Phil O'Keefe

A tip jar that gives back... Ah, the tip jar. They're ubiquitous. You'll find them everywhere, from the local dry cleaner's to the downtown sandwich shop where you regularly eat lunch. The legend is that "tip" originally stood for "to insure promptness", and while that's debated, there's an element of truth to it in many cases where tip jars are used, such as tip jars at restaurants. But tipping goes further than that, and is often viewed as a way of showing gratitude or appreciation; it's certainly in this respect that tip jars are associated with musicians. After all, musicians don't always have the best reputation for being on time, so the promptness aspect really doesn't apply. But if you put on a good show, get everyone out dancing and help the audience enjoy themselves and have a good time, you can earn the audience's appreciation - and it certainly doesn't hurt your bottom line when they want to show that appreciation with a small gratuity. Having a tip jar can be a significant additional income source for musicians, and the more clever and entertaining you can make the jar itself, the more effective they tend to be. And that's where the Phil The Tip Jar comes in - it's definitely different than any tip jar I've ever seen before. What You Need To Know The patent-pending Phil The Tip Jar is a interactive, electronic tip jar that responds in various ways whenever someone puts coins or bills into it. An infrared sensor in the money drop slot at the top of the unit detects when something is dropped into the Phil The Tip Jar, triggering an automated response. This includes playing a sound effect (or not) and dispensing a small coupon card to the tipper through a slot located near the bottom of the front of the unit's base. The coupon comes out of the coupon dispensing slot in such a way that it doesn't just fall and hit the floor - the end of the coupon is held gently by the slot until the tipper takes it. The dimensions of the Phil The Tip Jar are approximately 5 9/16" W x 10 5/8" H, without any of the included optional "feet" installed on the bottom of the unit. The Phil The Tip Jar uses mostly plastic in its construction, although there is a fair amount of metal used too, especially inside the base of the unit. There are three different areas with graphics: immediately above the coupon card dispensing slot is a open-arms heart logo, while two vinyl bands or "wraps" adorn the housing, with one below the coupon dispensing slot, and the other one being located at the top of the housing on the lights and electronics housing, which is located above the clear collection cup in the center of the unit. The upper wrap on the review unit features a keyboard motif and the words "Phil The Tip Jar" in the center, while the lower wrap says "Thank You!" According to the website, the customer will be able to order custom wraps and specify their own messages, although at this time there is no way listed to buy them - it says "coming soon." The top and bottom of the unit are black, and sit above and below a clear plastic collection cup, which slides into the center of the unit on matching rails that are built into both the bottom of the cup and the upper part of the unit's base. You remove the collection cup by sliding it out towards you, with the black colored top and bottom sections of the unit's housing remaining in place, connected by a vertical section of housing towards the rear. Once the cup is removed, you can see the built-in coupon storage magazine, which sits inside the lower housing below the clear tip jar section. This can hold up to 350 small (3" x 2") coupon cards. There are half round finger openings on either side of the magazine so you can reach in to insert or remove the cards, and a small removable metal plate with a knob handle in the center of it sits on top of the cards to keep them pressed down so they'll feed automatically when a tip is deposited into the Phil The Tip Jar. A collection of about 120 pre-printed sample cards were included with the review unit that I was sent to check out. They have Phil The Tip Jar / we really appreciate you listening, tipping and being here / thank you!" printed on one side, and various expressions, quotes or "prizes" listed on the other, such as "Good for one free hug" and "You get in life what you have the courage to ask for." Other "prizes" include shout-outs from the mic, one clean or dirty joke told to you on the band's next break, celebrity impersonations done by a member of the band (poorly), one song from the set list of your choice, a fist bump from a band member (Purell not included), along with other expressions such as "Life is 10 percent what happens to you and 90 percent how you react to it" and similar expressions and awards. About eight of the review unit's sample cards are yellow on the expression / prize side, and say "Golden Ticket. Present to the band and CLAIM YOUR PRIZE!" on them. These could be useful for tying in tips to merch give-aways such as thumb drives with the band's latest recordings on them, or band t-shirts, autographed pictures, etc. "Don't forget to tip the band for your chance to win a band T-Shirt..." The collection cup itself is the same diameter as the rest of the unit, and it is just shy of 4.5" high, so if can hold a fair amount of tips before it needs to be emptied, but if it's allowed to get too full, previous tips can interfere with the infrared sensor and the operation of the unit when additional tips are added to the jar. A collection of five or six "Zillion Dollar" faux bills were also included that can be used to "seed" the tip jar. Power is supplied to the Phil The Tip Jar with an included AC to DC power adapter that provides 3A @ 5V DC to power the unit. The power adapter plugs into a port that looks very similar to something you'd find on an effects pedal, but since the voltage and amperage are different, you'll need to stick to using the supplied adapter. Since there is no power on / off switch, the Phil The Tip Jar powers up as soon as you plug the adapter in. There are a total of 18 LEDs located inside the top section of the Phil The Tip Jar - six each of red, blue and green. These point down towards the clear tip collection cup. These are fairly bright and illuminate the cup and the area immediately to the sides of the tip jar. There are three control buttons located on the back side of the Phil The Tip Jar, with two on the left side of the power jack, and one on the right. The button marked with a graphic light bulb icon allows you to turn the LEDs off, or to select any one of the three colors for continuous illumination. An additional mode continuously cycles and crossfades from one color to the next every two seconds or so. This is the default mode that turns on when you plug the unit in. The second small button on the back controls a built-in "cha-ching" sound effect that is automatically played through a small speaker located on the underside of the unit whenever a tip is inserted into the jar. This can be set to low or high volume, or turned off entirely. Even when it's off, a bit of mechanical noise from the unit's built-in motor and mechanical apparatus always accompanies the dispensing of the coupon card. A larger button on the opposite side of the power adapter jack is provided for manually activating the coupon dispenser. This can be activated by the cashier or whoever is running the merch table for rewarding customers who tip or purchase merch with a credit card. There are five round recesses on the bottom of the unit where you can install the provided "feet" for the unit to sit on. There are two types included - a set of five rubber pads and a set of five hook and loop pads. You can use a few of each to vary the "grip strength" of the unit to whatever you want to set it on. The Phil The Tip Jar comes with a black drawstring carrying bag. It is made out of a fairly heavy canvas, and has the Phil The Tip Jar heart logo printed on it in white, matching the look of the jar itself. This is a nice addition, and will doubtless keep the jar from getting scratched up in transport, although it's not really going to provide any protection from a serious knock, bang or drop. Pack accordingly. While you're certainly not obligated to, Good Fortune Industries encourages a "pay good fortune forward" attitude, and suggests that bands donate a portion of their tip receipts to a worthy charity of their choice, and offer a user-printable "Proudly Featuring" sign in PDF format that can sit next to your Phil The Tip Jar to inform your fans that a portion of their tip will be helping to support your chosen charity. The paper manual that is included with the Phil The Tip Jar also includes suggestions on how to use the jar for other purposes, such as for fundraisers and charitable donations, good behavior rewards, contests, business card drops, and even as a family vacation savings bank. The manual also gives various tips on what sorts of things you might want to have printed on your custom coupon cards, such as band information (name, logo, etc.), contact phone number and website URL and a "thank you!" on one side, and inspirational sayings, quotes, fun facts, lucky numbers, jokes, riddles, and / or upcoming gigs and events on the other side. Alternatively, you could have the other side printed with discount coupons for merch purchases, prize / give-away awards, etc. The Phil The Tip Jar has a 90 day limited warranty. Limitations The Customer Appreciation Coupon template and order web page is still not finished, so it appears that you currently can't order customized coupons directly from the manufacturer. This is a significant challenge since they recommend using only their cards. In fact, according to their website, you risk voiding the warranty if you use other coupons - the mechanical coupon dispenser has been calibrated to