Phil O'Keefe

Does this vintage-inspired all-tube 1x10 combo amp live up to the Supro reputation? What You Need To Know The Supro 1610RT Comet is a high-gain, low-wattage all tube 1x10 combo amp with a ton of vintage flavored flair. While Valco / Supro made an amp called the Comet in the 40s and 50s, this isn't a reissue or recreation, but an all-new amp with vintage-inspired circuitry. It's hand-assembled by Absara Audio in Port Jefferson Station, New York, using quality full-sized, through-hole components mounted on beefy circuit boards. The styling is based on the cosmetics of Supro's 1959 models. The Comet is very sharp looking, with a cool two-tone cabinet covering of "Black Rhino Hide" Tolex with white welting (the "stripe") and black pipping. The grille is silver sparkle and sports a plastic Supro logo, complete with lightning bolt. The construction is very similar to Supro's other Classic series amp models, including the Black Magick and Supreme. The Comet measures 17 5/8" W x 15 1/2" H x 7 1/2" D and is fairly lightweight for a tube amp, weighing in at 33.6 pounds. The light weight and small size make this a very easy amp to take with you. The amp's control faceplate is gold. The cool-looking control knobs are black with shiny silver inserts and mount into a top-facing panel, making them easy to access while you're playing. The controls are relatively simple, but effective enough to provide a decent level of adjustment and variety of tones. A 1/4" input is at the control panel's far left, followed by the Vol (volume) control. This single knob not only controls level, it also grit and gain, with sweet clean tones below noon and ever-increasing amounts of harmonically rich and complex overdrive as you go higher. A single tone control is all you get but it's really all you need, and the Comet can easily go from dark, warm and creamy to bright jangle. The 12AX7 tube bias tremolo is based on the one in the vintage Supro Model 24 and occurs in the preamp section, not the power amp. It's certainly a fine-sounding tremolo. Placing it in the preamp gives it a bit more depth than you'll find on some of Supro's other models, which feature power amp-based tremolo circuits. The controls consist of a speed and depth knob, with a wide speed range that goes from fairly glacial to downright hyperactive. The all-tube reverb in the Supro Comet is so deep, luscious and surf-drenched that you'll be tempted to grab your board shorts, sunglasses, and sunblock. The decay time is fairly long (5-6 seconds), but your notes remain clear, even with fairly heavy amounts of reverb applied. Cowabunga! There are three switches on the control panel. The standard power and standby switches and red pilot lamp are expected, but there's also a 6W/14W switch that adjusts the amp's power. The actual power level is adjusted with a change to the power tube's plate voltage. It doesn't make a gigantic difference, but a noticeable one that allows the amp to be useful in a wider range of situations. The Supro 1610RT Comet's power amp section runs in Class A and it uses a single Sovtek 5881 / 6L6WGC power tube, along with a trio of JJ 12AX7 preamp tubes and a single JJ 12AT7. There are no ICs or transistors anywhere in the audio path. There are also a few features to be aware of on the rear of the amp's open-back cabinet. Tucked up on the underside of the chassis are the IEC power receptacle and multiple 1/4" jacks, with one for use when running only the internal 8 ohm speaker, along with a pair of 4 ohm outputs for running the internal speaker along with an external 8 ohm extension cabinet. There's also a 1/4" TRS jack for connecting an optional dual footswitch for controlling the reverb and tremolo. The onboard 10" speaker is a 8 ohm Supro-branded CR10. A cosmetically matching Supro 1700 BD12-loaded 1x12" extension cabinet is also available, although I didn't have the opportunity to try one out. Limitations The knobs look really cool, but it can be difficult to see their settings - the white pointer indicators are pretty small. Tube access is often tricky on amps with top-mounted controls and it's no different here, requiring either unscrewing multiple screws to remove the rear panel and chassis for easier access, or contorting your hand and reaching in "blind" behind the mounted chassis to get to the tubes. While the Comet has a 1/4" TRS jack for use with a dual footswitch to turn the reverb and tremolo on and off remotely, no footswitch is included with the amp. Conclusions This is a very well-made amp. The enclosure itself deserves special mention. Not only does it look rad, it's solid as a rock, with no rattles or other weirdnesses that sometimes accompany vintage (and vintage-inspired) amps. It's also fairly compact - not so much in height or width (it's a couple of inches narrower but about the same height as a Princeton Reverb) but in terms of depth - it's noticeably shallower than a lot of 1x10 combos, making it a perfect fit for smaller, shallow stages. While it's true that the knobs are a bit hard to read and the tubes are a pain in the posterior to access, those are really the