Phil O'Keefe

Virtual SEM synthesizer expander module for iPad By Phil O'Keefe The original Oberheim SEM (Synthesizer Expander Module) was first released way back in 1974 and was the very first Oberheim-branded synthesizer. With no keyboard of its own, it was intended to be used with other synths and sequencers as a means of layering and fattening up sounds. Later, multiple SEM modules would form the heart of Obie's famous 2, 4 and 8 Voice synths. The SEM was a two oscillator (VCO, with sawtooth and width-variable pulse waveforms) synth module with a 2-pole multimode filter, ADR envelopes, and LFO. While it had a fairly simple design by modern standards, it was capable of some thick analog synth sounds. The question is, how well did Arturia do at recreating this classic synth as an iPad app? What You Need To Know iSEM uses Arturia's TAE (True Analog Emulation) instead of analog oscillators like the original, but you'd be hard pressed to tell based on the sound of iSEM, which is big, bold and fat, just like the original. iSEM retains the same basic voice architecture as the original SEM and even expands (no pun intended) on it, with two oscillators (VCO 1 and VCO 2), oscillator sync, noise generator, a sub oscillator (which is pitched 1 or 2 octaves below VCO 1, with sine, sawtooth and variable pulse width waveforms), two Attack / Decay / Sustain envelopes, two LFOs, and basic mixer for blending the oscillators & their waveforms, sub oscillator and noise generator, and a 2-pole (12db/octave) resonant filter with high pass, band pass, low pass and and notch filter types available. A powerful modulation matrix allows you to select from any of eight modulation sources and apply them to any of twenty-six destinations. This wasn't available on the original Oberheim SEM and its inclusion gives Arturia's iSEM the ability to do things that are more along the lines of the capabilities of some of the later Oberheim synths such as the Matrix 6. Arturia also threw a really nice arpeggiator into iSEM, with up, down, up/down and random modes over a user-specified 1 to 4 octave range. Portamento is also included.A quite decent effects section is also included, with chorus, overdrive and delay so you can add grit, motion and repeats to the basic sounds generated by the synth. Of course, like the arpeggiator, the delay and chorus can be tempo synched to MIDI clock, WIST, or inter-app time references if desired iSEM is compatible with iPad 2 and later models, including the iPad mini and iPad mini with Retina Display, which is what I used for testing iSEM in the course of this review. It is not compatible with iPod or iPhones - it is iPad-only, and requires iOS version 6 or later. It works fine with iOS 7.The built-in virtual keyboard functions are as good as any I've come across on an iOS app. It has the expected mod and pitch wheels, 26 different scale presets, is scrollable, can be transposed, includes hold and chord functions, and you can even zoom in. iSEM can be set to play monophonically, or polyphonically, so it can easily simulate the old Oberheim 8-Voice. Do you want to use iSEM in combination with other iOS apps and external devices such as keyboard controllers or even another iPad? Then you'll be happy to know that connectivity is a non-issue since iSEM supports Audiobus 2.0, Korg's WIST, Apple CoreMIDI and Inter-App Audio. iSEM can be set to Omni mode, or any MIDI channel from 1-16. A MIDI learn function allows you to quickly and easily map external controllers to practically any on-screen knob or control. A ton of presets are included with iSEM, and they're well organized by category, with plenty of lead, bass, brass, pad, synth, organ, woodwind, keyboard and FX sounds to keep you busy for hours and hours auditioning them all. Arturia even thoughtfully includes several "Templates"; presets with names like Simple Brass, Square Lead and Simple Strings that can serve as the starting point for creating your own patches. An 8 Voice Programmer screen allows you to program each voice independently, with different settings for each one, just as with the old Oberheim 4 and 8-Voice synths. iSEM is patch compatible with Arturia's SEM V Mac and PC software, so if you have the virtual instrument running on your desktop or laptop, you can exchange patches between it and the iPad version via iTunes file sharing. Limitations While there are certainly limitations compared to modern synths, iSEM expands on the feature set of the original hardware module, and with that in mind, and at this price, there are no significant issues or limitations to report. Conclusion If you're a musician and you have an iPad, you need this app! Five bucks for something this good is simply insane. Even at the regular price of ten dollars, this synth is an absolute steal. It works great as a stand-alone synth for stage or studio use, but it also works and plays well with other apps too, which makes it a must-have for more complex iPad based production setups. It takes the basic concept of the original SEM hardware module and improves significantly on its feature set while retaining the fat and thick sound that everyone loves about the original. Best of all, it's been rock solid reliable for me, with no crashes or unexpected and unwanted behaviors, which is essential for anyone interested in using it for live performances. I could continue to attempt to wax poetic about it, but it would be better if you just bought it and started getting to know it first-hand yourself. You won't be disappointed if you do. Resources Arturia iSEM 1.02 ($9.99 MSRP, currently on sale for $4.99, available through the Apple App Store.) • $4.99 • Category: Music • Updated: Apr 02, 2014 • Version: 1.0.2 • Size: 72.1 MB • Language: English • Seller: Arturia • © 2013 Arturia Arturia's iSEM web page Demo Video Tutorial Video

Organ Machine effect pedal for guitar, bass and keyboards By Phil O'Keefe Guitarists can be rather weird sometimes. For example, consider our fascination with (some would say jealousy of) the sounds keyboardists can generate with electronic organs and rotary speakers. Univibes, phasers, rotary speaker emulators - all were developed in an attempt to give guitarists the swirly, phase-shifted tones that organists have used for decades. There's also a variety of octave generator pedals (such as the EHX POG2 and Micro POG) that can give guitarists more organ-like sounds, but short of using a guitar synth, nothing has really nailed the basic sound of an organ well enough to fool anyone who is really playing attention. Electro-Harmonix claims that their new B9 Organ Machine actually does give guitar players the ability to convincingly sound like an electric organ. Let's take a look and see if their claims hold up to our testing. What You Need To Know The B9 Organ Machine has nine preset organ sounds, with basic yet descriptive names for each one listed on the front panel.The B9 is housed in a die cast enclosure that measures roughly 3.5" W x 4.5" D x 2 1/8" H, including the knobs. The input jack is mounted on one side of the pedal, and two output jacks are located on the opposite side.One output is labeled "Dry", and outputs the buffered dry guitar sound at all times, regardless of whether the pedal is activated or not. Think of this as a useful aux output. The second, or primary output is labeled "Organ." What comes out of this jack depends on how you have the B9's Dry and Organ Volume knobs set, and whether the effect is bypassed or not.The B9 has a total of five knobs: Dry and Organ Volume controls, a Preset select knob, as well as Mod and Click controls.The Dry Volume knob controls the amount of unprocessed guitar signal you'll hear coming out of the Organ output jack. Unity gain on this knob is when it's turned up all the way.The Organ Volume knob controls the amount of organ sound in the mix at the Organ output. Unlike the Dry Volume knob, it's possible for the organ signal to be considerably louder than your dry, unprocessed guitar signal, so in order to get equal amounts of guitar and organ (if that's what you want), you'll need to keep this knob set fairly low.For the best sound processing and amplifying flexibility, routing the organ and guitar signals to separate effects and amps is the way to go.Dialing up a preset is as easy as turning the white knob to the desired preset number. A wide range of different organ sounds is provided, including several B-type sounds, a cathedral / pipe organ sound, an electronic "Continental" combo organ, and a "Bell Organ", which is somewhat similar to a cross between an organ and electric piano in tone. While some of the sounds are subjectively better than others, most are very good indeed.The Mod control adds a bit of modulation to the signal, and the modulation type (chorus-like rotating speaker, vibrato or tremolo) is different depending on which preset is selected. With this knobs turned down all the way, the modulation is bypassed. Turning it up brings the modulation in, and the knob then controls the speed of the modulation.The Click knob also serves multiple purposes, depending on which preset is chosen. With most presets it adds percussive key click to note attacks, but on some presets (Cathedral and Continental), it instead serves as a depth control for the tremolo or vibrato, and with the Bell Organ preset, it sets the amount of Bell or chime that is added to the sound.Tracking is terrific. There are some concerns in terms of your playing dynamics that I'll detail later, but there's no appreciable latency like you have with most guitar synths, and the B9 will faithfully (although unrealistically from an "authentic organ sounds" perspective) follow and track string bends and other guitar-centric playing techniques just fine. Glissandos, or sliding up to or down from notes, is far more effective and realistic sounding with the B9 than string bending is.While you can play with a pick, I found that playing fingerstyle generally resulted in more realistic sounding performances since unlike strumming, it allows you to trigger multiple notes at the exact same instant, much as a keyboardist does.Electro-Harmonix recommends using the bridge pickup for best results. Low output pickups may be an issue in some cases, and if you have problems with this, a compressor or boost pedal placed in front of the B9 to increase the signal level feeding it is the recommended solution.With the exception of the aforementioned compressor or boost pedal, the B9 should be the first pedal in the signal path. Any distortion or overdrive you want to use with it should be placed after the B9. And yes, it sounds great with some dirt added to it, so if you're looking for those big grinding Jon Lord type organ sounds, you can definitely get them!There are no internal switches or trim pots inside the B9, and really no need to open it up at all since there's no internal battery compartment. Power is provided by the included 9VDC adapter, and the EHX B9 uses the industry standard 2.1mm center-negative power connector. The power jack is located at the top of the pedal. Current draw is 100mA. The B9 features buffered bypass. A red LED illuminates when the pedal is activated. Input impedance is 1MegOhm, and the output impedance is 500 Ohms for both the Dry and Organ outputs. Limitations You do need to be careful to play consistently in terms of picking dynamics with the B9 Organ Machine. I occasionally had notes that would "jump out" at me - usually as a result of my picking hand's "heavy thumb", and almost always when I was playing notes on the low E string. Putting a compressor pedal in front of the B9 to help even out your attack and volume makes it much easier to avoid this issue. While the note range of the B9 is extensive, it does have some limits. Anything higher than high Eb (high E string at the 23rd fret) won't trigger organ sounds. Similarly, while you can use the B9 with an electric bass (or even a keyboard), low notes below C (A string, third fret) can be problematic, and playing below that is not recommended.The onboard modulation is nice to have, but with relatively limited adjustability, it doesn't compete with outboard rotary sim and tremolo units. Patching in a good two speed rotary speaker simulator pedal is the way to go if you want to make the B9's organ simulation even more authentic-sounding, and you really haven't lived until you try running the B9 into a preamp and a real Leslie(™) speaker. Conclusions Yes, there's some caveats and limitations that you should be aware of, but make no mistake - the EHX B9 can absolutely give you classic organ sounds that are all but indistinguishable from the real thing. Yes, you have to do your part, but the sound is so similar as to be startling upon first exposure to it since it approaches the authenticity and tone of keyboard-based organ patches. Of course, the physical limitations of the guitar preclude using some of the techniques organ players typically employ, but if you think and play as much as possible like an organist instead of like a blues/rock guitarist, the sound simulation can be very convincing. In a studio environment where you can multitrack and overdub to get around some of those limitations, extremely convincing organ parts are achievable. While you don't have the ability to dial up your own drawbar settings, EHX has provided a nice variety of basic organ sounds that are suitable for a wide range of musical genres. The onboard modulation isn't the best you'll find, but it's nice that it's included, and it can easily be turned off so you can use any of the numerous external units that are on the market. Effects are relatively easy - it's the basic organ sound that is so hard to achieve with a guitar, and it's there that the B9 excels. That is the real star here, and one that is deserving of the attention. If you want to get authentic organ sounds from your guitar, there's currently no better way short of a full-blown guitar synth to get them than the Electro-Harmonix B9 Organ Machine. Resources Musician's Friend Electro-Harmonix B9 Organ Machine online catalog page ($293.73 MSRP, $220.30 "street") EHX B9 product web page Demo Video

The Making of Rock and Roll's Greatest Records Revealed By Phil O'Keefe Most people have little idea of what it's like to work in a major recording studio, much less what it is like to be present when a major hit record is being tracked and mixed. To be fair, a lot of the time even the musicians, engineers and producers involved don't know for certain that something is going to be a hit while they are working on it, although many of them have inklings and premonitions at the time, and the desire is always present to create a hit. Fans, musicians, and recording neophytes have a great deal of interest in what goes on behind those "closed session" studio doors; many people would love to get a glimpse at the production process that goes into the creation of their favorite music. In his earlier book Behind The Boards, award-winning author Jake Brown delivered exactly that by offering up one of the first books that opened the doors and revealed what happens inside the studio as musical magic is being made. Told mainly from the perspective of the producers who worked on the various recordings that are covered in the book, its follow-up, entitled Behind The Boards II, has recently been released by Hal Leonard Books. What You Need To Know Behind The Boards II is a paperback book that follows the same basic approach as its predecessor. It includes information about record producers, numerous hit recordings and famous albums of the rock era that were not covered in the original book.Smoothly switching between interview and narrative, Jake Brown tells us not only about the history and context in which the records were made, but artfully weaves in illuminating insider information from the actual people who were there and actively involved in the creation of some of the most cherished recordings of the Rock era.Numerous details of interest to recording engineers are revealed, including what models of microphones were used on various instruments and tracks, information about effects processors and innovative and unusual studio techniques that were an integral and important part of the sound and success of those hit records.The personal and human interaction aspects of record production are also covered in depth, with revealing glimpses into the personalities, working relationships and creative approaches of the various artists and producers.A complete list of all recordings and artists covered in this book would be difficult to compile. The book approaches the subject of these hit records from a producer-centric perspective. The interviews contained within are with producers, and in the process of interviewing them and narrating their stories, Jake Brown has made sure that many of their most famous musical projects are discussed and examined.The book contains 16 chapters, and the names of the chapters - each of which includes the name of a producer - will give you a pretty good idea of some (but by no means all) of the records that are discussed in the course of the book. With that in mind, here's a listing of the chapters:1. The Long Run - Bill Szymczyk 2. Rocket Man - Ken Scott 3. In Step - Jim Gaines 4. I Wanna Dance With Somebody - Narada Michael Walden 5. Hysteria - Mike Shipley 6. Rebel Yell - Keith Forsey 7. Tuesday Night Music Club - Bill Bottrell 8. Magic Man - Mike Flicker 9. Eye Of The Tiger - Frankie Sullivan 10. Start Me Up - Chris Kimsey 11. Bloodletting - Chris Tsangarides 12. Times Like These - Nick Raskulinecz 13. Building The Perfect Beast - Danny Kortchmar 14. Bay 7 - Howard Benson 15. Don't Stand So Close To Me - Nigel Gray 16. Rock The Casbah - Joe Blaney Again, the chapter names only indicate part of each producer's body of work, and many other songs and albums are covered. For example, while Elton John's hit song "Rocket Man" is discussed in the course of the chapter on Ken Scott, there is also considerable coverage of his work with the Beatles, including such songs as I Am The Walrus and Helter Skelter.Likewise, while Bill Szymczyk may be best known for his work on Eagles albums such as Hotel California and One Of These Nights, he also worked on BB King's biggest hit, The Thrill Is Gone, as well as hit records for Elvin Bishop, Joe Walsh, Bob Seger, The Who, and Rick Derringer.Other producers that are not given their own chapters are also occasionally discussed in the book. Of course Ken Scott worked with Sir George Martin on Beatles records, and some of their interactions are discussed from Ken Scott's perspective. You'll also hear from Mike Shipley about working with Mutt Lange.It's very interesting to compare the various attitudes, styles and approaches of all the different producers in this book; Behind The Boards II also offers some examples of how record producers work with, influence, and interact with other producers.There are very few books that speak to the subject of making records from a producer's point of view, and Behind The Boards II, like its predecessor, offers a rare view into a world that most people will never experience first-hand, and insights into what it is that producers do - which is something that most people (and even many musicians) know little about. It provides the perspective of people who are intimately involved with the process of making records, but who work behind the scenes; relatively unknown to the public compared to the famous artists they collaborate with. Limitations Behind The Boards II is completely devoid of illustration; if you're looking for behind-the-scenes studio photos, or illustrated examples of gear settings and microphone positioning, you're going to be disappointed. Still, there are plenty of descriptions of the techniques that were used on the recordings that this book covers, and engineers and aspiring engineers and producers will all no doubt glean useful insights from them.Behind The Boards II isn't a roadmap to duplicating any of the records it covers, but it does offer considerable insight into the mindset and working paradigms of several of history's must successful record producers, using the story of their hit records and their own recounting of their time "behind the board" as they helped craft those legendary and cherished works of art. Conclusions This book does a good job of revealing what it's like to work in the studio and what it is that producers actually do. It gives tantalizing behind-the-scenes insights into the creation of some of the most cherished records ever made from the perspective of the producers who worked on them, and in the process, helps to document their history and tell the stories behind those legendary recordings. Behind The Boards II adroitly straddles the line between providing enough information to keep knowledgable musicians and aspiring producer/engineers keenly interested without going so far into the minutia of studio technology that casual fans become hopelessly confused and lose interest. Musicians and engineers may occasionally long for more in-depth information about this tiny detail or that, and illustrations would have made visualizing what is being discussed a bit easier for some readers, but there is still a wealth of information to be gained by reading this book; not only in terms of recording approaches and studio techniques, but in terms of attitude, musicality and a producer's artistic approach. If you love a wide variety of Rock music styles, are interested in the genre's biggest artists, and/or have an interest in recording and record production, Behind The Boards II should be at the top of your summer reading list. Resources Hal Leonard's Behind The Boards II web page $24.99 (US) 
Inventory #HL 00120810
 ISBN: 9781480350601
 UPC: 884088918125
 Width: 6.0" 
Length: 9.0"
 304 pages 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.

