Phil O'Keefe

CEntrance MixerFace R4 Mobile Recording Interface Part audio mixer, part recording interface, and uncommonly mobile-friendly by Phil O'Keefe CEntrance was founded in 2000, and while they may not be a familiar brand name to some readers, in addition to developing their own products, they have also co-developed products with more well-known companies such as Lavry, Waves, Benchmark, and Mackie; when they decided to take on the challenges of making a truly mobile recording interface, they had plenty of know-how and experience to work from. And let's face it - mobile recording interfaces are a challenge. Weight and size are always issues, and so is durability. Power requirements are also a concern - you won't want something that drains the battery in your laptop or tablet, nor do you want to be tethered to an AC power outlet. CEntrance feel they've come up with a product that more than meets those challenges - the MixerFace R4 Mobile Recording Interface. Let's see how well it performs. What You Need To Know The MixerFace R4 is a 2 x 2 audio interface. Designed for mobile use, it can also be used as your primary interface in your home studio if your input requirements are fairly modest. 16, 24 and even 32 bit recording are supported at sample rates of 44.1 kHz, 48 kHz, 88.2 kHz, 96 kHz, 176.2 kHz, and 192 kHz. The CEntrance MixerFace R4 is compact, measuring only 4.76" L x 2.76" W x 1.42" H. It weighs only 9.1 ounces, but its black aircraft grade anodized aluminum housing feels tough and sturdy and ready for the rigors of the road. The design of the MixerFace R4 takes a different, more mixer-like approach than most recording interfaces, making the process of setting recording and monitoring levels a bit more intuitive for the typical musician. There are six knobs on the top surface. Each of the two input channels has its own Gain control (labeled Gain 1 and 2) for the two built-in Jasmine mic preamps. Signal present and Peak LEDs on inputs 1 and 2 let you adjust the gain for the best signal to noise performance. The signal present LEDs light up when signals exceed -40dB below clipping, while the peak LEDs illuminate at -6dB before clipping. Each channel also has a small recessed switch for selecting high or low impedance for the 1/4" inputs on the main Neutrik combo XLR / 1/4" input jacks. Switchable high pass filters (6dB per octave at 130Hz) are also provided for each channel. The inclusion of the high impedance option for the 1/4" jacks makes the MixerFace R4 well suited for recording your guitar or bass "direct" by plugging straight into the MixerFace R4. Each channel also has its own individual Channel / USB or "Monitor blend" knob to let you adjust the amount of the input signal vs playback signal that you hear when monitoring your recordings. An Aux 3/4 knob lets you adjust how much signal from the unit's 1/8" TRS stereo Line Input is blended in with the signals from the two primary input channels, so you can record, mix and monitor from external sources. The built-in mixer inside the R4 mixes inputs 1/2 along with Aux 3/4, so both sets of inputs (main and aux) can be recorded simultaneously to either a stereo pair or two mono tracks if desired. The final knob is labeled Monitor, and it controls both the output level of the two main 1/8" TRS balanced line out jacks as well as the headphone volume level. You'll find the main line out jacks located at one end of the MixerFace R4, along with the main XLR / 1/4" combo input jacks; while you'll need 1/8" TRS to 1/4" TRS cables to connect the balanced output jacks to your powered studio monitors, the cables are not too difficult to find - CEntrance offers them for sale as an option if you don't already own a pair. While the MixerFace R4 is relatively small, it features an impressive amount of connectivity, with four analog inputs and six outputs (counting the headphone output), as well as the (micro) USB connectivity, which gives you digital I/O to and from your recording device of choice. And speaking of recording devices of choice, you get a lot of options - the MixerFace R4 is compatible with Macs and PCs (ASIO drivers are available for download on the CEntrance site), Linux, and most mobile devices are supported too, including iOS and Android. The other end of the MixerFace R4 is where you'll find the 1/8" TRS line input (Aux 3/4) jack. A second (pre-Monitor knob) line output jack (on an unbalanced 1/8" stereo TRS jack) is also provided, as well as a stereo headphone output on a 1/8" TRS jack. The MixerFace R4 has plenty of power in its built-in AmpExtreme headphone amp to power professional headphones (16 to 600 ohm) to very respectable levels, making the unit a good choice for headphone amp duties with your mobile devices too. This is also where you'll find the main power switch, along with three white LEDs that indicate battery strength. That's right - the MixerFace R4 contains an internal lithium polymer battery. This is recharged through a dedicated micro USB port (on the right side), which can be left connected while using the unit if you wish. A second micro USB port is used to connect the MixerFace R4 to your computer or mobile device. The onboard battery makes this a truly mobile interface - when paired with a laptop, smartphone or tablet, you have no need of an external AC power source, so you can record literally anywhere. You can typically expect to get a very respectable 7-8 hours of use from a single charge of the internal battery. The quality of the two Jasmine mic preamps is very good, especially by mobile interface standards. They're surprisingly clean and low-noise, and offer a very respectable gain range of +10 to +53 dB. Unlike some other mobile interfaces, the MixerFace R4 has true 48V (±1%) phantom power, making it fully compatible with the vast majority of phantom powered microphones on the market. The switch for turning phantom power on and off is located near the USB jacks at one end of the unit. You'll also find switches for selecting stereo / mono monitoring, and low / high output levels for the aux (pre-monitor) line output. The low setting pads the output down far enough that it can be used to feed the mic-level inputs on a DSLR camera without overloading them. There are two internal mil-spec clocks with 10ppm precision and a low 1 ps jitter spec. Translation - the clocking is quite good. The back of the MixerFace R4 has a built-in tripod threads so you can easily mount it to a tripod or (with an adapter) a mic stand. You'll also find a handy quick start guide located there, as well as a somewhat more comprehensive one printed on a card that comes with the unit. A full PDF manual is available for download from the CEntrance website. A felt bag is provided to store your MixerFace R4 in, as well as a 3 foot USB A to micro USB cable for charging the battery and for interfacing with your recording device. A protective carrying case, USB fast charger (each priced at $19.95 "street"), and even a model that's well suited for use with your DSLR (the MixerFace R4R) with an internal SD card recorder (an additional $100.00 "street" over the basic R4) are available as options. Limitations The recessed switches require the use of an improvised tool to adjust their settings. A paper clip is ideal, but in a pinch you can use the tip of a ball point pen to get the job done. While this is a minor hassle, being recessed means they're less likely to break or be accidentally repositioned during travel. The MixerFace R4 is a 2 x 2 audio interface only - the line inputs feeding Aux 3/4 can not be routed to separate tracks in your DAW software for four input / four track recording - they are always mixed internally with inputs 1/2 and will be recorded to the same tracks as the main inputs. iOS users will need to purchase an Apple Lightning to USB 3 Camera Adapter ($39.00 "street") in order to connect the MixerFace R4 to their devices. Conclusions CEntrance really have done a great job of balancing the sometimes contradictory requirements (weight vs durability, size vs features) of a good mobile interface. The MixerFace R4 is both compact and light, yet surprisingly rugged, with a wealth of connectivity that some other ultra-compact mobile interfaces lack. True, some of it is on mini jacks, which means you'll need to use adapter cables to connect to things like your powered studio monitors, but that's really a minor inconvenience and something you can easily, uh, adapt to. Besides, I suspect most buyers won't be purchasing this for use as their primary home / studio interface, but as a highly capable mobile partner for it. The fact that you can use it as your home interface is a sweet bonus that will definitely appeal to some owners. Best of all, the sound quality of the MixerFace R4 is very impressive for a product of this type, with sweet and clean sounding Jasmine mic preamps and high bit / sample rate capabilities. And you're truly mobile with the CEntrance MixerFace R4 - I was able to record for over seven hours on a single charge of its internal lithium-polymer battery, and you can easily extend the amount of time by bringing a USB power bank along with you, which can also be used to recharge your tablet or smartphone too. And there's no limits on what mics you'll be able to use - unlike some other bus-powered mobile interfaces that hobble you with lower voltage for phantom power, the MixerFace R4 lets you use all your microphones - including the ones that need a full 48V to operate properly. While I wasn't able to test it with all of the supported platforms, CEntrance says it will work with not only your Mac and PC, but iPads and iPhones, as well as Android devices too, making it compatible with just about anything you're likely to want to record to. I had no problem using it with my Macs and iOS devices, and it was trouble-free throughout the evaluation period. My only complaint was the recessed switches, but many people will set and forget those, and even if you need to adjust them regularly, the tip of a paper clip can easily get the job done. If you use a DSLR or video camera, smartphone or tablet to do product demo or instructional videos, adding a MixerFace R4 to your setup can help you get much better audio quality than you can from its built-in microphone, leaving it clear to handle the video while the MixerFace R4 feeds it high quality audio. This also gives you the ability to use two input sources, such as putting a mic right in front of an amp or instrument and another on a narrator or singer, while still leaving the camera free to be positioned for the best video angles. These features also make it a great choice for live streaming duties. The self-powered R4 will also be appreciated by samplers and field recordists, ENG journalists, podcasters, concert recordists, songwriters, home recordists and multitrack enthusiasts, and anyone who values mobility and who can't always rely on having a AC outlet nearby. It's a surprisingly sweet-sounding and capable recording interface with uncommon flexibility and mobility, and it deserves to be a big hit with a wide variety of musicians and recording professionals. -HC- Want to discuss the CEntrance MixerFace R4 or have questions or comments about this review? Then head over to this thread in the Studio Trenches forum right here on Harmony Central and join the discussion! Resources CEntrance MixerFace R4 Mobile Recording Interface™ ($349.95 "street") CEntrance product web page CEntrance MixerFace R4 downloads, including drivers for Windows and GigaStudio and the AxePort Pro Mac Control panel CEntrance MixerFace R4 user manual (PDF file) You can purchase the CEntrance MixerFace R4 Mobile Recording Interface from: Direct from CEntrance B&H Photo Video Amazon CEntrance Demo and Instructional Videos: Introduction Charging and turning it on Recording voice Using the MixerFace R4 for multitrack recording or as a headphone amp for jamming with a backing track __________________________________________________ Phil O'Keefe is a multi-instrumentalist, recording engineer / producer and the Senior Editor of Harmony Central. He has engineered, produced and performed on countless recording sessions in a diverse range of styles, with artists such as Alien Ant Farm, Jules Day, Voodoo Glow Skulls, John McGill, Michael Knott and Alexa's Wish. He is a former featured monthly columnist for EQ magazine, and his articles and product reviews have also appeared in Keyboard, Electronic Musician and Guitar Player magazines.

