7/26/2012

ISP Decimator Pro Rack G Noise Reduction Review

ISP Decimator Pro Rack G Noise Reduction
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This is a tremendous piece of gear that I use in both live settings and for recording. It is a MUSICAL noise gate, that is, it puts a "gentle fade" on sustained notes, as opposed to awkwardly choking them like many other gates. Worth the expense. Tom Vitacco (Chicago area guitarists) [...]

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The Decimator ProRackG guitar noise reduction system defines a new standard for excellence in real time noise reduction performance. The Decimator ProRackG was designed to provide the maximum possible performance in a rack mount dual channel noise reduction system designed specifically for extremely high gain guitar amplifiers.

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7/25/2012

Novation Xio 25 2-Octave Synthesizer and Audio USB MIDI Controller 25-Key Keyboard Review

Novation Xio 25 2-Octave Synthesizer and Audio USB MIDI Controller 25-Key Keyboard
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I purchased the Xio Synth 25 because of its Midi controller capabilities and its onboard sounds. What also made me want to purchase this was the fact that it serves as a microphone interface with phantom power. I know I have not explored the full potential of this synthesizer with its editing features, etc, which is mainly due to me being new to synthesizers. I purchased Cubase Essentials 5, the Behringer UCA202 U-Control Audio Interface and the Behringer C-1 Studio Condenser Microphone to use with the Xio and everything works together great for my needs. The only downside I have personally experienced is that a few knobs have come off. There is one knob I don't remember ever being there and didn't realize it should have been a knob (you can still turn it) and another knob for a pan function came off. Looking at other reviews from other sites, this seems common. Overall, I would recommend it.
Edit 5-7-10:
I want to edit my review to add that my Xio no longer works well when using it as a midi controller. I don't understand why exactly, since the onboard sounds still play and sound well. When using it as a midi controller, I have to press the keys down hard just to trigger the sounds I am trying to play. Shortly after I purchased the Xio, I had purchased an M-Audio 61 Key midi controller, so that is what I primarily use for midi. I still use the Xio as a microphone interface and for its onboard sounds.

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Never before has a Novation synthesizer been so accessible! Stylish, compact, and affordable, the XioSynth offers a staggering amount of classic and cutting edge sounds, many from internationally acclaimed artists, along with a brand new X-Gator patch programmer and optional filter distortion. Furthermore, the XioSynth provides everything required for producing on the move, through its synth, audio interfacing, and MIDI controlling capabilities – all three in one keyboard.Includes Fantastic ‘Xpression' pad and pitch/mod joystick, both freely assignable in MIDI Controlling mode; allow 6 parameters to be tweaked at once!USB bus-powering is available, as well as optional battery (AA)/PSU operation, making the keyboard highly portable.

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Boss BR-900CD Digital Recording Studio Review

Boss BR-900CD Digital Recording Studio
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I purchased this unit to do some recording (mainly voice, piano, and ensemble). While it took many more $$ to get the cables and microphones, this is now the foundation of a solid solution.
It is easy to use (although not painless) and the manual is not the greatest. I'm sure there are many more features that I just don't use. Several features seem targeted at more "rock" than the classical I do.
It hooks to the computer without to much trouble. It also does a reasonable job cutting tracks to CD on its own (but it is slow since most of the mixing and burning is in real (i.e. x1 time).
I have one outing where I recorded an entire concert, but I have yet to try and mix this down to individual tracks (and wonder if I will need some better software than Nero).
All together, this is a solid unit for a reasonable price.

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The Boss BR-900CD Digital Recording Studio is a road-tough all-in-one digital recorder with a built-in CD-burner. Features eight simultaneous playback tracks and two simultaneous recording tracks, plus eight V-tracks (64 V-tracks total). The two XLR inputs with phantom power, 1/4" and RCA inputs, digital and MIDI outs give you loads of I/O options. Offers a lineup of quality effects that are worthy of the Boss name. Standards like reverb, EQ, chorus, and delay are included plus additional pro-quality effects like vocal pitch correction, harmony generator, bass simulation, pedal wah, COSM-powered guitar amp and compressor models, and mastering tools.Songwriters will love the built-in rhythm programmer, packed with 294 expressive patterns. Customize your own beats using the handy Tone Load function. Connects to a computer via USB for data backup or to import/export WAV files.

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Audio-Technica AT4021 Cardioid Condenser Microphone Review

Audio-Technica AT4021 Cardioid Condenser Microphone
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This is a sweet little small-diaphragm condenser. It is near-ruler-flat from 20-20KHz. Getting those extremes -- 15K-20Hz and especially 20-50Hz -- is unusual in an affordable cardioid SDC.
I like this mic for general acoustic ensemble or instrument recording because of the extended low and high-end (really sweet lows). It is very popular on acoustic guitars, and wherever you want to capture the shimmer up top (choirs, drum overheads). I've gotten agreeable full-range jazz drum kit tracks by setting one up level with the top of the kick, a foot out in front of the kit.
Another mic to consider at this price/performance point is the Shure SM81 Instrument Microphone (it has just the slightest bit of color compared to the 4021, and a narrower frequency range, but it is a classic clean bright sound for this kind of thing). You can find sound samples of this and other comparable mics by searching for SDC microphone shootout on the web.
You may also be weighing this against Rode NT5 Matched Pair Recording Condenser Package (or you were back when this was $250). I think the 4021 sounds a tad better than the NT5 as a single mic, a little less hyped upper mid. But if you are planning on using two as a stereo pair, you might prefer the NT5 matched pair, because its off-axis response is more suitable for stereo recording. The off-axis response of the 4021 is pretty interesting -- it stays flatter for the mid- and higher-frequencies, and drops off for the lows. That's backwards from many mics. It means it's more forgiving about placement for something like an acoustic guitar or cymbal. But it also means your stereo image will smear towards the center with coincident stereo miking techniques, except for the low frequencies (exactly where coincident imaging is less effective anyway).
So if you use a pair of these for stereo, set up non-coincident, ORTF or even as you might place omnis. I get really pleasing results with a 4021 pair inside a grand piano, in an ORTF configuration nearly centered inside with one pointing to the high hammers and one pointing to the low strings at the back of the piano.