Stereo Microphone with Lightning Connection for iPhone and iPad By Phil O'Keefe I don't know about you, but Apple iOS devices are a near-constant companion for me. I always have either my iPhone 5 or one of my iPads on me, or close by, and I use them for all kinds of things. Not only does my iPhone serve as a telephone, but I also rarely wear a watch anymore, and I don't need a separate alarm clock, GPS, compass, answering machine or MP3 player because the phone handles all of those things… if I could get it to do my laundry and make coffee, it would be nearly perfect. Another thing that it has largely done away with is the need to carry a personal recording device. There are tons of cool recording apps that can handle anything from voice memos to full-blown multitrack recording, but unfortunately, the built-in mic on iOS devices really isn't up to handling high levels (like you might encounter when trying to record a live gig or concert, or when rehearsing with your band), and it's mono-only, which also limits its usefulness for capturing live music. Blue's solution to these problems is the Mikey Digital, an add-on stereo microphone with built in 16 bit / 44.1kHz analog to digital conversion for iOS devices that can work with the majority of audio and video apps either in plug-and-play standalone mode, or be directly controlled by your iOS software, if the software supports it. What You Need To Know The Blue Mikey Digital attaches to your iPad or iPhone via the Lightning port. (An earlier version offered 30-pin connectivity for older iOS models.) A Lightning connector is located at the base near the Blue logo, and the main body of the microphone housing is attached to that base with a 230 degree swivel mount.While it isn't fully-adjustable, there are seven different positions on the swivel mount that allow you to aim the microphones at various angles relative to the iOS device. This is very convenient and makes it much easier to optimize mic positioning in real-world situations, such as when setting your iPhone on your desk to record a lecture or acoustic guitar part, or placing your iPhone in a shirt pocket with the Mikey Digital sticking out when recording a concert.Since the Lightning port is reversible, you can even aim the mic at you (towards the screen) for narration while using the front side camera to record video.Mikey Digital is designed to be used with Apple iOS devices. Currently the iPhone 5, 5s and 5c, as well as 4th generation iPads, both iPad Mini models, and the 5th-generation iPod Touch are supported, as is iOS 7.The front side of Mikey is indicated by a silver Blue logo. Internally there are two condenser capsules, and unlike the onboard microphone built into your iOS device, Mikey Digital records in stereo.Mikey Digital has three different level (or "sensitivity") settings - High-Gain (quiet sounds), Low-Gain (louder sound sources) and Auto Level. A small silver slider switch on the back allows you to select between them, and one of the three front side LEDs illuminates green when Mikey is connected to your iOS device to show which position is selected. The switch can be a touch fiddly to set while Mikey is attached to your iOS device, and I found it easier to unplug it, change the switch setting, then reattach it to the iPad. Maybe with more time the switch will loosen up a bit, but the upside of it being a bit snug is that you're unlikely to accidentally change the setting while recording. The three frontside LEDs also are used to indicate when you're overloading (all three LEDs flash red). Blue recommends the loud switch setting (indicated by a ")))" graphic below the corresponding LED) for sources in the 100-130dB SPL range, and the low setting (indicated by a single ")" graphic) for quieter sources in the 45-65dB range. Auto mode ( "))" - the middle switch setting) is intended for moderate levels in between those two extremes, such as violin and acoustic guitars, or for when recording lectures, interviews and meetings. It uses an automatic gain control circuit to raise the sensitivity when the source is quiet, and lower it to reduce the possibility of overloads when it gets louder. It's fine (and reasonably effective) for spoken word recordings, but I prefer (and Blue recommends) using one of the other settings if you know your sound source is going to remain within one of those level ranges.One big advantage of Mikey Digital is that it's quite small (about 2.5" wide and half an inch thick), so it's much more likely you'll have it with you when you need it. Blue even includes a nice velvet-lined bag to store it in when you're not using it. The bag is slightly oversized, so it's possible to put a pair of earbuds in there with it too. Mikey Digital has a mini USB port built in on the side of the unit. This allows you to power your iOS device via USB while Mikey is connected, whether you're actively using it to record or not. You can even recharge your device through this USB connection, although you can not use it for data transfers or syncing your iOS device to iTunes. No cable is included, so you'll need to provide your own, but this feature allows you to record for long periods without draining your device's battery if a suitable USB power source, such as a laptop or power brick, is available.Another really thoughtful feature is the 1/8" stereo input jack. Located at the top of the unit, this jack allows you to record a variety of different stereo or mono sources, such as line outputs from external preamps and MP3 players, wired lapel microphones, and instrument level sources. A 1/4" to 1/8" adapter is even included to make it easy to plug your guitar or bass in. Connecting to the line input jack disables Mikey Digital's onboard microphones, and connecting a mono source results in the audio being fed to both channels. When recording with the stereo input jack, Blue recommends using the Auto level setting on the sensitivity selector switch, although you can still use the other two settings as needed. The quiet (high-gain) setting may be best when using low-output devices such as wired lapel microphones. Your headphone jack on your iOS device remains active even when Mikey Digital is connected, although it isn't possible to use your headphone's built-in mic at the same time. The iOS device's internal speaker will also continue to work for audio playback with Mikey Digital connected. Limitations You can not use the line input and microphone simultaneously.Because of the width of the base where the Lightning connecter is located, Mikey Digital may not work with many iPad and iPhone cases. For example, I had to remove my Otter Box Defender series cases from both my iPad Mini and iPhone 5 in order to use them with Mikey Digital. If you're in a hurry and don't have time to remove the case, you may be able to use a Lightning Dock extender adapter or cable, although an extender cable would bring with it mounting and positioning concerns that are non-issues with a more direct connection to your iOS device. Conclusions I really like Mikey Digital. It's small and easy to take with you, and definitely improves upon the stock audio quality of the built-in microphones on iOS devices. The line input further expands its flexibility, and the USB port makes using it for extended length recordings possible without worrying about running out of battery power. Importantly, it can also handle significantly hotter levels (such as when recording a live concert or band rehearsal) than the stock microphone on your iOS can without overloading. Blue recommends Mikey for lecture recording, recording live concerts, dictation and voice memos, field recording and sample gathering, videos, interviews and travel journals - basically just about any mobile recording task. I feel it's well-suited to these sorts of tasks, and also for use on demo recordings; to be frank, it wouldn't normally be the first (or even second) thing I'd reach for when waxing album-quality tracks, but I wouldn't be surprised to hear that tracks recorded with it ended up being used on a commercial release either. It is certainly a substantial improvement over the microphones built into iOS devices, and it's small enough that you can easily make taking it with you a matter of habit. That way, you'll always be prepared and have all the tools you need to record CD quality audio in mono or stereo at any time - and there's a lot to be said for that. Resources Musician's Friend Blue Mikey Digital (30-pin version) online catalog page ($99.00 "street") Blue's Mikey Digital product web page Specifications • Microphone Type: Stereo pressure gradient condenser • Sampling: 44.1kHz/16-bit • Polar Pattern: Cardioid • Weight: .18lbs • Frequency Response: 35Hz – 20kHz • Dimensions: 2.5” (L) x 2.5” (W) x .5” (D) Demonstration video

Attack Equalizer reissue By Phil O'Keefe Back in the mid to late 1970s, I remember seeing print ads for the Electro-Harmonix Attack Equalizer pedal in various magazines. It promised to "convert your Les Paul to a Fender" and "your Fender to a Les Paul", and all for only $69.95. At the time it seemed like a pretty far-fetched idea to me; after all, there are some significant differences between a Les Paul and most Fender guitars, and the two typically sound quite a bit different from each other. However, when I finally had the chance to try one, I was surprised by how drastically the Attack Equalizer could bend and warp the basic sonic character of whatever was running through it. Fast forward a few decades, and EHX has re-issued the Attack Equalizer as the Knockout Attack Equalizer reissue, or Knockout for short. Let's take a look and see how faithful it is to the original units, and how it stacks up as a tone shaper. What You Need To Know The Knockout is a somewhat unusual pedal. It's an equalizer, which are fairly common in pedal form, but it's not your typical graphic or parametric type, which are what you'll normally find when shopping for equalizer pedals. Instead, it uses multi-pole high and low pass filters and a blend control to work its magic.Housed in Electro-Harmonix's rugged XO-sized die cast metal enclosure, the Knockout measures approximately 4 5/8" L x 3 7/8" W x 2 1/8" H, including the jacks, knobs, and switch.Speaking of switching, the Knockout features true bypass switching. A red LED illuminates when the effect is active.The Knockout can be powered by an internal 9V battery (and one is included with the pedal), or from an optional external 9VDC power supply. The power jack uses the industry standard 2.1mm center negative plug format, and is located at the top of the pedal. Battery compartment access is achieved by removing the four screws that hold the bottom plate in place.There are no internal switches or trim pots inside the Knockout. The input and output jacks are mounted on the sides of the pedal. The 1/4" input jack is a switching type unit, and plugging into it functions as a "power on" switch for the pedal, making it important to unplug it whenever a battery is installed and the pedal is not being used in order to prolong battery life.Input impedance is 390k Ohm.The Knockout has three knobs, just as the original EHX Attack Equalizer pedal did, but they're labeled differently on the reissue. On the original, the controls were labeled Fundamental, Blend and Attack. The Knockout instead labels them Low, Dry and High. While the names have changed, their functions remain the same as they were previously.The Low knob controls the output from the Knockout's 7-pole low pass filter. Turning this knob clockwise results in more bass. The cutoff frequency is 85Hz.The High knob has a similar effect on high frequencies, and controls the Knockout's 6-pole high pass filter. The filter's cutoff frequency is 6.5kHz. Turning this knob clockwise results in a brighter sound.The Dry knob is one of the keys to the power and flexibility of the Knockout Attack Equalizer reissue. It allows you to blend in as little or as much of the dry, pre-equalized sound as you want. By blending the unprocessed signal with various amounts of high and/or low pass filtering, a wide range of different tones is possible. Limitations The Knockout is better suited to tonal shaping duties, and less so as a corrective, problem-solving equalizer. For corrective duties, such as notch filtering out a 60Hz hum, a parametric EQ may be a better choice.A bit more experimentation may be required to achieve the desired results than you'd need with a graphic EQ, and you don't get the same visual feedback, but the results are worth the slightly increased time required. Once you have a handle on how the controls interact, dialing up the sound you want is much faster and easier. Conclusions It's smaller, arguably better-built and physically tougher, and has the true bypass switching and effect-active LED indicator that the vintage originals lacked, so while the Knockout is not 100% true to the original EHX Attack Equalizer, all of the changes are welcome improvements over the earlier models. Sound-wise, this pedal - like the originals - is a sleeper. While equalizers are never going to be the stars of anyone's pedal collection, their usefulness is hard to deny, and the Electro-Harmonix Knockout can provide a lot of cool sounds that you would be hard-pressed to duplicate with other EQ pedals. Although it might be overstating it just a bit to say that the EHX Knockout converts a Les Paul into a Tele, or a Strat into a Les Paul, you really can fundamentally and significantly change the basic tone and character of your instrument with the Knockout, and while it won't make your Tele sound exactly the same as your Les Paul in every way, that's still a good analogy, and a reasonable way of describing the effect and overall capabilities of this pedal. While it is very useful for guitar, I found it to be even more indispensable for processing bass guitar; it makes getting a great bass tone much easier, and allowed me to add note definition and clarity while retaining great low end support at the same time. If you're a bass player, this pedal should not be missed! Considering the "street" price of the Knockout is about the same today as it was in the mid-1970s, the modern price is a real bargain - it's inexpensive enough that every guitar and bass player should add one to their pedal collection. Your tonal options will increase significantly if you do. Resources Musician's Friend Electro-Harmonix Knockout Attack Equalizer reissue online catalog page ($90.53 MSRP, $67.90 "street") Electro-Harmonix Knockout product web page Demo videos 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.

Software drum machine By Phil O'Keefe The humble drum machine really set the world of music on its ears as it started coming of age in the early and mid 1980s, and a generation of musicians grew up with them as practice, composition, recording, and even live performance tools. Drum machines have remained popular ever since - however in today's musical world, MIDI hardware has largely given way to software and virtual instruments, so many of today's musicians, as well as the musicians who once used hardware drum machines and slaved them to their computers via MIDI, are now using software versions instead. Arturia's Spark 2 is an updated version of their popular drum production plugin - in many ways, it's a virtual drum machine, and while what is under review here is just the software, Arturia also offers hardware such as the SparkLE and Spark Creative controllers that are designed to interface seamlessly with the software. That's bound to be a popular option for DJs and others who are interested in using Spark 2 in a live performance environment, and who want to be able to enjoy the benefits of real-time tactile control. What You Need To Know The Spark 2 software is laid out in seven main screens, or as Arturia calls them, "panels" - Main, Sequencer, Song, Studio, Modular, Mixer, Library, and Prefs. Each allows you to control various aspects of the software.Spark 2 can be used in standalone mode, or as a VST, AU or RTAS / AAS plugin on Mac (OS 10.7 or later) or PC (Windows 7/8) computers equipped with at least 4GB of RAM and a multi-core processor. I tested it on both Mac and PC systems, with equally excellent results and stability on both platforms. When running as a plugin, up to 16 individual outputs are supported.Copy protection is via an authorization code, and the entire installation and authorization process went off without any problems on both systems.The main panel / screen corresponds closely with the layout of the SparkLE controller. There are 16 tracks, and 16 main "instrument pads", laid out in two rows of eight on the main screen.Mute and Solo functions are quite cool - you can specify which pad(s) you want to solo or mute in any combination, and turn them on and off at will. Perfect for live performance breakdowns.There are three knobs of Instrument Parameters that allow for quick, on-the-fly adjustment: Pitch, Frequency Shift, and Decay. A Loop function is also available, and includes a nifty Divide feature that allows you to break a loop down into smaller sections, such as the first 1/8th, 1/4, 1/2 or 1/16th of the original length.Strike 2 uses a Banks and Patterns organizational structure, with four banks, and each bank filled with up to 16 individual patterns. These patterns can be chained together to form Songs.Sequencing using a familiar grid paradigm makes dialing up your own patterns a snap. You can quantize while recording if you wish, which can save time when using external hardware controllers and "playing" your parts while tracking. Spark 2 features a 64 step sequencer, although you can create patterns with fewer steps, such as the 16 and 32 step patterns used on many vintage drum machines. Song creation is also equally easy, with drag and drop of patterns into chains. This makes it quite simple to sequence full song arrangements.When using Spark 2 as a plugin, Sync Playback and Sync Tempo with Host allows you to synchronize Spark 2 to your DAW.The sound creation capabilities of Spark 2 are worlds beyond the typical vintage hardware drum machine, with not only sample playback (with multiple layering), but also a virtual analog engine based on Arturia's TAE analog modeling, and physical modeling too. The realism of the acoustic type sounds, and the quality of the sounds in general is quite good - they're sourced from well-respected third-party developers, and there's a large variety available; whether you're into House or Rock, EDM or Pop, you'll find suitable sounds in Spark 2.The new modular drum synthesis is very powerful. In the past, only developers had access to this feature, but now users can add and subtract modules such as oscillators, filters, LFOs, and envelopes, set the routing between modules, and do all sorts of creative sound design. Are you into the sound of classic vintage hardware drum machines but don't want to throw down large sums of money on a collection of temperamental old hardware units? Spark 2 has you covered, with emulations of the sound sets of loads of vintage drum machines, including models from Korg, Yamaha, Emu, Roland, Linn, and others.In addition to the large variety of drum and percussion sounds (both acoustic, as well as vintage and cutting edge modern electronic sounds) various other sounds are also included, such as basses, synths and effects. There's enough here to keep you busy creating for hours on end, and for some genres, Spark 2 may be all you need to lay down some serious (and surprisingly complete) tracks and arrangements.There's MIDI as well as WAV export, and both are super-easy to use - just go to the Sequencer page and drag the Wav (represented with a waveform graphic) or MIDI icon from the Export section to your desktop, and a file containing the current pattern is created.The program's Studio tab allows you to do all kinds of creative processing to individual kit components and sounds. You can adjust volume and pan, mute and solo sounds, load different sounds and samples, control the cutoff, pitch, and decay of individual sounds within kits, and even apply effects. This is also where you'll find Choke groups, which allow you to cut off one sound with another, such as when a open hi hat is cut off by a subsequent closed hi hat hit. Projects can be exported and imported from the Library screen. Overall, the Library functions are good, if not spectacular. There are separate libraries for Projects, Kits, and Instruments. Although this section of the program may look a little less polished than the rest of Spark 2, you can still load and save to disk, import REX files, and do all the other file management things you need to do. The Mixer page provides a nice range of basic mixing functions for each instrument in the kit, including level, pan, mute, and solo. There are two aux sends for effects such as reverb and delay. There are also two insert points on each channel and a wide range of insert effects, such as compression, delay, flange, distortion, subharmonic generator, rotating speaker simulation, destroy, graphic EQ, phaser - fourteen different effects in all. These are all nice effects too, with a decent amount of adjustability and solid sound quality. Arturia even gives you a handful of presets for most of them to get you started, and of course, you can save all your own edits and preferred settings too. The master fader also has two inserts so you can add compression or other effects to the entire mix if you wish. There's plenty of other features in Spark 2 that time doesn't allow me to cover, but fortunately, Arturia does offer a demo version of the program so you can experiment with it yourself before deciding whether it's for you or not. Save, Save As, and Export are all disabled when running in demo mode, but it's the same program, and everything else is fully functional. Limitations This is a deep instrument, and it is going to take you a bit of time to get up to speed with it. Don't expect to turn it on for the first time and immediately use it on a session or at a gig. It's not that the program is difficult to use, but there is a lot there, and while the interface is generally well-designed, as with most complex programs, it's going to take a while until you really know your way around it.Unfortunately, there is no tap tempo feature. Spark 2 will lock to your DAW, and you can adjust tempo manually, but you can't tap in a tempo in on the fly.There is sample playback, but no real user sampling available. You can import samples that you created and manipulated with other programs, but recording them from within Spark 2 is not supported. Conclusions Spark 2 is a very cool and comprehensive drum machine in software form. As with traditional hardware drum machines, it comes with a wide variety of different sounds that are suitable for many different styles of music. In fact, it has far more sounds included than most hardware units ever dreamed of. I really wish I would have had the opportunity to try out one of the hardware controllers, but that wasn't in the cards. The close integration between the two is apparent from what I can see from the software side, and the tactile responsiveness of real controls is something I always appreciate. I'm sure that those who are looking for a live performance instrument will also gravitate towards using the hybrid approach with both hardware controller and software. Still, it's nice that the program works so well without the hardware, and that the option of getting it sans hardware is available for those who prefer working entirely in the box or already have a controller they prefer. Those who just want a great software replacement for their old hardware drum machines are going to love Spark 2 since a lot of the working paradigms will already be familiar to them. While you still need to spend a bit of time getting to know where everything is located, it's relatively easy to learn - and once you do, it's fast and efficient to use. The lack of tap tempo may be a bit of a drag for some users - especially in a live performance situation, but other than that, and the lack of user sampling capability (which is somewhat offset by the improved REX capabilities of Spark 2) there really isn't anything glaringly missing. The effects are surprisingly good. The sounds and patterns included are also first-rate, and Spark 2 gives you plenty of ways to change and mangle those sounds too. I was impressed with the heft, substantialness and weight of many of the sounds - the overall character is big and fat, with solid low end that is not overbearing, but yet still quite impressive. You also get a lot of patterns that you can use as-is or as the basis for your own edited patterns, and a wide range of genres is represented. The ability to use the Spark 2 software with dedicated hardware controllers will also appeal to many, and while I didn't get to check it out with the Arturia controllers, it worked fine with my DIY MIDI drum pads and other MIDI controllers. All in all, Spark 2 is a well designed, easy to use, solidly reliable and great sounding drum production software program that should be on your short list of plugins to check out if you need outstanding rhythm parts. And really - who doesn't need that? Resources Arturia Spark 2 ($189.00 MSRP, $169.00 "street") Demo download Musician's Friend Arturia SparkLE Hybrid Hardware / Software Drum Machine online catalog page ($299.00 MSRP, $249.99 "street") Arturia Spark 2 product web page Spark 2 introduction and tutorial videos 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.

