Testipenkissä: Tokai TST-50 + Seymour Duncan Little ’59

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Musamaailma tarjoaa Suomessa hyvin harvinaisen kustomointipalvelun, jossa asiakas voi tilata – kohtuullista lisämaksua vastaan – kitaraansa haluamansa EMG- tai Seymour Duncan -mikit valmiiksi asennettuina. Firmalla on omat kitaranrakentajat töissä paikan päällä varastossa, jotka hoitavat kitaran säätämisen ja kustomoinnin vankalla ammattitaidolla.

Kitarablogi sai kokeilua varten uuden Tokai TST-50 -mallin (699 €), joka edustaa brändin laadukasta japanilaista mallistoa.

Tokai TST-50:een on talla-asemaan vaihdettu perinteisen yksikelaisen mikrofonin sijaan Seymour Duncanin Little ’59 -humbuckeri (84,60 €), joka lupaa PAF-tyylisiä soundeja Strato-kokoisesta mikrofonista.

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Tokai TST-50 on perinteitä kunnioittava S-tyylinen sähkökitara varhaisen 1960-luvun speksien mukaan:

Leppärungon muotoilu on hyvin sulava, ja runko on saanut ylleen kolmivärisen sunburst-lakkauksen. Ruuvattu vaahterakaula pienellä viritinlavalla, tumma otelauta palisanterista sekä valkoinen, kolmikerroksinen pleksi täydentävät kuvan.

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Testiyksilön vaahterakaula on kaunista kanadalaista linnunsilmävaahteraa. Vintage-speksejä kunnioittaen tässä mallissa käytetään Gotohin laadukkaita Kluson-kopioita.

Vintagesta poiketen kaula on viimeistelty erittäin ohuella satiinipintaisella lakalla. Lopputulos tuntuu erittäin mukavalta ja ”nopealta”.

Alkuperäistä korkeammat ja leveämmät nauhat ovat nekin nykyaikaisen maun mukaan, koska ne helpottavat ratkaisevasti kielten venymistä.

Kitaran alkuperäiset mikrofonit tulevat Gotohin Japan Vintage -mallistosta – japanilaista laatutyötä siis. Myös TST-50:n vintagevibra on peräisin saman valmistajan kalliimmasta, japanilaisesta hardware-sarjasta.

Seymour Duncan Little ’59 on nykyään jo itsekin klassikko. Kun tämä mikrofoni esiteltiin yli 20 vuotta sitten, se oli yksi ensimmäisistä Strato-kokoisista humbuckereista, jossa kelat olivat vierekkäin.

Testisoittimen elektroniikkaan ei muuten koskettu — säätimet toimivat perinteisesti siten, että ensimmäinen tone-säädin vaikuttaa vain kaulamikrofoniin ja toinen tone vain keskimikkiin.

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Ei ole ihme, että Fenderin Stratocaster (ja sen kaikki sen kopiot ja mukaelmat) on myydyin kitara maailmassa – malli istuu esimerkillisesti kehoon soittajan koosta ja ruumiinrakenteesta riippumatta.

Tokai TST-50 on erittäin onnistunut versio samasta teemasta, ja työnjälki on kauttaaltaan ensiluokkainen.

Kaulaprofiiliksi on valittu mukavan ovaali C-poikkileikkaus, josta kaula saa hyvin autenttisen varhaisen kuuskytluvun karakteerin.

Tokain akustinen sointi on tämän lajityypin malliesimerkki – selkeä, naksahtava atakki sekoittuu sopusuhteessa leppärungon ja palisanteriotelaudan tuomaan lämpöön, sekä vintagevibran tuoreuteen.

Monelle kitaristille suoraan lähtöjakkiin kytketty Strato-tyylinen yksikelainen on liian ohut, pureva ja terävä vaihtoehto, etenkin särösoundeissa. Tässä kohtaa Little ’59 astuu kuvioihin. Soundi saa keskiväkevästä humbuckerista selvästi enemmän ryhtiä, potkua ja paksuutta. Puhtaaseen kanavaan syötettynä Little ’59:n aiheuttama hyppy volyymitasossa voi olla joidenkin mielestä liian korostunut, mutta särökäytössä Strato-tyylinen kitara saa pikkuhumbuckerista erittäin maukkaan boostin kermaisia sooloja tai rankkoja riffejä varten.

