in standard tuning, but this is another story.

With increasing thickness of the strings, however, the swinging in and out behavior of the strings also changes, so that a clean tone shaping no longer wants to succeed with a standard scale length. The solution to this problem lies in the scale length. By lengthening the scale length, comparatively thinner strings can be tuned much lower, resulting in a much better defined tone with much more character. A strong baritone string set with the thickest still cleanly vibrating plain G-string would be, for example, this set here ( https://www.thomann.de/de/pyramid_axel_ritt_signature_baritone.htm ).

As before, too little string tension is the main problem for a defined downtuning. The strings quickly sound "boomy" and they may only be "stroked", since a harder attack causes the string tension to shoot up and the intonation of the guitar to go to hell, even with the best octave purity. Conclusion, the lower the tuning the longer the scale length aimed for.

The construction of the Chapman Guitars ML3 Bea Rabea Massaad Baritone

The Chapman Guitars ML3 Bea Rabea Massaad Baritone is the baritone version of YouTuber Rabea Massad's signature series. A review of the standard version of the ML3 can already be read here ( https://www.amazona.de/test-chapman-guitars-ml3-std-bea-mensis-e-gitarre/ ), so this review is primarily about the differences to the baritone version.

At first glance, the guitars do not seem to differ that much, if you disregard the retail price, but this is probably also due to the country of manufacture. While the standard version is made in the "real" low-wage country Indonesia, the baritone version is built in Korea, which results in a store price that is almost twice as high. But one should also consider the expected sales figures, where a standard guitar is always ahead of the baritone version.

Again, a Tele body is used, but somehow the pickup arrangement seems to be different. This is not an optical illusion, but is based on the scale length of just under 711 mm, which, unlike many other competing specimens also labeled as baritone guitars, is already a full-blown baritone guitar. Not everyone has to use an extreme scale length of 760 mm, as is the case with my custom baritone guitars, but to speak of a "baritone" below a scale length of 700 mm, I find a bit "audacious".

This scale length could theoretically be implemented by simply extending the neck, but this would cause a problem. It is well known that the optimal vibration point for the neck pickup is below the 24th fret. On some guitars, the neck pickup is moved back a bit in favor of two more frets, but loses a bit of character as a result. If one wanted to place the neck pickup on a baritone guitar simply by extending the neck below the 24th fret, the pickup would have to be placed almost completely in the neck. Furthermore, the shifted center of gravity would greatly increase the top-heaviness of the instrument.

To counteract this, almost all baritone guitar manufacturers move the bridge construction and bridge pickup further back, so that the neck pickup can just be placed on the body near the base of the neck. This has of course optically and also play-technically the consequence that the distance between bridge and neck pickup is clearly larger, than with a standard guitar. This is also the case with the Chapman Guitars ML3 Bea Rabea Massaad Baritone, so the instrument looks a bit "different" and also plays a bit differently, especially with palm muting playing styles. However, one quickly gets used to the changed dimensions.

Apart from these differences in basic construction, many points between the two instruments are identical. Both instruments feature a toasted and bolt-on maple neck with ebony fingerboard. However, on the baritone version, the manufacturer has placed fluorescent dot inlays on the fretboard side to aid orientation on a dimly lit stage. Otherwise, shaping, pickups, alder as body wood, maple top, natural binding, circuit, everything as with the standard version. Only the weight is slightly higher at just under 3.6 kg, because more wood was used.

But wait, the final inspection has slopped properly. With Indonesian production, one could possibly turn a blind eye, but not with Korean production. On the Chapman Guitars ML3 Bea Rabea Massaad Baritone is a baritone string set with wound G-string, here D-string. You can do this, and it is not unusual, as long as you don't want to do any bending on the instrument. However, if you string such a set, the octave purity must also be adjusted accordingly. On a standard set with a plain G string, the characteristic octave purity offset is always between the last wound string (D) and the first plain string (G). However, this offset must be between the G and B (B) strings on a set with a wound G string (baritone D string), as it is on a steel string acoustic guitar, which is not the case on this guitar.

Rather, the assumption is that the octave purity was adjusted by eye, since this misadjustment should have been noticed during a proper adjustment via a tuner. The adjustment error should have been noticed during the final inspection at the latest. Anyway, 5 minutes of adjustment work with the right tool, maybe 10 minutes if you want to check the other strings at the same time for safety's sake and good.

