Chris Loeffler

Music and Image- Why Brands Want Bands Should you sell your soul ...? by Chris Loeffler Films have been piggy-backing on the emotional resonance of music since before they had spoken words, letting the music set tone and manipulate audience moods to suite the director’s intention. Recently, there has been eyebrow-raising in certain circles over directors relying wholesale on a song (especially lyrics) to carry an emotional scene. This isn’t new, nor is it unique to films…everyone wants to get in on music. Music exists to express and elicit emotion. It explores heartache, joy, anger, and love by melding words and melody to create something deeper and more expansive than our standard communication methods allow. Music is an inclusively participatory medium that requires neither training nor attention from the listener, and different instruments, musical passages, and lyrics will speak to listeners in uniquely personal ways. Brands, from Levi to Apple, have been using popular music in advertisements for decades to create a default soundtrack to their brands that instantly assigns identity, attitude, and an emotional connection to their products. It’s easy and effective. “Artists” tend to look down on commercializing their creative output as part of a self-serious artist attitude (although not nearly as harshly as some of their “dedicated" fans). While there are legitimate reasons to oppose having their work used to promote products and brands, such as political or philosophical opposition, many artists may be missing the point (and the paycheck). When a song or album is released to the world, it's going to become many different things to many people. Sting’s homage to stalking became many newlyweds’ first dance; the irony and tension of Springsteen’s lament of the state of the working class somehow became a song of national pride. At least Brands are paying to misuse their work! While it’s easy to make derisive comments about people using “your” music to brand their products, the moment you enter something into the commercial system you’re signing up for that possibility. If your music is too precious, don’t release the recordings, or only present your music in live performances. If you want to subvert the system you chose to be in, take “their” money and donate all of it to causes that combat the issues you have with the advertiser. Then again, you also might not want people to have certain unintended associations with your music- like when someone hears your song, and the first thought that comes to mind is "Tid-Eee-Bowl Toilet Cleaner." In an interview with NPR, Patrick Carney of the Black Keys expressed his view of “selling out” as such- “A lot of people see a Nissan ad and they see a finished product in a record store or on iTunes and that’s the face of the band. What they don’t see is that we made [‘Brothers’] in a cinderblock building in the middle of nowhere in Alabama, with five microphones and a guitar amp and a drum set. I don’t know what that means, exactly, but I do know we didn’t spend a lot of money making this record, and it’s an honest way of approaching making music. And once the music is out there, when you’re selling a record and selling music and people are going to do whatever they want with it, it’s kind of hard to resist certain opportunities, especially in the record market now.” In short, the honestly and purity of the artistry in music occurs in the creation of the song; how it's purposed after that doesn’t retroactively change that. The other side of the coin is, of course, entirely new audiences discovering a band through commercials or movies. Many bands have seen significant bumps, or even complete rises from obscurity, because their music was featured in a movie trailer, soda commercial, or television show. While the context of the song within the platform may have some impact on how a first-time listener perceives the song, anyone who says “I want to hear more music by this band” is responding to the artistry behind it. This is not less “legitimate” than discovering music on commercial radio, or even a music store. It’s leveraging their paid reach to be exposed to a new audience. There will likely always be a tinge of unease between musicians and Brands, and there will continue to be a risk of one exploiting the other, but a clear head can see the benefits by far outweigh the snags. Bands can sleep easy knowing their responsibility to their music comes to a close once the music is created, their self-identified “true” fans can celebrate the escalated profile of “their” favorite bands, and everyone can enjoy the expanded exposure Brands can give great bands. ____________________________________________ Chris Loeffler is a multi-instrumentalist and the Content Strategist of Harmony Central. In addition to his ten years experience as an online guitar merchandiser, marketing strategist, and community director he has worked as an international exporter, website consultant and brand manager. When he’s not working he can be found playing music, geeking out on guitar pedals and amps, and brewing tasty beer.

Mixerman and the Billionheir Apparent - Book Review Oh...the satire that is the music industry by Chris Loeffler A decade ago, The Daily Adventures of Mixerman, a collected publication of message board posts from anonymous user “Mixerman,” skewered the music industry from behind the mixing console. Arrogant, questionably talented musicians, meddling and insane producers, and the moneymen of artist marketing populated Mixerman's “identities changed to protect the guilty” true story about the sausage factory that churned out radio-ready “product” in the early-00s. It was instant hit in engineering and musician circles, and truly a product of its time, with big label hubris blinding the industry to the fact that they were already, much like Wile E. Coyote, treading air ten feet beyond the edge of the cliff, waiting for self-awareness to initiate the inevitable plunge into the canyon (cue slide whistle). Funny, ironic, and incredibly insightful, The Daily Adventures of Mixerman combined industry and engineering information in an easy-to-digest format for casual readers through a an involving story and solid narrative beats. Long-since outed as producer/engineer Eric Sarafin, Mixerman began publishing chapter-length blog posts on his site in 2015 that are now collected in the 304 page hardcover novel #Mixerman and the Billionheir Apparent, published by Hal Leonard. #Mixerman and the Billionheir Apparent stars the same narrator/author as TDAoMM, but this time fully embraces fiction to tell the very real story of where music production was at in the year 2015. The story can be summarized as such: Mixerman agrees to mentor the son of an Indian billionaire in exchange for a fat paycheck and gets involved in a financially risky race to create a 5 million dollar hit… shenanigans ensue. The narrative and pace are solid and engaging, and like TDAoMM, the characters have voices and personalities that are quirky yet grounded in reality, but the narrator’s journey is really just (satisfying) trappings for a bigger story; the state of the music industry, technology, and even Western Culture. In a post-CD world, profits are siphoned by streaming services, digital piracy, and more. Radio and television ad dollars and audiences shrink to nothing as people now have access to every song in the world and curate their own, personalized music experiences. Recording that was cost prohibitive even a decade ago has given way to digital solutions that are 1/100th the expense and so fine-tuned that even the value of expertise is called to question, as anyone with a smart phone can now record a song. The record industry is a very different place in this novel, and the days of “throw money and cocaine at the album until we have a money-making hit” have transformed the landscape into a scrappy, small risk/smaller reward place where irrelevant dinosaurs exist solely because the inertia and propped on the crumbling infrastructure of the music industry’s heydays. There’s a weariness to Mixerman’s perspective that veers towards cynical and even caustic at times, made all the worse by the fact that, fictitious as the story may be, the broken industry that drives the story is very real. Political insight also informs the narrator’s perspective, and the 2016 primaries clearly weighed on Sarafin’s mind as this story unfolded, yielding a surprisingly prophetic vision of how the US, as a nation, would land on the other side of November 8, 2016. Whether you agree with the narrator’s views or not is mostly irrelevant to the enjoyment of the story as a whole, but some people who are especially sensitive to those types of ruminations may be put off at times. #Mixerman and the Billionheir Apparent continues Sarafin’s ability to juggle a narrative, attempt to make sense of a non-sensible industry, and celebrate the kooks who make it all happen. It's not a perfect novel, but it is entertaining, informative, and thought provoking with a singular voice. Unburdened by having to (mostly) stick to facts and emboldened by the reception of TDAoMM, #Mixerman and the Billionheir Apparent is a journey anyone interested in the state of music today should enjoy, and Mixerman is a hell of a driver.

Earthquaker Devices Transmisser Resonant Reverb Reverberations from the Heart of Space by Chris Loeffler Writing about how something sounds is challenging (and, ultimately, futile). It’s like dancing to describe music; you might be able to get across some attributes and form of the music to your audience, but they still don’t know what it sounds like. That’s where comparisons come in… “Sounds like Clarence Clearwater Revival with Chad Kroeger on vocals.” However, this get a bit trickier when there isn’t really anything to draw a direct comparison to. Such is the case with the Earthquaker Devices Transmisser resonant reverb pedal. So, before we dive into what it does to your tone, take a listen- As you can hear, it’s a reverb effect, but with filters, modulation, pitch detuning, feedback, and resonance. Technically, this results from feeding a long decay modulated reverb into a resonant filter, so the reverberated signal is effected, stretched, pulled in on itself, and crashes in waves over your direct tone, creating almost synth-like backing tracks to whatever is being played. What You Need to Know The Earthquaker Transmisser features six controls: Decay, Darkness, Freq, Warp, Rate and Mix. The pedal runs on a standard 9v power supply, and has 1/4" input and (mono) output jacks as well as an expression pedal input for a Moog-style expression pedal. This allows controlling the resonant filter's frequency for wah-like sweeps through the reverberated signal. Decay controls the reverb trail length , and can be as short as a second or nearly infinite when cranked all the way up. I got tired of timing it, but trust me…it’s longer than you’ll need unless you’re creating music to watch paint dry. Darkness seems to be a tone control for the initial reverb signal, going from muffled, lo-fi darkness to noticeably brighter than the original input signal for an airier sound. Freq sets the frequency of the resonant low-pass filter, and is highly interactive with the Darkness control. The Warp control is the system slew control, and does a few things at once; it adjusts the filter depth and resonance, the decay's length and warmth, and the modulation width and tone. In other words it does a lot, but I feel Earthquaker really nailed whatever algorithm they used to scale the various functions, as they complemented each other across the sweep of the knob. Similarly, Rate is tied to several functions beyond the modulation speed, as it also affects the Darkness and Freq, depending on where the Warp is set. Again, these are subtle aspects, but they gel really well in practice. Mix is a Wet/Dry blend for the effect. The resonant low-pass filter is, as cautioned by Earthquaker, constantly on the verge of going into oscillation, but fortunately the Warp and Rate controls adjust the settings so that it works on a sliding scale and never veers off course. Again, listen to the Earthquaker soundclip…if tones like that are what you're after, I can assure you there are near-infinite variations on that theme. While it may take some time to truly understand what all the controls do and how they affect each other, inspirationally space sounds are available at any setting, so the impatient can just stomp and reverberate. The greedy person in me wishes I could hear the Transmisser in true stereo. Limitations There really isn’t a clean, studio-style reverb to be coaxed from the Transmisser. Conclusion The Transmisser is something rare in the world of effects…it doesn’t really have an analog in the pedal/rack world. It’s an effected reverb, true, but there’s so much character and sonic trickery happening behind the scenes that I don’t think it can be recreated by simply messing with a standard reverb and filters in an FX loop. Shoegazers, Drone, and singer-songwriters will undoubtedly find the Transmisser the glue that ties together their ideas, and there’s an “instant cohesion” effect that happens when the pedal is activated that’s incredibly satisfying (if a bit unsettling). Resources Earthquaker Devices Transmisser Resonant Reverberator Product Page Buy Earthquaker Devices Transmisser ($225.00) @ Sweetwater ____________________________________________ Chris Loeffler is a multi-instrumentalist and the Content Strategist of Harmony Central. In addition to his ten years experience as an online guitar merchandiser, marketing strategist, and community director he has worked as an international exporter, website consultant and brand manager. When he’s not working he can be found playing music, geeking out on guitar pedals and amps, and brewing tasty beer.

