Musical Notes: Guitars & Recording Equipment Blog by Paul Dakeyne – DV247

Re-amping - a beginner’s guide, part two

Marc Noel-Johnson — Sat, 21 Nov 2009 20:26:13 +0000

In part one, we looked at the concept and the process of re-amping. Now, let’s look at the gear. First up is the Radial Re-amping Kit comprising the Radial X Amp and Radial J48. The X-Amp is an active re-amping device that allows you to take a pre-recorded track and drive two separate amps or pedals simultaneously. It features an essential ground lift and output level as well as an 180 degree polarity reverse to ensure both amps are in phase. The kit also includes a J48 active DI box. The two boxes are presented in a handy Zebra Case.

If you don’t need the J48 or are on a limited budget, the Radial ProRMP passive re-amper will do the job. It has ground lift, level control and an isolating transformer. If it’s a software solution that’s more convenient, and it will be in many cases where it’s simply not practical to run guitar amps at any usable volume, Peavey may be the answer. Although the manufacturer may seem an unlikely brand when it comes to software, the ReValver Mk III features 15 amp models and 19 stomp boxes. There’s a cheaper version too, the Peavey Revalver HP which has six amp models. With only Peavey amp modules on offer, these solutions are geared firmly in the rock and metal zones. Of course, you could use any version of the Line 6 Pod Farm, like the Pod Farm Platinum which offers an incredible 78 amp models and 97 stomp boxes.

Ultimately, any multi-effects processor can be used as a re-amper, but you’ll have to split the signal so you get the untreated dry track to work on. In a way, using software isn’t re-amping in the true sense. Indeed, it’s generally considered that no software plug-in or modeling device is as good as a properly mic’d amp. If you use the method described in part one and give yourself the time to find the sweet spot in front of your speaker and the microphone that gets great results, your engineering skills will take a giant leap forward.

Digidesign Eleven Rack review – part one

Rob Sandall — Fri, 20 Nov 2009 14:36:08 +0000

The Digidesign Eleven Rack has been introduced to guitarists as the meeting point between sleek home production and finding the kind of no-compromise, perfect tone that all players yearn for. Well, as a guitarist first and home-production enthusiast second, I like to think that I have something of a relaxed attitude towards finding my tone. I grew up twiddling knobs (oo-er etc) and stomping on pedals, searching out a sound through band practices, not clinical clicking and EQing endless plug-ins.

When you’ve spent years revering wood, wire, magnets and valves, there’s something incredibly counter-intuitive about the process of digital recording. For many curious guitarists, even the baby steps can seem like strides. But fear not if the prospect of the Eleven Rack seems like another giant leap. In fact, it could be the definitive solution.

What we have here, in one stylish rackmounted shell, is a modelling DSP rig and recording interface, designed to work with the bundled copy of Pro Tools LE 8. We’ll cover the latter possibilities later, but again, as a guitarist first, let’s see how this baby plays.

I plugged the Eleven Rack straight into heavy-duty speakers via a PA mixer - all the standard inputs and outputs that you’d expect are here, along with a few extra surprises - and started to have fun. I could have just as easily hooked it up to my amp, or studio monitors.

Even before you start picking out different amp models, any guitarist will be at home with the front panel’s controls. All of the switches, knobs and buttons are sturdy enough here - they’re rugged enough to take on the road, too. That’s just as well, as Digidesign fully intend the Eleven Rack processor to be used as a live effects rig.

It won’t be long before you’re picking out amp models which, popping up as neat little visual displays on a digital panel, are based on classic tones, although licensing laws prevent them from being too obvious. Expect the manual to say, for instance, that the ‘69 Plexiglass’ is based on “a highly sought-after, high-volume amp from the 1960s.” I think we get the hint.

Here’s the thing though: it sounds great. Fantastic even, to the extent that I started to crank everything up, cycling through the ‘92 Treadplate Modern’, ‘67 Black Panel Duo’ and ‘59 Tweed Lux’. Each one presented authentic, sonorous tones that maintained excellent quality while happily pushing each amp’s individual nuances.

For those going straight to monitor or desk, there’s cabinet modelling too, and simulated microphones to ‘place’ in front of the cab. Kicking out a few jams on an SG through my virtual ‘66 AC Hi Boost’, matching ‘2×12 AC blue cab’, and ‘57′ mic, I was thoroughly pleased by the results - not just for recording, but for pretty thrilling live tones too.

