Freehand Systems MusicPad Pro Plus Review

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(More customer reviews)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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Bose L1 Model II System Single Bass Package Review

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(More customer reviews)I have worked as a mobile DJ since 1980 in the Pittsburgh area, and for most of that time, I used two Bose® 802 speakers (the pro version of the 901s) and the 302 acoustimass bass enclosure (which weighs 115 pounds). There was never a doubt that I had the best sound possible.
However, I tore a rotator cuff lifting the 302 into the car a couple of years ago; the system was just too much to load and unload, what with the speakers, two amplifiers, mixer, etc.
In January, I discovered the Bose® L1 Model II sound system. It is light, compact, and efficient, and it delivers incomparable sound that rivals the 802/302 system pushing 1600 watts but without the weight and clutter of cables, etc.
For DJ applications, I highly recommend getting two B1 bass units to deliver the kind of bass that carries into the room and which would be suitable for dancing.
If you are using the system as a single performer, then one B1 unit might be sufficient. However, my experienced friends have told me that this system does not work as well as some other systems with DRUMS. For that use, you might want to consider a different set of speakers, especially subs.
When I set up my L1 with two B1 bass units at a venue, the first "test" song I play is Billy Joel's "Innocent Man." If you're familiar with it, you know it starts off with dynamic bass. Then the high register kicks in, and the L1 system produces such spectacular sound that at every single gig I've done with them, someone--waitresses, bus boys, caterers, hall managers--comes over immediately to rave about the sound. One of the most frequent comments is "I can't believe how CLEAR the sound is!"
For what I do (weddings, corporate parties, reunions, etc.), it's the ideal system. Cocktail hour and dinner music, which have to be low enough to allow conversations to be carried on at tables, was always a problem. In the past, people near the speakers thought it was too loud, while people in the back of the room couldn't hear the music clearly at all. Now, though, I can set the volume, and that volume is pretty much the same if you're standing 10 feet from the speakers or 75 feet from the speakers. There is a very slight falloff in the sound volume after the first 100 feet, but even at that, it still carries well. Even though I've been doing this for several months now, I'm still amazed at how even the sound coverage is.
When it comes to the dance music, the volume doesn't have to be as "loud" as it had to be with the 802/302 system. When I fired those speakers up, there was always a "hole" on the dance floor in front of the speakers because the volume was so high it would make your ears bleed (OK, so it wasn't that loud--but it was loud!). With the L1 system, the sound carries so well that the volume doesn't have to be set at the "make their ears bleed" level. I can set it for the "right" sound for the dance floor, and it carries all the way across the room at the right volume. And people dance right next to the speakers. I was surprised to see that, to tell you the truth, and I even took a picture in May of the parents of the bride dancing about 2-3 feet from the speaker system.
A nice feature for me is the fact that the amplifiers are built into the pedestal base unit that holds the cylindrical tower (two speaker sections that fit together rather securely in a seven-foot high tower). The amplifiers are created by Bose precisely for these speakers. The cylindrical tower contains 24 matched speakers that are placed at specific angles within the tower to create that 178-degree horizontal "throw" of the speakers. The amplifiers sense how many B1 units are connected and properly direct sound and power to them.
Lots of "stats geeks" have trouble with Bose® speakers because they are into amplifier wattage, speaker capacity in terms of "power," etc. However, if you understand that Bose is engineering the sound of these speakers in a new way, then you'll understand that the sound is not directly reliant on some of the "old" measures of powering speakers. The bottom line is the sound your ears hear, which is the truest test of any speaker system.
If you buy this system, I recommend the Bose® ToneMatch® audio engine to go with it. It has three microphone inputs that have universal inputs (either XLR or 1/4 inch jacks), and a fourth input that accepts two 1/4 inch jacks (either balanced or unbalanced). Stereo sources can be connected here, so that solves the "stereo iPod" problem mentioned by another reviewer. There is also another connection, a direct USB connection, which will accept sound (either stereo or mono) from a computer. I use my laptop and a firewire drive, and all the music comes through the USB port into the ToneMatch® audio engine. Another benefit of the ToneMatch® audio engine is the large number of "presets." The presets will tailor the sound of the system to fit various microphones; a wide variety of instruments; and pre-recorded (DJ) sound sources. There is a "Low Volume" preset that is nice for dinner music, for example, and a "high volume" preset for dance music that eliminates the tinny highs and midrange, and the sometimes muddy bass sound that is often produced by sound systems when they are pushing the higher power outputs.
I recently did an outdoor venue for a Car Show and had to cover a huge area with sound. I used one Bose® L1 Model II with two B1 units and one Bose® L1 Classic system with two B1 units (I picked that up "used" as a backup for the Model II and for use in larger venues). I pointed one system up the hill into the wind and the other system downhill with the wind behind it. The "uphill" sound carried very clearly for about 70 yards, after which it was audible but not crystal clear. The "downhill" sound carried 120 yards with no hint of falling off. That answered my question, "Will this system provide enough sound for a large venue?" Last year I played that same venue with my Bose® 802/302 system (1600 watts pushing it), and the comments I heard this year were that the sound was much better this year and it was clear all over the area. Take it for what it's worth.
Bottom line evaluation for who should/can best use this system:
* For single performers, this is outstanding.
* For DJs, this is outstanding.
* For live bands trying to use more than one or two performers per system, this may not be your best choice unless you get one system per performer.
* For drums, this might not be the best audio solution unless you have four B1 units.
* For small venues, this system may have no equal.
* For larger venues, an additional system might be required to cover the entire area.
* While I have not had this concern, other DJs have reported that it is helpful to elevate the system to get better "throw" over a crowded dance floor. (Lots of bodies will absorb sound.)
Bottom line evaluation for the system itself:
* For portability, sound quality, and ease of setup, this is outstanding.
* For clarity and range of sound, this is outstanding.
* For bass reproduction at high sound levels in very large venues, this system is average with two B1s; below average with one B1; and slightly above average with four B1s.
Overall, I give the Bose® L1 Model II system (with TWO B1 modules) the top rating, 5 out of 5.

