The Behringer Powerplay
“Do you find that your keyboard player’s laryngitis hasn’t cleared up like he claimed and his backing vocals throw you off? Simply select his channel and mute him. Does your lead guitarist not know that the treble knob on his amp also turns down? Select his channel and turn it down with the P16-M’s onboard EQ.”
P16-M Personal Mixer Monitoring System
As musicians it is vital on stage to hear each other and particularly yourself in order to perform with confidence. In the often chaotic realm of live performance it can be difficult to rely on the engineer to give you exactly what you need to hear, through sometimes battered and unreliable wedge monitor speakers.
Behringer have introduced a brand new portable monitoring system for performers in the form of the Powerplay Personal Mixer monitoring system that gives musicians direct control over what they hear on stage and in studio, letting the engineer focus on delivering the best sound to front of house or to tape. The system consists of the P16-M 16 Channel Digital Personal Mixer, the P16-I Input Module (and the optional P16-D expansion Distributor) and is compatible with powered external monitors, wireless in-ear monitors or headphones.
The P16-M
This stereo mixer puts the control of your personal monitor mix at your finger tips. The control panel features a 3 band EQ (including sweepable mids), stereo panning, mute and solo switches, channel link, group, store and recall options as well as channel volume, all of which are assignable to each of the 16 channels. A variable output limiter protects monitors and one’s ears from harmful sound pressure levels and finally an output level control adjusts overall volume to the monitors.
Thankfully, unlike some high-end digital units, this personal mixer operates at the extremely low system latency of less than 1 millisecond.
The unit’s In and Out options include CAT5e Ultranet Input (receiving up to 16 channels of audio from the front of house mixer via the P16-I input module) and Thru (for daisy-chaining the signal to another P16-M mixer), a MIDI input allows control of the unit via a MIDI controller such as Behringer’s BCF2000, and a mono/stereo 1/4inch line-out sends your mix to active monitors or to a wireless in ear monitor transmitter. This unit is powered by an included 12v Power supply.
The P16-I
The input module can receive up to 16 analog or 2x 8 ADAT optical signals from the main mixing console and converts them to either 44.1 or 48 kHz digital audio via a quality 24 bit A/D converter. Each channel has four switchable gain levels (-10, 0, +4, +22 dB). The P16-I feeds up to 6 P16-M Personal Mixers via CAT5e cables.
The P16-D
The distributor is a simple expansion unit for the P16-I with one input feeding eight bus-powered outputs, meaning that six of these connected to the P16-I could feed up to 48 personal mixers!
Setup
Setting up the system is as simple as connecting the P16-I to direct or ADAT outputs of the main mixing console, and up to six P16-M Personal Monitors, which feed either wireless powered monitors, in ear monitors or headphones. The optional P16-MP mounting bracket gives you the option of attaching the compact Personal mixer to a mic, music or drum stands. This configuration alone should be enough for most bands but adding even just one of the optional P16-D expansion modules doubles the number of personal mixers.
Use
Each P16-M receives the same unaffected audio channels that can then be individually mixed to personal taste without affecting anyone else’s. For example, a bass player might want to mix in a little bit more of him or herself and the drums so that they lock in better. A drummer might want the same but with more vocals and the vocalist would in all likelihood mute the lead guitarist. While the P16-M’s intuitive control panel allows you to ‘set and forget’, it is just as easy to recall up to 16 preset mixes for different songs that were stored at sound check as well as tweaking mid-performance.
Do you find that your keyboard player’s laryngitis hasn’t cleared up like he claimed and his backing vocals throw you off? Simply select his channel and mute him. Does your lead guitarist not know that the treble knob on his amp also turns down? Select his channel and turn it down with the P16-M’s onboard EQ.
Conclusion
In this day and age technology is putting more and more control at the fingertips of performers. The importance of putting on your best performance no longer needs to be left entirely in the hands of the sound engineer’s reliability to get the monitor mix right onstage. The Behringer Powerplay P16-M Personal Mixer monitoring system is an incredibly convenient and easy to use system that will stop potential inter-band volume wars, while giving each individual the control to hear exactly what they want in order to perform at their best. Its use will make front-of-house engineers lives easier by reducing excessive on-stage volume that can often negatively affect the front-of-house sound. It may even save you time, especially when attempting a sound check at a venue with dodgy acoustics, or in studio, where a lot of expensive recording time is often spent by an engineer getting the monitors just right when there are a million other things to do.
While similar systems exist, the P16-M promises great versatility, expandability and value for money.