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Ideal for critical studio and live applications, the low-profile AT4021 offers a flat, extended frequency response, high maximum SPL, and wide dynamic range. Its low self-noise is perfectly suited for the most sophisticated recording equipment. Its low-mass diaphragm improves transient response, increases response bandwidth and reduces handling and mechanical noise transfer. The microphone offers outstanding reproduction of low-frequency sounds.

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Gold Tone CC-Mini Cripple Creek Banjo (Five String, Maple) Review

Gold Tone CC-Mini Cripple Creek Banjo (Five String, Maple)
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For a small travel banjo the Gold Tone CC Mini-Cripple Creek Banjo is very playable up to about the 12th fret or so. Higher up than that, the neck heel gets in the way of the palm of your left hand. They should have scaled down the neck heel instead of leaving it standard size as there's no need for a large neck heel on a small banjo. Additionally the banjo's action is a little too high. Or at least for me. I play Scruggs 3 finger and chromatic style. You could frail on it the way it is. I will eventually sand down the nut so the strings are closer to the neck and set of the angle of the neck to the pot with the rod in the back so the strings don't get higher off the fingerboard the higher up the neck you play. Having said that, it's still a very playable banjo. I did have to remove the arm rest and re-install it in the correct location on the tension hoop as the way it came, my forearm rested on the edge of it and not in the center. When I reset the arm rest, some of the chrome peeled off one of the tension nuts. They are chrome plated but not copper and nickel plated first so the chrome won't last as long. Don't let my comments scare you off as it's not uncommon to have to adjust a new banjo to your playing style. I would consider buying another Gold Tone. Mine is fully adjustable and well made. The gig bag it came with is well constructed and features a zippered pocket where the T nut (included) is also stored. Keep on Picking!

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The Cripple Creek Mini (CC-Mini) has similar features as popular Gold Tone Cripple Creek line in a short-scale version. This mini banjo has a perfectly straight neck and low action to maintain consistent tuning. The openback design is light and portable. The CC-Mini features an 8" maple rim and brass tone ring, guitar-style geared tuners, a geared 5th string tuner, it has great plunk for old time and the brass tone ring provides enough punch for bluegrass.The CC-Mini is tuned to open-C but if playing with others and need to tune to standard G, the string gauges may be changed to the following: .016, .034, .024, .019, .016.

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Line 6 Tone Port KB37 Review

Line 6 Tone Port KB37
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As a part-time, semi-professional musician/performer/producer [you can check out our NOVAkILL CDs here at amazon.com] I have a need for good quality and portability at a reasonable price. For maximum flexibility, I have been using USB audio I/O devices for the past 5 or 6 years, as they allow me to work on my workstation at home or laptop on stage with the same equipment. I was first attracted to Line 6 by the announcement of the KB37 because it looks so incredibly slick and sexy. To see if it could deliver the goods, I got hold of a UX2, which is basically the same as the KB37, without the keyboard. It took me about 5 minutes to realise the potential of this set-up so I got hold of a KB37 as soon as they were available.
HARDWARE - The unit feels really solid. The plastic is very heavy-duty and it all seems pretty well put together, although one of my VU meters is slightly crooked. The three-octave keyboard has a good feel and also feels fairly robust. The I/O knobs [chrome] are perhaps a little loose [it is easy to bump them and change their position] where the controller knobs [black] are very stiff until you use them for a while. It is very light-weight and no wider than most two-octave keyboards so it is extremely portable. The footswitch jacks are a real bonus. The audio inputs and outputs are very good, allowing you to get high quality, clean recordings and to monitor everything easily.
DRIVERS - Line 6 Monkey makes sure your drivers and other software are always up-to-date so it is a good idea to let the monkey look for the latest versions when you are setting up as the CD that ships is nowhere near current [it doesn't even support the KB37]. Once the Monkey had done it's thing, everything just worked. You use the driver interface to assign controllers and footswitches to different functions. It works really well but is a little hard to get at in a hurry.
SOFTWARE [GEARBOX] - This is definitely the best part of the deal. The are plenty of amps, cabinets and other effects available and you can chain them all together to create amazing results. If you are not happy with what you get, you can go on-line and buy even more from Line 6, but I have barely scratched the surface of the bundled options after almost a year. GearBox has very flexible routing - you can assign the hardware VU meters to any of a number of things [inputs, outputs, etc]. You can monitor and/or record with or without effects and you can even record your vocals or guitar parts whilst monitoring other instruments through the unit. You can have a single stereo signal path or two unique mono paths. e.g. one set-up for your vocal and a completely separate effect-chain for your guitar at the same time, whilst monitoring your hardware synths through the unit. Because it operates outside the normal Windoze audio system, latency is negligible which makes it great for using live.
IN USE - This is where we ran into a few problems at first. The KB37 only transmits on MIDI channel 1 so, because we had been using Channel 8, I had to go through all of our songs and change things to Channel 1. But it was worth it because in every other way, the KB37 delivers for us. It is a great device for recording vocals and synth parts and it is a flexible and handy controller for our sequencer and soft-synths. On stage it is even more impressive as we can use it for live vocal effects without having to run our voices through our sequencer software. With two footswitches attached I can change GearBox presets easily on stage and mute the effects between songs.
SUPPORT - Terrible. We had a few problems with the unit when we first started using it and the Line 6 forum was completely useless. After 8 weeks of getting no help from them whatsoever, I eventually discovered that the problem was not with the KB37. If it had been, I doubt it would ever have been solved.
OVERALL - This is close to the perfect solution for us. It is robust and portable, simple to use, yet offers incredible sound quality, both for getting clean recordings and from the amazing GearBox software. If the support was better, this would be a 5-star review.