Fender Effects Pedals Part 2 In part two of this three-part review, we check out The Bends Compressor, Santa Ana Overdrive and Mirror Image Delay by Phil O'Keefe Effects might not be the very first thing you think of when someone mentions Fender - their long history of amplifier and guitar innovations have far overshadowed their admittedly inconsistent effects output, but Fender has announced plans to change that. They've released a new series of all-original pedal designs that they feel can go head to head with anything out there. In part one of this three part review we began by examining three of the new pedals in Fender's exciting new pedal line - the Level Set Buffer, Marine Layer Reverb and Pugilist Distortion. This time, we'll be looking at another three - The Bends Compressor, Santa Ana Overdrive and the Mirror Image Delay. Let's see if they're as cool as the other pedals from the new series that we checked out previously. What You Need To Know All of the pedals in the new line feature original designs - they're not clones of anything. With the exception of the Santa Ana Overdrive (which was designed by amp design legend Alex Aguilar) the pedals in the new series were designed by Stan Cotey, Fender's VP of Product Innovation.As I mentioned in part one, all of the pedals in the new series have several features in common with each other, so instead of repeating myself, we'll look at those features first before digging in and looking at the specifics that are applicable to the individual pedals.All of the pedals are housed in anodized aluminum enclosures (red for the Santa Ana Overdrive, blue for the Mirror Image Delay and black for The Bends Compressor) that are both road-ready tough and yet still relatively light in weight. The Bends Compressor is in a smaller housing that measures 2.75" W x 2.5" H x 4.9" L and weights .9 lbs while the Santa Ana Overdrive and Mirror Image Delay are larger, measuring 3.75" W x 2.5" H x 4.9" L and weighing in at 1.2 lbs each.The input and output jacks are side mounted, and laid out in such a way that the plugs won't get in the way of the plugs of the pedals placed next to them, which lets you place them closer together for a tidier, more compact pedalboard layout. Input impedance is 1M Ohm for the entire line, while the output impedance is >10k Ohm for all of the pedals.The lamps that are used to indicate when the pedals are active are smaller versions of the classic Fender jewel lamps that have been used on their amps for decades, and each pedal uses a different colored lamp to make identifying them easier, even in the dark. The Santa Ana Overdrive has a red jewel lamp, while the lamp on the Mirror Image Delay is blue. The Bends Compressor has a two-color lamp (white and pink) and varies in the color it displays, depending on the pedal's current operating condition - with white being displayed when the pedal is active but isn't actually compressing, and pink showing when it is actively compressing. It can also turn red briefly when you first power it up.Each of the three pedals has illuminated indicators on the knobs so that you can always see how your controls are positioned, even on a pitch-black stage. These LEDs can be turned off with a switch on the rear of the pedals - this can be handy if you're using batteries to power the pedals and want to reduce the current draw and increase the battery's useful life. Speaking of power, you can use either a 9V battery or an external power supply. No battery or power supply is included, so you'll need to provide your own. All of the pedals feature industry-standard 2.1mm center-negative power receptacles on the rear.The battery compartment on all of the pedals is located right at the front end. It has a spring-loaded hinged door that's permanently attached (no parts to get lost!) and that magnetically latches - you don't need any tools, or even have to pull the pedals off of your pedalboard to install new batteries, which is a very cool feature.A red LED on the battery compartment door illuminates whenever the batteries are dying, so you get a visual indication of when they need to be changed - it's a small touch, but very helpful. The power requirements vary from pedal to pedal, and are noticeably lower if you disable the onboard LED indicators for the controls, as I mentioned earlier. The Santa Ana Overdrive needs a minimum of 120 mA @ 9V DC and 130 mA with the knob LEDs turned on, the Mirror Image Delay draws 72 mA @ 9V DC with 138 mA total current consumption, while The Bends Compressor draws 15 mA @ 9V DC, with a total current consumption of 60 mA. Make sure you unplug the input jack to turn off the battery when you're not using the pedal, and also consider turning those LEDs off if you're using a battery to power the pedal to maximize battery life. The Bends Compressor is a compressor that's equally well suited for use with both guitar and bass. It excels at leveling out your playing dynamics, increasing sustain, and can even be used for boosting the overall level of your guitar for clean solos. There are a total of four knobs on The Bends Compressor. Drive sets the amount of compression that will be applied to your signal. Higher settings on the Drive control make it easier to trigger the compression circuit, so you can also think of it as a threshold control.The jewel lamp color changes to indicate when compression is actually occurring, changing from white (pedal on) to pink (compression active) to give you a visual indication of what the compressor is doing. This also aids in setting the knob positions properly.The Recovery knob can be thought of as a release control - it sets the amount of time the compressor takes to return to a non-compression state once the signal has stopped and/or is no longer exceeding the threshold point where the compression kicks in.The Level control sets the overall output level of the pedal and allows you to compensate for the compression circuit's gain reduction using the make-up gain from this control. It can also be used to boost the overall signal level beyond unity gain when the pedal is active, which can be useful for giving your clean solos not only more sustain, but a level boost too.Finally a Blend knob lets you get the benefits of parallel compression by allowing you to mix in some of your dry / uncompressed signal along with the compression. This allows some of your unprocessed signal to be audible along with the compressed signal, giving you back the sound of some of the pick attack, and provides you with a much more natural sound than using the fully compressed signal exclusively. The inclusion of a Blend knob is a very useful feature that vastly increases the utility of any compressor, and it's nice to see that Fender included one with The Bends.The Bends Compressor uses true bypass switching.The Santa Ana Overdrive is the one pedal of the six under review in this two-part write-up that wasn't designed by Stan Cotey - this versatile overdrive was designed by Alex Aguilar. You might associate his name more with bass-related products, but he's also a guitarist, and well-respected designer, and he's come up with a real winner here. The Santa Ana Overdrive uses a FET-based overdrive circuit, and it benefits from their more tube-like characteristics. The overdrive is sweet and very touch sensitive - the pedal cleans up readily with adjustments of your guitar's volume control. Lightly overdriven to very heavy crunch is possible with this pedal.While the Santa Ana Overdrive is powered by a 9V battery or external power supply, an internal charge pump increases the internal operating voltage and stabilizes it, which according to Fender gives better performance from the FETs, and a more tube-like sound.There are two footswitches on the Santa Ana Overdrive. The one on the left is for bypassing the effect.Speaking of bypass, you have two options - either a buffered bypass or a relay based true bypass. These can be selected using a small switch on the back end of the pedal, near the power jack. The second footswitch activates the Santa Ana Overdrive's built in boost circuit. This can be set for either pre-overdrive boost, or post-overdrive boost, with pre-drive boost giving you more grit and distortion, while the post-overdrive option gives you about a 6dB boost in volume level, which can be useful for solos.The pre/post overdrive boost options are also selected with a small switch on the back of the pedal. Very bright LEDs on the top of the unit light up when the boost is engaged, with separate LEDs for pre (Drive) and post (Level) boost, so you can tell which one is selected without having to look at the switch on the back of the pedal.When the Boost footswitch is activated, the appropriate Boost LED will remain lit up, even when the main bypass itself is engaged, so you'll always know the status of the boost.The Santa Ana Overdrive is a knob-rich dirt pedal. You get the expected Drive and Level controls to set the amount of overdrive and the pedal's output level, and these operate as you'd expect, with a wide range of dirt and output levels available.Where most dirt pedals typically offer a single tone control, the Santa Ana Overdrive gives you four knobs, including individual bass, midrange, treble and presence controls. All of these controls work as you'd hope, and it's very easy to dial up just the sound you're after.Ever notice how some amps seem to work better with effects pedals than others? Fender did too, and so they've included a nifty Voice toggle switch. In the A setting it works great with classic American amps such as my beloved Princetons, while the B setting offers an alternative voicing that many will find more suitable for use with British amps. I definitely preferred the B voice option with my Marshall Class 5 and Vox AC15 amps.The Mirror Image Delay is a digital delay, but don't tell it that. It thinks it's an analog delay, or a tape delay… or a doubler. There are three main delay algorithms. These can be selected with a toggle switch. There are also A and B Variations of each (selected with a second toggle), giving you a total of six different algorithms. You get two analog BBD style delays with modulation; one has inverted polarity on the modulation for more flange-like warbles on the echoes. You also get two tape style delays (one more heavily bandpassed and distorted than the other) and two digital delays, including a straight ahead digital delay and a cool doubler / double track emulator. All of the options sound very good.Maximum delay time is algorithm-dependent, but to give you an idea of the Mirror Image Delay's capabilities, Digital, Variation 1 offers a range from 20 ms to about 900 ms.A third toggle switch gives you Dotted 1/8th Note delays. When it's engaged a second delay is added that kicks in with a delay time that's roughly 75% of the main delay time setting.There are a total of five knobs. Time sets the delay time, and again, the range depends on which delay algorithm you have dialed up.The Level knob controls the volume of the delays themselves, and how much of it is blended in with your dry signal. When it's fully counter-clockwise you won't hear any delay at all. When dimed, this gives you a roughly 50/50 mix of dry signal and delays, with both being roughly equal in volume… at least until the delays start fading out.Speaking of fading out, you can set how quickly that happens with the Feedback control, which lets you set the number of echo repeats from one (with the knob fully counter-clockwise) or two (if you're using the Dotted 1/8th switch) to a long trail of them at the highest Feedback settings.You also get Rate and Depth controls. For most of the algorithms and variations these function as controls for modulation, although with Digital Variation 2 (the doubler), the Depth knob instead controls the amount of randomization for the delay, making for a more realistic and less static, artificial and predictable sounding double-track effect.For players who want to run the Mirror Image in a parallel effects loop, a rear panel Dry Kill switch removes the dry signal from the output entirely, leaving only the sound of the repeats. The Mirror Image Delay uses buffered bypass switching, which has the advantage of not abruptly stopping your decaying echoes artificially when you bypass the pedal. Any delays that are happening when you hit the bypass switch will finish decaying naturally. Limitations I wish that the Mirror Image Delay had a second output for stereo. Many guitarists don't bother running stereo rigs - especially live - so this won't be a major concern for many players, but for people like me who love stereo, it would be a really nice addition.There's no tap tempo function on the Mirror Image Delay either, although