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Pioneer DJM-850 Mixer

Wed, 26 Sep 2012 10:29:00 GMT

Pioneer DJ equipment didn't build its reputation on CDJs alone - its well-known mixers, such as the DJM-800, are also a staple in many DJ booths. So how does this new model improve on an already successful formula, and is it worth the upgrade?

"It shares the same build quality and styling that previous Pioneer mixers have become known for"

First impressions when removing the DJM-850 from its box are that it shares the same solid build quality and styling that previous Pioneer mixers have become known for. The unit weighs in at a reassuring 7.7kg, the case is metal and all of the buttons, knobs and faders feel firm and reliable. Controls are well spaced and the panel is clearly labelled, which is important for use in a dark club environment.

The layout will be familiar to owners of the DJM-800. In fact, the dimensions of the new unit are the same as the old one, which means that DJM-800 cases, rackmount kits and covers can also be used if you choose to upgrade. The three-band EQ can now be switched between normal mode (+6dB/-26dB) or the new full kill Isolator mode - very welcome for effective band kills. A significant new addition is the USB socket (sensibly located on the top of the mixer for easy access), which is used for the built-in audio interface and USB MIDI.

Sound quality is the same as its bigger brothers, the DJM-900 Nexus and DJM-2000. Pioneer have added a high quality 32-bit D/A convertor, kept audio paths as short as possible, and separated the digital and analogue circuitry. This results in a clear and punchy sound. One thing that's missing is digital inputs, but the analogue-to-digital convertors sound good, so perhaps it's no great loss. One of the main attractions of Pioneer mixers are the effects. These have been upgraded from the previous generation and come in two sections: instant gratification Colour effects, and time-based Beat effects.

Colour effects are applied independently to each mixer channel and include Noise (filtered white noise), Gate (a combination of gating and filtering), Crush (a bitcrusher/ downsampler) and Filter (high-pass or low-pass filtering). Only one Colour effect can be selected at a time, and as with previous Pioneer mixers, the Colour knob can be turned left for one variation of the effect and right for another - low-pass to the left and high-pass to the right being a classic example. These effects are well-chosen, quick to use, and have just the right kind of attitude for DJ use.

An exclusive new feature of the DJM-850 is the Beat button on each channel. This makes the volume of the sound control an aspect of the Colour effect. For example, the Noise effect pumps in sympathy with the beat, which sounds similar to sidechain compression. The Gate effect really comes alive when the Beat button is activated, with a short metallic delay being added to the sound.

Block rockin' beat effects

As with the 800, the main Beat effects section is where BPM synchronised effects are found. They work as post-fader send effects and can be assigned to a channel, one side of the crossfader, or the master output. The current tempo is either automatically detected, or set manually using a tap tempo button. There's a choice of 13 new and improved algorithms, plus an external send and return option.

"Up Echo is a brand new effect for the 850 that combines pitchshifting and delay"

Effects on offer are similar to those in other recent Pioneer mixers, with old favourites such as Echo, Reverb and Flanger making a return. Two new types inherited from changed. Finally, Up Echo is a brand new effect for the 850 that combines pitchshifting and delay. With these new algorithms you can use the effect level knob for extra control. For example, with the Up Echo it controls the feedback and pitchshifting, as well as the usual wet and dry balance. Combining the Colour and Beat effects is a great way to add some spice to a DJ mix.

One change that some users have complained about is how the updated Echo effect is implemented. On the old model it would only start sampling into the Echo when it was turned on, allowing a single word or phrase to be echoed cleanly. The new version is always sampling into the Echo, which means that audio from before the desired sound will also be included. A workaround for this is to switch to the more expensive DJM-900 and 2000 are Spiral, which is a tape delay, and Slip Roll, which repeats a section of audio that is re-sampled whenever the effect time is Echo effect just before applying it. Unfortunately, this requires an extra hand for many common uses.

Perfect mix?

So what's missing? More expensive models have extra effects controls, digital inputs and Rekordbox/Pro DJ Link integration, but none of these are essentials. Owners of older mixers will be tempted to upgrade by the USB sound card, updated effects, and improved sound quality. Traktor Scratch timecode support is also handy.

At £1,299 this isn't the cheapest mixer, but for bars and smaller clubs, or serious DJs, the features, styling and solid build quality is hard to beat.

Tascam iU2

Sat, 22 Sep 2012 07:17:00 GMT

While we've been seeing a host of input interfaces for iOS devices, very few have had the same sort of comprehensive connectivity seen on standard USB/MIDI audio interfaces, but Tascam's new iU2 looks set to change all that.

What you get is a stylish slimline plastic box about 12cm square that connects to your device's dock via a cable neatly stowed in its base. It can also connect to a computer via a supplied USB cable and has MIDI connections for synths.

"Quality sound with low noise and distortion is the order of the day"

Other connections include a dedicated guitar input plus stereo mic/line input via a pair of jacks or included XLR conversion cables, with phantom power available for condensers via USB (connect a USB recharger for use with iOS). On top of that, you get headphone and line outputs for monitoring and an S/PDIF digital output.

In Use

Operation is as simple as it comes. Selector switches on the unit's base select inputs, while two large knobs set the input levels alongside separate knobs for headphone and line output. A monitor mix knob lets you set the balance between the input sound and computer playback for zero-latency recording.

Quality sound with low noise and distortion is the order of the day, with the iU2's onboard mic preamp and A/D converter delivering improved performance over those built into the iPhone and iPad.