The Chapman Guitars ML3 Bea Rabea Massaad Baritone in practice

Like any other baritone guitar with an "adult" scale length, the Chapman Guitars ML3 Bea Rabea Massaad Baritone feels a bit unusual for a standard guitarist at first impression, which has not only to do with the extended scale length. Especially the swinging in and out behavior of the longer strings needs a little getting used to. Although the sound itself comes across very crisp and concise in unamplified mode, the strings physically always need a few milliseconds longer until they have reached their targeted oscillation rate. This is not noticeable in normal playing mode, but if you want to drive a few shredding attacks, you will be slowed down a bit here and there, especially in the lower registers.

Sound-wise, the Chapman Guitars ML3 Bea Rabea Massaad Baritone offers the same advantages and disadvantages as the standard version. The guitar resonates very well, the sustain is outstanding especially in chord playing and the overall appearance of the guitar knows how to convince.

Unfortunately, as with the Standard, the two Chapman pickups can not really convince me. The basic sound of the pickups is comparatively harsh and "angular", a real feel-good feeling just does not want to arise. Even if the construction of the guitar offers a good basis for a singing tone, the pickups again do not manage to transfer the structural quality of the guitar. In addition, there is a mechanical problem with the neck pickup. When struck harder, the high B string wedged itself under the overhanging edges of the coil body at the top several times, not really nice.

Conclusion

With the Chapman Guitars ML3 Bea Rabea Massaad Baritone, the British manufacturer has a good baritone guitar in its catalog, which also deserves the designation baritone due to the decent scale length. While the structural substance of the instrument is convincing, the pickups unfortunately could not really convince me due to the "angular" basic sound.

Additional informations:

Chapman Guitars is a British guitar company founded by Rob Chapman in 2009. Since its inception, Chapman Guitars has established itself as a major player in the guitar industry, offering high-quality guitars at affordable prices. In this article, we'll take a deep dive into Chapman Guitars and explore what makes this company so unique.

The Early Days

Rob Chapman, the founder of Chapman Guitars, began his career in music as a guitar teacher in the early 2000s. He quickly became a popular guitar teacher and began making YouTube videos to share his knowledge with a wider audience. In 2009, he decided to start his own guitar company, and Chapman Guitars was born.

Initially, Chapman Guitars was a small operation, with Rob Chapman designing and selling guitars out of his garage. However, the company quickly gained a following, and demand for Chapman Guitars grew. Today, Chapman Guitars has a team of employees and a dedicated fan base around the world.

Design Philosophy

One of the things that sets Chapman Guitars apart from other guitar companies is their design philosophy. Rather than simply copying classic guitar designs, Chapman Guitars takes inspiration from a wide range of sources, including modern and futuristic designs. This has resulted in a unique lineup of guitars that stand out from the crowd.

Chapman Guitars also places a strong emphasis on playability. All of their guitars are designed with the player in mind, with comfortable neck profiles and easy access to the upper frets. The result is a lineup of guitars that are not only visually striking but also comfortable and easy to play.

Affordable Prices

Another major factor that sets Chapman Guitars apart is their commitment to affordable prices. While many high-end guitar companies charge thousands of dollars for their instruments, Chapman Guitars offers guitars that are accessible to a wider audience. This has made Chapman Guitars a popular choice for musicians who want a high-quality guitar without breaking the bank.
Despite their affordable prices, Chapman Guitars does not sacrifice quality. All of their guitars are made with high-quality materials and are designed to last. This has earned Chapman Guitars a reputation for producing some of the best guitars in their price range.

The Product Lineup

Chapman Guitars offers a wide range of guitars, from traditional designs to more modern and unconventional shapes. Here are some of the most popular guitars in the Chapman Guitars lineup:

ML1
The ML1 is one of the most popular guitars in the Chapman Guitars lineup. It is a modern take on the classic double-cutaway design, with a lightweight basswood body and a comfortable, satin-finished neck. The ML1 is available in a variety of finishes, including solid colors and stunning quilted maple tops.

ML2
The ML2 is a variation on the ML1 design, with a slightly thicker body and a set-neck construction. The result is a guitar with more sustain and a warmer tone. The ML2 is available in a variety of finishes, including a stunning flame maple top.

Ghost Fret
The Ghost Fret is a unique guitar design that takes inspiration from modern and futuristic shapes. It features a beveled mahogany body and a satin-finished neck with 24 jumbo frets. The Ghost Fret is available in a variety of finishes, including a stunning red-to-black fade.