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The latest addition to the award-winning TonePort family of USB recording and modeling interfaces, TonePort KB37 delivers world-class Line 6 guitar, bass, and vocal tone with the added convenience of an integrated keyboard controller.TonePort KB37 comes with Line 6 GearBox modeling software, which provides a must-have collection of 16 guitar and 5 bass amp/cab models, 30 stompbox and studio effects, and 6 models of high-end studio microphone preamps. And with its exclusive ToneDirect� monitoring, super simple set up, and full-sized keyboard, any musician from beginner to pro can easily record studio quality tracks! Hardware features include two high-quality XLR microphone inputs with phantom power, a guitar/bass instrument input, stereo line inputs and outputs, S/PDIF digital output, stereo headphone jack, analog VU meters, dual footswitch jacks, expression pedal jack, patch select and transport control buttons, pitch bend/modulation wheels, and four assignable real-time knobs and buttons.TonePort KB37 ships with Ableton Live Lite 5 � Line 6 Edition recording software for an immediate studio experience right out of the box.Both hardware and software are compatible with the most popular Mac and Windows recording programs and support 44.1/48KHz with 16/24-bit recording, plus a 96KHz compatibility mode.

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7/24/2012

Samson AirLine Synth Earset - True Diversity UHF Wireless System Review

Samson AirLine Synth Earset - True Diversity UHF Wireless System
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The belt pack is very small compared to most others we've used. The diversity tx/rx setup is simple - but - you cannot change the frequency with the mic attached to the belt pack. Odd, that.
Our pastor says the earpiece is very comfortable, and does not slip during service. He wears glasses, so many other earpieces were either uncomfortable, didn't fit at all, or would slip. The slip resulted in the mic boom dropping significantly enough that the pastor couldn't be heard. With the tension band on this earpiece, that hasn't been an issue.
The mic is well suited for male speakers. There is a noticeable boost in the low end compared to other headset mics we've used. So far, the unit has performed well and fit, rather than busted our budget.

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With its sleek, frequency-agile micro transmitters, one button channel selection and infrared scanning, the technology behind our new AirLine Synth provides easy setup and clear reception at every gig in every location. Ideal for media production, house of worship and of course, professional music production of all varieties, AirLine Synth is a true diversity system that is frequency selectable, with the capability of operating on over 300 frequencies with up to 11 simultaneous systems.

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Freehand Systems MusicPad Pro Plus Review

Freehand Systems MusicPad Pro Plus
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This is a love/hate review. I love the concept, but hate the execution.
I play a wide variety of music, with several different bands. Over the years, I have formatted over 1000 song (in Word) for printing lyrics and chords in BIG print so that the whole band (or at least the vocalists) can read from the chart. Hauling all 20 of my music binders to each gig is just not practical, so I usually ended up printing custom gig binders for each gig. But then there was always someone who requests that one song in binder at home....
So when I saw the Freehand Systems MusicPad Pro, I figured it would pay for itself in about two months in terms of saving me time, printer cartridges, etc. So I bought one and started the LONG task of converting all of my music so that it would be readable on the unit.
Let me interject that I have a Ph.D. in electrical engineering and I'm somwhat of a computer geek and gadget freak, so my tolerance is pretty high for things that are not idiot proof. I'm writing this review for those of you who might have the misconception that this thing is easy to get working to your liking.
In converting all of my Word files to the proprietary .fh files, I had to open and print each of my document via the freehand printer driver, then re-name each file and add my tags. Figuring-out what print setting to use was quite a nightmare. (Hint: use scaling and select Freehand in your Windows print driver first). It literally took me 16 hours to go through the process of converting all my files. Freehand should be ashamed to put this on the market without some way to batch convert from any format to their .fh files.
Then there is the file management. Why in the world they decided to make this thing with a measly 35 Megs of usable internal memory is a mystery to me. Less than 1/2 of my songs fit on the internal memory. There is a USB expansion slot that I had to use. But guess what, most of the memory sticks that they include with these units DONT WORK on the MPP because of some filtering issue in the cheap USB memory sticks that they get from China (and apparently, they don't have someone checking these things before shipping them out). In fact, only a few select memory sticks will work with this device - so beware. Freehand should have included a 1GB internal memory.
The final complaint I have is the price. For what it is, and for all the headaches I've had to go through to get it working, it should sell for $300. If I would have know how difficult it was to convert all of my files, I definitely would have just purchased a tablet PC.
Having said all of the above, I am happy that I have all the conversion behind me, and that I know how to operate the thing. I will use it on a regular basis, and it will simplify my gig preparation. If you are thinking of buying one of these things, be prepared for some pain before you get to the pleasure.

