Phil O'Keefe

DPA d:vote 4099G and d:vote 4099D Instrument Microphones One microphone design to capture the world? by Phil O'Keefe Have a look at the mic box that a live sound company brings to a gig, or a decently well-stocked studio mic cabinet, and you'll probably find a wide variety of different microphone models. That's because no single mic is ideal for every type of sound source. However, some mics come closer to that ideal than others; they exhibit uncommon flexibility and work well on a surprising number of different things. DPA's d:vote 4099 series is designed to be just that kind of versatile mic. These microphones are available in normal and low sensitivity versions and with a range of very clever mounts that are designed to enable them to work with a wide range of instruments. We're going to focus on two in this review - the d:vote 4099G, which is designed for use with acoustic guitars, and the d:vote 4099D, which is designed for use on drums. What You Need To Know All of the offerings in the DPA 4099 series use either a normal (6 mV/Pa; -44.5 dB Reference: 1 V/Pa [Nominal, +/- 3 dB @ 1 kHz]) or a low sensitivity version (2 mV/Pa; -54 dB re. 1 V/Pa [Nominal, +/- 3dB @ 1kHz]) of the same basic mic - other than the sensitivity, the mountings and instrument clips are what differentiate the various models in the series. There are several different mountings available, including models designed for drums, guitar, piano (4099P), accordion (4099A), upright bass (4099B), cello (4099C), saxophone (4099S), trumpet / brass (4099T), woodwinds (4099U) and violin (4099V). There is even a clamp-mount version (4099CM) and a version that is designed to work with regular mic stands (4099SM). Most of these come bundled with the normal sensitivity version of the d:vote 4099, except for the versions intended for very loud sound sources, such as trumpets and drums. The 4099 is a really small mic that is only about 5.4 mm in diameter, and a mere 45 mm long. This is great for stage use since they've visually unobtrusive. The 4099 series uses a small diaphragm pre-polarized condenser capsule with a supercardioid pickup pattern. This is mounted deep inside a small interference tube, which sits inside of a small replaceable foam windscreen. The windscreen sits inside a pair of rubberized rings, which are attached to a gooseneck with rubber shock mounts. The capsule and mounting assembly is both sturdy and light, and the mounts are replaceable if they ever wear out. As you'd expect with condenser mics, the 4099 series require phantom power for operation. At 0.08 pounds / 1.27 oz, the weight is all but insignificant, and I doubt anyone would really feel the difference with the unit attached to their instrument. The DPA d:vote 4099 features high SPL handling capability, and can be used on sources with SPLs of up to 142 dB for the normal version, and a whopping 152 dB for the low sensitivity model. A 6' cable and 5.5" gooseneck is included with each DPA d:vote 4099. The gooseneck attaches to the various instrument adapters with a push-down metal collar that locks over a matching rubberized area on the instrument clip, which holds it firmly in place. This design allows you to adjust the positioning and length of the gooseneck very easily. The included cable is thin (1.6mm) and terminates in a DPA "MicroDot" connector. The MicroDot connector is compatible with some wireless systems, and with the addition of an adapter (a variety of which are available from DPA) the 4099 will work with practically any wireless system. DPA includes a MicroDot to XLR adapter along with the d:vote 4099G and 4099D models; the one for the 4099G (model # DAD4099-BC) has a built-in belt clip and 80Hz high pass filter to reduce stage / room rumble and potential feedback issues. A beefier (2.2mm thick) cable is also available as an option. The output impedance of the 4099 is around 40 ohms for the MicroDot connector, and around 100 ohms for the XLR. Signal to noise is rated at 71 dB (A-weighted; 66 dBA for the low sensitivity model), dynamic range is 100dB (95 dB for the low sensitivity model), and self noise is rated at 23dB (A-weighted; 28 dBA for the low sensitivity model) . I tested both the low sensitivity d:vote 4099D with a drum clip and the d:vote 4099G with the guitar clip. The guitar clip is designed to work with Dobros, mandolins, ukuleles and similar instruments with a body depth between 1.4" to 4.8". The instrument clamp for the guitar version uses a nylon, plastic and rubber stick-shaped ratcheting mount that has three rubberized contact points that clamp to the top and back of the instrument. Attaching and detaching it is very easy, and it holds in place fairly well for the most part. Like the guitar version, the instrument clip for the drum version is rubberized. It easily clips directly to the rim of your drums. From there, the gooseneck gives you plenty of positioning flexibility for the capsule, and the whole thing is