Traditional Series
For those who prefer more traditional guitar designs, Chapman Guitars offers the Traditional Series. These guitars take inspiration from classic designs, with features like bolt-on necks and traditional finishes. The Traditional Series includes models like the ML3, ML4, and ML5.

TEST: Engl A101

 With hardly any other instrument are joy and sorrow as close together as with the acoustic guitar. On the one hand, the instrument is bursting with independence in terms of transport and flexibility, just think of the countless bed-in-the-cornfield style possibilities regarding singer/songwriter, on the other hand, you can pack your bag when the volume bullies of the electric guitar or drum faction unpack their potency.

Only the feeding of the monitor system including all the disadvantages such as the dependence on the monitor man and the eternal fight against the low-frequency feedback was until recently the measure of all things to get an ear on a stage. As far as I know, almost 30 years ago it was Trace Elliot, among others, who heard the plea of acoustic guitar players and developed an acoustic combo similar to an electric guitar combo, which was of high quality, but also heavy and expensive.

As expected, it was a bass amp manufacturer who had an open ear for acoustic guitarists, since the electric guitar amplifiers and especially their cabinets with their essential treble clipping by the 12 inch speakers were anything but open for a specialized amplifier for acoustic instruments. The same still have their wedge solution, see above, a real drama.

Thanks to Class-D power amplifiers and modern manufacturing methods, the middle ages of acoustic amplifier technology are long gone and have been taken over in the last especially by manufacturers who primarily drew attention to themselves through their success in the electric guitar sector. The Saarland-based manufacturer Hughes & Kettner can now join this merry band, which with the Hughes & Kettner Era 1 releases an in many respects extraordinary amplifier on the market, or should we better speak of a miniature P.A.?


Design and construction

In order to give the Hughes & Kettner Era 1 a special treatment during development, the services of acoustics specialist Michael Eisenmann, who was a leader at the renowned acoustic amplifier manufacturer AER, were secured.

Although the Hughes & Kettner Era 1 is primarily associated as an amplifier for an acoustic guitar with a built-in pickup, one should be aware from the outset that the combination of a 250 watt power amplifier with a 1 inch dome tweeter / 8 inch bass speaker can also amplify other acoustic instruments such as accordion, string instruments or zither. Due to the wideband playback, keyboards or vocal microphones can also be connected, which, due to the four-channel mixer section, quickly turns the amplifier into a typical "vocal system".

Conceptually, the Hughes & Kettner Era 1 has 2 identical channels, which, in addition to a gain control and a 3-band tone control, also have an FX selector for the internally installed 16-fold FX device along with FX control. An EQ switch can be used to change the center frequencies of the tone controls, with Mode 1 being designed more for steel string instruments and Mode 2 more for nylon string instruments. Similarly, Mode 1 is more suitable for male voices, Mode 2 for female voices. Furthermore, each channel has a clip display, a shape display, and a control for the sound.

All of these controls and buttons are located on the top of the cabinet, along with volume controls for channel 3 and a master notch and master volume control that are recessed for transport reasons. All inputs and outputs of the Hughes & Kettner Era 1 are located on the rear of the cabinet.

While channels 1 and 2 are fed via lockable combo jacks (XLR / TRS), whereby 48 V phantom power can be optionally connected and thus designed for amplifying acoustic instruments and microphones, channel 3 (mini stereo jack) and channel 4 (TRS) are responsible for feeding MP3 players or high-level instruments. Both channels nevertheless have a separate volume control.

As a circuit trick one has to see the FX Send over channel 4, with which an external FX processor can be used. In this case, the internal FX processor is disabled and the FX knob controls the external FX device. Attention, in this case with the external processor set the FX portion to 100%!

To support the acoustic ambience visually as well, the Engl A101 comes in a sophisticated wood finish, which gives the impression of brown leather, but is based on multi-layer plywood, in contrast to the typical synthetic leather covering of a rock/blues combo. All corners have been rounded, corner or edge protectors are looked for in vain for optical reasons. All knobs and switches were placed recessed, so that the combo offers as little surface for external impact during transport as possible. The amp was developed by Engl, but it is built in Italy by the Scherfler company.

With dimensions of 28 x 41 x 37 cm and a weight of 13 kilograms, the amp is comparatively manageable on the road, especially since it delivers 150 watts of power despite its small dimensions. By means of two recessed handles, the combo can be transported well. 4 strong rubber feet ensure that the combo remains in the place where it was placed.