Neat Microphones Podcast Round Up-Beecaster, Bumblebee, and Widget Two Bees and a Widget Walk into a Studio... by Chris Loeffler (this image may be a place holder - I'm not happy with it ... but you pose an interesting non-existing challenge) Neat Microphones has been on quite the kick in 2016, with six microphones now available in their Bee series and three cosmetically-different microphones in their new Widget series. Notably, the Beecaster, Bumblebee, and Widget are all designed with computer use in mind; featuring USB outputs and functionality designed to accommodate everything from conference calls to podcasting to recording music and vocals. I asked Neat to lend me the three different USB mics to compare and contrast them for various applications. To set the stage, I’ll be discussing them in order of price point; the Neat Widget (available in three styles, I reviewed Widget C) retails at $99.00, the Bumblebee at $199.00, and the Beecaster at $349.00. The Neat Widget, the lowest priced of the line, features an internally shock-mounted cardiod mic with a 20 Hz - 20 kHz frequency response and a sample rate/bit depth of 96kHz/24 bits and a USB 2.0 output. The Widget C is large, feels sturdy, and has a distinct Jetsons-meets-Bioshock aesthetic that’s decidedly not your standard pro audio look. I plugged it straight into my MacBook Pro and had it replace my internal microphone almost instantly. I demoed the Widget in several Skype and FaceTime meetings and was told I was noticeably clearer than when I used the internal microphone or my headset. I did find that the microphone was best suited to one or two people at most, as including more than a few people sitting around a table yields diminished returns. I was surprised how little crosstalk there was with the Widget and my computer speakers, which I attribute to the microphone's relatively linear field. I captured perfectly serviceable and detailed tracks when I demoed it as a vocal mic and placed it in front of a small guitar amp. Proximity is important to get the most out of the Widget. While it has no bearing on the sound quality of the microphone, the Widget packaging is fun and very “retail”—oriented, proudly displaying the microphone in a clear plastic box rather than the standard black cardboard box with a slipcover. The Bumblebee and Beecaster build upon the “really good USB microphone” concept of the Widget by including controls for microphone input gain, headphone jacks, headphone volume control, and additional audio and/or polar pattern options. The two Bees share identical frequency response (20 Hz - 20 kHz), sample rate and bit depth (96 kHz/24 bit), sensitivity (16 mV/Pa @ 1kHz), maximum SPL (128 bB SPL 0.5% THD), signal-to-noise ratio (98 dB-A), noise level (14 dB-A), and dynamic range (98 dB), as well as microphone gain and headphone volume controls. Again, tangential to the actual microphones, the packaging was some of the best I’ve seen, with a honeycombed, multi-layered box that opens like a gift, with every layer perfectly packed in the custom foam. If that sounds like a strange thing to fixate on, I see a lot of gear and don’t believe I’ve encountered a more elegant or thought-out package. Where the Beecaster and Bumblebee diverge is in the Beecaster’s four distinct microphone polar patterns, whereas the Bumblebee uses a single cardiod pattern. The Bumblebee’s single cardiod pattern expands beyond the Widget feature set by offering three sonic signature modes; Music, Voice, and Neutral. These are achieved by onboard processing and are incredibly useful to quickly optimize the Bumblebee for the desired application. -Music is the most open and wide-frequency mode, and does a fantastic job of capturing subtleties in a performance (like, say, the fretboard sound on an acoustic guitar). -Vocal mode seems to sweeten the highs and lows and address some of the inconsistent volume issues and sibilance that speaking and singing can introduce. -Neutral mode is completely unprocessed, and is the most accurate for capturing an uncolored performance for later signal processing. The booklet included with the Bumblebee is incredibly well written, fun, and informative, and there are over four pages of suggested setups and configurations for specific applications such as vocals, acoustic guitars, electric guitar, woodwind and brasswind instruments, percussion, and podcasts. These aren’t just vague instructions, either…they suggest a mode, mic placement, and more while explaining the “why” as well as how to make fine tweaks with further microphone manipulation. Here’s an example for the Acoustic Guitar- Acoustic Guitars Sonic Mode: Music Problem: Most desktop stands place the mic high on the desk. While this is fine for speaking, it does little to capture the brilliant sound of a guitar that sits at chair level in front of the desk. Enter the Bumblebee, and...problem solved! Move your Bumblebee’s base to the edge of your desk. Bring the articulating arm all the way forward and down to position the capsule below the edge of the desk, facing forward. This will be the perfect height to record your guitar. Now fine-tune the placement using the rotating base and capsule. Each guitar is different, but the “sweet spot” is usually near where the neck and body join (around the 12th – 14th frets). For maximum presence, start with the mic close to the guitar—about 3 or 4 inches (7 - 10 cm). Moving the mic closer to the sound hole increases the warmth and fullness, but beware the dreaded “sound hole boom” that can give acoustic guitars a “muddy” quality. Now try moving the mic farther from the guitar. This may help even the sound and create a better image, with the tradeoff of a little less presence. Find the right balance, and your guitar will sing. Even a complete recording novice will get solid audio if they follow the booklet’s advice, and the best thing is the information isn’t specific to the Bumblebee, so owners get a free course in basic microphone techniques with every purchase. I found the flexibility added by the sonic signatures very applicable to recording instruments or even vocals, and it was much easier to obtain a more detailed acoustic guitar sound, for instance, than with the Widget, while I found the differences in standard voice to be negligible for Skype or a conference call. Moving on to the most feature-filled of the three microphones, the Beecaster (with its four capsules) goes beyond signal processing and straight into the four aforementioned distinct polar patterns- Mono (cardiod), Stereo (XY), Wide Stereo (Blumlien), and Focused Stereo (M/S). -Mono setting selects a standard cardiod pickup pattern that emphasizes noise directly in front of the microphone and suppresses background or far-field noises, making it ideal for voices, vocals, and really anything that doesn’t require stereo imaging. -Stereo mode uses a standard XY microphone configuration to capture 3D imaging, or anything that benefits from a bit more dimension and space, like acoustic guitars or a table full of people for a conference call. -Wide Stereo expands the stereo field left and right and leaves a bit of space in the center for a lead instrument or vocals; especially ideal for larger ensembles. -Focused Stereo focuses on the front-facing left and right stereo images for a more immediate, focused sound that retains stereo depth like vocals. Similar to the Bumblebee, the Beecaster’s detailed instruction manual give you specific tips and guidance for music, podcast, and voice conference applications. Given the four polarity configurations, the manual often offers different ways to skin the same cat and, again, is a great primer in getting good sound. I used the Stereo mode about a foot away from the top of the sound hole of my acoustic guitar and was very impressed by the fullness of the sound after fidgeting with the angle for a minute and using the headphone out to monitor. For giggles I tried a Wide Stereo mode for a rhythm track and a Focused Stereo mode for an acoustic lead over it and a vocal part and they did indeed “fit” into each other nicely without even needing to tweak EQ. An unexpected (for me) application for the Beecaster is mobile recording of live performances. The stereo imaging is fantastic, and a good pair of headphones offers a fair amount of noise isolation so you can move around the room with your laptop and microphone to find the sweet spot and ensure you aren’t getting any clipping. While I haven’t had a chance to try this out with a louder rock band in a festival environment, I did check out a jazz trio at a winery and, other than getting the odd look for setting the Beecaster on the table facing the band, it was an incredibly easy experience and caught a fantastic live take. So… what’s the right one to buy if you’re looking to upgrade your computer microphone? Depends on what you want. The modestly-priced Widget is a great choice for basic voice applications like conference calls, vocal parts, and simple mono recording if you intend to use your computer’s speakers for audio playback and don’t mind managing the mic input within your control panel. The Bumblebee brings additional flexibility in recording with the three distinct sound modes, as well as mic input trim and headphone outs directly into the unit for complete physical control of the audio and isolating audio for a cleaner signal. This makes it ideal for people looking to do a decent amount of actual recording (instrument or voice) but not concerned about stereo imaging. The Beecaster, as the most feature-packed, is clearly aimed at going beyond basic mono recording and is well equipped to handle mobile recording of live music, acoustic performances, or capturing tracks with enough dimension they can easily be dropped into a final mix. In closing, the following may go without saying if you've read this far, but the days of assuming that USB mics are garbage are in the rear-view mirror - even the sub-$100 Widget delivers quality audio. Although the Bumblebee and Beecaster may seem expensive compared to other USB mics, you're paying for preamps, converters, and overall design that bring USB mics into the professional arena. ____________________________________________ Chris Loeffler is a multi-instrumentalist and the Content Strategist of Harmony Central. In addition to his ten years experience as an online guitar merchandiser, marketing strategist, and community director he has worked as an international exporter, website consultant and brand manager. When he’s not working he can be found playing music, geeking out on guitar pedals and amps, and brewing tasty beer.

Peavey ReValver 4 ACT Combo and ACT Rack Every guitar tone, ever ... for less than $50 by Chris Loeffler Peavey ReValver 4 launched to great reviews in 2014 as an incredibly useful, guitarist-oriented amp and effects software modeling suite at a price point significantly lower than the competition. ReValver 4 continues to be a strong contender for affordable direct-to-HD recording, and has since added 19 amps, 21 pedals, 10 effects, 48 cabinets, 36 input models, and 12 presets to their growing library of sounds available for purchase. While Peavey remains committed to expanding the ReValver 4’s digital offerings, they’ve also decided to hand the keys to their proprietary sampling algorithm over to ReValver 4 users with their new ACT Combo and ACT Rack releases. Based on Peavey’s ACT (Audio Cloning Technology) modeling software, both Peavey ACT Combo and ACT Rack require Peavey ReValver 4 and are downloadable through the Peavey Amp Store or via an in-app purchase for Windows and MacOS. What You Need to Know The Peavey ACT Combo is designed to clone guitar tones in recordings or from a live amp and import them into ReValver 4 as a standalone preset. Using the same ACT technology to a different end, the Peavey ACT Rack profiles existing tones and EQ structure and applies them to parts recorded with ReValver 4 to mirror (or modify) how the track sits in the mix with the rest of the recording. The Peavey ACT Combo analyzes the tone and profile of real amps and cabs recorded into a DAW (I tested Pro Tools and Logic) to create a model of the captured tone. You can use multiple microphones to capture various aspects of an amp’s sound for later blending. Imagine running a classic two-microphone setup (one at the edge of the speaker cone and one six inches away) and blending them just like you would for a recording to have the right amount of punch and presence. This then becomes a preset tone unto itself. To record an amp, you need to run an audio file generated by ACT Combo into your amp that plays a series of notes, feedback, and chords with varying levels of sustain and attack. This file can be dialed in to a preset profile of the instrument you intend to play (Les Paul, Strat, etc.) to better tune the performance of the profile, but this isn’t necessary. I found using specific inputs did give me a more reliable and accurate preset in the end. This setup obviously requires a way to record live amps, which means at least a microphone, an audio interface, and a DAW, but most players considering ReValver 4 likely already have these tools. As mentioned previously, ACT Combo can also create a tone preset from any recording where the isolated guitar track is available (or at least 10-20 seconds without accompanying instrumentation). Talk about the future - you’re literally stealing the tone of recorded artists! Using the EQ match recordings or DAW tracks is a very simple process, and yields immediate results. Additional tweaking can of course be applied to the resulting preset, as you may find the quality of the tone desirable but the EQ a bit limited in the context of your use and mix. The ACT Rack, by contrast, is more of a post-recording application to not only correct and EQ a guitar part in the mix, but also capture it as a preset for reuse in later tracks. The core application of this is that a guitar part, recorded in isolation, may sound fantastic on its own but becomes lost or thin once other instruments are mixed in. Rather then re-recording the part or having to dive deep into EQ and compression tweaks, ACT Rack analyses the tone and EQ profile of any previously recorded guitar part (yours or someone else's) you believe would better fit in the mix - thus allowing a complete or blended remodel of the tone that needs help. It’s re-amping taken to the next level. In practice, this is accomplished by busing in the track you’d like to copy and selecting “Learn” within ACT Rack to apply its EQ profile to the original guitar signal. Once this is done, a visual frequency chart shows what’s being changed, you can volume-match the original and enhanced versions, and A/B between them until you achieve the proper blend between the original and EQ. The finalized profile is then saved as a tone preset in ReValver 4 for use on other tracks, or even in Live mode. So knowing what ACT Combo and ACT Rack do, the question from people who haven’t used ReValver 4 is likely, “But do they sound good?” Obviously, the quality of what goes into the modeling software is the biggest factor in how it sounds and performs, but I found the various models I attempted, from a Champ clone amp just starting to break up to a cranked Verellen Meatsmoke, very much hit their mark. There were quirks and small details that seemed glossed-over in the resultant models, but nothing that stood out as unpleasant or unnatural, and certainly not something missed in the context of a recording with other instruments (especially considering a less-than $30 price tag). There are plenty of examples of how accurate Peavey ReValver 4 can sound (download it for free), and you can feel confident about the pay-for models. Limitations Tone matching works best when the guitar track you want to model or reference is an isolated track. Conclusion The Peavey ACT Combo and Rack, while separate products, complement each other and use shared technology in very different ways. While the ACT Combo brings ReValver 4 into the world of amp modeling devices like Kemper and can capture the tone of any physical rig (or prerecorded) for use within ReValver, ACT Rack further refines those tones within the context of a recording mix. There's a bit of a learning curve to harness the most powerful aspects of ACT Combo and Rack, but capturing and creating tones is quick and easy once you go through the process. If you're looking for powerful tone-capture for recording demos or for laptop playing on the go, nothing touches ACT for the price. Resources Peavey ReValver 4 Product Page Buy Peavey ReValver 4 ACT Combo ($39.99) or ACT Rack ($19.99) ____________________________________________ Chris Loeffler is a multi-instrumentalist and the Content Strategist of Harmony Central. In addition to his ten years experience as an online guitar merchandiser, marketing strategist, and community director he has worked as an international exporter, website consultant and brand manager. When he’s not working he can be found playing music, geeking out on guitar pedals and amps, and brewing tasty beer.