Features
16-Channel Digital Personal Mixer
16-Channel digital stereo mixer to create your personal monitor mix
Ultra-intuitive “analog” operation with total recall and 16 presets for custom mixes
State-of-the-art 24-bit D/A converters for premium audio quality
16 Channel Select buttons with dual LEDs for perfect overview
Level and Pan/Spread control per channel with LED meter
3-band EQ per channel with mid-band frequency control
Solo and Mute functions per channel
Global Level and EQ controls plus Panic Mute function
High power and “drummer proof” headphones output
Fully adjustable limiter protects your ears and headphones
Additional mono/stereo line output to connect your powered monitor
MIDI IN port for real-time remote control of all channels by external MIDI device such as Behringer BCF2000, BCR2000, etc.
Standard CAT5e connection delivers power and 16 signals to each Personal Mixers
Ultranet connector to daisy-chain up to forty-eight P16-M mixers for large systems (in conjunction with P16-D)
Ultra-low system latency of less than 1 millisecond
Powered via external power supply (included) or P16-I / P16-D
Mounts easily on a mic stand with the P16-MB mic stand mount (not included)
Extremely rugged construction ensures long life even under the most demanding conditions
Suggested Retail Price : P16-M: R 2,999-00 | P16-I: R 3,799-00 P16-D: R 2,399-00
Supplier : ProAudio | Tel. No : 011-8221430
G&L Tribute ASAT Classic & Legacy USA Strat
What’s better than a Fender? Nothing, you say? Well, under normal circumstances I would agree but at this point in time, while staring at these two guitars hanging in front of me, I would almost have to disagree with you.
In fact, I do. I do disagree with you. Because here, hanging up in front of me, are two absolutely gorgeous Fender-yet-not-Fender guitars made by a company that started out with a huge amount of rep just because of their namesake. I am, of course, talking about G&L guitars; a name comprised of the first initials of its founders, namely George Fullerton and Leo Fender, two icons in the world of guitar luthierdom.
Leo Fender quietly passed away on the rainy day of March 21, 1991. To say that he was highly respected is an understatement and it’s safe to say that the guitar world lost a hero that day. However, his legacy lives on in G&L guitars, a company founded by his long time associate, George Fullerton, and a man named Dale Hyatt in the late 1970s. Since Fender was sold to the CBS corporation in 1965, it is a little known fact that Leo designed guitars for Music Man during this interim era through his company called CLF Research. When relations between the two companies soured, G&L was established; the unofficial mandate of which has been to take classic designs like the Fender Stratocaster and Telecaster, and attempt to improve on them with modern innovations.
The two guitars given to me for review are the ASAT Classic and a Legacy USA.
ASAT Classic
The ASAT Classic is a solid body telecaster design with a tobacco-burst finish, a tortoise shell pick guard, a hard rock maple neck and 9” radius fretboard. It has two “traditional-size Fullerton-made G&L Magnetic Field Design single coil pickups” and a swamp ash body.
Regarding the Magnetic Field Design pickups: The bridge is a traditional boxed steel bridge, string-through-body Telecaster design with individual machined brass saddles.
Finally, other usual suspects are present including a volume and a tone knob, and a three way selector switch. If I might add, the tobacco-burst finish is so beautiful on this guitar and it just screams “classic” the moment you notice it. Don’t be fooled by the fact that this guitar is made in Indonesia, my friend. And don’t expect flashiness, either. This guitar is classic-to-the-max and will please even the most ardent purist.
Legacy USA
The Legacy USA is a beautifully crafted Stratocaster, for lack of a better description. If this was a review of a no-name Eastern brand I would hesitate to call it such and would probably put a “-type” somewhere in there but this guitar is definitely a Strat.
The model I was given for review is 100% made in the USA and was custom built to order.
The Legacy USA has an Alder body and solid finishes and a cream, three-ply pick guard which gives of the impression that it has been “aged” a bit to look like it’s been in a smoky club for years. It has three “G&L vintage style Alnico V single coil pickups”, a hard-rock maple neck and maple fretboard with a 12” radius. The bridge is a G&L Dual Fulcrum vibrato with chrome-plated brass saddles. Lastly we see other features we’re used to, such as a three-way selector switch, a volume control, and two tone controls.
However, traditionally on a Stat the tone controls are independent controls that merely roll off the treble but on the Legacy, the two tone knobs control bass and treble and are actually global, which means they work for any pickup selection. This takes the tonal possibility of this guitar to new heights that weren’t achievable on a traditional Strat.
Shootout!
For this review I used a Marshall JVM50 and a Marshall 1960A 4×12 loaded with Celestion G12-75’s.
I set the amp to somewhere between clean and dirty and plugged in expecting to hear the instantly recognizable twang that typifies the Telecaster sound which is exactly what I got. The bridge pickup is characteristically honky as one would expect but as I quieted down after playing some country-esque licks, it took a minute before it dawned on me that the noise produced by this guitar is very low. Come to find out, the pickups of this guitar were engineered to produce less noise than usual single-coil design and from the sound of it (or lack thereof), they succeeded.