100% Discrete 500-series mic preamp with transformer coupled output By Phil O'Keefe By now there should be no doubt in anyone's mind that Radial Engineering has made a major commitment to the 500-series rack format. Not only do they make the "bread and butter" type products you might expect, such as mic preamps, compressors and equalizers, they also make several extremely handy and useful "problem solver" modules, as well as a full line of rack units for powering and housing your 500-series modules. Today we're taking a look at another one of their preamp modules - the PowerPre. What You Need To Know The PowerPre is a 100% discrete, solid state microphone preamp that features a transformer balanced output, and is designed for use in 500-series modular racks.I tested the PowerPre with a Radial Engineering SixPack 500-series rack serving as the host, but it conforms to all 500-series standards and should work fine with any well-designed 500-series rack. Maximum power draw is a reasonable 130mA, so it isn't going to place too much of a burden on your power supply.The build quality is typical of Radial Engineering's products, which is another way of saying it's built like the proverbial brick outhouse, with high quality, hand selected discrete components, Mil-Spec double-sided PCB, a Hammond broadcast output transformer, and a tough all-steel housing that encloses the entire unit and provides shielding.Most I/O connectivity for 500-series mic preamps (and 500-series modules in general) is provided by the host rack, but the PowerPre also includes an XLR input on the front panel. This is extremely convenient for those who work alone, since it allows you to easily plug in a mic without having to reach around to the back of your rack. Of course, the host rack's XLR input for the module is still available - the two jacks are wired in parallel.The AccuState (™) input control is really quite clever. Instead of just lowering input sensitivity like many other preamp designs do (which leads to increased noise levels as you increase the input attenuation), it links two pots that proportionately adjust input sensitivity and gain simultaneously so that the signal to noise ratio of the preamp remains optimized, no matter how hot the input signal is or where you have the knob set. It works wonderfully, and keeps the noise levels nice and low at any point on the dial, with up to 55dB of gain available.A ten segment LED meter keeps you appraised of what your levels are doing. The meter is designed to replicate VU meter ballistics, and it has three different LED colors (green, orange and red) so it's easy to see at a glance if things are getting too hot.If that should happen, you can engage the PowerPre's -15dB pad switch.A polarity invert switch is also included on the PowerPre's front panel.The 48V phantom power switch is recessed and requires a toothpick or similar tool for activation. A red LED next to it illuminates when it is active.However, it is possible for the LED to be illuminated but no power to reach the microphone, as Radial points out in the PowerPre's user's guide. This can occur if the internal ground lift switch (located near the card-edge connector) is switched on, in which case the phantom power LED will illuminate when the phantom power switch is engaged, but since the ground lift is also engaged, no phantom power will reach the mic.Why include the ground lift? For use with keyboards and other AC-powered unbalanced sources, which may occasionally suffer from ground loop issues.When using the PowerPre with a Radial Engineering 500-series rack host, the Omniport feature becomes available. The PowerPre's Omniport is configured as a unbalanced 1/4" instrument input. Connecting to the Omniport jack disconnects the PowerPre's front panel XLR input. Input impedance is 150k Ohms, and there is up to 55dB of gain available on the Omniport instrument input.The PowerPre also includes a high pass filter switch. The filter begins kicking in at about 150Hz, and has a fairly gentle slope of about 6dB per octave, making it very useful for rolling off unwanted noise and room rumble below 100Hz.While there isn't any fully-variable EQ controls on the PowerPre, it does have a three position "Vox" switch. This provides you with the option of using one of three pre-set EQ curves. The middle position on this switch is labeled "Linear", and gives you just that - a flat signal with no EQ adjustment. The other two settings are labeled Breath and Punch. When the Vox switch is set to Breath, a three or four decibel boost is applied to the upper mids and high frequencies.When you select the Punch setting on the VOX switch, two or three decibels of boost is applied to the lows. This gives you the ability to add girth and weight to signals. The curve is once again fairly broad, bell curve shaped, extending from about 30Hz to nearly 200Hz, and is centered at about 60Hz or so. Limitations In order to change the ground lift switch setting, the unit needs to be removed from the host rack.55dB of gain, while ample for most everyday recording tasks with condenser and moving coil dynamic microphones, may be insufficient when using lower-output microphones, such as many ribbon mikes. Conclusions Once again, Radial Engineering has delivered an outstanding product for users of 500-series racks. The PowerPre's sound is far from clinical or sterile, and it is definitely a preamp that colors the sound in a musically pleasant way; one that brings to mind such adjectives as "warm" and "vintage-sounding." The discrete electronic design and output transformer obviously contribute to this, and you can shade things further still with the Vox switch if desired. Warm and yet detailed, this is a great general purpose preamp that sounds sweet on a wide variety of sound sources and with just about any type of mic feeding it, with the possible exception of ribbon microphones being used at a distance, or on low-volume sound sources. In those circumstances, you may long for a bit more gain. Still, the versatility of the design can not be denied. The AccuState (™) input is a brilliant idea and one that does a great job at keeping the noise levels down while simultaneously making the process of dialing up the level settings simplicity itself. The Hammond output transformer sounds great when driven hard, giving you the option of running clean or adding in a little grit when appropriate. I suspect Radial is going to sell a bunch of these - including this one. I plan on purchasing the review unit. Resources Musician's Friend Radial Engineering PowerPre online catalog page ($600.00 MSRP, $499.99 "street") Radial Engineering's PowerPre product web page 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.

An inexpensive, yet sturdy case for your LP-style guitar By Phil O'Keefe Unfortunately, not all guitars come with cases. Many new guitars ship with a gig bag, or in some cases, with no case or bag of any kind beyond the box the instrument shipped in, and that's hardly a long-term substitute for a decent case. Because of this, it's not uncommon to have to find a case that will fit your guitar. And of course, the instruments that don't come with a case tend to be less expensive models, so it's hard to justify spending half as much on the case as you spent on the instrument itself in order to get a high-end case. What You Need To Know I used the Guitar Case Finder at Musician's Friend to check out my options for a LP style case. The online tool was very easy to use - just answer a few questions - and this case was one of the options it presented me with.Constructed from durable ABS plastic, the external shell is solid and lightweight, and provides more protection from impact than a soft case or gig bag will.The interior is form fitted to the shape of single cutaway, "LP style" guitars. While I purchased it for use with a Les Paul (it works equally well with Gibson and Epiphone models, as you might expect), it will also work with models from other companies, such as the ESP Eclipse, PRS Singlecut, and other similarly sized and shaped instruments.Hard foam lines the inside of the case, which is in turn covered with black plush "faux fur" lining.The interior dimensions of the case are as follows: The overall length is 39.75", the body length is 17.5", body depth is 2", the lower bout width is 13", and the upper bout width is 9.75".Six latches keep the case securely closed when you clamp them down. The alignment of the case halves is quite good, and all the latches line up and open and close easily, but remain latched unless deliberately unlatched. The case is lockable via a built in lock on one of the latches. Two keys are included. The lock doesn't appear to be particularly sturdy. A motivated thief would have little trouble prying the case open in order to get at what's inside even if it's locked, and while they might damage or destroy the case in doing so, you'd still have lost your guitar, so I wouldn't count on the locks keeping anyone out of the case beyond maybe a curious younger sibling (if you're young), or maybe your kids (if you're older), and even then I suspect they could probably figure out a way to pick the lock.The handle of the case is shaped in such a way as to make grabbing it and carrying the case quite comfortable. It's well rounded and fits your hand very well. There are extensions or "bumpers" on the exterior of the case in a few strategic locations which provide additional protection.An indented spot on the "neck area" of the case serves as a good location for an identifying strip of tape or an ID label from a label maker so you can identify which guitar is inside without having to open the case. This is handy for people with multiple guitars and similar looking cases.The accessory compartment is accessed by pulling up on a leather tab which is attached to the compartment's lid. It is non-latching, and non-locking. The hinge is merely fabric, but seems durable enough for its intended purpose. The size of the compartment is fairly standard. You can get a spare set of strings, some picks, a strap, and maybe a few other small accessories in there, but don't plan on fitting in much more than that. Limitations There are no TSA style locks, so if you're going to travel by air, this case may not be the ideal one for you to use since there is no way to lock it and still allow for TSA to inspect it if they decide they want to. Besides, it's not a flight case, and unless you bring it as a carry-on, I wouldn't suggest relying on it to protect your guitar if it's traveling as checked baggage.The fit, while quite good, isn't quite as snug as that of a standard Gibson case. With a Les Paul in the open case, here's about 1/2" of movement possible from front to back. In other words, you can shift the body forward and back a bit along its long axis when it's sitting in the open case. However, when the case is closed, the guitar doesn't appear to shift position or move at all. Conclusions I really like this case, and the price simply can't be beat. For not much more than the price of a decent gig bag, you get hard shell protection that most gig bags simply can't match. If your guitar remains at home most of the time, it should provide all the protection you'll ever need, unless your house burns down, and if that happens, the durability of this case will be the least of your concerns. If you typically only play locally, or tour in a van or bus, this Musician's Gear MGMELP case should also serve you well. However, if you fly, I would suggest investing in a better case, and one that includes TSA-approved locks. But for my needs, this case will be just fine. I am not planning on flying with it, and other than sitting around the house or studio, it's only going to see occasional travel to local gigs. For that kind of use, it's perfect - and perfectly priced. If you have similar needs, this case should provide you with years of trouble-free service. Resources Musician's Friend Musician's Gear MGMELP Molded ABS Electric Guitar Case online catalog page ($129.99 MSRP, $69.99 "street") Musician's Friend Case Finder 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.

Vintage inspired pedal with fuzz and vibe By Phil O'Keefe Denmark's East Sound Research and their Carl Martin brand should need no introduction to most people who are reading this. Their high-end effects are coveted by guitarists around the world. Part of their vintage series and manufactured in China, the new Carl Martin Purple Moon Vintage Fuzz 'n Vibe combines a dual speed vibe and vintage inspired fuzz in a single pedal. The Purple Moon is designed to capture the sound of the late Sixties and Seventies. Carl Martin says to think in terms of Hendrix, Gilmour, and Trower, and if you're like me, that brings to mind the sound of vibe and fuzz pedals, which all three guitarists used to great, uh, effect. (Sorry) This should give you some idea of what the Purple Moon is designed to provide from a sonic standpoint. Let's get the telescope out and take a closer look. What You Need To Know Combining a vintage inspired vibe and fuzz in a single pedal, the Purple Moon is the only true bypass, all-analog, two speed vibe with fuzz pedal currently on the market from a major manufacturer.The Purple Moon Vintage Fuzz 'N Vibe crams a lot of switches and knobs into a relatively compact pedal that measures 4.72" W x 3.74" D x 2.2" H, and weighs 0.94 lb. The Purple Moon is, not surprisingly, painted purple, with the cool looking metallic purple paint offset nicely by the four large white knobs and white lettering. For the most part, the controls are easy to see, even in a dimly lit studio or stage.The input and output jacks are top mounted, which makes it easy to position the Purple Moon next to other pedals without the cables and plugs getting in the way. Input impedance is 1M Ohm, and the output impedance is 200 Ohm.The power jack is also top mounted. The Purple Moon can be powered by a 9V battery (and one is included with the pedal), or a regulated 9V DC power supply, which is what Carl Martin recommends for best performance. The power jack uses the industry standard 2.1mm center negative format. Battery compartment access is gained by removing the bottom plate. There are no trimpots or hidden internal switches. The fuzz doesn't appear in the usual or expected location - placed in series either before or after the vibe in the signal path, but instead is built into / within the vibe circuit. That means that the vibe can never be fully bypassed while the fuzz remains active, although you can lower it to be practically imperceptible. This design does open up some interesting interactions between the two effects, and is the heart of the Purple Moon's design.Because of the design, the controls are very interactive, and changes to the Fuzz and Vibe level controls can affect the other to a degree. This makes it a bit trickier to dial up in some ways, but allows for a lot more sonic variety and interaction between the two effects. There are two individual speed controls - Speed 1 and Speed 2. These allow you to set two different speeds for the vibe, and a dedicated footswitch allows you to toggle between them. Like a rotary speaker, there's a fast but perceptible ramp time when switching between speed settings, which is nice. It would be cool to have a separate control for adjusting that ramp speed, but short of using an internal trimpot, I don't know where they'd be able to put the control.There is also a pair of blue LED indicators - one for each Speed control. They illuminate to indicate which speed control is active, and they pulsate in time to the currently selected speed, giving you a visual indication of the vibe's speed. Even better, they are active even when the pedal is bypassed, so you always know which speed knob is selected, and what the current speed actually is. You can even switch between speeds while the pedal is bypassed.The Depth knob controls the depth of the vibe effect. At maximum settings you'll hear a deep, asymmetrical throbbing vibe, while setting it to its lowest setting makes the vibe all but disappear. The sound of vibe pedals is often debated, and is highly subjective, but I think the sound of this one is quite good - it's thick, chewy, and satisfying.The Level knob sets the overall output level of the Purple Moon. Curiously, it seems to have no effect on the fuzz; only the vibe. The level of the fuzz is controlled independently, which allows you to blend the two together in rather unusual ways.The Fuzz section of the Purple Moon Vintage Fuzz 'n Vibe is controlled by two much smaller mini knobs that are located in the center of the pedal. The Fuzz knob sets the amount of dirt. There's a fairly broad range available, but it leans towards the "I want to rock!" side of the gain scale, with tons of saturation and sustain available if you want it.The smaller Level knob controls the overall fuzz level. Setting this knob to the minimum setting bypasses the fuzz, and allows you to use the Purple Moon's vibe alone. Since there are separate level and depth/level controls for the fuzz and vibe, you can mix them together in whatever ratios you want, up to a point - remember, the vibe is always active whenever the pedal is active, although you can pull it down to practically nothing with its Depth control set to minimum.Switching is true bypass. A green LED illuminates when the pedal is active.The Purple Moon is covered by Carl Martin's one year limited warranty. Limitations There are no individual footswitches for bypassing the fuzz and vibe separately. Again, the design places the fuzz into the circuitry for the vibe instead of in series in front of or directly after it, which prevents the vibe from being bypassed separately from the fuzz.The small size, low height, and their placement in between the other, larger knobs can make adjusting the fuzz controls a bit tricky. Additionally, their position indicators are small notches in the knobs, which are also somewhat difficult to see. Owners may want to apply a small dab of white or glow in the dark paint to make that a bit easier. Conclusions This is an ambitious, and challenging pedal for a manufacturer to have taken on since it packs so much - essentially two pedals - into one reasonably compact unit, and connects them in such an unconventional way. Unfortunately, it does suffer a bit because of that smaller footprint in terms of the slightly cramped controls and the lack of space for separate switches for the fuzz and vibe, but the ability to switch between two vibe speed settings is something that is extremely handy, and is a feature that not a lot of other vibe pedals offer. That, plus the excellent sound quality make the Purple Moon a worthwhile purchase as a dedicated vibe pedal - consider the fuzz a very cool bonus if you wish. For others, the combination of vibe and fuzz will give them exactly the kind of vintage flavored tones they seek. The silicon fuzz is also a winner, with its thick, saturated sustain, but the knob placement and type, along with the Purple Moon's switching configuration make it much harder to use it independently of the vibe. Still, it's the interaction between the two effects that offers the most promise for creative guitarists, and the top-rate tone quality and range of adjustability will no doubt keep many players happily entertained dialing up interesting sounds for hours on end. It's a fun pedal, with a lot of cool tones and an unusual design approach that yields interesting results that sound fantastic. Give it a try if you have the opportunity! Resources Carl Martin Purple Moon Vintage Fuzz 'n Vibe ($148.40 "street") Carl Martin website Demonstration Videos 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.