On-board ’stomp boxes’ work in the same way, with a graphical interface popping up on screen and a plethora of copycat tones that you can line up in a virtual loop, dropping them in via easily accessible buttons on the Eleven Rack front panel.

I decided to get a bit Billy Corgan for a while, with a combination of ‘Tri-Knob Fuzz’, ‘U Phaser’ and ‘Black Wah’, and again the results felt natural, as did the whole experience - jamming out and feeling happy rather than ‘engineering’. If you have effects that you just can’t recreate, of course, there’s also an FX loop on the back of the unit.

find out more in part two of our review of the Digidesign Eleven Rack.

Re-amping - a beginner’s guide, part one

Marc Noel-Johnson — Fri, 20 Nov 2009 12:05:25 +0000

Re-amping is a relatively new term in the vocabulary of the pro-audio and studio engineer. For guitarists, this may be the first time you’ve come across it. If you don’t have a recording set up at home or are not involved in the audio recording process in any way, this article will probably be of no interest to you. But if you do record your own songs, or produce others, and you do loads of guitar tracks and are always frustrated at having to ‘print’ guitar sounds and being stuck with them at mix down, this is a process is well worth investigating.

The definition of re-amping is this - it’s when a recorded signal is routed back out of its environment and run through an external processor then re-recorded back onto the multitrack. It’s not really that different to inserting a reverb or compressor plug-in to a vocal track. You can still hear the track dry if needed and it’s only at mixdown that the effect is printed. The original dry track is always there untouched if the effects turn out to be unsuitable in the final mix.

For guitarists, it can get a tad more complicated and the same time, more interesting. You can use an internal plug in or effect in the normal way for a guitar track but re-amping lets you utilise external devices, and not just effects. Imagine this; you’ve recorded all your parts, the only thing left is that solo you’ve been saving ’til last, the fairy dust on your track that’s going to lift it out of the mundane and catapult you to stardom. You select your best amp, you dial in a great sound, play the part, amaze yourself, and mix it. Oh, dear, that guitar tone just does not work with the track - it’s too distorted, it’s not distorted enough, I can’t get rid of the nasty mids! What happens now? I’ve got to try and recapture that magic. Time! Money! Despair!

Now, if you’d recorded that guitar solo ‘dry’ - you can do this while still monitoring through a processor for the feel - you’d be able to re-amp it, send it out dry to an amp and have time to experiment with microphone placement and room acoustics to best capture the perfect sound that’s going to work with the track. Simple, or is it? The device required to re-amp your track is really a reverse DI box, in that it takes the recorded, balanced, low-impedence signal and converts it to a high-impedence signal to match the input of the guitar amp. This is not without potential problems, the main one being ground loop or earth hum. You might also lose top end or introduce unwanted distortion of the wrong kind.

As always, choosing the right equipment that’s going to work with your studio set up is vital and in part two, I’ll be looking at the various devices available.

Gibson Angus Young SG - For Those About to Rock

Marc Noel-Johnson — Thu, 19 Nov 2009 16:19:54 +0000

The Gibson Angus Young SG Standard is a completely new version of the SG, and unlike any other of the previous reissues which were based on Angus’s 1968 SG Standard, features the guitarist’s own personal appointments.

The Gibson SG has provided the signature tone on which AC/DC have based their monumental rock onslaught ever since the band emerged from Australia in the mid-1970s. Angus has never used anything else, and for him to switch to a different guitar now would be unthinkable. The SG is the perfect rock rhythm guitar, it doesn’t have as much sustain or power as the Les Paul, which makes for cleaner ‘chording’, and because the neck joint isn’t as solid, you get a lovely natural vibrato when you shake the neck back and forth. If you have an SG, try it - carefully please! Most importantly for Angus, it’s light weight puts less strain on the poor chap’s diminutive frame as he throws himself about the stage!