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The Music Pad Pro's 12.1" TFT LCD backlit, color display is about the size of a sheet of music, but this digital music notebook does a heck of a lot more. All your sheet music, drill charts, lyrics, guitar tablature, bowing and fingering marks, class schedules, set lists, and other study and performance aids can all be kept in one convenient place.

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NADY 401X-QUAD-LT/E4/F 4-CHANNEL Professional Vhf Wireless Hand-held Microphone System Review

NADY 401X-QUAD-LT/E4/F 4-CHANNEL Professional Vhf Wireless Hand-held Microphone System
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This is a decent low budget option, but the sound quality is lacking and we have had some problems with interference. If quality sound and no issues is what you're looking for, you may want to keep looking. On the plus side, it was great having multiple mics once we got around the interference issues.

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NADY 401X-QUAD-LT/E4/F 4-CHANNEL Professional Vhf Wireless Hand-held Microphone System

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Bridgecraft 5 Pc Drum Set with Cymbals DRM522 - Red Review

Bridgecraft 5 Pc Drum Set with Cymbals DRM522 - Red
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Great Product....Great Customer Service. Had problems with shipping damage, they took care of it all. Thanks!!

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This Bridgecraft Beginner Drum Set has everything you need to get started playing drums! Here are the details: 14x22 16 Lug Bass, 16x16 10 Lug Floor Tom, 10x12 10 Lug Tom Tom, 11x13 10 Lug Tom Tom, 14x5.5 6 Lug (chrome finish) Snare Drum with Heavy Duty Double-Braced Stand, Drum Throne (seat), 14" Hi-Hat Cymbals with Heavy Duty Double-Braced Hi-Hat Stand, 16" Ride Cymbal with Heavy , Bass drum pedal, Tuning Key and Drum Sticks!

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Rock N Roller Multi-Cart Equipment Cart (R8 Mid) Review

Rock N Roller Multi-Cart Equipment Cart (R8 Mid)
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I have wanted a cart for use with my guitar rig and PA system for a long time. I saw this and decided to give it a try. I'm glad I did. I can carry a guitar amp, two PA speakers, two monitor speakers, a PA head and stand bags, along with my two guitars...all in one trip. I wish I hadn't waited so long. This has made for the easiest load ins and outs I have ever had. And American Musical Supply got it to me in two days, even though they initially said up to a week for delivery. AMS is the most reliable musical instrument source I've tried. Thanks Amazon and AMS.

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Combining ergonomic design with rugged, lightweight practicality, steel-frame Rock N' Roller multi-carts can transform into any of eight configurations in seconds, eliminating the need for different types of carts. Foldable sides rotate and lock into place by release cables, instead of the old-style removable pins. The Rock N' Roller has become the #1 selling cart or dolly in music history.Rock N Roller ModelsR2 Micro:This compact model weighs only 18 lbs. and carries big loads up to 350 lbs.

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7/23/2012

CAD Professional Mics E100S Supercardioid Large Diaphragm Condenser Microphone Review

CAD Professional Mics E100S Supercardioid Large Diaphragm Condenser Microphone
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I have a modest home studio, and my recordings have received kind comments from listeners and fellow engineers alike. Though I am on a budget like almost everyone else, I take my equipment seriously, and believe that one is better off saving for what will deliver widely-recognized quality, rather than trying to economize by buying the minimum you need to get a recording done. When you buy too cheap, you often end up spending 3x what you would have spent (for the good stuff) in money lost through trade-ups--because you just can't get happy.
My personal philosophy out of the way, I have respectable gear that can help me tell the difference between a decent mic and a wannabe.
I tested the e100s through a Metric HALO ULN-2 extended, Logic Pro-9, ADAM A-7 Monitors, and various reference quality headphones, including the AKG K-701 and Ultrasone PRO 750s.
I used the mic by itself, X/Y with a Peluso CEMC-6 SMC, and in an M/S configuration with a RODE K-2 Tube mic. I recorded both vocals and acoustic guitar (this last being my personal favorite for showing up crappy wannabe equipment. Transients, fundamentals, and harmonics from a quality guitar are a great test for mics, pre-amps and monitors, and I have two guitars I tried: a Martin D-35, and a Larrivée LV-05e).
The e100s didn't disappoint. It delivered nicely textured, transparent sound, and as a bonus (especially for those of us who want to make clean, quiet, acoustic recordings), it wasuncannily, blissfully, quiet. I mean quiet. Did I say quiet?
My ULN-2 has something like a 125dB S/N Ratio, and this mic made it worth the investment. Holy-moly. I've used Neumann, RODE, Peluso, MXL, etc., etc... this mike is the quietest of them all...even quieter than the TLM-103.
Great sound. Dead quiet. Buy it.