The power is transmitted by an 8 inch bass speaker, which sits in a reflex cabinet and a tweeter. Unlike an electric guitar amp, whose treble response is deliberately cut due to the harsh distorted sound by using bass speakers alone, an acoustic guitar amp must be able to reproduce the full range of generated frequencies, which is why Engl also specifies a frequency response of 40 Hz - 20 kHz.

The entire control panel is also appealingly different, reminding us more of a mixing console interface than a guitar head. Where in the electric guitar field distortion is created by means of gain controls, in an acoustic guitar amplifier the focus is on avoiding distortion. The back of the amplifier is quickly described. In addition to the cooling fins, there is also the on/off switch and a ground lift, which can prevent ground loops.

On the clearly more interesting upper side of the housing are all further control options of the amplifier. The amplifier has a total of 4 inputs, which are suitable for a wide range of applications. Inputs 1 and 2 are identical in design and are primarily used to feed acoustic instruments and vocal microphones. Both inputs have a balanced XLR and an unbalanced TRS input. Each is followed by a three-band tone control, the FX control for the internally installed effects unit and the channel volume control.
Channel 3 allows feeding unbalanced signals with low impedances like e.g. electric guitars or electric basses. One can choose over 2 different input sensitivities by means of the different jack sockets. The sound control options correspond to channels 1 and 2. Channel 4, on the other hand, allows you to feed in playback devices such as MP3 players or cell phones by means of two RCA plugs. So far, so good. However, things get interesting in the master section.

Via a balanced XLR out, you can pass on the entire sound present at the speaker to a larger P.A., or you can use the signal to feed it into the DAW via an interface. You can also connect a recording device or a second Engl A101 via 2 independently adjustable RCA outputs. So it is theoretically possible to adapt several combos to the respective spatial conditions via a daisy-chain procedure.

In terms of effects, a comparatively spartan effects unit was installed, which has 4 presets (reverb, room, delay, chorus/room), which can only be adjusted in their mixing ratio to the original signal. However, to get around this slight limitation, Engl has built in a stereo return FX loop. This allows an external processor to be used, and the internal FX unit is automatically disabled when used. Finally, there is a 48V phantom power pressure switch, which allows the use of condenser microphones in channels 1 and 2.


Practice

In order to ensure a realistic assessment of the concept, one should first visualize the area of application of an amplifier of this type.

Scenario 1: You have the thankless task of playing the "balladeer" in a rock band, i.e. you have to play Bon Jovi for pedestrians at regular intervals so that all the girls don't leave the club in a huff or at least go to the ladies' room in pairs for an indefinite period of time after the heavy banging of your colleagues.

Scenario 2: You're fed up with all the noise from your colleagues and have discovered that with acoustic guitar and vocals you can not only get the girls out of the toilet in no time, but you also no longer have to share your fee with the rude noisemakers.

Scenario 3: You play in an unplugged band, which is supposed to make some noise even in the smallest of spaces.

Scenario 4: You work as a stand-up comedian and want to incorporate several instruments into your repertoire in Otto Walkes style and play MP3s as a DJ in a small setting at the end of the evening.

Scenario 5: You saw Tommy Emmanuel live and decided not to hang up the guitar, but to practice 4 hours a day to succeed him in time.


To 1.): The Engl A101 is loud and sounds good. What does good mean, the amp sounds excellent! Very voluminous without booming and with a pleasantly soft compression in the treble. In addition, the 150 watts can generate a good contra for the drummer in ballad mode. Of course, you can have the acoustic guitar fed live to the monitor or the Inear, but a dedicated amp, which is controlled by yourself and guarantees a minimum of "physicality" in the stage sound, is still the better choice.

To 2.) Due to the mixer-like surface, the Engl A101 can show its complete strength here. It manages to acoustically illuminate a pub without any problems and even in a small club it leaves an excellent impression. If necessary, you can feed in a playback via channel 4.

To 3.) Singer, guitar, bass player and backing rumble from the MP3 player, all through one amp! Perfect!

To 4.) explains itself factually. The right input for every signal.

To 5.) I wish a lot of staying power!



Conclusion

With the Engl A101, the German manufacturer is moving very successfully into foreign realms. Especially in singer-songwriter mode or as a basic acoustic backup in the pop/rock live area, the combo knows how to convince and offers maximum flexibility with minimal dimensions.