well isolated from vibration and shocks. All of the mounts for the d:vote 4099 series are designed to treat your instrument with care and DPA says they will not harm delicate finishes. My own tests seem to bear this out - I noticed no marks or any sign that the microphones were ever mounted to my instruments, even after repeatedly attaching them, using the instrument, and then removing the mics. Also available is a 3.15" gooseneck extension ($99.00 "street"), which can come in handy for placing the mic more distantly than the stock 5.5" gooseneck allows on its own, such as when miking up the lower bout on an acoustic guitar. While the 14th fret position is recommended when using a single mic, you may wish to run two when recording so you can capture the acoustic guitar in stereo. Gain before feedback is almost always a concern when using instrument mics live, but the 4099 does very well in this respect, in part due to the tight and consistent supercardioid pattern, but also due to the ease and consistency of the mic placement and their close positioning to the sound source. Feedback is even less of an issue if you use IEMs instead of floor wedges. The sound quality of both microphones was stellar, with each providing a very natural and detailed representation of the miked instrument. The frequency response is relatively flat, with only a minor 2 dB boost in the 10-12 kHz region that gives just the right amount of detail and presence to the sound without any harshness whatsoever. When I first tried the d:vote 4099G I was immediately impressed with just how natural it sounded and how easy it was to get it set into the best sounding position for each of the acoustic guitars I tried it on. Likewise, the 4099D drum version is drop-dead simple to attach and position, making it a piece of cake to experiment with placement - and it's just as easy to get great sounding results with them as it is with the d:vote 4099G. All versons of the d:vote 4099 come with both a semi-hard protective storage case as well as a storage bag. Limitations The way the end of the "stick" mount on the 4099G sticks out past the back of the instrument may be annoying for some players, and can be accidentally bumped during performances, causing the mic placement to move, or even for the mic to become unattached from the instrument. It may be possible to "clip off" the excess length, but for obvious reasons I didn't attempt to do so with the review unit. Doing so will limit the usefulness of the clamp to guitars with the same body depth or shorter than the one you had it mounted to when you measured and clipped off the extra length, but since replacement mounts are available relatively inexpensively (around $35), that may not be a significant issue for you. The design of the 4099G's mount makes it difficult to use on the treble side of guitars equipped with a cutaway. The included cable may be a bit longer than many people need, especially if they're using the 4099G along with a wireless transmitter. Self-noise levels are a bit high, but will not be a significant issue in many cases, especially live. It can be a bit more of an issue in the studio, but in most situations you probably won't find it too objectionable. Conclusions The sound of the DPA d:vote 4099 is consistent with my impressions from previous experiences with other DPA microphones; it's a detailed and very accurate sounding mic that doesn't color the sound in any significant way, but rather captures and conveys it honestly - doubtless due in no small part to the microphone's admirably flat frequency response, with the very modest +2 dB boost at 10-12 kHz adding to their excellent detail and articulation. This sonic neutrality and accuracy makes the 4099 a very flexible mic. With the d:vote 4099 series, DPA have succeeded in designing a great sounding microphone that works admirably well with a wide range of sound sources. It's also cool that they make a lower-sensitivity version for very high SPL instruments like drums, and that they offer the various mounting clips for sale separately. If you already have a few d:vote 4099D and d:vote 4099G mics, adding some new mounts will allow you to use them on various other instruments besides drums and guitars too. That can be a big advantage for live sound companies who need to maintain flexibility for their varied clients. Placement is exceptionally easy for the most part, and since the mics are held reasonably securely in position by their attachments, you usually only need one hand to reposition the gooseneck and capsule to get them into just the right spot that gives you the optimal sound. With close positioning and the effective supercardioid pickup pattern, gain before feedback is also really good, and that is crucial in live situations, which is really what these microphones were designed for. While they might not be the quietest microphones you'll ever encounter (which is true of many small diaphragm condensers), don't