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Engineered and built in the USA, the new E100S large diaphragm supercardioid condenser has the lowest noise floor in its class (3.7 dBA) and the smooth vintage tone and robust low end CAD is known for. The bootstrapped, full differential Quadra-FET front end delivers high sensitivity and low distortion, plus CAD's proprietary circuitry ensures the highest performance. The nickel plated 1" capsule delivers accurate phasing on instruments, and a full rich vocal tone, accentuated by the extended low frequency response. Features include an 80Hz hi-pass filter and a 10dB pad. From vocals to percussion, acoustic instruments and everything in between, the CAD Equitek E100S will prove to be one of the most versatile tools in your microphone locker, in the studio or on stage. Vintage woodgrain cherry case and stealth shock mount included. 48V phantom power is required. ApplicationsStudio Vocals Choir Acoustic Instrument Guitar Cabinets Bass Cabinets Strings Piano Cymbals/OverheadsSpecificationsOperating Principle: Condenser Polar Pattern: Supercardioid Frequency Response:

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Galaxy Audio PA6S 170W Personal PA System/Monitor Review

Galaxy Audio PA6S 170W Personal PA System/Monitor
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As a singing drummer, I absolutely LOVE this monitor!
You have personal volume control, plus a 3-way EQ, and since you can run two channels into it, you can blend the house monitor mix in with your own mic feed (via a microphone "thru" patch) to get the exact blend of the two that you desire.
After using this Galaxy PA6S at a recent gig, I will never go back to floor monitors again!
Galaxy Audio PA6S 170W Personal PA System/Monitor

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Pioneers of the small PA/personal monitor category when they introduced the HOT SPOT 30 years ago, Galaxy Audio has redesigned their innovative Galaxy Audio PA6S from the ground up while keeping the basics. The outer shell on this version of the PA6S PA system & vocal monitor has kept the distinctive shape of the original Hot Spot, but with a new, 21st century look. The cabinet now uses two specially designed speaker components—the 155-watt NEOLITE 6.5" woofer and Galaxy Audio's highly efficient 1.5" 60-watt tweeter.The Galaxy Audio PA6S PA system / monitor takes full advantage of recent improvements in speaker and amplifier technology, making it the lightest, most powerful, and best-sounding compact PA system Galaxy Audio has ever offered. Features such as the XLR pass-through on each channel allow independent control of mics without affecting the signal sent to the house PA system. The Galaxy Audio speaker's -20dB Pad switch on each XLR input ensures that even the hottest signals will be accepted without overdriving the inputs. An additional 1/8" Line input on Channel 2 will accept stereo or mono signals from sources such as tape or digital medial players as well as line-level instruments.The two-way PA speaker system gives the PA6S a much wider frequency response than earlier models. This means that full-range music, such as keyboards or backing tracks, will come through with solid bass and crisp highs. This enhanced frequency response makes the Galaxy Audio PA6S a great stand-alone PA system for small club gigs as well as lectures and A/V presentations. Plus a simple adjustment of the 3-band EQ can alter the response for singers who love the time-honored accentuated midrange of the classic Hot Spot vocal monitor. The Galaxy Audio PA6S gives you the best of both worlds.Amplifier/PreampThe Galaxy Audio PA6S has a built-in 170-watt amplifier designed to handle the most demanding audio situations. This high-tech Class D amplifier produces plenty of power to co

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Furman P-1800 PF Power Conditioner Review

Furman P-1800 PF Power Conditioner
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Great company, great product.
This has done right by me for several months now. I use it with professional music equipiment. I carry it in a tool briefcase and bungee that to the amp/handcart. It's not light, nor is it small, but it's nice to have this piece without a whole rack system.
It tell us the voltage on the line, and cleans and regulates the feed.
9 months. so far so good.

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Today?s AC power is contaminated. Whether you play in a stadium, bar, or rehearsal space, they all have one thing in common, the AC power is supplied from your local utility. What?s worse is that the ?power factor? supplied from your building?s AC outlet is typically poor, thanks to increasingly overtaxed power lines and raised line impedance.In fact, the quality of AC power has been so poor for so long, most musicians have no idea how great their amplifiers could really sound. When the AC power factor is poor, amplifiers sound muddy because their power supplies can?t deliver when pushed. The scream and cry from a guitar loses bite and harmonics, basses lose their punch and weight, keyboards sound nasal, losing clarity, attack, and extension. Not so with Furman?s Power Factor Pro.The Power Factor Pro?s Clear Tone Technology actually lowers the AC line impedance supplied by your wall outlet, while storing energy for peak current demands. In fact, there are over 45 Amps of instantaneous current reserve in the Power Factor Pro. Additionally, Linear Filtering Technology dramatically lowers AC line noise to unprecedented levels in the critical audio frequency band. What does this mean? Just plug in your current starved amplifier, crank up the volume, and listen to the dynamics, harmonics, and clarity you?ve been missing!Additionally, the Power Factor Pro is the most comprehensive power conditioner ever created for the serious musician. Furman's exclusive series mode...