Conceptually, one acquires a power mixer plus speaker with the specialty in the acoustic guitar range. Sonically and conceptually an outstanding design!

Test it!


Additional informations:

Engl Amplification: The Sound of German Engineering

Since 1983, Engl Amplification has been at the forefront of the high-end guitar amplifier market, delivering top-quality products with a distinctively German touch. From humble beginnings in a small workshop in Bavaria, Engl Amplification has grown to become one of the most respected and sought-after amplifier brands in the world, known for their exceptional build quality, attention to detail, and innovative features. In this article, we will take a closer look at the history of Engl Amplification, their product lineup, and what sets them apart from the competition.

The Early Years

Engl Amplification was founded in 1983 by Edmund Engl, a musician and electronics engineer from Bavaria, Germany. Edmund had been tinkering with guitar amplifiers since he was a teenager, and after studying electronics in college, he decided to start his own amplifier company. His goal was to create high-quality, versatile amplifiers that could deliver the perfect tone for any style of music, from classic rock to heavy metal.

In the early years, Engl Amplification was a one-man operation, with Edmund building each amplifier by hand in his workshop. He started out by creating custom amplifiers for local musicians, and word soon spread about the exceptional quality of his products. By the mid-1980s, Engl Amplification had established a reputation as a premium amplifier brand, and began selling their products to musicians around the world.

The Rise to Prominence

Throughout the 1990s, Engl Amplification continued to grow in popularity, thanks in part to their association with some of the biggest names in rock and metal. Artists such as Iron Maiden, Judas Priest, Slayer, and Metallica all used Engl Amplification products on stage and in the studio, helping to cement the company's reputation as a go-to choice for high-end amplifiers.

One of the things that set Engl Amplification apart from the competition was their focus on innovation. In 1994, they introduced their first MIDI-compatible amplifier, the E 580, which allowed guitarists to control multiple functions of the amplifier using a MIDI footswitch. This was a groundbreaking feature at the time, and helped to establish Engl Amplification as a leader in amplifier technology.

In the years that followed, Engl Amplification continued to innovate, introducing new products and features that set them apart from their competitors. In 2000, they introduced their first signature amplifier, the Steve Morse Signature, which was designed in collaboration with the legendary guitarist. This was followed by signature amplifiers for artists such as Ritchie Blackmore, Marty Friedman, and Paul Stanley, among others.
Today, Engl Amplification offers a wide range of products for guitarists of all styles and skill levels, from their entry-level Thunder series to their flagship Invader and Savage series amplifiers.

Product Lineup

Engl Amplification's product lineup is divided into four main series: the Thunder, the Ironball, the Invader, and the Savage. Each series is designed to offer a different set of features and tones, catering to the needs of different types of guitarists.

The Thunder series is Engl Amplification's entry-level lineup, offering a range of affordable amplifiers that still deliver the company's signature tone and build quality. These amplifiers are ideal for guitarists who are just starting out, or who need a reliable backup amplifier for gigs and recording sessions.

The Ironball series is a more versatile lineup, designed for guitarists who need a wide range of tones in a compact package. These amplifiers are perfect for players who want a portable amplifier for gigs and rehearsals, but who still need the power and versatility of a high-end amplifier.

The Invader series is Engl Amplification's flagship lineup, offering some of the most powerful and versatile amps.

TEST: Empress Effects Superdelay

Besides the reverb, the delay effect is one of the most popular room effects in the field of music, whereby I personally always prefer the delay on a guitar much more than the reverb effect live. While with a reverb FX you always fight against the room sound of the venue and in the worst case it leads to massive "mudding" of the sound, a well-dosed delay can ensure a comparatively good spatial expansion of your own sound even in disastrous acoustic conditions.

The selection of delay effects on the market is correspondingly large, both on floor pedals and in the 19-inch range, not to mention the vast numbers of multi-effects units, each of which has a delay effect in its presets. So what makes someone like Canadian manufacturer Empress Effects launch a floor pedal that deals solely with "just" an effect?

Well, echo is not just echo, as you will learn in the course of the test, you have the possibility to vary the simple repetition of a signal in the parameters sound, volume, number of repetitions, modulation and frequency filters manifold and to accommodate all this in just a small box. Here I notice already like the first of you interested listen up.


Construction:

Behind the Empress Effects Superdelay are the developer names Jason Fee and Steve Bragg from Canada, the country where the same device is also manufactured. The guitar signal is converted via a 24-bit AD/DA converter and processed internally on a 32-bit basis.