the dotted 1/8 switch's inclusion almost makes up for it.The Mirror Image isn't capable of runaway feedback, so while it's bound to be a very popular delay with many musicians, it does leave the more experimental and noise-oriented players out; if you want to play the delay as a instrument itself, you'll probably want to look elsewhere.The LEDs are very bright - even the secondary LEDs on the Santa Ana Overdrive are really bright. Fender says they've corrected this, and new units that are going out to dealers have dimmer LEDs. You can get a bit of hiss when you dime the Presence, Treble and Drive knobs on the Santa Ana Overdrive, but if you're doing that, you should expect to get some hiss!I wish The Bends Compressor also had an attack control to let me dial in the exact attack time I'd like, but hey, that's just the recording engineer in me talking. The Blend control is the next best thing since it does allow you to blend in some of your uncompressed signal for more attack when you want it.You can get a bit of chatter and distortion with the fastest Recovery settings on The Bends, but Fender points this out in the manual and it's considered normal behavior. Conclusions The Bends Compressor has a couple of features that are somewhat uncommon on guitar and bass compressor pedals. I really like how the LED changes color to give users a visual cue as to when the threshold is exceeded and compression is active. This feature makes it a lot easier for users who are less familiar with compressors to dive in and use The Bends. The Drive control lets you determine how gently or hard you want to hit the compressor, and although you don't get an attack control, the Blend knob lets you adjust the balance of unprocessed guitar mixed in with the compression, so it never has to sound heavily squashed - unless you want it to. I like the Santa Ana Overdrive's richness and detailed sound, and the EQ section goes way beyond what you'll find on most other pedals, giving you a lot of flexibility in shaping the tone. Kudos to Fender for including the useful boost; even better - giving users the ability to put it before the overdrive for more grindage, or after the overdrive for a volume boost. It's also cool that you get a choice of buffered or true bypass switching. The LEDs are wicked-bright, but that's really the only complaint I can make make about this otherwise outstanding overdrive. The main criticisms that I have about the Mirror Image Delay will probably only bother a small percentage of other players because not everyone needs tap tempo, not that many guitarists run stereo rigs, and many players would actually prefer a delay pedal that can't be accidentally set in such a way as to cause it to feed back. Outside of that, the Mirror Image is a sweet sounding digital delay pedal that also does very credible analog BBD and tape delay emulations.The doubler algorithm (Digital, Variation 2), complete with its user-variable amount of delay randomizations using the Depth knob, is an uncommon yet interesting and useful sounding option too. I love the way the modulation section offers some variations from algorithm to algorithm, and having six different types of delay algorithms gives you a nice selection to choose from. The dotted 1/8 switch will no doubt be very popular as well. All of the pedals in the new lineup from Fender that I've tried seem to be sturdy and well-built, and should withstand the knocks and bumps that musicians can occasionally dish out. Best of all, these are not "me too" clones or poorly designed circuits - they're great sounding all-original pedals that do their intended jobs very well. The other thoughtful features, such as the magnetic battery door with the low battery power LED, the staggered output and input jacks and the lighted LED indicators on the knobs are just cool bonuses that show that Fender really put some thought into the needs of players. Fender's really on to something here with this new line of pedals, and I suspect we'll not only see these pedals sticking around for a while but that we'll also see the line continue to grow. I can't wait to see what they come up with next! In fact, they just released three new pedals to the lineup, which we will be covering soon in part three - stay tuned! -HC- Want to discuss Fender's new line of effects pedals, or have questions or comments about this review? Then head over to this thread in the Effects forum right here on Harmony Central and join the discussion! Resources Fender The Bends Compressor ($129.99 "street") Fender Mirror Image Delay ($149.99 "street") Fender Santa Ana Overdrive ($199.99 "street") Fender The Bends Compressor product web page Fender Mirror Image Delay product web page Fender Santa Ana Overdrive product web page You can purchase the Fender The Bends Compressor from: Sweetwater Guitar Center Musician's Friend You can purchase the Fender Mirror Image Delay from: Sweetwater Guitar Center Musician's Friend You can purchase the Fender Santa Ana Overdrive from: Sweetwater Guitar Center Musician's Friend Fender Demo Videos Santa Ana Overdrive Mirror Image Delay The Bends Compressor __________________________________________________ Phil O'Keefe is a multi-instrumentalist, recording engineer / producer and the Senior Editor of Harmony Central. He has engineered, produced and performed on countless recording sessions in a diverse range of styles, with artists such as Alien Ant Farm, Jules Day, Voodoo Glow Skulls, John McGill, Michael Knott and Alexa's Wish. He is a former featured monthly columnist for EQ magazine, and his articles and product reviews have also appeared in Keyboard, Electronic Musician and Guitar Player magazines.

Ampeg Liquifier Analog Chorus Bassists: Don't let your guitar and keyboard-playing friends try it… by Phil O'Keefe Ampeg has recently expanded its effects pedal offerings with a couple of new stomp boxes that are designed to appeal as much to the guitarist (or keyboardist) in the band as they are to the bassists of the world. We've already had a look at the cool sounding Ampeg Opto Comp compressor and as promised, we're following up with a look at the new Ampeg Liquifier Analog Chorus. Does it work as well as advertised on a variety of instruments? Let's check it out. What You Need To Know Ampeg's Liquifier Analog Chorus isn't just for bass - Ampeg says it's equally effective with other instruments too, such as guitar and keyboards. With that in mind, I tested it with bass, guitar and synths in the course of this review.The Liquifier is housed in a die cast metal enclosure that measures 2.2" H x 2.6" W x 4.5" L and it weighs in at 0.6 lb.The pedal is painted in a cool looking high gloss purple metallic, and the labels are all white, which makes them easy to see. The Ampeg logo is raised, which is a nice visual detail. The input and output jacks are side mounted. Input impedance is 1M ohm, and the output impedance is 200 ohm. Maximum gain is listed in the manual as unity, and there's no significant drop in level when the pedal is active. There are three main controls on the Ampeg Liquifier Analog Chorus pedal. All three of the controls have black mini-sized chicken head style knobs with white pointers.The Rate knob controls the speed of the Liquifier's low frequency oscillator (LFO) and provides a wide range of speeds, although it can be a bit tricky dialing it in at the faster rates in the last 20% or so of the knob's travel. The Depth control determines the amplitude, intensity or depth of the pitch modulation of the chorus effect.The Effects Level control is a mix knob that controls the balance of the wet and dry signals, with the sound being 100% dry (with no audible effect) when fully counter-clockwise, and 100% wet when turned up all the way. So far, you might be thinking that this sounds like the fairly typical three-knob analog chorus pedal, but take a look at that block diagram. What makes this chorus different is the dual analog BBD (bucket brigade device) signal paths. This is different than the typical chorus that only has one delay path.The Rate and Depth controls for the LFO work on both BBDs simultaneously, but the signal feeding one is inverted relative to the other so that they sweep in opposite directions, and then the two are summed back together, giving you "through zero" type phase cancellation as the two lines sweep across the null point.Power can be provided with either a 9V battery or a external power adapter - neither is included, so be prepared to provide your own power. The battery is accessed by removing four screws and the pedal's bottom plate. Power is disconnected when you unplug the input jack, so remember to do that to conserve battery power. There are user-adjustable internal trim pots, switches or jumpers inside.The power jack is located at the top of the pedal, and uses the industry standard 2.1 mm center-negative format. Switching is true bypass.There are two LEDs located directly above the footswitch. The one on the left is purple, and serves as a on/off indicator for the pedal, lighting up whenever the pedal is active. The second LED is green, and it's tied to the Rate control, flashing on and off faster or slower, depending on how high it is set. Limitations The LED that shows you the LFO rate is only active when the effect itself is turned on - it would be nice if it showed you the LFO speed at all times so that you could set the approximate speed you wanted based on the LED's visual cue, even when the pedal is bypassed.There's no stereo or dry output either, which is unfortunate - I'd really like to hear those dual BBD paths running in stereo.The speed really increases dramatically in the top 15% or so of the Rate control's range, making fine tuning of the pedal's fastest settings touchy and tricky. Still, it's worth exploring some of the unusual and non-typical sounds that can be achieved with very fast Rate settings. Conclusions Ampeg says that the dual choruses "give you a richer, deeper, warmer chorus effect", and it's really hard to argue with that. The Liquifier Analog Chorus is certainly capable of achieving your usual chorus sounds, but it can also make sounds that most traditional choruses can not create, including super-fast wobbles and true "through zero" phase cancellation - something that is typically associated with flangers and not chorus pedals. In fact, I am unaware of any other chorus that features that capability. Some of the sounds I got from the Liquifier reminded me of the old Ibanez BC9 Bi-Mode Chorus from the 1980s. While the Liquifier doesn't have its dual speed and width controls or the dual oscillators of the BC9, it does have a similar lushness to the chorus effect, and you can get some pretty uncharacteristic non-chorus type sounds at the more extreme points on the controls. I do wish that the rate LED stayed illuminated at all times, but that's not going to be a deal-breaker for a lot of people. I also wish it had a bit more linear Rate control and that it didn't put so much of the range into the final 20% of the control, and I also wish it had a stereo output, but again, since most players use mono rigs, this isn't going to bother most people either. All in all Ampeg has come up with a very interesting and cool sounding chorus with the new Liquifier. Whether I was using it with bass or guitar, or running a synth through it, it worked equally well and never failed to put a smile on my face. It's very reasonably priced too, and not just a clone of what everyone else has done. It's a sweet sounding chorus pedal that goes beyond the ordinary, and bassists are going to like it a lot. Just don't let the guitarist or keyboardist in your band try it out for a while - you might not ever get it back. -HC- Want to discuss the Ampeg Liquifier Analog Chorus or have questions or comments about this review? Then head over to this thread in the Effects forum right here on Harmony Central and join the discussion! Resources Ampeg Liquifier Analog Chorus pedal ($139.99 MSRP, $99.99 "street") Ampeg's product web page Ampeg Liquifier Analog Chorus owner's manual (PDF file) You can purchase the Ampeg Liquifier Analog Chorus from: Sweetwater Guitar Center B&H Photo Video Musician's Friend __________________________________________________ Phil O'Keefe is a multi-instrumentalist, recording engineer / producer and the Senior Editor of Harmony Central. He has engineered, produced and performed on countless recording sessions in a diverse range of styles, with artists such as Alien Ant Farm, Jules Day, Voodoo Glow Skulls, John McGill, Michael Knott and Alexa's Wish. He is a former featured monthly columnist for EQ magazine, and his articles and product reviews have also appeared in Keyboard, Electronic Musician and Guitar Player magazines.