overlook their usefulness in the studio too. For both live and studio use where you're dealing with a musician who is known for their animated, motion-filled performances that make it nearly impossible for them to remain in the ideal place relative to a stationary, stand-mounted mic, the 4099G can be a godsend… and the natural sound of the d:vote 4099G simply blows away the sound of onboard piezo pickups in terms of detail and realism. While a kit's worth of 4099D's are far from inexpensive, their small size and the simple, yet effective mounting clip make it super-easy to set them up without having to find room for your mic stands amid the forest of drum and cymbal stands, and the sound is very good on each kit element. They really shine on snare and toms, and while I still prefer a large diaphragm dynamic for kick, the 4099D also handled that task fairly well in my testing too. While I wouldn't recommend them for use as distantly-placed overhead mics, they even make good spot mics for cymbals and hi hats, although you'll want to get the optional mic stand mount (4099SM) for the 4099 if you plan on using them for that. Since I didn't have one available, I improvised by using a couple of Velcro strips to strap the 4099's gooseneck to the end of a boom mic stand, which actually worked fairly well as a temporary alternative. In conclusion, I was very impressed with both the d:vote 4099D and d:vote 4099G. I'm sure both will be very popular with touring musicians and live sound companies, and I suspect we'll see more than a few of them showing up in recording studios too. Flexible, adaptable, and great sounding, they're exceptional mics that are very worthy of your attention and deserving of an audition, no matter what instrument you play, or where you play it. -HC- Editor's Note: Shortly after publication of this review, DPA announced CORE by DPA - a significant upgrade to the d:vote 4099 microphone series with a slightly reshaped windscreen, minimized distortion specs and increased dynamic range. For all the details on Core by DPA, please check out this link in HC News. Want to discuss the DPA d:vote 4099D and 4099G microphones, or have questions or comments about this review? Then head over to this thread in the Live Sound & Production forum right here on Harmony Central and join the discussion! Resources DPA d:vote 4099D / 4099G instrument microphones ($619.95 each, "street") DPA's d:vote 4099 series product web page DPA's d:vote 4099G product web page DPA's d:vote 4099D product web page You can purchase the DPA d:vote 4099G from: Sweetwater Guitar Center B&H Photo Video Musician's Friend You can purchase the DPA d:vote 4099D from: Sweetwater 4099 series Overview Dennis Chambers (d:vote 4099D) How to mic an acoustic guitar (d:vote 4099G) How to mic a drum kit (d:vote 4099D) __________________________________________________ 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.

Small keyboard, big features, and impressive connectivity Many of us love the roominess of large 88 key piano-action keyboard controllers, but in some situations, a small portable keyboard controller is all you really need… or want; they're often perfect for triggering desktop and modular synth setups. Their small size and light weight also makes them well-suited for use in a crowded home studio or on the go with your iOS or computer virtual synths, and they can often help make step sequencing easier too. Of course, there's always the issue of connectivity to consider. Many of today's small keyboards don't even have a 5-pin MIDI output jack anymore - just USB MIDI - so connecting them to a hardware MIDI module often means you'll need a computer to use along with them, which is not something you will always want or otherwise need. And if you have a modular system or Eurorack synth rig, you may be looking for additional connectivity, which isn't always easy to find. If any of this sounds familiar to you, Arturia has something that you may find interesting and useful - the KeyStep Controller & Sequencer. Let's take a look at the details that make it unique. What You Need To Know The Arturia KeyStep is an inexpensive and fairly compact keyboard controller with a few interesting surprises built into it that make it stand out from other compact keyboard controllers. The KeyStep measures 19" W x 6" D x 1.5" H and weighs three pounds. The case feels sturdy and substantial, and although the top and part of the sides are white plastic, the bottom and sides are metal. The KeyStep can be bus-powered over a USB connection to your computer via its micro-B USB port. You can also use a USB cable with a power bank or a USB wall wart charger. There's also a power jack that accepts a plug from a 9VDC center-positive .5A adapter, which is sold separately. The KeyStep can also be used with your iPad, but you'll need an Apple Lightning to USB adapter. A low power mode helps keep the power draw down when using it with a tablet. The KeyStep