work with the size and type of paper of their cards and using the wrong paper could cause it to jam or malfunction. Since the Phil The Tip Jar will be making its official debut at Summer NAMM, hopefully the web site pages with the ordering information will be completed by then, or shortly thereafter. You can't use your business cards as coupons. I was disappointed about this, since business cards use a standardized size and thickness, and you can get them printed practically anywhere, and have it done quickly / as needed, even printing different cards for each specific occasion if you wanted to. Since the Phil The Tip Jar requires AC power, you can only use it in places where you have access to an outlet. An open instrument case is likely to remain the most recognized and used "tip jar" for street and subway buskers, especially in locations where no power is available. Conclusions This is a tip jar that tips your patrons back with a different type of tip whenever they deposit a tip into it… or instead of a tip, they might receive an inspirational quote, a funny note or joke, or even a prize or discount coupon, while also helping you get your band website and contact info out there (if you have it printed it on the coupon cards), which may lead to more gigs. The price is no doubt going to be an issue for many; with a $200 - $300 price tag, some may find it a bit hard to justify when a simple glass jar can suffice to collect gratuities. Still, if the interactive features are used thoughtfully and cleverly in a way that increases audience awareness of and interaction with the tip jar, as well as with the band (through connecting song requests, or merch give-aways with the gratuities and coupons), it does have the potential to quickly pay for itself with increased tip receipts. The Phil The Tip Jar requires AC power, so it's not going to work everywhere - buskers in particular probably won't be a big market for this product, but the Phil The Tip Jar could work well as a tip jar in a piano bar situation. It would also work well as a tip jar for bands who are playing at clubs, bars, parties and receptions. I'd feel better about recommending this product if their site's web page for custom printed cards was already up and running, or if they at least listed the correct type and size paper so owners could use third-party printers to do the job. Not being able to get cards printed with your band contact info as well as the prizes and expressions you want is a serious limitation, especially since you can void your warranty by using the wrong type or size of paper in the unit. Still, I suspect any local printer could examine one of the sample cards that come with the unit and print up new cards for you, using a similar paper stock and finish, and hopefully the Good Fortune Industries online ordering pages for the coupons and wraps will be ready by the time the product debuts at Summer NAMM. The promised custom wraps will also increase the customization options of the tip jar, allowing bands to personalize the Phil The Tip Jar to their needs. Once they are available, I suspect a fair number of musicians will find clever ways to use the Phil The Tip Jar to increase their income through increased gratuities. -HC- Want to discuss the Phil The Tip Jar or have questions or comments about this review? Then head over to this thread in the Backstage With The Band forum right here on Harmony Central and join the discussion! Resources Good Fortune Industries Phil The Tip Jar ($295.00 MSRP, $199.00 "street") Good Fortune Industries product web page Questions can be addressed via email to info@tipfortipjar.com You can purchase the Phil The Tip Jar directly from the Good Fortune Industries 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.

The perfect place to plant your posterior? Quick - what equipment do you use the most often in your studio? You probably mentioned your computer, or your monitor speakers, or even your ears… and those are all very good answers; you probably do use those things a lot. I certainly do too. But one of the things we all tend to use frequently gets overlooked by many studio cats when they're considering the answer to that question… and that's our chairs. Recording engineers spend an awful lot of time seated. And chairs have a huge bearing on not only our comfort, but also on our posture, and even our health… and that's where the TEC Award-nominated PhantomFocus Master Engineer Series eChair comes into the discussion... What You Need To Know Carl Tatz Design PhantomFocus eChairs are designed to be the ideal chairs for recording enthusiasts and professionals alike. The chair I was sent for review is the new Master Engineer Series eChair model, which is the latest in their line of eChairs. It comes in Raven Chrome, which is all-black, with the exception of the heavily chromed base, center cylinder / pedestal, and seat back center support. It arrived in a single large, roughly square box that weighed about 45 pounds, and all of the various pieces were well protected within it. It probably took longer to remove everything from the packing and lay and arrange the various parts out on the floor than it took to actually assemble the chair itself. When they say "no tools required" they really mean it - you can literally open the box, pull everything out and put it all together in just a few minutes, and without any tools beyond a knife or box cutter to cut through the packing tape on the shipping box. The instructions that come with the chair are easy to understand and simple to follow. The chair is beefy and well-made. All of the parts appear to be designed for the long term, and the eChair should be able to withstand heavy-duty use for many years. The seat itself as well as the backrest are curved to conform with the natural contours of your body. Nylon mesh is used for both the seat and seat back surfaces. It "gives" slightly when you sit on it, and it's quite comfortable. Even better, it "breathes" and prevents sweat and moisture buildup, which also adds considerably to the comfort level. The seat itself has a cushioned pad beneath the mesh at the front end. Worried about what you'd do if the seat and back nylon fabric was somehow accidentally damaged, or started to sag with age and use? I was too, until I noticed that each is mounted into an individual subframe that is attached with a multitude of phillips head screws. You can remove just the fabric and subframe area that has suffered a rip or cut in the nylon mesh and replace it - Carl Tatz assures me that replacement parts for the eChairs are readily available. There is considerable adjustability with the eChair, with three levers that allow you to quickly change or lock various aspects of the eChair to your preferences. All three levers can be easily accessed while sitting in the chair. The right side has two levers. The front lever adjusts the seat height. As with many chairs, the center cylinder on the PhantomFocus eChair is pneumatic, so moving the lever and taking some of your weight off the seat will cause it to rise up. Similarly, putting a bit of weight on the chair while pulling the lever up will cause the seat to lower. There's a pretty decent height range on tap - about 5", which places the highest part of the seat itself anywhere from about 19" to 24" above the surface of the floor. The right side rear lever adjusts the tilt of the seat, and it has two locking positions. Placing the lever in the down position allows the seat angle to adjust continuously, depending on whether you lean forward or lean back. Moving the lever up locks the seat into whatever tilt angle position you currently have it set to, so if you prefer it to remain stationary at one angle or another, you're covered. The left side lever is located towards the rear of the chair, and it adjusts the action of the seat back. Like the seat itself, the back rest can be set to adjust continuously, depending on the occupant's position (when the lever is locked in the down position) or the lever can be used to lock the seat back into whatever position you prefer. Furthermore, you can also adjust the height of the back rest with a dedicated knob on the right hand side, which is located directly behind the two levers. Loosening the knob allows the back to be manually lifted or lowered over a 4" height range. One of my biggest complaints about many of the "studio" chairs I've sat in (and owned) is the lack of any way to remove the arm rests. Arm rests can be both a blessing and a curse. They are nice to have, and give you a place to rest your arms when you're sitting back and listening, but if you have ever needed to lay down a guitar part from the control room, you know they can also get in the way. Fortunately, either (or both) of the arm rests on the Carl Tatz PhantomFocus eChairs can be completely removed in a matter of seconds, if desired, just by unscrewing and removing the arm's tightening knob underneath the chair's seat and pulling them off. Not only can the arm rests be removed, but they're also individually adjustable for height. When you depress and hold the large pushbutton under each one (near the arm rest support post), you can lift or depress the arm rest itself, allowing the arm rest to be adjusted to one of 11 different height settings. These cover roughly a 4" height range. In some cases, you may not have to remove the arms at all because they can be positioned pretty low, and may be out of your way enough without needing to be removed. In addition to the usual centered position, the arm rests can even be angled to one side or the other. You don't need to move any levers, turn any knobs, or press any buttons - just grab the end of the arm rest and firmly move it to either the left or right, and the arm rest will click into the new position, which is angled approximately 30 degrees from