Pushing the gain a bit, I soon stumbled (oops!) on crunch territory and this guitar just sang and I bathed in a harmonically rich bath of rock and roll. Flipping the switch to the middle position gave me back some low end but not at the expense of the top. It was still warm yet retained its sparkle, which made me want to play Hallelujah.
Switching to the neck position proved a wise move as the sound thickened up nicely with a bit more pronounced lower midrange, but still, not at the expense of the top end. This guitar just wouldn’t give up its clarity and overall it has a very “smooth” sound.
Next I turned my attention to the Legacy USA. Picking it up, I instantly felt like I was holding something of quality, designed in ages passed. From the finish, to the hardware, to the feel of the smooth C-shaped neck, the guitar just oozes appeal. Plugging it in and setting it to the neck position, I was instantly presented with a throaty, cutting tone that is typical of Strats.
However, I soon tamed it into something rounder by using a bit of treble roll-off, thanks to the treble knob. I was now in a place that cut through but didn’t tickle the ear-hairs. Switching to the second position on the five-way, I was in funk territory. The out-of-phase sound immediately sucked out the mids and lowered the output and there was jangle for days. Moving to the third position gave me my midrange back but with a softer top-end, good for clean sounds. The fourth position put me back into funk territory albeit with more low end and gave me a “scooped” impression. Weezer anyone?
Finally, the fifth position put me in the Bayou. Blues seeped from this thing and I could hear Buddy Guy telling me, “play me something special”. It was quite possibly one of the best blues sounds I have ever heard from a Strat and I was pleased and satisfied. Now where’s my moonshine?
Conclusion
If you had to ask me to choose between these two G&L guitars I would be hard pressed to answer you. Of course, the fact that the Legacy is more expensive than the ASAT Classic comes through because the tones produced by this guitar are quite exquisite and the workmanship is clearly superior. And considering a Fender USA strat can cost almost R10000 more, I would say that the Legacy is the clear winner in this category.
However, that’s not to say that the ASAT isn’t a quality instrument. I probably would take it over a similar Fender model just because it is less noisy and it suits my personal style more. It sounds great, too!
All I have left to say is that you have to hear them for yourself but given their pedigree and their innovative advancements over Fender, I don’t think you’ll have to listen very long before you make up your mind.
Suggested Retail Price: ASAT Classic R 7,495.00.00 | Legacy USA R 18,995.00 incl. VAT
Supplier: Tuerk Music Technologies | Tel. No: 011 792 8402
Samson AirLine Synth UHF Wireless Guitar System
“Compared to other wireless units it is a relief not having to deal with annoying belt packs…”
With a growing number of large festival stages popping up around South Africa the popularity of wireless systems for microphones and instruments is on the rise. Already a hit internationally with the likes of Roger Waters and others, the multi-channel Samson AirLine Synth wireless guitar system provides great versatility and audio fidelity in an easy to use package.
ANATOMY
The system consists of the AG300 transmitter and AR300 receiver and offers over 300 frequencies in groups of 11 compatible channels, which are able to operate simultaneously.
The AG300 Transmitter features power and mute switches, a battery life indicator, an LED channel display, an infrared channel receiver, operates on a single AA battery, offers 10 hours of continuous play and plugs straight into your guitar’s input. Conveniently, the input jack can be unscrewed and repositioned to fit Stratocaster or side-mounted styled guitar inputs. It also has a -15dB pad and gain control under the battery cover.
The AR300 Receiver features automatic RF scanning and infrared programming, balanced and unbalanced outputs, which can be used simultaneously, 2 front or rear mountable antennae giving clear reception, audio and AF/RF signal levels, as well as channel frequencies can be kept track of on the backlit LED front panel display.
It also features an output level knob, an Edit rotary knob/switch, for manual parameter editing or automatic channel scanning, and a Squelch knob that decreases the system’s maximum range thus minimising any RF interference one might encounter.
IN USE
With the receiver plugged into the amp and all other connections made, a quick read of the detailed manual is required to understand the proper setup procedure. This involves angling the antennae for maximum coverage, allowing the AR300 to scan for the clearest channel, switching the AG300 on 6 inches away from the receiver to allow the settings to be store via infrared. Then some balancing of gain and you’re done.
Testing the unit in various locations, yielded different degrees of RF interference, (all easily dealt with using the Squelch knob), although at times a noticeable grainy background hum seemed ever present and, while manageable through an amp’s clean channel, it was very noisy when employing distortion. Other attempts were completely noise free, operating with crystal clarity, as promised. While this mystery of the hum’s origin remains unsolved, I suspect the fault lies more with South Africa’s notorious ‘dirty’ electricity that drives many who work with audio equipment up the wall, than with the unit.