Fender Effects Part 1 In part one of this two part review we look at the Pugilist Distortion, Marine Layer Reverb and Level Set Buffer by Phil O'Keefe Fender has long been a major player when it comes to guitars and amps, but they've been a bit less consistent with their effects offerings. Sure, there are some knockouts in Fender effects history (such as the Fender Blender, Fuzz-Wah, and the legendary Fender 6G15 Reverb unit), but they haven't always offered a full line of effects pedals, and when they have, the pedals have often been somewhat uninspired and have met with lukewarm response from players. Stan Cotey, Fender's Vice President of Product Innovation, decided it was time for Fender to get serious about pedals, and he set out to put together a no-excuses line of all-original pedal designs that would be able to go the distance. The first six pedals in the new lineup has been followed with the announcement of an additional three pedals (Full Moon Distortion, The Pelt fuzz and Engager Boost) that are not part of this review - we'll be focusing on the initial six pedals released in the new lineup, and in order to consider each in a bit more detail, we're going to break the review up into two parts. We'll be looking at The Bends Compressor, Santa Ana Overdrive and Mirror Image Delay in part two, but for now, let's get things started by checking out the Level Set Buffer, Pugilist Distortion, and Marine Layer Reverb. What You Need To Know The new line of effects pedals from Fender features all-new circuits that were designed in California; primarily by Stan Cotey (the Santa Ana Overdrive was designed by Alex Aguilar). While the input and feedback from a variety of notable live and studio musicians was sought, Cotey designed the pedals in the tradition of boutique builders everywhere - often working in his garage in his spare time, doing it for the love of designing, and in an effort to create the types of pedals that he himself always wanted. All of the pedals in the new lineup have some cool features in common that show some serious thought went into their design. Rather than repeat them, let's look at these before we get into the details of the individual pedals.Each pedal is packed into a lightweight yet tough anodized aluminum enclosure. Larger pedals in the series (like the Pugilist Distortion and Marine Layer Reverb) measure 3.75" W x 2.5" H x 4.9" L and weigh 1.2 lb, while The Bends Compressor and Level Set Buffer are packed into more compact enclosures that measure 2.75" W x 2.5" H x 4.9" L and weight .9 lb. The input and output jacks are side mounted and staggered in such a way as to minimize the space needed in between pedals for the plugs and wiring. The input impedance is 1M Ohm and the output impedance is >10k Ohm for all of the pedals in the series. Every pedal in the line has a smaller version of the classic Fender amp "jewel lamp" that serves as the "pedal on" indicator. The color of the jewel lamps varies from pedal to pedal, which makes identifying which ones are turned on much easier, even on a dark stage. The Pugilist Distortion has a orange-yellow lamp, the Level Set Buffer has a white jewel lamp, while the Marine Layer Reverb's jewel lamp is green. Fender wanted to make sure you could always see where the knobs are pointed, so they gave them LED illuminated indicators so they can be seen even in the darkest of stage or studio conditions. They remain lit, even when the pedal is bypassed. The LEDs on the knobs can be disabled with a LED on/off slider switch (located on the rear of the pedals near the power jack) to reduce the current draw when operating the pedals on battery power. All of the pedals can be powered by either a 9V battery or an external power supply (neither of which is included) - the power jack for each pedal is located at the end that faces away from you, and all of the pedals in Fender's new lineup use industry standard 2.1 mm center-negative power receptacles. The battery compartment is located at the opposite end of the pedals, and it's cleverly designed with a spring-loaded, hinged battery door that magnetically latches, so you don't need any tools to open it, and there's no screws or other parts to get lost. Depending on how you space your pedals on your board, you can usually access the battery compartments on these pedals without having to remove them from the board - a big advantage for those who prefer using batteries. Another nice detail is the small red LED on the battery compartment door of each pedal that lights up to let you know when the battery is getting weak and needs to be replaced. Power requirements vary by model, and whether or not you're using the LED illuminators on the knobs. The Pugilist draws 22 mA @ 9V DC, with 88 mA total current consumption when using the LEDs. The Marine Layer needs 71 mA @ 9V DC, with 115 mA total current consumption, while the Level Set Buffer draws 14 mA @ 9V DC, with 64 mA total current consumption. As you can see, turning off the LEDs does make a considerable difference in the power requirements. The Level Set Buffer is an interesting pedal. It was designed with three main purposes in mind. First, it's a buffer, so when you place it at the front of your pedal chain it helps reduce signal loss and high frequency rolloff when you're using longer cable runs and have several pedals chained together. As a buffer it works quite well, keeping the signal nice and robust. A Load toggle switch gives you the option of impedance loading your guitar pickups similarly to plugging straight into the front of a tube amp. Switching on the Level Set Buffer functions a bit differently than the other pedals in this series. Instead of kicking over to a true bypassed signal at the output jack when you step on the switch, the signal to the main output is muted completely. This allows you to use a tuner connected to the pedal's secondary tuner output jack (which remains active at all times) so you can tune while the signal is active, or silently, depending on whether you use the Mute footswitch or not. The Level Set Buffer has a third function. The onboard Level and Hi-Freq(ency) controls each offer up to 12 dB of boost or cut. This allows you to fine tune the output to compensate for the use of different instruments. For example, if you usually use a Telecaster but want to switch to an SG for a couple of songs in the set, you can reach down and adjust these controls to balance the levels and presence instead of having to adjust your amp and / or dirt pedal settings to compensate for the darker and hotter pickups in the SG. Here's where I would have designed the pedal a bit differently - I would have included a second footswitch (or even a toggle switch) to allow users to kick the Level and Hi-Freq. controls on and off without muting the pedal; this would allow you to pre-set the knobs for two different instruments, using the Mute footswitch when unplugging to switch between them (or when tuning), and the second footswitch (or toggle) to quickly turn the EQ and Level adjustment on or off without having to manually re-adjust the position of the knobs every time you switch instruments. It would also allow you to use the Level Set Buffer as a traditional footswitched lead or level boost too. Outside of that one wish list item, the Level Set Buffer is a solid pedal that works as advertised. The Pugilist Distortion is a highly versatile pedal with dual distortion circuits (labeled A and B) onboard. Each of these has its own separate Gain and Tone control. The dual Tone controls each use a low pass filter and allow you to roll off treble for each Distortion separately.Distortion A has less gain than Distortion B does, and can be used by itself for lower gain overdrive tones. This is accomplished by turning the pedal's Blend control all the way to the A position. Using the same knob, it's possible to use distortion B by itself, or to run them together in parallel, blending the two together in any ratio that you desire. A small Series toggle switch allows you to configure the two distortion engines so they're running in series, with the output of Distortion A feeding into Distortion B, instead of blending them in parallel. This allows you to get truly massive amounts of grind and dirt, yet still retain a surprising amount of clarity. This pedal can create a wider range of overdrive and distortion tones than most other dirt pedals, and it sounds great. A Bass Boost switch is also included. This lets you add lower midrange and bass to fatten up the signal when you're running into a cleaner amp and want more bottom, or you can turn it off when you're running into an amp that's already distorting on its own to prevent things from getting too muddy. A Level control allows you to adjust the overall output level of the Pugilist Distortion pedal. You can very easily exceed unity gain and slam the input of your amp with extra-hot levels if you want. The Marine Layer Reverb's name was likely inspired by a local weather condition that we Southern Californians experience in late spring each year, where a layer of ocean clouds, fog and moisture moves inland in the early morning and blankets the area in overcast until it burns off in the afternoon sun. The Marine Layer is a cool sounding digital reverb pedal that is less tenuous than the name might suggest, and I predict it will also have much better staying power. The Marine Layer's bypass footswitch works a bit differently than most of the pedals in the new lineup. Instead of killing the signal post-reverb, it mutes the signal going into the reverb processor and routes the dry signal directly to the output, but the reverb's output remains engaged too, allowing any sustaining tails to continue to ring out without being abruptly and unnaturally cut off. There are four knobs. A Pre Delay knob allows you to delay the onset of the reverb ever so slightly (we're talking about a matter of milliseconds here folks), putting a bit of space between your note and the start of the blooming reverb sound. Lower Pre Delay settings give you a more instantaneous onset of the reverb effect, while higher settings increase the gap between your note and the reverb's onset, giving the sound more definition and clarity.The Reverb Time knob lets you adjust the decay time of the reverb tail and how long the reverb will ring out. Minimum and maximum decay times will depend on which of the available reverb algorithms you select. Damping lets you adjust how the sound changes as it decays, with higher settings giving you more even decay across the frequency spectrum, while lower settings dampen the high frequencies and cause the reverb to get darker as it decays and helps keep subsequent notes from getting lost in the reverb tails from previous ones.The Level control lets you dial in how much or how little of the reverb you want to hear mixed in with your dry signal, from none at its lowest setting to a 50/50 mix when turned all the way up.You'll also find three toggle switches on the top of the Marine Layer Reverb. A Filter toggle switch cuts some of the treble in the reverb signal and makes any reverb sound warmer and less present. The three-position Reverb Type switch lets you choose between Hall, Room or Special reverb algorithms. A second Variation switch expands on those options, giving you two options for each of the Reverb types, for a total of six different effects: Hall 1/2, Room 1/2, and Special 1/2.Hall 1 is more of a standard Hall verb, while Hall 2 sounds more like a brighter studio Plate reverb. Room 1 simulates larger rooms like recording studios and conference rooms, while Room 2 offers the tighter ambience that is more typical of smaller spaces. This can be used to simulate the early reflections that are so crucial to small space ambience, especially if you crank up the Pre Delay. The two Special reverb variations will be loved by dream-pop and more ambient, atmospheric and texturally oriented players, with Variation 1 giving you a modulated cathedral reverb effect, while Variation 2 offers a octave up "shimmer" type reverb. When Variation 1 is cranked up you get the aural equivalent of the Southern California "June Gloom" marine layer that the pedal itself is named after. Both Special effects sound very cool. On the rear of the Marine Layer Reverb (near the power jack and LED on/off switch) you'll find a second slider that isn't found on the other two pedals we're looking at this time around. When engaged, it does exactly what the Kill Dry label on the switch suggests - it kills the dry signal completely, leaving only the reverb signal present at the output jack. This can be very useful when using the Marine Layer Reverb in a parallel effects loop. Limitations The LED illuminated Jewel Lamp indicators on all of the pedals are silly-bright; they're actually brighter than the ones on my vintage Fender amps. So much so that they make it next to impossible to read the labels of the various controls on the pedals when the effects are active. You'll remember what the controls do fairly quickly, and the LED illuminated knobs are still visible through the glare, but it still wouldn't hurt if Fender cut back on the Jewel Lamp brightness a bit. However, the brightness does have the advantage of making the pedal status easier to see if you're doing an outdoor gig. The LEDs on two of the knobs (Tone A and Blend) on the Pugilist Distortion both simultaneously stopped working one day while I was testing the pedal, and never came back to life. In spite of extended and heavy use, the problem hasn't occurred on any of the other five pedals, nor have any of the other LEDs on the Pugilist developed any issues, and the controls themselves continue to work properly. Fender assures me that this is a very uncommon issue that has only been encountered a handful of times, and they offered to send another pedal for me to examine, but the review deadline prevented me from doing so. I'll definitely be buying one of these pedals for my own collection, so I'm obviously not too worried about it. There is no Spring reverb option available on the Marine Layer Reverb pedal, although since many players will already have one built into their amps, it may not be missed. Conclusions When I heard that Fender was coming out with a new line of effects pedals, I had memories of the previous Competition series in mind and wasn't really expecting great things. Boy was I wrong! These are some very well designed and thought-out pedals, and definitely not just a rehashing of what other companies have released. Of the three pedals under consideration here, I was surprised to find that I liked the Pugilist Distortion the most. I'm usually more of an overdrive kind of guy, but the Pugilist knocked me out with its great tone and impressive versatility. I'll definitely be adding one of these pedals to my personal pedal collection. The Marine Layer Reverb was a close second. With its nice selection of different reverb types and less than commonly-found features such as the Pre Delay, Damping and Dry Kill switch, it's easy to dial up just the type of reverb sound you're looking for - as long as you're not looking for a spring reverb emulation, that is. Then again, many amps already have a spring reverb built-in, so you may not miss it, and it probably makes more sense to offer players different algorithms for the sake of variety. I was less enamored with the Level Set Buffer. Not because of its sound, but due to the way it operates. I would have preferred either a second footswitch or even a toggle switch so I could quickly turn the Level and High Frequency trim controls on or off when switching from a single coil to a humbucker-equipped guitar and back again. As it is now, you have to manually adjust those knobs when switching guitars. A footswitch would be faster and allow you to preset those controls and leave them set. Being able to switch the signal off completely for silent tuning (and the inclusion of a second tuner output that's always active) are nice features, and the pedal does let you use your tuner at any time, with or without muting your signal - your choice. The buffer itself does keep your signal nice and hot (and helps keep your high frequencies intact) even when using long chains of pedals, so if you need a good buffer, this is certainly a solid contender. Fender said they wanted to get into the effects world and stay involved for the long haul, and this impressive and expanding series shows just how serious they are about that goal. These pedals have more in common sonically with their legendary pedals of the past than they do with some of the more disappointing releases in Fender's history, and I'm happy to report that the whole lineup is consistently good this time around. Overall, this series of pedals is the best lineup Fender has ever released, and by a considerable margin. They'll go toe to toe with just about anything else out there, and they're reasonably priced too. Be sure to check out part two of this review where we'll be looking at the Santa Ana Overdrive, The Bends Compressor and the Mirror Image Delay. -HC- Want to discuss the new Fender Marine Layer, Level Set Buffer and Pugilist Distortion effects, or have questions or comments about this review? Then head over to this thread in the Effects forum right here on Harmony Central and join the discussion! Resources Fender Pugilist Distortion ($99.99 "street"), Fender Level Set Buffer ($99.99 "street") and Fender Marine Layer Reverb ($149.99 "street") Fender's Pugilist Distortion product web page Fender's Level Set Buffer product web page Fender's Marine Layer Reverb product web page You can also purchase the Fender effects pedals from: Sweetwater Pugilist Distortion Level Set Buffer Marine Layer Reverb Guitar Center Pugilist Distortion Level Set Buffer Marine Layer Reverb Musician's Friend Pugilist Distortion Level Set Buffer Marine Layer Reverb __________________________________________________ Phil O'Keefe is a multi-instrumentalist, recording engineer / producer and the Senior Editor of Harmony Central. He has engineered, produced and performed on countless recording sessions in a diverse range of styles, with artists such as Alien Ant Farm, Jules Day, Voodoo Glow Skulls, John McGill, Michael Knott and Alexa's Wish. He is a former featured monthly columnist for EQ magazine, and his articles and product reviews have also appeared in Keyboard, Electronic Musician and Guitar Player magazines.