If you want to learn how to do something right, it always pays to listen to the Masters... By Phil O'Keefe Very few engineers can claim to have had as big an impact on recorded music as Bruce Swedien. Nominated for 13 Grammy awards, Bruce has won five. As an engineer and producer, he has worked with the biggest names in the music industry, recording jazz and pop albums and major motion picture soundtracks with equal authority and finesse, on soundtracks such as Free Willy, Night Shift, The Wiz, and The Color Purple, and with artists such as Count Basie, Quincy Jones, Duke Ellington, Paul McCartney, Jennifer Lopez, The Chi-Lites, Natalie Cole, Sarah Vaughan, Dinah Washington, George Benson, Frankie Valli and the Four Seasons, and of course, Michael Jackson. Bruce Swedien's recordings have sold hundreds of millions of copies. In fact, Michael Jackson's Thriller is the biggest selling album of all time, and it was recorded by Bruce Swedien. Insights and tips from an engineer of this stature are obviously worth their weight in gold - Wouldn't it be great to be able to learn from someone with such a wealth of experience? Well fortunately for all us, there is a gold mine of great tips and useful information from Bruce in his latest book, The Bruce Swedien Recording Method. What You Need To Know Written by Bruce Swedien with Bill Gibson (who serves as an able interviewer for part of the book), the Bruce Swedien Recording Method is a rare look inside the philosophy and working methods of one of history's most successful recording engineers.The forward for the book was written by legendary record producer Quincy Jones, who speaks with great fondness for Bruce, as both a friend and engineer.More so than in his previous books, the Bruce Swedien Recording Method goes into detail about the actual studio equipment and techniques Bruce Swedien has used to record countless classics.Bruce emphasizes the importance of having a intimate understanding of what instruments and ensembles sound like acoustically. Too many engineers never leave the control room today. Bruce has always used the sound of an orchestra as his sonic benchmark, and encourages the reader to become intimately familiar with how instruments sound in person, as he feels that is tremendously important for a recording engineer to have that frame of reference, regardless of the genre(s) of music they work with.The equipment that Bruce uses is discussed in depth, including information regarding monitors, recorders, consoles, and outboard equipment, as well as various other pieces of studio gear. Considerable emphasis on the importance of microphones is evident throughout the book, with a section dedicated to some of Bruce's favorite microphones and their characteristics, as well as another section that goes into different microphone types and their applications. The book also includes details about (and several examples of) some of Bruce's unique microphone placement techniques.Attention is also given to Bruce's philosophy of recording, and the importance he places on engineers developing their own sonic personality, and on the importance of an engineer responding to and highlighting the emotional impact of music. The difference between sonic reality and sonic fantasy is also discussed.The Bruce Swedien Recording Method has sections covering how to record group and solo vocals, as well as considerable information about recording instruments and ensembles, and goes into detail on the methods and techniques Bruce has used on countless hits. Bruce's techniques for recording synths and keyboards and capturing room ambience on them is also quite interesting, and will come as a surprise to many readers.There is also a good deal of coverage in the book about mixing. For Bruce, the mix starts on the first day of recording, so the process isn't a afterthought, but integrated into everything he does along the way. Bruce also discusses his concept of mixes as "sonic sculptures" and goes into detail about what he looks for when mixing, and how to get input about the mix from the song itself. An interesting segment of the book includes comments from several people who know Bruce well, including his wife Bea, as well as recording engineers like Ed Cherney, and mastering legend Bernie Grundman. They give unique, personal glimpses into the man behind the recordings that would be absent without their participation, and insight to what it's like to be in the studio with Bruce while he's working.A DVD is included with the book. It contains an interview with Bruce and shows him working on a mix. As with the book, he discusses his thoughts about the recording and mixing process, why he works in the manner he does, and how he goes about putting his sonic signature on his work.Throughout the book and DVD, Bruce's enthusiasm and love for music are on full display, and are inspirational and encouraging for seasoned pros and recording neophytes alike. Limitations You can't really directly hear the immediate results of utilizing Bruce's techniques and methods as you would if you were an assistant working with him on a session, but that's a limitation all books share.Some areas of the book may be a bit controversial, and you may find that some engineers disagree with this approach or that one that Bruce recommends. That is to be expected. Not all engineers agree on every aspect of recording, and we're not looking for everyone else's approach here. After all, it's called the Bruce Swedien Recording Method, not the Your Name Here Recording Method. These are the techniques Bruce uses and recommends, and while there are many viable approaches to the art and science of recording music, it's hard to argue with results like the ones Bruce has consistently achieved over the course of his long and illustrious career. Conclusions The information contained in this book is priceless to anyone involved with or interested in the art of recording music, making this book a must-have for all recording enthusiasts. It will be especially beneficial for those who are just getting started, but experienced engineers will also find it an enjoyable and educational read too. The fact that Bruce continues to have "no secrets", and in fact freely shares his knowledge and experience with other engineers, upcoming engineers and recording enthusiasts is highly commendable. Bruce has always been interested in making sure he "passes it on" to the next generation, and this book continues that tradition - one that I, along with countless other recording engineers have directly benefited from. The Bruce Swedien Recording Method is essential reading for anyone who records music, or who aspires to. Full of historical facts, inspirational stories, and practical techniques and advice, it has beneficial information for engineers of all skill levels. Highly recommended. Resources The Bruce Swedien Recording Method video trailer: In The Studio with Bruce Swedien website Hal Leonard Books web page for The Bruce Swedien Recording Method $39.99 (US MSRP) Inventory #HL 00333302 ISBN: 9781458411198 UPC: 884088590321 Width: 8.5" Length: 11.0" 334 pages 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.

A vintage inspired fuzz with a few unexpected surprises By Phil O'Keefe If you're going to name a fuzz pedal "Satisfaction", you're probably aware that people are going to draw certain conclusions about the sound of it based on that. The obvious one is the Rolling Stones and their famous, fuzz-drenched song of the same name. Recorded back in May of 1965 in the now-defunct RCA studios at 6363 Sunset in Hollywood (the building now houses the Los Angeles Film School, although the actual studios are now gone), "(I Can't Get No) Satisfaction" made use of a Maestro FZ-1 fuzz pedal on its signature riff. While you might expect a fuzz pedal named Satisfaction to be based on that vintage model, the EHX Satisfaction Fuzz is essentially a clone of another vintage fuzz circuit from the Sixties - the Jordan BossTone. The question remains - will it satisfy expectations? What You Need To Know The Satisfaction Fuzz is a two knob fuzz pedal housed in the nano-sized Electro-Harmonix die-cast enclosure. The measurements are approximately 4 5/16" long x 2 1/2" wide x 2" high, including the knobs, jacks and switches. The graphics have a decidedly retro vibe, with a old 45 RPM record insert depicted on the top of the pedal.The Satisfaction Fuzz features a basic two silicon transistor NPN / PNP (Q1 PN2222A, Q2 2N3906) fuzz circuit that is based on the old Jordan BossTone.The controls on the Satisfaction Fuzz are quite simple and easy to come to terms with. The Volume knob sets the overall output level. There's plenty of juice on tap, and as long as the Attack knob is set to about noon or higher, you can easily exceed unity gain with this control.The Attack control adjusts the input gain and overall amount of fuzz. At the very lowest setting on this knob there is no sound from the pedal at all. Raising it very slightly kicks it in, and produces a mild fuzzy overdrive sound, with progressively heavier amounts of drive and fuzz as you turn it up from there. When dimed, a heavily saturated, raspy fuzz tone is achieved.The overall sound is bright, raunchy and fuzzy. It's not gated, and it has decent sustain, but not a lot of bass. Experimenting with rolling off your guitar's tone control or using a graphic EQ with this pedal is highly recommended, and will yield other familiar Sixties-era tones beyond the namesake Stones tune. The 1/4" input and output jacks are side mounted. Input impedance is 50kOhm, and the output impedance varies, depending on the setting of the volume knob. It ranges from 100Ohm to 25kOhm.The EHX Satisfaction Fuzz features true bypass switching, and a red LED illuminates when the pedal is active.The Satisfaction Fuzz can be powered by a 9V battery (one is included with the pedal), or an optional 9V DC power supply. The power supply jack is located at the top of the pedal, and it is designed to accept the industry standard 2.1mm center negative plug. Current draw is quite low, as you might expect from a fuzz pedal, and since it only draws 1.5mA at 9VDC, a battery should last for quite some time. The EHX Satisfaction Fuzz is not designed to operate at higher voltages, and attempting to use anything higher than 10VDC to power it will most likely fry the pedal.One big surprise awaited me when I removed the rear cover. As I expected based on viewing the interior of several of EHX's latest pedals, the construction uses primarily surface mount components, which helps keep the costs down. Some key parts on the pedals are often thru-hole, which gives you some limited modification possibilities, but for the most part SMD pedals are difficult for most people to modify. What I wasn't expecting to see was six empty pads with no parts mounted in them on the Satisfaction Fuzz PCB. Notice that the C7 capacitor pads are empty, as are the D2 and D3 diode pads. These parts are not part of the original BossTone circuit, and adding them to the circuit can change the characteristics of the pedal significantly. These pads make it very easy for owners to modify the pedal. This kind of provision is pretty rare, and I commend EHX for giving us the options, and facilitating and simplifying the modifications in this way.What can you expect from the mods? I have not performed them yet myself, but adding the C7 capacitor (experiment with values between 4.7nF - 100nF; a 22nF like the one used in C1 would be were I'd start) will increase the bass and give the sound more beef, while adding a pair of clipping diodes in D2 and D3 (try a pair of 1N4148 diodes, and make sure you observe the proper polarity) should make it even more gnarly and distorted, although they may reduce the output level somewhat.The Satisfaction Fuzz carries the standard Electro-Harmonix one year limited warranty, but If you muck up the mods, don't expect them to cover the repair. If you're not familiar with electronic mods and soldering, get someone who is to help you with the job. Limitations I've owned, used, and reviewed many Electro-Harmonix pedals over the years, and as a effects forum moderator, I've also seen occasional mentions of reliability issues or construction flaws in EHX pedals - and all of them have struck me as exceptional and uncommon based on my experiences with their products. True, the older 70s era stuff wasn't always the most sturdy, but the current generation has been nearly flawless in my experience. I mention all of that as a prelude to the following - I finally found a "problem" with one of their current pedals. When I went to remove the bottom plate on the Satisfaction, one of the screws refused to come all of the way out. It made it about a quarter of the way out with some modest effort, then refused to move any further. I finally had to resort to a pair of vice grips to grab it and unscrew it. That's it. That's the only negative thing I could come up with for you - one stripped screw. And outside of that, like all of the other recent EHX pedals I've tried, this pedal works perfectly. The bottom plate stays on just fine with only three screws, so it's really not even a major issue. Conclusions While it may not be a clone of the exact pedal model that Keith Richards used on that legendary recording, the Satisfaction Fuzz really does get that same basic sound quite easily, along with the sound of several other classic Sixties-era songs. That Stones riff was the first thing I played when I plugged the pedal in for the first time, and the sound was so similar that my wife actually walked in and commented about it. If you like classic Sixties-era fuzz tones, you're going to really like the Satisfaction Fuzz. The original Jordan BossTone units from the Sixties plugged straight into your guitar, and didn't have true bypass switching. Having one in a pedal format makes a lot more sense to me, and since the originals were first made back in 1967 and have long been out of production, many guitarists have never had a chance to try one. While it isn't the most versatile fuzz ever created (most people are going to crank up the Attack control, find an appropriate output level on the Volume knob, and rarely adjust it after that), it is a very cool sound. While it's a fairly basic circuit, the price of the EHX Satisfaction is lower than what it would cost you to build one from scratch yourself, and it really is a classic fuzz sound that everyone should have in their pedal collection. At this price, I wouldn't be surprised if many people opted for two of them - one to leave stock, and one to modify. In fact, I plan on doing that very thing myself. At this price, why not? You can get two cool sounding fuzz pedals for less than what most other companies charge for one. Once again, EHX delivers exceptional value, and players win, big-time. Resources Musician's Friend Electro Harmonix Satisfaction Fuzz online catalog page ($74.34 MSRP, $55.80 "street") Electro-Harmonix Satisfaction Fuzz web page Electro-Harmonix Satisfaction Fuzz demo video: 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.