Although similarities with the original SG are present - for example the enlarged pickguard, the chamfered cutaways and the control layout - there are some significant differences. First up, it has an Ebony fingerboard with the AC/DC trademark lightning bolt inlays; ebony fingerboards have so far been mostly consigned to Les Paul Customs and ES-355s. It’s a dense, black timber which provides extra ’snap’ and articulation tonally, as well as having better resistance to humidity and climate change. This brightness and attack is further enhanced by a three-piece quarter-sawn maple neck - a very unusual feature for an SG. The other major custom feature is the nut width, which is 1.555 inches, again reflecting the narrowness of Angus’s original.

The pickups are also a surprising choice, comprising two Seymour Duncan Pearly Gates, a design based on the pickups originally found on Billy Gibbon’s ‘59 Sunburst Les Paul. The neck pickup is a standard model while the bridge position unit has a slightly hotter output. The bridge pickup is mounted with a pickup ring, never a feature on a late 1960s SG, as the pickups are mounted directly on the scratchplate rather than screwed into the body as on the earlier models. Also, the switch ring is white. There doesn’t appear to be an explanation for this - perhaps it’s easier to see onstage? Finally, the guitar has a nitro-cellulose, pre-worn finish and is of course finished in the only proper colour for an SG, cherry red.

Potential customers for this guitar are going to be first and foremost AC/DC and Angus Young fans, and guitar players looking for an extremely skinny neck at the nut end. There will be a certain collectability attached too as only 250 guitars will be shipped, 50 of which are being hand-aged in house. Personally, I can’t wait to see Angus using his own signature Gibson Angus Young SG. It’s about time.

sE X1 condenser and Project Studio Reflexion Filter launch today

Barney Jameson — Thu, 19 Nov 2009 12:05:57 +0000

The sE X1 large diaphragm condenser microphone is being announced this morning by sE Electronics, alongside the Project Studio Reflexion Filter, in a dual launch that sE is calling “one of the most exciting product roll-outs this decade”.

If that sounds like a bold introduction then the manufacturer isn’t holding back in its faith in the new microphone, adding that the X1 is “one of the coolest, sexiest new mics for the MI market in years”. That’s quite a boast, but sE is hoping to back it up with a feature set that includes a 10dB pad, bass cut and a hand-built capsule. Like all of sE’s models, the X1 is constructed in the company’s Shanghai facility. Arguably the microphone’s most powerful asset however is its price point, which is pitched directly at sE’s core home recording market, offering “hand-built quality” to project studio owners in time for Christmas.

The Project Studio Reflexion Filter meanwhile sees sE taking its already popular Reflexion Filter technology, used by engineers around the world as a portable solution for reducing room ambience in recordings, straight into the same entry-level, home market that the sE X1 is targeting.

The entry-level version reportedly uses the same basic design as its big brother but with a cut-down list of features. While the Pro version employs multiple layers and acoustic boundaries, the Project Studio Reflexion Filter uses patented polyester acoustic board which is then lined with a high-grade, high-density crystal foam designed to be more effective than standard acoustic foam. Like the sE X1, the new Reflexion Filter is set to arrive in the market bearing a project studio friendly price tag intended to attract a new generation of recording enthusiasts to the technology.

The double announcement has also been timed as an early celebration of sE Electronics’ 10 year anniversary in 2010, and follows a year of preparation by the manufacturer, as sE Managing Director James Ishmaev-Young is quick to explain: “After a year of planning and researching the very best competitor deals and bundles, we think we’ve come up with unbeatable products in terms of performance to price points”.

Will the new products live up to their grand introductions? We’ll be giving you the chance to decide for yourself when both the Project Studio Reflexion Filter and the sE X1 condenser mic go under our reviews spotlight in the next few days.

Epiphone Les Paul Standard Transblack - Limited Edition

Marc Noel-Johnson — Wed, 18 Nov 2009 18:31:11 +0000

This 2010 model Epiphone Les Paul Standard Limited Edition in Transblack is a striking looking guitar by anybody’s standards. Essentially it’s a mahogany body, maple capped Les Paul in the traditional sense but with the flamed maple top still clearly visible under the transparent black finish.

This is going to appeal to the player who wants that ‘all-black’ vibe and the associated connotations with hard rock and metal. However, they may still want to retain some traditional features for when they haul it out to a blues jam or lend it to their Dad. They dont want to go all they way with skulls and crossbones and associated insignia on their instrument which just screams ‘metal head’.