the center position. Compared to earlier models, the Master Engineer Series eChairs feature a larger back rest area that's designed for enhanced comfort. While I have limited experience with the other eChair models, I appreciate the larger back area, and I suspect people who like to lean back in their chairs a lot will like the larger and higher back area better too. Speaking of leaning back, the chair feels totally stable when you do so, and I felt like I was fully supported in that position too. In fact, if you leave the seat back and seat adjustment levers in the freely floating positions, the chair adapts itself to your position. Whether you need to lean forward to reach something at the top of the console, or lean back to relax and listen, the chair adapts beautifully and automatically. Even if you prefer to leave the seat angle locked into position, the back rest can still be left free to follow your movements forward and backwards, which really helps keep your back supported and aids in maintaining proper posture. The Carl Tatz Design PhantomFocus Master Engineer Series eChair is available in two sizes - one with a regular sized seat area, and one with a larger seat. All of the PhantomFocus eChairs come with a full 5-year warranty. Limitations In my case, it didn't take too long until the tops of the firmly padded arm rests started to look a little dingy. Fortunately, cleaning them was as simple as using a 10% solution of dish soap in warm water on a soft cloth to wipe them off. Other cleaning methods for lightly soiled areas include liquid cleanser applied with a soft bristle brush, and for heavier stains, cleaning with naphtha in a well-ventilated area is suggested. Once it's initially assembled, it's impossible to completely disassemble the chair due to the way the seat and base permanently lock into the cylinder once they're all pressed together. As with all chairs with casters on the bottom, if your floor is carpeted, you'll want a chair mat to make it easier to roll the chair around on it. The beefiness of the eChair makes it even harder to roll around compared to lighter, cheaper chairs, making it even more crucial to have a chair mat. While I like the ability to individually angle the chair arms in or out, it would be nice if they required just a bit more force to move - I occasionally found myself re-angling the arms when I didn't intend to. If you use the chair with the back rest in the free-floating position, it's important that you sit down with your tush positioned all the way towards the rear of the seat, since the back rest will automatically move all the way forward (towards the front of the chair) when the chair is unoccupied. Sitting with your backside all the way towards the rear of the chair will insure proper operation and lumbar support from the free-floating back rest, whether you sit back or lean forward as you're working. Conclusions This chair is an ergonomic delight! It is hard to over-state just how much difference it makes in terms of how you feel after a long day in the studio when you're using this chair instead of an inferior product. The range of adjustment on tap makes it easy to set the chair the way you want it, and it's very easy to get comfortable in it. I LOVE the fact that the arms of the eChair can not only be adjusted for height, but can also be completely and easily removed if necessary. Not everyone who works in a studio is an engineer, and some people may wear multiple hats and have to be able to perform a variety of different tasks during the session. For many of us, being able to track guitar, bass or keyboard parts (often while simultaneously running the recording equipment) is crucial. With many popular studio chairs, you either have to do tricky mods on the chair to get rid of the arm rests, or you have to switch chairs when switching tasks, rather than just remaining in the chair you're already using. These are non-issues with the PhantomFocus eChair. While this is far from an inexpensive chair (and it's definitely not cheap!), it's relatively competitive when compared to other premium chairs, yet in this reviewer's opinion, it's far more practical, and as comfortable, if not more so than any chair I've ever used in a studio. Chairs are one of those things that often end up being low on the investment priority level, especially for younger engineers who are less likely to suffer from physical health issues (such as circulation and back problems) than us somewhat older folks. But getting into the habit of maintaining good posture when you're young will lead to less likelihood of experiencing those types of health issues as you grow older, making the investment in an excellent chair like this one a good idea for engineers of all ages. In the time I've been using it, it has definitely helped me improve my posture and lessen the aches and pains that I used to sometimes experience at the end of a long day at the desk - and that alone makes it more than worth the asking price. The Carl Tatz Design PhantomFocus Master Engineer Series eChair is brilliantly designed, highly adjustable, exceptionally ergonomic and comfortable, ideal for studio control room use, and comes highly recommended. -HC- Want to discuss the Carl Tatz Design PhantomFocus Master Engineer Series eChair or have questions or comments about this review? Then head over to this thread in the Studio Trenches forum right here on Harmony Central and join the discussion! Resources Carl Tatz Design PhantomFocus Master Engineer Series eChair ($719.00 MSRP, $794.00 with large seat - both include free shipping) Cart Tatz Design product web page You can purchase the Carl Tatz PhantomFocus Master Engineer Series eChair directly from Carl Tatz Design. __________________________________________________ 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.

Do you get even more with version 4? KRK's long-running ROKIT series of studio monitors have occupied a rather coveted place in the studio monitor world for quite a while now - they're the world's best-selling line of studio monitors. And it's no wonder why - the line has been offering studio quality sound and pro-level features at home studio-friendly prices ever since it was first introduced way back in 2003. Since then, KRK (which, like Harmony Central, is a Gibson Brand) has periodically updated the ROKIT series to add new models with new features, enhancements and other modifications aimed at improving their sound quality, adaptability to different rooms, and to increase their overall performance vs price ratio. I reviewed three speakers in the previous ROKIT G3 lineup - the two-way ROKIT 4 G3 and ROKIT 6 G3 models, and the three-way ROKIT 10-3 G3, so I was very interested in seeing what KRK had to offer in the latest update to the ROKIT series. Let's fire up a pair of ROKIT 7 G4's and see what's new. What You Need To Know The new G4 series of KRK ROKIT monitors have been completely redesigned from the ground up based on their critically acclaimed V Series 4 monitors. The ROKIT 7 G4's are ported two-way biamp-powered nearfield monitors designed for home, project and professional recording studio use. The ROKIT 7 G4 uses a 6.5" woofer and a 1" tweeter, and they are housed in a vinyl-covered low-resonance MDF cabinet measuring 13.35" H x 8.86" W x 11.19" D. Each one weighs in at 16.76 pounds. KRK is calling this a 7" woofer in some of their marketing materials (thus the "7" in the product name), which has become fairly common within the industry of late; for example, ADAM Audio refer to their 6.5" woofer-equipped models as 7's too, but this is really just marketing inches - if you pull out a tape measure, they actually measure 6.5" from mounting hole to mounting hole, which is the correct way to measure them. A minor point, but one I need to point out in the interest of accuracy. The bottom of each cabinet is covered with a high-density ISO foam pad to help decouple the speakers from whatever you have them placed on (meter bridge, desktop, etc.), reducing vibrations and improving clarity. Besides the ROKIT 7 G4 under review here, KRK's ROKIT G4 series consists of the two-way ROKIT 5 G4 and ROKIT 8 G4 models (with 5" and 8" woofers, respectively) and the three-way ROKIT 10-3 G4. Unlike the previous G3 series, there is no current model with a 4" woofer. The biggest news is that the ROKIT G4 series now come equipped with Aramid Fiber (more commonly known as "Kevlar®") drivers all the way around, with a new Aramid Fiber tweeter replacing the soft dome tweeter of the G3 series. This is a significant update, and definitely improves the overall sound quality of the speakers. The rest of the system components have been fine-tuned to work with the new drivers too. The amplifiers in the ROKIT 7 G4 are also new; this time, KRK went with highly efficient Class D amps (which help keep both heat and weight down) that are rated at 145 watts RMS total, with a 97W RMS amp dedicated to the woofer and a 48W RMS amp driving the tweeter, making them noticeably more powerful than the amps used in the ROKIT 6 G3's. The crossover frequency is set at 2.04 kHz. The frequency response of the ROKIT 7 G4 is 42 Hz – 40 kHz, and it is within +/-3 dB from 54 Hz - 40 kHz. Like to crank your monitors up a bit sometimes? These monitors have enough power and efficiency to get fairly loud, with a maximum SPL of 110 dB. A built-in brickwall limiter automatically engages whenever the amps hit their maximum rated power level to protect the speakers. The large scientifically-designed bass ports of the G4 series are mounted on the front, near the bottom of the cabinet. Their size and shape is such that wind blasts are a non-issue even at high playback volume levels, and the front panel location means you won't have any of the monitor placement concerns that come along with rear-ported monitors. The large ports