EBS Classic Session 120 Tiltback

Mon, 06 Aug 2012 15:22:00 GMT

Flushed with the success of using the tonal values of its mighty Classic 450 bass head for the compact Session 60, EBS is now expanding the range with the Classic Session 120, with more models to come.

With a power rating of 120 watts, this is not designed to be purely backline, although it is fully capable of handling smaller gigs with ease, while linking the balanced XLR output to a PA system also makes bigger gigs a possibility.

"The tilt-back design allows this combo to work on the floor while projecting the sound towards the player. Alternatively, the Session 120 can be used as a powered bass monitor for bigger gigs."

Bass amps always sound best when they're sitting on the floor, but when using smaller rigs and combos, much of the sound produced is unheard by the player. The tilt-back design allows this combo to work on the floor while projecting the sound towards the player. Alternatively, the Session 120 can be used as a powered bass monitor for bigger gigs.

It's a smart-looking combo in black livery, with chromed metal corners and white piping around the classic EBS grille cloth. The amp is almost a perfect cube, and of reasonable weight, but the top-positioned handle is more than adequate for a single-person lift.

Sounds

As already mentioned, the Classic Session range makes full use of the tonal circuit originally designed for a much more powerful bass head, plus it benefits greatly from an extended EQ section that includes an extra frequency control added to the midrange EQ. It also has the added bonus of valve-like distortion made possible by the soft-clip integrated circuitry – something many bass players like to take advantage of.

Activating the character switch introduces a superb throaty bottom-end boost that will prove to be quite a bonus onstage. But, even without this in action, the controls provide a good range of tones – each of the major controls works from a centre detent with cut/boost options. The extra frequency control allows a more precise targeting of the important midrange and really helps to obtain the clearest sounds from your bass, regardless of make or quality – it's a huge asset.

The combo certainly packs a powerful punch and you experience the full benefit of its sound. While the bottom end is substantial, the tweeter ensures all notes are clearly defined, even when pushing into that soft-clip area. Although there's no way of adjusting the tweeter, it definitely adds to the overall performance quality of what is a very tidy design.

This combo was built in China to help keep things cost- effective, but EBS handled its design and development in Sweden. With phono inputs for media players (mini jack would be better), plus a headphone socket, the Classic Session 120 proves ideal for practising at home as well as being practical on the road. If you have yet to experience something from EBS's almighty bass range, then this would be a good place to start.

Stone Deaf PDF-1

Wed, 15 Feb 2012 11:39:00 GMT

It's 'Parametric Distortion Filter', just in case you were wondering, and a quick look at Stone Deaf's user list hints at what we're dealing with here - Chris Shiflet (Foo Fighters), Josh Klinghoffer (RHCP) and Josh Homme (QOTSA/Them Crooked Vultures)…

But what does it do? Well, the PDF-1 gives you up to 20dB of volume boost (height) with a parametric EQ filter (freq) that sweeps 65Hz to 3KHz.

The bandwidth control is a five-position switch that focuses the point of the frequency sweep from wide (fat) to narrow (thin). The clean/dirty switch offers you a medium, fuzz-tinged distortion in the latter position and finally, in addition to the main output, there is an uneffected aux out to send a clean signal to a separate amp: useful.

Inside we have a quality 3PDT true bypass switch, a dual-stacked pot for 'freq' and generally high build quality.

Sounds

If you want a basic, no-brainer distortion, this is not it. The EQ and filtering controls on the PDF-1 offer a colossal breadth of tones many of which, in isolation at least, can sound pretty terrible.

The point of all this tweakability is that it enables you to fine tune your sound to really sit perfectly within a mix, or indeed leap out from it at a specific frequency range. You can have thin, pseudo transistor radio sounds, rasping edgy grind and vocal wah-like sounds.

The more you put the bandwidth towards thin, the more pronounced the effect of the filter, so all the way over to fat is where you'll find the full blooded tones. Any of them will fit right in with the bands named above.

This is a very different take on a distortion/boost, aimed at rock players who want to get their sound dialled in perfectly to a band mix. It has all the filter flexibility you need, with clean boost and an optional edgy rock distortion sound. We like.

Avid Pro Tools + Eleven Rack

Tue, 14 Feb 2012 09:30:00 GMT

We first looked at the Eleven Rack back in 2009, but there have been changes since then to warrant us taking another peek, notably the introduction of an expansion pack.

This latest Pro Tools + Eleven Rack is aimed squarely at guitarists - bundling the Eleven Rack with that Eleven Rack Expansion Pack and a full version of Pro Tools 10, the very latest incarnation of the industry standard recording software.

"Playing through the unit offers plenty of the dynamic push and pull responsiveness you'd expect from a real amp, thanks to the quality of the modelling."

Effectively an audio and MIDI interface with guitar amp and effects processing built right into it, the Eleven Rack can be used as the nerve centre of a Pro Tools recording system (or any other recording software) using a USB connection to computer and can be used for recording guitar, mic or line-level signals. It can also be used to re-amp previously recorded work.

As a standalone unit the Eleven Rack is equipped with a whole range of outputs for routing its onboard sounds to recording equipment, a mixing desk, PA or amplifier.

While most connections are neatly tucked away round the back, the guitar input, mic input and headphone output are right where you need them on the front panel, alongside an output that you use to hook up an amp. The front panel is neatly laid out in logical sections and the clear display has various modes that you can select depending on what you need it to show, including a large readout of the number of the currently selected rig that can be easily read across a darkened stage.