All the hardware and plastic parts on the Epiphone Les Paul Standard Limited Edition are black with the exception of the scratchplate and truss rod cover, both of which are Mother of Pearl. These could easily be swapped for black versions quite cheaply although the MOP does add a touch of class. Black hardware on a guitar has its advantages - it doesn’t tarnish and the black coating hardly ever wears off unlike chrome or nickel. The pickups are Alnico Classic Humbuckers, shown here with their protective covering. Peel that plastic off and they are double black humbuckers without covers. Opinions about Epiphone pickups are mixed, but it’s not unrealistic to think about upgrading them at some point.

The fingerboard is a dark rosewood with trapezoid inlays. Again, these features remain in the traditional Les Paul vein, reflecting Epiphone’s intentions for this to be a ‘crossover’ instrument. Both the body and the neck feature black plastic binding in keeping with the rest of the guitar’s design.

With its set neck and quality fittings, it’s fair to say that this is a serious guitar, and it sits in the mid to upper price bracket for an Epi. Of course, that’s still a quarter of the price you would expect to pay for a Gibson Les Paul Standard, and therein lies popularity of the Epiphone brand - these guitars are licenced and quality controlled by Gibson, but for less cash. But any guitar has to stand up in its own right and on its own terms, so if an Epiphone Les Paul is going to be your main guitar then it needs to be up to the job. This Epiphone Les Paul Standard Limited Edition in Transblack looks pretty special to me, but I’ll let you be the judge.

Michael Sanden and True Temperament

Marc Noel-Johnson — Wed, 18 Nov 2009 12:22:11 +0000

It was a real pleasure to meet Michael Sanden, the Swedish luthier, pictured here at his visit to DV in Romford accompanied by his long time friend and demonstrator, Homesick Mac. Michael has been building guitars, mandolas and lap steels for getting on for 28 years from his workshop in Garsnas in Sweden and with his wife Kari, turns out on average three guitars a week, completely hand built and finished using only top grade tonewoods.

In 1996 Michael got his Master’s Certificate in guitar craftmanship and Sanden Guitars has been a member of the “Guild of American Luthiers” since 1983. You could say that when it comes to acoustic guitar construction, there’s nothing he doesn’t know and he speaks about it with authority and passion, freely imparting knowledge about the art, and how his own instruments are made.

I hinted in yesterday’s article that there was a surpise in store.When Michael opened the case to the guitar he had brought along, one of his own hand made instruments, there were a few astonished looks amonst the assembled gathering. What on earth was going on with that fingerboard, the frets were all zig-zaggy! Yes they are, and for a reason. This is a True Temperament fingerboard, a patented design that ensures accurate intonation all over the fretboard. It has long been known that the traditional fretting method of string instruments is a compromise, that a guitar can never be totally in tune. However, our ears make the necessary adjustments for things to sound ‘musical’. The True Temperament method of fretting solves this problem, reducing inter modulation between notes and making chords ring out with a sweetness not achievable on a normal guitar.

This is all very well, but this system was not just the result of a computer read out or some rigid mathmatical calculation without regard to the nuances of how people play the guitar or how it feels. Three factors were involved - computer calculations, an oscilloscope and, most importantly, ears! The frets themselves are made of a brass alloy material and look quite unlike nickel frets.The guitar also features a zero fret and straight or non-angled bridge saddle which means that all the intonation is taken care of by the True Temperament system.

To play, the guitar doesn’t feel any different under the fingers, for chording or single note playing. Bends? No different. Vibrato? Not a problem. The age old problem of the G and B string being out of tune with each other on certain chords is eliminated. Complex chords sound better. I spent some time playing this guitar and I simply couldn’t catch it out.

Michaels’ guitars are expensive, and he will make a guitar without the true temperement system. But I can’t see the point. If perfect intonation has always eluded you then a Sanden model may just prove too tempting to pass up. There is just one problem though - you may have difficulty returning to your normal guitar. Thanks Michael!

Tanglewood Master Designer - Michael Sanden

Marc Noel-Johnson — Tue, 17 Nov 2009 17:09:56 +0000

The Tanglewood TSR 3 MasterDesign electro acoustic guitar which is pictured opposite is a great example of what can be achieved when a respected guitar brand joins with a master luthier. How so? DV was recently lucky to play host to Michael Sanden, the world renowned Swedish luthier who was kind enough to take time out from his guitar building schedule to visit these shores and our stores to promote not only the Tanglewood Master Design acoustics but his own hand built models. There was a surprise in store for everybody concerning the hand built models, but more of that later.