has three main modes of operation, and it can function as a Sequencer, Arpeggiator, and Controller. The built-in step sequencer can record and play back sequences of up to 64 steps, with up to 8-note polyphony per step. Up to eight sequences can be stored onboard the KeyStep, and you can store and load them from your computer using Arturia's MIDI Control Center software. You can also re-write your sequences in real time as they are playing. There are four transport style buttons, including Play / Pause, Stop, Record and Tap, which have alternate functions (Restart, Clear Last, Append and Rest / Tie, respectively) which can be accessed with a Shift key. The KeyStep can be your master clock source, or can be set (with a pair of DIP switches on the rear panel) to sync to incoming MIDI clock received at the MIDI in jack or over USB, as well as to the signal received at the Sync In jack. Sequence step gate times can be user adjusted to one of five settings (10, 25, 50, 75 or 90 percent), while swing can be adjusted anywhere from 50% (off) to 75%, with nine intermediary settings in between. Arturia's MIDI Control Center software is a free download for registered users. The MIDI Control Center software is compatible with OS 10.8 or later for Macs, and Windows 7 or later for PCs. The software allows you to customize the configuration of various aspects of the KeyStep. The MIDI Control Center's software piano roll style sequencing is fast and easy to use, although it's also possible to enter in step sequences without the help of the software. You can enter and edit sequences in real time as they're playing, or step by step. There's a Rate knob that you can use to set the sequencer and arpeggio tempo when the KeyStep is the clock master, but unfortunately there's no rate LED display. You can also play the KeyStep as a controller and have it transmitting on one MIDI channel while the sequencer is playing on another channel. The Kbd Play button is the key to having the KeyStep sequencer play on one MIDI channel while you use the keyboard to play on a second channel. Hold down the Shift + Octave Up buttons and then press the corresponding keyboard key for the MIDI channel you want to play live (there's a legend printed above the keys to guide you), while Shift + the corresponding keyboard key sets the MIDI channel for the sequencer playback. Unfortunately, there's no Song Mode to chain patterns together, although you can recall patterns on the fly, and they will play when the current sequence finishes, or instantly, depending on how you have the Next Seq parameter set in the MCC software. You can even have it change to the new sequence in the middle, so that the new sequence starts in the same mid-sequence position as the one currently running. By holding down the the Shift button when selecting sequences, you can select non-contiguous sequences (jumping from Sequence 1 to Sequence 5) without playing the sequences in-between. As soon as you let go of the Shift button, the new sequence will start. The included arpeggiator is lots of fun, with eight different patterns that can be selected with a dedicated knob. Arpeggiation can be set to go up, down, up / down inclusive and exclusive (where the top turnaround note is or isn't repeated as part of the up / down cycle), random, note order, and more. The arpeggiator knob is also used to select one of the eight sequence memories by flipping a small top panel mounted toggle switch from the Arp to Seq position. The arpeggiator also has eight patterns, and an eight position Time Div(ision) knob gives you even more ways to change things up, with 1/4, 1/8, 1/16, 1/32, and 1/4T - 1/32T options. As a controller, the diminutive KeyStep may look like a lightweight, but it is packing a surprising amount of connectivity. In addition to 5-pin MIDI in / out jacks, it also has a Micro USB port for connecting to your computer or iPad, 3.5 mm Clock Sync In and Out jacks that can be set to 1 step (gate), 1 step (clock), and 1 pulse (Korg Volca), as well as 24 or 48 pulses per quarter note (ppq). You also get a full set of 3.5 mm CV outputs including Mod, Gate and Pitch jacks, so the KeyStep is well-equipped for controlling your pre-MIDI, modular and Eurorack synths. A 1/4" Sustain pedal jack is also included, but you'll need to provide your own footswitch to use with it. The keybed on the KeyStep uses Arturia's proprietary slimkey design, and playing the 32 keys sends out both velocity and aftertouch, making this one of the smallest and least expensive keyboards to provide both. There are capacitive touch pitch bend and mod "wheels" (touch strips) on the top of the KeyStep, immediately to the left of the keybed. These work surprisingly well and respond as you'd expect to your touch. The mod "wheel" stays where you last left it, even if you remove your hand. A set of Oct + and Oct - buttons let you quickly change the range of MIDI notes that the keyboard can generate. These