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The premier Bose L1 loudspeaker system for musicians_with our smoothest, most consistent sound coverage and most powerful tone-shaping tools. Lightweight and modular, this sleek system fits easily into a car trunk and takes just a few minutes to set up.

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Creative Professional E-MU 0404 USB 2.0 - Sound card - 24-bit - 192 kHz - 117 dB SNR - stereo - Hi-Speed USB Review

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(More customer reviews)I need to point out that this is an *audio* interface first and foremost. Some of the other reviews only mention its MIDI capabilities. It is *also* a MIDI interface, but the primary purpose of this box is to facilitate the recording of audio. It has some great AD/DA converters to that end, along with the capabilities for very high sampling rates (unlike USB1 interfaces).
Another review also talked about using it as an external sound card. You certainly can do that, but it's a waste of money - other products exist that do the same thing better for cheaper, and without as much bulk or an external AC brick to deal with. No, if you're going to buy this box, buy it to record audio and/or MIDI.
If you're still confused as to why this thing exists, the bottom line is if you need it, you know it. This is a category of device designed for "advanced amateur" home recordists and musicians, who want to record their instruments and make their own demo tapes and need top quality and certain features that don't come stock in a standard PC sound card.
Now, as for this product vs. others in its category - I've only had it for a day, but so far, it does what it's supposed to. What you're really paying for are the DACs and the software, both of which are extremely important to home recording. The hardware other than the DACs is kind of cheap and flimsy, but it works. It's not going to stand up to abuse, though - it's all plastic, with gritty-feeling knobs and buttons and a thin plastic casing. One nice thing is having level displays on the box itself, which is something that some budget interfaces lack. Everything does work like it should.
A big question in audio interfaces is the actual interface itself between the box/card and your computer, which affects latency. I wanted something that I could use with any computer that I use, be it my laptop, my desktop, or a computer at my office. That ruled out PCI, which offers the best latency (but requires a breakout box if you want things like hardware level monitors), and it ruled out firewire too, because my laptop doesn't have the ports. I felt USB 2.0 was a decent compromise; it's not quite as good as firewire and definitely not as good as PCI, but it's a lot better than USB 1.1. If you can use PCI, though, Emu also offers a PCI version of this interface - just be aware that you'll be giving up a few features, plus the obvious portability. If you want USB 2.0 for the same reasons I did, this is honestly one of the few audio interfaces out there that can use it. (Most manufacturers assume you're either a pro, in which case you want firewire, or you're a total budget amateur, in which case you want USB 1.1.) There is definitely some latency when monitoring your recordings through the PC, but on the plus side the box does offer zero-latency hardware monitoring directly through the box.
The software bundle is pretty amazing for the price, and it's another big reason why I bought this model. It actually ships with at least three (by my count) full-fledged recording apps: CuBase LE, Ableton Live and Cakewalk LE. Don't let the "LE" designations scare you - they're totally feature-packed apps, just with fewer tracks and VST instruments than the full versions. Do you really need 96 recording tracks for a home recording? 24 should be enough. But the nice thing is these apps also give you an upgrade path to the full versions if you so desire, so you end up saving money vs. buying the full app by itself. This unit also comes with Amplitube LE, which is a plugin for Cubase that models a variety of guitar amps so you can really get that perfect sound that you're looking for - I've been having a ton of fun with this.
I give it four out of five stars only because of its questionable durability. This is not the interface you want if you plan to carry it around in a gig bag all over the place. Also, it does have an external power brick (a small one) - though that's what enables the phantom power for the mic inputs, so it's a good tradeoff. Still, if you want something really portable, look elsewhere (though you'll probably have to give up phantom power). But if you want a good all-around interface for not a lot of money, with a great software package and pro-level audio quality, and you plan to keep it on a desk most of the time, this unit is definitely worth a look.


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Emu 0404 USB 2.0 Audio/MIDI Interface delivers an unparalleled level of audio performance to your PC with premium 24-bit/192kHz A/D and D/A converters, pristine XTCTM mic/line/hi-Z preamps, ultra-low jitter clock and rock-solid stability. From its plug-and-play functionality and hands-on ergonomic design to professional features and signal-to-noise specs that are simply unmatched by any other USB interface on the market, the 0404 USB will forever change your expectations of USB audio. The 0404 USB also ships with the E-MU Production Tools Software Bundle that includes E-MU's Proteus VX, as well as software by Cakewalk, Steinberg, Ableton, IK Multimedia, and many more - everything you need to create, record, edit and master your music. Package Contents E-MU 0404 USB 2.0 AudioPod USB cable Universal power adaptor Quick Start installation guide E-MU Software/Manual CD-ROM Windows XP and x64 Drivers Owner's Manual and Tutorials E-MU Production Tools Software Bundle CD-ROM Cakewalk SONAR LE Steinberg Cubase LE Ableton Live Lite 4 for E-MU Steinberg Wavelab Lite IK Multimedia AmpliTube LE SFX Machine LT Minnetonka diskWelder BRONZE (trial) E-MU Proteus® VX (over 1000 sounds included) The Emu 0404 USB 2.0 Audio/MIDI Interface features Premium 24-bit/192kHz A/D and D/A converters (A/D: 113dB SNR, D/A: 117dB SNR) deliver unmatched USB audio fidelity E-MU XTC Class-A ultra-low noise Mic/Line/Hi-Z preamplifiers (-127dB EIN) with 48V phantom power and ground lift switches enable you to plug microphones, keyboards and guitars straight into your computer with professional results, while the built-in analog soft limiting circuit lets you record a hotter signal without fear of clipping Comprehensive digital I/O with optical and coaxial S/PDIF (switchable to AES/EBU) and MIDI In/Out to easily c

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Bob Dylan Hand-Signed-Series Hohner Marine Band Harmonica Review

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(More customer reviews)
This is an absolute bargain. Few people realize this is the same harmonica used by Dylan in his cameo appearance as Darth Vader in "Return of the Jedi." I purchased two, one for myself and one for my wookie.