Tanglewood approached Michael Sanden two and a half years ago with an offer to build a range of guitars in their factory using his designs and designating them ‘MasterDesign’. Utilising premium toneweoods like Indian Kerala Rosewood and specifying solid Spruce tops on all models, Tanglewood and Michael Sanden have managed to create something unique - a factory built guitar with a hands on, close-up quality control that ensures that every guitar is worthy of the master luthier’s name.

There are six MasterDesign models in two ranges, the TSM range and the TSR range, in which the Tanglewood TSR3 sits. TSM guitars have mahogany back and sides and TSR have rosewood. There is also a choice of three body shapes in each range: Auditorium, Grand Auditorium and Super Jumbo. Ebony fingerboards are used throughout, a testament to the no-compromise approach taken in selecting materials. Tight grained Tibetan Sitka Spruce is used for the tops, which are braced using Michael’s unique patten.

If you examine the guitar in detail, there are another couple of interesting features. The neck is made from two pieces of premium grade mahogany, glued lengthwise for extra strength, and the headstock is laminated both front and back with rosewood, another unique Sanden innovation. The bindings are all natural woods too, and the result is a visual treat which both enhances the elegant looks and allows the guitar to ‘breathe’..

During Michael’s visit, we were fortunate enough to grab a few minutes with him to ask him about his association with Tanglewood. He told us: ” I went to the Tanglewood factory and looked over their stock of timber. I told them what the minimum quality could be, as it was incredibly important to me that the wood was of a high standard. Since then, I’ve not seen anything but great quality blanks sent my way - I wish I owned some of that timber”.

He continued, “It’s the first time Tanglewood has ever worked with a luthier, so they’re not just getting a guitar builder, they’re getting a designer and a consultant”.

Having played the guitars and now having met the man, it’s clear that this is a partnership that really works. More importantly, Tanglewood has hit the spot first time with a range of superb instruments such as the Master Design TSR3, offering hand-built quality and refinements at factory built prices.

Melodyne Editor released - Change your audio world!

Paul Dakeyne — Mon, 16 Nov 2009 17:09:45 +0000

It’s here, it’s arrived, and quite frankly, it’s gonna change your world of audio manipulation completely. In its new ‘now known as’ guise, Celemony’s ‘Melodyne Editor‘ is about to become the de facto application for analysing, editing, morphing, blending, removing and supplementing polyphonic audio content. We blogged about this ‘D.N.A. (direct note access) miracle a few months ago when it was in beta mode, but today’s actual release puts a stupidly gargantuan amount of power and creativity at the pro-audio users fingertips.

So just how is Melodyne Editor, gonna rock your world? Applications are numerous and exciting. It’s first and foremost ability is, and I quote from my previous blog: “Feed in for example a piano line full of chords and single notes, and DNA will allow the user to change tuning, formant, volume, duration and timing of any individual note or group of notes” I mean ‘really?!?! Well, yes.. it does. That single statement alone would bestow the equivalent of the Pulitzer prize to Celemony for just how radically it will change your workflow, boost your creativity, and even become a scientific learning tool for the further understanding of musical theory and getting inside the minds of great musicians.

For audio engineers (and let’s face it, we all either dabble or obsess in this area), Melodyne Editor permits such real time manipulation of (and I have to stress this word again) polyphonic material, even down to the nitty gritty of nuances and performance aspects, that it actually makes this application pretty scary in terms of what it can achieve for you. As somewhat of an added bonus, ‘Editor’ can partially remove a vocal from a performance, which opens up all manor of analysis sessions and oh yes, ‘fun’ for DJ/Producer/Mash Up fans. With that in mind, and the software’s many other mind-freakin’ possibilities, I for one am looking forward to doing a full review for DV247 in the forthcoming days. Remember to RSS this blog, as you definitely do not want to miss that one.

This software’s power curve is steep and possibly endless, and with some great v.f.m. upgrade deals on previous Melodyne incarnations over at DV and already in place, there’s really no excuse not to jump aboard this next generation starship of a programme - Engage!