also help with the bass response, which is subjectively beefier, more detailed and punchier sounding than the earlier G3 series. The front baffle design has been changed a bit from the more angular baffle of the G3 models, and the new Aramid Fiber tweeter sits in a new waveguide. The KRK logo on the front panel is actually a power indicator - it lights up when the speakers are powered up. Additionally, the monitors feature a automatic low-power consumption mode, which they enter when they have received no input signal for around 30 minutes. When they're in low power mode the logo illumination fades in and out to let you know. You don't need to "do" anything to bring them back up to full power mode - just play some music into them and they spring back to life nearly instantly and completely automatically. The audio inputs are mounted on the deceptively sparse looking rear panel. These are limited to a single combo 1/4" / XLR connector. Both are balanced inputs, although you can use the 1/4" input with unbalanced sources if you need to. An IEC power connector is also mounted on the rear panel, along with a power on/off switch. An IEC power cable is included with each speaker, along with a multi-language Quick Start Guide. A rotary volume control can also be found on the back panel. This is actually a multi-function control with a built-in pushbutton switch that serves as a controller / selector when adjusting the monitor's other features. Other features? That's the other big news: The new G4 series now has onboard DSP, and a built-in LCD display on the back panel that displays a graphic representation of what the EQ adjustments you're making will do to the overall frequency response. This is a very cool feature - one that isn't available on any other series of nearfield monitors at anywhere near this price point. There are a total of 25 different EQ setting combinations possible, so it's fairly easy to adjust the ROKIT G4's to your room and personal preferences. There are both Low Shelf and Low-mid Peaking EQs, as well as High Shelf and Mid-high Peaking EQs available, and you can boost or cut as needed to compensate for different monitor positions within the room, such as when placing the speakers closer to a wall or a large mixing console. The LCD is backlit and adjustable, so it's easy to see, even in a dark control room. You can adjust the backlight level, the contrast and even defeat the built-in low power standby mode as well as select dim or off for the front panel logo power indicator if you wish. There's even a lock feature that prevents you from making accidental changes to your carefully dialed-in settings. Limitations The stand-alone KRK Audio Tools app that's mentioned on the product website and on the box the speakers come in is not available for download yet. This doesn't restrict your ability to use the monitors, nor does it prevent you from accessing all of their features, but it may make setup and fine-tuning a bit harder, especially for the less-experienced user. I was able to beta-test a pre-release version of the KRK Audio Tools App, and I was really impressed with it. It has a FFT-based Spectrum RTA, a level meter to help you calibrate your monitors to the same playback level, a Monitor Align tool to help you get the placement and toe-in angles of the speakers positioned properly, an EQ Recommendation tool that analyses your setup and makes recommendations on which of the monitor's built-in EQ presets you should use, a Delay Tool to help you time-align your monitors, and a polarity tester so you can make sure your monitors are wired correctly so that they're not out of phase and causing a loss of bass and stereo imaging issues. This is a really cool collection of tools, and once it's released, it's something that everyone should download and check out. You're bound to find it helpful - especially if you use KRK monitors - but owners of other brands of studio monitors will find it very useful too. It should be available as a free download for iOS and Android devices "soon." There's no RCA or 1/8" inputs, only the combination 1/4" / XLR balanced connector. You can use unbalanced sources, such as when connecting a MP3 player or smartphone directly to the monitors, but you'll need the appropriate adapter cables. There are no protective speaker grilles included, but grilles will soon be available as an option. They'll use magnetism to attach to the cabinet's front face, with separate grille units for each of the drivers. Reportedly, no tools will be necessary for grille installation, although I was not provided with any grilles, and did not test them personally or directly confirm that as part of this review. Like most engineers, I tend to pull the grilles off my nearfields and leave them off, so I suspect that KRK's decision to make them an optional purchase isn't going to turn off too many users. Power switches on the back of nearfield monitors can sometimes be a bit of a pain to access. Fortunately the inclusion of the automatic low-power standby mode means you don't have to use the power switches as often - if you want to save power, you don't have to power down completely just because you're taking a lunch break. Conclusions Here's the headline: KRK's popular ROKIT series gets a major fourth generation update, making them even better than their predecessors. Making direct comparisons to all of the models I've previously reviewed wasn't possible, but I'm familiar enough with the G3 series to make some observations. Many people will feel right at home on the ROKIT 7 G4, although some will no doubt be thinking "hey, why not get the 8's instead?" And that's a reasonable question - it's part of the reason why I asked to check out the RP7's instead of one of the other speakers in the ROKIT G4 series. And the answer is that while it will really come down to your individual needs and preferences, there are some differences to take note of. While I haven't heard the ROKIT 8 G4's yet and therefore can't make any sonic comparisons, a quick look at their product page on the KRK website shows me that they've got a bit more power (203 watts total), and that they're a little larger (15.75" H x 10.47" W x 12.17" D) and heavier (22.6 lb). A quick Google search shows that they cost a bit more too… currently around $299.00 "street" per speaker, or $598 per pair for the 8" model. While their maximum SPL ratings are nearly identical, the ROKIT 8 G4 does offer a bit more bass extension, with a frequency response that is rated from 36 Hz - 40 kHz. So why would you want to pick the ROKIT 7 G4? Because it's a really good sounding nearfield monitor! First of all, they really do hit the sweet spot in terms of cost vs. performance, and they give you a very balanced full-range sound without being excessively large. It's sort of like a the previous RP6 G3 monitor in terms of overall size, but with a bit more bottom, more volume, and more punch, giving you some of the advantages of an 8" model, but without the extra space requirements - and cost. The bass is a bit more extended and subjectively bigger and punchier sounding than their ROKIT 6 G3 predecessors, with really nice transient response all around - including in the high frequency range, which sounds even sweeter than the G3's too. The new Aramid Fiber tweeters are definitely a major upgrade. True, the promised KRK Audio Tools app isn't quite ready yet, and that's a bit of a disappointment since it really will help make proper setup easier for neophytes and pros alike, but it doesn't keep you from using the monitors themselves in any way, and the app should hopefully be released fairly soon. Once it is, users of not only KRK monitors but other brands as well will probably find it to be a useful tool. And hey, it's going to be free, which is always nice! If KRK keeps adding features to the ROKIT series, they might start biting into the sales of their own excellent V-series monitors. While they still sound a bit more refined, detailed and expensive, and there are still some features the V-series models have that the ROKIT G4's lack, the ROKIT 7 G4 definitely reminds me more of the V-series than the previous G3 monitors, with faster and more detailed sounding transients, and an extended and smoother frequency response overall, with more than a bit of a sense of that expansive, nearly three-dimensional stereo soundscape that the KRK V6 Series 4 has that impressed me so much. Considering you can get a pair of ROKIT 7 G4's for less than half the price of the V-series, that makes them a terrific bargain, and definitely some of the best sounding affordable nearfields currently available from anyone. Don't think you can get accurate sounding monitors at a truly budget-friendly price? Give the KRK RP7 ROKIT 7 G4's a listen - they very well could change your mind about that! -HC- Want to discuss the KRK ROKIT 7 G4 studio monitors or have questions or comments about this review? Then head over to this thread in the Studio Trenches forum right here on Harmony Central and join the discussion! Resources KRK ROKIT 7 G4 studio monitors ($239.00 "street" for a single monitor, $478.00 per pair) KRK's product web page Alternative product web page You can purchase KRK ROKIT 7 G4 studio monitors from: Sweetwater Guitar Center B&H Photo Video Musician's Friend __________________________________________________ Phil O'Keefe is a multi-instrumentalist, recording engineer / producer and the Senior Editor of Harmony Central. He has engineered, produced and performed on countless recording sessions in a diverse range of styles, with artists such as Alien Ant Farm, Jules Day, Voodoo Glow Skulls, John McGill, Michael Knott and Alexa's Wish. He is a former featured monthly columnist for EQ magazine, and his articles and product reviews have also appeared in Keyboard, Electronic Musician and Guitar Player magazines.