Source Audio Kingmaker Fuzz Effect Pedal Three classic fuzz tones, remastered by Chris Loeffler Fuzz (and distortion in general) has been the sonic tool that’s taken the longest to make a credible leap to the digital world. Primitive circuits with rudimentary breakup seems to be hard to re-create in the digital realm, especially the dynamic response and interaction players experience between their pickups and a gain circuit. That said, modeling has come a long way, and a few digitally created, gain-based effects have been popping up lately that can hold their own against their analog inspirations. Enter Source Audio, a collection of effects designers with more than a decade of leading the software path for stompbox effects. The Source Audio Kingmaker features controls for Drive, Level, Bass, and Treble, a three-position mode switch, stereo inputs and outputs, and a 9V power jack. Similar to the other Source Audio One Series pedals we’ve reviewed (Source Audio Nemesis Delay and Mercury Flanger), the Kingmaker Fuzz is compatible with the Neuro App for deep editing and access to additional sounds. What You Need to Know Out of the box, the Source Audio Kingmaker Fuzz has three different flavors of fuzz, selectable by a three-way toggle. Each of these fuzz tones (Heavy, Normal, and Octave) is the tonal equivalent of a classic fuzz type, which I’ll address individually. The Treble and Bass controls work effectively as a post-EQ; they're more about carving the distortion’s shape. High end is often the weakest point in digital distortion, but not so in the Kingmaker…even extreme treble settings add brightness without noise or harsh fizz. The Heavy setting is clearly in the Big Muff Pi (BMP) world, with articulate, thick fuzz and nearly infinite sustain. The body is fuller than some scooped variants of the BMP, and there’s a cutting midrange. While I mean this in the best way possible, the Heavy setting is incredibly consistent and more reliable than any BMP I’ve played without sounding artificial. It maintains the texture and response of a BMP with an additional level of polish. The Normal setting, Source Audio’s take on a classic Fuzz Face voicing, hit the marks for what I expect from a Fuzz Face - extremely responsive to changes in input volume, thick and bold in high-gain settings, and raspy yet defined at low-gain settings. Changing pickups and playing with the volume and tone controls of your guitar yields dozens of flavors of gain. The Normal setting certainly surprised me the most because of how much it felt and sounded like a classic ge/si Fuzz Face. The Octave setting is a pure Octavio effect with a dirty grit of analog doubling that is dead-on in its vintage flavor. The Bass and Treble controls are particularly useful in creating something new from something old, dialing in the presence and body in ways not possible in the analog circuit. Lastly, for those who’ve played through analog octave effects, the octave effect is significantly more consistent and forgiving. The sound is pure analog grind, but it doesn’t struggle as much to spit out the octave. Using Source Audio’s Neuro App gives access to 40 other distortion settings via the Neuro App, which you can download to your phone or tablet. The App also provides expanded tone and volume options, including multiple bands of Mid control (especially helpful for live performances where fuzz can sometimes get lost if too scooped). These other effects, such as the Rat and the Tone Bender MKII, further flesh out the sonic options, and can be assigned over any of the three presets on the pedal itself. Limitations Switching among the fuzzes requires flicking a small toggle switch, so don’t count on jumping between fuzzes mid-song. Conclusion The Source Audio Kingmaker Fuzz sounds and feels like the analog fuzzes it seeks to emulate, capturing the richness and quirks of classic effects while correcting some of the unpredictability inherent in the analog circuitry required to produce the effect. Some purists may decry the minimization of the unpredictability as removing a part of what makes that effect special, but one would be hard pressed to claim the effects didn’t sound or play faithfully when compared to the originals. Three great-sounding fuzzes (well, forty-three, if you count the Neuro app), with an incredibly powerful EQ section and true-stereo ins and outs for under $200, will likely appeal to a lot of people. Resources Source Audio Kingmaker Fuzz Product Page Buy Source Audio Kingmaker Fuzz ($149 Street) @ Chicago Music Exchange , Amazon , Reverb ____________________________________________ Chris Loeffler is a multi-instrumentalist and the Content Strategist of Harmony Central. In addition to his ten years experience as an online guitar merchandiser, marketing strategist, and community director he has worked as an international exporter, website consultant and brand manager. When he’s not working he can be found playing music, geeking out on guitar pedals and amps, and brewing tasty beer.

Electric Guitar Repair 101 Life's too short to play a less-than-wonderful guitar ... by Chris Loeffler Your guitar is your tool for making music, so it makes sense you want it performing in top shape and to your preferences. Even the best instrument needs occasional attention. Using a car as a metaphor for a guitar, you buy it and either accept it as it is or make customizations to your preferences. Once you’re good to go, you’ll need to do a bare minimum of regular maintenance, like tuning (put gas in it), and semi-regular care like changing strings (oil change) to keep it running. That said, over time, humidity, string gauge changes, temperature, storage methods, and regular playing are going to affect your guitar's physical condition, and just like a car might need a timing belt replacement or new starter after 100k miles, your guitar is going to require deeper attention. This article is meant to be a brief discussion of what to look for in your guitar that suggest it’s time for maintenance, and is by no means a replacement for an experienced, qualified luthier. It’s hard to undo certain types of damage done in the name of “repairing” a guitar, and even self-proclaimed guitar techs have been known to butcher a guitar through an unhealthy combination of arrogance and ignorance. Visiting the car analogy one last time, you may not need to know how to replace an alternator, but narrowing your car not starting down to a bad starter or alternator will make you that much more informed when you call the shop. Starting with the Basics - Action Adjustment If you guitar just doesn’t feel right, or there’s noticeable fret buzz, start by looking at your action. Adjusting the action isn’t really a repair technique, but it addresses so many issues players have with their guitars that they think requires repair that it at least merits a quick discussion. The action, or string height from the fretboard, is typically measured at the 12th fret, although the 1st fret can also be used as a reference point (measuring both can help identify other potential culprits to string buzz and intonation). Action is a preference, and there's no industry standard to setting action other than to make sure it’s not too high as to be unplayable, or so low that the strings make contact with the frets. The easiest (and basically the only) way to address action is to set it at the bridge, based on the particualr guitar’s instruction manual.. Dialing it In - Intonation A poorly intonated guitar will gradual ring out of tune as you player higher on the fretboard. To test intonation, tune your guitar using the harmonic on the 12th fret of each string, then play the fretted note on the 12th fret (no harmonic). If the fretted note reads flat compared to the harmonic, the scale length needs to be shortened; if the fretted note reads sharp, the scale needs to be increased. Adjustments to the bridge will address this. Armed with which strings need adjustment and what direction they need to be corrected, your guitar’s manual should be enough to tell you which way to tweak the bridge. Wires and Magnets - Electronics Repair/Replacement If there’s a problem with your guitar's signal, whether it be intermittently cutting out or creating scratching noises when turning knobs, you can bet the problem lies under you pick guard: pickups, selector switches, pots, and wire. If you’re experiencing signal cuts, it’s likely a wiring issue. You can often diagnose potential weak spots with your eyes - look for sketchy-looking solder connections, damaged wire, or areas that are clearly experiencing physical movement (especially near the output jack). Flow some solder on the afflicted area and you’re likely golden…you can always remove and reflow solder, just make sure your aren’t touching the solder tip directly to any components to ensure you don't burn them. Scratchy or crackling noises when you turn one of your volume or tone knobs? Almost certainly a dirty or bad pot. If you can identify the knob that’s causing the issue, simply remove the knob and spray Caig's Deoxit (or other cleaner) into the pot where the shaft turns, and then turn the shaft back and forth for 30 seconds or so. It doesn’t take much spray to make a difference, and if this doesn’t eliminate the crackling sound, you’re likely looking at a bad pot that needs replacement. Pickup swaps are fairly common modifications, but the need to replace a pickup due to operational issues is extremely rare. That said, the typical pickup swap is something anyone with a wiring diagram (available on most guitar manufacturers’ sites) and an hour of soldering experience should be able to accomplish. As long as you practice standard soldering technique, it'd be hard to do something you couldn't undo. I’m going to skip body and fretboard binding repairs, because those merit much more information and experience than a brief article could address - as well as a steady hand, "super" glue, and a lot of toothpicks. For further reading, we recently published an article (with some great feedback from community member Tonic2000) on what goes into setting up a guitar. Remember, nothing can trump experience when it comes to doing something right - but knowing what to look for, and what to do to correct issues, makes us all better customers and instrumentalists. ____________________________________________ Chris Loeffler is a multi-instrumentalist and the Content Strategist of Harmony Central. In addition to his ten years experience as an online guitar merchandiser, marketing strategist, and community director he has worked as an international exporter, website consultant and brand manager. When he’s not working he can be found playing music, geeking out on guitar pedals and amps, and brewing tasty beer.

Embertone Whiskey Series Mountain Dulcimer Virtual Instrument Sometimes you need a little whiskey with your dulcimer ... by Chris Loeffler It’s one of music technology’s great ironies that some of the most simple, rudimentary instruments are the hardest to sample. The complexity of brass and orchestral instruments creates enough of a sonic imprint that it can be easy to miss what isn’t captured, but an instrument as stripped down as a three-string mountain dulcimer relies on a lot of player technique with very little to hide behind. Despite this (or likely, because of this), virtual instrument sampler Embertone has kicked off its Whiskey Series, a foray into the instruments of the Appalachian mountains, with the Embertone Whiskey Series Appalachian Mountain Dulcimer virtual instrument for Kontakt 5 (in NCW format). What You Need to Know Rather than trying to capture on the many variations of regional variations of the dulcimer/zither, the Whiskey Series Appalachian Mountain Dulcimer focuses exclusively on capturing the sounds and nuance of a specific mountain dulcimer straight from Appalachia (hence the name). For those who don’t want to dive into the functionality and applications of the instrument with me, let me get straight to the heart of the matter; the dulcimer was extremely well recorded, thoroughly sampled, and sounds like the real deal; strumming, plucking, strings ringing, and all. Part of this is the 44.1kHz/24-bit stereo sampled resolution, but it also doesn't take shortcuts with memory - it's a 3.2 GB install. The Embertone Whiskey Series Mountain Dulcimer features an incredibly well-designed user interface that gives first-level access to nearly every tweakable aspect of the instrument without feeling crowded or overwhelming. Especially helpful is the UI’s tool tips, which pops up a window with the description of any function if you hover over it for a couple of seconds. The explanation was deep enough that I never had to crack the manual to learn how a particular function worked. The sampled dulcimer has a pleasant, bell-like ring to the notes, incredibly natural sustain and decay and, most impressively, the notes played on different strings sound like they are reacting to each other, as opposed to independent sound files being layered. There’s a cohesiveness to the instrument itself that is incredibly authentic. True to the mountain dulcimer, there are only three strings (D, A, and D), which are represented by plectrums in the interface. Every possible note was sampled on every string to capture the specific tonality of the notes in relation to their position on the neck, which means playing the same note on the keyboard and toggling among the three strings creates acoustically faithful tonal variations of the same note. The instrument is complemented by Reverb and Spread controls, which craft various acoustic spaces and define the instrument recording's stereo field. An EQ button activates a preset EQ setting that subtly creates a more focused, recording-ready tone for a more produced, processedtrack. A Round Robin button selects the picking pattern of the notes as they're played. With Round Robin off, the notes default to an Up/Down pick stroke variation as notes are played. With Round Robin on, the instruments plays a sequenced strum pattern of Up/Down/Up/Down that tends to have a bit more natural resolve to it, given the expansion from two beat phrases to four. Random Round Robin removes the picking pattern and randomizes the finger approach to best fit the note's dynamic and tempo context. The differences among the three settings is subtle in a final mix when accompanied by additional instruments, but they are incredibly powerful in creating convincing performances. The Embertone Whiskey Series Appalachian Mountain Dulcimer has three modes of instrument play: Smart Mode, Natural Mode, and Split Mode. Smart Mode produces single notes, play chords, or even restrum notes for a manual feel, with each note independent like a standard keyboard. Smart Mode features a handful of important configurations to get the most out of a performance: String Selection, Strum Direction, Legato Notes, Pluck Style, Smart Chords, and Sustain Behavior. String Selection intelligently selects the best string to play a given note so it best fits the passage, whereas manual ties the note to the currently selected string. Strum Direction automatically creates up/down picking patterns, whereas manual produces direction for every pick. Legato Notes has a Single Mode, where notes in a chord are strummed only as they're played, allowing certain notes to ring out while others are played over it, like finger-style guitar or a standard piano. Chord Mode is truer to the instrument and re-plucks every held down note as new notes are added, like a full instrument strum. The speed of the strum can be assigned to the CC wheel, ranging from lightning fast to slower, lazier rakes across the string that take up to 200ms. Pluck Style offers Picked, which is sharper and clearer due to the use of a plectrum, and Finger, which is warmer and rounder, emulating the flesh of a finger. Smart Chords uses an advanced algorithm to make note and strumming choices that are deemed truest to the way a mountain dulcimer is played. Sustain Behavior allows Key Lift Release (note releases when the key is removed), Sustain Pedal (just like a piano), and Always Sustain (pretty obvious). Natural Mode combines chord drones with melody notes. For instance, holding an A and C in the drone section will result in those notes droning under the melody that’s played, which takes the chordal-melodic relationship beyond the physical limitations of the acoustic instrument. String Select and String Direction work the same as Smart Mode, but Legato Notes has a subtle change; Single mode will hold the same drone notes as long as the melody is being overlapped, with the drone notes only plucked when there is a pause in the melody. In Chord Mode, the drone notes are plucked every time a note is played on the melody side, creating a full strum of all depressed notes every time a new note is played. Split Mode creates two sections with the same note/string selection to create percussive and extremely fast strumming patterns natural to the mountain dulcimer but difficult (if not impossible) to recreate on a keyboard with a single instance of each note. Strummer is an amazingly organic and powerful arpeggiator that produces surprisingly realistic canned strummed grooves. Velocity (strength of notes), speed, direction, mute, and pitch create highly tailored patterns as true to the instrument or as EDM as you want. The All button controls all five parameters at once and makes copying them to different sections (up to four separate sections can be combined) a breeze. The Randomize button randomizes one or all parameters, while Steps and Rate select the number of beats and how fast they are played. Swing control adds a bit of swing and urgency to the rhythmic parts, and the thematically appropriate Sobriety control introduces a level of human error and variance to the strum and pluck that, even at its most exaggerated, sounds better than most players I’ve heard after having a few too many. 64 strum patterns (grooves) are included, with plenty of preset locations to create your own, and grooves can be exported and imported. Limitations With all the focus on a single instrument, those looking to add dozens of new sounds to their DAW should look elsewhere… mountain dulcimer fans only need apply. Conclusion The Embertone Whiskey Series Appalachian Mountain Dulcimer perfectly captures the sound of a specific acoustic instrument and would fit in seamlessly in a recording with true acoustic instruments. The control and configuration settings are incredibly well thought out and truly respectful of the instrument, resulting in compositions that can’t help but reflect the sampled instrument (and are a testimony to the power of scripting within Kontakt). It will be interesting to see what’s next in the Whiskey Series. Resources Embertone Whiskey Series Appalachian Mountain Dulcimer (Street $99.00) ____________________________________________ Chris Loeffler is a multi-instrumentalist and the Content Strategist of Harmony Central. In addition to his ten years experience as an online guitar merchandiser, marketing strategist, and community director he has worked as an international exporter, website consultant and brand manager. When he’s not working he can be found playing music, geeking out on guitar pedals and amps, and brewing tasty beer.