Fender Player Stratocaster Floyd Rose HSS A new standard for players looking for their first Fender? by Phil O'Keefe Fender's Standard Series of made in Mexico guitars have long represented some of the best values that Fender has offered to musicians. Priced lower than Fender's American-made guitars, they still offered the same classic look, similar sound, and very good playability at a price that made them attractive to neophyte players looking for their first "real" Fender, as well as value-conscious pros and aspiring pros. However, Fender recently discontinued the Standard Series, and has released a replacement called the Player Series. Today we'll be taking a close look at one of the new models from the new MIM lineup and seeing how it compares to its predecessors. What You Need To Know The new Fender Player series replaces the previous Made in Mexico (MIM) Standard Series. I was originally sent one guitar, but through a mix-up at the Fender warehouse, I was sent a second while I was in the process of finishing up this review, so I was able to test one example of this model extensively over a few weeks, and closely examine a second guitar of the same type for a few days.The HSS Stratocaster Floyd Rose that I spent the most time with is a 3-color sunburst. The body is alder, and while it's mult-piece, the pieces are so well matched that it appears to be a one-piece body, but it's not. The body seems to have smoother contours compared to the previous MIM Standard Series. The bevels for the tummy cut and forearm contour are smoother and less angular, and more in line with the American made models. The finish on the body is gloss polyester, and is very well applied, with no visible flaws. In my experience, Fender Ensenada has always been good about the quality of the finishes on their bodies, and the new Player Series features some brand new colors. The four available colors correspond with fingerboard wood options. Sunburst and Sonic Red (the two colors I examined) come with a pau ferro fretboard while the Tidepool and Polar White color options are only available with maple, but retail for $25 less ($749.99 "street") than the guitars with the pau ferro fretboards.For those who are unfamiliar with it, pau ferro has similar sonic qualities to rosewood. It's a bit harder and brighter, and it has a similar look that's a little lighter in color, but it's a good substitute for rosewood, which has become more regulated in recent years. The assembly and setup from the factory was generally good. Although the action was lower than I personally prefer (especially on the Sonic Red guitar), it was for the most part buzz-free, and low action totally suits an instrument that's clearly aimed at rockers and shredders. The locking Floyd Rose bridge was well-adjusted all the way around, so the intonation was good right out of the box too. The Floyd Rose is a double-locking vibrato system that does a far better job of staying in tune than other systems, even when used aggressively. I was able to "dive bomb" to the point where the strings were totally slack, and the system still returned to pitch reliably. The fine tuners on the bridge offer plenty of adjustment for making any necessary tuning corrections, but for the most part I didn't have to use them a lot.The frets on the 3-color sunburst could have used just a bit more polishing - they felt a bit gritty on the top when I first started playing the guitar, but this went away fairly quickly. This wasn't an issue with the Sonic Red example. Fortunately, the fret edges are smooth and well-dressed. on both guitars The 22 fret maple neck is a new feature compared to the 21 fret necks of the previous MIM Standard Series guitars. It is accomplished with a short fingerboard "extension" that goes past the end of the neck. The neck has a walnut "skunk stripe" and satin urethane finish on the back, while the headstock is gloss urethane. The 22 frets are medium jumbos. There are white dot fret markers on both the front and the side of the fingerboard. There was a very small dark spot in the satin finish of the neck near the headstock on the sunburst guitar. The scale length is the traditional 25.5", but the fingerboard radius is 12", so it's flatter than a vintage-spec neck (as well as flatter than other models in the new Player Series - most of which have a 9.5" radius), which makes string bending easier and fretting out when doing so far less likely, even when the action is set fairly low, as it is here.The neck profile has what Fender calls a Modern C shape, and it's very comfortable.Nut width is 1.6875", and the guitar comes equipped with a Floyd Rose locking nut. An allen wrench to tighten and loosen it is also included, along with a second one for adjusting the truss rod. Neck thickness measured .810" at the first fret. The tuning machines are smooth working Fender-branded Standard cast-style sealed units. They have a 14:1 gear ratio. Of course, with a Floyd Rose installed, once you get the guitar tuned up and the nut locked down, the tuners themselves are out of the equation, and any touch-up you need to do is handled with the fine tuners on the Floyd Rose bridge itself.The headstock features a vintage "spaghetti" style Fender logo.The standard truss rod adjusts at the headstock end, which is much easier than vintage Fenders, which have the truss rod adjustment at the body end of the neck.The neck pocket is nice and tight, with no gaps on either side. The neck is attached with four bolts, and the neck plate features a Fender F logo. Fender is using new pickups on the Player Series models. They're a little bit hotter and more refined sounding than the pickups in the previous MIM Standard Series, and they now feature AlNiCo magnets instead of the ceramic magnets of the previous series. The single coil pickups use AlNiCo 5 magnets with staggered polepieces while the humbucker has AlNiCo 2 magnets. The controls and pickup covers are white plastic, while the pickguard is a black / white / black 3-ply unit that looks great against both the 3-color sunburst and the Sonic Red finishes. A standard five-way switch (with a parchment colored switch tip) is included. In position 1 the bridge humbucker runs by itself, position 2 gives you the outer coil of the humbucker plus the middle pickup, position 3 is the middle pickup alone, position 4 is the middle and neck pickups together, and position 5 is the neck pickup by itself.Position 1 is a bit hotter than the others, as you would expect, but the other positions are not unduly weak or under-powered in comparison. Positions 1, 2 and 4 are all hum-free, which means the middle pickup is reverse wound and reverse magnetic polarity (RWRP).Like most Strats, the Fender Player Series Stratocaster Floyd Rose HSS has three control knobs. The one closest to the strings is a master volume control. The other two are tone controls.The tone controls have received an update on the new Player Series too. Traditionally a Strat has had one tone control assigned to the neck pickup and the second assigned to the middle pickup. On the new Player Series the middle knob adjusts the tone for the neck and middle pickups, while the second tone knob is dedicated to the bridge pickup. It may not be "traditional", but it is a far more practical and useful arrangement.Underneath the pickguard the control and pickup cavities are painted with black shielding paint, and the pickguard has a layer of foil too, so the guitar is very well shielded. The wire routing isn't the cleanest I've ever seen, but the quality of the soldering and parts is very good, with a decent quality switch and CTS pots. Limitations One of the white dot position inlays on the 3-color sunburst guitar had a ding in the center of it. The edges of the pau ferro fingerboard are fairly sharp and un-rounded on both guitars, which is an issue I've noticed on the past few MIM Fenders I've reviewed, including the Mustang 90 and the Mustang Bass PJ.As was true with the previous Standard series, no case or gig bag is included, so budget accordingly. Conclusions All in all, I really like the changes that Fender has made with the new Player Series. The satin-finished neck has a very comfortable profile and I liked the fast-playing, smooth finish. The body feels more comfortable too, with smoother, more gradual contours, and the pickups are a significant step up from the MIM Standard Series, so it sounds better too. The changes to the rest of the electronics, with the reassigned tone controls, makes sense, and gives you a lot more tonal versatility. The new colors offer you some cool looking cosmetic options as well. The switch from rosewood to pau ferro for the fretboard feels more familiar than you might think, and makes sense considering the increasing restrictions on rosewood, although I do wish Fender would do something to round the fretboard edges a bit - the sharpness there is my biggest complaint. The finish blemish behind the headstock and nick to the fretboard dot on one of the two guitars I examined are minor niggles in comparison - neither of which could be felt while playing the guitar. The Floyd Rose worked flawlessly, and it's nice to see Fender offering this, as well as the HSS pickup configuration, as an option. While there's nothing really revolutionary going on here, the improvements made with the new Player Series represent a nice evolutionary step, and will no doubt attract many of the next generation of players, as well as continue to be a popular option for value-conscious professionals. -HC- Want to discuss the Fender Player Series HSS Stratocaster Floyd Rose or have questions or comments about this review? Then head over to this thread in the Electric Guitar forum right here on Harmony Central and join the discussion! Resources Fender Player Series HSS Stratocaster Floyd Rose ($774.99 "street" / $749.99 "street", depending on color and fretboard wood) Fender's product web page You can purchase the Fender Player Series HSS Stratocaster Floyd Rose from: Sweetwater Guitar Center Musician's Friend __________________________________________________ Phil O'Keefe is a multi-instrumentalist, recording engineer / producer and the Senior Editor of Harmony Central. He has engineered, produced and performed on countless recording sessions in a diverse range of styles, with artists such as Alien Ant Farm, Jules Day, Voodoo Glow Skulls, John McGill, Michael Knott and Alexa's Wish. He is a former featured monthly columnist for EQ magazine, and his articles and product reviews have also appeared in Keyboard, Electronic Musician and Guitar Player magazines.