Encouragingly, (aside from this anomalous hum) there was no detectable tonal difference in using the AirLine than to plugging into the amp with a good quality cable. While maintaining line-of-sight, I was also able to get a good 25 meters from the receiver, before experiencing a significant loss of signal. When line-of-sight is not maintained there are occasional momentary signal drops and a minor compromise of frequency response but the Airline won’t give up too easily: separated by 3 rooms, the signal still kicks through the amp.
CONCLUSION
Compared to other wireless units it is a relief not having to deal with annoying belt packs and the grouped compatible channels is a stand out feature. And while I had a few issues with noise the tonal clarity is definitely worth mentioning.
The thought of not having to worry about a tangle of guitar cable at your feet is appealing, as is the degree movement and showmanship the unit allows. On the one hand, the average gigging guitarist dealing with local stages, many of which aren’t big enough to fit an entire band and their equipment (let alone allow much movement), may have limited to cut the umbilical cord, so to speak, unless they often find themselves heading for the bar mid-solo. On the other hand this is an incredibly useful tool for the festival musician where sounding great and the freedom of movement during performance are vital.
SA Distributor: Audiosure Tel: (+27) (0)11 790 4600
Suggested Retail Price: R 6,195.00 incl. VAT
Vintage V100GT
Before me here today sits a beautiful, faithful reproduction of the ’55 gold top Les Paul, complete with P-90 pickups and a stop tail, Tune-o-matic-style bridge – all Wilkinson.
I am a complete sucker for gold top Les Pauls. The distinct shape and warm, inviting facade has endured through the decades and has become an icon amongst guitar players and aficionados alike, deeming it a complete classic. The first Les Paul in 1952 had a solid mahogany body, a gold-sprayed maple top, a cream bound rosewood fretboard with trapezoid inlays, and two “soapbar”, or P-90, pickups. This was the original. But it was not to be the last incarnation of the Les Paul guitar made famous by Gibson and copied by many companies worldwide; some good and some not so good.
These days, when most people think of a Les Paul they think of a big, heavy, solid guitar with two humbuckers. But the addition of the humbucker was only a later occurrence because, as I mentioned above, the original Les Paul was released with P-90 soapbar pickups. Humbuckers only started appearing after 1957, with the PAF (Patent Applied For) original Gibson humbucker, the main difference being that the P-90 was single coil and the PAF was dual-coil. However, this is the beauty of the pre-1957 Les Paul; it combines the thick sound of a heavy solid mahogany body with the bright and cutting tones of the single coil pickup. The result is a guitar that is thick and chunky with a bright chimey top end – a refreshing break from the often one-trick monotony of the humbucker-fitted Les Paul.
Copies of the Les Paul shape are not in short demand either but finding a good one that stands up to the original almost always turns out to be a futile endeavor. We have the saying “only a Gibson is good enough” for a reason.
That being said, there are always exceptions. Before me here today sits a beautiful, faithful reproduction of the ’55 gold top Les Paul, complete with P-90 pickups and a stop tail, Tune-o-matic-style bridge. The guitar is made by a company simply called “Vintage” and its title is the V100GT, which is just one of their many reproductions of guitars of the vintage persuasion. Truth be told, there isn’t a lot of information around on Vintage suffice to say that they are made in Vietnam. Whatever that says.
One thing that actually does say something however is that Scottish guitarist Midge Ure of Thin Lizzy, Misfits and Ultravox fame is an endorsee and in fact this very model I have here for review was used and signed by him at the Rewind Festival that took place in February this year, in Durban. It will also be given away in a, erm, give-away, so I probably shouldn’t be smashing it on any stages, huh?
Construction and Features
The Vintage V100GT is a beautiful copy of a 1955 Les Paul gold top. The paint doesn’t quite have the depth of a real ’55 and it has a slight metallic finish but the colour is close enough, especially for the price. The hardware is chrome and the pickup covers and mounted pick guard are cream, which adds to its vintage appeal.
When strapping the guitar on your person the familiar weighty pull makes you feel like you’re attached to something real and its robust construction comes through. It’s a well made guitar. The chrome binding on the neck also gives a sense that it is more expensive than it really is and I suppose that is the point.
Lastly, all other standard features you find on a guitar of this type are available, namely, a three-way toggle switch, two volume controls and two tone controls.
All hardware, including the pickups on the V100GT, is made by Wilkinson, a British guitar parts brand founded by Trev Wilkinson that has a good reputation for quality and workmanship. At this point, then, it might be worthwhile to go into a little bit of history of the P-90 pickup, since it is not so popular in today’s market and I like an underdog. The Gibson P-90 was invented in 1937 and was originally known by the name “Laid Back”. Other names included “Dog Ear” or “Soap Bar”, the latter being the most popular today. It uses two bar magnets under the coil and the coil is usually wound around a clear bobbin. Like poles of the magnets face each other and their repulsion is counteracted by the use of conductive screws.