Overdrive based on the vintage Vox 4 and 7 series amplifiers By Phil O'Keefe The Beatles Revolver LP and the Paperback Writer / Rain single. The Rolling Stones Between The Buttons LP. Led Zeppelin II. What do all of these legendary recordings have in common? The ultra-rare and very hard to find VOX UL 7 and UL 4 series amplifiers. These UK-built hybrid amplifiers were made for a very short time, and most estimates suggest that probably fewer than one hundred of each model in the series were made. Of course, they're now pushing fifty years old, and with a recorded pedigree like that, they are also in fairly high demand, making your chances of ever finding one, much less affording it, very low indeed. Featuring a solid state preamp section that was inspired by the USA-built Thomas Organ VOX solid state amps such as the Super Beatle, the power amp sections were all tube, and used a variety of different tube types, depending on the model and rated power, with amps such as the 30W UL730 using EL84 power tubes, while more powerful models such as the 120W UL7120 and UL4120 used KT88 power tubes. It is the sound of these rare hybrid amps that the Lumpy's Tone Shop Lemon Drop and ZII attempt to recreate. Built in Altoona Pennsylvania by Tommy Castellucci, the proprietor of Lumpy's Tone Shop, all aspects of the construction are done in-house. What You Need To Know Inspired by the ultra-rare VOX UL4 and UL7 series hybrid amplifiers (the 4 series amps were intended for bass and are essentially identical, except they lack the reverb, fuzz and tremolo circuits of the 7 series) which were popularized by the Beatles, Rolling Stones, and Led Zeppelin, the input stage of the Lemon Drop / ZII is based directly on the input of the amplifiers. The pedals use a silicon transistor for the first gain stage, pushing a FET into clipping to simulate a tube output stage like the ones used in the original VOX amplifiers. This "pseudo hybrid" design works quite well, and does a great job of emulating the sound of the amps. Lumpy's Tone Shop offers this pedal in two different versions - the Lemon Drop, and the ZII. Internally they're identical, and only the external graphics differentiate the two models. The Lemon Drop is finished in a powder coated yellow, with black lettering, while the ZII (the unit under review) features a silver-grey Hammertone powder coated finish, with black lettering. The font used for the labeling on the ZII will probably look quite familiar to Zeppelin fans. The black lettering and overall cosmetics of the pedal look very cool, although the labels can be a bit hard to read against the grey background, especially on a dark stage or dimly-lit studio.There are three controls on a standard Lemon Drop or ZII. The knobs are different, depending on which version you get. One cool little extra on the ZII version is that the vintage-style skirted knobs are numbered, and "go to 11."The Volume control sets the overall output level. There is plenty of level on tap, so you can easily boost levels above unity when needed. The setting will vary depending on where the Drive knob is set, but typically unity gain is somewhere between 3-5 on the ZII's volume knob, or in roughly the 10 o'clock range on a Lemon Drop.The Drive knob sets the amount of overdrive. Whether I was using single coil P-90s or humbuckers, I was always hearing a bit of grit, even with this knob at its lowest setting. If you want totally clean sounds, just roll off the guitar's volume a touch, and it cleans up completely, but still retains the unique treble bark and bite of the amps. At the other end of the dial, the sound is quite heavily overdriven - almost fuzzy, so you've got quite a bit of range to work with.The Tone control is a little unusual on this pedal compared to many overdrives, and very versatile. It adds treble as you turn it up past the midway point, and at higher settings also cuts bass. The opposite happens at the other end of the dial, giving you thicker, bassier tones. I generally preferred this control set to about 6 or 7, which seemed to be the closest setting for many classic Beatles-type tones.The internal construction is first rate. Perfboard mounted on two metal standoffs is used for the parts layout, and high quality components (including Switchcraft jacks, 1% metal film resistors and Sprague and Philips/BC Component capacitors) are used throughout the pedal. The interior is neat and clean, with expertly done hand-wiring and soldering. You won't find a cleaner, more well-constructed pedal anywhere. The input and output jacks on the review ZII are top-mounted, which means you can set it right next to another pedal without the jacks getting in the way. While I didn't have a Lemon Drop version available for the review, photos show them with side mounted jacks. You can order the pedals in either a 1590B sized enclosure with the jacks top mounted, or in a 125B sized enclosure with side mounted jacks, as depicted in the Lemon Drop photo below. Lumpy's Tone Shop also offers the purchaser a selection of 14 different powder coat colors for the Lemon Drop too. Switching is true bypass, and an orange LED illuminates when the pedal is active.Four clear rubber feet come pre-attached to the bottom of the pedal.The Lemon Drop / ZII can be powered by a 9V battery, or by an external 9V DC power supply. No adapter or battery is included with the pedal, although they do include a nice drawstring cloth bag for storage inside the box. The battery compartment is accessed by removing four screws and the bottom plate of the pedal. The power supply jack is located at the top of the pedal, and uses the industry-standard 2.1mm center-negative plug format. Limitations While versatile, the single tone control can make getting just the right balance of treble and bass a little bit tricky since it adds treble as you turn it past noon, and bass when you set it below noon. If you're willing to pay for it, and wait a little longer for a custom build, Lumpy's Tone Shop can build you a four knob Lemon Drop / ZII with a second EQ control.The Lemon Drop / ZII won't always get you all the way to Zep-land or Pepperland on its own; it lacks the onboard reverb and fuzz of the 7 series amps, and part of the recipe for those classic sounds includes contributions from the recording gear and acoustical environments of the studios they were recorded in, but those elements can be reproduced with other, fairly readily-available means in most home studios these days. The actual timbre of the 4 and 7 series amps, and the unique overdrive they're capable of creating, have been much harder to recreate - until now. The Lemon Drop and ZII make that issue a thing of the past. Conclusions I've got a whole lotta love for this pedal. Okay, I can hear the groans from here, but if the sound of that legendary riff rocks your world, then you'll definitely want to get your hands on a Lemon Drop / ZII. Add a bit of reverb and it nails that sound. Similarly, I was astonished with the number of mid-60s era Beatles tones I was able to coax out of the ZII when I ran a Gibson SG and an Epiphone Casino into it. The Lemon Drop / ZII is a must have for lovers of Beatles, Stones and Zep tones. Paperback Writer has long been a "holy grail" guitar tone for me, and one I've tried fairly unsuccessfully to replicate to my satisfaction for years, and short of a vintage VOX amp, nothing I've tried previously has been able to nail it, but the Lemon Drop / ZII does. That alone made it more than worth the very reasonable price. If you're a Beatles fan or Zephead, or just love those classic rock tones, you definitely need to check this pedal out. In a world of me-too pedal designs, it offers something that's different than any other pedal I've tried, and it is very, very cool. It is a real winner! Resources Lumpy's Tone Shop Lemon Drop ($129.00 plus shipping, available direct from the manufacturer) Lumpy's Tone Shop ZII ($99.00 plus shipping "sale price", available direct from the manufacturer) Lumpy's Tone Shop website Demo videos: Beatles-type tones: Zep-type tones: 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.

Help protect your acoustic guitar from damage with these easy to make DIY guitar humidifiers By Phil O'Keefe To truly protect your acoustic guitar from lack of humidity, it may be wise to make your own DIY guitar humidifier. Probably the number one cause of expensive damage to acoustic guitars is from lack of humidity. This is especially prevalent in the winter months when central heating can dry out the air inside buildings, but it can also be a problem in some areas such as the desert southwest in the summer during periods of lower humidity and high temperatures, with air conditioning removing even more moisture from the air. Lack of humidity in the air can dry out the wood in your acoustic guitar, causing the guitar to shrink. Side effects and symptoms can include fret edges that stick out slightly from the sides of the guitar fingerboard and feel sharp, a sunken top and bridge which can lower the guitar's action and make it unnaturally easy to play, fret buzzes, and even cracks in the wood. Fortunately, it's fairly easy to prevent this kind of acoustic guitar damage. While commercial guitar humidifiers are available, you can inexpensively make your own diy guitar humidifier from parts you can get locally or parts you may have laying around the house, and assembling them is easy. Tools and parts you'll need The parts and tool list for your diy guitar humidifier project are very basic. You probably already have all the tools you'll need sitting around the house, and the rest of the parts can be purchased at a local drug or dollar store. What do you need to make your own diy guitar humidifier? The parts and prices are listed below: Four-pack of sponges ($2.00 - $3.00 per package) Two travel soap dishes / soap cases ($1 - $3 each / $2 - $6 for two) 2-4 large rubber bands Electric drill with 1/4" bit Gallon jug of distilled water Sharpie marker Pair of scissors Jeweler's file, utility knife or small sheet of fine sandpaper Safety glasses I like 3M's O-Cel-O cellulose sponges in the 4.7" x 3" x 0.6" size. These are available in four and six sponge packs. These are treated with 3M's "StayFresh technology (™)", which locks hydrogen peroxide (a strong antimicrobial) into the fibers of the sponge and helps prevent the growth of bacteria, mold and mildew. Assembling You DIY Guitar Humidifier The first step to make a DIY guitar humidifier is drilling the holes in the soap dishes. Remember - safety first! As always, you should wear eye protection and use care whenever operating any power tools. Peel off any stick-on product or price labels, then carefully drill about 15-20 1/4" holes on each of the soap dish's two main flat surfaces. You don't have to use any exact pattern but spread them out so that there are holes across the entire surface area. Don't go too fast or press too hard or you might crack the plastic and ruin your DIY guitar humidifier. Next, use the smaller of the two soap dish halves as a pattern to trace the outline of the soap dish on to each of the sponges, and then use the scissors to cut the sponge so that it fits into the soap dish. Most soap dishes are thick enough that they will require two standard sized kitchen sponges, placed one on top of the other inside the dish to completely fill it. Filling Your DIY Guitar Humidifier, and periodic inspection and maintenance Use distilled water to wet your sponges. Distilled water lacks the minerals in tap water, so over time you won't end up with mineral build-up in the sponge and on the humidifier case. If enough builds up, it can adversely affect the performance of your DIY guitar humidifier. A gallon of distilled water is inexpensive and will last you for a long time. Get the sponges nice and wet, but not so wet that they're dripping water out of them; gently squeeze out any excess so that it's not dripping wet. You don't want water coming out of the assembled DIY guitar humidifier and coming into direct contact with (and damaging) your guitar. Once I've assembled the DIY guitar humidifier, I usually give it a good shake or three to make sure no water is going to come out of it, then I dry the outer surface of the case. Some soap case designs actually click or snap shut, so you may not need a rubber band or two to hold your DIY guitar humidifier together, but even with those designs I prefer the added security of the added rubber bands to prevent the DIY guitar humidifier from accidentally opening and the wet sponge from coming into direct contact with the guitar. Obviously, that's something you'll want to avoid in order to prevent damaging your guitar, so be sure to check the condition of the rubber bands each time you re-moisten the sponge and replace them when they show signs of aging or wear. You'll see various different recommendations as far as humidity levels. If the manufacturer of your guitar has a recommended humidity level range listed on their website or in your manual, go with that. Otherwise, I'd recommend keeping the humidity level between 45% and 60%. Too much humidity can also be bad for your guitar, but you're far more likely to suffer from too little than too much. As long as you keep it within this range, you should be able to avoid the serious damage that can result from the guitar becoming too dry, or too moist. I live in Southern California where the summers are usually pretty dry and hot, so I keep two of these DIY guitar humidifiers in my acoustic guitar case - one near the guitar neck's heel, and one up near the guitar headstock, and they keep the humidity levels inside the case right within that range. Well there you go - these easy to make DIY guitar humidifiers work as well or even better than the commercial units, cost next to nothing, and yet can protect your acoustic instrument from very serious and costly damage. Give your acoustic guitar the care it deserves and treat it to a couple of these DIY guitar humidifiers inside its case, and a hygrometer to monitor the humidity levels. Check it once a week or so, and refill the units as needed, and chances are excellent that your acoustic guitar will never suffer damage from drying out. 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.

Series, parallel, and series-parallel, and their effect on impedance By Phil O'Keefe Are you wondering how to wire a guitar speaker cabinet? Every so often someone will ask a question on the forums regarding wiring guitar speaker cabinets, and rather than repeating myself in multiple forum posts, I thought an article that I could link to would make more sense. So in this article, we're going to go over the basics (with as little theory and as few mathematical formulas as possible) of the main ways of wire a guitar speaker cabinet. We'll start with the simplest configuration - a single speaker - and move up to two-speaker and then four-speaker guitar cabinets. We'll also look at how the various wiring methods can change the impedance load presented to the amplifier. Wiring single-speaker guitar cabinets Guitar cabinets with just one speaker in them are relatively easy to wire. Some single speaker combo amps have two non-detachable wires that come out of a grommeted hole in the chassis that are designed to connect to the speaker. Other than any challenges posed by the guitar speaker cabinet itself, mounting a new speaker and wiring it in is easy. Make sure the guitar amplifier is turned off and unplugged and just attach the positive wire to the positive terminal on the speaker, and the negative lead to the other terminal, and you're done. The positive speaker terminal is usually marked in some way; usually with a + symbol or some red paint. Many guitar speakers have two lugs for each to facilitate the more complex wiring configurations that we'll describe momentarily, and if yours does, you can feel free to use either lug. When wiring up a guitar speaker cabinet, it's important to use heavy gauge "speaker wire" and not the thin-gauge wire you'll find inside guitar cables! In most commercially-built guitar speaker cables, the white wire is usually "hot" and is connected to the "tip" of the speaker cable plug, and the black wire is neutral and is connected to the plug's sleeve. Connect the white wire to the + terminal on the speaker, and the black wire to the - terminal lug. Many guitar amps have a 1/4" jack that is labeled "speaker out" or something similar. There is usually also some information about the minimum impedance load the guitar amplifier can safely handle marked on the amp somewhere near this jack. It is important to always heed the manufacturer's recommendations since an incorrect speaker load can damage the amplifier. If it says "8 ohms minimum", you should never connect a 4 ohm load. Sometimes an guitar amplifier will have a switch that allows you to match the amp's speaker output to speaker cabinets of different impedances, or possibly multiple speaker output jacks for different loads. If your amp has one of these features, it's important to make sure you're using the right setting or correct jack for whatever speaker load you have connected. With single speaker guitar cabinets, the speaker cabinet is rated the same as whatever the impedance and power handling ratings are for the single speaker. When one 8 ohm speaker is in the cabinet, you have an 8 ohm load, and likewise, the power handling of the cabinet is the same as the power handling rating of that single speaker. In general, you want the power handling to at least equal the output power of the amp, but excess power handling capacity won't hurt anything - I have a speaker with a 200W rating in one of my 20W amps, and it works just fine. Wiring guitar cabinets with multiple speakers Things start to get more complex when you're dealing with a guitar cabinet that is loaded with more than one speaker, in terms of impedance, power handling capacity, and wiring. To simplify things, you should generally stick to using speakers with the same nominal impedance, sensitivity, and power handling capacity. A two-speaker guitar cabinet can be wired in one of two ways - either in parallel, or in series. With both parallel and series wiring of multiple speakers, the total impedance load changes compared to running a single speaker. Let's take a look at each method, along with what happens in terms of the total load and power handling capability with each guitar cabinet wiring approach. Wiring two guitar speaker cabinets in parallel Parallel wiring connects each of the speakers directly to the amplifier's output, with wires from the positive terminal of the amp's output routed to the positive terminal of each speaker, and wires from the negative terminal going to the negative terminal on each speaker. Wiring two guitar speakers in a series The other option is series wiring. For series wiring, the positive output terminal of the guitar amplifier is connected to the positive terminal on only one of the speakers. The negative terminal of that speaker is then connected to the positive terminal of the second speaker, and the second speaker's negative terminal is connected to the negative terminal on the amplifier. Series wiring has the opposite effect on total load impedance as parallel wiring does. When guitar speaker cabinets are wired together in this way, you add the impedance of all the speakers together to arrive at the total load value, so those same two 8 ohm speakers present a 16 ohm load to the amplifier when they are wired in series. As with parallel wiring, two 50W speakers wired in series can handle up to 100W. Wiring four-speaker cabinets - series, parallel, and series-parallel When we move on to even larger guitar speaker cabinets with more drivers, such as the classic 4x10 and 4x12 speaker enclosures, series and parallel wiring configurations are still possible, but a third option also opens up. This is a combination of the two previous guitar speaker cabinet wiring methods, and is called series-parallel wiring. First, here's a couple of illustrations to show parallel and series wiring with four speakers. Four speakers, wired in series: And here's the wiring diagram for four guitar speaker cabinets wired in parallel: Again, assuming we're using the same 8 ohm 50W guitar speaker cabinets, the impedance of the cabinet is 2 ohms (8/4=2) and the power handling is 50W x 4, or 200W. Both of these wiring configurations are sometimes used, but many cabinets with four speakers use series-parallel wiring instead. To connect the speakers in a 4x12 cabinet with series-parallel wiring, the four speakers are wired together using a combination of the series and parallel wiring techniques. The advantage here is that the total load for the cabinet remains the same as the value for a single speaker. If you wire four 16 ohm speakers together with series-parallel wiring, the nominal speaker load for the cabinet will remain 16 ohms. Four 8 ohm guitar speakers in a series-parallel configuration will give you an 8 ohm cabinet. Wiring multiple speaker cabinets Multiple guitar speaker cabinets can be connected to a single amplifier, just as long as you match impedances and don't go below the amplifier's minimum load. If an amp can run at 8 ohms, connecting two 16 ohm cabinets to it with parallel wiring will result in a safe, 8 ohm nominal load, while connecting two 8 ohm cabinets with parallel wiring will give you an unsafe 4 ohm load. It's much less common, but if special cables are used and the guitar speaker cabinets are wired to each other and to the amp with series wiring, two 16 ohm cabinets will give you a 32 ohm load, while two 8 ohm cabinets will yield a 16 ohm load. Well, there you have it - the basics on how to wire guitar speaker cabinets. Of course, this isn't all there is on the subject. It is possible to use speakers with different power handling capacities and even different impedances in the same cabinet, but this requires more math and much more careful consideration, and all of that is a subject for another day, another article… If you’d rather find a new guitar speaker cabinet than wire your current one, check out the articles below from the experts at Sweetwater! Sweetwater carries some of the best guitar speaker cabinets from top brands like Marshall, Mesa/Boogie, Freidman, Orange, and many more. How to Choose a Guitar Speaker Cabinet – Part 1 How to Choose a Guitar Speaker Cabinet – Part 2 How to Choose a Guitar Speaker Cabinet – Part 3 How to Choose a Guitar Speaker Cabinet – Part 4 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.