The sounds are arranged in programs known as 'rigs' - 208 in all, half factory presets, half user-programmable. Each is created from a chain that includes amp, cab and several effects blocks - volume, wah, distortion, modulation, reverb, delay, FX1 and FX2.

The active effect in each block can be chosen from a variety of models including emulations of genre classics - Big Muff, Echoplex and so on. The order of the elements in the signal chain is very flexible and there's also an FX loop so that you can physically insert your own hardware pedals into the chain.

Editing of the rigs is swiftly carried out by an array of six soft knobs below the display. In the first instance these are assigned to the selected amp's controls for quick sound tweaks but individual effects blocks can be called up for editing by pressing and holding the switches on the right of the front panel, which can also turn each effect on and off for the selected rig.

All of this is pretty straightforward but, with Pro Tools running, you also get an onscreen graphical editor with drag and drop functions that make the process quicker.

Sounds

Playing through the unit offers plenty of the dynamic push and pull responsiveness you'd expect from a real amp, thanks to the quality of the modelling, but also the True-Z input circuitry, which can change the input's impedance to match how it would be if plugging into a real amp or effect.

The amp models don't include a huge number of different makes but what's there covers a very wide range of tones. The original Eleven Rack had amps from Fender, Marshall, Vox, Mesa/Boogie and Soldano. The expansion pack adds more Fenders and Marshalls, gives you a nice array of Avid's own custom amps, plus Matchless and Bogner models, and an Ampeg SVT for bassists.

The tonal range has been further expanded by the eight new cabinets (including an Ampeg 8 x 10, a Fender Champ's eight-incher and the 2 x 12 array from a Roland JC-120), plus there are two more virtual mics (both dynamics that are great for capturing the bottom end) and five new effects.

For performance you get a front-panel tap tempo button and various possibilities for remote switching and parameter control, although there's only one input so you can either plug in an expression pedal or a dual footswitch. However, if you wish to make the most of the unit on stage add a MIDI foot controller and you'll be spoilt for choice with switching options.

As an audio interface, the Eleven Rack has a decent mic preamp built in and is capable of recording up to eight simultaneous channels of audio, although for recording guitar you'd perhaps only really be interested in recording two tracks to your DAW - the Eleven Rack outputs a mono dry guitar track simultaneously with a stereo track complete with all of the onboard processing.

This gives plenty of scope later should you wish to change the sound during mixing, because the dry track can be sent back to the Eleven Rack and re-recorded with a different sound. If you use Pro Tools as your DAW there is a nice practical tie-up with the Eleven Rack in that you can embed the Eleven's current Rig settings into a Pro Tools audio region as you record them.

The settings can be re-loaded back into the Eleven Rack directly from Pro Tools - extremely useful if you need to re-record some of a guitar part at a later date or just want to exactly duplicate the sound.

There's not the space here to give a full review of the capabilities of the Pro Tools 10 software itself but it will put the means at your disposal to compose, record, edit, and mix your music. As well as audio recording you get a set of virtual instruments and many tools to manipulate sound including the ability to adjust pitch and time on the fly with elastic pitch and elastic time.

Such a tidy range of amp and effects in a rackmount unit with multiple outputs and a computer connection makes the Eleven Rack an ideal studio tool for anyone who records guitar regularly and needs a wide range of tones, but it easily adapts to stage use so that you can link it up to a power amp and have your exact recorded tones on stage.

Fender FT-004 Clip-On Chromatic Tuner

Sun, 12 Feb 2012 16:09:00 GMT

There's been a relentless slew of clip-on tuners recently, and what was once a clunky, ugly idea has become sleeker with every release.

Fender's new chromatic clip-on tuner isn't the smallest we've seen, but it's certainly got the looks. The blue tint of the LCD changes to green when you're in tune, and it can work chromatically or on a per-string basis.

It's easy to position and a doddle to use. There are even presets for bass, ukulele and violin. Tidy!

Griffin Stompbox

Sun, 12 Feb 2012 15:56:00 GMT

The Griffin StompBox gives you four assignable stomp switches and an expression pedal input for taking proper control of wah effects. We're excited!

At least we would be if it worked with anyof the major modelling apps. So far, you have to download Frontier's iShred which, while good, requires you to buy most of its models once it's installed.

StompBox is a great idea, and it's very well made. It also comes with Griffin's GuitarConnect cable. Developers: take note!

Fender CF-140S

Fri, 10 Feb 2012 09:30:00 GMT

What the folk is going on here? In a market sector that groans beneath a glut of bloaters and behemoths, the Fender CF-140S is slim, sultry and almost a little stunted, like Kylie Minogue driving a Smart Car.

In terms of cubic centimetres of fresh air, it's virtually a shoebox with a 104mm rim depth to the laminated mahogany body, a solid spruce top circa 370 mm at the widest point, and a corset-waisted hourglass figure that we desperately want on our lap. The laws of physics dictate that smaller acoustics often don't have much poke, but the Fender boys are confident, citing "full, rich and resonant" projection that will "fill a room".

"The tone is damn good for the price, with a great spruce snap that gives definition with fingers and a rousing jangle with a pick."

Inside and out, the X-braced Chinese build is tidy and there's nothing to delay you getting to grips with a body and neck that are a breeze compared to your average dread. The body doesn't swamp you, the neck feels slim in the palm and the scale is just a little shorter.

String spacing is pretty standard, meaning you have plenty of room for uncluttered fingerpicking combined with a great sense of physical control. Fret access is no better than normal, but all in all this feels like the kind of go-anywhere guitar that you grab for a busking session (an impression backed up by the price).