Äänipätkissä soi aina ensin Tokain kaula- ja keskimikrofoni yhdessä, minkä jälkeen siirrytään Seymour Duncaniin:

Esimerkki 1

Esimerkki 2

Esimerkki 3

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Tokai-kitarat ja Seymour Duncan -tuotteet

Maahantuoja: Musamaailma

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Tokai TST-50

699 €

Plussat:

+ erinomainen hinta-laatu–suhde

+ soundi

+ työnjälki

+ laadukas vibrato

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Seymour Duncan Little ’59 for Strat

84,60 €

Plussat:

+ sopii suoraan S-tyyliseen kitaraan

+ soundi

+ PAF-tyylinen signaalitaso

+ neljä johtoa mahdollistavat erilaisia kytkentöjä

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Review: Tokai TST-50 + Seymour Duncan Little ’59

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Finnish importer and retailer Musamaailma offer an in-house customising service, which is still a rather rare thing over here. For a fair price you can order your guitar with your choice of EMG- or Seymour Duncan -pickups. Musamaailma employ their own luthiers, so all this work is done professionally and in-house.

Kitarablogi got to try out the brand-new Tokai TST-50 -model (current price in Finland: 699 €), which is an addition to the brand’s high-quality Japanese line-up.

In our case the Tokai TST-50’s stock, singlecoil bridge pickup has been swapped for a humbucking Seymour Duncan Little ’59 (current price in Finland: 84,60 €), which promises authentic PAF-type tones from a Strat-sized unit.

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Tokai’s TST-50 gives more than a passing nod to traditional S-style guitars in an early Sixties vein:

The alder body has all the characteristic flowing curves and deep body chamfers, and it has been finished in beautiful three-colour sunburst. The bolt-on maple neck with a small headstock, the rosewood fretboard and the three-ply white scratchplate complete the picture.

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Gorgeous Canadian hard rock maple has been used for the test sample’s neck – there are even some bird’s eyes sprinkled across the neck. In keeping with the vintage-look the Tokai sports a set of high-end Gotoh Kluson-copies.

For the TST-50 Tokai have nonetheless made the sensible decision to stray from the vintage path by employing a thin satin finish on the neck. The result feels extremely comfortable and ”fast”.

The medium-sized frets are another welcome upgrade, giving you more purchase for precise string-bending action.

This model’s stock pickups come from Gotoh’s Japan Vintage series – pro-quality singlecoils. The TST-50 also sports a vintage-correct, Japanese Gotoh-vibrato.

Seymour Duncan’s Little ’59 has become a classic itself by now. When this model was introduced over two decades ago, it was one of the first Strat-sized humbuckers with side-by-side coils.

The rest of our test sample’s electronics has been left untouched – the controls work in the traditional way, with one tone control for the neck pickup and one for the middle pickup. The bridge pickup is left without a tone control, its signal going only through the master volume.

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A Strat-style guitar’s great ergonomics are well documented by now, so there’s really no need to reiterate common knowledge. No wonder the Fender Stratocaster (and all its copies) is the best-selling electric guitar of all times – this model sits comfortably in you lap, regardless of the player’s size and physique.

Tokai’s TST-50 is an outstanding variation on this theme, delivered with crisp and clean workmanship.

We find a comfortable, oval C-shaped neck profile, resulting in a quite authentic early Sixties feel.

Acoustically this Tokai displays all of the classic traits of a guitar of this type – a well-defined, clucking attack in fine balance with the warmth and character an alder body and rosewood fingerboard bring, seasoned with a sprinkle of vibrato-induced sparkle.

Many guitarists find the cutting tone of a bridge singlecoil too much to bear with this type of guitar, especially in an overdriven or distorted musical context. This is just where Duncan’s Little ’59 comes to the rescue. This humbucker with its moderate, PAF-type output level lends proceedings a healthy kick up the proverbial. There’s more beef and mid-range in the tone, as well as the dynamics and fat-ness you’d associate with a full-sized humbucker. Staying in clean territory the resulting jump in the guitar’s output might be a bit too much for some purists, but for overdriven Blues, Rock and high-gain tones the Little ’59 is a great way to fly.

The soundbites all feature the stock neck/middle-combination for starters, moving on to the Duncan Little ’59 about halfway through:

Soundbite 1

Soundbite 2

Soundbite 3

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Tokai-instruments and Seymour Duncan -products

Finnish distributor: Musamaailma

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Tokai TST-50

Current price in Finland: 699 €

Pros:

+ outstanding value-for-money

+ sound

+ workmanship

+ quality vibrato

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Seymour Duncan Little ’59 for Strat

Current price in Finland: 84,60 €

Pros:

+ fits most Strat-type guitars directly

+ tone

+ PAF-type output

+ four conductors for different wiring options

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Review: EBS Reidmar + CL112

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One of the new products at the EBS-stand in Frankfurt this year was a compact-yet-powerful bass amp called Reidmar. Kitarablogi.com managed to get hold of a Reidmar RD250, as well as a Classic Line -series CL112-cabinet for this review.

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Both the Reidmar-head, as well as the Classic Line -series of cabinets have been designed and engineered in Sweden, but are being produced cost-effectively in China.

The EBS Reidmar (current street price in Finland: 469 €) runs a Class D power amp with 250 Watts of output at 4 Ohms. Because Class D amps run extremely energy-efficiently, there’s no need for large and heavy cooling ribs, which is why such amps can be much more compact than a traditional amplifier of the same power rating. EBS’s Reidmar weighs in at a mere 3.2 kilos, and fits easily into a compact backpack.