Hand-built Multipattern Large Diaphragm Condenser Microphone By Phil O'Keefe Recently I had the opportunity to review the Ear Trumpet Labs Louise, a visually distinctive, hand-built large diaphragm condenser microphone that is intended for live performance use, but that also impressed me as a studio mic too. Today we'll be taking a look at another new mic from Ear Trumpet Labs. Called the Mabel, it is definitely geared more towards use in the studio. It retains the unique vibe and ultra-cool visual appeal of the Louise, but with some new features and other differences that place it at the top of the Ear Trumpet Labs mic lineup. What You Need To Know The Ear Trumpet Labs (ETL) Mabel is a dual medium-large capsule (26mm) multi-pattern condenser microphone. It is the top of the ETL line, and their first multi-pattern microphone. The Mabel was designed by Ear Trumpet Labs founder and "proprietor-bricoleur" Philip Graham, and is hand-built by him in his Portland Oregon USA workshop.Mabel is visually a very striking microphone. Ear Trumpet Labs builds their microphones a bit differently than most companies, and the materials they use in their hand-crafted creations are often "found" items that were originally intended for other purposes, such as bike sprockets and common hardware and plumbing materials including copper tubing, brass fittings, and so forth. The overall effect gives the microphones an old-school antique meets steampunk vibe that is rather unique, and quite attractive. There are two Chinese built, medium-large fixed cardioid electret condenser capsules in the Mabel. The capsules are carefully tested and selected by ETL for performance, with many rejected for not measuring up to their standards. The two capsules are enclosed inside a very heavy-duty brass mesh screen assembly that pivots within a roughly U-shaped stainless steel yoke. This pivoting head can be tightened down with the thumb screws on either side of the yoke, but you really don't need to mess with them. I found that the head basket is relatively easy to move, yet it tends to stay where positioned very well, with no muss or fuss. The design allows for quite a bit of flexibility in positioning and aiming the microphone, and you can place it in much tighter spots than you can a ETL Louise, which has the head basket suspended with springs in a much larger mounting ring.A copper ring with multiple screws surrounds the head basket assembly, and there is a three-position toggle switch mounted in it at the top for pattern selection. Omnidirectional, cardioid, and figure-8 polar patterns are provided. When facing the mic from the front (cardioid) side, the switch positions from left to right are omni, cardioid, and figure-8, and an "O" and an "8" are stamped into the copper ring to show the switch positions for the corresponding patterns.The body of the ETL Mabel is made out of one inch copper tubing, with brass accents. It is just the right size to fit into standard mic clips, and one is included with the microphone. Mabel is a little larger than I was expecting it to be. The head basket is 2.5" in diameter, and the overall length is 8.5", and it is 4.5" wide at its widest point, and about 1.75" deep. It is big enough to look impressive when sitting on a mic stand, and your clients are probably going to be inspired because they'll love the way it looks, while you'll appreciate the way it sounds. Everyone wins.Sorbothane is used within the head basket for shock and vibration dampening, and it works fairly well, although I did notice a bit more tendency for Mabel to pick up stand-borne vibration from a singer tapping their foot rather enthusiastically. The same stomping didn't seem to bother Louise - quite possibly due to the spring suspension of the head basket on the Louise. It's not excessive, and in fact, Mabel is better at rejecting such noise than most large diaphragm condenser microphones in my collection. While no shock mount is included with Mabel, or even offered as an extra-cost option by ETL, with the standard sized body diameter, it's easy enough to find units that will work with this microphone.Ear Trumpet Labs take a lot of care with the electronics side of the build, and use quality parts that are carefully tested, matched, and hand-soldered. Mabel has transformerless FET electronics, a balanced output, and requires 48V phantom power. The XLR connector is located at the bottom of the copper tube.A cool little 11" x 6" x 3" red "tool box" foam-lined case is supplied with the Mabel for microphone storage and transport. The Mabel has a fairly flat frequency response throughout much of the audible range, and a neutral tonality that works well with a variety of vocalists and instrumental sound sources. The lows are full and rich, the mids clear and slightly forward in the upper-midrange, and the top is smooth, with no sibilance issues. The mic has been deliberately EQed by Ear Trumpet Labs to keep the top end from sounding shrill or harsh, and the highs roll off gradually above about 14kHz. I'd characterize the overall sound as "honest", with good clarity and detail, which makes it suitable for a variety of studio duties.The directional polar patterns are tight and well-defined, which is one of the benefits of the dual fixed-cardioid capsule design. The near-total side rejection when using the bi-directional polar pattern is particularly notable - it's outstanding. I'd love to try a pair of Mabels in a Blumlein stereo pair sometime, but alas, I only had one here for the review. Still, I tried it on guitar amps, acoustic guitar, banjo, hand percussion, male and female vocalists, and even as a mono drum overhead, and it performed surprisingly well on all of them, although I did feel it favored male vocalists slightly more than female singers.Ear Trumpet Labs stands behind their products with a very cool warranty policy that you really should check out for yourself. Limitations There is no logo or any other "front" indicator on the microphone, and the two sides look very similar, so it's easy to get them confused occasionally. The easiest way I've found to determine which side is the front is to use the screw that holds the XLR jack in the body of the mic as a "back" indicator - the active side when using the cardioid pattern is on the opposite side of the microphone from this screw.There is no onboard pad or high pass filter on the mic. Since many mic preamps and audio interfaces have pads, that won't be a big concern for many users, and you can always filter things later, if you feel the need.No manual or technical documentation of any kind is provided with Mabel. You're going to have to use your ears, get to know her, and figure her out on your own. As with the Ear Trumpet Labs Louise, there are minor tooling nicks, metal discoloration, and other slight blemishes here and there on the Mabel that come across as patina and beauty marks. These add character to the mic, and aren't really flaws, but if you're expecting shiny cosmetic perfection from an ETL mic, you're missing the point, and Mabel's cosmetics may not appeal to you. Conclusions Once again, Ear Trumped Labs has made a very unique and distinctive looking microphone. In fact, due to the hand-built and tuned nature of the microphone, no two will be exactly the same. With a decidedly retro vibe and obvious visual appeal, it is bound to catch the audience's attention if used on stage, and the talent's attention when you use it in the studio. But good looks and a unique sense of style are not going to cut it on their own if the sound quality isn't up to expectations, and the Mabel doesn't disappoint. With three polar patterns, it's an excellent utility mic that can cover a lot of bases, with a clean and honest sound that eschews extremes in sonic character for the sake maximum utility and flexibility. Once again Ear Trumpet Labs has shown that they can make a boutique microphone that can stand toe to toe with some of the best sounding microphones out there, with unique, hand-built craftsmanship and gobs of visual appeal, but at a reasonable price point. I really dig their products, and if you're looking for something that's a little different and very cool, I highly recommend you check them out at your earliest opportunity. Resources Ear Trumpet Labs Mabel product web page ($1,000.00 MSRP, available direct from the manufacturer) Ear Trumpet Labs website 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.

Examining the advantages and disadvantages of each By Phil O'Keefe Occasionally you'll find a topic that's hotly debated by musicians, and certainly one of the bigger ones is the subject of printed circuit board construction verses point to point wiring in amplifiers and effects. Once electronic circuits go beyond the simplest forms and use more than just a handful of components that can be directly soldered together, some sort of substrate must be used to help facilitate organizing and mounting all of the parts. Printed circuit boards and various substrates combined with point to point wiring can both be used for this purpose, and each approach has its fans, but what are the differences between them, and is either one really "better" than the other? Point to point wiring In older electronic devices (including most vintage Fender amps), vulcanized fiberboard eyelet boards were often used to mount the electronic components. They require hand insertion of the various parts and hand soldering, so considerable human labor is involved with this manufacturing approach. Fiberboards have their share of issues. They can warp over time, which can lead to stress on components and solder joints, which can cause them to fail. They can also absorb moisture from the air over time, which can lead to micro-voltage conductance and leakage between components across the board. This can sometimes have an adverse effect on the sound of the amp - the 100k plate resistors leaking to the 68k grid resistor issue that frequently leads to soft popping, ticking and "bacon frying" noises on vintage Fender amps is a well known example of this. Some feel that in certain cases this subtle micro voltage leakage can actually contribute positively to the sound of vintage style amps, and many companies still use these types of boards, even on modern amplifiers. Figure 2: Turret board assembly Perfboards are also commonly used as a substrate for point to point wiring. A perfboard is usually made of laminated paper and phenolic resin, or fiberglass and epoxy, and has multiple holes laid out in a grid pattern, with the holes typically spaced about 0.1" apart. This hole spacing facilitates the insertion of a wide range of electronic components. Each hole is copper-clad, with individual metal pads for each hole. Nicer perfboard usually has pads on both sides of the board. As with eyelet and turret boards, components are hand mounted, and the wiring is routed by hand from one component to another, so care must be taken to assure correct wiring by the builder. Printed circuit boards Today, printed circuit boards (often referred to with the initials "PCB") are the most commonly used substrate for electronic circuits. PCBs use a non-conductive substrate on to which conductive copper pathways or "traces" are etched. Copper clad holes in the board are also included for the insertion of individual electronic components, if the PCB was designed for such parts. Some PCBs have their metal pads and traces on just one side of the board, while others have the metal soldering pads and traces on both sides of the board. Figure 5: A PCB with surface mount components in a Electro-Harmonix EHX Tortion overdrive pedal One significant advantage of PCB construction is the ability for much more of the construction process to be automated, thus decreasing assembly costs substantially. Surface mount technology allows for even more extensive automation in construction. Whether such automation results in an increase or decrease in quality is debatable, with detractors saying hand-assembly allows for more individual inspection, care and quality assurance checks, while proponents note that automation reduces the possibility of human error in parts installation and soldering. Using a PCB also insures consistent parts placement relative to other parts, and a pre-routed wiring configuration on the PCB that reduces the potential for wiring errors. Which approach is best? Once again we're looking at a situation where there really is no clear winner. Both printed circuit boards and point to point wiring remain popular in the world of musical electronics. There are plenty of benefits with both printed circuit and point to point construction, and ultimately it usually comes down to weighing the advantages and disadvantages and deciding which method best suits the design that's being built. Circuit complexity and the device's target price point are both key considerations; the more complex the circuit, and the higher the parts count, the more expensive and time-consuming point to point construction becomes, and the more crucial the skill level of the builder(s) becomes as well. Automated printed circuit board construction and soldering methods remove a lot of the potential for human error and can greatly increase manufacturing efficiency, and thus lower costs. While there are things to avoid when using either approach, there is no reason why a PCB build has to sound any worse than a point to point wired unit. Ultimately it comes down to the particulars of each individual product, and while other factors such as serviceability and ease of modification still bear consideration, a well designed and built PCB product can sound every bit as good as a well designed product that uses point to point wiring. Ultimately you'll need to consider a lot more than whether a product utilizes point to point wiring or a printed circuit board before you can really judge it fairly, so don't automatically disregard a product over the way it was built. There are plenty of good products that use printed circuit boards, and loads that use point to point wiring.

500-series 100% Discrete State-Variable Class-A 4-Band EQ Module By Phil O'Keefe Unlike the vintage-inspired Radial Engineering Q3 induction coil equalizer module that I reviewed previously, the Q4 is a modern semi-parametric equalizer design with high and low shelving EQ filters, as well as two semi-parametric midrange bands. Housed in an all-metal case that provides excellent shielding, the Q4 features the solid, rugged build quality that is one of the hallmarks of equipment manufactured by Radial Engineering - but there's more to it than just solid construction, so let's take a closer look at the details of this 500 series four-band semi parametric equalizer module. What You Need To Know The Q4 is designed for use in 500 series racks. I tested the Q4 in my Radial Engineering SixPack, but it will also work in any other 500 series rack. As with all 500 series modules, the host rack unit provides the physical input and output jacks for the Q4 equalizer, as well as providing power for the unit. The Q4 EQ features balanced I/O and is designed to operate at +4dBu line level.The Q4 is a bit different than the semi-parametric equalizers that have come before it. Unlike previous designs, it uses 100% discrete class-A electronics, with no integrated circuits. Discrete electronics take up more physical space, so it can be difficult to get everything into a single 500 series module when using discrete electronics while keeping the routing optimized and the noise levels low, but the sonic benefits make the effort worthwhile, and the noise levels of the Q4 never seemed particularly high to me in my testing. The Q4, while similar in look and function to the four band semi-parametric equalizers found in many mixing consoles, sounds much richer, more detailed and subjectively "better" than the EQ you'll find in all but the most high-end consoles. There are four EQ bands on the Q4, which are labeled High, High Mid, Low Mid, and Low.The Q4 features high and low shelving EQ filters. The High EQ knob controls the 10kHz shelving filter. There is 12dB of boost or cut available. The Low EQ knob controls the 100Hz shelving filter. Again, there is 12dB of boost or cut available.For manipulating the crucial midrange frequencies, two filters are provided - both of which are semi-parametric, sweepable filters.The High Mid band can be swept from 1kHz to 8kHz. Once you've found the frequency you want to adjust, up to 12dB of boost or cut can be applied.The Low Mid band can be swept from 300Hz all the way up to 2.4kHz. As you can see from looking at the numbers, there is some overlap between the range of the Low Mid and the High Mid bands, which can come in handy in some situations. As with the other three bands, up to 12dB of boost or cut is available in the Low Mid band.There are Q switches on both of the semi parametric midrange bands. These switches have two settings, with a wider bandwidth setting for more broad tonal adjustments, and a narrow bandwidth setting for more precisely targeted adjustments. Are you wondering what the bandwidth is for the two settings on the two bandwidth switches? I suspected that the bandwidth would vary, depending on how you had the other controls set, so I called Radial up and asked them about it. This is what they had to say: "Because the Q4 is a Class-A device, there is no set bandwidth on the Q filter switch; the bandwidth of either Q setting is variable based on boosting or cutting the signal and also where you are positioned within the frequency spectrum of the HI/LO-MID parametric equalizer portion of the Q4. The narrow Q setting will act as a more surgical tool when you are trying to fix a specific troublesome frequency." An EQ In switch allows you to bypass the EQ at will, allowing for direct comparisons between the processed and unprocessed signal. A green LED next to the switch illuminates when the Q4 EQ is active. The Q4 EQ carries a three year transferable warranty. Limitations Unfortunately, there is no gain control on the Radial Q4. If you do extensive cuts, there's no ability to compensate for the signal level loss associated with those cuts. Any make-up gain would have to be provided by subsequent devices in the signal path, or by setting the output level of the device (such as a mic preamp) that is driving the Q4 higher. The same is true for boosting frequencies - excessive boosts can result in clipping of subsequent stages of the signal path, such as your audio interface's inputs. Again, the solution is to either lower the level of whatever is feeding the input of the Q4, or possibly lower the level on a subsequent device in the chain, assuming it has sufficient headroom and wasn't being driven to clipping itself by the hot signal from the Q4. In this respect, the Q4 functions exactly like console-mounted equalizers, which also typically lack separate gain controls. Conclusions This looks like a mild-mannered, garden variety four band "board style" semi-parametric equalizer, but it only goes to prove that the old adage is still true - looks can be deceiving. While it isn't a true parametric EQ with fully variable bandwidth control, the addition of the Q switches on the two midrange bands gives it more flexibility than most semi-parametric equalizers, which typically only offer a fixed bandwidth setting. Usually, such designs use wider bandwidth settings that are best suited to tonal shaping as opposed to more surgical and corrective narrow-bandwidth equalizers. The Radial Engineering Q4 gives you that wide bandwidth when you want it, but also the option of the more precise narrow-bandwidth setting when you need to make more narrowly targeted corrections. The lack of an output gain control is the only minor annoyance, but to be fair, you won't find them on the equalizers included with most mixing consoles either, and there are well-known ways of optimizing the gain staging, even without a make-up gain control, so the lack of one is not going to be a deal-breaker for the vast majority of engineers. The sound of this equalizer is what really sets it apart from similarly featured four band semi-parametric EQs. Because of the Class A configuration and discrete topology the sound is warmer and arguably prettier, sweeter, purer and more refined than most equalizers of this type, with that certain je ne sais quoi that sets the really cool gear apart from the rest of the pack. It's the type of unit you buy for utility equalization duties, but that will surprise you with its high quality sound and flexibility. It's another solid performer from Radial Engineering that is well worth checking out if you are in the market for an EQ to use in your 500 series rack. Resources Radial Engineering Q4 ($800.00 MSRP, $599.99 "street") Radial Engineering's Q4 EQ web page Specifications and a block diagram can be found right here