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Tascam FIREONE Firewire Audio Interface Review

Tascam FIREONE Firewire Audio Interface
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I recently upgraded to a MacBookPro with Logic 7 on it. I needed a control surface that was Firewire based and would allow good functionality and portability. This audio interface/control surface provides a nice touch. I went from an Ozone Midi controller to this because this one was Firewire-based AND I never was into using the keyboard. For my purposes, plugging a mic, guitar, bass and electronic drums this was a great option. It took a little bit of fiddling to work with a MacBookPro (with Tiger and Leopard) and involved a rollback of Firewire drivers/firmware which is available on the Tascam website.
Without the rollback, the control surface will not work (or will work unpredictably). This is a Mac/Logic 7 issue. Anyway, I'm pleased. It looks great, works great (after Fix for Mac OS X 10.4.10 FireWire) and seems very durable.
Time will tell.

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2-Channel FireWire Audio Interface. Large weighted backlit Jog Wheel. Programmable Function Keys. MIDI I/O. Includes recording software

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NS Design WAV 4-String Electric Violin, Amber Burst Finish, 4/4, w/ Case Review

NS Design WAV 4-String Electric Violin, Amber Burst Finish, 4/4, w/ Case
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Review NS Design WAV 4 Violin
Overall this is going to be a favorable Review; however, I certainly have a few reservations and then some positive advice.
Firstly, if you are in love with the sound of an acoustic violin... even a cheap basic student violin with steel strings... then the WAV 4, straight out of the box will terrify you with its heavy coarse raw electrical sound. But since the WAV 4 is `passive', that is, it doesn't have a built-in preamplifier and some elaborate onboard set of equalizers and effects switches and knobs, then you will almost certainly have to get or already have some kind of an pre-amp and amplification system. Depending on the controls on your amplifier/preamplifier, you might be able to minimize a great deal of that buzzy electronic sound character of the WAV 4.
My own setup may be unnecessarily complicated. You see, I use the same Input Cord for everything I play - a couple of electric guitars, an electric bass, and now the electric Violin. Changing instruments just takes resetting a few dials. I use a Bass Amplifier as my Preamp Stage, bringing the signal out from the Headphone Jack. Then it goes into a Alesis Nanoverb 16 Bit Digital Effects Unit, and then goes through a Peavey PV6 Mixer with LO Med and Hi adjusts on the channel. The Final Stage is runs to my headphones. I could probably pull the Bass Amp out of the setup and let the Alesis Digital Effects Processor handle the job of being a preamp, but sometimes it is good to leave well enough alone.
It turns out that the WAV 4 Violin likes about the same settings as my Bass Guitar, and for about the same reason. The worse Electronic Sound comes from high frequency components riding on the sound from the lowest strings. Turning the Treble of the WAV 4 all the way down brings out a fairly natural sound on the A and E Strings (the two highest strings on a violin), but so much high frequency stuff still rides on the G and D strings that one hardly suspects that these are supposed to be low notes. So on my first stage of amplification going through the bass amplifier, I turn down the Medium and the High filters and set up the Low knob to pass more Low than anything else, and I do the same with the Mixer Controls. Yes, it does knock some of the final volume off of the high strings, but plenty of that A and E high pitch gets through, so it is not really a problem. Besides, just a touch of Treble on the WAV 4 brings back plenty of A and E String volume.
It turns out that the rather affordable Alesis Nanoverb Effects Processor (I think I got it for a bit more than a hundred dollars) is just the right thing to have if you actually LIKE electric violin sound. I was able to adjust it for some really nice professional sounding effects - chorus with echo and all of that. But one can dial down these effects so they are barely noticeable while still being a bit helpful. For instance, a slight bit of `chorus', whether linear or non-linear, helps to fill in the Low Strings, giving some of the roundness back to the sound that is robbed by the electronics
I was not able to totally drive out the electronic sound and arrive at a perfect acoustic sound, but I got satisfied enough so that I did not have to throw the whole heap into the trash can. One will never be invited to play with a chamber orchestra or with an unplugged folk music recital, so keep your real violin if you still want all of that. However, when playing with an Electric Band, one can get close enough to the acoustic sound to satisfy for violin parts in songs that are supposed to have that natural sound. It might not be a perfect fit but remember its only rock and roll.
This sound stage setup work took about 5 hours. Then I had to get used to actually playing the WAV 4 Violin. It doesn't play like your standard violin. The Chin Rest is different, and there is that god-awful Shoulder Rest contraption, which turned out to be actually quite a diamond in the rough after I learned to deal with it (more on this below). Anyway, you can't just stick the WAV 4 under your chin and go like its your old fiddle.