Little microphone, big sound Large diaphragm condenser microphones - especially large diaphragm tube condenser microphones - tend to be the rock stars of the microphone world. In a typical mic locker or collection (whether we're talking about a major commercial studio or a small home recording setup), the most expensive and most prized mics are often large diaphragm models. But let me let you in on a little secret: the real condenser mic workhorses of many mic collections aren't the large, mega-expensive tube LDC's, but rather, the small diaphragm condenser mics. Every studio needs at least one good pair of SDC's (small diaphragm condensers); they tend to get used on a wide variety of sound sources, such as drum overheads and cymbal spot-mics, stereo group and ensemble recordings, acoustic guitars, percussion (especially hand-held percussion, cymbals, and small drums), guitar amps, acoustic piano, orchestral string instruments like violin, cello and contrabass, brass and reed instruments - in fact, there's little that you can't do with a good pair of SDCs. While vocals tend to be tracked with large diaphragm mics more often than with SDC's, it's not unheard-of for them to be used for that purpose too. Small diaphragm condensers offer advantages over LDC's, including less-colored off-axis response, faster transient response, and easier placement in tight quarters. The main disadvantages are that they tend to have a little more self-noise than large diaphragm FET mics, and many of the modern SDC's tend to be fairly bright, with less robust low frequency response. One of the earliest SDC designs was the Neumann KM-84. The world's first phantom-powered microphone, it was released in 1966 and discontinued in 1992. Known for its small size (KM stands for "Kleine Mikrofon", which translates as "small microphone") as well as its flat frequency response, uniform cardioid polar pattern and relative lack of off-axis tonal coloration, it has long been one of the most popular SDC's, and it is the mic that other similar types of microphones inevitably get compared to. Unlike most of the modern SDC's (which use transformerless outputs), it utilized a transformer-balanced output, which was part of the reason for its larger and fuller sound. Many engineers prefer this model over the brighter sounding microphone that replaced it. When the vintage gear fans at Warm Audio decided to build a recreation of a classic discontinued small diaphragm condenser to add to their line of large diaphragm FET and tube condenser microphones, the KM-84 was the obvious choice to try to emulate. The result of their efforts is the WA-84 under review here. What You Need To Know The Warm Audio WA-84 is a small diaphragm, phantom powered cardioid condenser microphone based on the long-discontinued Neumann KM-84. The WA-84 is available in two different colors, just like the original mics were - nickel and black. Additionally, the WA-84 is offered in both stereo sets and as a single microphone. I was sent a stereo pair of nickel WA-84s to test and evaluate for this review. The Warm Audio WA-84 is a small pencil-style condenser mic that measures 131 mm long and 22 mm in diameter (5.16" x 0.87"), and weighs 122 grams / 4.3 ounces. This makes it basically the same diameter as a vintage '84, but around 20 mm longer. The body of the WA-84 looks very similar to the vintage '84, right down to the very similarly sized and shaped vents behind the removable capsule. The WA-84 has a -10 dB pad switch on the side of the body. The switch is slightly recessed to prevent accidental activation - you'll need a small screwdriver, toothpick, or the tip of a pen to move it. The pad comes immediately after the capsule but before the rest of the mic's electronics, which keeps the signal from the capsule from overloading the input of the onboard amplifier. With the pad engaged the WA-84 can handle levels as high as 133 dB SPL @ 1 kHz, 0.5% THD, so it's quite capable of handling loud sound sources such as guitar amps and drums. Like the mic that inspired it, the WA-84 uses fully-discrete, Class A, FET-based solid state electronics. Warm Audio uses a Fairchild BF245 JFET in the WA-84. The Warm Audio WA-84 requires 48V phantom power for operation. As with their other microphones, Warm has chosen good-quality electronic parts for use throughout the WA-84, including polystyrene and Wima capacitors. This time, they're using a combination of 5% tolerance carbon and 1% tolerance metal film resistors. Many modern small diaphragm condenser microphones use transformerless output circuitry, which makes the microphones easier to build (it's hard to fit a transformer inside such a small mic body) and cheaper too, but many engineers prefer the sound of the older transformer-based designs. If you're going to use a transformer-balanced circuit in a microphone, the quality of the transformer you select is critical. Warm Audio didn't skimp here - they selected an American-built CineMag CM-5722W transformer for use in the WA-84. This high-quality nickel transformer is similar to the BV-107 that was used in the Neumann KM-84 and uses very fine and thin laminations, and has excellent inductance. Warm Audio uses an Australian-built recreation of the 20 mm capsules used on the classic KM-84. Neumann's KK64 / KK84 capsules, as used on the KM-84 mics, have a unique slotted backplate design. While I was unable to take a WA-84 capsule apart to verify whether the capsule on the WA-84 uses the same exact configuration internally, Warm Audio tells me that it does use the same design as the mic that inspired it. An examination of the two capsules certainly seems to bear this out - they look practically identical both from the front and from the rear, with the exception of what appears to be a finer mesh screen material protecting the front of the capsule on the vintage '84. The WA-84's sensitivity is rated at -39 dB (11mV / Pa @ 1 kHz), and it has a equivalent noise rating of 16 dBA (IEC 651) - all of which is very similar to a vintage '84. The signal to noise ratio is 78 dBA, and the dynamic range is 107 dBA (IEC 651). Frequency response is listed as 20 Hz to 20 kHz, with no +/- tolerance listed, although based on the frequency response plot, it would appear to be roughly +/- 3 dB. The WA-84 has a 200 Ohm output impedance, with a rated load impedance of equal to or greater than 1 k Ohm. The output jack is a gold plated 3-pin XLR. Regardless of whether you opt for a single mic or a stereo pair, the WA-84's come well-appointed with a nice set of accessories, including a molded, foam-lined storage case, mic clip(s), shockmount(s), foam windscreen(s) and even extra shockmount elastic bands. The shock mounts are color-coordinated with the microphones - if you order the nickel colored WA-84's, you'll get nickel colored shockmounts, and if you order black WA-84's, the shockmounts will match the bodies. A small thing, but it does show the attention to detail that Warm Audio puts into their products. The WA-84 is covered by Warm Audio's one year limited warranty. Limitations Currently Warm Audio doesn't offer any other capsules for the WA-84 besides the included cardioid capsule. I suspect that many users won't care since cardioid is the most popular polar pattern for most recording tasks, but those of us who sometimes need the flexibility of alternate polar patterns would love to see Warm Audio offer optional omni and hypercardioid capsules. While the capsules use the same basic design and are identical in size, with the same type of capsule mounting and connection pin configurations, the Warm Audio WA-84 is not compatible with Neumann's KM series capsules; the threads on the WA-84 are 1 mm larger, so the capsules are not interchangeable. This means it isn't possible to use Neumann KM series capsules with the WA-84 mic body and electronics, or vice versa. On a positive note, the threading for the WA-84 capsule appears to be of a higher quality than what you'd typically find on most Chinese-built small diaphragm condenser microphones; many of which I would have concerns about how well they'd hold up if I needed to swap capsules on them regularly. The midrange, while quite good, isn't as detailed or seductively smooth as it is on a good vintage KM-84. Conclusions Like all of the other products from Warm Audio that I've tried to date, the WA-84 represents a terrific value, and provides a suitable low-cost alternative for engineers and musicians who want the sound of classic gear but who otherwise might not be able to afford the stratospheric prices that such gear often sells for - when you can find it on the used market. The frequency response of the WA-84 is relatively flat, giving you a more accurate representation of the sound source than you get from many of the affordable small diaphragm condensers currently on the market. This is in no small part due to Warm Audio's decision to go with a transformer-balanced circuit, and their use of a high quality BV-107-style CineMag transformer. The quality of the capsule also comes into play here, and the Australian-built capsule that Warm Audio uses in the WA-84 is very similar to the original KK 64 style capsule, although I was disappointed to learn that they're not interchangeable. Let's hope that Warm Audio decides to release optional capsules with other polar patterns besides cardioid. I really like the sound of the Warm Audio WA-84. While I don't think the midrange sounds quite as detailed as the mic the WA-84 was inspired by, the sound quality is otherwise very reminiscent of the vintage classic it is based on, which means it's very good overall, with a honest yet slightly larger than life character, excellent low and low midrange response, and sweet sounding high frequencies that are clear, smooth and detailed without even a touch of harshness or brittleness. The lack of off-axis coloration is also quite impressive. Sounds that are coming from the sides and rear are attenuated evenly across most of the audible frequency range, so off-axis sounds don't suffer from a huge tonal shift like they do with many other mics. This is an extremely beneficial characteristic for stereo recordings, making the WA-84 an excellent mic for such purposes, whether we're talking about recording a classical piano recital or using them as stereo drum overhead mics on a rock session. The WA-84 is very versatile, and you'll find them well-suited to a wide range of recording tasks. Short of close-miked vocals (where I found the WA-84 to be very susceptible to wind blasts and plosives - I'd recommend multiple pop filters if you want to use it for that), I liked, to flat-out loved the way they sounded on just about everything I tried them on. And best of all, they're available new, and at a price that just about any serious recording enthusiast can afford. Looks like Warm Audio has another winner on their hands - they have once again provided the recording community with a serious, high-quality tool at a very reasonable price - well done folks! -HC- Want to discuss the Warm Audio WA-84 or have questions or comments about this review? Then head over to this thread in the Studio Trenches forum right here on Harmony Central and join the discussion! Resources Warm Audio WA-84 Small Diaphragm Condenser Microphone (single mic: $399.00 MSRP, stereo pair: $749.00 MSRP) Warm Audio's product web page You can purchase the Warm Audio WA-84 from: Stereo Pair: Sweetwater Full Compass Guitar Center B&H Photo Video Musician's Friend Single Mic: Sweetwater Full Compass Guitar Center B&H Photo Video Musician's Friend __________________________________________________ Phil O'Keefe is a multi-instrumentalist, recording engineer / producer and the Senior Editor of Harmony Central. He has engineered, produced and performed on countless recording sessions in a diverse range of styles, with artists such as Alien Ant Farm, Jules Day, Voodoo Glow Skulls, John McGill, Michael Knott and Alexa's Wish. He is a former featured monthly columnist for EQ magazine, and his articles and product reviews have also appeared in Keyboard, Electronic Musician and Guitar Player magazines.