Is One Really Better Than the Other? By Phil O'Keefe If you've been hanging around on guitar forums for any length of time, or reading effects pedal ads online or in magazines, you've no doubt run across the term "true bypass", and maybe even seen references to pedals with "buffers" or "buffered bypass switching." Each switching method has its share of fans out there and the debate over the merits and disadvantages of each can sometimes be intense, and for those unfamiliar with the differences, it can be a bit overwhelming and confusing. In this article I'll try to keep it as simple as possible from a technical standpoint while pointing out some of the advantages and disadvantages of true bypass switching, as well as buffers. What is a buffer? The output of passive guitar pickups is a very low level, but high impedance signal. Such signals are prone to suffering from all kinds of problems when run over long lengths of cable, including signal loss - especially in the high frequencies, as well as being susceptible to interference and picking up noise along the way. A buffer (or buffer amplifier) is a electronic circuit that is used to convert impedance. By their nature, most pedals are buffering the signal when they're active, regardless of the type of switching that is used. In the case of the buffer circuits that are typically used in effects pedals, the buffer is engaged whenever the pedal is bypassed. This keeps the pedal's output impedance low and constant, even when it's turned off, and this low impedance signal is better suited to driving longer cable runs without suffering the same degree of high frequency loss that a unbuffered high impedance signal will. Buffered bypass switching systems also offer other advantages, such as the ability to keep your signal levels healthy, and silent, click and pop-free switching. There are some potential disadvantages with buffers. As with any active electronic circuit, a buffer can add noise to your signal. There is also the potential for "tone suck" when a buffered pedal is bypassed, depending on the design of the buffer, and even in some cases, where the pedal is placed in the signal path. Not all pedals work well with a low impedance buffered signal feeding them. Multiple buffers can compound these effects, leading to increased tonal degradation. In many cases, there will be two buffers per pedal, with one for the input and one for the pedal's output. When combining multiple buffered pedals, you'll have several additional circuits in the signal path, even when everything is "turned off" and bypassed, and this can lead to a less than ideal bypassed or clean tone. Buffered bypass pedals can also cause issues when placed in front of some fuzz pedals and other pedals that are designed to interact with the high impedance pickups and electronics of your guitar. The ability of some pedals to respond well to adjustments of your guitar's volume control can also be negatively affected if a buffer is placed between them and the guitar. Often it is best to put fuzz pedals and envelope based effects (auto-wahs, envelope filter pedals, wahs, etc.) first in your pedal chain for this reason. If a buffer is used in such a setup, it's usually placed further down the chain, after those other types of pedals. Impedance is always an important consideration, and improper impedance matching is often a big cause of "tone suck" in pedalboard setups. For an excellent overview of impedance, and some easy how-to instructions on how to test the impedance of your pedals, be sure to check out Craig Anderton's excellent article on testing input impedance to prevent tone suckage. Digital pedals can sometimes be a bit of a special case. They often have buffers, as well as Analog to Digital (A/D) and Digital to Analog (D/A) converters, and sometimes their "bypassed" output is a post-A/D converter signal, even when the pedal is bypassed. Having the audio signal running through the A/D and D/A converters all the time can have an audible effect on the "dry" or bypassed sound; the amount being largely dependent on the quality of the converters and the accompanying analog circuits. What is True Bypass? The earliest effects pedals used less than ideal switching methods that kept part of the pedal's electronics connected at all times and loading down the guitar, even when the effect was in bypass mode. This usually leads to undesirable changes to the sound of the guitar, even when the pedal is bypassed. Such switching systems are still sometimes used today, particularly on reissues of some vintage designs, but this type of switching has largely (but not entirely) been replaced by pedals with buffers or with true bypass switching. True bypass is a switching method that takes all of the effect pedal's circuitry out of the signal path when the pedal is bypassed, creating a direct wire path from the input jack to the output jack, with no other circuitry in between. This is most often accomplished with a double-pole, double-throw (DPDT) or triple pole, double-throw (3PDT) mechanical switch. A pedal equipped with true bypass switching of this kind will often pass audio through when bypassed, even if no power is supplied to the pedal, and all the other electronic circuits of the pedal are disconnected when the pedal is in bypass, preventing the circuitry from "loading down" the guitar. True bypass switching can also be accomplished with relay switches, which are triggered by a footswitch, but activated by an electrical current instead of mechanically. True bypass switching systems that use relays are electronically more complex and more expensive, but they allow for more complex switching than a DPDT or 3PDT mechanical switch is capable of, and also are usually free of the clicks and pops that plague many mechanical true bypass switching setups. Pedals that use relays will often not pass signal when the power is removed, so you can't always determine if a pedal is really "true bypass" that way. True bypass does have some drawbacks. If you use too many true bypass pedals without any buffering, you can wind up with high frequency signal loss, plus the mechanical switches themselves often create audible pops and clicks (mechanical as well as electrical) when you step on them. What's in a name? Hard bypass, pure bypass, hard-wire bypass… there are a lot of different names that are used by various manufacturers, and some pedals use switching systems that have been given names that sound similar to "true bypass", but that aren't actually true bypass pedals. The various terms used by different companies are often confusing, and there is no universally used naming convention when it comes to pedal switching, so you have to do a bit of research to be sure of what you're really getting. Identifying the switching type used by a pedal can be difficult, and the only way to be certain is to trace the signal path of the pedal and see what happens when the switch is hit. If this doesn't sound like your idea of a good time, you can always check the manufacturer's website to see if they clarify what type of switching system is used on the pedal you're considering, or stop by the Harmony Central Effects forum and ask your peers. True bypass looper pedals For getting around the negative aspects of pedals with poor sounding buffers, or for pedals without buffers that use tone-sucking, old-style non-true bypass switching, true bypass looper pedals are sometimes used. The input and output of the effects pedal is connected to the loop jacks on the true bypass looper pedal, and the input and output jacks of the looper are connected to the rest of the pedal chain. The effect pedal is left active, and brought into the signal path when desired by clicking on the true bypass switch of the looper pedal. This allows it to be turned on and off with a single click of a footswitch, but keeps it out of the signal path entirely (true bypass) whenever it is not being used, thus avoiding the negative effect of the pedal's inferior switching system, while keeping the pedal itself stock and unmodified. Is there a clear winner? Actually, there is plenty of room in the pedal world for both true bypass and buffered bypass switching configurations. Both have their advantages as well as disadvantages, which is probably why both have remained popular and in common use. On my personal pedalboards, I use primarily true bypass pedals, but each of my boards also has at least one buffer on it. Some true-bypass fans may advise you to avoid buffers entirely, but this is not recommended unless you're only running a few pedals, and using short cable runs from the guitar to the pedalboard, short patch cables between pedals, and a short cable from the pedalboard to the amplifier. For larger setups with more pedals and with longer cable runs, adding a pedal or two with buffered bypass switching or a dedicated buffer pedal will generally result in a better sounding rig, since the buffers will compensate for the high frequency signal loss you'd get from running without a buffer. Of course, the number and quality of the buffers you use will also have an effect on the way your rig sounds, and having too many pedals with less than stellar buffers in your signal path can lead to less than ideal tone when everything is bypassed. As always, the order you place your pedals in matters as well, and while there are guidelines and suggestions that many people reference when it comes to pedal order, nothing beats experimentation! You really need to try your various pedals in different configurations until you find what works best for you. If you need advice and suggestions about effects order, buffers, true bypass switching, and about what type of bypass a specific pedal uses, be sure to stop by the Harmony Central Effects forum. Resources Here are a few links from various manufacturer's websites, explaining their position on the subject of buffers and bypass systems: http://www.jimdunlop.com/blog/what-you-need-to-know-about-true-bypassing/ http://www.petecornish.co.uk/case_against_true_bypass.html http://tech21nyc.com/technotes/index.html 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.

Overdrive / Distortion with a British Vibe By Phil O'Keefe Continuing on with our grand tour of all the cool new dirt boxes that Electro-Harmonix has released this year, this time we're taking a look at their new overdrive-distortion pedal with a decidedly British rock amp vibe - the OD Glove. What You Need To Know Housed in a die-cast enclosure measuring approximately 4 5/16" long x 2 1/2" wide x 2" high, including the knobs, jacks and switches, the OD Glove uses a MOSFET based overdrive circuit, and is designed to give you anything from a clean boost all the way up to medium gain overdrive tones that border on distortion. The sound is very similar to a cranked amp in overall feel and character.There are three knobs. The Gain knob adjusts the input gain and how much grindage you'll get. The Volume control sets the overall output level of the pedal. There's quite a bit of range available with both of these controls, with Gain being adjustable from clean boost territory to light overdrive and all the way up to very heavily overdriven tones. The OD Glove isn't really a substitute for a true heavy distortion pedal, although it is capable of some pretty heavy grind.The tone control is designed to filter out high frequencies when it is rolled down. Dime this knob and you get the full response of the pedal, and the further you lower it, the more the high frequencies are attenuated. You can get some pretty sweet "singing sustain" sounds with the gain cranked up and the highs pulled down a bit.There is also a Tone Shift toggle switch on the top of the pedal. This provides you with a fast and easy way of re-voicing the pedal. When the switch is in the Off position, the pedal has essentially a flat EQ, with just a mild amount of emphasis on the low-mids. Switching over to the On position kicks in a midrange boost that emphasizes the mids and upper midrange. There's also a slight volume increase when this switch is in the On position, and of course, with the increased midrange emphasis, the pedal will cut through a bit better in a busy mix. It's nice having the ability to tailor the midrange response, and this switch adds a lot of tonal versatility to the pedal. An internal switch inside the OD Glove changes the pedal's internal operating voltage from 9V to 18V. When this is in the 9V position, the tone is a bit more compressed and a little tighter overall, and in the 18V position, it's a bit more open, with more headroom. I liked the sound of both positions, and again, having the option just adds to the pedal's tonal versatility. It's also nice that you can operate the pedal at 18V without having to use two outlets on your power supply brick or without the expense of having to purchase a separate 18V adapter. In fact, external 18V adapters should never be used with the OD Glove since it's rated for 10V maximum.The overall construction quality appears to be good, with surface mounted components used for the majority of the parts. This helps to keep reliability up and costs down, although it does make repairs, modifications and tracing the circuit more difficult, especially for someone like me who has a lot of mileage on their Mk I eyeballs. The pedal can be powered via the included 9V battery, or an optional external 9V DC power supply. The OD Glove uses the industry standard 2.1mm center-negative style power plug. Current draw is 12mA at 9VDC. The power jack is located at the top of the pedal.The 1/4" input and output jacks are side mounted. Input impedance is 300kOhm. Output impedance varies, depending on how you have the volume control set, and it ranges from 12kOhm to 100kOhm.The OD Glove carries the standard Electro-Harmonix one year limited warranty.Switching is true bypass, and a red LED illuminates when the pedal is active. Limitations The OD Glove is not designed to accept voltages higher than 10VDC at the power jack. Using higher voltage power supplies can fry the pedal and void your warranty. The internal switch does not configure the pedal for use with external 18V power supplies; rather, it kicks in an internal voltage doubler circuit that takes the 9V DC power source and kicks it up to 18V internally. Electro-Harmonix takes care to point this out in several places in the OD Glove's manual, and I wanted to call attention to it here too - it's not really a limitation per se, but it's certainly something you want to keep in mind so that you don't blow the pedal. Conclusions This is an excellent sounding and very versatile overdrive pedal that can cover a broad range of your overdrive needs, from clean boost to mid-gain tones. It won't quite take you into super saturated territory on its own, although when used with hotter humbucking pickups and goosed with another pedal, such as the EHX Soul Food, it certainly gets close. In fact, I really like how well the OD Glove stacks with various other dirt pedals and boosts. One of the rumors I've seen in a few places online is that this pedal is based on a very famous "obsessive / compulsive" boutique overdrive. I happen to own one of those pedals, and it's one of my all-time favorite drive pedals, so I plugged the two in and did some side by side comparisons. With identical settings, the tones were very similar, although not quite identical. Still, with a bit of tweaking, I was able to get the two pedals to sound very close to each other. The boutique pedal seemed to have a bit better dynamics and overall openness and clarity, but it also costs twice as much. I was particularly surprised by just how well the two pedals stacked together- I was able to get some very juicy high-gain tones by using one to slam the input of the other. Once again I am shocked and impressed with just how much pedal EHX is offering for such a low price. The fact that this pedal is built in the USA, is priced like an imported pedal, and yet can still go toe to toe with such a highly respected overdrive and hold its own speaks very well for just how much tone and value you get for your money with the Electro-Harmonix OD Glove. Like their other recently released overdrive and preamp pedals such as the East River Drive, Hot Tubes Overdrive and Soul Food Overdrive, it's a real winner and exceptional value. Resources Musician's Friend's Electro-Harmonix OD Glove online catalog page ($82.86 MSRP, $62.15 "street") Electro-Harmonix's OD Glove web page 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.

Metal Mesh Microphone Pop Filter By Phil O'Keefe Plosives. Popping "P's, T's, K's and B's." Stop consonants. Oral stops. Wind bursts. Whatever you call them, they are one of the most common issues that can cause track-ruining problems when recording vocals. Want an example of the power of plosives? Hold the palm of your hand a couple of inches in front of your mouth and say the words "big cold tasty purple popsicles" - do you feel those big blasts of air hitting your hand? Those are caused by plosives, and at close range, your vocal microphone's diaphragm will experience similar blasts of wind, and they will result in audible booming blasts of noise on your recordings that can definitely distract the listener. While there are a few different techniques that engineers use to address this issue, one of the most common and effective ways is to put a pop filter between the vocalist and the microphone when recording. One such product is made by Stedman, and we'll be taking a closer look at their Proscreen 101 in this review. What You Need To Know The Stedman Proscreen 101 utilizes a metal mesh screen that measures 4.6" in diameter. The mesh is more open than the mesh of most nylon fabric-screened pop filters and is designed in such a way as to allow sound to pass through it freely, but that causes any wind that hits it to be directed downwards and away from the microphone.The mesh screen is attached to a heavy-duty 13" gooseneck arm. This arm is easily bent to allow you to position the filter exactly where you need it in front of the microphone's diaphragm. The arm is solid enough that it won't sag or get floppy and fall out of position, even after years of use.The overall length is about 20", and the unit weighs 5.8 ounces, so it isn't adding significantly to the weight on the microphone stand's boom arm. Vibration through the Proscreen, the stand's boom arm, and then to the microphone is pretty much a non-issue, but if you're worried, you can use one stand for the mic, and a second, independent boom stand for the Proscreen.There is a small clamp at the end of the gooseneck arm for attaching it to a mic stand. In most cases, you can attach it to the same stand that you're using to hold the vocal microphone and the gooseneck is long enough to allow for proper positioning, even when using large sized microphones. The size of the clamp's opening can be adjusted with the attached plastic adjustment knob anywhere from .5" to .8", so it will fit most standard mic stand poles and boom arms.Since it can be easily washed, the metal screen is far more hygienic than foam or fabric windscreens and pop filters. In between takes with different vocalists, you can even wipe it down with a cloth that's been sprayed with a bit of Lysol disinfectant, and at the end of the day you can wash it in the sink with soap and water. Limitations When placed extremely close to the microphone, the filter is much less effective since there is insufficient distance for the air blasts to be re-directed away from the microphone diaphragm. Ideally the Stedman Proscreen 101 should be placed at least 2" away from the microphone for best results.The outer edges of the screen, while rounded off, can get a bit sharp in places, so you should take care in how you grab the screen, and try not to grab it by the outside edges. Conclusions I absolutely love the Stedman Proscreen 101. It's rugged and durable, and chances are it will last a lifetime. Since it can be easily cleaned and disinfected, you don't get the funky stench buildup (and germs) that often plague foam and fabric screens after they've been used for a while and subjected to spittle from the singer's mouth. Equally important, when it's used at least 2" away from the mic, the Stedman Proscreen is far more effective than most foam or fabric pop filters at reducing or eliminating wind blasts from vocal plosives, and it doesn't suffer from the slight high frequency attenuation that comes along with those other pop filter designs. Short of a great singer and an appropriate microphone and preamp, it's the number one accessory I want to have around when tracking singers. Frankly, I don't want to record vocals without one. Resources Musician's Friend's Stedman Proscreen 101 online catalog page ($59.00 MSRP, $39.99 "street") Stedman's Proscreen 101 web page 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.