What Goes Into Setting Up An Electric Guitar Sometimes it's all in the set up ... by Chris Loeffler Guitar Setup isn't something every player aspires (or even feels comfortable) doing, but understanding the basic process can be key to understanding what your local "guitar guy" is doing and might help you articulate your particular wants and desires to them. Because every manufacturer has their own approach to construction, it's always important to consult the manufacurer's site or guitar manual for the specific guitar you're attempting to set up, but there are some general steps and guidelines that apply to all electric guitars (although guitars that have undergone the PLEK process generally require no additional setup other than what may be required by someone's personal taste). Please note this article is not meant to be the end-all to guitar setup, which is a skillset developed over time and with experience, but rather as an overview of what's being done. Further reading/YouTube research is highly reccomedned if you're looking to tackle guitar setup yourself! Your local guitar guy is your friend! There are five basic steps to setting up an electric guitar that are typical to getting any guitar set up to your presences- string guitar, straighten your neck, set string radius, adjust action, and set intonation. Assuming you have installed the make and gauge of string you prefer to the guitar, the first step is to straighten your neck. It's important to do this before you even consider setting the action or making intonation adjustments, as a straight neck is the foundation of a properly set up guitar, and you’ll have to undo all the work you’ve done if you move forward and realize your neck wasn’t actually straightened. Straightening the neck almost always comes down to tightening (or loosening) your truss rod. The truss rod is the metal reinforcement rod in the neck of nearly every available guitar, although their exact type (dual action, single action, etc.) and placement varies from brand to brand. By carefully turning the rod, you’ll be able to adjust the tension for the appropriate amount of relief (counter-clockwise for more releif, clockwise for less) . As recommended by HC community member Tonic2000, determining if your neck is straight is as simple as capoing at the first fret and pushing the low E string down at the 17th fret to see if the string is hitting all the frets or not. Please note most their will still stilll be some bow away from the strings, which provides the relief space for the strings to vibrate. If you want to try this out, make sure to reference the manufacturer’s material for your specific guitar to understand what type of truss rod system you are dealing with, and tighten slowly…no need to overtigthen and cause damage. Now that your neck is set, you can focus on setting your string radius. Almost every guitar will have some curvature, referred to as radius, to its fretboard for comfort and playing ergonomics. To achieve a consistent playing experience among strings, it's important to set the strings to match the fretboard’s radius for an optimized, cohesive setup. String radius is almost always addressed at the bridge, where there is some form of mechanism with screws to adjust where each individual string sits. Fender guitars tend to rest the strings on individual saddles. Gibson and Tune-o-Matic style bridges, by contrast, are anchored to the saddle before a stop tail at a fixed height and require filing or sanding in the off-chance you want to adjust the radius, as Tune-o-Matic bridges are already arched to the correct radius. Again, your owners manual is your guide here, but the act of setting your string radius to the fretboard is something every player should at least understand. Now that your neck is straight and the string radius is matched to your fretboard radius, it’s time to adjust the action, or height, of the strings in relation to the frets. Depending on your playing style, you may prefer higher action, which makes the strings somewhat more difficult to play but increases sustain or lower action, while lower action plays easier and faster but tends to cut some sustain. Set your action too low and you’ll start introducing fret buzz as the strings brush the frets and in extreme cases, then can even be unpleasant muting. Typically measured at the 12th fret (although the 1st fret can also be used as a reference point) action is a preference, and there is no industry standard to setting action other than making sure it’s not so high as to be unplayable nor so low that strings are touching the frets. Assuming the nut is in good standing, (according to HC user Tonic2000, the vast majority of commercially produced guitars have nuts that are pretty well cut), all the action adjustment for a player’s preference is meant to be done at the bridge. Following whatever guidelines are set by the manucaturar, you may find tweaks need to be made to the bridge. Because your radius is already set it will be a much simpler, quicker process. Lastly, it’s time to set your intonation. Intonation means maintaining the integrity of your relative tuning throughout the fretboard. A poorly intonated guitar will sound out of tune as you play higher on the fretboard. Intonation is typically set at the 12th fret, and it is imperative to ensure the intonation is a close to perfect as physically possible between octaves for the sweetest sound. To test intonation, tune your guitar (the more accurate the tuner, the more accurate the tuning) using the harmonic on the 12th fret of each string. Once they're tuned, play the fretted note on the 12th fret (no harmonic); they should be the same, but an improperly intonated guitar will reveal tuning issues. If the fretted note reads flat compared to the harmonic, the scale length needs to be shortened. If the fretted note reads sharp, the scale needs to be increased. There are two ways to adjust the scale; at the nut or at the bridge. The bridge is typically the easier (and less permanent) approach, but a small group of certain intonation issues will be better served by filing the nuts seat against the fretboard. Assuming the bridge is the best approach, now that you know which way the bridge needs to move to adjust the scale, it’s as simple as referring to your guitar’s manual and making the tweak. This shouldn’t impact the radius or action you’ve already set, provided you’ve done it right. -HC- ____________________________________________ Chris Loeffler is a multi-instrumentalist and the Content Strategist of Harmony Central. In addition to his ten years experience as an online guitar merchandiser, marketing strategist, and community director he has worked as an international exporter, website consultant and brand manager. When he’s not working he can be found playing music, geeking out on guitar pedals and amps, and brewing tasty beer.

Ernie Ball Ambient Delay Guitar Effect Pedal Learn to Control Your Swell by Chris Loeffler A few weeks ago, I reviewed the Ernie Ball Expression Overdrive, one of the new Ernie Ball Expression Series effects that incorporates an expression pedal on top of the pedal (similar to a wah or volume pedal) for on-the-fly blending of the overdrive circuit with the direct signal. This functionality carries through to the overdrive’s sibling, the Ernie Ball Expression Ambient Delay, with a combination of delay and reverb effects designed to give users hands-free control of the blend of ambience (reverb and delay). The Ernie Ball Ambient Delay features road-worthy ruggedness, with a flashy metallic rose finish that's certainly eye-catching. The pedal runs on a standard 9V adapter and features controls for Reverb Level, Delay Feedback, and Delay Time, as well as a tap tempo jack for compatible accessories. What You Need to Know The Ernie Ball Expression Ambient Delay’s controls are nearly identical to a standard delay pedal, with control over delay time and feedback, as well as a reverb knob. The delay time goes from 50 ms to one second, and the top-mounted expression pedal controls the mix of the effect from completely absent to matching unity gain with the direct signal. A trimpot beneath the pedal sets the maximum level of wet/dry mix in the toe-down position for players looking to limit the sweep and depth of the effect. The tone of the Ambient Delay’s repeats are tape-like in flavor, with a bit of saturation and dynamic decay in longer trails. The pedal is pleasantly EQed to occupy a wide amount of sonic space without stepping on the direct signal, thanks largely in part to the right mix of grind and rolloff that blurs the repeats without getting muddy or dark. While not a direct comparison, the closest analog I could find is a Roland 301 Tape Echo. On its own, the reverb effect has a plate reverb tone, warm and spacey without being too up front in the mix. Because the delay is the primary circuit, there’s always a touch of delay (50 ms) when using the reverb only, but the delay sits well enough that the reverb could truly be used as a standalone effect anywhere short of a clinical studio setting. The reverb is especially lush and full with fuzz and higher gain, but it was no slouch when run between an acoustic-electric guitar and an acoustic preamp. The expression pedal opens up new levels of control over delays in real time, but it’s a subtle control that requires a bit more thought than a typical delay pedal. The ability to control the wash of the reverb and delay dynamically between and during passages is a revelation for shoe gazers, and I found it required a slight shift in thinking from the typical expression-pedal driven effect in how it's applied. Transitioning among arpeggios, single notes, and chords while riding a wave of delay and reverb that’s just about to overtake suddenly becomes entirely manageable with a little practice, and I found I was able to cut a lot of fat from my repeats to enhance the overall sonics. Limitations The delay and reverb effects are fairly set in their tone, and they have a bit too much character to accomplish pristine, studio transparent delays and reverbs. Conclusion The Ernie Ball Expression Ambient Delay is an effect that’s meant to add ambience, and as such, it has character that many players will cherish. It has the right amount of warmth and presence to give it a distinct sonic signature while still being a relatively subtle effect in most settings. The expression control over the blend is a genius idea I’ve seen only in multieffects with parameter assignments, and a little practice goes a long way toward commanding everything from subtle slapback to full-on walls of sound. With a great core tone, ability to play it straight or get wild, and added flexibility of hand-free blending, the Ernie Ball Expression Ambient Delay is ideally suited for players looking for complete control over their delay effect. Resources Ernie Ball Expression Ambient Delay Product Page Buy Ernie Ball Expression Ambient Delay ($199.00 Street) @ Sweetwater, Amazon, Guitar Center ____________________________________________ Chris Loeffler is a multi-instrumentalist and the Content Strategist of Harmony Central. In addition to his ten years experience as an online guitar merchandiser, marketing strategist, and community director he has worked as an international exporter, website consultant and brand manager. When he’s not working he can be found playing music, geeking out on guitar pedals and amps, and brewing tasty beer.

Spitfire Audio Albion V Tundra Orchestra Samples If an orchestra plays in the woods ...? by Chris Loeffler Spitfire Audio’s Albion Series has occupied the upper-tier of orchestral-focused virtual instruments for composers looking for legitimate, realistic orchestra performances for some time now, and are now on the fifth volume of their Albion series, their cinematic orchestra collection for composers and producers. Although all volumes share the same high-end recording and sampling techniques, each has a specific feel and focus. Albion One is the one-stop-shop for standard orchestral scores, Loegria is the slightly more esoteric and choral volume for more detailed expression, Inceni is the most dramatic and bass-heavy, and Uist focuses on atonal and aleatoric articulations. Albion’s fifth volume, Albion V Tundra, is listed as recorded “at the edge of silence.” Built around a 100-piece orchestra recorded to analog tape at Air Studios, London, Albion V Tundra features 133 multi-dynamic orchestral articulations in Strings, Brass, and Woodwind ensembles. While the Orchestra section is the library's centerpiece, also included are Stephenson’s Steam Band, Brunel Loops, and Darwin Percussion, which leverage Spitfire's eDNA to blend synthesis with the orchestra samples. Albion V Tundra requires Kontakt Player 5 and is fully compatible with Native Instruments hardware. Available as a digital download, Tundra requires 56.8 GB free space to download and contains nearly 28,000 samples. What You Need to Know Albion V Tundra focuses on colder, sparse orchestral sounds meant to evoke a glacial environment. “Recorded at the Edge of Silence” means the instrumentation is focused on softer, subtler nuances of the instruments and players to create intimate passages and extremely dynamic expression. Hearing is believing, so be sure to listen to some of the sound clips at the end of the article as I dive into the features and functionality. The orchestra is divided into Brass, Strings, and Winds, with High and Low instrumentation sections for each. Additionally, the Strings sections are subdivided into Main (standard) and Soft and Wild (nuanced) settings. Beginning with the String section, comprised of 38 violins, 12 celli, and 6 basses, there are over 60 combined articulations. Flautendos are achingly authentic, and careful listening can even reveal the occasional bow scratching the strings. Legatos create densely layered arrangements for smoother, textured note transition. Loose Staccato mode has the lead instrument pluck right on the beat while the accompaniment is just slightly off. Tratto gives a nice, delicate sound that captures a fair amount of bow and string noises. Silken mode is almost pad-like in its swells, and High Harmonic Trems add natural movement and suspense, with very human flourishes. The Woodwinds’ articulation panel includes- Air- breathy and soft, best for subtle “warm up” Aleatoric Overblown- a natural, reedy attack that gradually introduces overtones and harmonics as the reed technique slightly destabilizes Bursts- more consistent, held-note version of Aleatoric Overblown Doodle Tonguing- subtle, asymmetrical volume and pitch modulation to sustained notes for a livelier sound Finger Trills -nearly identical to Doodle Tonguing, with a physical manipulation of the blown note that is as much felt as heard Fluttered- a bit less stability in the sustained notes than the Burst mode Hollow- also similar to Burst, with slightly less fullness but more expressive overtones Mini Cresc- extended swells for cinematic lifts Multiphonics - dissonant “suspense” of multiple woodwind instruments being played slightly off, ideal for creating tension Overblowing- overly aggressive reed attack resulting in various background notes popping in and out Overblow- limits the tension to the initial attack, with no additional notes produced once the note reaches its peak Pulsing Semi Cresc- slightly less dramatic peak for its swell, but increased volume modulation for a more visceral swell Slight Bend- soft pitch lift after the note swells and begins to release Super Air- fuller, more pronounced version of the Air setting, when you want to note to stand out in the mix while still retaining a breath quality Vibrato- introduces a slight pitch and volume modulation after a note has been held for five seconds Short creates a quick attack and relatively short drop off, with the note silent by three seconds The Brass section shares many of the same articulations with the Woodwind section- Doodle Tounging, Short, Air, Super Air, Finger Trills, Fluttered, Hollow, Mini Cresc, Multiphonics, Slight Bend, and Vibrato. The character of the described quirks above being brass-like behavior, of course. Specific to the Brass articulation panel- Double Tongue Mute- softer swell than Doodle Tongue with a more pronounced tongue mute Granular Flutter A- introduces higher overtones Granular Flutter B- produces the most dissonance in the note. Each setting includes control of dynamics, release, tightness, reverb, and expression that can be assigned to live keys and mod wheels for even truer, more expressive performances. Stifled is a slightly muted expression, much like a physical mute being played over the horn. The Stevenson Steam Band combines the naturalistic sounds of the orchestra with various synthesizers, for something a bit fuller, more cinematic, and more modern (if less authentic) sounding. These fall more squarely in the synthesizer side of things, both sonically and with the expanded control parameters, but there’s no denying the DNA of Tundra’s orchestral section in all but the most extreme presets. Darwin is an extremely percussive set of sounds based on small instruments and sounds that follow the ethos of the Tundra set by being soft and articulate while still delivering the punch and stab required to sit promptly in the mix. While fairly limited in assortment, the various samples truly compliment the softer sounds of the Orchestral section nicely. I found that more dramatic percussion sections from previous Albion releases, while perfect for busier pieces, sat just a bit more aggressively against Tundra’s instrumentation, further proof of the balance and thought that went into this release as a whole. Limitations For some reason, I found some of the Sammal presets in the Stevenson Steam Band to peg my CPU and create subtle distortion above 32 or so voices. Conclusion Spitfire Audio Albion V Tundra couldn’t be more appropriately positioned than it currently is with the tagline “Recorded at the Edge of Silence.” While all the orchestral sections are completely viable in a big, booming score, the fragility, nuance, and naturalness of single sections played in isolation is something magical. The envelope of the instruments is so organic and natural that, in a quiet listening environment with a discerning ear, it’d be pretty difficult to distinguish an orchestral recording from Albion V Tundra’s instruments. It’s hard to sound bad with Tundra, even when the wrong note is played. That companies like Spitfire Audio continue to create high-quality samples for much niche applications around soundtracking and cinematic compositions is a true boon to composers and musicians everywhere. Resources Spitfire Audio Albion V Tundra Product Page ____________________________________________ Chris Loeffler is a multi-instrumentalist and the Content Strategist of Harmony Central. In addition to his ten years experience as an online guitar merchandiser, marketing strategist, and community director he has worked as an international exporter, website consultant and brand manager. When he’s not working he can be found playing music, geeking out on guitar pedals and amps, and brewing tasty beer.