The CF-140S certainly has a bit of welly for its size, but compared to the big boys it doesn't ring out with as much authority and, relatively speaking, we found ourselves working hard once we opened our gob to sing. The tone is damn good for £178, with a great spruce snap that gives definition with fingers and a rousing jangle with a pick.

As for that "fill a room" soundbite… we're not so sure. It's certainly punchy and insistent, but the tone leans towards the twang and falls down a little on warmth and fullness.

The folk-size body has seen a resurgence in popularity over the past couple of years, finding favour with the bearded fraternity, Scoring a Fender acoustic for less than £200 is an exciting prospect, and the CF-140S is a real breath of fresh air.

ESP LTD MH-330FR

Thu, 09 Feb 2012 11:30:00 GMT

There are three little letters that always get us hot.

No, we don't mean SEX or TNT. We're talking about ESP: dark overlords of metal gear, outfitters to Messrs Hetfield, Hammett and Laiho and, if we're being realistic, purveyors of the kind of top dollar forbidden fruit that we've long accepted we'll never own.

"The bridge voice is muscular, aggressive and insistent with the sneer of a petrol-soaked Les Paul."

And so it falls to three other little letters: LTD and the new MH-330FR to at least partially fulfil our schoolboy fantasies. As silver medals go, it's a pretty damn good one. It might be an 'entry-level' line, but LTD kicks ASS.

We say 'new', but gearhounds will be well aware of the MH body shape that has been doing the rounds at countless price points for yonks and would almost be - whisper it - a little dull if the elongated Strat vibe wasn't such a great handler. Similarly, the U-profile maple neck has merely been transplanted from the existing models (albeit bolted, unlike the top dollar thru items).

The reason for our excitement hinges on those two black brickettes at neck and bridge - ESP's new active ALH-200 humbuckers, which we'll be mentally pitting against their spiritual rivals from the mighty EMG. That, combined with the waggle of a genuine Floyd Rose Special floating vibrato, makes for a heavyweight package at £649.

There's only one finish available, but thankfully it's an inoffensive Electric Blue that makes the most of a pretty gorgeous carved top. Indeed, this instrument looks so sleek and ergonomic that it's a surprise to pick it up and feel the weight of all that mahogany.

It doesn't feel cumbersome, though, thanks to the run of the neck. The fretwire protrudes just a little at the edge of the board and the weeny fret markers aren't the best signposts during legato runs, but in application, it's a slim, smooth, speedy platform in the LTD tradition with an unobtrusive heel and a floating vibrato whose cavity facilitates extreme dive-bombing. We've played this all before, but it's still a thrill.

Sounds

There's a lot of timber here, and a whole lot of sound when you plug in with the warmth of undiluted mahogany ringing out rich and dark. Sometimes, active humbuckers seem to break into unwanted crunch when you play hard on the clean channel, but these ESP items stay deliciously classy for clean chords, serving to widen this model's appeal far beyond non-metallers and out to blues and even jazz noodling.

The real test, of course, is over on the dark side. We slammed all three settings and we liked what we heard. The neck unit supplies your basic rhythm crunch, with massive sonic weight behind it and more sustain than you'd expect.

Flick over and the bridge voice is muscular, aggressive and insistent with the sneer of a petrol-soaked Les Paul. Put a gun to our head and we'd say it's not quite as brick-wall brutal as an active EMG. The difference between settings isn't quite as marked as between an 81 and 85, but this is a top drawer sound for modern metal and the icing on a superior guitar.

DAM Meathead M-25

Thu, 09 Feb 2012 10:30:00 GMT

Surely one of the best things about being a pedal builder is getting to name your creation. It's a practice built on a firm tradition of smutty innuendo and delicious punnery, and we like the first part of D*A*M's fuzz pedal moniker.

However, the tradition of Muffs, Balls and Fingers has escaped this one. Instead, it shares its name with a motorway.

Not really. You may remember us featuring another version of the Meathead, when the M-13 delivered the fuzz establishment's arse on a plate. We couldn't help wondering what it'd be like with a couple of extra controls, though.

The M-25 (or Meathead Deluxe) adds Filter and Attack to your arsenal, while the Level serves the same function as the Dirt control with its little brother. The Attack control acts as your main clipping control, and it's surprisingly tame until you hit the positions at three o'clock and beyond. Filter adds bass and extra clipping into the mix, while Level controls the output.

At first the controls can be tricky as there are multiple ways of achieving the same sound. However, with a little tweaking, we managed to coax out loads of different tones, from smooth blues leads to a vintage punk dirge to a full-on woolly grind. The M-25 offers extra tweakability that's lacking from the standard version - even if it does complicate things.

Washburn RX 30

Wed, 08 Feb 2012 11:30:00 GMT

Respect to Washburn. Even when the Chicago giant is manning the band saw for Nuno Bettencourt, it has one eye on the working musician with the Nando's loyalty card.

And it's said musician who's in the sights of the RX 30: a doublecut that sails worryingly close to the £200 financial cliff-edge, beyond which electrics often turn to driftwood, yet packs a spec with no obvious Achilles heel. If this baby doesn't drop the ball, we could have ourselves an entry-level bargain.

"The cutaway is stellar, the unfinished neck works wonders for sweat monsters, and the widening radius is solid for chords and lead."

There are decent ingredients here and they've been lashed together with no little panache, with a carved maple veneer suggesting a pricier guitar and control knobs (plural, take note) recessed into the basswood body.