More than just a Tape Reverse Simulator…this is one swell pedal! Amplitude (volume) envelope-modifying pedals are deeply fascinating to me, but it seems I've been somewhat in the minority in holding that opinion, and that's always puzzled me. Maybe it's just because many guitarists aren't that familiar with them and don't realize just how much they have to offer. While keyboardists and synthesists have long embraced envelope controls for modifying volume, filters and even pitch over time, their use - and availability - to guitarists has been much more limited. Basically a sound's envelope is how it changes - how it starts, develops and ends - over time; how quick its initial transient (the start of the sound) is and how it begins or ramps up, any drop or rise in level after the initial impact, the steady-state volume or sustain, and how quickly it cuts off or fades away to inaudibility. On a synthesizer, this is normally controlled in four stages, using a set of ADSR envelope controls; ADSR is short for Attack, Decay, Sustain and Release, and the EHX has used the first two of those as the name of the pedal under review here, which should give you some idea as to what it's all about… but it may not immediately bring to mind all of the creative possibilities, and it only begins to describe the pedal's many features. What You Need To Know Based on the classic EHX Attack Decay pedal that was only made from 1980 until 1981 (and that frequently sells for over $1,000 on the vintage market today), the Attack Decay is a volume envelope modification pedal with a fully-featured built-in fuzz. Housed in a smaller-sized metal enclosure than the original, the new Attack Decay measures 4" W x 4.75" L x 2.25" H, so it's a lot more pedalboard-friendly than its predecessor. The main part of the pedal's housing is unfinished metal, with a multicolor (orange / white / black) graphics silkscreened on the top, it's a straightforward looking pedal with easy to read labeling and a clear, user-friendly control layout. Input and output jacks are side-mounted. Input impedance is 1M Ohm, and the output impedance is 500 Ohm. There is also a effects loop included, and the jacks for it are also mounted on the sides of the pedal. Anything coming into the Return jack of the loop will be processed by the pedal. The Send jack sends out anything that appears at the pedal's input jack, along with the output from the Harmonix fuzz, if it's engaged. An EXP (expression) pedal jack is also included. The expression pedal can be assigned to control any knob on the pedal. Additionally, this jack can be used as a CV (control voltage) input and for trigger clock input, allowing the envelope on the Attack Decay to be controlled by external devices. In the upper-left corner you'll find some controls that the original Attack Decay lacks, including three Preset buttons, and a Poly mode switch. When Poly mode is selected, each new note or chord you play triggers the Attack Decay and is given its own separate envelope cycle that doesn't interrupt the previous cycle(s), while disabling Poly mode and using Mono mode lets the pedal act like the original vintage pedal, where each note or chord that you play that exceeds the threshold stops the preceding envelope cycle and restarts it from the beginning. There's even a continuous trigger mode where the pedal can be set to re-trigger the Attack and Decay envelopes automatically as soon as the preceding Attack and Decay envelopes complete their cycles; this is useful for tremolo and staccato-type effects. The Preset buttons allow the user to save three overall setting configurations and recall them at will using the Harmonix / Preset footswitch on the lower-left side of the pedal. Two LEDs next to the switch indicate whether you're in Preset mode or whether the footswitch will instead activate / deactivate the onboard Harmonix fuzz. A quick step on the switch will turn the fuzz on or off, while holding the switch down for two seconds or so puts you in Preset mode. Instead of having a large Sens. (sensitivity) knob like the original pedal, the new Attack Decay uses a smaller knob that's located up near the Poly mode and Preset buttons. Setting this knob correctly is the first thing you should do when using the pedal, since it determines how hard you need to play before your notes and chords will trigger the envelope cycle. As you turn the Sens. knob up, the threshold gets lower and the more easily your playing will trigger the envelope. The four main knobs are similar to what you'll find on a vintage Attack Decay, and have similar functionality. Attack sets the speed of the note beginning (how long it takes to swell up to full volume), and has a range of 4ms to 8 seconds in mono mode. Turning the knob higher increases the attack time. The Decay knob has a similar function, but it controls how quickly the note fades out. It can be set to cause notes to fade away very quickly, chopping off the ends of them and resulting in a very cool staccato effect. The Decay control also has a range of 4ms to 8 seconds. The Blend knob allows you to adjust the balance of the dry and effected signals. As an alternative, it can also be set to adjust the blend of dry and Harmonix fuzz signal that is sent to the volume envelope controls, which is how the Blend knob on the vintage pedal operates. The Volume knob is new, and gives you the ability to control the pedal's overall output volume level - which is another capability the original pedal lacked. While the original Attack Decay had a basic "Edge" slider switch to turn the dirt on or off, and a Harmonics knob to control the onboard distortion circuit, the new Attack Decay takes that several steps further and gives you much more control over the onboard fuzz with three new small-sized knobs. H. Vol is an output volume control for the fuzz, while the Harmonix knob controls the amount of gain and grit the fuzz delivers. A third knob adjusts the Tone of the fuzz circuit. The Attack Decay features a high quality buffered bypass footswitch. This can also be set to trigger the volume envelope manually. The Electro Harmonix Attack Decay is powered by an included 9V DC 200mA external power adapter. The industry-standard 2.1mm center-negative power jack is located at the top of the pedal. There are no user-adjustable switches or pots inside the pedal, and since it can't be powered with a battery, there's no need to ever remove the bottom plate. The plate itself comes with four round rubber feet pre-installed; these can be easily removed if you would rather put velcro on the bottom to facilitate pedalboard mounting. Limitations This is a deceptively deep pedal, with many user-definable secondary modes and options that give it a broad range of possible configurations. Don't expect to buy it in the morning and use it at a gig that night. Even though the well-written manual is chock-full of suggestions and tips, you should plan on giving yourself a bit of time with this pedal in order to really learn everything it is capable of. The new Attack Decay isn't an identical clone of the original, so vintage fans may be a bit disappointed. Everyone else will probably love the enhanced features and functions of the new version. The Attack Decay should be either the very first, or at least one of the first pedals in your pedal chain. While it certainly isn't required, some users may find a compressor placed before it to be a useful aid since it can help level out your playing dynamics and make them more consistent, which may help in the unlikely event that you're having a hard time getting the Attack Decay to trigger consistently. Conclusions All sounds have a basic envelope - how they develop and change over time - including your basic electric guitar sounds. Manipulating the volume envelope of an instrument can lead to many new sounds that it otherwise would be hard-pressed to create. Many types of pedals will have some impact on a guitar's natural envelope. For example, if you add a compressor, you can change the sustain of a guitar, making the sound ring out for longer than it would naturally. Ditto that for using a lot of distortion... while a gated type fuzz will cut off rather abruptly, instead of fading away, changing the end of the sound. The Attack Decay can do all of this too, and a whole lot more besides. More than just a rehash of an obscure pedal from yesteryear, the