The WAV 4 is heavy. It's a block of wood, hallowed out only as much as necessary to put in the Bridge Mounts, the String Things, and the Pickup Jack. Then the metal brackets for the Chin Rest and the Shoulder Rest are heavy enough to mount a sixteen inch cannon onto a battle ship. Given all this weight, the Shoulder Rest would need to be perfect so that one would be able to play without constantly needing to use the left hand for manually holding up and repositioning the violin, when, really, the job of the left hand should be exclusively taken up with dancing fingers upon the strings. But there was just no getting the Should Rest right... for the first several hours...
But I kept at it. The Cushion Part of the Shoulder rest is rubber foam glued on this thick curved metal blade, curved nicely on one side, but apparently shaped to go over the shoulder on the shoulder-most side, and so it guts inward. This is great if you play the violin absolutely sideways, with the violin positioned exactly over the shoulder, forcing your head around to create a permanent crick in the neck. Yeah, yeah... that is how one is supposed to play. All the Best Schools constantly reiterate that the Best Way must necessarily always be the most uncomfortable way. If what they instruct isn't hated and resented, then it can't possible be technically `correct'. However, in the Real World, a great many violin players fall away from such standards of school house perfection, and we play with the violin set more forward. Some people play the violin right under the chin, head and eyes forward. Well, for those Non-Conformists the Shoulder Rest jutting blade stabs them in the chest - giving them the punishment they so rightfully deserve! But really, that's not what they spent their money for, is it?
I was reading on the Ned Steinberger Site (NS Design apparently stands for Ned Steinberger Design) and I saw promotions for their Custom Shoulder Rest, which is flexible. Apparently they had received hundreds of thousands of complaints regarding their standard Shoulder Rests and so they redesigned the Shoulder Rest, but they are still selling Violins with the Old `Stabber/Punishment' Shoulder Rests. Anyway, I thought that my Shoulder Rest was one of the new Flexible ones (I should learn to read websites more carefully), but when I tried to bend it with my fingers, there was no give at all. So I tried to tweak it a little with a BFH (Very Big Hammer) and it snapped. Really, it was not malleable in the least. You would think it would bend a little before breaking, but, no. after five or six very sound blows - Snap! But the good news is that it is no longer stabbing me. The rubber pad glued to the bottom of the thing holds the pieces together. Anyway, I have emails out to Ned Steinberger and Johnson Strings asking about what I have to do to get one of the new Custom Shoulder Rests.
Well, even after breaking the Shoulder Rest which represented some progress in fixing the inherently flawed design, I still could not dial it in to the point where I could play the violin for longer than 20 seconds without having to stop to reposition the thing. The weight of the thing was making it inexorably slide down the chest. And constantly supporting the weight of this Battleship Violin... well, it was giving me a upper back ache and muscle fatigue in my left arm. I have to admit that I was getting a bit discouraged, but then I had this wonderful inspiration!
The Bar and Tee arrangement of the Shoulder Rest provided an excellent hook up spot for a simple strap that one could wear around one's neck. What I did was I tied off my Scapular Cord (A Scapular is a Catholic Religious thing that just happened to hang from a thick cord I had woven from 9 strands of wool yarn - a rather nice piece of rope, really) to a length that would just barely fit over my head and I passed it through the Chin Side of the Shoulder Rest Blade and over the Fastening Knob, and now all the weight of the violin hangs from my neck on that neck strap. It worked wonderfully well! I was finally able to get in a good practice, with the violin staying put long enough to warm up on the fingering and decide that, yes, indeed, it was an actual violin I was playing. And, with the Shoulder Rest looped through the Neck Cord, one does not need to put the WAV 4 Violin down... between songs, or rosining the bow, or whatever. One simply lets go and the smallish violin simply hangs down on one's chest, like a big jewelry pendant. If you wish to make your own neck strap, then any heavy cord or strap looped to be about 23 inches in diameter, just fitting over your head, would be suitable.
Oh, the WAV 4 Violin comes with the Bridge adjusted very low. I used those screwdriver adjusts to bring up the Bridge a bit to help with the kind of string modulation you do by wiggling your fingers on the string... if the bridge is too low, you lose a lot of that effect.
So, in summation, the WAV 4 probably sounds no more "electronic" than any of the other Electric Violins out there, and once you learn to strap the Shoulder Rest around your neck, then that horrible monstrosity of a Shoulder Rest actually becomes a positive attribute for selecting WAV 4 from amongst all of its competition. It makes me think of objections I have heard regarding Fender's FV-3 Electric Violin - that it was overly heavy and constantly needed to be repositioned. Well, with its standard acoustic style Shoulder Rest, there's not much that one can do about the weight - there is nothing that I can see to tie onto or hook up to in order to provide the Neck Strap relief available so easily on the WAV 4 Violin. Such is probably the case with...Read more›