Source Audio Nemesis Delay Effects Pedal One Pedal, a Million Delay Tones by Chris Loeffler Source Audio’s Nemesis Delay was designed to take the power of their advanced sound-shaping tools and put it in a form factor familiar and comfortable to players. Featuring seven knobs, two switches, two push buttons, two footswitches, multiple I/O options, the Nemesis may seem intimidating at first, but a couple of minutes proves how intuitive it is to dial in nearly any delay tone without every cracking open a manual. For those who love to tweak, the Source Audio Nemesis Delay offers deep editing and customization through the company’s free, downloadable Neuro app (more on that in a moment), but there’s enough control and variation on the pedal’s physical knobs that many players won’t even check it out. What You Need to Know Standard controls such as time, feedback, and mix controls all work like they would on any other delay and even the mod and rate knobs are familiar enough to most delay users, offering control of the modulation applied to the delayed signal. The unique control to the Nemesis is the intensity knob , which changes roles depending on the delay type and adding a wide range differentiation and character to each delay type—be it EQ filtering, bit-crushing degrade delay, or pitch-shifting. Tap tempo includes a division switch to select between quarter, dotted eighth, and triplet settings, and holding it down freezes the delay, creating a lush background to play over. For players looking beyond the standard stompbox experience, there are MIDI I/Os, stereo I/Os, USB connectivity, an assignable expression pedal input, and four presets. Whether integrated into a MIDI system or used to assign different wet/dry output combinations, you can do it. The delay setting selector offers a dozen distinct, well-crafted delay “types”, from warm and dirty with modulation to crystal clear, high fidelity clones of the input tone. Those familiar with different delay types will have a good idea what to expect from the various settings. Scrolling through the 12 delay types (an additional dozen are available in the app) reveals how specifically each control is tied to the nature of the basic delay effect. Delay time, feedback, and even modulation all have a slightly different sweep depending on which delay type is selected. In more subtle settings, the modulations blend very organically as an integral part of the delay tone. For instance, in the analog and digital settings, the modulation sounds like light chorus applied to the delayed signal. In the tape modes, light modulation moves slightly off-kilter and with the subtle randomness of a true tape delay that’s a little out of spec. More out there delay types, like the Sweeper (filter swept delays), Degrade (bit crushing), and Shifter (pitch shifted delays) settings can get outright otherworldly. In sweeper mode, for example, the hold function adds synth-like pad. There are many sound samples available on the Source Audio site to hear exactly what each setting sounds like, so rather than trying to use words to describe sounds I’ll settle with stating that the expectation I had of what each setting should sound like, based on experience with many different delays, was met or exceeded in every case. There seems to be just a touch of reverb to the delays, as they sound a bit lusher in an A/B against similar delays, but subtle enough that I wouldn’t hear it if I didn’t have something to compare it to with a picky ear. I mentioned early that the pedal is so well designed many players won’t even access the the Neuro app, which is true, but they’d be missing out on one of the Nemesis’ most intriguing features; sharing user presets. In addition to extra delay types like dub, lo-fi retro, oil can, and warped vinyl, there is already a vast library of tones sculpted by Nemesis owners that can be downloaded to the pedal. Limitations This isn’t a true limitation, and most players would never know this, but to achieve the routing versatility Source Audio felt integral to the flexibility of the Nemesis, the “dry” signal is digitally processed as well. Players with an aversion to analog-to-digital conversion, regardless of the quality of the convertors or fidelity of the signal, might be turned off. The Verdict The Source Audio Nemesis stands strong among competition like the Strymon Timeline, Eventide Timefactor, and Boss DD-500. The ability to choose whether to simply use the pedal’s controls or deep edit within the app makes both options feel fully fleshed and never compromised, and the truly impressive array of top-notch delay tones puts the Nemesis at the top of the delay consideration list. Resources Source Audio Nemesis Delay Pedal Product Page Buy Source Audio Nemesis Delay @ Amazon ($299.00 Street)

Tascam iXR Audio Interface for iPad, MacOS, and Windows Better Audio for Mobile and Computers by Chris Loeffler The Tascam iXR is an audio interface for iPad, MacOS, and Windows intended to combine the small form factor needed for true mobile recording with the I/Os and technology of a professional interface. The package includes the physical audio interface, Cubase for iPad, and is alternately available as an expanded field kit for those wanting a microphone, cables, stand, and cover. The iXR requires OS X Mountain Lion 10.8.4, OS X Mavericks (10.9.1), OS X Yosemite (10.10), or OS X El Capitan (10.11) or higher in MacOS, Window 8 (32 bit) or higher for PC, and iOS 8+. What You Need to Know The iXR is diminutive in size, and so slim I don’t believe it’d be physically possible to get smaller without removing the XLR inputs. The rugged aluminum construction boasts two combination inputs (line and mic), two balances line outputs, the obligatory headphone output, and MIDI I/O. The iXR is powered by USB (please note some USB sources don’t provide sufficient power) and has phantom power for microphones requiring extra juice. Recording happens at 44.1k/48k/88.2k/96kHz and at 16/24bit. The unbalanced instrument inputs have a 1M ohm input impedance with a maximum input level of 10dBV, while the balanced line ins features a 10k Ohm impedance with a maximum input level of 20dBu. I found the preamp to be as transparent and open as one would expect from an entry level piece… certainly better than running straight into a soundcard or mobile phone. Testing the iXR in a live performance downtown with a borrowed Rode NT4, I was able to capture a surprisingly full and deeply imaged recording once I found the right spot in the crowd. I tried running a second mic in sequence with it (Audio Technica Pro24), but candidly speaking, I found myself better off sticking with either of the two inputs rather than trying to blend them. Gear and experience can obviously mitigate this, but I believe most users will be happy with the simplicity of a good capture in a single channel. The benefit (and quality) of the two preamps became apparent when I tested the iXR in a spaced pair mic setup for recording an acoustic guitar perforamnce in my studio. With a matched pair of M-Audio Pulsar IIs pointed at the 8th fret and 12th fret, I caught beautifully articulate acoustic tones that were ripe for mixing, with the 8th fret mic capturing fretboard intricacies while the 12th fret mic captured the body and core tone of the guitar. Mixing the two channels down, I didn’t find myself at any time wishing I had more channels to work with… a solid performance, good mics, decent placement, and I was set. The Tascam iXR can of course be used with a standard desktop and recording software (Logic, ProTools), so those without a home recording setup can get extra bang for their buck for solo recording and demos, but the iXR isn’t going to kick the UA Apollo off anyone’s desk. That said, I ran my MIDI keyboard controller through it into my MacBook Pro and confirmed it did everything my current interface does as far as performing in Native Instruments Kontact, the UVI player, and Logic Pro X’s native suite. Limitations With only two inputs, it is importance to get the initial mix right with field recording with two mics, as remixing two channels only yields so much gain. That’s not a limitation of the hardware, but inherent to the concept of mobile recording. Conclusion The Tascam iXR seamlessly integrates mobile devices with professional audio production and is the epitome of the Tascam ethos; rugged, functional design, and affordable. Whether the application is recording concerts, capturing band practices to work through parts, home recording, or running a karaoke party (yes, you can and yes, there’s an app for that) through a PA system, I found the Tascam iXR to be up to the challenge. Anyone looking to tiptoe into the world of live-sound or computer recording would find the Tascam iXR an intuitive, easy point of entry. Resources Tascam iXR Product Page (MSRP $259.99, Street $159.99) Buy Tascam iXR @ Sweetwater , Amazon , B&H

Cheap Guitar Tricks - Relative Major & Minor and the Pentatonic Shape Get more from the standard Minor Pentatonic! by Chris Loeffler This one is an old trick for intermediate guitar players looking to get the most out of their basic patterns (and you know guitar players love their patterns). If your grasp of scales and theory is strong, you can move along and start mastering your modes! One of the first things most guitar players latch onto when learning to solo is to the minor pentatonic scale, that innocuous but ubiquitous pattern that looks like this- This scale features just enough notes (1,3,4,5,7) to describe the key while being nondescript enough to sound right in essentially any arrangement requiring the minor sound. You learn this scale and you’ve got 85% of rock and blues covered. One of the fun things about music is that the context in which those notes are played changes how they fit. For instance, an E minor pentatonic shares the same notes and patterns as the G major pentatonic. Don’t believe me? Play the E Minor pentatonic over each of these videos I found on YouTube. Wacky, huh? While that alone is a good way to start connecting the dots as you dive deeper into theory, there’s a little cheat to be pulled from it too. Want to solo in an uplifting song, old country classic, or anything else in the major side of the music scale but you haven’t gone beyond the standard minor pentatonic? Combine your familiarity with the rock/blues/minor pentatonic scale and the knowledge that every major key shares the same notes as a minor key and you don’t have to know it! To pull off this trick, all you need to do is move your minor pentatonic shape down four frets from where you would play if the key was minor. A major? Slide your minor pentatonic down three frets to F# and you’re in the pocket. Your pinky on the low E will always be addressing the root note in this pattern, so you’ve got a good visual checkpoint. Same shape, different location, different key/scale! Go to YouTube, find some jam tracks in other keys, and get proficient at quickly finding the scale! This is only the tip of a very big iceberg every player must learn to climb to truly speak and understand music, especially when seeking flavors beyond a single selection of notes. But there’s nothing wrong with a little cheat if it will get a new or immediate player out to play with friends! ____________________________________________ Chris Loeffler is a multi-instrumentalist and the Content Strategist of Harmony Central. In addition to his ten years experience as an online guitar merchandiser, marketing strategist, and community director he has worked as an international exporter, website consultant and brand manager. When he’s not working he can be found playing music, geeking out on guitar pedals and amps, and brewing tasty beer.