It would all be very adult and classy were it not for the back-kinked pointy headstock and reassuring presence of twin Duncan USM humbuckers, apparently wound for some high‑output rock.

Physically, we're not getting carried away. A rock bottom electric will never tear it up like a 70s Strat and the RX 30 is better described as comfortable and more professional than an extension of your arm.

That said, the cutaway is stellar, the unfinished neck works wonders for sweat monsters, and the widening radius is solid for chords and lead. It doesn't have any real identity but it's good enough to learn on and gig.

Sounds

Ultimately, the real slam-dunk comes from those aftermarket Duncan pickups. Twangy and woody when played raw, they offer three distinct voices when you clunk between settings - the neck is warm and full; the bridge lean and mean - and it's a relief to be able to tailor this superior voice.

Plus, Washburn wasn't kidding. When you push these units into the red they've got a napalm punch that belies the cultured looks.

Everybody's a winner here - with this review proving the entry-level sector is as competitive as ever.

SoniVox Wobble

Tue, 07 Feb 2012 09:30:00 GMT

Dubbed its Dubstep Grime Generator, this is the latest synth from Sonivox's Nemesynth group and, like its sibling Twist, it serves up its 'spectral morphing synthesis' via a large, knob-centric interface.

The main page features two separate synth 'channels'; these host a fixed pair of timbres for each of the 200 preset patches, with individual controls for Width, Tune (+/-1 semitone), Filter Cutoff, Filter Resonance and the syncable LFO (square, sine, triangle and sawtooth waveshapes).

"Wobble's strongest element is the Pattern Generator, and the inclusion of LFO Sync as a pattern parameter means that you can quickly summon up grime-style sounds with time-shifting wobble."

The Width knob is your main sound-tailoring control, adjusting harmonic frequency content in relation to fundamental pitch. Each patch comes with a pre-configured filter envelope, leaving the filter, tuning and LFO settings for further tweaking. Of course, the blending of the two channels also influences the sound.

On a separate Effects page are chorus, reverb and delay units, and rounding things off is the Pattern page, featuring a pattern generator andintelligent rhythm control (a real-time performance quantiser, essentially).

The main keyboard, with Modwheel, Pitchbend, Glide Time and Output Volume, stays visible at the bottom of the window at all times, and the vast majority of parameter knobs feature MIDI learn for controller assignments.

Rather oddly, the mod wheel assignment is set to control its own arbitrary internal parameters in each patch and can't be changed, although you can still assign the mod wheel's CC to the onscreen knobs.

Wobble's Pattern Generator enables synced control of six parameters: Note Offset, Width, Filter Cutoff, LFO Rate, LFO Depth and LFO Sync. All but Note Offset can be set individually for each synth channel.

Other features here include step joining for held notes, glide and velocity. It's a pretty good showing for this handy little pattern sequencer, then, although on the downside, you can't stop the pattern from retriggering on new MIDI notes, or trigger it via the onscreen 'board.

Brothers grime

Wobble's synth engine takes a bit of getting used to, and we found ourselves hunting through the 200 presets to find a good starting point. They lean heavily towards bass and leads, with effects, pads and stabs making up the minority.

However, the most important thing to understand is that there are hidden aspects to each patch, such as amp and filter envelopes, that can't be modified. We also found that, in some instances, Channel 1's LFO influences Channel 2, which is kind of weird. The upshot of this is that you can't really approach editing Wobble in the same way you would a more conventional soft synth.

Wobble's strongest element is the Pattern Generator, and the inclusion of LFO Sync as a pattern parameter means that you can quickly summon up grime-style sounds with time-shifting wobble.

Throw in some filter settings and a few note offsets, and hooky, rhythmic parts are easily created. Plus, you can change the current preset without losing the pattern settings, which is a nice touch.

While Wobble is clearly capable of producing some interesting (if not jaw-dropping) sounds, even low-level tweakers will find the lack of regular sound shaping parameters annoying. Couple this with the clunky preset management system, and itcould be easy for its strengths (the Pattern Generator and simple MIDI controller assignment) to be overlooked.

Blackstar HT-METAL

Thu, 02 Feb 2012 13:42:00 GMT

When we were sent this extreme gain pedal from Blackstar, we took precautions. Upon opening the box we borrowed safety goggles; pets were ushered outdoors; tarp was laid down.

Blackstar means business with the HT-METAL, capitalising on endorsements with dudes such as black metal titan Ihsahn and Dimmu Borgir's Silenoz. All signs point to some thermonuclear gain action.

"Punching in channel one's Clean mode is like sticking your tone on a hot radiator, adding layers of warmth and just a little break-up when the gain is cranked."

The HT-METAL is a two-channel/three-mode distortion pedal. There are two channels on available with this ferocious offering, but you'll find that Channel One has a Clean/OD switch that enables you to use the pedal as a boost in Clean mode and dial in some hot bite as you turn the gain clockwise.

Reminiscent of the limited Gus G signature HT-BLACKFIRE distortion that we fell in love with last year, the HT-METAL now supersedes it as Blackstar's official entry for the title of The Ultimate Heavy Metal Distortion Pedal.

It takes a minute or two to get used to the two stacked pots controlling gain and level, the fattest of which controls channel one while the skinny one on top controls channel two.

The control panel is laid out like a Blackstar amp with Gain and Level, Bass, Middle and Treble, plus the patented Infinite Shape Feature (ISF). The ISF control works like a Trans-Atlantic tone translator, changing the character of your tone from a tight American sound when turned fully counter clockwise to a mid-rich British tone when fully clockwise.