Warm Audio WA-47 Multipattern Tube Condenser Mic Is this new mic destined to become the volksmikrophon of the project studio universe? by Phil O'Keefe When it comes to microphones, there are few that can lay claim to as much legendary notoriety as the Neumann U47. It was Neumann's first post-war mic, it was the first mic with a pattern select switch, and its condenser mic technology provided a huge improvement over the standard ribbon microphones of the day in terms of detail and high frequency response; this resulted in significant changes in the recording and broadcast industries, with the state of the art U47 becoming the new industry standard for vocal recording. And boy, has it been used on a ton of recordings - from Sinatra to Ella, the Beach Boys to The Beatles, it's one of the "big five" legendary vocal microphones. It's also been used to record tons of other instruments too. But the U47 (and its close sibling, the U48) has a dark side - replacement tubes are next to impossible to obtain. This has been an issue since the late 1950s and resulted in Neumann discontinuing U47 production, and led to the stratospheric rise in prices for vintage U47s and tubes for them, with mics going for five figure prices, and even a replacement tube for one selling for thousands of dollars - if you can find one. Enter Warm Audio, a company that has built their reputation on mass-producing high-quality reproductions of some of the most coveted vintage studio gear at real-word prices. One of their latest projects is a microphone inspired by the famous U47, which they've named the Warm Audio WA-47. Let's take a close look at one and see how similar it is to the mic that inspired it, and in what ways it's different. What You Need To Know The Warm Audio WA-47 is a large diaphragm, multipattern tube microphone that was inspired by the vintage U47. Visually it looks quite similar. The microphone itself measures 254 mm long and it's 63 mm in diameter at the widest point of the head basket, so its considerable size is very similar to the "long body" version of the original mic. The metal body is finished in a matte gray, while the head basket and grille are chromed. A round WA logo badge is located at the front of the mic, while on the back the Warm Audio and AMI brand names are printed. Unlike the original U47 (which has a pattern select switch on the bottom chromed area of the head basket), there are no switches anywhere on the WA-47 itself. The WA-47 comes with an external power supply, which it needs in order to operate. It can be set for either 115V or 220V operation. An IEC power cable is included. You'll find a power switch and blue jewel lamp on one end of the power supply, and a 9-position rotary switch on the other end. This is used for setting the desired polar pattern. No need to wait for a WA-48 - unlike the original '47 (which offers cardioid and omnidirectional patterns), or the closely-related U48 (which has cardioid and figure-8), the WA-47 offers not only cardioid, omni and figure-8 polar patterns, but also three intermediary steps between omni and cardioid, and another three in between cardioid and figure-8, giving it excellent pattern adjustability.In addition to a regular XLR output cable, tube mics need a dedicated multi-pin cable to connect the mic to the power supply. Warm Audio didn't skimp here - the WA-47 comes with a high-end Swiss-made Gotham Audio GAC-7 7-pin cable with Zwee connectors. The Gotham GAC-7 cable is a bit on the short side at five meters (16.5'), but not ridiculously so, and it's nice to see such a nice, high-end cable included.There are four main elements to the classic U47 that most experts feel contribute to the majority of its sonic character - the head grille shape, size and screens, the condenser capsule, the tube, and the output transformer. Let's look at how Warm Audio has addressed each of these areas.The physical size, shape, and internal cubic volume of the head basket on the WA-47 is very similar to the mic that inspired it, with a three-layer mesh consisting of thicker outer and inner mesh with a finer mesh sandwiched in between. The U47 used two different capsules over its lifetime - the M7 and the K47. The original M7 used PVC membranes for the diaphragms that hardened over time and suffered a loss in low frequency response. The K47 uses Mylar instead, and doesn't suffer from that issue. Sonically both the M7 and K47 style capsules have their fans, but both are equally capable of great sound. Checking out the interior of the Warm Audio WA-47 reveals an Australian-built recreation of a K47 capsule. It carries the Warm Audio model number WA-47-B-80V. The WA-47-B-80V capsule appears to be very well made and it has all the features you'd expect to find in a K47-style capsule - it uses a single backplate with the distinctive K47 hole pattern, and six micron NOS Mylar (PET film) gold sputtered center-terminated dual diaphragms.The metal-bodied VF14 tube used in the original U47 and U48 was made from 1946 until 1957, and Neumann was given first crack at every VF14 tube Telefunken made - those that met their requirements for frequency response, low noise, low grid current, low microphonics and low distortion were stamped with an M (for Mikrofon) and used in their U47 and U48 microphones. According to those in the know, less than one in every three VF14 tubes were up to the task of being used in a mic, and the rest were set back to Telefunken and used in consumer radios. Those rejected tubes either won't work at all in a mic, or if they do, the mic won't sound right. There simply aren't any stockpiles of usable VF14M tubes left.Because of the lack of new VF14M tubes, everyone who has ever wanted to build a U47 style mic has faced the question of what tube to use in its place. Even as early as the late 1950s the supply of suitable tubes was starting to dry up. Neumann's replacement was the Nuvistor, which was nearly universally disliked. Others have used various different tubes in the '47-style mics, including EF12, EF14, EF80 / EF800, EF86, EF732, EF814k, 407A and 408A and various tubes in the 12AX7 family - 12AX7, 12AT7, 6072. etc.The Warm Audio WA-47 uses a JJ Electronic Slovak-built 5751 twin triode tube. This is somewhat similar to a ruggedized 12AX7 with a lower gain factor (70 instead of 100). The 5751 tube is designed to run with either a 6.3 or 12.6 volt heater voltage and a maximum DC plate voltage of 330V. The VF14M used a 105V DC B+ voltage, and it was under-heated in the U47, with the tube filament running at around 35V instead of the 55V the tube was designed for. Of course, the 5751 is a completely different tube, so this is one area where necessity demands a different approach to the design than what the original used.Warm Audio seems to have taken the approach of using a quiet and relatively neutral sounding tube to replace the unobtainable originals. This lets them put more of the focus on letting the sound of the capsule and transformer shine through. Considering their dual goals of trying to emulate the sound of a classic mic and trying to keep the price affordable, coupled with the unavailability of the original tubes, this seems like a reasonable approach to this reviewer.It's not that the 5751 doesn't add to the sound of the mic - in fact, I suspect it contributes significantly (along with the output transformer) to the WA-47's very appealing subtle distortion, which kicks in gradually as the sound source you're miking up gets progressively louder. It's not a heavy distortion, but a subtle growl and grit that really adds character when things get hot and heavy.The overall build quality of the WA-47 is very good, and for the most part, so are the parts that have been selected. The WA-47 uses 1% tolerance metal film resistors. The capacitors are WIMA, Solen French, and polystyrene. The transformer used in a microphone can have a big impact on the sound. The original U47 used a BV8 transformer. Warm Audio is using a high-end Tab-Funkenwerk (AMI) USA-built output transformer. It's marked as a WA Ollie Special - most probably as a tribute to the late Oliver Archut from AMI, who was one of the world's foremost experts on German-built vintage audio equipment. While the WA Ollie Special is in impressive piece of iron from a very well-regarded company, I don't suspect it's identical to a BV8 in all respects. The tube feeding it is different, with different specifications, so the transformer's specifications would have to be at least somewhat different to accommodate that. As far as accessories, the WA-47 comes with everything you need, including the power supply, the 7-pin cable, a shock mount (with two extra elastic bands and an adapter for European mic stands), and a wooden storage box for the microphone itself. About the only thing you don't get is a camera style case, but considering the package price, it's not an unreasonable omission. The cardboard box the WA-47 comes in has foam cutouts for everything and will serve just fine as a place to store the mic, power supply, and accessories when they are not in use. The sound of original U47's varies quite a bit due to their age and varying condition. Whether or not they've been modified for a different tube, and whether or not they've been professionally restored and reconditioned can also have an influence. This makes trying to match the "sound of a U47" tricky since they can vary so much. Still, an unmodified U47 in decent operating condition will usually have a warm, silky and detailed sound with a bit of a peak at around 3-4 kHz, as well as a second one in the 8-10 kHz region. These are not too drastic - about 3 to 5 dB or so, but they add to the definition and clarity, and help vocals to cut through. Additionally, they will have gobs of proximity effect in the 100 Hz region when you get in close.The WA-47 has a very similar sonic signature. Its output is fairly hot, so it doesn't require a ton of gain from your mic preamp. You'll want to use a preamp with an input impedance of 2 k ohms or higher though. The off-axis sound is fairly neutral by large diaphragm mic standards. The WA-47 has a detailed sounding midrange. The highs are not excessively bright like many low-cost condenser mics, but it's not overly dark or muffled sounding either. Going off of my memory of the U47's I've used (and not side by side comparisons) there is not quite as much of the upper end lift as a real U47, and the WA-47 isn't quite as "big" sounding. It's warm and full, but not quite as much so as a really good U47, and there's not quite as much size when it comes to the proximity effect boost. It gets bigger, but not as much as a real '47 does…but considering the price and the different tubes, it's remarkable how close they got it to the overall vibe of the original.One area where the WA-47 surpasses the original is in noise; with a 11 dBA self noise spec and a 82 dBA signal to noise ratio, it's much quieter than any U47 that I've ever heard. Limitations There is no pad or high pass filter on the mic or the power supply, but then again, a vintage U47 doesn't have those features either.The two bands that lock the mic into the shock mount don't grip the microphone quite as firmly as they should, so it has a tendency to slip - which could be disastrous if the mic were to fall to the floor. Thicker rubber inside of the bands would help to keep the mic from slipping.Are you looking for an exact clone of a vintage mic? If so, then this isn't what you're after. It is not identical to a real U47 in all respects (different pattern switching, different tube, transformer value differences, etc.) , but you really can't expect a mic that sells for under $1k to be an exact clone when the original tubes alone sell for several times more than the WA-47 costs. Let me be clear: This isn't a U47, or even a part-for-part clone of one. But while it's not exactly the same thing, when you evaluate this mic on its own merits, it doesn't disappoint. Conclusions What are your expectations? I think it's safe to say that if you're expecting this mic to be a perfect clone of a vintage U47 you're going to be highly disappointed - but I also think that if you're expecting that from a mic that sells for $899 you're really expecting way too much, if for no other reason than the fact that the nearly unobtainable VF14M tubes you need to remain 100% true to the originals now cost several times that much when you can find one for sale. Fortunately, high quality 5751 tubes are still readily available, so if you ever need to re-tube your WA-47, you shouldn't have to pay through the nose to do it. I do have a couple of quibbles. I can't really fault Warm Audio for the lack of a pad or high pass filter when the mic