Free TC Electronic M30 reverb!

Barney Jameson — Mon, 16 Nov 2009 16:08:36 +0000

The TC Electronic M30 reverb has become an early Christmas present for all musicians today, as TC Electronic has announced that the plug-in will be available for free download from its website for three full days.

Derived from the M40 reverb which comes bundled with TC audio interfaces, the M30 is described by the manufacturer as a “small but great sounding reverb” and is VST and AU compatible. That means it will work with your choice of DAW, including Logic, Garageband, Cubase, Ableton Live or Cakewalk Sonar. It integrates into a wide variety of platforms using a new high definition technology developed by TC, and named AlgoFlex, which enables hardware quality and predictability to be ported to native software.

Nor does the M30 sound like a cheap option - the plug-in employs the same Hall reverb algorithm that can be found in the M40, while the Room and Plate algorithms might also sound strangely familiar. Anyone downloading the M30 will also be able to adjust parameters such as pre-delay, decay, hi-colour and mix.

Best of all is that there is no catch on the free download - anyone signing up for the TC newsletter will be able to start using the M30 as fast as their broadband speed allows, and the plug-in will never expire.

However, you need to be quick. After the three day download window runs out - and it started this morning - the plug-in will no longer be free, instead retailing on the company’s online store. So we recommend you jump over to the TC Electronic website and download the M30 reverb for free right now.

PRS Guitars 25th Anniversary Models - Part 2

Marc Noel-Johnson — Sun, 15 Nov 2009 16:29:45 +0000

Continuing our preview of the Paul Reed Smith 25th Anniversary models, I’ve picked out three of the more unusual guitars. The first is the 25th Anniversary Swamp Ash Special Narrowfield. This is a pretty versatile instrument featuring a solid swamp ash body, bolt-on maple neck with an optional maple fingerboard and three Narrow Field pickups. The five way blade switch offers a multitude of single coil combinations. As with the other Anniversary models there are the shadow bird inlays and anniversary headstock eagle. There are five colours available include Scarlet Smokeburst [shown] and Smoked Amber.

Any Hollowbody guitar is going to offer acoustic qualities that a solid body cannot attain. The 25th Anniversary Hollowbody II CB, with its slightly deeper body than a normal thinline, will have an enhanced acoustic response which will translate into a superior tone when the guitar is plugged in. The guitar features solid mahogany rims with a solid, deeply carved figured maple top and back. The Anniversary model has CB (Center Block) construction to minimize feedback. The HB II also offers shadow bird inlays, headstock eagle and bound rosewood fretboard. There are eight colour choices including Smoked Amber [shown] and Matteo Mist.

To celebrate PRS’s long association with Carlos Santana, the 25th anniversary could not really pass without a tribute model, the 25th Anniversary Santana. Appointments include 24 1/2 “ scale length, 24 fret bound mahogany wide, fat neck, rosewood fretboard, shadow bird inlays and headstock eagle, purfling strips on the body, Santana pickups with covers and the patented PRS tremolo. There are an incredible nine different finish option on the Santana - Charcoal Burst, Fire Red Burst, Matteo Mist, Santana Yellow, Sapphire Smokeburst, Smokeburst, Smoked Amber, Smoked Black Slate and Angry Larry!

There’s no doubt that these 25th Anniversary models, which are only going to be produced in limited numbers, will be some of the most collectible of the PRS stable in years to come, and of massive interest to PRS aficionados throughout the guitar playing world. Now, where’s that colour chart?

PRS Guitars 25th Anniversary Models - Part 1

Marc Noel-Johnson — Sat, 14 Nov 2009 13:12:23 +0000

When Paul Reed Smith started out in the 1970’s building a few guitars at college, I wonder if he ever dreamed that one day he would be up there sharing elbow room with the biggest and most established guitar manufacturers in the world. His refinements and innovations such as scale length, construction methods, vibrato sytem, pickup design and aesthetics have made PRS Guitars a major player in the industry and a huge influence on guitar design and manufacture.

This year, the 25th anniversary of PRS, couldn’t really pass without a cluster of commemorative models, and there’s 11 in all, to mark the occasion. These models feature a new headstock design that departs from the Paul Reed Smith signature, in its place a silhouette of the company’s well known eagle symbol with a small “25th” logo. Some of the models also feature the ’shadow birds’ inlays which are simply outlines of the original bird shapes.