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NS Design WAV 4-String Electric Violin, Amber Burst Finish, 4/4, w/ Case

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7/22/2012

JBL LSR2325P Pair of Bi-amplified Studio Monitors Review

JBL LSR2325P Pair of Bi-amplified Studio Monitors
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Me:
Musician, been recording on 4 track, 8 track, 16 track & 24 track recorders since 1996, i have pro mics (M-Audio Sputnik, AKG D5 & C3000, Rode NT3) and have owned many others, i use a TC-Electronic G-Force and a TC Helicon Harmony G-XT.
How i chose these speakers:
- I took a trained sound engineer friend (who has been recording since 1996 too and who attended a Sound Engineer course at SAE) with me because he is the only person whose ears i trust and because i wanted to be sure i wasn't going to choose the wrong set of speakers.
- I went to all the major studio gear stores in Paris, France, in the Pigalle area where all the music stores are. We listened to many many different speakers, sometimes without prejudice and other times with great hopes because we've been reading about brands like Genelec & Dynaudio & all the newer brands out there just like anyone who trusts the specialized press.
- We checked speakers ranging from 200 to 2000 a pair, more or less: we just tested everything they had that looked interesting, including the latest M-Audio, Yamaha, Alesis, Genele, Dynaudio, Adam, etc., etc., etc., etc.
- We tested the speakers on tracks we both knew very well & some very clean recordings as well as some others.
- We selected tracks for reverb to see if the speakers could render the reverb properly, which is something many speakers simply fail to do.
Results of the search:
- Against all expectancies, all the major contenders turned out to be crap. And i mean absolute garbage. Given that we both had exactly the same criticism about each speakers we listened to, i'm pretty sure we weren't being delusional. Now it is possible that the set-up in the stores were not optimal, and maybe the passive speakers were linked up to a bad amp, but most speakers were active & linked to the source via a professional monitoring system with lots of switches designed specifically for this purpose.
- Genelec flaws: no mids AT ALL, same power as a bad car stereo, no bass.
- Dynaudio BM15 ACTIVE: absolute crap amplification, rubbish.
- ADAM A5: aggressive mids, crap treble, no bass. Absolute GARBAGE.
- Yamaha (new NS-10 style speakers) & M-Audio: average sound, not enjoyable at all.
- Most speakers had a very aggressive sound in the mids or treble, and lacked bass. Even in the very expensive range of speakers, none managed to impress us and virtually all were flawed in some aspect that alone would render them totally useless & unbearable.
- The last store we visited was definitely much more pro (Sound Factory) and had real speakers. They played us some PMC passive speakers linked to a 300 stereo amplifier. We were AMAZED. They were fantastic. Well, these were not the most expensive (around 1000 a pair i think), and by far the best. They aren't used at Abbey Road for nothing then...
We then told the salesman we had already heard his Dynaudio BM15's and said we hated them & didn't want to waste his time with those -- "skip em!", we said -- but he had the passive version. And they were very good. The difference was AMAZING. In other words, manufacturers of speakers know how to make speakers, not amplifiers. So get the passive version of whatever you want, and add your own amplifier, the result will be incredibly better, i assure you.
So far the PMC were the best and the Dynaudio were not bad but not cheap. Just out of curiosity i asked to check out the tiny JBL 2325P's that were a ridiculously cheap 400 and were active...i said to him "i guess the JBL are crap but let's give em a try anyway, just to see"...he replied "no, they're not bad actually".
With my friend we both looked at each other with big eyes, we were very pleasantly surprised...they weren't quite as good as the PMC but they easily beat all the others we'd listened to that day.
I ordered this in the US because i now live in Mexico. I got them here on Amazon for 400$ (470$ or so with shipping), with 2 Samson speaker stands and 2 Wirlwind XLR cables. I just set them up today, on their stands.
I don't have a proper good quality source at the moment, my SACD player is in France, so i tried first via the minijack output of my Toshiba P300 laptop and the sound was harsh & had some very apparent artefacts due to the extremely bad quality of this output (Toshiba should be ashamed, really). I then switched to my Archos 5 mp3/video player and the sound is incomparably better. Not perfect, of course, we're not talking about a proper HQ source here, and remember the connection is a cheap minijack=>RCA cable, nothing like XLR=>XLR.
On bad recordings, or old ones, the sound is not so good, and indeed that's exactly how it should be: these speakers tell you when the source is bad. But switch to Kate Bush's Aerial album (her latest, from 2005 i believe), encoded in high quality by myself, and the bass response is amazing, everything is perfect.
Summary:
- Incredible bass response for 5 inch woofer, simply amazing. And it doesn't sound artificially boosted as on some speakers that just try too hard.
- Very well balanced & detailed mids & treble. Although i do prefer the treble & mids on my previous speakers (B&W DM602 S2 -- Bower & Wilkins make excellent passive speakers, with kevlar woofers & perfect tweeters, but you need to be very careful positioning them to get good bass response). But these JBL 5" woofers provide more oompph in the bass than by much bigger B&W's used to. Quite amazing, really. And it's not muddy bass, it's clean, well controlled, has fast attack and nice round oompph. I can hardly imagine how good the 2328p's must be! They were much more expensive, though, & too big & heavy for my needs.
- Very small in width but deep & quite heavy (7.7kg).
Manufacturer's specs seem accurate upon listening (for once) and outperform by far much bigger & much more expensive speakers:
43Hz-20Khz
55 W LF - 35 W HF (don't let this fool you, these speakers are loud enough to make you deaf for indoor use).
You have a treble +/- switch on the back & the same for bass. These work rather well but don't feel too solid & i wouldn't play around with them too much.
The volume knobs are not smooth but have small 'steps' to them so you can set both speakers to exactly the same setting easily. They have a good feel to them.
You have line balanced ins on XLR & TRS jacks, plus unbalanced line in on RCA/cinch.
The on-off switch on the back is silent & a blue light on the front tells you when the speakers are on.
Overall opinion:
The best active monitors by far in 2009-2010 for this money or size? I'd bet they are, yes.

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The JBL LSR2325P Powered Studio Monitor is a bi-amplified 2-way model with a detented level control that allows fine adjustment of individual speaker levels to balance the speaker in your system. Low Frequency and High Frequency Trim controls let you tailor the speaker's response to preference or room acoustics. A neoprene rubber pad on the bottom of the speaker provides acoustic isolation and increases stability when the speaker is placed on a speaker stand or a console top. Mounting points are included and the enclosure has been reinforced for safe mounting using industry-standard mounting hardware. Featured to integrate into professional systems, the LSR2325P includes balanced XLR, balanced 1/4 inch and unbalanced RCA inputs that allow connection to a wide range of playback sources including computer audio workstations, professional mixing consoles, as well as consumer playback systems.

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