also have alternative Kbd Play and Transpose functions when used in conjunction with other keys. The Transpose function allows you to transpose your sequences in real time while they're running. There's also a Hold button (with an alternative Chord play function) that lets you hold and sustain notes, even without using a sustain footswitch. The Chord mode lets you program chords for single finger play. The keys are definitely smaller than a full-sized keyboard, and there is a bit of side to side wiggle, but it's not too bad considering the low price of this controller. I also occasionally accidentally triggered notes I didn't intend to play, and that's only partially attributable to my modest keyboard skills; unless you're used to playing on mini keys, you should plan on some adjustment time. Arturia bundles an upgradeable light version of Ableton Live Lite 9 with the KeyStep, which will be useful for those who don't have a DAW or sequencer, or one that is appropriate for live use. The only other accessory included is a micro USB to USB cable. Limitations There is no physical on/off switch on the KeyStep. Mini keys, even when relatively well done (as they are here), will always be a disappointment for some musicians. Depending on your expectations the KeyStep may not provide the kind of playing experience you're looking for. Other users will have no problems with them. The KeyStep doesn't have a MIDI through jack, although it does have a pass-through / echo function to the MIDI output. There is no BPM tempo display. If you want to use it in conjunction with a BeatStep Pro or with another hardware sequencer, you will probably want to slave the KeyStep to the the BSP or other device's clock (instead of trying to do it the other way around) so that you will still have a tempo display. I would have preferred a top panel switch for selecting the clock source instead of the back panel mounted DIP switches, although to be fair, at least there is a way to adjust this manually, without having to hook the KeyStep up to a computer and change the setting in software. Conclusions This is a very interesting and useful little keyboard controller, but it's important to carefully consider your needs and expectations before jumping in and purchasing one. The keys are certainly playable, but still a bit too small to satisfy those who are only comfortable with full-size keys. If you have big hands or need to play complex two-handed parts on a regular basis, this probably isn't going to be the best controller choice for you. It would be nice if Arturia also offered a couple of versions with the KeyStep's features, but with full-sized 25 and 49 keybeds instead of the slimkey keybed to give people a choice. Hey Arturia, as long as I'm asking, how about a deluxe full-sized 49 key version with two polyphonic sequencers, a second bank of sequence storage, and another set of CV connections? Oh, and toss in the tempo display and Sync button from the BeatStep Pro too please. Despite my personal wish list, there are a lot of people who will find the KeyStep to be nearly ideal for various tasks, including as a companion for their modular synths and Eurorack gear, triggering sounds and playing parts on hardware MIDI modules or their software virtual instruments, triggering samples as part of a DJ rig, as well as for MIDI to CV translation duties. I was very impressed that Arturia gave this little controller aftertouch - I'm sure many people will find that to be very useful. I also really like the fact that the KeyStep has a 8 pattern, 64 step sequencer onboard. Even better is the fact that it is polyphonic and supports up to 8 notes per step - something that even Arturia's BeatStep Pro controller and sequencer doesn't really offer. Speaking of the BeatStep Pro, the KeyStep makes an excellent companion for one, providing not only the polyphonic sequencing that the BSP lacks (short of configuring the Drum sequencer for that purpose, which has its own limitations), but also an additional keyboard-style controller and a fun arpeggiator too, along with the KeyStep's additional MIDI, CV and Sync connections. Because of its unique combination of useful features, many musicians will find lots of things that the KeyStep will be able to do for them, and plenty of musical tasks to keep it occupied. -HC- Want to discuss the Arturia KeyStep Controller & Sequencer, or have questions or comments about this review? Then head over to this thread in the Keys, Synths and Samplers forum right here on Harmony Central and join the discussion! Resources Arturia KeyStep Controller & Sequencer ($149.00 MSRP, $119.00 "street") Arturia's product web page KeyStep Quick Start guide KeyStep manual (PDF file) You can purchase the Arturia KeyStep Controller & Sequencer from: Sweetwater Guitar Center B&H Photo Video Musician's Friend KeyStep Guided Tour __________________________________________________ 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.