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What happens when you join a 151-year-old musical instrument manufacturer with one of the world's most legendary musicians who happens to be the single most influential harmonica player in the annals of popular music? You make history, of course! Throughout his iconic career, Bob Dylan has maintained a special relationship with the Hohner company, showcasing their harmonicas in his music. Hohner is now honoring that association by offering a collection of limited edition, hand-signed Marine Band harmonicas to the public. This is a hand-signed, key of C Marine Band harmonica, just one of 100 made--truly a once-in-a-lifetime opportunity for Bob Dylan fans.



Hohner & Bob Dylan. A Historic Collaboration.

The Dylan Legacy Bob Dylan, the venerated American singer-songwriter, author, poet and disc jockey, has been a major figure in popular music for five decades. During his career, Bob Dylan has won awards for his songwriting, performing, and recording, earning him eleven Grammys (and a Lifetime Achievement Award), Kennedy Center Honors and an Academy Award. He has been inducted into the Rock and Roll Hall of Fame, Nashville Songwriters Hall of Fame and the Songwriters Hall of Fame. In 2008, Bob Dylan was awarded a Pulitzer Prize Special Citation for his "profound impact on popular music and American culture, marked by lyrical compositions of extraordinary poetic power."
The Bob Dylan Hand Signed Single Key Harmonica This is a single Marine Band harmonica in the key of C, hand-signed by Bob Dylan. This single harmonica is displayed in an inlaid ebony box, also handcrafted for Bob Dylan with a signed card from the President of Hohner, Inc., confirming authenticity. One hundred of these single key harmonicas exist worldwide.
About Marine Band Harmonicas Internationally recognized by players for its simple beauty and resonant tone, this is the most famous harmonica in the world. The pearwood body, solid brass plates, and patented cover design produce a musical quality that, when first heard in 1896, brought the Marine Band immediate popularity. This is the model that helped to create the sound of the Blues, Country, Folk, and Rock.
Hohner Harmonicas--The Proven Choice Hohner--the world's biggest manufacturer of harmonicas--has proudly maintained a tradition of high quality instrument making. Their mission is to offer a diverse range of models designed to meet the needs of every musician in today's musical climate.
Tireless investment in research and development, combined with knowledge that has been cultivated for decades, ensures the company's high quality standards. By working in close cooperation with the most renowned professional harmonica players, Hohner ensures that their instruments remain on the cutting edge of the industry. An up-to-date manufacturing process uses special alloys and precise stamping and milling tools to produce reeds of optimal sound quality, responsiveness and longevity.
Hohner's long standing dedication to harmonica excellence has inspired a loyal following among players from all walks of life; young and old, amateur and professional.
What's in the Box Bob Dylan Hand Signed Series Hohner Marine Band Harmonica (Key of C), Presentation box, Letter of authenticity

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Behringer PMP3000 1,200-Watt 16-Channel Powered Mixer Review

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(More customer reviews)We bought this powered mixer to replace a defective one at our church. Our sanctuary can seat 900 people and so it is a fairly large auditorium. The mixer has more power than the previous powered mixer and many more features. I especially like the individual channel mute buttons so we can kill a mic without having to move the gain adjustments. The only thing I did not like about this mixer is there was no block working diagram available. So we had to construct one for ourselves. To a trained eye, by using a block schematic diagram, it is easier to know how to set up the mixer for different applications and to troubleshoot a problem.
The actual steady state power output is more like 200 watts (each of the two stereo outputs)for our 8 ohm speaker system but still is greater that the old powered mixer. That is a total of 400 watts as compared to the (at first glance) advertised 1200 watts. We do not have to use the maximum gain on any channel so the output is fine for our use. There is also a headset output that follows the actual powered signal which can give you a better idea of mixed signal that is sent to the speakers and to our DVD and CD recorders.
The people at Behringer were able to answer all my questions without any problems so tech support was great. We did have a little difficulty in figuring out how to use the FX special effects (reverb, etc) generator but once we did figure it out, using it was just as advertised. You can probably guess that the instruction manual is not extensively done. But with a limited budget for an emergency purchase of a powered mixer, we are thoroughly satisfied with the quality and price.
The price is exceptional and caused a few doubting comments about how could we get what we needed for such a small price. We have been using the unit for two months now with absolutely no problems.
My suggestion is that before you purchase this unit, download the instruction manual from the Behringer site. You will see the output connection is not a 1/4 jack. If that is what you have, you will have to buy an adapter or convert the present cable connection to the new type. The adapters or connectors are not very expensive (Neutrik NA4LJX Speakon To 1/4" Mono Jack Adapter)and cost under $11 including shipping. You can optionally by the Speakon connectors and convert the speaker cable to the new connector type.

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If you need superior stereo sound for small club gigs, churches or speeches, but have to keep the outboard gear to a minimum, the 16-channel PMP3000 can deliver. This 1,200- Watt mixer has built-in mic preamps and an FX processor, as well as enough power to drive mains and monitors, thanks to dual onboard 600-Watt power amps.