modern Attack Decay is improved in just about every way. The onboard Harmonix distortion / fuzz is far more controllable and flexible than the previous version - which only had the Edge switch and Harmonics knob for controls. The EHX Attack Decay's Harmonix fuzz can be used as a stand-alone effect, and when used with the envelope controls, it gives you more control over the sound's length and sustain, and it really helps in creating realistic bowed string-type sounds too. The new Poly mode opens up possibilities that the earlier pedal never dreamed of and gives you the ability to play sustaining sounds while newly-played notes have their envelopes processed separately. This is a very powerful pedal. You can do things like making notes fade in very gradually (similar to a volume pedal or knob "swell" - a technique used by players like Rory Buchanan, Jeff Beck and Phil Keaggy), as well as to simulate pedal steel licks, create realistic sounding reverse tape effects, distinctive tremolo effects and un-naturally short staccato notes, and even emulate other instruments such as bowed cello or violin sounds. It isn't an instant gratification pedal and a little time and effort will be required to learn how to use everything that this pedal has to offer, but those who do will be amply rewarded with a wealth of new sounds and effects. Best of all, it's priced far more affordably than what the vintage Attack Decay pedals typically sell for, and it's even more powerful and flexible. I said it before and I'll say it again - this is one swell pedal! -HC- Want to discuss the Electro Harmonix Attack Decay or have questions or comments about this review? Then head over to this thread in the Effects forum right here on Harmony Central and join the discussion! Resources Electro Harmonix Attack Decay ($166.70 MSRP, $125.00 "street") EHX's product web page You can purchase the Electro Harmonix Attack Decay from: Sweetwater Full Compass Guitar Center B&H Photo Video Musician's Friend __________________________________________________ Phil O'Keefe is a multi-instrumentalist, recording engineer / producer and the Senior Editor of Harmony Central. He has engineered, produced and performed on countless recording sessions in a diverse range of styles, with artists such as Alien Ant Farm, Jules Day, Voodoo Glow Skulls, John McGill, Michael Knott and Alexa's Wish. He is a former featured monthly columnist for EQ magazine, and his articles and product reviews have also appeared in Keyboard, Electronic Musician and Guitar Player magazines.

What's that sound? There's very few things in life that can match the experience of running a hot-rodded Plexi full-blast, but those old beasts are not only becoming rarer and harder to find (and afford) but they're also not known for delivering their sought-after tone at anything less than ear-splitting levels. And there's another issue that often raises its head when you're going for high-gain amp-like grind - when you crank up the gain on many overdrive pedals (and more than a few amps too), the low end gets flabby and looser as the gain levels increase, leading to a muddier and less defined sound. Well that mysterious Carl Martin dude from Denmark says he's got a solution to both of these problems, and it comes in the form of a new overdrive pedal called the Panama. Cue the vintage VH riffs… What You Need To Know If the name hasn't already given you a hint, the Panama is an all-analog overdrive pedal that's designed to give you that vintage '80's overdrive sound that you've almost assuredly heard on countless rock records and that was originally created using modified Marshall amps. While Carl Martin has labeled it an overdrive pedal, it's capable of distortion-type sounds too. Housed in Carl Martin's stylish new Vintage series compact pedal format with a two-toned gray and black anodized metal housing, the Panama measures 2.36" W x 4.52" L x 1.97" H and weighs about .75 lb. The lettering is white, while the knobs are all white with black indicators, making everything easy to see. The sides of the pedal also feature the Carl Martin logo. The input and output jacks are mounted on the top end of the pedal, which keeps them out of the way and allows for more compact pedalboard setups. You'll also find the power jack located here too. The Carl Martin Panama comes equipped with a charge pump internally that increases the incoming 9V DC power to 12V. It's important to use only a 9V DC power adapter and not one that outputs more than 9V or that outputs AC instead of DC - doing so will void your warranty and possibly fry the pedal. A regulated 9V DC 100mA (minimum) power adapter with an industry-standard 5.5mm x 2.1mm connecter, wired center-negative, is required to power the pedal. No power supply is included with the pedal, so you'll need to provide one yourself. Maximum current draw for the pedal is rated at 65 mA. There are a total of four controls on the Carl Martin Panama. Gain sets the amount of overdrive or distortion, and there's a surprising amount of range here; the Panama is capable of more distortion-like tones, despite what the OD label on the pedal may lead you to believe. It can certainly do overdrive tones too, but I suspect many users will seek this pedal out for its mid to higher-gain tones. Level controls the overall output volume of the pedal, with enough oomph on tap to give significant boosts over unity gain when desired. It also allows you to hit the front end of a tube amp a bit harder - the combination of the Panama's overdrive goosing an overdriven tube amp can result in some very satisfying high-gain distortion tones. The Panama's Tone control is a treble-rolloff type that is designed to help set the voicing and color of the overdrive sound; for a darker overdrive, dial it back below noon a bit, and for more sizzle, turn it up. It's simple and effective. The fourth control on the Panama is labeled Damping, and it has a significant effect on the low end (bass frequency) feel, responsiveness and level. Ever notice how when you turn up your garden-variety overdrive the bass often gets fuller, but also more flabby and loose? The Damping control on the Panama is designed to address this issue, and it allows the user to crank the gain up and control what the low frequency range is doing. Turn up the Damping for a tighter, more controlled low end, and turn it down for a fuller, looser bottom. The Carl Martin Panama uses a high-quality buffered bypass switching system, and a blue LED up by the controls illuminates whenever the pedal is active. The Panama carries a one year limited warranty from the manufacturer. Limitations Yes, there's a spelling error on the pedal's label. If you suffer from OCD it might bother you, but it's not going to make any difference in how the pedal sounds. Battery powering the Carl Martin Panama Brittish (sic) Hot Modded OD is not an option. Conclusions What's that sound? It sounds like we have another winner from the folks at Carl Martin! The overall overdrive / distortion sound is very Plexi-like, and similar to other Carl Martin pedals that have been based on the classic hot-rodded Plexi amplifier tone. As such it's a natural for the sorts of '80's rock and metal tones its name likely brings to mind, but don't underestimate its usefulness for lower to mid-gain tones too. The Carl Martin Panama offers a lot of now-vintage overdrive and distortion tones in a classy looking, well-built modern box that won't take up much room on your pedalboard. The Damping control is no gimmick - it really does change the feel and tightness of the low end, and is especially useful for dialing the bass back and tightening it up on crunchy rhythm parts, while still giving you the ability to put some of that low end back in whenever you want to thicken up solos or for beefier lines. The Carl Martin Panama is just as good at driving a dirty or slightly-dirty amp as it is at running as a stand-alone overdrive plugged into a clean amp. No matter which way you want to use it, it will make a great addition to your dirt pedal collection. -HC- Want to discuss the Carl Martin Panama or have questions or comments about this review? Then head over to this thread in the Effects forum right here on Harmony Central and join the discussion! Resources Carl Martin Panama Brittish Hot Modded OD ($199.00 MSRP) Carl Martin's 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.