TASCAM TM-AM3 Heavy-Duty Microphone Stand Sometimes, not just any mic stand will do... by Phil O'Keefe Microphone stands are a regular part of a musician's life. Whether you're a stage animal or studio cat, if you play music, you're going to come into contact with a lot of them on a regular basis. But not all microphone stands are created equally. There's a wide variety of different designs out there, including gigantic studio models with wheels on the bases to make them easier to reposition, inexpensive straight stands, stands with extendable boom arms, and of course there are a variety of different stand base types too. Recently the folks at TASCAM (which is, like Harmony Central, a Gibson Brand) announced a new mic stand with an interesting combination of features called the TM-AM3. Let's see how it measures up and how well it performs. What You Need To Know TASCAM advertises the TM-AM3 as a heavy-duty mic stand, and while it's not the tallest stand on the market, nor does it have the horizontal "reach" of some of the largest (and considerably more expensive) studio boom stands, it's a much beefier stand that's capable of handling heavier mic loads than your average run-of-the-mill round base mic stand. The TASCAM TM-AM3 mic stand uses a folding tripod base design. It's not the same as the low-profile tripod base stands that you might be familiar with; it's more like the base of a tubular aluminum speaker stand, only it's somewhat smaller than most speaker stands. Of course, one of the big advantages with this type of design is that this mic stand folds relatively flat, making it easier to transport and store, without any of the awkward bulkiness of mic stands with round bases. Another advantage is that it's stable and sturdy, but still relatively light. The diameter of the leg tubing is 25 mm, or about 1", and the main vertical shaft is 30 mm (about 1.2") in diameter, while the vertical central extension pole is 25 mm in diameter. The legs each extend out about 330 mm (13") from the dead center of the stand, and the top of the leg attachment hardware sits about one foot above the ground when the legs are fully deployed. Rubber caps on the end of the tripod feet help to keep the stand in place on a variety of floor surfaces. Large triangular-shaped knobs are included for holding both the tripod base as well as the main vertical tube extension pole in position. Additionally, there is a metal "safety stopper" pin that is attached to the stand hardware with a lanyard (so it won't get lost); this is designed to be inserted into holes spaced in the main vertical tube of the stand, and will prevent the center of the stand from falling. There are a total of five holes, spaced about 4 3/4" apart. The center vertical tube height can be adjusted anywhere from 114 cm (44.88") to 162 cm (63.78"). The boom arm uses a two-piece extendable design, and the secondary extension can be set to give you anywhere from 58 cm (22.83") when it's retracted to 90 cm (35.43") in overall boom length when it's fully extended. The smaller plastic-handled knobs (for tightening the boom arm and counterweight and holding them in the desired positions) inspire confidence because they grip well and don't slip. The key to the TM-AM3's load handling capabilities is the stable base, along with the boom arm's hefty counterweight. According to TASCAM the whole stand weighs 3.9 kg (8.59 pounds) overall, and while I didn't have a scale that could accurately measure it, the counterweight feels like it accounts for about a quarter to a third of that total weight. Adjusting the position of the counterweight either closer to or further from the center of the stand allows it to counterbalance some serious mic weight - I had no problem using this stand with my largest and heaviest tube vocal microphones. The business end of the boom arm is threaded for 5/8" clips. A 3/8" - 5/8" adapter is included, so you're covered whether you're using US or European mic clips. If you need extra confidence, the design of the legs makes it easy to drape a lead shot or sand-filled weight bag over the support arms to further increase stability and reduce the likelihood of the stand toppling or being knocked over. Limitations I wish the clutch for the main boom arm angle tightened a little more snugly. As it is, it tightens, but not quite enough to hold a heavy condenser mic in place by itself unless you have the counterweight properly positioned. While TASCAM includes one plastic cable retaining clip, it's designed for use on the boom arm. A second, large-sized clip for the main vertical tube would be a nice addition. Conclusions I really like the stability of