only things I could nitpick. The tremolo and reverb are absolutely superb. I could see surf guitarists gravitating toward this amp just to wade in their goodness. But as great as they sound, they're not the main attraction that the Supro Comet offers. The Comet is dynamite, with explosive tone and really attractive breakup when you get the volume knob past noon. No, I wasn't kidding when I said this is a "high-gain" amp. You'll be surprised by how much grind you can get from this vintage-looking combo amp. While you can get very sweet-sounding clean tones with ease, this dynamic little amp LOVES to rock, and cranking the volume knob delivers the unique classic Supro-approved overdrive. Pop that volume knob up to 3 o'clock (or just go all-out and dime it) and use your guitar's volume knob to control the gain. The tone is all-tube, rich in even-order harmonics and fat fat fat. Rockers of all sorts will love it. The tone is as thick and swampy as the Mississippi delta - Blues and Country players be warned - you will utterly destroy small clubs with this amp. Due to the switchable wattage it hits two sweet spots in terms of power, with 14 watts providing enough juice for club gigs and 6 watts so you can still get those overdriven tones when you're practicing at home, warming up backstage, or working a studio recording session. No matter where you're planning on using yours, you're bound to love the cosmetics and the sound of this hot-looking, surprisingly versatile and sweet-sounding all-tube 1x10 combo. -HC- Resources Supro 1610RT Comet 1x10" tube combo amplifier ($1,800 MSRP, $1,349 "street") Supro's product web page You can purchase the Supro 1610RT Comet 1x10" tube combo amplifier 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.

Soundelux USA U195 The legendary large-diaphragm FET is back - and so is Soundelux USA by Phil O'Keefe If there's one thing I really love, it's microphones. Like any self-respecting audio engineer, I consider them essential tools of the trade. They're like lenses for a photographer. They're what we perceive the world through, and using the right one can result in an aural picture that inspires and moves people. Using the wrong one… well, let's not go there. Some of the most prized microphones in my personal mic locker bear the name Soundelux. The man behind those microphones, David Bock, later started Bock Audio. A former studio tech at prestigious recording facilities like Ocean Way and the Hit Factory, he has decades of experience repairing and maintaining high-end vintage microphones. He's also one of the world's preeminent microphone manufacturers. One of his most successful models has been the U195; versions have been made under both the Soundelux (from 1997-2006) and Bock Audio (2007-2014) marquees. Now after a few years off the market, the U195 is back, and in improved form. Let's take a closer look at what makes it tick. What You Need To Know While based on the earlier Soundelux U195 and more recent Bock Audio 195, the Soundelux USA U195 has a few improvements while retaining the features that users loved about those earlier models. The U195 is a custom-built, hand-made, large-diaphragm cardioid condenser microphone assembled in California (dude). It utilizes a FET amplifier and a transformer-coupled output. It's a classy looking microphone in a no-nonsense kind of way, finished in black powder coat and white graphics on the body. It measures 2 inches in diameter and 7.7 inches long, and weighs 1 pound 9.6 ounces. You'll need a decent stand to use with it to safely support the weight. The microphone requires 48V phantom power for operation, and voltages under 40V will result in decreased performance. Included accessories are minimal. The mic comes in a plastic bag inside of a foam lined cardboard box (which is fine for storage) and includes a threaded metal stand mount, and that's about it. Some of you who are familiar with those earlier "195" models are no doubt wondering "what's with the brand name? Did Bock Audio change their name?" Well, no. This microphone is built by Bock Audio. David Bock was a key player behind the original Soundelux microphones, and when Soundelux decided they no longer wanted to be a manufacturer, David continued building the microphones he designed under the Bock Audio name. Apparently he has obtained the rights to use the Soundelux USA moniker, and has applied it to the newly updated U195. The Soundelux USA U195 has three switches recessed into the lower part of the back side of the microphone body - you'll need a small tool to adjust them. These switches are the key to the U195's exceptional versatility. The -10dB pad uses a voltage divider as opposed to a capacitive pad. The Mode switch selects between the Normal and Fat modes, with the Fat mode providing a gentle low mid / bass EQ that beefs up the bottom and low mids from about 10 Hz to 400 Hz and gives the mic a greater sense of size and impact, with a fatter, warmer sound. There 's also a "Locut" switch, which rolls off the bottom by 10 dB at 30 Hz. The switches can be used singly or together in any combination, so you can tailor the