3/29/2012

Aguilar GS 112 Bass Cabinet, 8 Ohm Review

Aguilar GS 112 Bass Cabinet, 8 Ohm
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I got the GS 112 cab along with the AG500 amp head and they are a match in heaven, great tone, good volume and performance. What I really enjoy and love about this cap it's the portability, I can handle it quite easy with one hand. It looks and feels more expensive than it is.
A great product, soon I'll buy another one to create some good ol' envy among my bass player friends.
Cheers!!!!!!

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The portable GS 112 combines full lows, 'growly"mids, and a smooth top end with an impressive amount of volume to make one of the most popular cabinets on the market. When the GS 112 was released it not only won awards and magazine product 'shootouts" but it changed the way bass players think of 12" speakers. Fatter sounding than 10" speakers and quicker responding than 15" speakers, this cabinet has found a home in all styles of music. Specs: *Impedance: 8 ohms *Frequency response: 42 Hz to 16 kHz *Sensitivity: 95 DB 1W 1M *Interlocking corners *7-ply, void free Philippine mahogany *Weight: 42 lbs. *Warranty: Three year limited *Optional: Padded Cover

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QSC RMX1850HD Stereo Power Amplifier Review

QSC RMX1850HD Stereo Power Amplifier
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I received the Amplifier in good condition and in good time. I am now using it and am very pleased with it. Thank you for the good service.

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QSC RMX series amplifiers give you clean, dynamic power with QSC's legendary sound quality and reliability that pros depend on. QSC combined their rugged, high-output designs with the latest circuit technology to deliver unmatched performance at a new breakthrough price. RMX amps have balanced XLR and 1/4' TRS inputs. Outputs include binding posts and Neutrik Speakon connections. These stereo power amps are only 2 rack spaces tall and 15.9' deep. Other features include ultra low distortion (.05% THD), a low-noise variable speed fan with rear-to-front air flow to keep your amplifier and racks cool, and selectable low-frequency filters to protect your speakers and increase headroom. QSC power amps are backed by a 3-year transferable warranty. The QSC RMX1850HD Provides improved thermal performance for higher continuous power in 2-ohm stereo or 4-ohm bridged applications (a RMX 1850HD exclusive!). Specs include: 360W per channel @ 8 ohms, 600W/channel @ 4 ohms, 900W/channel @ 2 ohms, 1150W bridged mono @ 8 ohms and 1800W bridged mono @ 4 ohms. The RMX Series amplifiers give you clean, dynamic power with the legendary QSC sound quality and reliability that pros depend on. The RMX Series deliver unmatched performance at a new breakthrough price. Muscular Power Plant The power supply is the heart of an amplifier, converting raw AC power from the wall to clean DC for the audio circuitry. The RMX uses a powerful high-current toroidal transformer and ample filter capacitance to ensure generous energy reserves. This makes a critical difference in sound quality, allowing the amp to effortlessly punch out high level transients, even when driving abusive 2-ohm speaker loads. Superior Performance RMX amplifiers deliver true studio-quality sound. A full complementary output circuit using the highest-grade linear output devices delivers ultra-low distortion (

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Korg KP3 Kaoss Pad Dynamic Effects Sampler Review