Peter's other favorite guitar Peter Frampton is a rock icon who should need no introduction. From The Herd to Humble Pie, and through a long and illustrious solo career, he's been amazing listeners with his songwriting and high-octane guitar performances for over five decades. Many readers will also no doubt be familiar with the amazing story behind his legendary "Phenix" 1954 Les Paul Custom - the guitar pictured on the cover of Frampton Comes Alive! If not, check out the video about the Gibson recreations of it in the Resources section below. It's quite a story! What fewer people know about is the story behind Frampton's 1964 Epiphone Texan acoustic guitar. Purchased shortly after joining Humble Pie, it is the guitar that Peter used to write every song he wrote from 1969 until 1980 and beyond. The original barely survived the 2010 Nashville flood that wiped out so many classic and historically significant guitars, and now Epiphone (which, like Harmony Central, is a Gibson Brand), in partnership with Peter, have released a limited edition run that duplicates Peter's beloved original 1964 Texan. Let's take a look at what it has to offer. What You Need To Know The Ltd. Ed. Peter Frampton "1964" Texan features all solid woods in its construction, including a solid sitka spruce top and solid mahogany back and sides. Like the vintage originals from the 1960s, this Texan features a sloped-shoulder dreadnought-sized body, which helps give it a healthy amount of volume and projection, along with the kind of big low end that smaller-bodied acoustics generally can't match. The top of the body has three-ply (ivory, black, ivory) binding, while the back has a single ply ivory-colored binding The finish appears to be poly, and is high-gloss, and expertly applied, with no defects that I was able to spot. The color is what Epiphone refers to as a "Faded Vintageburst", with a orange-red to amber two tone sunburst on the top and dark stained back and sides. It's subjective, but I think it looks very cool. The review unit has considerable silking visible in the spruce top - it really looks and sounds like they used very good quality wood on this instrument. The rosette uses a simple ringed motif, while the imitation tortoiseshell pickguard sports a foil Epiphone E logo. Inside the soundhole is a vintage style label, complete with the original model number for Texans (FT-79) and the actual serial number (205898) of Peter's vintage Texan; the "real" sequential serial number for each individual guitar in this limited edition is stamped into the wood on the back of the headstock. The bridge is a reverse-belly style model made from pau ferro, which is similar in sound and appearance to rosewood, although slightly less red in color and a little denser. The bridge pins are white with abalone dot inlays. The saddle is made of bone, and is uncompensated. The glued-in 25.5" scale neck is also mahogany, and is capped with a unbound pau ferro fingerboard with a 12" fingerboard radius and 20 medium jumbo frets. The frets on the review unit are nicely polished, dressed and crowned, with no roughness or sharp edges. The neck has a traditional 1960's SlimTaper C-shaped profile and is extremely comfortable to play. It measures 1.62" wide at the nylon nut and is 0.80" thick at the first fret, according to my digital calipers. Players with small to medium sized hands will feel right at home on this guitar. The neck has pearloid parallelogram inlays, and there are white dots on the player side of the fingerboard too. The classic dovewing-shaped Epiphone headstock carries the Epiphone name in gold, as well as a pearloid inlay in the middle, while the "bullet" shaped two-layer truss rod cover features a large vintage Epiphone E in white. The truss rod itself is a modern 2-way adjustable unit, and a truss rod adjustment wrench is included with the guitar. The tuning machines are Schaller M6's with an 18:1 ratio for precise tuning. While not a stock feature on vintage Texans, they are the tuners you'll find on Peter's original guitar, and they provide excellent tuning accuracy, and the overall tuning stability of the guitar is very good. The rear of the headstock also features a round Epiphone logo, and a machine-generated replica of Peter Frampton's signature in silver… which is the only visual cue that this is a signature model. The rear of the neck features the same dark colored stain as the sides and body of the guitar, and a strap button has been pre-installed on the neck heel. The Epiphone Limited Edition Peter Frampton "1964" Texan comes equipped with onboard electronics. The electronics vary depending on which of the two versions of this guitar you opt for. The standard Ltd. Ed. Epiphone Peter Frampton "1964" Texan sent for the review comes equipped with a L.R. Baggs EAS-VTC system, with a pair of rotary controls for volume and tone adjustment mounted at the top edge of the soundhole. The Premium Outfit version comes equipped with upgraded electronics in the form of a L.R. Baggs DS-ELE System, which is the same electronics that Peter Frampton has used in his own vintage Texan. This includes both an under-saddle piezo transducer and a small microphone mounted inside the soundhole, and the ability to run the electronics in mono or stereo. For both versions, the output jack is mounted in the endpin strap button. An unsigned certificate of authenticity is included with the guitar. Limited to only 500 guitars, with an additional 100 available in the Premium Outfit (which also includes a hardshell case, Peter Frampton Acoustic Classics CD, the upgraded L.R. Baggs electronics and a hand-signed (by Peter Frampton), as opposed to unsigned certificate of authenticity, the Epiphone Limited Edition Peter Frampton "1964" Texan carries Epiphone's limited lifetime warranty. Limitations The battery for powering the electronics is located inside the body in a tough nylon bag that's mounted near the neck heel, so you have to reach in through the sound hole in order to replace it, which means slacking or removing the strings is required to do so. An externally-accessible battery compartment near the output jack would have made changing the battery easier, although it wouldn't be "vintage correct" or true to the original. With all solid woods, it will be important for owners to give regular attention to making sure it's properly humidified. Unless you're eyeing one of the 100 Premium Outfit versions, you'll need to budget for a suitable case since one is not included. Due to the limited production numbers, availability is very limited - if you want one, you'll need to move fast or risk missing out. Conclusions Ooh baby I love your way! Sorry, but I couldn't resist… but it's true. This is a really cool acoustic guitar all the way around. It's a very balanced sounding instrument, and with the all-solid woods used in its construction (which is somewhat unusual for a limited edition signature model at this price point), it is a guitar that should only get better and better sounding as it ages. With the classic combination of mahogany back and sides coupled with the spruce top, the sound is slightly midrange-forward, as you might expect, but it's still clear in the treble and warm and full in the lows. It's equally well suited for strumming, lead lines and fingerstyle playing - it's a really good general purpose acoustic guitar. And on a personal note, I've enjoyed playing some of the first songs I ever learned how to play (songs from Frampton Comes Alive!) on a guitar inspired by the one that they were originally written on. Not only is it a looker that sounds good, but the playability is outstanding - this is a very comfortable guitar to play. The neck doesn't have the wider D-profile that you find on a lot of modern Epiphones, and the vintage SlimTaper C-profile, with its less stout shoulders, is more suited to my somewhat smaller than average sized hands. Players with average sized hands should also feel very comfortable with it, but players with very large hands or who like a beefier D or rounded 50s style neck profile should definitely try it before committing to purchasing one since it might be a bit smaller than what they would normally prefer. The inclusion of good-quality onboard electronics mean you won't need to do any modifications to it in order to use it on-stage, and while the battery is a bit harder to reach than some competing models (including other Epiphones) that have a battery compartment that can be accessed without slacking the strings, as long as you don't forget to remove the cable from the output jack when you're not using the guitar, the battery should last quite a while and you won't have to replace it as often. The only other downsides are the fact that you'll need to give it the kind of care that any solid wood guitar requires (buy or make a case humidifier and check it regularly) and you'll also need to budget for a good case unless you're one of the lucky 100 who are able to score one of the Premium Outfit versions. Every so often I review something that I have to send back due to my current financial circumstances, but that I just know I'm going to kick myself later for not finding a way to purchase it anyway. This is one of those guitars. It's been my daily player since the day it arrived and I've really bonded with it, so It's going to be really hard to send it back, and I'm going to miss it when it's gone. I can see why Peter is so impressed with the job Epiphone did in recreating his vintage original Texan, and why it's become his new favorite acoustic. Give one a try yourself if you get the opportunity, and I'm sure you'll agree. This is an outstanding acoustic guitar that will make a great lifetime musical partner for anyone who purchases one. -HC- Want to discuss the Epiphone Limited Edition Peter Frampton "1964" Texan or have questions or comments about this review? Then head over to this thread in the Acoustic Guitar forum right here on Harmony Central and join the discussion! Resources Epiphone Limited Edition Peter Frampton "1964" Texan ($899.00 "street"; Premium Outfit $1,199.00 "street") Epiphone's product web page Epiphone's product web page (premium outfit) You can purchase the Epiphone Limited Edition Peter Frampton "1964" Texan from: Sweetwater Zzounds Guitar Center Musician's Friend Ltd. Ed. Peter Frampton Epiphone "1964" Texan 1954 Gibson Les Paul Custom "Phenix" __________________________________________________ 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.