that inspired the WA-47 didn't have them either, although both would be nice to have. The lack of a camera case for storage and transport really can't be held against Warm Audio at this price point either - they put their money into the microphone components, which is as it should be… but I do wish the shockmount held the microphone more securely. With the stock unmodified shockmount, I would caution against using a "hanging" orientation for the mic, with the capsule below the body - the potential for a disastrous accidental drop is too great. When it's mounted upright, with the capsule sitting above the body, the WA badge serves as a failsafe and prevents the mic from dropping out of the mount completely, even if it does slip. Neophytes shouldn't buy one of these mics with the expectation that it's going to give then a "U47" - it's not. But it does bear a strong sonic resemblance to those vintage classics, and it does so at a price that's much less than any other '47-inspired mic that I'm aware of. And again, considering the price is 1/16th of what a vintage '47 typically goes for, it's amazing that the Warm Audio WA-47 has a sound that is as similar as it is to those vintage classics. This mic does have a heck of a lot going for it. The nine polar patterns are a step up from the original U47's choice of two, and being able to change patterns remotely (at the power supply) means you can do so without having to get in-between what you're trying to record and the mic to change the setting. It sounds fantastic on vocals, but it's also well-suited for use on a variety of instruments too, and it performed well for me as a drum room mic (I'd love to try a pair on stereo overheads), hand percussion, acoustic guitar, and guitar amps. I didn't have the opportunity to try it on upright bass during my tests, but I suspect it would perform very well there as well. The WA-47 is destined to become the volksmikrophon of the project studio crowd, and it's not just for those who can't afford the real thing… regardless of price, es ist ein wunderbares mikrophon! I suspect we will see it in wide use in professional studios too. I own a lot of microphones, including some that cost considerably more, but I was so impressed with it that I'll be making room for the WA-47 in my collection - I'm purchasing the review unit. If you give one a try, and judge it on its own merits (and don't expect it to be identical to a U47 in every way), I suspect you'll be equally impressed, and just as tempted to get one of your own too. -HC- Want to discuss the Warm Audio WA-47 or have questions or comments about this review? Then head over to this thread in the Studio Trenches forum right here on Harmony Central and join the discussion! Resources Warm Audio WA-47 Multipattern Tube Condenser Microphone ($899.00 "street") Warm Audio's product web page (includes sound samples) You can purchase the Warm Audio WA-47 Multipattern Tube Condenser Microphone from: Sweetwater Guitar Center B&H Photo Video Musician's Friend Full Compass WA-47 Specifications: Frequency Response 20 Hz - 20 kHz (no +/- tolerance listed) Output impedance 200 ohms Signal to Noise Ratio 82 dB A weighted Equivalent Noise 10 dBA (IEC 651) Rated Load Impedance: Equal to or greater than 2 k ohms Maximum SPL: 140 dB (<0.5% THD) Dynamic Range: 130 dBA Self Noise: 11 dBA __________________________________________________ Phil O'Keefe is a multi-instrumentalist, recording engineer / producer and the Senior Editor of Harmony Central. He has engineered, produced and performed on countless recording sessions in a diverse range of styles, with artists such as Alien Ant Farm, Jules Day, Voodoo Glow Skulls, John McGill, Michael Knott and Alexa's Wish. He is a former featured monthly columnist for EQ magazine, and his articles and product reviews have also appeared in Keyboard, Electronic Musician and Guitar Player magazines.

One Control Honey Bee Overdrive Is this pedal sweet enough for your rig? by Phil O'Keefe If you're into effects, or have spent any time at all hanging out on guitar or effects forums, you're no doubt familiar with effects designer extraordinaire Bjorn Juhl and his BJFe pedals. You may even be familiar with one of his most beloved designs - the Honey Bee Overdrive. Designed to emulate the sound of cranked-up small combo amps, it was first introduced in 2002. It has had multiple revisions made to it in the years since, and versions of it have been available from a couple of different companies, including BJFe and BearFoot FX. Today we'll be taking a look at the newest version of this modern classic - this one is from Japanese effect pedal manufacturer One Control. How does it compare to the other 'Bees in the hive, and is it sweet enough to earn a place in your rig? Let's get the taste test started… What You Need To Know The Honey Bee Overdrive was first introduced by Bjorn Juhl and BJF in 2002. The original version quickly earned classic pedal status and has become highly-sought by pedal connoisseurs around the world.When it was first issued, the Honey Bee had lower gain and fairly low output compared to the later revisions. In the first revision of the circuit Bjorn added 6 dB more output level. The next revision included a goose in the upper-midrange. The third revision changed the response of the pedal's Nature control a bit, giving it a wider range and a mild treble boost when dimed instead of the previous version's mild treble cut. In the fourth revision more overall gain was added. The modern Honey Bees are still capable of all the same low-gain overdrive tones as the originals, but now there is 6 dB of additional gain available too. The One Control Honey Bee Overdrive is built into a machined aluminum enclosure that measures 46 mm H x 113 mm L x 64 mm W (1.811" x 4.448" x 2.519"). It weighs 295 g. The pedal is painted a honey gold color, and has subtle bee hive elements to the graphics on both the top and the bottom (!) of the pedal. All of the labeling is done in black letters, which are fairly easy to see against the gold background.The input and output jacks are mounted on the sides of the pedal. Input impedance is 370 k ohms, while the output impedance is 50 k.The front of the pedal also has Honey Bee OD and One Control's name printed on it. The controls are simple and relatively straightforward. There are three knobs on the Honey Bee Overdrive, along with one small toggle switch.Volume, as you probably guessed, sets the overall output level of the pedal. There's plenty of juice on tap here to get boosts beyond unity gain if you wish, just as long as the Drive control isn't turned down all the way. With drive turned all the way down, gain is at unity, or just slightly above it when the Volume control is dimed.Drive sets the overall amount of overdrive and distortion. The range here is from essentially no dirt when it's turned fully counter-clockwise, up to medium levels of overdrive, dirt and grit when it's maxed out. The amount of overdrive that is available is dependent on the position of the toggle switch, which we'll look at in a minute.The Nature knob is a bit different than the typical tone control you'll find on a lot of other overdrive pedals. When turned fully counter-clockwise the tone is darker, with more lows and low-midrange. What happens when you crank it all the way up depends on the setting of the toggle switch, which is a new addition for the Honey Bee.The small toggle switch lets you select either Modern or Vintage settings. In the Vintage position the One Control Honey Bee is faithful to the original circuit, although it does incorporate the 6 dB increase in overall output volume. Flip the switch over to the Modern position and all the rest of the circuit tweaks that Bjorn has dialed in over the years kick in - with more gain on tap, a bit of a upper-midrange boost, and a mild treble boost when you dime the Nature control instead of the mild treble cut you get when you crank it up all the way in Vintage mode. The Nature control also has a wider overall range in Modern mode.Both the Modern and Vintage settings provide very usable tones, but if you are after lower-gain tones and a more transparent sound the Vintage setting may better suit your preferences, while if you're looking for a bit more gain and dirt, you'll probably prefer the Modern setting more.Switching on the One Control Honey Bee OD is true bypass, and a yellow LED positioned in between the three knobs illuminates when the pedal is active.Power can be supplied with a 9V battery or through an industry-standard 2.1mm center-negative power jack, which is located at the top of the pedal. No battery or power supply is included with the pedal - you'll need to provide your own. The Honey Bee has very modest current consumption (~3mA), so batteries should last fairly long just as long as you remember to unplug the input jack when you're not using the pedal.Opening up the One Control Honey Bee is easy - just pull the four screws from the bottom plate and remove it. This reveals one of the differences between the One Control and the other versions of the Honey Bee - the surface mount construction. The previous versions of the pedal all utilized full-sized, discrete components and hand assembly. This shouldn't really have any effect on the sound, but machine soldering and surface mount technology does allow for faster, more efficient construction which makes sense for a mass-produced pedal. Removing the bottom plate also gives you access to the pedal's battery compartment. A separate battery area is nicely machined into the pedal - a cool touch.Four adhesive-backed rubber feet for the bottom are included along with the pedal, but come unattached, allowing you the choice of installing the feet if you want, or user-supplied velcro instead. Limitations If you're looking for heavy levels of distortion, you'll probably want to consider one of the other BJFe-designed pedals from One Control - this one isn't going to give you copious amounts of dirt unless you layer it with a second pedal - which, by the way, is something that this pedal is particularly well suited for.Due to the surface mount construction, this pedal wouldn't be well-suited to post-purchase modifications. Conclusions The One Control Honey Bee is an amazing sounding low-gain overdrive pedal. It's very amp-like in the way that it breaks up more when you play harder, with the kind of touch-sensitive response that brings out the best in your playing; reacting very sympathetically to variations in your touch and dynamics. If you are looking for high-gain, heavily saturated tones you will need to look elsewhere, but don't underestimate this pedal's utility for other tasks, such as fattening up your cleaner tones or giving you some outstanding low to mid-gain crunch sounds. It also stacks exceptionally well with a variety of other dirt boxes. It adds thickness, character and sustain to your tone while retaining clarity and excellent note definition. While it is mass-produced using surface mount components and it isn't hand-painted and hand assembled from full-sized electronic components like the original BFJe or BearFoot FX versions, it will no doubt be more widely available, allowing Bjorn Juhl to spread his pedal pollen far and wide and bringing the sound of this highly-regarded circuit to a much broader audience. Kudos to Bjorn and One Control for adding the very useful Mode switch and incorporating all of the upgrades and revisions of previous Honey Bee Overdrives in the Modern setting, while still letting people access the original sound via the Vintage mode. Regardless of which mode you personally prefer, you'll find the Honey Bee Overdrive to be one very sweet pedal, and one that could easily find a permanent place on your pedalboard. -HC- Want to discuss the One Control Honey Bee OD or have questions or comments about this review? Then head over to this thread in the Effects forum right here on Harmony Central and join the discussion! Resources One Control Honey Bee Overdrive ($189.00 "street") One Control's product web page You can purchase the One Control Honey Bee OD from: Guitar Center B&H Photo Video Musician's Friend __________________________________________________ Phil O'Keefe is a multi-instrumentalist, recording engineer / producer and the Senior Editor of Harmony Central. He has engineered, produced and performed on countless recording sessions in a diverse range of styles, with artists such as Alien Ant Farm, Jules Day, Voodoo Glow Skulls, John McGill, Michael Knott and Alexa's Wish. He is a former featured monthly columnist for EQ magazine, and his articles and product reviews have also appeared in Keyboard, Electronic Musician and Guitar Player magazines.