On the front of the unit, in addition to the input and output jacks and the connector for an external expression pedal, there is also the connector for the external power supply. The Superdelay processes all voltages between 9 and 12 volts, only a current flow of 300mA should have the power supply. There is no possibility to run the unit from battery!

All electronics are housed in a solid white steel case, the internal construction and all wiring is neatly laid out in circuit board fashion.

3 footswitches, 5 knobs and 4 multifunctional miniswitches control the manifold possibilities in terms of echo. Depending on the combination of the miniswitches and knobs, the Mode Specific miniswitch in particular has an enormous functional range.

Here are the primary functions of each knob and switch:

bypass switch: explains itself! It is a true bypass switch, a red LED gives information about the operating state of the device.

presets button: The device has 8 freely assignable memory locations, which indicate the selected memory location via small LEDs below the knobs. This button is used to skip to the respective preset. The sounds are stored via a small black push button, which is located next to the presets button.

tap button: This button is used to set the delay speed in real time or to specify rhythm patterns that the delay should play. A yellow LED serves as an additional visual control.

mix knob: the volume ratio between original and effect signal

d time / ratio knob: In the non-tap modes you set the regular delay time of the effect signal here, in tap mode you set the relative delay time to the tapped tempo here. For example, with the 2:1 setting, the delay time of the effect signal is twice as fast as the tapped tempo.

feedback knob: controls the number of times the echo repeats. If the knob is turned to the right, the effect signal gets louder with each repetition.

mode knob: sets the mode of the device (norm, tap, auto, rev, rhy, tape, misc, loop).

volume knob: adjusts the final volume of the device

exp pedal Miniswitch: controls the control range of a connected expression pedal. Selectable are the mix control and the feedback control respectively.

filter Miniswitch: here you can activate a highpass or lowpass filter, which affects the effect signal.

modulation miniswitch: a slow / fast modulation can be added to the effect signal with this switch

mode specific miniswitch: this switch (a/b/c) performs the following functions in combination with the mode switch (see above):



1.) norm a: normal delay sound, short echo - (5,5 ms - 95 ms)

2.) norm b: normal delay sound, medium echo - (45 ms - 800 ms)

3.) norm c: normal delay sound, long echo - (700 ms - 2200 ms)

4.) tap a: tapped tempo delay - echo delay is the same as the tapped signal

5.) tap b: triplet rhythm - echo delay is one third of the tapped signal

6.) tap c: quitolic rhythm - echo delay is one fifth of the tapped signal

7.) auto a: echo delay is based on the tempo of the input signal - low input sensitivity for quiet playing

8.) auto b: echo delay is based on the tempo of the input signal - medium input sensitivity for moderate playing

9.) auto c: Echo delay oriented to the tempo of the input signal - high input sensitivity for loud playing

10.) reverse a: effect signal is played back reversed - setting via rotary control d time / ratio

11) reverse b: effect signal is reversed - setting via tap button

12.) reverse c: effect signal is played back reversed - setting via the rotary control the tap button, effect signal is played back with double speed

13.) rhythm a: effect signal is played back in the rhythm you entered with your foot on the tap button, up to 4 repetitions are possible - d time / ratio knob scales the repetitions

14) rhythm b: effect signal is played back in the rhythm you have entered with your foot on the tap button, up to 4 repetitions are possible, d time / ratio knob stretches or compresses the repetitions

15.) rhythm c: effect signal is played back in the rhythm you entered with your foot on the tap button, up to 4 repetitions are possible, the first repetition is quieter, the following ones get louder

16.) tape a: emulation of a tape echo - high tape quality

17.) tape b: Emulation of a tape echo - first signs of tape wear in the sound.

18.) tape c: emulation of a tape echo - tape is in trouble ;-)

19.) misc a: the effect parts get louder when the input signal gets quieter

20.) misc b: the mixing ratio changes when the input signal gets quieter

21.) misc c: pressing the tap button turns off the effect signal

22.) looper a: loop function - up to 6,8 seconds sampling time

23.) looper b: loop function - up to 13.6 seconds sampling time

24.) looper c: loop function - loop is played back reversed


As you can see, the Superdelay has every imaginable use of the echo signal, at least I don't know of any other function that could still be implanted regarding a delay.



Practice:

Impressive how many functions the guys from Empress Effects have squeezed into the comparatively small box. Of course, this is not without a certain tightness on the control panel, but can be handled well in practice.