Korg KP3 Kaoss Pad Dynamic Effects Sampler
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first thing, i am no where near a pro with effects and recording equipment, that said, i have a long history with korg, and know from exp they make really good effects and at good prices. this machine is addictive. i want to let potential buyers know what you can do with the kaoss right out of the box, with about 20min w the manual. so it is basically an effects processer, instrument(drum machine and synth) and a sampler(w 4 banks a-d) i have a 400 disc player, and ran the rca through the korg line in, and line out into a 8 track digital recorder. and its just fun. i hit random play, and rarely get past the first 30 seconds of a song. the kaoss makes it very easy to sample any line in, and loops them, you can use up to 4 at a time,and you can save your fav samples on sd cards (2gb max,which you can buy on amazon for 7$,i like kingston) thats just the beginning, once you get a sample or samples, you have a hundred dif effects(phaser, grain,delays, re-verb common effects and sounds in the korg library) so you get a sample, you loop it back and you can manipulate it in a infinite number of ways. it also has bpm, a feature that syncs the beats in the machine to music from the line in, so it does the timing for you, and the beats loop in increments(4,8,16} the touch pad(which is huge) act as the knobs on effects and synths. so the clip its playing changes with every move of your finger. , every time you change the effect it opens a new world of the same sample.
now the drum machine and synth, there could have been more banks here and less effects, but some i imagine would say the opposite. i very much like that it loops seamlessly, and you can change the measures, but not as versatile as traditional drum machines. the touch pad responds very well, though when you tap faster as in a drum roll, it will hold up, but the sound is more in the held position anyway.and its somewhat user friendly, i say that cause i hate manuals, i just like to play, so i have figured out about 20% of this machine, and still i cant help to smile just looking at it. i have been looking into samplers for 15yrs and this is the least expensive, most fun, and easiest to use machine i have ever seen. . i, you can be silly, serious, either way it will impress(it will process anything w rca jacks, so there is no limit, there is allot of rhythm in the most common tv shows, radio programs, even the worst lp has sumthing sweet korg gives one year warranty,
update drum machine and synth work welly well w my microkorg, play one w your right and other with the left hand, ,my guitar through the mic input is really cool, you press hold on the effects, and you can change the sound completely after each riff, not so good w my bass, distorts at low levels

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Embraced by DJs, musicians, and producers alike, the Korg KP3 Kaoss Pad Dynamic Effects Sampler is intuitive, immediate, and just plain fun to use. By simply touching, tapping or sliding your finger over the touchpad, the Korg KP3 allows you to control multiple effects parameters and manipulate samples in real time. On stage or in the studio, these gestures and moves can become truly powerful and expressive performance elements.
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Traveler FlipTone v.25 Battery Powered Combo Amp Review

Traveler FlipTone v.25 Battery Powered Combo Amp
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I bought this to go with the Traveler Guitar, Aucustic version I purchased. Somewaht pricey; but solid consruction, excellent sound and versatilty. When paired with the Traveler Guitar, I have concert hall capability; in a minimalist package. I noticed the Traveler Company seemed no longer to advertise these. I was wondering if the product didn't do well for them across the long haul; but for me; this fits a need; in the portable market. I am glad that i own one of these. This is no doubt Prodessional Level sound and equipment. I particularly like how the design of the speakers, is revolutionary; in being forward and backward; and the nit doubling as a studio /stage monitor! Pricey, but worth it! Sonically this amp is tuned for an acoustic match, without altering it's neutral setting.

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The Traveler FlipTone v.25 Battery Powered Combo Amp features revolutionary NXT flat panel speaker technology. It has a built-in rechargeable battery that lasts 5 hours, 25 watts of power, 8 built-in effects, and a 3-band EQ. Plug-ins include two 1/4"/XLR combo jacks and RCA inputs, and an external speaker out.The flat panel speakers are not only much thinner and lighter than traditional cone speakers, they sound fantastic! They deliver wider dispersion and a more uniform frequency response than a traditional speaker. With rugged, brushed aluminum construction, this is one of the most durable amps on the market. And it's expressly designed to deliver professional tone on the go.

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Parker Fly Mojo - Natural Mahogany Finish with Deluxe Parker Hardshell Case Review