Punching in channel one's Clean mode is like sticking your tone on a hot radiator, adding layers of warmth and just a little break-up when the gain is cranked. Blues players may be surprised that a pedal built for blood and thunder can also do sweet.

Channel one's OD mode is all about throaty, expressive crunch and, depending on where you set the ISF knob, you can even get some nice 'n' sleazy American rock tones or a blue-collar AC/DC bark.

Navigate your way to the high-gain stages of channel two and besides realising that the HT-METAL's USP is its ability to turn your signal into a gnawing musical chainsaw, you get the feeling that Blackstar is actually underselling this – the HT-METAL is more than just a pedal for musical extremists. Indeed, its comprehensive sweep of not just useable but great, inspiring tones should be experienced by all players.

Sure, for many it will be difficult to look past the moody exterior and the extremity of channel two. Sheesh, there is more gain here than you would ever really need (enough to saturate your tone) and it's obviously perfect for metal.

If your wardrobe is 100 per cent black and you use words such as 'necro' and 'brutal' to describe your mum's cooking, this one's for you. But really, this is so good we'd like to think there's something for everyone here.

Hughes & Kettner TubeMeister 5 combo

Thu, 02 Feb 2012 12:23:00 GMT

Last year we had the world's first official review of Hughes & Kettner's groundbreaking TubeMeister 18 head.

We concluded that it is small, good value and loud enough to take on small gigs, despite its tiny dimensions. Even better, it has the not inconsiderable benefit of an excellent sounding speaker-simulated direct output: we rated it, and continue to rate it, very highly.

"You get a focused urgency in the mid-range and very direct projection from the tiny box: it's very much a small-amp flavour, and sounds good mic'd up."

To kick off 2012, we have the even smaller, even more cute five-watt version in head and combo formats - identical in terms of electronics. Are they credible downsizing in real-world valve amps, or one sandwich short of a lunchbox?

On the combo the controls face up at you, so your audience/significant other just sees a black box from the front. The standard of external finishing is high on all the metalwork of the head enclosure, and the tidy leather-like vinyl, save for the most minor of untidy tucks around its control panel.

Accented with quality, extremely positive-feeling metal control knobs, metal jacks and a reassuringly clunky switch, the tiny TM upholds H&K's well-deserved reputation for high standards.

Behind the blue you'll find a single 12AX7 valve in the preamp section, and one 12BH7 - the same as that used in Blackstar's successful HT-5 - in the power section. The 12BH7 is a dual triode that runs within itself in push-pull (like two separate matched valves would in a bigger amp) to chuck out a whole five watts.

Like the 18-watt version, the TM5 includes a power-soak, though here it's in simpler form. Instead of providing a selection of incremental power reductions down to silent, it's simply the full five watts or silent: on or off.

The latter is particularly useful if you want to record silently via the inbuilt XLR direct output - with the power soak in the off position, you don't even need a speaker connected, meaning it can sit pretty much anywhere you like as long as there's power. There's no effects loop, no reverb and no footswitch, however.

The direct output is a custom, inbuilt version of Hughes & Kettner's well respected Red Box DI - we rate it very highly in the 18-watt incarnation (and indeed as a standalone box), so it'll be very interesting to hear how it compares on the end of the TubeMeister 5's smaller output section.

A quick look inside reveals a custom-designed PCB, screwed securely to the metal chassis. As well as the circuit components, it houses the pots and valve bases, but not the transformers and mains switch, as you'd expect.

The Red Box DI circuit is completely separate on its own PCB, which includes the power soak switch and the speaker output that will take anything between an 8- and 16-ohm load.

As we've come to expect from H&K, all is remarkably efficient and superbly designed; 'designed and engineered in Germany' is printed on the rear panel, but nowhere other than the packing box does it say 'manufactured in PRC'. Are we still embarrassed about Chinese build? In terms of quality, we shouldn't be, especially when it's as well-commissioned as this.

That high standard of build extends to the combo's cabinet. Constructed from ply (not particleboard) the combo has an almost fully closed-back design, save for a small open strip at the rear. The only downside is that it's a pain in the butt to get to the valves should they require changing.

Sounds

Obvious things first: yes, the eight-inch speaker and small cabinet of the combo sounds relatively small and boxy. Placing it on the floor helps the bottom-end response no end, but room filling and airy the combo is not, certainly compared with a Fender Blues Junior or Hot Rod Deluxe.

What you get instead is a focused urgency in the mid-range and very direct projection from the tiny box: it's very much a small-amp flavour, and sounds good mic'd up.

The TubeMeister 5's clean channel has a great sense of sparkle and presence that typifies many H&K valve amps. It will overdrive if you max the gain control and use more powerful pickups, but there's a surprising amount of headroom and volume on offer for such a modest power rating. Forget it with a loud live drummer, but for duos and accompanying vocalists, you could use this for little gigs with no problems.

The EQ is very powerful, enabling you to go from bouncy, mid-scooped country-type cleans right through to a smokier, more mid-rich jazzy deal. A lot of tiny amps don't have the full bass/middle/treble offering, so there's a great deal more flexibility here than on a Marshall Class 5 or Vox AC4, for example. We do miss reverb, though.

Engaging the overdrive mode ushers in a big kick in gain, starting at a slightly pushed, vintage-type amp overdrive, right through to modern, heavy, saturated distortion. There really is a great deal of variation in drive off the gain pot, which you can balance with the master/output section to sound relatively smoother or more fuzzy.