Ernie Ball Expression Overdrive Guitar Effect Pedal Overdrive goes for the gold ... by Chris Loeffler Ernie Ball’s new Expression Series pedals debuted at Winter NAMM and quickly shot to the top of most “Best in Show” lists due to their gorgeous appearance and left-of-center implementation of an expression control into effects typically limited to knob tweaking. Of course, anytime accolades are thrown around for something “new,” there will always be detractors shouting “gimmick” or “been done before.” Removing all the hype and hoopla, what I found in both the Ernie Ball Expression Overdrive and Ernie Ball Ambient Delay (to be reviewed at a later date) was something both familiar and new to players looking to add dynamics to their performance. What You Need to Know The Ernie Ball Expression Overdrive employs standard Drive and Tone controls, with an added boost Boost control offering up to a 6dB boost. The Expression Overdrive runs on a standard, Boss-style 9v power supply and is one of the heftiest, most eye-catching pedals I’ve seen. There’s an audience-facing LED that indicates the pedal is receiving power that, while I first considered odd placement (especially since it is an “always on” effect), I realized serves a useful function when troubleshooting a signal chain that isn’t passing through audio. The pedal itself feels like it's made of solid steel (aircraft aluminum, actually), is extremely heavy (resulting in less slip when rocking the expression pedal), and features an art-quality polished gold surface (with matching knobs and jacks) . The attention to visual aesthetic even carries through to the retail packaging, with a stunning, trophy-like presentation. At its core, the function of the Expression Overdrive is similar to most overdrive effects and the tone and characteristic of the overdrive circuit is tube screamer-flavored. A pronounced midrange and a bit of fuzz around the edges is the pedal's sonic signature, and it has plenty of cut available when boosting an overdriven amp as well as a warm, tube-like crunch at lower overdrive settings. The expression pedal controls the amount of overdriven signal introduced. In the heel down, resting position, the effect is bypassed and isn’t blended into the direct signal. As you slide the pedal toe-down, more and more of the overdriven signal mixes into the direct tone until it effectively overtakes it - as a standard overdrive pedal would when turned on. The terminology thrown around in marketing materials and featured on retailers’ sites can be a bit confusing, so to clarify, what the Expression Overdrive's expression control does is blend the Overdrive circuit into the direct signal, not increase the amount of overdrive the circuit generates. It’s a subtle distinction, but it’s the difference between having a blend knob from Dry to Wet versus turning up the overdrive knob. This is really only important to understand in the sense that the overdrive behavior is consistent as it's blended in, as opposed to changing its breakup characteristics. So...what to do with this added, hands-free control? Closer to the heel side of the sweep, the direct signal blends with the overdrive to give a bit more punch and body to the tone, resulting in a best-of-both-worlds combination of harmonic overdrive and the anchor of the clean base tone. Towards the toe-side of the sweep, the overdrive jumps forward to give subtle, interesting control over the volume and sustain of a note. The Boost control takes this even further, allowing the pedal to push a distorting amp even further for highly controlled feedback. Limitations The sweep of the pedal isn’t as large as many treadle-based pedals on the market, and there's a lot happening in a relatively small pedal sweep. As such, it takes time to benefit from the added control the Expression Overdrive offers in the “between” settings. Conclusion Typically when people discuss “expression” in an overdrive, they are referring to touch sensitivity and reactivity to the incoming signal. Ernie Ball is looking to take away the variances between pickups, impedance, line levels, and more and give the player manual foot control over how their overdrive snarls, barks, and bites. Everything from the specific sonic tone to the physical presentation is well thought out, reinforcing EB’s dedication to bringing something new and with substance to players. While blending dry and effected signals isn’t unheard of (although certainly underutilized in the guitar effects world of overdrive and distortion), putting that flexibility at players’ feet makes all the sense (and difference) in the world. Resources Ernie Ball Expression Overdrive Product Page ($199.00 Street) Buy Ernie Ball Expression Overdrive @ Musician's Friend , Sweetwater , Amazon ____________________________________________ Chris Loeffler is a multi-instrumentalist and the Content Strategist of Harmony Central. In addition to his ten years experience as an online guitar merchandiser, marketing strategist, and community director he has worked as an international exporter, website consultant and brand manager. When he’s not working he can be found playing music, geeking out on guitar pedals and amps, and brewing tasty beer.

When the Wrong Notes are the Right Notes Let's call it "the Miles effect"... by Chris Loeffler While attending Winter NAMM a few years ago, I had the privilege of catching Michael Landau play at the Baked Potato and witnessed first-hand what a small group of incredibly talented musicians can do when they're on the same wavelength. While amazing technical chops and tone were on display, the lasting impression about the performance was that every time Landau went to solo he seemed to be deliberately trying to sabotage himself. By throwing out a note or two to completely change the scale, he created musical tension (dissonance, even) that he sometimes had less than a half a bar to resolve. He always resolved it, but there were times I genuinely thought he’d hit a bum note (or two) until the end of the passage and I was able to retroactively understand the context he’d played it in. In addition to creating a bizarre feeling of time traveling (it’s amazing how the brain works to create order out of information), it made me ponder an often unconsidered assumption we make about music. Within music genres, there are tropes, arrangements, and tones that compose the vernacular of that style, but there are overriding cultural constructs around which music forms that transcend genre (I say cultural, because the Western concept of scales is different than the Tibetan, etc). Scales, chord progressions…a trained ear can usually make an educated guess what the next bar will bring within a verse or chorus. Bands like The Beatles helped codify what traditional Western pop and rock music is, and from those foundations artists have branched out and used those foundations to create music, sometimes intentionally breaking those rules. These are artistic decisions meant to challenge listeners, which suggests a tacit agreement between the artist and the listener that both know what note (or notes) should be played. So are there "wrong" notes, or a "wrong" way to play? Imagine, for instance, having someone’s first exposure to Western music being Radiohead’s Kid A. While a masterful exercise in deconstruction, deconstruction can’t exist (or at least be properly appreciated) without an agreement of what a typical construction is. Abandoning Verse-Chorus-Verse structure, introducing piercing, Pixies-esque quiet-loud dynamics, and effecting instruments until they are unidentifiable from their standard soundset works because it acknowledges, even through absence, the base of traditional Western music. Without those anchors, it’d likely just be random, lurching noise at worst, and curious patterns at best. A classic jazz trope is that note selection is as much about the notes that aren’t played as the ones that are; this too, relies on a player/listener acknowledgement of musical foundations. While it can be an excuse for really sloppy soloing, there is something artistic about not playing the note we’re trained to expect next; a clever wink between the player and the listener that says “See what I did there… I didn’t need to play that note because you already had it in your head.” That jarring moment is a way to engage the listener, precisely because it is different. The difference between the artist and the anarchist is that the artist will resolve it, at least in the context of the piece. Anyone can play an “out of scale” note or beat, but tying that to intentionality and a theme is what elevates it to a mastery of the art. Guitar players, in particular, tend to lean on patterns and “the box” to guide their playing, and melodies start to become a part of muscle memory for their hands as much as it is their ears. Questioning notes, challenging notes, and playing off the chord voicings the notes are played against isn’t just something for jazz players, it's an exploration, understanding, and embracing of the music that can unlock unexpected, exciting new paths for a passage to go down. Even three-chord folk tunes rely on interesting note choices and cadences for their vocal accompaniment. Arguably, there are no right or wrong notes, as long as the player understands the context around which the note is played and they possess a mastery of musical language to eloquently push boundaries. Not all of us can, nor ever will, but we can start by something as simple as not starting a solo on the 1 beat on the root note of the scale. Intentionally play a "wrong" note... see where it takes you. ____________________________________________ Chris Loeffler is a multi-instrumentalist and the Content Strategist of Harmony Central. In addition to his ten years experience as an online guitar merchandiser, marketing strategist, and community director he has worked as an international exporter, website consultant and brand manager. When he’s not working he can be found playing music, geeking out on guitar pedals and amps, and brewing tasty beer.

Recording Unhinged: Creative and Unconventional Music Recording Techniques By Silvia Massy (Book Review) Emphasising the "Creative" in the Creative Process... by Chris Loeffler In preparation for a road trip, most people buy a Rand McNally map (er… they did before Google Maps). A small group of creative eccentrics, however, pick up Jack Kerouac’s On the Road. Most people want information, some freewheelers want inspiration. Inspiration is what Sylvia Massy’s treatise on the art of recording is all about. Rather than a primer on the nuts and bolts of where to start with recording, Recording Unhinged dives directly into the how to keep the recording process creative, break through barriers, and how to ensure the journey of recording is as important as the destination. Author Sylvia Massy has recorded or engineered for too many bands to list, from Tool to Johnny Cash, but rest assured, if you listen to music made in the last 30 years she’s undoubtedly behind at least a few of your favorite albums. In Recording Unhinged, Massy uses her career as a rough guideline to the narration, but happy eschews chronology to build on the unorthodox recording methods she details. An oversized hardcover book, Recording Unhinged is a hefty tome that is clearly meant to look good on a coffee table and start conversations. Art-quality glossy paper stock and bold, vibrant printing provide a fitting platform for the hundreds of illustrations and photos that accompany the text. All major instruments have dedicated chapters describing methods, orthodox or otherwise, of capturing the instruments, as well as references to tracks where the end result can be heard. Names are dropped, hit songs dissected, but Massy’s tone is so conversational and energetic that the end result is a read that involves the reader rather than simply informing. Few entries go beyond a single page in length, typically no more than a short paragraph or two. Related anecdotes from famous engineers and musicians pepper each page, sharing about half the total word count with Massy’s contributions. Plenty of “back in the day” photos are included to further break up the text, as are copious illustrations created by Massy. Everything is very digestible, and it is an easy book to read for 30 seconds or 30 minutes. Limitations This isn’t an overview of the best places to start with recording; these are very personal (and opinionated) musings on how to capture the best performance in specific situations. As such, readers looking for an intro to recording, or even to discover the secrets behind certain songs from Massy’s catalog, might not find exactly what they were seeking. Conclusion Not quite a direct account of Massy’s decades in the recording world, not quite a “how to” for recording engineers or artists preparing to enter the studio, Recording Unhinged manages to combine light and fluffy insider stories with uber-specific signal chain discussions to create a story that is more about breaking barriers and being creative. Colorful, passionate, and ebullient, Massy’s words, illustrations, and photos combine to make a truly inspirational and entertaining experience that any engineer or musician will find something to take away and apply to their craft. Resources Recording Unhinged at Sylvia Massy's Webite Buy Recording Unhinged @ Amazon , Sweetwater , Barnes and Nobel

Mackie XR824 8" Professional Studio Monitors Bang meets buck - with an HR heritage by Chris Loeffler The Mackie HR series of monitors was (and continues to be) a wildly popular studio line for Mackie, and there are tens of thousands of them working in studios and work spaces around the world. It makes sense Mackie would see the value in expanding their monitor line to target serious reference monitor applications, but at a price point that will attract studio hobbyists who can’t swing $1,400 - the price of a pair of HR824s. The Mackie XR824 measures 10”x10.5”x15.7” and weighs just under 19 pounds, making it sizable enough to be a substantive part of your mixing/monitoring area without being so bulky or heavy that you’d need to make special accommodations. The XR824 powers an 8” Kevlar woofer with 100 watts and a 1” aluminum tweeter with 60 watts, for 160 watts total of Class-D amplification (frequency response 36 Hz - 22 kHz), and features controls on the back for input sensitivity, high and low filters, and an acoustic space selector to tune the speakers’ performance to the room. The speaker can run in auto-on mode, where the monitor powers on and off based on whether or not it's receiving a signal. What You Need to Know The new XR series (I reviewed a pair of XR824s) seems to have a lot in common with its HR824 sibling on paper; both have the same rear panel filters and Acoustic Space control, and a similar form factor. Where the XR824 veers in different directions are its 8” woofer (the HR’s is 8-3/4”), an anodized aluminum tweeter (the HR’s is titanium), lower wattage (160 watts vs. 250 watts), and an ELP bass port rather than the HR’s passive radiator. Now let’s focus on what the XR series is all about. The Mackie XR824’s 8” Kevlar woofer provides rapid transient recovery and articulate lows, full and slightly warm, even at low volume settings. However, the sound imaging really opens up at medium level volumes. The 1” anodized aluminum tweeter delivers crisp, tight highs that kept up even at the highest volumes, which impressed me. The woofer and tweeter blend very well, creating wonderful imaging at the crossover point - an attribute where many monitors at this price point fall short. Paired, the XR824s create a rich stereo field with clear sound and nuanced detail. The XR824 lets you tweak the monitors to your mixing environment with the Acoustic Space three-way switch, which adapts the low frequency response to one of three presets: Whole Space (speakers away from the wall), Half Space (speakers against the wall), and Quarter Space (speakers in the corners of the room). I tested them in all three scenarios and found them to be practical and useful in sweetening the bass to the room, and likely a boon for beginning and intermediate engineers who don’t want to chase transparency by endlessly tweaking their monitors. An HF filter provides a 2 dB cut or boost at the 10 kHz range to compensate for overly bright or dark rooms, while the LF filter inserts a low frequency rolloff into the response curve at 36 Hz or 80 Hz to emulate the smaller speakers through which the final fix will likely be played. Both controls succeed in their goals, without overly affecting the source audio image. These are especially useful tools for people who want to help tune their monitors to a room without delving into room acoustics. The ELP Bass Reflex System is an extended-length port design that allows for deep low frequency response and increased output - in layman's terms, more bass at higher volumes. My limited experience with mixing has taught me the importance of understanding and hearing the entire composition of the bass frequencies to avoid cartoony, two-dimensional mixes with weird bass humps. There’s no doubt the ELP pushes the bass without getting muddy or woofy, and it certainly negated the need to supplement the pair of XR824s I reviewed with a woofer, even when running boomy EDM. Limitations The XR824 did seem to add a bit of warmth and bass that was very musical, but added just enough color that a highly surgical mixer might find distracting. The XR series does not accept RCA nor digital inputs. Conclusions It’s tempting to say the Mackie XR series was made for those aspiring for the HR series but short on cash, but that’d be downplaying what the XR824 brings to the studio. Taken on its own, the Mackie XR824 gives a lot of bang for the buck, with a wide sweet spot, intuitive and simple to use controls, and enough tight, precise bass to handle the low-end needs of modern music. Apparently, it learned a lot from its parents. ____________________________________________ Chris Loeffler is a multi-instrumentalist and the Content Strategist of Harmony Central. In addition to his ten years experience as an online guitar merchandiser, marketing strategist, and community director he has worked as an international exporter, website consultant and brand manager. When he’s not working he can be found playing music, geeking out on guitar pedals and amps, and brewing tasty beer.