microphone to the situation and sound source at hand. There are no user-servicable parts inside the U195 and you'll void your warranty if you crack it open, so I did it for you. Inside, the build quality, parts, and workmanship are up to the very high standards that I expect from David Bock. The 34 mm center-terminated capsule uses a K67 type design, with 6 micron, 1" diameter diaphragms. The capsule is where the Soundelux USA U195 differs from its predecessors, with a "new improved / super smooth k67 capsule" according to Bock. As you'd expect, it's center-terminated, and although this is a fixed cardioid microphone, it has a dual backplate, dual-diaphragm capsule, with the rear diaphragm left unconnected. The electronics are somewhat based on those of the U87, but with some changes and improvements. Obviously this is a single-pattern mic and all of the polar pattern switching has been eliminated, and the bandwidth restrictions are gone. The bias system has also been changed. The U195 uses a single FET in a Class A configuration, through-hole construction on beefy circuit boards with nice heavy-duty traces, and uses nothing but high-quality components. There are no hard-to-repair surface mount parts to be found anywhere. This is a reasonably quiet microphone (rated at 12 dB, "A" weighted), and noise was never an issue in my tests. The S/N ratio is 81 dB "A" weighted, 72 dB unweighted. Dynamic range is 111 dB, and 1% THD occurs at 127 dB SPL. Sensitivity is 8mv/Pa, and the frequency response is rated at 20 Hz - 16 kHz +/- 2dB. The output impedance is 200 ohms. While the Soundelux USA U195 has some features in common with a U87, it really doesn't sound like one. Instead of the mid-forward character of the U87, the U195 has a much flatter and more honest-sounding midrange, and the bottom extends further and is much bigger - especially when you engage the Fat switch. You can also take advantage of loads of proximity effect. For a treat, try kicking in the Fat switch with the lo cut switch engaged when singing through it. The U195 also lacks the high-end sizzle that plagues many FET condenser microphones. The top is extended and smooth, with a bit of a presence peak at around 10 kHz but it never sounds strident or harsh. Sibilance is not a significant concern, although as with most condenser microphones, it's somewhat dependent on the singer with which you pair the mic. The head basket features a double mesh design, with a thicker, more widely spaced outer layer and a finer inner mesh. This helps to keep breath noises at a minimum and protects the capsule a bit from spittle, but you'll probably still want to use an external pop filter with vocalists. The transformer inside the Soundelux U195 is the largest one I've ever seen in any microphone. It's HUGE. I have no doubt it contributes significantly to the U195's ability to go low with such authority. Soundelux USA didn't skip on this important component either - they're using a high-quality transformer from Cinemag. Limitations The U195's XLR output is mounted unusually, with the lock release oriented towards the side of the microphone, instead of being on-axis with the capsule. Everything works fine, but if you're used to plugging microphone cables in without looking, this one will confound you. No shock mount is included. The mic's ability to go exceptionally low means it can also pick up things you might not want, including vibrations sent up and through the mic stand. A shock mount can help to reduce this significantly; you may want to pick one up for use with the U195. The one for the Bock Audio 251 will work - at 50mm, the body diameter of the two microphones is the same. Conclusions The original U195 had a reputation as an excellent utility microphone, and the new and improved version will do nothing to jeopardize that. Bock said they were seeking to make a microphone that could "satisfy a wide range of applications for engineers and studios that may have a few expensive models, but need to fill out their mic cabinet without breaking the budget." I suspect many U195s will find just those types of homes, but I also suspect more than a few will be the "showcase" mic in home and project studio mic collections. Either way, I'm sure their owners will be very happy with them. As with its predecessors, the U195 is a great choice to put in front of a kick drum, and bass and guitar amps are a natural too. It can work very well on vocals, as well as on acoustic guitars, hand percussion...lots of sounds, really. I didn't have the opportunity to try it on sax or trombone, but I suspect it would be an excellent choice for those instruments as well. If you're in the market for a superb, no-nonsense, no-excuses large-diaphragm cardioid FET condenser microphone, this one is a definite winner. -HC- Resources Soundelux USA U195 large diaphragm cardioid FET condenser microphone ($1,249 MSRP) Soundelux USA product web page Soundelux USA U195 manual (PDF file) You can purchase the Soundelux USA U195 from: Sweetwater __________________________________________________ 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.