the TASCAM TM-AM3 Heavy Duty Mic Stand's "speaker stand" style base. While it's visually a bit more obtrusive than a mic stand with a round base or a low profile tripod base, the top of the base is only about a foot above ground level, so it's really not that big of a deal, even for on-stage use. Of course, when you're working in a studio the appearance isn't going to matter, and the TASCAM TM-AM3 is much more stable than your typical round base mic stand, or even most low-profile boom stands with tripod bases. The lower parts of the support arms offer a convenient place to drape weight bags, and the arms of the base are also high enough that placement over and around drum stands and mic cables is still fairly easy. While the reach of the boom arm is fairly typical of smaller-sized boom mic stands, the TM-AM3 can be extended higher than a lot of run-of-the-mill mic stands, which makes it a good choice for use in home and project studios for placing your drum kit overhead microphones. The main concern I had was the tightening knob for the boom arm. It doesn't seem to grab as tightly as I'd like it to, although with proper positioning of the counterweight I discovered it held tightly enough to easily keep things positioned where I put them, even with a fairly large and heavy mic mounted on the boom. While I wish the boom arm tightened a bit more, the inclusion of a counterweight makes it possible for the TM-AM3 to handle heavier mic loads than an unweighted stand could safely manage. Plus, it's a subjectively cool and beefy-looking stand, which may impress some clients, while keeping your mic safer from accidental damage from others. Its ruggedness means it's more likely to be in it for the long haul, and based on my experiences with this stand, I'd expect it to be durable and last for years. If you have a large diaphragm condenser, a big ribbon or stereo mic, or if you have some mics that you want to fly over your drum kit, or any other large, heavy microphone that you want to use on-stage or in your home studio, you really need a good mic stand to reduce the risk of things accidentally falling or getting knocked over, and to make placement and positioning easier. The TASCAM TM-AM3 is well suited to these tasks, and won't cost you an arm and a leg either. -HC- Want to discuss the TASCAM TM-AM3 Heavy Duty Microphone Stand 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 TASCAM TM-AM3 Heavy Duty Studio Microphone Stand ($89.99 MSRP, $79.95 "street") TASCAM's product web page You can purchase the TASCAM TM-AM3 microphone stand from: Markertek __________________________________________________ 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.

Electric Guitar Switches – a Beginner's Guide Confused about what electric guitar switches do? We're here to help by Phil O'Keefe Fig. 1: The toggle switch on a Gibson SG Electric Guitar Electric guitar switches are usually three-position switches. When the guitar switch is flipped up (towards you as you're holding the guitar), the guitar pickup that is closest to the guitar's neck (the "neck pickup") is usually selected by itself. On some guitars, this setting is marked "Rhythm." When the electric guitar switch is flipped down (away from you and towards the floor), the guitar pickup that is closest to the bridge (the bridge pickup) is activated, and the guitar neck pickup is turned off. This setting is marked as "Treble" on some guitars. A middle guitar switch position lets you use both pickups simultaneously Most Squier guitars and Fender guitars (and many others) use a blade style guitar switch for pickup selection. These come in two common varieties - three-position guitar switches and five-position guitar switches. Externally the two guitar switches look the same, and the only way to know what you're dealing with is to click through the settings and see how many there are. Three-position guitar switches are more commonly found on two-pickup guitars, while the five-position blade guitar switch is a common feature on guitars equipped with three pickups, like the Stratocaster shown in Figure 2. Fig. 2: A modern Stratocaster uses a 5-way blade switch Three Position Electric Guitar Switch Three-position blade guitar switches are wired and function similarly to a three-position toggle guitar switch, with one setting (usually with the guitar switch slid fully "forward" or towards the neck) activating the neck pickup, a middle position where both pickups are active, and a third where only the bridge pickup is turned on. Five Position Electric Guitar Switch Five-way blade guitar switches can be wired in a variety of ways, but the most common has the bridge