Massive Mono or Stunning Stereo The PMP3000 gives you the choice of 2 x 600-Watt stereo, 2 x 600-Watt dual mono or 1,200-Watt bridged mono sound. Whether the center of attention happens to be a folk trio, a speech, or a synth-rock band with mind-boggling stereo patches, the PMP3000 can accommodate. This sonic versatility also makes it an excellent choice for churches, where vocals and stereo recordings often share face time.
Classic Control, State-of-the-Art Sound Leave the mic preamps at home, because the quality of sound that was once only available in the studio is ready to go wherever you do. Eight built-in, boutique-caliber mic preamps with switchable +48 V phantom power make it possible to use either dynamic or condenser mics with the PMP3000.
Built-in Digital Effects Processor The PMP3000 is also equipped with a 24-bit FX processor, giving you 100 mind-blowing digital effect presets such as delay, chorus and reverb. Apply them to any channel, as well as to the monitors and main output. In case you're pulling double duty as sound engineer and performer, the FX processor features a footswitch jack for remote on/off.
Changing the Channels The PMP3000 gives you excellent flexibility to accommodate whatever a performance requires. Channels 1-8 are for mics, guitars and other mono instruments. Stereo channels 9-16 are ideal for keyboards. All mono channels have 3-band EQ, switchable Low Cut filter for eliminating infrasonics, and Clip LEDs to indicate when the input signal is too hot.
The Ins and Outs Use the CD/TAPE IN RCA inputs to feed in external stereo signals from CD players or tape decks. The VOICE CANCELLER switch eliminates the vocals from pre-recorded music for karaoke applications.
CD/TAPE RCA outputs send line-level signals from the mixer to a recording device. Left and right output 1/4" connectors are there in case you need to connect more power amps. Connect your monitor power amps or active monitor speakers to the MON SEND output.
A STANDBY switch mutes all mic channels during breaks, preventing the microphones from picking up noise or interference. You can leave all faders untouched while you play a CD via the CD/TAPE inputs.
The FBQ Feedback Detection system automatically shows you which frequencies are causing feedback. Just touch the FBQ button and watch the red LEDs on the 7-band graphic EQ pinpoint which frequencies to adjust for optimized sound, without the feedback.
Speaking of Optimized Output The PMP3000's POWER AMP switch toggles between three operating modes: MAIN, MON/MONO and BRIDGE (the power outputs of A and B on the back panel are added and provided at OUTPUT B). Dual mono mode allows you to use Output A for mono Mains and Output B for monitors. This clever functionality powers both your mains and monitors without the need for an additional power amp.
What's in the Box Behringer PMP3000 Powered Mixer, Power Cable, User's Manual

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Bose L1 Compact Portable Line Array System Review

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(More customer reviews)I am a professional mobile DJ in the Pittsburgh area, and I rely primarily on the Bose® L1 Model II sound system (with two B1® bass units) for my performances. When I need extra boost, I expand my sound by adding a Bose® L1 Classic sound system (the original L1 system) and two more B1® bass units to my Model II system.
However, there are times when I don't need the "muscle" of the full system, such as small venues for birthday parties, outdoor wedding ceremonies, etc. For that, the Bose® L1 Compact sound system is perfect! It will provide excellent sound for 100-150 people. It is an amazingly fast setup and tear-down, and it is light enough to be truly portable. Completely set up, it weighs just 29.2 pounds, so it is great for those tough small venues that have limited space, limited access, stairs, etc.
The sub-bass sound is built into the bottom unit, and there are 1/4" jack inputs for your sound source. The unit is designed to work with the T1 ToneMatch® sound engine (mixer with many presets that can contour the sound nicely). If you are using the ToneMatch, however, be advised that you will have to purchase a power adapter for the ToneMatch. (The ToneMatch is powered from the pedestal base amplifier of the Model II®, but the L1 Compact® will not power the ToneMatch.)
The midrange sound comes from a small, narrow enclosure containing six small speakers/drivers placed at precise angles to deliver sound at a 178-degree "throw" left and right. The sound WILL cover a large area evenly, which is great for those times when the sound has to be softer (dinner music, pre-ceremony music for weddings, etc.). Everyone in the coverage area hears the music at the same volume, which avoids the problem of traditional speaker systems (really loud near the speakers but diminishing volume as you get further away). I was very skeptical of this feature when I first heard about the even sound coverage, but a year and a half of using the Bose® L1 systems has made me a believer. It's sweet!
Another nice feature is that there is a 1/8" stereo input jack for iPods (also works well when sending sound directly from your headphone output of a laptop). This lends a great deal of versatility to the system.
Example 1: I did a wedding reception recently where the father of the bride had a DVD he wanted played after dinner and projected onto a large screen. The location of the LCD projector was quite a distance from my main table, and the hall had not provided for the sound of the DVD show. I brought in the Bose® L1 Compact system and set it up next to the projection table, connecting the sound directly from the laptop that was running the DVD to the Compact system using a 1/8" to 1/8" stereo jack from the laptop to the iPod input on the Compact. The sound was perfect! Far better than any portable speaker system I have heard in the past from photographers/videographers who bring portable sound with them for their PowerPoint shows. It was a simple one-cable connection without anything else.
Example 2: I did wedding ceremonies both outside and inside for crowds of about 150 people or so using the Compact system. I ran all the music from my MacBook Pro through the ToneMatch®. I also connected two Shure wireless mics through the ToneMatch as well (one on the officiant, and one on the groom, which picked up the bride as well.) Additionally, I connected my Sennheiser wireless handheld (for any "emergency" announcements that might have been necessary) through the ToneMatch. This was a more complex setup that involved power for three microphones, one laptop, and the Compact System®.
For both applications, the Compact® delivered great sound and covered the area perfectly. I could not have asked for better sound.
There are two "sides" for input. One side is for line inputs (from mixer, musical instrument, iPod, laptop, ToneMatch®, etc.), and the other side is for a microphone input. Each side has its own volume control, which is crucial if you're a single performer. You can set your voice and instrument levels perfectly. As a DJ, though, I do not use the microphone side, so I cannot comment on how well the two sides work for single performers.
There are two official setups for the L1 Compact®. One setup is to leave the speaker in the base unit (the way it arrives). You would have to put this on a table for good sound coverage. If you used it from floor level, the sound would be muddy. This setup would be perfect if you are supplying the sound system for a keynote speaker at a conference, as an example. The unit could sit on the table next to the podium where the speaker is standing, and the sound the audience would hear would be fabulous--VERY crisp and clean.
The second official setup is to use the two extender sticks to elevate the speaker unit about six feet off the ground, which is the way you would want to set up the unit for full-room coverage for music, especially if there will be dancers!
I saw the unit being used with only one of the extender sticks, which put the speaker unit at "head level" for a seated audience. I don't know why you would use that setup, but it works fine that way (the extender sticks are identical, so there doesn't seem to be any reason you CAN'T use this setup.) Be advised, though, that Bose® does not recommend this setup.
So let's get to the bottom line:
PROs: Compact, portable, sleek. Easy setup with a tiny footprint. Great sound for what it is, delivering full bass, midrange, and highs for up to 150 people. Excellent choice for small venues, whether you are a DJ or a single performer. Great system for speakers at business meetings, conferences, church groups, etc. The sound is crisp, clean, and clear. The bass is far better than anything of comparable size, and the quality of the unit is excellent. This system is what I use for my backup system (to the L1 Model II®). It doesn't take up much space in the car, and if something WERE to happen to my L1 Model II® system during a performance, then I have a better backup system than 99% of the DJs out there.
CONs: While the bass response is very good for the size of the system, it cannot really compare to using two Bose® B1 units with a Model II system. THAT system can provide a chest-thumping bass resonance, but this system would be hard-pressed to do that. Don't get me wrong here: the bass response is very good, but it isn't what you would want for a larger venue where the bass has to carry out all over the area. And, as one should know right up front, it is NOT a unit for larger venues. It is fine for small areas, but if you have a louder, noisier, larger area, the Compact system would not be up for the task.
BOTTOM LINE: If you want terrific sound from a light, portable unit for a small venue, this system can't be beat! If you want a high quality backup system for your main sound system, it would be tough to get a better system with a better sound. If you play larger venues with noisy crowds or if you need a driving bass sound to resonate throughout the venue, then consider another alternative. (And remember, if you use a ToneMatch® sound engine with this, you have to buy the power adapter.)
RATING: Four stars because of its intrinsic limitations. It cannot be a system for a larger venue for 150-200 or more people, but it can be your answer for smaller venues and smaller crowds.
For what it is, though, it is Super!
NOTES:
* Response to reviews: Another reviewer here has stated that there are plug-ins for only voice and guitar, but that is inaccurate (see above for input variety). And as for effects such as reverb, delay, and other effects, those can be created nicely with the Bose® T1 ToneMatch audio engine, as stated above.
* The bass response difference I mentioned above between the Model II and the Compact units is approximately one half octave at the low end, according to Bose. Many people cannot hear the difference, but trained ears can. The limited power and bass response are the reasons I could not give five stars. Still, all in all, a great product!