The screws, in turn, become a single magnet pole and serve as pole pieces. The P-90 was chosen for its versatility because it had the clarity of a single coil combined with the full sound of a humbucker although, because of the nature of single coil pickups, noise is still a slight problem. Because of the specific thickness of the copper wire and the amount of bobbin turns in the coil it has a resonant peak, traditionally, of 4.7 kHz, compared to the 6 – 8.5 kHz of other Gibson humbuckers. This combines with the brighter single coil sound to give the pickup a very full yet precise tonal character that is suited to many styles.
In use
In this review I used my trusty Laney GH100L head through a 1973 Marshall 4×12 loaded with Celestion Greenbacks.
After plugging in the V100GT and setting the gain to supply an edgy crunch the first thing that caught my ear was the fact that it made a bit of a noise. A healthy buzz had materialized but I did not let that get me down as it is expected with this kind of guitar. It’s just something single coil guitar owners deal with. What I will say is if you’re interested in using obscene amounts of gain, this guitar just might not be for you.
As I started to play, the next thing that got me was that the toggle switch was mounted the opposite way around. Now I don’t know if this was a request or customization by Midge Ure, but it struck me as odd. However once I got going I soon forgot about it because the sounds emerging before me were just beautiful. And I’m not saying that because this is a review. I really, really enjoyed the sound of this guitar.
Moving the toggle switch to the rhythm position is quite simply the fattest sound ever and with the new zingy strings that are currently on the guitar, it was just screaming at me to play blues. I obliged. Moving to the middle position, the gain dropped a bit, which is expected, but that put me in range of a creamy, round, pillow-laden edgy clean sound that sustained for days. The tops are chimey but there is not a hint of harshness.
Finally landing at the treble position I was presented with a bright and cutting tone that reminds me of a lot of nineties punk rock. This prompted me to turn up the gain, which I did without prejudice. Many people reach straight for a humbucker when going for rock tones and this guitar had me asking, “why?” The experience was harmonically rich and definitely of the even order, which only valves can do. The detail in the notes is there and the clarity of the P-90’s really shines through.
Conclusion
I am a big fan of the Vintage V100GT. It is definitely a great buy for anyone looking for a vintage looking guitar without the heavy price tag and I would highly recommend it. Vintage has done a great job with this guitar and I really mean that. No bull.
WIN the autographed Vintage V100GT as signed by Midge Ure
Suggested Retail Price:
R 4,995.00 incl. VAT
Supplier: TID
Tel. No: +27 10 5000 116
Two-Rock Jet 35 Combo Guitar Amp
Two-Rock is a relative newcomer on the guitar amplification scene, but have rapidly earned an impressive reputation for themselves. They have a wide-ranging roster of users including John Mayer, Joe Bonamassa, John Scofield and Carlos Santana. The Jet 35 has been designed to produce the Two-Rock tone in a small, portable package and at a club volume level.
Specifications:
Power: 35 Watts from 2 x 6L6 valves
EQ: Three band
Other controls: Gain, Master, Lead Gain, Lead Master, Reverb, Reverb Drive
Pull Bypass/Lead on Gain and Master controls, Pull Bright, Deep & Mid on Tone controls
Foot Switch: Bypass/Lead foot switch (included)
Loop: Serial passive
Reverb: Spring
Speaker 12″ WGS
Dimensions (L x H x D): 38 x 46 x 25.5 cm
Weight: 18 kg
First Impressions
The Jet 35 is tiny for a 35W amplifier – about the same height and depth as a Deluxe Reverb, but a full 16 cm narrower. It has the weight of a larger amp, so still feels substantial. One complaint is in the appearance – it has an unassuming, plain look with nothing about the cabinet or fittings belying the fact that it is an expensive amplifier.
Features
The gain structure of the Jet is interesting – it isn’t really a two channel amp, but rather an amp with an extra switchable gain stage for overdrive sounds. The clean has the usual gain and master controls, as does the lead section. When the Lead channel is selected, the normal gain and master controls stay active – so you end up with two gain and two master controls, all active. The two are also interactive – if you turn down the clean gain control it affects the gain of the drive channel too.
The EQ controls all have pull switches on the controls (Bright, Mid Boost, and Deep on the Treble, Mid and Bass controls respectively), as do the normal gain and master controls (bypass, Lead), making for five pull switches in all.
The reverb has the usual volume control on the front panel, but unusually, there is a Reverb drive control on the rear panel, which controls the signal level going in to the reverb circuit.
The effects loop is passive – a simple send and return between the preamp and the power amp with no extra circuitry added to compromise tone.