pickup turned on by itself when the guitar switch is thrown all the way "down", a combination of the bridge and middle pickups in the second position, the middle pickup alone in the third (or middle) position, the middle and neck pickups together in the fourth position, and finally the neck pickup alone when the guitar switch is flipped "up" (or towards the neck) all the way. Rotary Guitar Switches Rotary guitar switches (Fig. 3) often look like ordinary knobs, and they rotate like a volume knob does, but they actually click between different guitar switch positions when the knob is turned. Rotary guitar switches are sometimes used for pickup selection (such as on the vintage Fender Electric XII and some Paul Reed Smith models), but they're also commonly used as tone controls too, such as with the Gibson Varitone control. Push Button Guitar Switch Even less common than guitars equipped with rotary guitar switches are guitars with individual pushbutton on/off guitar switches, or individual on/off mini toggle or slide guitar switches (Figure 4) for activating each pickup. These require multiple movements of the guitar switch to turn one pickup off and turn another one on, which takes extra time and effort, but they do have the advantage of providing more pickup combinations on guitars with three pickups than what you'll be able to achieve with a five-position blade guitar switch on its own. Figure 4: This Bass VI has individual on/off slider switches for each pickup, plus another one wired for bass-cut When is a pickup switch not a pickup switch? There are some single-pickup guitars, such as the Fender Esquire, that have what look like pickup select switches on them, which seems kind of unnecessary, since there's only one electric guitar pickup. What gives? Well, in the case of the Esquire, the three-position guitar switch is wired to provide different tonal options, just as a regular pickup selection switch does, but it achieves them in a different way. Instead of switching between different guitar pickups, one position gives you the sound of the pickup alone, with the tone control completely bypassed, the middle position gives you the sound of the pickup but adds in the usual tone control, while the third position adds a capacitor that dramatically rolls off the treble, giving it a very deep, bass-heavy sound. Other guitars with single pickups are out there with similar guitar switch arrangements that may be wired to different tone caps, or pickup coil splits or other similar tone altering functions. Other switches for other tasks In addition to the main guitar pickup selection switch, some guitars have additional switches that provide extra functions. Oftentimes these take the form of additional smaller-sized toggle switches that are mounted on the guitar's body or pickguard. In fact, some guitars have a bewildering assortment of switches on them - enough that they can occasionally be a bit confusing and perplexing for even experienced guitarists! Sometimes where these guitar switches are located isn't immediately obvious because they're built into the guitar's other controls. The Volume and / or Tone rotary controls on some electric guitars have "push / pull" (Figure 5A and 5B) or occasionally "push / push" switches built into them that activate various features, such as pickup coil tapping (which turns a two coil humbucking pickup into a single coil pickup by disabling one of the humbucker's two pickup coils), or by inverting the polarity / phase of one of the guitar pickups, which creates a weaker, hollow, out-of-phase sound when that pickup is combined with another guitar pickup. Figure 5A and 5B: These two photos show the push / pull tone knob (on the left) on a PRS CE 24, which is wired for pickup coil tapping Other times, mini toggle type guitar switches are used for accessing features such as built-in preamps and boosts, but these are far less common. How do you know for certain what all of the various switches on a particular guitar model do? You can always ask the store clerk, check the manual (if one was included with the guitar), or try the manufacturer's website - many companies list that information online, even for their discontinued models. Of course if you're really stumped, you can always try playing "stump the experts" and call a Sweetwater Sales Engineer for more information. Want to discuss Electric Guitar Switching or have questions or comments about this article? Then head over to this thread in the Electric Guitar forum right here on Harmony Central and join the discussion! __________________________________________________ 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.