In honour of his celebrated mentor, the 25th Anniversary Ted McCarty Narrow Field model continues the tradition of McCarty’s innovative spirit, combining the features of the original McCarty Model with ‘Narrow Field’ pickups. These narrow the sensory field of the string very much like a singlecoil but are hum canceling. The result is a different sounding pickup which combines elements from single coil, soap bar and humbuckers. Eight colours are available, including Charcoal Burst and Smoked Amber.

In the tradition of the Modern Eagle, the 25th Anniversary Modern Eagle II features premium grade woods, classic Modern Eagle frets and a wide, fat neck carve, 1957/2008 pickups and thin finish. Additionally it sports the aforementioned shadow bird inlays, headstock eagle and a bound rosewood fretboard. Six colours include Black Slate and Fire Red.

The model number 513 means it has five pickups and 13 sounds. The 25th Anniversary Edition 513 is an updated version of the 513 Maple Top. It features a mahogany neck and the patented 513 electrics. 25th Anniversary appointments also include shadow bird inlays, headstock eagle and bound rosewood fretboard, 25 1/4″ scale length and a special neck joint . One blade switch is a 5-way pickup selector, and the other is a 3-way mode switch that allows you to select between the single coil and light and heavy humbucking modes. From screaming humbucker to sparkling single coil sounds, the 513 has it. As with the McCarty, there are eight colours available.

These are just three of the eleven models available. Watch out for three more in part 2.

The Olympus LS-11 takes to the field

admin — Fri, 13 Nov 2009 15:15:42 +0000

Field recorders such as the Olympus LS-11 are an essential tool for anyone interested in capturing high quality audio recordings for later use, and the higher up the quality-chain you’re willing to go, the better the result you’ll get.

But what if you want a more professional unit without the corresponding attack on your bank balance? Enter Olympus, and its decision to bring a portable recorder to the market that offers a wealth of features for a pretty reasonable amount of cash.

Nicely encased in aluminium (rather than the plastic you usually find on most portable recorders), the LS-11 feels more expensive than it actually is, and comes with a genuinely massive 8GB built-in memory capacity, rather than relying solely on SD cards (the LS-11 takes those too, so in effect you have limitless space). According to Olympus, straight out of the box you can record a total of 12 hours of CD quality stereo sound, or more than 127 hours at standard-quality stereo MP3.

Unpacked from the aforementioned box, we found it pleasantly simple to use. Just switch on and push the big obvious REC button to check your input levels (a dedicated wheel on the side adjusts recording volume), then push REC again to start recording. Two wide-frequency microphones pick up whatever you’re pointing the unit at, and there’s a bright ‘peak’ indicator light making it obvious when recording volume is set too high. Recording done, you can drag-and-drop completed files to either Mac or PC via an included USB cable.

On a practical note, there are rubber feet on the underside of the LS-11 audio recorder so it can sit fixed on a table, and includes a thread for tripod-mounting. Surprisingly there are also small speakers on underside. You’re not going to be hosting many raves with them but they would be good for playing back interviews or taking dictation.

During our test, we found that the sound quality was clear, detailed and tight with the 90° mic separation offering a good sense of the stereo field. A small gripe is that the on-board limiter, though useful at times, can result in a somewhat squashed sound. Turn it off and watch your levels, however, and you’ll achieve a more natural representation of your subject matter. At the highest quality settings (96kHz!) you can get an astonishing frequency response of 20Hz to 44kHz - perhaps a moot point given that humans can’t generally hear above 20kHz (depending on the quantity of raves you attended in the 1990s), but very impressive for a unit at this price.

If you’re a traditional recording band, or planning on recording interviews and don’t have any other equipment or software, you’ll probably appreciate that Olympus include a copy of Cubase LE so you can edit and polish your recordings. There’s also a range of accessories in the pack (everything from a remote control unit to windshields for the microphones). Given the build quality, features and accessories it’s surprising it costs what it does. If you’re in the market for a field recorder, the LS-11 field recorder is certainly worth a look.