Click Here to see more reviews about: Bose L1 Compact Portable Line Array System

Introducing the L1 Compact portable line array system. Carry it in one trip. Set it up in one minute. Fill the room with Bose sound.The L1 Compact system combines conventional PA and monitors into one sleek unit. Positioned behind or to the side of a performer, DJ or presenter, it delivers wide, even sound coverage throughout the stage area and audience-even off to the extreme sides. It's our smallest, lightest, easiest-to-set-up L1 system, weighing just 29 pounds.Big sound. Small package.Now you can have quality Bose sound for almost any gig, event or occasion. The L1 Compact system is small enough to fit in your trunk or back seat, and its innovative modular design makes setup easy and fast. You can arrange it in either a collapsed configuration for smaller spaces or a taller, extended configuration for larger ones. No extra gear to haul. No heavy speakers to hoist onto stands. No speaker cables.A different loudspeakerThe L1 Compact system's slim loudspeaker distributes sound clearly and evenly throughout the room, thanks to Bose Spatial Dispersion technology. The speaker's unusual vertical shape makes it distinctly different from conventional PA speakers_and has a very positive effect on sound coverage. Even audience and band members off to the extreme sides hear the same clear, tonally balanced sound as those in front.The L1 Compact loudspeaker array is smaller than those in L1 Model I and II systems, but it produces comparable horizontal sound coverage. L1 Model I and Model II loudspeakers project sound further with less dropoff of volume than the L1 Compact array.Integrated systemWith the L1 Compact system, you don't have to carry a separate amplifier, mixer or bass cabinet: They're already built in. The system's power stand includes an integrated bass speaker and amplifier, plus a built-in mixer providing a total of four inputs and two outputs.

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Behringer Eurodesk SX4882 Ultra-Low Noise Design 48/24-Input 8-Bus In-Line Mixer with Xenyx Mic Preamplifiers, British Eqs And Integrated Meterbridge Review

Average Reviews:

(More customer reviews)I recently opened a Professional Music Recording Studio and purchased one of these mixer boards for one of the Main mixers. My Lead Engineer and I were so pleased with the performance and reflexibility of the SX4882 that I purchased another one and also a smaller version of it. Now all of my Studio is Behringer equipped with amps, effects, and All. I wouldn't even think of paying all that extra money for a Mackie when the SX4882 does everything the Mackie does and more, and even Better. Behringer is OUT-Performing all the competition, and once again on the Rise Up!

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Ultra-Low Noise Design 48/24-Input 8-Bus In-Line Mixer with XENYX Mic Preamplifiers, British EQs and Integrated Meterbridge

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Joemeek ThreeQ Pro Channel Strip Review

Average Reviews:

(More customer reviews)This is a great preamp for the price range if you only need one input preamped. I do a podcast and so only record myself, generally. This has a built in compressor and equalizer which add to the cost/benefit ratio. The 60dbs of preamp gain should be able to handle most dynamic and condenser mics. I can't say enough good things about this preamp, it's easily equal to one in the $500 range.