As we said, the EQ is very powerful so you span from scoopy '80s-type metal tones, all the way through to punching, mid-gained '60s-style blues.

The inbuilt Red Box DI does a superb job of clean tones especially. We'd say it gets less convincing with more gainy sounds when compared directly with a mic'd signal, but much of that is easily tweaked with EQ in your recording software.

Certainly, for convenient silent recording, it's superb. Mixed with the mic'd signal, it sounds huge.

During our recording, we did find both head and combo more susceptible to extraneous noise than the Bogner Goldfinger 45 we were also demoing in exactly the same conditions. A DI box between amp and guitar sorted the issue, however.

On sheer cuteness factor alone, the TubeMeister 5 has that 'must-have' quality, especially at this attractive price. Add a suitable reverb or echo pedal and you have a brilliant little amp for home practice and recording duties.

It's capable of a huge range of tones, and the inbuilt Red Box is genuinely useful, not just a spec point that gets listed but never really used. It doesn't feel as tonally refined as the bigger, more expensive TubeMeister 18 - but then it's unrealistic to expect it to, of course.

Many people will be wondering whether this is a better choice than a comparably priced digital modelling amp, and that's a very tough call. A valve amp of this nature sounds more visceral, has a different response to the overdrive and all-important mid-range frequencies, and so feels quite different under your fingers.

Some people like that, some people don't - do yourself a favour, though, and be sure to A/B test the TubeMeister 5 alongside a 20-40-watt modelling amp. We think you'll be very surprised.

Tanglewood T6

Thu, 02 Feb 2012 11:56:00 GMT

When performing live, an acoustic guitarist is generally either trying to make themselves heard above the chatter of a cafe or pub crowd, or running through the public address system in a larger venue.

In both scenarios it makes sense to have an acoustic combo, such as the new 60-watt Tanglewood T6 on your side. A good amp will blast your noise to the back of the room in smaller venues and earn its keep as your stage monitor in bigger sheds.

The T6 has a line out socket that enables you to run it to a PA without shutting down its built-in 8-inch speaker. That means you get the window rattling volume you need to rupture eardrums without compromising control over your onstage sound.

The T6 has two channels: channel one is for guitar and channel two is prepped for a mic or line-level source. Here, we're going to concentrate on channel one.

In use

Upon plugging in our Takamine electro-acoustic, the first thing to do is tweak the 'high/low' button. If your guitar has a battery-powered preamp like ours, select the 'low' setting. Choose 'high' for low-output soundhole pickups and stick-on bugs.

Now it's just a matter of balancing your guitar's controls and the amp's three-band EQ to get your sound. FYI, there is a red 'clip' indicator that ignites if you overload the channel. Don't panic - just drop the gain until the LED extinguishes then boost the master volume.

The T6 has plenty of headroom and top end sizzle, although there is a 'contour' control if you need to boost the treble. We like the dedicated DI, line out and MP3 sockets, and how the T6 can be mounted on a speaker stand for improved sound projection in smaller venues.

We're not so blown away by the onboard effects. The wet-sounding Hall reverb is OK, but the Plate and Chorus are anaemic and uninspiring. There's no way to tweak the delay, which is annoying.

The delay time and regeneration are set, so if you don't like the sound, tough. You can run your stompboxes and FX units through the amp's send and return sockets and assign them to each channel with the effects pan knob.

We don't regard the pants onboard effects as a deal breaker. The T6 is a great-sounding, ultra-portable amp that offers pro-quality tone and bags of headroom at an affordable price.

You can buy a padded gigbag (£39) for the T6, which offers neat storage for your cables and great protection from damage.

Of course, all that padding won't protect the T6 from some mighty stiff competition, not least the diminutive but powerful ZT Lunchbox Acoustic (£389). We reckon you should try as many acoustic amps as possible, including this one, before you make any decisions.

TC Electronic PolyTune Mini

Thu, 02 Feb 2012 11:30:00 GMT

You've heard us bang on about it for nearly two years now. Polyphonic tuning - the biggest advancement in guitar tuning since Pete Doherty learnt the 'fifth fret method' - was spearheaded in 2009 by TC Electronic with its PolyTune stompbox.

Oh, how we marvelled at its sleek design, ease of use and jaw dropping ability to listen to all of your strings at once. Then came the iPhone app and we began to wonder how TC could evolve further.

"If tuning up one string at a time is more your thing you can still do it. The PolyTune Mini jumps seamlessly between the two modes."

The answer recently arrived on our desk. Still with the wouldn't-look-out-of-place-in-the-Apple-Store design, the PolyTune Mini features the same polyphonic tuning as its bigger brother, plus the recently introduced Capo and Drop-D modes.

The main difference is that it's about 20 per cent smaller, measuring 51mm wide by 93mm front-to-back. Of course, there are a few other limitations: you can't update the Mini over USB and it will only run from a power supply (no battery).

The Mini has different modes, depending how you tune, all of which can be selected by pressing the small button on the side of the pedal. You can go for standard, dropped tunings (with standard intervals up to five semitones) or tell the pedal you're using a capo (up to the seventh fret).

It works exactly as before: plug in, strum your strings and the pedal's six LED 'columns' (one for each string) detect your tuning. Green is in tune, above is sharp, below is flat.

TC has also introduced the Drop-D tuning mode for the Mini. This calibrates the pedal for the 'tone-down' interval on your low string. It's accessed by holding down the stomp switch for a couple of seconds and can work in combination with the other dropped modes for achieving, say, drop B tuning.