Parker Fly Mojo - Natural Mahogany Finish with Deluxe Parker Hardshell Case
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My guitar is the Parker Fly Mojo model in clear coat Honduran Mahogany and with the metal flake brown-bronze back. My comments do not apply to any of Parker's bolt-on neck or foreign made guitars - I have only played two and both were in a different league from a set neck, domestically made Fly.
After the odyssey through Fenders, Gibsons, a Rick, and a Hofner, I have been finding myself using this guitar most of all. You should know that I have not gigged in years, I rarely take a guitar out of the house, and I play daily for my own enjoyment and occasionally with a friend, so my preferences and needs may not be the same as yours.
Some real plusses for me:
1.Truly great craftsmanship. The guitars made since Parker sold out are at least as well made as those before. Fit and finish are second to none.
2.Very versatile array of sounds. The Seymour Duncan humbuckers can replicate so many guitars, and the proprietary piezo-tremolo unit works better than any I have used. The piezo sounds a lot like an acoustic guitar that is equipped with a piezo bridge and it would come in handy for those who only want to schlep one guitar to a gig. Using the stereo cord that comes with the fly, and doing what they suggest, playing the humbuckers through your guitar amp and the piezo through the PA, you get a really nice differentiation of electric and acoustic.
3.The way the carbon fiber fretboard reinforces the neck is great. This guitar stays in tune, even with the tremolo unlocked. The fret board is always smooth when doing extreme bends (I just played my Tele with a one-piece cocobolo neck and noticed the difference right away.) Stainless steel frets are a plus for longer wear and are easy to keep shiny, particularly since they came from the factory without needing any dressing.
4.I like Sperzel tuners a lot and have put them on most of my Fenders. This also contributes to staying in tune.
5.The guitar is light at no more than 5 pounds. With many of the most popular guitars weighing in at twice that weight or more, the difference is very noticeable when grabbing it off the stand by the heck from the coach, for example (I do that a lot), or when standing up with it on for a while. I had though that sustain was greatly influenced by the weight of the guitar as physics suggests it should, but I have come to think that rigidity is a much more significant factor in sustain based on my experience with this Fly.
6.The neck is very thin. I like this for `living-room playing' and it can help my speed in reaching for a fret or jumping around the positions on the neck. When people try the Fly they always remark on the thinness of the neck and how `playable' it is compared to their favorite guitars.
7.Balance is tremendous. That long top bout puts the strap button just where is should be to let you take your hand off the neck without fear of the neck nose-diving towards the floor.
8.Visual appeal. Beauty is in the eye of the beholder, but even those who do not relish the design have to admit that it is a great piece of sculpture.
On the not-so-plus side:
1.The case. Although this is a guitar review, since the case comes with it I feel that is is fair game. The case is poor quality, poor design, and flimsy. There are two Parker hard shell cases and I am panning the one with the big "Parker" embossed on the front. There is another Parker HSC with a small "Parker" embossed in the lower left corner of the front and I am thinking that I will get one of those. Parker sells the big logo version on their website; the one I am looking for is available from the big music stores for a little over a hundred.
2.The thin neck. Okay, you're right, I listed this as a plus, too, but I find that my hand can get a little cramped-up when playing long and hard. Otherwise, no problem. I take breaks, and besides, my hand cramps-up sometimes when I'm not playing the Parker.
3.Battery. Although it is easy to get to and swap for a new one, and the piezo requires it, and it's expected to last for over a hundred hours, it seems that I am replacing it more frequently than I should have to; maybe I'm inaccurate on this. A second battery holder might be nice. For now, I just keep a spare in the case (yeah, the case I hate.) When considering new guitars for the collection, I tend to shy away from those requiring a battery; I also have become much fonder of hard-tails - I hardly ever use a tremolo anyway.
4.Slide. This is a poor choice to set-up as a slide guitar. For slide use, I favor the old and heavy solid bodies where the neck is thick and the frets aren't so great any more. Also, I don't like to get my slides (I use the big, thick, heavy brass slides) anywhere near a guitar with a finish I want to preserve. They eventually will take a toll.
I really like this guitar and if it disappeared, I would buy another. If you see one in a music shop, by all means, pick it up and try it. You won't pull any muscles in your arm when you lift it!


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A solid mahogany body and neck provide warm resonance to the thick, bold tone generated by genuine Seymour Duncan Jazz and JB pickups. It's light in weight but far from a lightweight, churning out creamy, luscious sounds with enhanced lower mids. Famous Fly playability and comfort is combined with simpler knobs and a more ergonomic control layout, easier-to-use vibrato, improved electronics, carbon glass fretboard, Fishman 6-element piezo system, and Sperzel locking tuners.Includes hardshell case.