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The Joe Meek threeQ is like having one channel of a professional recording studio in a small box. It takes a microphone or instrument, amplifies it, compresses and equalizes it ready to be recorded. Simple to use yet extremely powerful, the threeQ will bring out the best in any microphone or instrument and give the gloss of a professional studio production to all your performances. As well as recording it will also be found useful for live work. Joe Meek ThreeQ Features PREAMP GAIN: Sets the amount of audio amplification. Too little gain and the sound will be too quiet; too much and the signal could become distorted. PEAK LED: Lights 6dB below clipping. LINE Switch: Selects the Line (jack) input instead of the Mic (XLR) input. The LED lights when active. COMPRESS: Sets the level of signal (or "Threshold") above which the signal starts to be compressed. ATTACK: Sets how quickly the compressor responds to peaks abovethreshold. RELEASE: Sets the time during which the signal returns to its normal size after compression. In general, the longer the time, the less obvious the compression. COMPRESSION METER: 4-LED bargraph indicates the amount of gain reduction in dB, which is taking place at any given moment. COMP Switch: Turns the compressor on. The LED lights when active. LF: Controls the volume of Low Frequencies or "Bass" in the audio spectrum. 15dB of boost or cut is available around 80Hz. MID: Controls the middle frequencies in the audio spectrum. 15dB of boost or cut is available at the selected frequency. MID FREQ: Sets the frequency at which the MID control operates,anywhere from 300Hz to 5kHz. HF: Controls the volume of the High Frequencies or "Treble" in the audio spectrum. 15dB of boost or cut is available around 12KHz. EQ Switch: Turns the equalizer on. The LED lights when active. OUTPUT GAIN: Volume control or "Fader" for the outputs of the threeQ. VU METER: 8-LED bar

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Yamaha MG166C 16 Input 6 Bus Rack Mountable Mixer Review

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(More customer reviews)This mixer is great, I can connect my drum set 9 mikes to the XLR plugs, and I still have several open lines. Very easy to use and it takes no time to understand the way it works. Only thing I could have done is take the one with built in effects. Now have to buy a separate Lexicon. As for the USB, I think that standard connecting to a sound card works good as well. I use it live with a Crown, in my studio with headphones, and to my MAC to record on Garage Band. It is big, but not heavy, now a rack is useful when hitting the road. A very good mixer indeed for a reasonable price.

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The MG166C is a compact mixer with 16 input channels, ten mono and four stereo line inputs, Mono inputs have switchable 80Hz high pass filters, switchable 48V phantom power and can accept either ¼" or XLR connections, while stereo inputs can accommodate either RCA or ¼" connectors. All inputs have three band EQ, with a sweepable midrange band on mono channels, as well as 3 aux sends, one switchable pre/post. Six channels offer Yamaha's exclusive single-knob compression. Lighted channel on/off and phantom power switches are easily seen, even on a darkened stage. Dual 12 segment LED meters allow visual monitoring of the main stereo outputs.

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Behringer Xenyx X2442USB Premium 24-Input 4/2-Bus Mixer with XENYX Mic Preamps & Compressors Review

Average Reviews:

(More customer reviews)I recently bought this mixer and for more than one reason also.....I needed a lot of Mic inputs and also built in effects....but this mixer delivers just that and much much more....the features and different effects are amazing...I use it mainly for a small group of singers and musicians in for Indian music...I'd recommend this mixer for anyone who wants to get quality sound at a really good price....coupled with the Eurolive B125D Powered boxes....this is absolutely beautiful.....
Pundit Anirudh Maraj


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The 'Big Daddy" of the USB Series is the X2442USB with its 10 state-of-the-art, XENYX-powered mic inputs, four stereo channels, four Aux Sends and four stereo Aux Returns, and our easy to use 'one knob" compressors on each of the mono channels. Other features available exclusive to the X2442USB are: four subgroups for mixing flexibility; Main Inserts (the ideal path for connecting graphic equalizers or compressor/limiters); and eight Direct Outs and Sub Outs for analog recording purposes.

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ddrum Dios M-Series DS MP 20 5-Piece Drum Kit , Red Cherry Sparkle (Cymbals Not included) Review

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(More customer reviews)I have been to hell and back trying to buy this beautiful set. Very long story short, my many thanks to Michelle, a customer service rep who went way beyond what anyone at Amazon was doing. This wonderful woman stuck with solving my problem(s) and followed up with a very happy ending. She deserves a merit pay increase at the very least. This is truly a great drum set at a great sale price. Buy it when it comes on sale again and trust Amazon has fixed their shipping problems.

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The New Drum Revolution is here
It began in 1983 with the development of a radical electronic drum design incorporating traditional drum heads and high sensitivity piezo triggers. Re-thinking the way electronic percussion was sampled, triggered, and played, Ddrum allowed players to access a universe of sonic possibilities. Ddrum's unique designs set a benchmark for innovation when our trademark red Acoustic Pro Drum Triggers were introduced.

The Ddrum Team has taken their passion for the perfect drum kit to the next level by re-thinking the acoustic drum set, creating instruments that truly shatter the mold of conventionality, and bridging the gap between craftsman and connoisseur.

Pound out a pro-sounding rhythm with this ddrum Dios M-Series 5-piece drum kit in olive sparkle (model DS MP 20), which offers a rich aural texture thanks to its 100 percent North American Maple shells. It comes with a bass drum, snare drum, tom tom, and two floor tom; hardware and cymbals are not included in this package. They feature a hand-stained inner shell that creates a smooth conduit for vibration and sound to travel through and a glass-like finish on the exterior. Other features include ddrum's custom bullet lug design and 2.3mm triple flanged hoops.