Author: Alex James

Gibson AJ Custom 20th Anniversary - Top Score

Marc Noel-Johnson — Fri, 13 Nov 2009 12:38:56 +0000

This Gibson AJ Custom 20th Anniversary is a one-off, special edition acoustic from Gibson. They are only making 20. Look again, that’s right, only a score of these guitars will be made - for the world. That’s a seriously miniscule number, even for a limited edition.

The Gibson Advanced Jumbo was introduced in 1936 but only 300 instruments were made. It was supposed to be in direct competition to the Martin D28, which had established itself as a big, booming ‘cannon’ of a guitar. The Advanced Jumbo was cheaper than the D28, featured Brazilian rosewood back and sides and an Adirondack spruce top just like the Martin. It was the D28’s equal in volume and bass response and the 25 1/2″ scale length was the same, making it longer than any other Gibson flat top. It also featured unusual diamond and arrowhead inlays and a ’striped’ pickguard, features I don’t recall seeing on any other Gibson acoustic since. There was a reissue of the Advanced Jumbo in the early 1990s, although the endangered Brazilian rosewood back and sides were replaced by Indian rosewood and the top was Sitka spruce.

The Gibson AJ Custom 20th Anniversary guitar is built to the same specifications. The Adirondack spruce top is used again for a strong attack and pronounced bass end - it’s the tonewood of choice for many flatpickers - and the back and sides are constructed of Madagascar rosewood. The neck is mahogany, adding smoothness and warmth to the sustain. Hide glue is used in the construction, ensuring the guitar’s longevity. Vintage Waverly machine heads offer precision tuning and aged styling. The guitar certainly has the vintage looks, enhanced by the antique lacquer finish, and the inlays and scratchplate distinguish it from any other Gibson acoustic.

When considering the puchase of an acoustic guitar in this price bracket, there’s some serious thinking to do and several questions to ask yourself. At this level, the final choice of instrument really shouldn’t be governed by the cost, it should be about having a serious instrument, something that has some exclusivity and class, and something that not many other people are going to own.

The original Advanced Jumbo is widely considered to be one of the finest flat tops ever produced, by Gibson or any other company. A guitar with tremendous power and tone which has rarely been equalled. If you could find an original one for sale, it would be a large amount of money. By comparison, and for a limited edition of such a low number, the AJ Custom represents serious value for money, whether you’re a collector or player.

Akai Pro APC40 YouTube contest

Barney Jameson — Thu, 12 Nov 2009 17:51:44 +0000

The Akai APC40 Ableton control surface is currently landing on YouTube in a big way with the launch of a major competition lasting until the end of the year. Even better, the prize is about as good as it gets - Akai Professional is offering APC40 owners the chance to choose their own reward, with every product in the Akai range up for grabs. All you need to put your hat in the ring is a camcorder and a good idea.

How so? The manufacturer is leaping into the world of video social networking with arguably the best possible method of demonstrating how powerful a tool the APC40 can be - rather than just telling the world itself, it’s letting its customers do the talking. Every APC40 owner is being invited to record themselves on camera using the controller to operate Ableton Live in the most creative and exciting way that he or she can think of.

Waiting on YouTube meanwhile is a dedicated channel named the APC40 European Video Contest, where entrants can upload their videos for judging by an expert panel including well known APC40 users such as Sébastian Légere and Pascal FEOS. Entering is as simple as making your video, joining the APC40 European Video Contest group and adding your recording to the pile.

The competition is, says the manufacturer, an effort to discover “how you produce with your APC40 and how Live has changed for you”. Plus, once you’ve joined the YouTube group, you’ll also have access to the other entrant’s videos, so you can see how the APC40 is being used by your competition.

Nor will only one of the videos win a big prize. In fact, up to 20 prizes are on offer, with the overall winner being given the chance to choose anything they want from the Akai Pro range. The performers behind the next 19 winning videos will all earn a choice between an Akai Pro LPK25 or an Akai Pro LPD8.

While the contest officially began on November 1st it’s not yet too late to stand a chance of winning the Akai Pro product you’ve always wanted - entries can still be submitted up to December 31st. However, with a prize of this magnitude up for grabs, it’s likely that entries are going to appear on YouTube quicker than you can press record. Best to get on YouTube straight away then and start demonstrating your Akai APC40 prowess.