Electro Harmonix Superego+ Synth Engine / Multi-Effect Believe it or not, more 'ego may be exactly what you need! by Phil O'Keefe Part sampler, part looper and part infinite sustainer, the synthy, atmospheric and sustaining sounds initially popularized by Electro-Harmonix's Freeze pedal (and improved upon with their original Superego pedal) have been a big hit, especially with musicians who are looking for new sounds. The polyphonic Superego (as well as the new Superego+) isn't just for electric guitar - it works great with guitars, bass, keyboards - try whatever you have laying around with it and see what happens. It gives you infinite sustain and the ability to layer sounds, and also creates glissandos and other interesting effects and new synth-like timbres that can be layered under your live playing. Some readers may recall my review of the original EHX Superego - in case you missed it, here's a link. Rather than rehash all of the features from the original Superego again, we'll give them a brief overview (you can check out the original review for a refresher on the fundamentals) and focus more on what's new in the Superego+. What You Need To Know The new Superego+ has all of the capabilities of the original Superego and can do everything its predecessor can, but it also has several new features that expand its capabilities even further.Right off the bat you'll notice the enclosure is larger, measuring 4.75" W x 4" D x 2.25" H. It is painted white, with a primarily black-colored top. The lettering is white, making it easy to see.Internal construction uses surface mount components. It is neat and clean, and there are no user-adjustable switches, trimpots or jumpers inside, so there's really no need to open the pedal. Power is provided from an included 9.6V 200 mA DC power supply. Battery powering is not an option. The industry-standard 2.1mm center-negative power jack is located at the top / front of the pedal. Input and output jacks are side-mounted, along with the effects loop jacks and a pair of external control jacks - we'll cover all of those momentarily. Input impedance is 2.2 M ohm (this figure is the same for both the input jack and the effects loop Return jack), while the output impedance (and the impedance of the effects loop Send jack) is 500 ohm.The Superego+ is fully polyphonic like the original Superego, and tracking is excellent, with no appreciable delays, latency issues or other weirdness.The key to understanding and using the Superego+ is getting to know the Modes. Where there were only three on the original Superego, this time there are five operating Modes. You'll still find the familiar Latch, Moment(ary) and Auto Modes, but the Superego+ adds Sustain and Live Effects Modes, and instead of a small toggle switch to select them with, the Superego+ uses a dedicated Mode footswitch for the task. The Mode footswitch is a significant upgrade from the previous pedal's mode toggle switch, allowing you to quickly change Modes on the fly as you're playing. A trio of LEDs above the switch show you which Mode is selected - orange for Moment(ary), green for Auto, and red for Latch. When the Sustain Mode is selected both the orange and green LEDs will light up, and when the Live Effects Mode is active, all three LEDs will glow.Pressing the Mode footswitch cycles through all the modes, so it may take a few clicks to get to the mode you want to switch to. The main Bypass footswitch of the Superego+ functions a bit differently depending on what Mode you currently have selected.I've already covered the functions of the Momentary, Auto and Latch Modes in the previous review, but as a refresher, Momentary freezes your signal at the instant you press and hold down the main Bypass footswitch, and then sustains it for as long as you continue to hold the button down. Release the Bypass switch, and the frozen, sustaining sound fades out. A red LED above the Bypass footswitch will light up when you activate the pedal with the Bypass switch.In Auto Mode the pedal will automatically freeze any notes you play while the pedal is on. New notes are triggered when they exceed the Threshold level, and old ones fade away automatically. In this Mode the Bypass footswitch acts like a traditional on / off switch for the overall effect, and the red LED illuminates when it's active.In Latch Mode the pedal freezes the sound at the moment you hit the Bypass footswitch, but it continues to sustain it even after you release the switch. You can freely play your regular guitar sound over the top of the sustaining, frozen sound. Want to sustain a new note or chord? Press and release Bypass again. To actually bypass the pedal in this Mode, you double-tap the Bypass footswitch, and the sustaining sound will fade away.The two new Modes are Sustain and Live Effects, which we'll cover a bit later. Sustain Mode works similarly to a keyboard sustain pedal. Notes are automatically frozen and sustained as you play as long as the Bypass footswitch is held down. Releasing the Bypass footswitch causes whatever is sustaining to fade away, with the fade time determined by the settings of the Decay control.The original Superego controlled the speed at which sustained and frozen sounds faded in and out with a single Speed knob, so a fast fade in always went along with a fast fade out too. With the Superego+ you get individual Attack and Decay controls, so you can adjust the speed that the notes fade in and out completely independently - a big improvement over the previous pedal. Counterclockwise settings are immediate, while fully clockwise knob positions result in longer attack or decay times, which is great for slow swells and long fadeouts. Dry and Effect knobs allow you to adjust the relative levels of your unprocessed guitar sound and the frozen sound, respectively. The Dry knob actually boosts your dry sound by 3 dB when it's cranked up all the way, while the level of the Effect knob also influences the level present at the effect loop's Send jack. If the knobs are turned down all the way, no sound will be heard.The Superego+ also has a new Threshold control. This lets you set the pedal's input sensitivity and the level at which new notes will be triggered. The pedal becomes more sensitive and will trigger with softer playing as this control is turned up higher.The Layer knob is no longer shared with a Speed control as it is on the original Superego. In Sustain, Auto or Latch Modes the Layer knob sets the level of the previously frozen notes when they're mixed with the newly frozen ones. When Layer is turned down all the way, you won't hear any of the previous notes. Turning the knob up all the way allows you to hear them at full volume.The Gliss knob works just as it does on the original Superego, and gives the sound a glissando or portamento effect; sweeping from one frozen sound to the next.One of the cooler features of the original Superego is the built-in effects loop, which allows you to process the sustaining sound by patching in external effects pedals, giving it further animation and interest. Of course an effects loop is also included on the Superego+, (you'll find the Send and Return jacks on the right and left sides of the pedal, respectively) but unlike the original Superego, the Superego Plus has a built-in multi effects section with eleven different effect types.You get (pitch) Detune, Delay (an analog-sounding delay), Echo, (both Delay and Echo have max delay times of up to 2 seconds), a Electric Mistress-style Flange, Small Stone-style Phase, Mod, which is a pitch-based chorus or vibrato, Rotary speaker simulator, two Tremolos (sine and square wave), a Pitch shift with a +/- 1 octave range, and a resonant low-pass Filter which is capable of some pretty wicked sounding filter sweeps.A dedicated Effects footswitch allows you to turn the selected effect on or off. The effects always process the frozen sound of the pedal, except when you're in Live Effects Mode, when they work on the otherwise Dry input sound.The effects are digital, but they sound really good overall. So good in fact that you'll probably want to use them even when you aren't using the Synth Engine features of the pedal, and fortunately Electro-Harmonix gave the Superego+ the ability to do exactly that with the Live Effects Mode. It allows you to bypass the synth engine while still letting you to use the effects section to process the Dry input signal.In addition to the Effects Selector knob the effects section has two knobs to control the Rate and Depth of the various effects. These are not always the actual parameters for all of the effects, and when they vary, you'll find the actual functions labeled under the name of the effect type on the pedal's control panel surrounding the Effect Select knob. This makes it easy to know what the knobs do without having to reference the manual.All of the effect-related knobs are white (in contrast with the rest of the pedal's black knobs), making it easy to identify them. The effects can also be controlled with an optional expression pedal. I used a Roland EV-5 with it with no issues. The EXP jack is located on the right side of the pedal. Each of the effects has a different parameter pre-assigned to pedal control. Expression Presets can be created, with snapshots of all seven main (black) control knob parameters stored - with both Heel Down and Toe Down positions of the expression pedal having their own snapshots. You can then morph between these settings with the expression pedal. You can do some pretty wild transitions with this feature.In addition to the onboard switches, the Superego+ also has a EXT jack on the left side of the pedal that supports an optional external three-button remote footswitch, such as the DigiTech FS3X. This jack can also be used to feed a 0-5V external clock signal to the Superego+, which will trigger it just as if you were working the Bypass footswitch. The Superego+ is triggered by the falling edge of the clock signal. Limitations Don't confuse the Superego+ with a looper pedal. It freezes, sustains and layers frozen notes and chords, but doesn't loop arpeggios, riffs or phrases. However, if you have a looper pedal, the Superego+ will make a fantastic partner for it, allowing you to easily layer guitar (or bass, or keyboard...) and synth-type sounds, with or without enhancement from the onboard effects. The effects section of the pedal can only process either your dry guitar signal (in Live Effects Mode) or the frozen sound, but not both simultaneously. Only one of the onboard effect types can be used at a time, although you can easily patch in as many additional effects as you would like using the pedal's effects loop. Conclusions Retaining all of the capabilities of the original Superego that I raved about in my previous review, the EHX Superego+, with its expanded features, significantly improves upon an already exceptionally creative and useful musical tool, and offers even more sonic possibilities for creative musicians. Considering it's not all that much more expensive than the original Superego (which is priced at $285.30 MSRP / $214 "street" ), I suspect a lot of people will decide to opt for the much more capable Superego+. "Plus" is a good way to describe this pedal, because it gives you a lot more. The 11 new effects more than justify the slight increase in price all by themselves. The effects sound so good that they really can be used as stand-alone effects apart from the Freeze functions (kudos to EHX for including the Live Effects Mode), and even if you have plenty of other effects to use in the effects loop, users of the original Superego will still appreciate the enhanced adjustability and expanded control set of the Superego+. The expression pedal control and morphing possibilities are vast - you'll definitely want to use one with the Superego+. I love that you can now set the speed of the Attack and Decay separately - that's really useful for tailoring synth-like lead lines. Blending is easier since the Layer control is now on its own individual knob, and the Threshold knob is another welcome addition that lets you adjust the pedal to your playing style rather than the other way around. All of the new features make the Superego+ a big upgrade from its predecessor, and one that will no doubt be tempting to both new users and owners of the EHX Freeze and and original Superego alike. I think it's a fantastic studio tool too - a little idea machine that's full of possibilities. If you're a textural guitarist, bassist or keyboardist, love ambient and synth-type sounds, or just want something to layer under your live solos (or to add to your next recording), the EHX Superego+ is a pedal that you're really going to want to own. -HC- Want to discuss the EHX Superego+ or have questions or comments about this review? Then head over to this thread in the Effects forum right here on Harmony Central and join the discussion! Resources Electro-Harmonix Superego Plus Synth Engine with Multieffects ($333.40 MSRP, $250.00 "street") Electro Harmonix product web page You can purchase the Superego+ from: Sweetwater Guitar Center B&H Photo Video Musician's Friend __________________________________________________ Phil O'Keefe is a multi-instrumentalist, recording engineer / producer and the Senior Editor of Harmony Central. He has engineered, produced and performed on countless recording sessions in a diverse range of styles, with artists such as Alien Ant Farm, Jules Day, Voodoo Glow Skulls, John McGill, Michael Knott and Alexa's Wish. He is a former featured monthly columnist for EQ magazine, and his articles and product reviews have also appeared in Keyboard, Electronic Musician and Guitar Player magazines.