Cort B5 Plus AS Electric Bass An instrument that sounds as organic as it looks... by Chris Loeffler Cort has long held, er, court to fascinatingly, slightly off-kilter takes on traditional guitar and bass shapes, offering features and appointments that appeal to players looking for something just a bit different than the norm. Last year's B5 bass was well received, but feedback led to creating the B5 Plus, which swaps the Bartolini preamp with a Markbass preamp for a superior EQ experience and true passive options. What You Need to Know The B5 Plus features a five-piece wenge and rosewood neck with a rosewood fingerboard bolted to a double cutaway, solid swamp ash body in a natural, open-pore finish. It’s so “natural” that the bass actually smelled the like a new acoustic guitar when I first opened the box. The Bartolini MK-1 Pickups and a Markbass MB-1 EQ system are installed, allowing both passive and active performance (as selected by a mini-toggle switch). The natural, unpolished appearance of the wood grain gives it a warm, even, raw look that's mirrored in the instrument's tactile sensation . The lacquer is thin enough that the body's grain can be traced by hand. The B5 Plus is surprisingly loud and bold acoustically; the resonance captured by the body imparts an airy, woody character that carries through into the electronic signal. The Bartolini MK-1 pickups are warm and extremely versatile - a great match for the tone of the swamp ash, and well suited to capturing the instrument's sound. I've previously run into MK-1 pickups (which I believe are passive) that were tied to a proprietary preamp that muddied the tone, so hearing the pickups untethered to the stock preamp in passive mode made it clear how transparent and full-frequency they can be. In active mode, the pickups pass through the Markbass MD-1 EQ system, which is a proprietary active preamp designed by Italian amp and effect maker Markbass. The MD-1EQ is clear and full-bodied, equally adept at chunking up the low end for chugging metal or warm, striking highs. There are separate controls for Bass, Mid, and Treble. To my ears, the passive mode is more vintage and mid-heavy, whereas the active circuitry really livens up the lows and highs - not so much by scooping the mids, but by raising the rest of the frequencies. The Hipshot ultralight tuners made tuning a breeze. Limitations As any player who plays both passive and active electronics knows, there are some pretty distinct differences that require careful consideration if you intend to bounce between the two modes in a live setting. Conclusion The Cort B5 Plus is a solid, well built-bass that checks every box for what makes a great instrument: tone, tone, and easy to play. Resources Cort B5 Plus AS 5-String Electric Bass Product Page Buy Cort B5 AS 5-String Electric Bass at Amazon , Ebay, or on Reverb. (MSRP $1,030.00, street $529.99)

Britt Festival 2016 Guitar Workshop Report See what happens when you fill a room with guitarists... by Chris Loeffler The Britt Festival, named after famed photography pioneer Peter Britt, is the largest non-profit music organization in Southern Oregon and hosts a classical series every summer alongside such eclectic acts as Chicago, Michael Franti, Les Claypool and Sean Lennon’s Delirium, and Nick Offerman and Megan Mullally in an intimate, outdoor setting. The Britt Festival's success has allowed it to have the resources needed to support local education through children’s band camp programs, residencies, and assorted workshops featuring much of the talent that graces the Britt stage. 2016 was the second year for their newest education program: a guitar workshop featuring (mostly) local guitar virtuosos in the genres of blues, rock, jazz, classical, flamenco, slack key, and bluegrass exploring techniques, theory, genre stylistic approaches, and more over the course of four days. Each of the four days featured two 90-minute workshops and two 30-minute jam sessions (often turned into extended Q&As with the instructors), divided into beginner and intermediate groups. Instructors brought their own material and style to their workshop, which culminated in an all-instructor Q&A panel followed by performances by each instructor at the Britt Gardens Stage with an all-star solo swap finale of "While My Guitar Gently Weeps." The course included some workshop swag and a thick binder filled with over 100 pages of printed lessons from every workshop… easily a year’s worth of material to practice through. While every workshop lecture I attended was fantastic, I’ll focus on a few to best represent the variety of teaching styles and material covered. Intermediate Blues Guitar by Michael “Hawkeye” Herman Michael “Hawkeye” Herman taught the loosest, most anecdote-filled of the workshops I attended, with his 40+ years of professional blues experience guiding his lecture in an almost stream-of-conscious way that had the flow of a consummate storyteller. His personal playing style, acoustic finger-picked blues and slide guitar, is informed by sharing the stage with nearly every blues legend to have been recorded. Rather than diving into specific riffs or scales, Herman explored the various “signatures” of different blues players and focused extensively on the infinite possibilities to approaching a standard I-IV-V progression with a turnaround. The following video is a good overview (if far from comprehensive) of the material covered. Michael "Hawkeye" Herman explores the blues Intermediate Rock Guitar by Page Hamilton Page Hamilton, the founder and frontman of Helmet, led the rock course and took it surprisingly further than I think most students were expecting. For those not familiar with Hamilton’s background, he had a Master’s Degree in Jazz Guitar from the Manhattan School of Music before Helmet was a thing, and has scored major motion pictures and sat in with orchestras around the world. This multi-faceted musical background was reflected in the philosophy he kept returning to during his workshop: musical information is everywhere, and it’s up to the player to be curious enough to seek it out. He suggested everyone pursue music theory and the ability to read standard notation to remove limitations to their creativity, but that learning by ear and from other instruments is equally important. He used the song "While My Guitar Gently Weeps" as an anchor to exploring theory of pentatonics, chord phrasing, and technique. Page Hamilton Talks Songwriting and Theory Page Hamilton on songwriting and theory Page Hamilton discusses respecting space in music Intermediate Bluegrass by Glenn Freese Glenn Freese is a Southern Oregon fixture in the bluegrass and instrument repair scene, as well as a seasoned instructor for acoustic guitar, mandolin, and hammered dulcimer. His laid-back attitude was a perfect fit for bluegrass, and focused on classic folk and americana songs and how they sprag from (or birthed) bluegrass music. The majority of the workshop was focused on picking and strumming techniques, the foundation for they style, as well as deconstructing open chords to identify notes that should be dropped to free up melodic space for banjos and violins. Intermediate Jazz by Ed Dunsavage Ed Dunsavage is known as "the guy" when it comes to jazz guitar in Southern Oregon as well as being the guitar instructor for Southern Oregon University. The combination of his extensive background teaching at universities and the complexities of the jazz genre made for an incredibly dense set of material that Dunsavage managed to make extremely digestible. In the scant 90 minutes of his session he spoke to the roots and evolution of jazz, explored major and minor scale, walked through all 7 modes, and offered an insightful look into shell chords and how arpeggiated scales are the material that binds chords from scales. It wouldn’t be an exaggeration to say that mastering everything he presented could easily consume a few years of one’s life, and everyone in the room, regardless of skill level, left the workshop with at least a couple of tricks to add to their bag. Ed Dunsavage gives a quick overview of the core of all jazz music Ed Dunsavage walks through the major scale to lay the groundwork for modes Ed Dunsavage covers the first five modes Ed Dunsavage explains shell chords and chord building Ed Dunsavage goes deep into theory in the Q&A All in all, the Britt Festival 2016 Guitar Workshop was well organized, well run, and filled with fantastic, inspiring instructors who were able to represent some of the best their particular genre of guitar music has to offer. As a guitar player, it was great to get a deeper dive into several genres of which I had only a cursory knowledge, and it was especially interesting to see certain musical tendencies carry between genres one wouldn’t normally expect to share much beyond a fretboard. Many of the students who attended the event came 300+ miles, and all felt it was well worth it. Getting to see all the instructors on the stage, demonstrating some of the material they’d taught us in a live band setting was a great way to end the event. The combination of hearing pros share their experience, advice, techniques, and theory was enough to both make students feel empowered with an expanded toolset and remind them how much there is still to learn. ____________________________________________ Chris Loeffler is a multi-instrumentalist and the Content Strategist of Harmony Central. In addition to his ten years experience as an online guitar merchandiser, marketing strategist, and community director he has worked as an international exporter, website consultant and brand manager. When he’s not working he can be found playing music, geeking out on guitar pedals and amps, and brewing tasty beer.

Earthquake Devices Spires Fuzz Effect Pedal Pre-Vintage Fuzz Love Affair by Chris Loeffler In a world filled with fuzzes that are clones of clones of clones (hey, these are simple circuits!), Earthquaker Devices must have heard something special in the Rosac Nu Fuzz to consider it as part of their 16th current production fuzz pedal. Designed by Ed Sanner in the mid-sixties, the Mosrite FuzzRite took off when it was prominently featured on Iron Butterfly’s In-A-Gadda-Da-Vida and the first fuzz tone to go Platinum. Sanner took his FuzzRite circuit with him when he moved to Rosac in the late 60’s, dropped it in a Rosac Nu Fuzz enclosure, and swapped the Depth (fuzz) control for a Tone control to give players access to a larger palette of fuzz colors. Sadly, the Nu Fuzz faded long before “Nu” became a bad word in the world of rock and, without readily available schematics, fanatics of the Nu Fuzz sound have had to risk bringing their precious vintage units on the road. The need to preserve his original Rosac Nu Fuzz led Jaime at Earthquaker Devices to reverse engineer it and make a sonic copy of it. Not content to leave it there, the Dream Crusher has been resurrected (replacing Germanium transistors with Silicon for stability) and shares an enclosure with Earthquaker’s take on the Nu Fuzz to form Earthquaker Devices Spires Fuzz. The Spires Fuzz features a true-bypass on/off foot-switch as well as a Channel footswitch that selects between the two circuits. The channels are labeled Green and Red, with the Dream Crusher in the Red Channel and the Nu Fuzz in the Green. The Red Channel features Volume and Fuzz controls, while the Green Channel offers Volume and Tone controls. The Spires Fuzz can be powered by a single 9v battery, or a standard 9v DC power supply with negative center 2.1mm barrel. The Red Channel of the Spires Fuzz is a take on a Dallas-Arbiter Fuzzface with silicon transistors, and is appropriately distorted and cutting while displaying impressive touch sensitivity. Light gain is crunchy (especially with lower output pickups) with an aggressive bite to the treble, and higher gain settings get grinding with top end sizzle and focused tone. Like the best Fuzzface pedals, the volume knob of your guitar is the key to dialing in the perfect setting, with Class A-type crunch available when just breaking up. The Green Channel, by contrast, sounds like a lo-fi, late-night smoke session of a filtered fuzz, with Velcro-like ripping, sputtering chords, and hazy, rolled-off highs channeled through a pronounced midrange. Depending on the pickup and guitar volume, the fuzz can go anywhere from dying-battery splatters to synth-like tones. The Green Channel is the sound of garage-rock fuzz, and the gain is almost hypnotic in character. Limitations This probably isn’t a limitation as it would have such limited use, but I’d be curious to hear the two circuits run in serial and parallel. Conclusions The Earthquaker Spires Fuzz isn’t the “violin-tone” fuzz (although it can), it isn’t the liquid-compressed lead tone (unless you’re running it light to hit a big amp)…it’s a textured vintage fuzz love affair for those who scoff at “high fidelity” studio tones. It’s a controlled monster of primitive, pre-vintage tones that instantly evokes tones one would expect from The Black Keys or The White Stripes while having its own, unique vibe. -HC- Resources Earthquaker Devices Spires Fuzz Product Page Buy Earthquaker Devices Spires Fuzz ($195.00 Street) at Sweetwater , Guitar Center , Amazon ___________________________________________________ Chris Loeffler is a multi-instrumentalist and the Content Strategist of Harmony Central. In addition to his ten years experience as an online guitar merchandiser, marketing strategist, and community director he has worked as an international exporter, website consultant and brand manager. When he’s not working he can be found playing music, geeking out on guitar pedals and amps, and brewing tasty beer.

Player Meets Collector...Why Music Gear Isn't a Bad Thing Is Less Always More? by Chris Loeffler Recently, Prophets of Rage guitarist Tom Morello made the audacious claim that gear “does not matter at all, ever, in any circumstance.” Putting aside the contradiction of that statement coming from someone whose most iconic work is arguably reliant on very specific gear, it does expose a persistent undercurrent in the musician community that using less gear is a sign of a master. Where this elitist “anti-gear” sentiment comes from, be it jealousy, the competitive nature of some players, or confusing one’s personal opinion as the only way to do something, the fact is that statements of this ilk are always stated in a “Musician’s Musician” tone/context. I believe one of the biggest issues at play is this; while gear is enabling, it can also be used as a an excuse not to continue to improve and grow as a player. Forums are filled with people chasing elusive tones by cycling through dozens of expensive pieces of gear, and they fall into the habits collectors of any other hobby...acquisition can feel like progress. GAS (Gear Acquisition Syndrome) is real, and it can be painful. As such, a small (but very vocal) group of players replace learning music theory or techniques with purchasing more and more gear. They plug into it, play with it for a few practice sessions with their friends, and move on to the next piece of gear. There’s nothing wrong with collecting (it’s not like we’re preventing kids from getting Star Wars action figures because we’re buying them all and keeping them in their packaging), but I understand the perception that choosing to purchase something that inherently changes what you’re playing (like an effect pedal or new amp) rather than learning new scales seems like “cheating.” Yet they don’t have to be (and shouldn’t be) mutually exclusive. There will always be someone who can’t mangle their way through a pentatonic but plays through a NASA-worthy effects space station that costs more than a new compact car, and there will always be someone who will knock your socks off with nothing between their instrument and their amp but a cable. The reality is one doesn’t necessarily hold more virtue than the other. Hundreds of hours of woodshedding to learn to play the right note at the right time take dedication, and it is in no way undermined by your bandmate who bought the flavor of the month delay pedal and reverb unit and is able to fill the room with refractions by playing a few single notes. I don’t want to hear the solo to "Bulls on Parade" played on a nylon sting acoustic, and I don’t want to hear Jimi’s solo of "All Along the Watchtower" through a Dumble amp. David Gilmour once said he could play an Affinity Strat into a Gorilla amp and still sound like him, and I believe that. He doesn’t do that, however, because high-quality gear that suits his style and approach allows him to express himself exactly the way he wants. Great gear will not make a player better, but it can make playing easier (staying in tune), more enjoyable (responsive pickups), and more inspired. There’s no shame in loving gear, and there’s no superiority in eschewing it. ____________________________________________ Chris Loeffler is a multi-instrumentalist and the Content Strategist of Harmony Central. In addition to his ten years experience as an online guitar merchandiser, marketing strategist, and community director he has worked as an international exporter, website consultant and brand manager. When he’s not working he can be found playing music, geeking out on guitar pedals and amps, and brewing tasty beer.