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3/28/2012

Behringer Europower EP4000 Professional 4,000-Watt Stereo Power Amplifier with Atr (Accelerated Transient Response) Technology Review

Behringer Europower EP4000 Professional 4,000-Watt Stereo Power Amplifier with Atr (Accelerated Transient Response) Technology
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i recently bought this amp and im impressed with the capabilities of it,the variuos settings etc.i played this side by side with the xti 4ooo crown amp and liked what i heard,especially on the microphone.i have a family reunion coming up and this is making the trip.the mixer is the behringer mixer 1804 with a 3102 eq,and the 1124 feedback destroyer and the behringer eurolive b1220 pro speakers,all from amazon .com,a great combination,great prices.for use as djing this is a good amp,as i strongly recommend it.ony thing it is a little heavy but its high current so,it is what it is.thaks paul

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The EP2000 and EP4000 represent everything musicians love about Behringer's popular EP1500/EP2500--excellent sound quality, road-worthy toughness and reliability, low-noise operation and incredible power. With 2,000 and 4,000-Watts respectively, the EP2000 and EP4000 amplifiers are perfect for medium-sized club gigs, mobile PA systems, church services or public spaces.

Everything You Need, Nothing You Don't The uber-simple front panel controls of these amps give you all of your sound's vital signs at a glance. After flipping the MAIN switch, the POWER LED will light when the amp is ready for action. Both channels have independent gain dials as well as clip LEDs that indicate when the signal is distorted and you need to reduce the gain. There are also SIGNAL LEDs that light up when a signal is present at the input.
Panel Discussion A panel of switches found on the back panel offers an array of cool options to apply to both channels of the EP2000 and EP4000. The Clip Limiter lets you get even more out of the amplifier without overdriving either it or your speaker system. Built-in circuitry automatically senses when the EP2000 or EP4000 is being overdriven into "clipping" and then momentarily reduces the input level to avoid clipping distortion. This all happens in a few thousandths of a second, so it's an inaudible way of avoiding audible clipping distortion. Of course, you can turn the Limiter off if you're feeling lucky.
Ultra-low frequency sounds (infrasonics) are caused by rickety stage vibrations, mic thumps and wind noise. While technically inaudible, they can cause a huge drain on amp power, potential damage to your speakers and a sludgy sound in the audible bass ranges. Both EP models feature a defeatable Low Cut Filter that chops off unwanted frequencies below 50Hz or 30Hz (depending on your PA system's capabilities).
The same panel contains the switches that allow you to put these amps to work in either stereo or bridge (mono) mode. Both the EP2000 and EP4000 can be linked to additional power amps by switching into parallel mode.
These Amps Have Guts There's plenty of awesome features on the outside of the EP2000 and EP4000, but there's also a team of cool components on the inside helping it work its magic. They come loaded with famously reliable Toshiba/Fairchild power transistors as well as a high-current toroidal transformer for ultra-high transient response and further reliability. Independent DC and thermal overload protection on each channel automatically protects the amplifier and speakers from any show-stopping meltdowns. There's no need for fuses, giving you one fewer potential mid-gig headache.
The EP2000 and EP4000 have both XLR and 1/4" TRS inputs. Even the outputs are totally flexible, consisting of Speakon-compatible outputs and five-way binding posts. Whether you're dealing with bare wire or boutique audiophile cabling, the EP2000 and EP4000 are right at home.
The exhaust fan, visible on the back panel, is the final stage of an internal front-to-back cooling system that keeps these amps working in the mild temperatures they love, even through periods of extended use. Finally, an impact-resistant, all-steel 2U rackmount chassis helps these workhorses stand up to all the rigors of the road.
Accelerated Transient Response Delivers the Knock-Out Punch It takes huge pulses of energy (current and voltage) to propel a woofer cone out fast enough to match a bass beat. That's called Transient Response and it's the holy grail of amp designers. By carefully selecting transistors with extremely highslew rates and optimizing other proprietary parts of our circuitry, our amps are able to react instantly to even the most demanding electronic bass impulses. If the woofers in your PA system can keep up, your audience will hear a tighter, crisper, more natural sound.
The Legend Powers On If you read the reviews of the EP2000 and EP4000's older brothers, the EP1500 and EP2500, and it's clear that those amps are renowned not only for their performance and durability, but also their astoundingly low price tags. The EP2000 and EP4000 extend that legacy to the next level.
What's in the Box Behringer Europower EP4000, Power Cable, User's Manual