In Use
The control layout takes a little getting used to, particularly the two gains and two masters, and takes a little time to set the balance between clean and drive tones, but once you get the hang of it, it is incredibly flexible. The effects loop let me to integrate it into a TC Electronic G-system-based rig without any difficulties and it takes stompboxes very well.
Tone
The Jet 35 is an absolute tone monster. Glorious full, chimey and bell-like clean tones and a range of drive tones from dynamic from bluesy, dynamic edge of drive, through classic rock crunch and all the way up to super saturated Santana. The only thing I couldn’t get from it is high gain metal distortion tones.
Cranking the clean gain does not add any drive, merely compressing more, and it really starts singing at higher settings. You can get drive at higher settings, with the master control turned up until the power valves crunch, while the preamp stays clean.
The tone generally is quite balanced and modern, with enough range on the controls and switches for a variety of tones. The amount of bass on tap is amazing, given the size of the cabinet – more than enough for most purposes.
In Conclusion
The Jet 35 takes the (long held) crown for the ideal “grab-and-go” club or studio amp – more than enough volume, tone and flexibility for most applications and small enough to transport easily. It is not a home amp, particularly for drive – it needs to be turned up at least halfway. It also won’t make a heavy player happy – but any other style of player will be in tonal bliss.
Suggested Retail Price: R 26,100 Supplier: Guitartone
Tel. No: 021 855-5963
Boss Rc300 Loop Station The Triple-Stereo Mega Looper!
With the RC-300 from Boss you can take looping to a level never reached before on commercially available loop stations. It is ideal for instrumentalists and vocalists that incorporate live looping in their musical performances. It could also be a useful addition to your home studio.
I attended a Boss roadshow late in 2011, where clinician Alex Hutchins used the RC-300 Loop Station. I was so impressed by it, that as soon as it hit our shores I got myself one. Unfortunately I do not have enough space to outline all the features but this summary should give you a good idea.
You can plug in any instrument of your choice and create loops in real time. An XLR input, with phantom power is also provided, so singers, violinists, or anyone with a miked instrument can become “loopers”. You can add up to three effects as you go, and its USB port lets you save your loops externally, as well as import / export WAV files.
Main RC-300 Features:
Three stereo real-time phrase loop-stations with dedicated footswitches and controls for each
Dedicated fader per track
Expression pedal for effects control in real time
Up to 3 hours of internal recording and 99 onboard memories
16 Onboard effects optimized for looping
XLR Microphone input with phantom power
USB allows for connecting to a computer to import/export WAV loop phrases. MIDI I/O is included as well
3 mini-sliders control the volume of each track. (Latch at the centre position.)
The RC-300 is housed in a durable metal chassis and offers 99 different memory locations, each with 3 independent stereo or mono loop phrases
All the inputs can be used simultaneously, giving performers the ability to record loops instantly with any connected sound source. Stereo outputs include independent main and sub jacks, and a headphone jack for practice or stage monitoring.
Rounding out the rear panel are jacks for connecting optional Boss footswitches (up to four) and/or expression pedals (up to two), providing additional real-time control options advanced users.
The RC-300 also comes with a rhythm guide and onboard sound library, which you can play along with as you record.
You can Start/ Stop all Loops at once, with a single switch.
It is quite straightforward and easy to use although first time users of Loop Stations could find all the options overwhelming. I found the interface quite easy to navigate.
The RC-300 is really a cut above the rest, as besides 3 independent Loops Stations, it also includes expressive onboard effects, including Slicer, Filter, Flanger, Phaser, Modulator, Transpose, Vocal Effects, and many more. A dedicated LOOP FX footswitch is provided for instant activation of the onboard effects. Control the effects parameters in real time with the Expression pedal for hands-free creativity onstage. You can apply the effects to any single track as well as to the entire mix, expanding your creativity and musical expression.
You can create, stack, and manipulate multi-layered loops. Each of the 3 tracks is independently controllable. The Auto Recording feature starts recording the moment you begin playing your instrument, or as soon as you start a connected audio player. Likewise, Count-In mode provides one-bar of rhythm before recording starts, and you can Undo / Redo as you go.
Verdict:
Pros:
3 Independent Loop-Stations with amazing features as mentioned before.
The RC-300 is housed in a durable metal chassis.
Wide variety of inputs and outputs.
Exceptional Sonic Quality.
USB connectivity to your computer to import/export WAV loop phrases.
Interface quite easy to navigate.
Advanced MIDI and Sync Features
Through the Aux input you can record backing tracks if need be. (Save it to a choice of 99 onboard memory locations)
You can immediately stop a loop, (stop at the end of the loop, or evenfade the loop out.) Wow!!
Good value for money!
Cons:
The effects are not always easy to edit.
First time users of Loop Stations could find all the options overwhelming.