For all the joy of spaced-out sounds, should you not play on "Freaky Joe And The Space-Whimps From Hell", you will most likely reduce the practical live use of the echo effect to a few settings.

The number of 8 memory slots, which seems rather moderate at first, turns out to be completely sufficient in practice, especially since you can intervene in the respective tempos very well by means of the tap function, provided the drummer has appropriate timekeeping (joke at the expense of colleagues: "How can you tell that a drummer is standing in front of the door? Gets faster when tapping...! ;-)

Besides the classic applications, the Superdelay is also wonderfully suited for eccentric freak-outs on stage. Wild turning of the knobs, kneeling on the stage floor, optionally sliding, enriched with eccentric poses, is just as practicable with the Superdelay as its sober use as a very good working tool.

Like any good floor pedal, the Superdelay belongs on a protective floorboard, otherwise it would only be a matter of time before the first switches or knobs break off or otherwise suffer damage due to their protruding appearance.


Conclusion:

The Superdelay leaves a very good impression! Processing, sound and practicality are exemplary, the echo application area is globally covered. No modulation was forgotten, no style was neglected. A really nice boutique box.

Whether this diversity at the highest level is worth the comparatively high price, everyone must decide for themselves. You get "only" one effect, but at the best possible level.


Additional Informations:

Empress Effects: Revolutionizing the World of Guitar Effects

Empress Effects is a Canadian-based company that designs and manufactures guitar effects pedals. Since its inception in 2004, the company has been dedicated to creating high-quality, versatile, and innovative products that have earned a reputation among guitarists and music enthusiasts worldwide. Empress Effects is renowned for its range of effects pedals, including its multi-effects units, that offer a unique blend of modern technology and classic sound.

The company was founded by Steve Bragg, who had been experimenting with guitar effects since he was a teenager. Bragg started building custom effects pedals for friends and local musicians in his hometown of Ottawa, Canada. His passion for music and electronics eventually led him to create Empress Effects, with the goal of bringing his unique ideas and designs to a larger audience.

Empress Effects' Philosophy

Empress Effects has a strong philosophy that guides its product design and development. The company believes in creating products that are built to last, both in terms of durability and versatility. Empress Effects pedals are designed to be reliable, with solid construction and a user-friendly interface that allows for easy customization of the sound. This focus on longevity means that guitarists can depend on their Empress Effects pedals for years to come, without worrying about them breaking down or becoming obsolete.

Another key aspect of Empress Effects' philosophy is innovation. The company believes in pushing the boundaries of guitar effects technology to create new and exciting sounds. This innovation is evident in the company's product line, which includes several groundbreaking pedals that have set new standards in the world of guitar effects.

Empress Effects' Products

Empress Effects offers a wide range of products that cater to the needs of guitarists at every level. The company's pedals are designed to be versatile and easy to use, with intuitive controls that allow for precise tweaking of the sound.

One of the most popular products in the Empress Effects lineup is the Empress Reverb. This pedal is renowned for its exceptional sound quality and versatility, offering 24 studio-quality reverbs that can be customized to suit any style of music. The Empress Reverb also features a unique "Ghost" mode that adds a haunting layer of reverb to the sound.
The Empress Echo System is another popular pedal that has gained a loyal following among guitarists. This pedal offers a wide range of delay effects, including vintage tape delay and digital delay, that can be combined and customized to create unique sounds. The Empress Echo System also features a looper that allows guitarists to layer multiple loops and create complex soundscapes.

Empress Effects also offers several multi-effects pedals, including the Empress Effects Zoia and the Empress Effects Multidrive. These pedals are designed to provide a wide range of effects in a single unit, allowing guitarists to create complex soundscapes without the need for multiple pedals. The Empress Effects Zoia, in particular, has been praised for its modular design, which allows users to create custom effects and signal chains using a variety of modules.

Empress Effects' Awards and Recognition

Empress Effects has received numerous awards and accolades for its innovative products and dedication to quality. The company has been recognized by several industry publications and organizations for its contributions to the world of guitar effects.
In 2018, the Empress Effects Zoia was awarded the Best Effects Pedal of the Year by MusicRadar, a leading music publication. The Zoia was praised for its versatility and innovation, with the judges stating that it "opens up a whole new world of creative possibilities.“

Empress Effects has also received several awards for its other products, including the Empress Reverb and Empress Echo System.