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Oscar Schmidt OS11021 Autoharp Review

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(More customer reviews)It was very affordable - but - it had not been properly stored. The strings were extremely dirty, some were rusted and one was broken. There was no parts list for reordering parts from Oscar Schmidt. Additionally, due to improper storage, the felts were very dry and hard. It needs retuning every day due to the poor string quality. I'm not sure it was worth the savings. I'm having a difficult time finding a technician to refelt the bars.

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Ozark, Ovankol top, Solid spruce back, Built in FT600 Fine Tuning System, Satin finish, 21 Chords

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TC Helicon Correct XT Vocal Effects Processor Pedal Review

Average Reviews:

(More customer reviews)First let me put up a disclaimer. This is an item that just came out this month, so I haven't had much time to test every single feature out in full. I also haven't played with connecting it to my VoiceTone Create yet (my Create is not the XT model but the old one) as I want to hear what this can do stand-alone in full. I will be updating this review as time progresses. Expect a note about how well it connects with the VoiceTone Create next week.
Also note that I've only used this with a Supercardioid mic, which the instruction manual suggests for best results. They market the TC-Helicon brand mic (naturally), but I'm using my very trusted Shure Beta 58A Supercardioid Dynamic Microphone. I don't even own a condenser mic because I've always been very impressed with the quality of mic that Shure makes in their dynamic mics. I really can't justify an extra $700 for something that I don't think even sounds as good, nor do I have that kind of money. If I did, I would be getting the TC-Helicon VoiceLive 2 Vocal Effects Processor. If you do use a condenser mic for live performance, you can run the VoiceTone Correct XT through a phantom power mode. As for how well gating and anti-feedback works with a condenser, I cannot comment on how it is affected.
So why write this review right now? I did get to put the new features, anti-feedback and auto-gate, in the XT through very extensive tests. Thus, if you're already commited to getting a VoiceTone Correct and not sure if the added features justify the extra cost (last I saw, the old model is $90 cheaper, but that could be different now) or curious if you should upgrade, then hopefully this review will help you out. So far, in terms of all the other features that existed on the previous VoiceTone Correct, everything seems to be in check.
AUTO-GATE:
My band's practice space is a vocal and audio engineering nightmare. It's a very tiny room with exposed insulation and wood (soon it will be dry wall, but even then, the only thing it has going for it in terms of acoustics is the floor is carpeted). The main amps are ones that were generally favored in the 80s for outdoor concerts. Great for if we start doing some gigs where we need our own equipment, but not the most ideal for what our practice space is. Pretty much the back wall is lined completely with amps for the vocals, guitar and bass. Amps are pointing in just about every direction in the room, so it's pretty much impossible for me to get anywhere close to an ideal set up. Background noise was a confusing mess, and it was a pain to get the set up on the main board to not go red while still hearing a good volume of vocals in the mix. Enter auto-gate.
Just at the default factory settings, it has eliminated all background noise going into the mic. In fact, to pick up my voice at all, I have to have my lips about one inch away from the mic. With a supercardioid, this is actually a good thing as these mics are designed for vocalists to be singing really close to it if not with their lips actually on the mic. So anytime my lips aren't practically making out with my microphone, I'm not meaning for whatever I'm doing to be picked up live. So far, ZERO background noise has leaked through to the mains.
I used to be upset that I couldn't get the mic that I wanted with an on/off switch, but the gating on this pedal is so great that I'm actually glad I don't. It's like I have an adaptive on/off on the mic that knows exactly when I want it on or off, and without the background noise.
ANTI-FEEDBACK:
In terms of anti-feedback, it seems to work well. I can't tell if it's all just because of the gating that has fixed back my feedback issues or not, but I have had no issues since I've been using the Correct XT in our practice space.LIVE COMPRESSION, EQ, DE-ESS:
I will make a couple notes here about these features. By default, the red light for "Warmth" was off. I decided to click it on, so anything I say here is based on that assumption.
Most of my singing-style is clean tone, four-octave range, and I've been fairly pleased with these features so far in terms with how it shapes my voice. I absolutely love the produced sound this pedal is capable of. However, I mostly want to address what this did for my screams. I tried out some of my high screams (imagine Viking/Black metal) with these features. With no additional effects, this device helped shape those screams into something much more rich and thick than any thickening effect I've used on my VoiceTone Create. I imagine the sound when I combine the two is going to be phenomenal.
AUTO-PITCH CORRECTION:
I haven't noticed too much going on here, but I didn't expect to. Every band I've auditioned for has been impressed with my pitch accuracy. The times I do miss a note, it's almost always because I don't know how the vocal part goes on that section, and thus I'm missing it by singing the wrong note as opposed to being flat or sharp. This is based on tuning chromatically, so it only does minor adjustments, not the miracles of Auto-Tune. I will run this through some stress tests and update at a later date.Expect this section to be updated at least three months from now. Since the VoiceTone Correct XT is a brand new item, it's impossible for a consumer review to accurately comment on longevity yet.
So far, all the build quality and sturdiness feels just as good as my VoiceTone Create. I've been stomping on my Create and throwing it around in my trunk for eight months now, and it still feels brand new. I expect I'll get similar treatment from the VoiceTone Correct XT.
OVERALL IMPRESSIONS:
I'm just happy I have something that solves the issues of my band's practice space. That alone is worth the price of this pedal for me. Throw in the produced sound that it adds to live vocals through compression and de-ess, and this thing is just incredible. Some of the EQ and Warmth you may not enjoy, but all settings are adjustable on here and can be used manually or adaptively. Personally, I've been very pleased with the adaptive tones it picked for me. Everyone's voice is different, though, and you may not find the same results here, but it's not difficult to just disable one of the features you don't like.
I also very much like that it can be connected to the computer for firmware updates. As for how much of a difference this makes, only time will tell. For now, it's just an extra blanket of security to make me feel ensured that my pre-amp won't get outdated soon like my VoiceTone Create did when they released the XT version.