500-series Tube Microphone Preamp By Phil O'Keefe Radial Engineering is a company that is widely respected in the pro audio community for making solid, reliable and great sounding products that perform exceptionally well at the kinds of tasks engineers and audio pros need to tackle daily. They've also been heavily involved in the highly popular 500 series market, and provide a wide range of different 500 series racks and modules for a variety of purposes. Today we're taking a look at one such module, the PowerTube single channel tube microphone preamplifier. What You Need To Know Built in Canada, the Radial Engineering PowerTube is a true 100% discrete, high-voltage class-A tube microphone preamp. It is not a "starved plate" design. It uses a 12AX7 tube that has been selected for low-noise, and hits it with a full 140 volts, courtesy of a charge pump that increases the lower voltage supplied by the 500 series rack standard to properly power the tube. Since 140V is relatively low compared to a 12AX7's 300V rated maximum, tube longevity should be excellent in this unit.A front panel balanced XLR mic input is always a handy feature, and the one on the PowerTube is wired in parallel with the one on the back of your 500 series rack. Radial sticks with the AES standard pin 1 ground, pin 2 hot wiring configuration.The PowerTube also features a ultra-low noise Jensen JT-115K-E input transformer, and this high-quality "iron" is no doubt a contributor to its smooth sound. An additional class-A gain stage post-tube stage brings the levels up to the expected +4dB professional line level output. I appreciated seeing a block diagram included in the manual, as it allows you to quickly grasp the signal flow through the unit. The PowerTube is a single-width 500 series module designed to work with 500 series racks and power supplies. Radial Engineering also makes rack and power supply units, as do other companies. I tested the PowerTube with my trusty Radial Engineering SixPack.There are two main knobs. The Trim knob adjusts the input sensitivity feeding the tube and class-A gain stages. Higher settings on this knob result in more character and harmonics. The Gain knob controls how hard you're driving the output. Just over 60dB of gain is available, which is plenty for most close-miking applications, even when using ribbon microphones, although you may occasionally wish for a bit more when recording very soft sources at a distance with some low-output microphones. Under most circumstances, there's plenty of gain on tap, and it's easy to dial up the amount of character you want, from clean and clear to quite colorful.All the other standard mic preamp features that you'd expect are here, including a polarity invert button, 100Hz high-pass filter for removing room rumble and unwanted mud, and 48V phantom power. The phantom power switch is recessed, so you'll need to use a small tool to depress it, but the upside is that you won't accidentally engage or disengage it. A red LED illuminates when phantom power is active.The metering is pretty cool on this preamp. A single "floating" lit LED indicator moves around the ten segment tri-colored (yellow./orange/red) LED display. The meter covers the range from -20dB to +6dB, and is designed to simulate VU ballistics.An unexpected yet cool feature is the PowerTube's Air switch, which adds 2-3dB of boost to the mids and high frequencies. The front panel switch on the review unit is marked with a shelving filter graphic and says "5kHz"; the boost starts ramping up at around 1kHz, is up by about 2dB at 5kHz, peaks at about 8kHz at 3dB, and extends past 20kHz, having only lost a dB or so from the peak in the highest octave. The net effect is somewhat like the opposite of the high-pass filter; instead of removing lows, you're adding more air and presence to the highs when you engage this switch. This can be useful in some situations, and when it's not, you can turn it off with the press of a button. When using the PowerTube with a Radial Engineering 500 series rack, the Omniport becomes available, and in the case of the PowerTube, the Omniport is wired to function as a 1/4" unbalanced instrument input. This allows you to use the PowerTube as a DI for recording instruments direct. Plugging into the Omniport automatically disconnects the XLR inputs. The PowerTube sounded excellent with my Ibanez SR1100 bass - full, fat and punchy, but with great definition too. There is no dedicated line input.The 12AX7 tube can be easily replaced if you're familiar with swapping tubes. Thoughtfully, Radial includes a second 12AX7 tube from one of their Tonebone distortion pedals "for fun", and it can give you a little different character and a bit more grit, but don't expect gobs of distortion like you'd get from a dirt pedal. Even when driving the meters into the red, the PowerTube stays relatively clean; driving it harder does give it more harmonics, overdrive and character, but not heavy saturation. Noise is somewhat dependent on whatever tube you have installed, as well as how hard you're driving everything, but I never felt it was unreasonable or obtrusive, particularly by tube preamp standards.Changing tubes will change the sound of this preamp, but as with many tube swaps, the results can be somewhat subtle. Still, high quality tubes do matter, and I was pleased with what I heard while playing around with some of my personal stash of old Mullard and Telefunken tubes. I would encourage owners to experiment! Limitations It's a tube preamp, and as you'd expect of a tube preamp, by 500 series standards, it draws a lot of current - up to 235mA maximum. You'll need to make sure that the 500 series rack / power supply that you have hosting the PowerTube has sufficient current capacity to properly power it, along with whatever other modules you might be running. This is one of the things I love about the Radial SixPack that I purchased last year - with its 1,600mA power supply, I don't have to worry about not having enough current and hearing things sag, regardless of what combination of modules I have installed.Still, when running multiple PowerTube preamps in any 500 series rack, even one of Radial's, you should use one of the PowerTube's "hidden switches." On the back side the module are two switches, one on each end of the card edge connector. The one on the left is a "power assign switch" that allows you to select either the positive or negative power rail of your 500 series rack's 16V power supply. This lets you run multiple units and balance the power draw. When using a single PowerTube preamp, you don't have to worry about it. The second hidden switch is a ground lift switch. The limitation here is that lifting the ground will disable the 48V phantom power. I'm glad that Radial includes this feature, since it's easily possible to run into ground loops when connecting an instrument or feeding the PowerTube a pre-recorded track for tube processing. Under those circumstances you wouldn't need the phantom power anyway. Conclusions Radial Engineering continues to impress me with the quality of their products, and the PowerTube is definitely no exception. Like all of the Radial gear I've had the pleasure to test and use, it's solidly built. It has a buttery smooth - dare I say "vintage" - sound that works great with a variety of sound sources, and you can drive it hard enough to give them a very appealing warmth and the kind of overdriven harmonic character that good tube preamps are famous for. The Air switch allows you to add a little excitement to the highs and help them cut through when needed, and the DI sounds fantastic too. While you may run into situations where you might long for just a bit more gain if you record quiet sources at a distance with ribbon microphones, pairing this preamp with a good ribbon and confident source yields a rich, detailed sound that I found extremely appealing. It works equally well with a condenser microphones too, and I loved the sound of it when paired with my Soundelux ELUX 251 for vocals. This is a true high voltage tube preamp, and it works and sounds like it. If you'd like to add a little tube color to your 500 series rack, it is something you owe it to yourself to audition. Resources Musician's Friend's Radial Engineering PowerTube tube microphone preamp online catalog page ($800.00 MSRP, $699.99 "street") Radial Engineering's PowerTube web page PowerTube manual (PDF format) Radial Engineering PowerTube Specifications 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.

High-end Two-channel JFET Overdrive By Phil O'Keefe Electro-Harmonix has been on a roll as of late when it comes to the outstanding dirt boxes they've been releasing. Some, such as the Soul Food and East River Drive have been based on other well-known pedals, and some, such as the Hot Tubes, are reissues of their own coveted vintage designs. This time, we're going to take a look at something a bit different - the new EHX Tortion - a JFET overdrive / preamp that is all new, and the flagship of the Electro-Harmonix overdrive line. What You Need To Know The EHX Tortion is a dual channel JFET based overdrive / preamp pedal with two modes of operation - Normal and Boost. You can easily switch between the two channels, or bypass them entirely. When the pedal is engaged and then bypassed, re-engaging the pedal brings you back to whichever channel was previously active.Two footswitches are provided - one for engaging or bypassing the pedal, and one for channel selection. The EHX Tortion uses a well-behaved buffered bypass, with a red LED illuminating to indicate when the pedal is active.Normal mode uses three JFET gain stages, and is optimized for low to medium gain overdrive tones. The Normal channel's individual Volume and Gain knobs, which are located in the top row of controls, allow you to dial up the amount of grit you want for the Normal channel. There is sufficient volume on tap for the Normal mode to serve as a clean boost if you want to dial it up that way, and enough grit for low to medium overdrive tones. Some very nice glassy clean tones are also possible with this mode with low settings on the Gain knob and higher Volume knob settings.Boost mode adds a fourth gain stage for more modern tones and considerably heavier amounts of drive and grit. When you click on the Boost footswitch, a blue LED illuminates to indicate you're in Boost mode. There are secondary Gain and Volume knobs located below the main / top row of controls that are dedicated to the Boost mode. The top row Volume and Gain controls are bypassed when in Boost mode, and the Boost mode Volume and Gain knobs are likewise bypassed when the pedal is in Normal mode.In addition to the two sets of Volume and Gain controls, the EHX Tortion includes a four position Pre-Gain rotary switch. This is a really cool feature, and it gives you even more control over the gain range, as well as the low end response. There are two lower-gain settings on the Pre-Gain knob, and two higher gain ones, with tight (T) and Full (F) settings for both. In the two low gain settings, the pedal is designed to provide vintage plexi type tones, while the high gain settings are crunchier and more modern sounding. The Full and Tight settings offer different bass response options, with Full having a bigger, fuller, and bassier tone and Tight giving the lows a much more controlled and tighter sound and feel.The EHX Tortion has a very extensive and effective tone stack for an overdrive pedal, consisting of individual Treble, Mid and Bass controls. These controls are active in both Normal and Boost modes, and offer much greater tonal adjustment capability than most dirt pedals.The EHX Tortion can be powered by a 9V battery or 9V DC adapter. The battery clip can be accessed by removing the bottom of the pedal. A power adapter is included with the pedal. It uses the industry standard 2.1mm center-negative plug. The power jack is located at the top of the pedal. The EHX Tortion draws 27mA at 9V DC. I had no issues using it with a battery, the provided power supply, or a 1 Spot power adapter with four other pedals on the same daisy chain. The 1/4" input and output jacks are side mounted. Input impedance is 1M Ohm, and output impedance varies depending on the position of the Volume knob, with a range of 250 Ohm to 25k Ohm.In addition to the input and output jacks, there are two other jacks on the EHX Tortion. On the right side of the pedal, located next to the input jack, you'll find a 1/4" Boost Sw(itch) jack for connecting a optional remote footswitch for kicking the Boost mode on and off. This should be a normally open, momentary-type switch such as the Boss FS-5U. Since the jack is wired in parallel with the onboard switch, when a remote switch is connected, you can still use the built-in Boost switch too if you want.The last jack is on the left side of the pedal next to the output jack. This one is a line level DI Output jack on a balanced XLR connector. This low impedance (600 Ohm) output is equipped with a very nice sounding all-analog amp/speaker emulator that is designed to emulate the sound of a 4x12 cabinet. The output level is controlled by whichever Volume knob is currently active. A cool bonus is that this jack remains active even when the pedal is bypassed - it routes your bypass signal through the simulator, which can be useful in some circumstances. Limitations There were a couple of times when I wished for just a bit more maximum gain from the Normal channel. While it's intended for low to medium gain tones, and does an excellent job of them, I ran into a couple of situations when I would have liked to have had the ability to dial up something a little heavier - especially when using a guitar equipped with lower-output single coil pickups. When using it with a 2014 Les Paul Standard with BurstBucker Pro humbuckers, this was not an issue. Regardless of that, I felt the sound of the pedal worked equally well with both humbuckers and single coil pickups. Conclusions The Normal mode on this pedal is very nice, with cool low to medium gain overdrive tones on tap. The Boost mode is fantastic - a real sonic treat that holds up against any overdrive I've ever used. It covers a wide range of distortion amounts and tones, and it sounds terrific doing all of them. Regardless of which mode / channel you're using, it's really hard to get a bad sound out of this pedal. The amount of EQ adjustment available from the three-band EQ section is also exemplary for a overdrive pedal - in fact, it's more analogous to what you'd expect to find on an amplifier, and that, along with the pre-gain control and the individual gain and volume controls for each channel are big reasons why I feel EHX is more than justified in referring to the EHX Tortion as an "overdrive / preamp." Add in the bonus features like the included power adapter, the balanced XLR recording / direct output, and remote switching capability and you have a well-equipped, top of the line overdrive / preamp pedal with a lot going for it. Electro-Harmonix says it's their flagship, and in my opinion it is well deserving of the honor - the EHX Tortion rules! Resources Musician's Friend Electro-Harmonix EHX-tortion online catalog page ($238.56 MSRP, $178.95 "street") Electro-Harmonix EHX-Tortion product web page 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.

Multi-channel Firewire / Thunderbolt Interface By Phil O'Keefe The Focusrite name has an illustrious history, and the company has made some of the most respected large frame mixing consoles and outboard processors ever released. Their Saffire series of Firewire audio interfaces has long been a hit with users too, and today we'll be taking a look at the latest product in that series, the Saffire Pro 26, which is designed with studio recording and live performance use in mind. What You Need To Know The Saffire Pro 26 (which should not be confused with an earlier interface that shared a similar moniker) is an 18 input, 8 output, 24 bit computer audio / MIDI interface that connects to the host computer (Mac or PC) via a Firewire 400 connector on the back of the interface. A Firewire 400 to Firewire 800 cable is included. It can also be connected to a Thunderbolt equipped Macintosh computer with a Firewire to Thunderbolt adapter, which is sold separately.The Saffire Pro 26 can be bus-powered by the Firewire bus, although Focusrite does recommend using the supplied power supply when connecting it to a Thunderbolt port via an adapter. A front panel power switch is provided, which is always nice to see.At approximately 12.5" W x 8.5" D x 1.625" H (including the knobs and jacks) the hardware is more compact than a full rack space unit, and designed for tabletop use. The front panel is well laid out, uncluttered, and features five-segment multicolored LED meters for all six main input channels. One thing I frequently advise people to consider when purchasing an interface is the number of simultaneously available input channels they'll need. While two inputs may be fine for you today, you may find yourself needing more tomorrow, and realistically, anything less than four channels prevents you from effectively recording more complex sources, such as drum kits. The Focusrite Saffire Pro 26 is well-equipped with lots of I/O. You get four very solid sounding Focusrite mic / line inputs / preamps, two of which also have switches for configuring them as high-impedance instrument inputs, as well as 8dB pad switches. 48V phantom power is also provided, and is switchable in banks of two.Still not enough inputs for you? You also get two more rear panel balanced 1/4" TRS line inputs, as well as coax S/PDIF I/O and a optical digital input. This can be configured for ADAT lightpipe or S/PDIF optical, so you can easily add something like a Focusrite Octopre Mk II to increase the amount of mic inputs to 12, which is enough to record an entire rhythm section simultaneously. Having enough outputs can also be important for sending cue mixes to external headphone amps, multichannel monitoring, patching in outboard effects processors and for other tasks, and the Saffire Pro 26 doesn't disappoint here either, with six balanced 1/4" TRS line outputs on the rear panel. There's also MIDI input and output on 5-pin DIN jacks, so you can connect and use external MIDI devices, even if they lack MIDI over USB. The software bundle for the Saffire Pro 26 doesn't come in the box, but instructions for downloading the drivers and applications is provided, and it's all relatively pain-free and easy to get everything going. A computer app called Saffire MixControl handles the basic setup of the interface, allowing you to set the clock source, lightpipe configuration (ADAT or S/PDIF), sample rate (up to 96kHz), Firewire driver latency (with short, medium, long, and very long options) and ASIO buffers (anywhere from 32 to 2048), and I/O routing, as well as using its 18 x 8 DSP-assisted virtual mixer for setting up ultra low-latency monitoring that is independent of your DAW's mixer and monitoring functions. A loopback function allows you to return audio from other applications directly to your DAW via MixControl. It also features one click setups that help you get up and running quickly, whether you want to track, monitor or mix. Focusrite also bundles the Saffire Pro 26 with Ableton Live Lite, Novation's Bass Station softsynth, and over 1 GB of royalty-free samples from Loopmasters. They also include their own VST/AU/RTAS Scarlett plug-in suite, which includes EQ, gate, compressor and reverb plug-ins, so there's plenty of software included to get you up and running right away. Limitations Very high sample rates (above 96kHz) are not supported.There is no ADAT output, so connectivity to an external mixer is limited to the analog outputs and S/PDIF digital output. For the majority of users, the extra inputs are far more important than additional outputs, so this won't be a concern for many people, and Focusrite does offer interfaces with more outputs in the Saffire series (such as the Focusrite Saffire Pro 40) for those who need more channels.While there are front panel as well as MixControl software controls for monitor level, as well as Dim and Mute switches, there is no Mono button, which means checking your stereo tracks for phase issues and your mixes for mono compatibility is more complicated than it would have been had one been included. Conclusions This is a really cool interface, with a surprising amount of capabilities at a very modest price. I love the computer connection flexibility of the Saffire Pro 26. With Firewire and Thunderbolt capability, this interface will work great with a variety of different Mac and PC computers. I had zero issues using it in my studio with my quad core i7 equipped PC using Firewire, and as a mobile interface with my Thunderbolt equipped MacBook Pro. The sound quality is excellent for an interface in this class, with solid low-jitter converters and clean sounding mic preamps. The individually controllable headphone outputs are nice and clean sounding too, with more than enough juice on tap to get as loud as anyone could reasonably want. I love that you can dial up two separate headphone cue mixes too. Setup and configuration is fast and easy, and you even get a nice software bundle to get you started. If you want an interface that sounds more expensive than it is, that can work with Firewire or Thunderbolt, Macs and PCs, with more than just stereo I/O, and that has the ability to grow with you as your needs change, it's well worth considering. Resources Musician's Friend Focusrite Saffire Pro 26 online catalog page ($449.99 MSRP, $349.99 "street") Focusrite's Saffire Pro 26 product web page 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.