The good guys at EBS were quick to stress that the 250 W (RMS) rating is rather conservative, with the head reaching more than 400 Watts peak power with minimal distortion.

The new Classic Line CL112 -cabinet (current street price in Finland: 299 €) fits the Reidmar like a glove, as it, too, has been designed to pack a massive punch into a handy-sized piece of gear. The cab’s impedance is eight Ohms, and beneath the vintage-style exterior you can find one 12-inch speaker paired with a two-inch tweeter.

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Regardless of its diminutive size, the Reidmar’s front panel dishes up all the goodies we’ve come to expect from an EBS-amp:

Next to the Gain-control you find the Character-button which lets you choose between a linear frequency curve and a loudness-type counterpart, with more bottom end and treble. EBS’ on-board compressor is known for its organic and musical behaviour, as well as its easy one-knob functionality. The EQ-section uses a four-band set-up with semiparametric mids – meaning the user can adjust the mid-range-filter’s centre frequency (in this case between 100 and 6,000 Hz). One EBS-speciality is the notch filter built into the mid-band. A notch filter is a very steep (=exact) filter that can be used to defeat an acoustic bass’ feedback howl or to reign in strong room/stage resonances, without interfering with the rest of your tone.

The back panel holds all your connections to the outside world – from the excellent DI-output to the effects loop.

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The EBS CL112 -cab sports two Speakon-connectors on its back panel – one for the input signal, and one to link another cabinet to the head. The small Tweeter-switch lets you switch off the cab’s tweeter for authentic vintage-style tones.

Even though the CL112 weighs in at only 17.5 kilos, EBS have sunk a sturdy metal grip into the cabinet’s left side.

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A good bass amp should sound well balanced and full before you even touch the EQ-controls. The EBS Reidmar/CL112 -stack passes this test with full points. My old Jazz Bass sounds nice and chewy, with all of its ”wood” and tone intact:

Character off – EQ off

Engaging Character noticeably pumps up the bass and adds muscle to the proceedings:

Character on – EQ off

The EQ-section makes it possible to achieve virtually any tone you want. Let’s start with a nice and clean Pop tone:

Clean Pop

Boosting the bottom end, as well as adding bite, results in a classic slap tone:

Slap

Adding bass while cutting treble takes you straight to Reggae’s swampy realms:

Reggae

A punkish bit of plectrum-driven anger can be dialled in just as quickly on the EBS-stack:

Plectrum-Rock

…and if you fire up a chorus pedal the Reidmar and the CL112 can take you straight to Jaco-land:

Pictures of Blogi – Homage to Jaco P.

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With its Reidmar-head and CL112-cabinet EBS have managed to shrink a bassist’s core equipment without depriving him (or her) of his (or her) tone. True, if a five-string is your weapon of choice, you should probably consider a different cabinet – like the EBS NeoLine 115, for example – to keep the punch in the lowermost notes intact, but in most situations this little gem of a stack will hold its own more than adequately. If you splash out on two CL112-cabs you’d get a very powerful and flexible modular system, which would enable you to take along the second cab to larger gigs, leaving it at home when it’s not needed.

The Reidmar gives you genuine EBS-tone in a compact and very affordable package. The EBS CL112 dissipated all my reservations concerning single 12-inch cabs: Its tone is open and strong, without being the least bit boxy or nasal. The silky-sounding tweeter adds just the right amount of brilliance to the tone. Jättebra!

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EBS Reidmar RD250 & Classic Line CL112

Finnish distributor: F-Musiikki

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EBS Reidmar RD250

Street price: 469 €

Pros:

+ price

+ sound

+ flexibility

+ power

+ size

+ weight

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EBS CL112

Street price: 299 €

Pros:

+ price

+ sound

+ power handling

+ size

+ weight

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Uutuus: Paul Landers Les Paul

Rammstein-kitaristi Paul Landers on saanut Gibsonilta oman nimikkosoittimensa.

Tuhti kaula on veistetty mahongista, ja otemerkitön otelauta on apassista (obeche). Runko taas on valmistettu perinteisellä tavalla paksusta mahonkitakaosasta ja kaarevasta vaahterakannesta.

Paul Landers Les Paul on varustettu kovaa kyytiä kestävillä metalliosilla: virittimet ovat lukittavat Grover-koneistot, ja Tune-o-Matic-talla tulee TonePros:n mallistolta.

Landers-mallissa käytetään kaksi aktiivista EMG-mikrofonia – EMG 60 kaulamikrofonina ja EMG 81 tallahumbuckerina.

Rammstein-kitaristille riittää yksi volume-säädin tallamikrofonin lähellä.

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Lisätiedot: Into-Luthman

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