Korg nanoKONTROL Studio Mobile MIDI Controller The MIDI DAW control surface goes wireless by Phil O'Keefe Mixing with a mouse is something that most people aren't crazy about it. Fortunately there are other options. Once you try mixing with a control surface you may never want to mix without one again. However, control surfaces have some issues. They tend to be large and are often far from inexpensive. Then there's the issue of software compatibility - you definitely need to make sure the controller will work with the software that you want to use. All of this is relatively easy to find in a large, expensive, studio-based controller, but what if you value mobility and want something you can take with you? Well, you're exactly the user that Korg had in mind when they developed their new nanoKONTROL Studio. What You Need To Know Designed for both wired (USB) and wireless (Bluetooth) connection, the Korg nanoKONTROL Studio measures only 10.94" W x 6.30" D x 1.30" H - just a bit smaller than a sheet of paper. At 1.01 pounds without the batteries installed, the weight is also very mobile-friendly. System requirements vary, depending on how you're going to connect the nanoKONTROL Studio to your device. For USB, you'll need Mac OS X 10.9, or Windows 7 SP1 (32 or 64 bit) or later. Bluetooth requires a Bluetooth 4 compatible device, with OS X 10.10 (or later) for Mac, or Windows 8.1 or later. iOS users will need an iPod Touch, iPad or iPhone that supports Bluetooth 4.0 and is running iOS 8 or later. The only physical connection is a Micro USB port, located on the left side panel. Korg includes a suitable USB cable with the unit. The nanoKONTROL Studio can be powered for about ten hours on a pair of AAA alkaline batteries. The battery compartment is on the controller's underside, near the rear edge. A blue LED in the upper right corner of the unit's front panel indicates when it's powered up. The rear panel is where you'll find a three-position Mode slider switch that allows selecting among battery, standby and USB operating modes. Standby turns the battery powering off. There are eight channels on the nanoKONTROL Studio, each with a short throw 45mm fader, a rotary pan knob, Mute, Solo, Rec and Select pushbuttons. A transport sectionon the left of the unit includes Return To Zero, Stop, Play and Record buttons. These buttons are slightly larger than the others on the unit, making them easy to use. Above the main transport controls are Rewind and Fast-Forward controls, as well as a pair of left / right Track Select buttons. There's even a Jog / Shuttle wheel located beneath the transport section. Two Marker buttons (for moving forward/back through markers) and a Set button make up the Marker section of the nanoKONTROL Studio. A Cycle button initiates cycle mode, which is great if you want to quickly try multiple takes of a section of the song. All of the buttons have a comfortable rubbery feel, and light up around their edges when activated. The nanoKONTROL Studio has five scenes. A Scene button recalls them, and five green LEDs show which of the presets is selected. Korg's KONTROL Editor software allows customizing the nanoKONTROL Studio settings and specifying the MIDI messages assigned to the various physical controls. So, it can be set up to work with just about anything that will respond to MIDI messages with a bit of work. The nanoKONTROL Studio comes preconfigured with control modes for use with Cubase, Pro Tools, SONAR, Digital Performer, Studio One, Logic and GarageBand. Limitations The faders aren't motorized, but you really can't expect them to be at this price. Their relatively short throw can also take some getting used to if you regularly work with 100 mm faders. While the nanoKONTROL Studio can be bus powered over the USB connection, if there are any batteries loaded they will continue to drain, so you'll want to pull the batteries out when you're not using them. There is no undo key. You'll still need to keep your keyboard and mouse (or trackpad) handy, even with the nanoKONTROL Studio augmenting them. Conclusions The Korg nanoKONTROL Studio is compatible with most major DAW programs right out of the box, and it can be programmed to work with practically anything. It gives you a bunch of useful tools that definitely make mixing easier. I was surprised by the low latency performance of the nanoKONTROL Studio, even when running it wirelessly via Bluetooth. It works even better when connected with the USB port, and gives you a solid set of controls that don't cost a fortune. You do give up motorized, long-throw faders and other higher-end features that you'll find on many AC-powered studio-based control surfaces, but at this price, you really can't expect them. I also really miss having an undo key on the controller - you're still going to need your keyboard and mouse, but if you're like me, you'll find that with the nanoKONTROL Studio's faders, buttons, knobs and transport controls to aid you, you'll be able to get much more done and do it more "musically" than when trying to mix with just a touchpad or mouse - and you'll have a lot of fun in the process. -HC- Resources Korg nanoKONTROL Studio ($180.00 MSRP, $149.99 "street") Korg nanoKONTROL Studio product web page You can purchase the Korg nanoKONTROL Studio from: Sweetwater Musician's Friend B&H Photo Guitar Center __________________________________________________ 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.