Earthquaker Devices Gray Channel Dual Overdrive Pedal Can it bring the vintage overdrive "vibe" to a modern age ...? by Chris Loeffler The pantheon of great overdrive circuits is crowned by classics like the TS-808 (midrange boosting tube pusher), Klon (warm, tube-like distortion controlled by a dual-ganged pot that blends cleans in), and Marshall Blues Breaker (British-voiced warmth that excels at low gain), but those in the know (or who played back in the 80s, before we were blessed with too much gear to keep up with) include the DOD Overdrive Preamp 250 in their top overdrives of all time because of its tone and utility. “Inspired” by the MXR Distortion +, early DOD 250 pedals were housed in a gray enclosure and featured a simple circuit built around the LM741 opamp and controls. The 250 changed to a yellow enclosure in the 80s, with a chip-swap to the TL081 (which had lower noise, higher slew rate, and a higher impedance) following shortly thereafter. The DOD 250 featured a dead-simple circuit that was embraced both for its own shaggy character and for the way it interacted with overdriven amps. Jamie from Earthquaker stated the DOD 250 was one of his first builds, and the pedal that ultimately led to the creation of Earthquaker Devices, so it’s only fitting they’ve gotten around to bringing this classic effect into the modern age. The Earthquaker Gray Channel is effectively two overdrives in one, with independent Volume and Gain controls for each circuit, as well as unique clipping options for each channel. The overdrive circuit, built off the aforementioned DOD 250 Preamp, is a low-to-mid gain boost/overdrive that adds volume, grit, and distortion to the direct signal without changing the tonal color or EQ. The overdrive circuits are split into Green and Red channels, with the Green Channel featuring Silicon, Germanium, or No Clipping (op amp distortion) options and the Red Channel featuring LED, Mosfet, and No Clipping options. The Gray Channel overdrive is a bit ragged and rough on its own, and excels at goosing an amp with added harmonic content and additional layers of gain structure. Like the original circuit by which it was inspired, the Gray Channel is most “traditional” when it's rounded out by additional gain down the chain, be it a more colored overdrive pedal like the Palisades or into a preamp that's on the verge of breakup. That’s not to say that aren’t plenty of cool tones available run into a clean amp, but they all betray their not-so-humble pedal origin. Both channels feature the No Clip mode, which removes any diodes from the clipping section and provides a clean, uncolored boost for the first half of the Gain sweep before gradually saturating the opamp for a loud, raw, open overdrive. Starting with the Green Channel, the Germanium mode is the softest, most compressed of the overdrive modes, with a vintage fuzz edge that is mid and bass heavy (or maybe a touch shy in treble), while Silicon forms a tighter, sharper breakup that bites and has a bit more presence. Similar to other Si/Ge switchable overdrives I’ve played, I preferred the Germanium mode when played on its own, but the moment other instruments started dominating the mix I flicked to Si for a bit more cut. In the Red Channel, LED is the least compressed and loudest of the group, with a good deal of touch sensitivity and a tighter attack than “tube-like” clipping. Surprisingly, if subtle, there is a just a touch of tone sweetening that happens in the cleaner setting. The FET mode, by contrast, is tight and has a strong top end retention that loves to crunch. The differences between these clipping options aren’t of the “that’s a totally different sound” camp, but they are the difference between “almost getting” and “nailing” the gain structure and boost you are looking for in a given solo/rhythm application. Limitations The volume changes slightly between clipping modes, so switching from No Clip to Germanium in the Green channel in a live setting will require a slight adjustment of the Volume control to maintain the same volume. Conclusions The Earthquaker Devices Gray Channel brings the vibe and “damned if it just doesn’t sound great” tones of a vintage overdrive to the modern age with increased headroom, reduced noise, and enough clipping options to fit between any amp and guitar. The versatility of having two channels answered my wish to have a Rhythm and a Lead setting, and the versatility of clipping options means not compromising on how the pedal overdrives based on individual playing styles. Best of all, the Gray Channel excels at keeping your tone intact rather than being another amp-in-a-box that smears over what you already have. -HC- Resources Earthquaker Devices Gray Channel Overdrive Product Page Buy Earthquaker Devices Gray Chaneel (Street $195.00) at Sweetwater , Guitar Center , Amazon Join the conversataion in the Effects forum! ___________________________________________________ Chris Loeffler is a multi-instrumentalist and the Content Strategist of Harmony Central. In addition to his ten years experience as an online guitar merchandiser, marketing strategist, and community director he has worked as an international exporter, website consultant and brand manager. When he’s not working he can be found playing music, geeking out on guitar pedals and amps, and brewing tasty beer.

Effingood Amps EFN-5 “O-Five” Tube Guitar Combo Amp Is it that Effingood? by Chris Loeffler Effingood Amps, one of the newest players in the boutique amp world, back-tracks on their cheeky name by pointing to space-race hero and tube amp enthusiast Bob Effin the brand's origin. Still in the early stages of building their online presence, the Effingood 0-Five started showing up on Reverb and a handful of mom and pop shops early this year, claiming a hybrid 5F1/5F2 lineage that puts it somewhere between a late 50’s Champ and Princeton in architecture and tone. The 0-Five combo features a single instrument input, Volume and Tone controls, a power switch an accompanying indicator lamp, and an 8” internal speaker. What You Nee to Know Short of pulling the amp apart , it’s hard to verify the exact nature of the hybrid (the tone control is clearly from a 5F2, while the 8” speaker is a 5F1 standard... a couple filter values are difficult to verify given the number of incorrect schematics of the original floating around). What we do know is that the 0-Five is handmade in Bremerton, Georgia, 100% hand-wired to turret board, and is 5W powered by a 12AX7 preamp, 6V6 power section, and single GZ4 rectifier. The amplifier is enclosed in a lacquered, tolex-covered birch cabinet with pine baffle, finished with nickel hardware and a leather handle, and includes a 8” Celestion Super 8 speaker. The 0-Five is a simple circuit, and has a visceral immediacy that makes it great for exploring the nuances of pickups. It takes dirt and boost pedals extremely well, especially boost and Bender-style fuzzes, but anything that doesn’t push the EQ too far to the Treble or Bass spectrum can be added to good effect. The importance of the preamp gain to the character of the amp’s sound makes most modulation and delay effects less than ideal, although the Clever Fox Tremolo (optical circuit) cut beautifully through the amp’’s overdrive at around 2/3 output. More than anything, the 0-Five is an amp you buy because you like simplicity and a classic, woody tone. Limitations Limited headroom (no such thing as crystal cleans at high volume) and tone options are part of the amp’s charm, but also make it a poor choice for modern, high-fidelity tones, and the 8” speaker means there’s only so much bass on tap. Conclusion Considering Sweetwater has just three current-production tube combo amps with 8” speakers for ($199-$329), all of which are factory produced overseas with surface-mounted PCB boards, less than $400 for the 0-Five, which is completely hand-wired, built in the US, and includes a tube-rectifier seems like a quite a bargain. Heck, an unassembled kit from Ted Webber will run you $504 for the similar configuration 5F1 model (without a Tone control). Short of gambling on a vintage Champ or Princeton ($1k+ on Reverb), there aren’t many options for the early Champ/Princeton tone, making it even more surprising the Effingood 0-Five is is available at such an affordable price. I have no doubt the amp will see a price increase as Effingood established its place in the amp market, so consider it an undiscovered gem at this point. Join the conversation or share your thoughts and questions in our forums! Resources Effingood EFN-5 "O-Five" Tube Guitar Amp Product Page Buy Effingood EFN-5 "O-Five" Tube Guitar Amp ___________________________________________________ Chris Loeffler is a multi-instrumentalist and the Content Strategist of Harmony Central. In addition to his ten years experience as an online guitar merchandiser, marketing strategist, and community director he has worked as an international exporter, website consultant and brand manager. When he’s not working he can be found playing music, geeking out on guitar pedals and amps, and brewing tasty beer.

Electro-Harmonix Lester K Rotary Speaker Pedal True-to-life rotary speaker sound? by Chris Loeffler Many modulation effects get close to copping the Leslie sound, but they’re just that… approximations. The fast warble of a chorus effect doesn’t capture the moving of air as a physical horn and speaker ramp up and spin around, nor the essential grind the tube preamp imparts. Electro-Harmonix, never one to shy away from taking on big effects challenges, came up with not one, but two options for players looking for big Leslie tone without the hernia-inducing realities of the real deal. The Lester K and Lester G (reviewed separately) both offer the rotary speaker sound in a box, with the Lester G being aimed at guitar players seeking organ sound and the Lester K targeted at keyboard players. The Lester K includes true bypass, expression pedal input, true stereo outputs, rotary speaker controls for Fast and Slow speed settings, Balance of the horn and bass, as control over gain and attack via a Drive. The Lester K runs on an included 9v power supply or any standard 2.1mm negative tip source. An essential aspect of the Lester K's “Leslie” foundation is creating a proper gain section. When the Drive knob is turned down the signal is 100% clean (or at least as clean as it was going in), and things get pretty dirty by the time the Drive knob is dimed. The identity of the overdrive circuit is a mystery, but it’s a gritty, EQ neutral tone that is both tube-like and perfect for nailing the grind of the Leslie many emulators miss. With the preamp section handled, we can move on the rotary speaker component. Balance control lets you adjust the blend between the top treble horn and the bass speaker.The Lester K features two speed settings you can ramp up and down between… Slow and Fast speed. Using the Slow knob, the horn’s rotation can be adjusted between 0.1Hz and 3.2Hz, and the rotor can be adjusted between 0.0875and 2.8Hz. Using the FAST knob, the horn’s rotation can be adjusted between 1.55Hz and 24.8Hz and the rotor can be adjusted between 1.475Hz and 23.6Hz. The two speeds are changed via the Fast/Slow switch and have a set ramp time. This is key to the authenticity of the physical behavior of the rotary speaker, and can be used to great effect in ramping up the speed between a verse and chorus. Braking, another Leslie classic, is achieved by holding the Fast/Slow footswitch down, an effect that grinds the speaker rotation to a halt until the footswitch is released. The speaker simulation is convincing… it doesn’t sound like a phaser, or a harmonic tremolo, or a univibe, it sounds like rotating speakers. The doppler-effect creates a subtle asymmetry to the sound that gives true 3D imaging to the effect, and using the true stereo outputs makes for an even more massive sound, as the horns are thrown from amp to amp. The Lester K takes a line level signal without putting up a fuss, and I found it provided some subtle warmth to the B3-style keyboard patches I ran through it. Unlike with the Lester G for guitar, I did find myself wishing the Lester K has pass-through stereo inputs, but that’s more a want than a complaint. Limitations I found a couple of instances where line inputs or a sketchy cables introduce a small amount of noise. Nothing to detract from playing or live performance, but I’d recommend clean power if going into the studio. Conclusion The Lester K is somewhat difficult to position in the keyboard category, as most keyboards include built-in rotary speaker effects. That said, all but the most expensive (typically also hardware) optioins I’ve come across sound more like modulation than moving speakers, and there’s a pleasant presence that the Lester K adds, making it one of the most authentic sounding rotary speaker simulators on the market. The addition of breaking and true-to-life ramping between settings makes that elusive sound more achievable and, surprisingly, more controallable. Short of drops $1,000 and hauling a 150 pound Leslie around, the Electro-Harmonix Lester K is as good as it gets for adding true-to-life rotary speaker sound to your keyboard rig. -HC- Join the discussion in our Keyboard forum! Resources Electro-Harmonix Lester K Product Page Buy Electro-Harmonix Lester K (MSRP $227, Street $178.00) at B&H , Sweetwater , Guitar Center ___________________________________________________ Chris Loeffler is a multi-instrumentalist and the Content Strategist of Harmony Central. In addition to his ten years experience as an online guitar merchandiser, marketing strategist, and community director he has worked as an international exporter, website consultant and brand manager. When he’s not working he can be found playing music, geeking out on guitar pedals and amps, and brewing tasty beer.