SA Distributor: MD Distributors
Suggested Retail Price:
R 7,995.00 incl. VAT
Martin DCPA4 Acoustic
“A few cursory strums of even the most mundane open chords unlocks the rich tone contained within.”
The Martin name is synonymous with tradition, quality and rich tone. Their Performing Artist series, which is just above entry-level, brings a few modern elements to the table. The DCPA4 is a modern Dreadnaught with cutaway and a Fishman F1 pickup/tuner, aimed at the gigging guitarist.
ANATOMY
Opening the DCPA4 hard case released a strong, pleasing aroma of wood and amber. This beautiful instrument is constructed with solid tonewoods. The back and sides are matched from African sapele (which is similar in appearance and tone to mahogany), while the soundboard is book-matched Sitka spruce and utilizes Martin’s Hybrid “A-Frame” scalloped bracing. The neck has a comfortable slim taper and is thinner than on traditional acoustics, facilitating faster, more comfortable fretwork.
It also features the discreet and elegant, Fishman F1 pickup/tuner with one tone knob and one volume knob that doubles as a one touch tuner switch.
PLAYABILITY & SOUND
Picking it up for the first time I noticed almost immediately that this guitar is a little heavier than the average acoustic, which may make it a bit tiresome to use standing up. However, after hours of noodling, I cannot emphasise enough how comfortable the DCPA4 is to play. The incredibly easy, low action as well as the slim taper of the thin neck makes it feel almost like that of an electric guitar. That, along with the modest cutaway makes higher fret playing a breeze.
In my experience, some acoustic guitars with similar construction can display a certain degree of tonal brashness, but my initial suspicion that the slim neck, cutaway and general modern design would compromise the signature Martin boldness, was swiftly culled because the DCPA4 is an incredible tonal beast!
A few cursory strums of even the most mundane open chords unlocks the rich tone contained within. Balance is the key word here. There is ample low end without a trace of boominess, a very balanced, clear mid-range, and loads of highs without any harshness as well as bucket-loads of harmonics. No note overpowers any other when playing chords unless played louder, and unlike lesser guitars the sound gets bigger the harder you play. Every sound seems greatly exaggerated yet perfectly in proportion. Oh, and the sustain! It’s like the precise chime of a grandfather clock.
While the DCPA4 is intended mainly for live use, its rich tone could be a great asset in studio. In fact, while it may sound obtuse to say, listening to it with one’s eyes closed one could imagine the sound coming from a slick recording.
Without the prestigious Martin name, this remarkable tone and playability alone instil a sense of authority and confidence in the player. The level of expression the DCPA4 allows is astounding as I found myself effortlessly and articulately moving from soft, subtle passages to big and bright flourishes. You would not need to dig very deep within the tone for magic to happen.
CONCLUSION
With a thick warm tone that really fills a space making it great for solo accompaniment, it also has more than enough bite to cut through a full band. This guitar plays well with others.
So please excuse me for gushing like a little school girl with a bad crush, but I am in absolute awe of the artistry and grit of this instrument. With its easy and unrestricting playability and rich, articulate and striking tone this is a true workhorse instrument, certainly beating a lot of other well known brands in this price range which often have the sparkle but not the punch and authority of the DCPA4.
While some of our hearts might sink at the sight of the price tag, at R14,995.00 (SRP, and by no means the most expensive Martin out there) the DCPA4 delivers in spades, and lucky for this school girl there is a left-handed option at no extra charge.
Supplied by: Rockit Distribution
Tel: 021 511-1800 Suggested retail prices: R 14,995.00 incl. VAT
Hartke Kilo
When it comes to Bass amplifiers, more power is always better. There’s nothing worse than a bass amp that delivers flimsy tone lacking punch and impact because it is exactly the low end in a performance that creates a sense of weight and authority that makes people move to the rhythm. Bass amps have evolved somewhat over the years and now we have many different designs, some stemming from the past where valves were king, some relying on microchips to keep their power management efficient, and some taking a hybrid approach using new and old technology together. For this reason bass amplifiers have become as tonally varied and interesting as their guitar counterparts and selecting one relies heavily on the taste of the player.
One company that has been producing amplifiers for well over twenty five years to meet the needs of bass players is Hartke. Founded in 1985 by Larry Hartke and Ron Lorman, Harkte was made famous by their development of an aluminium cone speaker that was to typify the Hartke look and sound. The result was a speaker capable of brighter tones with a more pronounced midrange and because of this new technology it was quickly adopted by the likes of Jaco Pastorius, Marcus Miller, Darryl Jones, Jack Bruce, Will Lee and Garry Tallent.
Now, in 2011, Hartke boasts a long history and a huge product range incorporating old technology with the new, still manufactured solely for bass players. They offer amplifiers and cabinets of all sizes and flavours for every type of player and in the case of high powered bass amplifiers, they are no exceptions. If it’s power you need, look no further than the Hartke Kilo 1000 watt bass amplifier. More boom? You got it.