Click Here to see more reviews about: TC Helicon Correct XT Vocal Effects Processor Pedal

Like having a live engineer and vocal coach at your feet. Smooth, pro vocal tone with the security of active anti-feedback is yours with Correct XT. Match that with TC Helicon's natural auto-chromatic pitch correction, it's like having a live sound engineer and a vocal coach at every gig. TC Helicon VoiceTone Correct XT Features Studio-grade compression, de-ess and adaptive Shape EQ to brighten and smooth vocals Effortless auto chromatic pitch correction helps you sing in tune Automatic anti-feedback seeks and destroys feedback.

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Oscar Schmidt OS11021FN Autoharp Review

Average Reviews:

(More customer reviews)The Autoharp arrived sealed from the factory and the sounding board was warped. Total Music Source had FedEx send me a prepaid shipping label and within a week of sending it back I received new one. It is in fine condition and I expect to get years of enjoyment out of it. Thanks Total Music Source!

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Limited, Flame maple top, Built in FT600 Fine Tuning System, Gloss finish, 21 Chords

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Mackie PPM1012 12-Channel, 1600-Watt Powered Desktop Mixer Review

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(More customer reviews)I've been a musician playing in clubs and all types of other venues since the sixties. Some of the bands I've been part of used massive PA systems to get a quality sound. I'm talking racks of power amps, EQ's, Effects , etc. etc..
That was then, this is now. This Mackie board does it all and does it all extremely well !! You'll have plenty of headroom. There is more than ample power when you need it, just waiting to kick in and support your vocals and anything else you run through this board. The effects are superb with two high quality effects processors that you can tweek out and blend the effects to your liking. The clarity of this board is so good that all I have to run is a slight curve on my equalizers to get a nice clean and clear sound. Match this unit up with a high quality pair of speakers and a couple of good powered subs, and you're sound is Happening !!
Sizing down and maintaining good sound at my age is important to me. Other powered consoles I used and thought were OK just don't compare to this. Having a well-polished act, I need the best sounding equipment with the smallest footprint. Although a tad bit heavy, this mixer takes the place of hundreds of pounds worth of PA.
Now, I can't wait to get to the gig and hear my new Mackie. I couldn't be more pleased !!
Jim, SW Fla.

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Ultra-light and rack-mountable, the Mackie PPM1012 professional powered desktop mixer features two ridiculously robust power amps for mains and/or monitors (800W + 800W). With 1600 watts of system power, this mixer provides all the raw power that you need. Things can get pretty intense out there, and your gear needs to be able keep up the pace. We custom designed the PPM1012 with Class-D amps, which are cool-running and boast maximum efficiency, keeping your sound pumping until they start kicking people out. We had to include Mackie's proven Fast Recovery circuitry, eliminating the risk of pesky amp latching. The result is a distortion free mix even when pushing peak levels. The built-in limiter can go toe-to-toe with the most popular outboard stereo limiters used in live sound today, protecting your speakers from damage. The limiter's attack and release times are specifically selected to address full-bandwidth music and will not muddy things up by adding any unwanted pumping. PPM mixers are surprisingly lightweight, but tremendously powerful. You can push the PPM608 to its maximum output, distortion free!

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Kala Solid Acacia Concert Ukulele Review

Average Reviews:

(More customer reviews)This instrument is one of of Kala's top of the line concert ukuleles. I've had a few other Kala's and they're all pretty good. The intonation is no better than their lesser models, which is fair. It's real pretty though. I bought it used, knowing it was a very new model, so it couldn't be an old instrument. A couple of weeks later, the book-end glue joint on the top opened up about 1/16th of an inch. Doesn't effect the sound or playing, but looks very bad. Can't return it, don't want to pay to fix it. Next time, I'd stick with a cheaper Kala Model.

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Also called the Mimosa or Shower Tree, these tropical trees are cousins of the Hawaiian Koa tree. They have gorgeous striped patterns of light and dark brown and have a deep colorful tone that match their visual beauty. These solid wood ukes come sized in Soprano, Concert and custom Tenor with a slotted-headstock. They are trimmed with rosewood edge binding and classic herringbone purfling. Custom position markers accent the fretboard. The Soprano has classic friction style tuners. The Concert comes with chrome die-cast tuners with black buttons and the Tenor has vintage geared chrome tuners. The ukes come with a rosewood fingerboard and bridge and an ebony nut and saddle.14-7/8 Concert Scale (Distance from Nut to Saddle)24-3/8 Overall body length11 Body length 6 Upper Bout 8-1/4 Lower Bout 5 Waist 2-1/4 to 2-3/4 Arched Back Body depth 1-3/8 At Nut 18 Silver Nickel Frets Custom vine Fret position Marks at 5th,7th,10th and 12th frets on neck and top of fingerboard Multi-Layered Headstock cap with carved Kala logo Satin Finish Chrome Die-Cast Tuners with black buttons Premium AQUILA NYLGUT Strings

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Line 6 PODxt Live Review

Average Reviews:

(More customer reviews)The tones out of this unit are awesome... But the Wah pedal broke on mine after three jam sessions
not much quality there. I went on the Line 6 website and it would appear this is a known issue by line 6.
I returned mine and went back to my old Digitech set up for now.


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The power of PODxt is now at your feet for pro stage use!With its rugged steel construction, 11 channel select and effect on/off footswitches and built-in wah/volume/tweak pedal, PODxt Live is ready to stand up to years of abuse.Included are 84 pro quality stompbox and studio effects, 36 Amp Models, plus 24 Cab and 4 Mic Models, all built from the award-winning technology found in the Vetta II amp and storable to 128 programmable channels.Unlike the other members of the POD family, PODxt Live also features a Variax digital input so you can call up a fully customized guitar, amp and effects setup � all by stepping on a single footswitch!USB digital I/O combined with Line 6 Edit software allow computer based tone editing and direct digital recording.

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