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Peterson V-SAM Virtual Strobe Audio Metronome Review

Peterson V-SAM Virtual Strobe Audio Metronome
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I am called on to tune harpsichords, and this is often done using unusual temperaments and pitch standards far from A=440Hz. I formerly used the excellent Korg MT-1200, because it could be programmed to any temperament, and because it allowed a very wide range of pitch standards (I often need to tune to A=411, for example). Korg has discontinued the MT-1200, replacing it with the model OT-12, which has most of the same features but is not programmable. When the MT-1200 that I used went bad (its memory chip failed, so it needed to be re-programmed every time I used it, quite a hassle), I went on a search for something else that would do the job.
After consulting with harpsichord players, builders, and other experts, I learned about the Peterson V-SAM. None of my experts had actually used this tuner, but had heard that it was an amazing new device that was great for harpsichords. I called Peterson (for a very long time known as a venerable manufacturer of stroboscopic tuners) and their sales people confirmed that the V-SAM was excellent for this kind of instrument. I let my experts know what Peterson had told me, and so they independently bought V-SAMs at the same time I bought mine.
About a week after I got my V-SAM, I started getting calls from the others. Nobody could make the V-SAM work with harpsichords. It was unstable, and would frequently not even recognize that a note was being played on the instruments. Suspecting a faulty unit or perhaps a faulty manufacturing run, I checked my V-SAM with some wind instruments. It worked fine. Several calls to Peterson tech support revealed that if I simply added an external microphone, the V-SAM would work great on the harpsichord. I tried hand held mics, clip on mics, and suction-cup mics, and nothing helped. The others had similar experiences.
Finally, I was able to talk to engineering at Peterson, and was advised that the V-SAM was never designed to work with instruments like pianos or harpsichords. They said the tuner was intended to be used with instruments that can sustain their tones, like violins and wind instruments.
I have since returned my V-SAM, as have all my associates. I want to stress that this is not really a fault of the unit...Peterson is a good company with a high quality product. The problem is that this design is not suitable with certain instruments that produce transient tones. Unfortunately, Peterson sales and tech support did not know this and led me astray. Likewise, most retailers simply parrot what Peterson says or implies in their sales capacity, and hence the bad information is kept circulating.
In my opinion the V-SAM is a fine product for most applications, but if you want to use it with instruments that produce tones that decay quickly, look elsewhere.


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The Peterson V-SAM' presents a combination of programmable Virtual Strobe' tuner, audio tone generator, and metronome in a hand-held format. It marries the revolutionary Virtual Strobe Technology', first introduced in the VS-1 tuner, with a new, brighter, high-contrast display. The high-output tone generator within the V-SAM offers 10 octaves of audible tones, which conform to a selected preset or custom temperament and are adjustable in 0.1 cent increments. This permits ear-training possibilities previously unavailable in a hand-held device.Versatile MetronomeThe V-SAM's audio/visual metronome allows tap or dial-in tempo, adjustable beats per measure, beat subdivisions, and a stopwatch function.Built to be BetterThe V-SAM's "tuner mode" expands upon the Peterson VS-1' with an even wider variety of alternate temperaments and the ability to select temperament tonal roots. In addition, the user can create and store custom temperaments and use them with the same flexibility as preset ones. The V-SAM automatically detects a note being played in real-time and is accurate to 1/1000th of a semitone. It can transpose displayed notes based on any of 12 scale notes.

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