Construction
The Kilo is a monster of a thing. It’s heavy. It’s rugged. It will break your foot if you drop it on it. It takes up three rack spaces and you’re going to need a pretty serious rack to keep it at bay. It has two oversized, ultra sturdy handles on the front panel, which is about a centimetre thick and made of solid die cast metal. To say this amplifier is well made is an understatement and I’m pretty sure that if you drop it from a two storey window it will survive. Just don’t kill anybody, okay?
Features
The Hartke Kilo is 1000 watts. Yes, that’s right, 1000 watts of bone crushing bass power. It offers 1000 watts in mono bridged mode at 4 ohms and, surprisingly, can be used in stereo with 500 watts per side all the way down to 2 ohms, a rare feature with bass amps. The amplifier is a hybrid design coupling the solid state power section with a valve preamp, comprising three 12AX7 preamp valves. The front panel has a recessed section for all inputs, buttons, knobs and the graphic EQ and is neatly laid out and very user friendly. On the far left hand side of the front panel, two ¼” jacks are provided – one for input and one for connecting your tuner.
Selecting input sensitivities for active or passive basses is done by the push of a green-backlit button labelled “Active”. Depressing it sets the amp to accept active basses. A valve overdrive channel is provided and this can be toggled by depressing the green-backlit “O.D.” Button.
Next is the compression control and the desired amount is dialled in from the off position at “0” to total smash at “10”. Above the compression knob is a button labelled “Mute” and this is pretty self explanatory. Other usual suspect buttons relating to tone like “Deep” and “Brite” are also provided and these, too, are self explanatory, along with the three-band EQ, comprising “Low”, “Mid” and “High” rotary knobs. One tone shaping knob that isn’t so straight forward is the “Shape” control. To toggle the shape circuit on and off a green-backlit button labelled “Shape” is provided and this is linked to a rotary knob below it. The shape circuit “applies a pre-set equalization curve with a slight lift in the low frequencies, a cut in the mids, or a slight lift in the highs, depending on its setting”. Next, we see buttons labelled “EFX” and “GEQ”. These buttons toggle the effects loop, located at the rear of the amplifier and the 15-band graphic.
The Hartke Kilo is a mother of a bass amp that is immensely full featured and offers huge tonal possibility.
EQ, situated at the far left of the panel. Both can be enabled or disabled by connecting a two-button footswitch to the rear panel jack labelled “EQ+EFX”.
Likewise, a further two-button footswitch can be attached to the jack labelled “MUTE+OVERDRIVE” to toggle those features on and off. Footswitches are not supplied with the amplifier and have to be purchased separately.
Finally we come to the master section which controls master volume, L+R balance in stereo operation, and the level of the direct out, which is located at the rear of the amplifier in balanced XLR format. A handy feature is the ability to choose where in the signal chain you want the direct out signal to be fed from. A rotary selector included under the direct out level knob gives the option of sending signal after the input, compressor, EQ, or EFX circuits.
In Use
In testing the Kilo a cabinet was not supplied so I had to source one. Or two. I came upon two SWR Goliath 4×10’s and connected the amplifier in mono bridged mode, since I figure most bass players will utilize this configuration. Three basses were auditioned including a Music Man Stingray 5-String, a Fender P-Deluxe USA, and an Ibanez ATK.
The Kilo proved to be all it promised and I was surprised at the transparency of its sound. It definitely was loud and pushed a lot of air but what I really liked was how it really let the voice of each of the basses I auditioned come through, even at high levels. I chose each of the basses I did for that reason as they all have a distinctly different tonal quality to them.
The tone circuits were helpful to take me wherever I wanted to go but, as always, a straightforward approach with minimal processing is a good place to start and this is the path I took. On the five string I was really interested to hear how this amp handled the low B. It handled and then it handled some more. There were buckets and buckets of massive low end tone and after dialling in a little compression to keep certain notes from popping up, I had a full, powerful, even tone at all positions on the fret board.
Next I turned my attention to the tone circuits and found the three band EQ to be focused and effective. The shape control also added something interesting but, as always, the tone you’re after is always subjective to the material and it would need to be auditioned on a case-by-case basis. The same goes for the brite and deep settings.
However, it was still comforting to know that the options were there if so needed.
Conclusion
The Hartke Kilo is a mother of a bass amp that is immensely full featured and offers huge tonal possibility. There is no doubt in my mind that anybody interested in a quality, high powered amplifier will be most pleased with their purchase and will have it for a very long time because it is built to last. Go move some air!
Suggested Retail Price: R 13,995.00 incl. VAT
Supplier: Audiosure | Tel. No: 011-790.4600 | Website: http://www.audiosure.co.za/
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