All of this talk of polyphony might feel as though you're reading a keyboard mag, and if tuning up one string at a time is more your thing you can still do it. The PolyTune Mini jumps seamlessly between the two modes.

When it senses only one note has been played, the display reacts like a traditional chromatic tuner with a virtual needle. Simply strumming two or more strings together kicks it back into polyphonic mode again.

TC Electronic has clearly worked hard to push things forward of late. While the mini didn't leave our jaws dropped like the original, it's still the cutest, best value tuner we can think of for the price.

Yes it has some shortcomings when compared to its big brother: the PSU only (not included) operation and the lack of a daisy-chain power output and USB socket. The fact that it can't be updated shouldn't be a problem - we're buying it for what it is, not what it could be - plus the range of tuning options available is more than enough.

If you want all of those extras, they're available for a bit more cash. Otherwise, you'll save pedal board space, and money, with the PolyTune Mini.

Hughes & Kettner TubeMeister 5 head

Thu, 02 Feb 2012 10:56:00 GMT

Last year, we had the world's first official review of Hughes & Kettner's groundbreaking TubeMeister 18 head.

"The TM5's EQ is very powerful, enabling you to go from bouncy, mid-scooped country-type cleans right through to a smokier, more mid-rich jazzy deal."

To kick off 2012, we have the even smaller, even cuter five-watt version in head and combo formats. Are they credible downsizing in real-world valve amps, or one sandwich short of a lunchbox?

The first thing to say about the TubeMeister 5 head is that it's tiny - almost laughably so. In fact most of our staffers assumed it was an elaborate desk toy sent as a Christmas gift! Secondly, and more usefully, the combo and head are exactly the same in terms of electronics.

Unlike the two-channel, three-mode 18-watt head (which strangely now adopts 'big' brother status), the 5 gets a single-channel, dual-mode set-up. Even so, H&K has packed five knobs and one switch onto the tiny control panels for independent gain and volume adjustments and a powerful, albeit passive, three-band EQ section. The push switch kicks in the distortion.

Power them up and it all glows blue in glorious H&K tradition. The standard of external finishing high on all the metalwork of the head enclosure. Accented with quality, extremely positive-feeling metal control knobs, metal jacks and a reassuringly clunky switch, the tiny TMs uphold H&K's well-deserved reputation for high standards.

The Red Box DI circuit is completely separate on its own PCB, which includes the power soak switch and the speaker output that will take anything between an 8- and 16-ohm load.

Sounds

We loved the sound of the head set up with a 1 x 12 cab. Just for kicks, we also tried the tiny device atop a H&K Celestion Greenback-loaded 2 x 12 and an Orange Celestion V30-loaded 4 x 12 too, with predictably bigger tonal results.

As we said, the EQ is very powerful so you span from scoopy '80s-type metal tones, all the way through to punching, mid-gained '60s-style blues. Again, the 1 x 12 option sounds smoother and more grown up than the 1 x 8.

During our recording, we did find the head more susceptible to extraneous noise than the Bogner Goldfinger 45 we were demoing in exactly the same conditions. A DI box between amp and guitar sorted the issue, however.

On cuteness factor alone, the TubeMeister 5 has that 'must-have' quality, especially at this attractive price. Add a suitable reverb or echo pedal and you have a brilliant little amp for home practice and recording duties.

Some people like that, some people don't - do yourself a favour, though, and be sure to A/B test the TubeMeister 5 alongside a 20-40-watt modelling amp. We think you'll be very surprised.

Dunlop DVP1 Volume Pedal

Wed, 01 Feb 2012 10:00:00 GMT

This recent addition to the Dunlop effects range revamps the basic volume pedal by making use of some clever thinking and similarly smart styling.

The latter concerns a beefy but smooth casing in space-age brush-finished aluminium, with chunky looks matched by measurements that easily accommodate a size 10 boot.

An accordingly long treadle section is topped with a tyre-like, heavy patterned rubber insert that gives you some serious grip underfoot. The pedal's substantial weight helps keep it firmly in place, with further anchorage provided by the rubber-covered baseplate.

Volume changes are made using a conventional passive pot, but the partner treadle mechanism employs Dunlop's new Steel Band Drive, designed for minimum maintenance and friction-free performance.

A rear-mounted tension screw adjusts sweep action stiffness, while all connections are at the opposite end of the case, comprising input and output jacks plus an independent tuner feed.

In Use

The well-chosen components ensure that there's no noticeable signal degradation, while appropriate level amendments are smoothly progressive from off to the full-on position.

Dunlop's DVP1 is an obvious competitor to the BOSS FV-500H, but lacks the latter's minimum volume facility. Despite this deficit, it's a viable alternative, although the asking price could be considered quite steep for such a simple pedal.

Gretsch Electromatic Double Jet

Tue, 31 Jan 2012 20:29:00 GMT

Electromatic Series guitars aren't just a good way of getting your hands on an affordable Gretsch, they've actually developed a bit of a cult following in their own right.

For example, owners of the Pro Jet and 5120 semi-acoustic often rip out the existing pickups to replace them with higher spec TV Jones models. Type in 'Electromatic modification' into YouTube and you'll see what we mean.

"Our Double Jet is gold, sparkly and as cool as your granny's mood when you wake her at 4am with AC/DC riffs."

These guys want to convert their Electromatic Pro Jets into Duo Jets and Electromatic 5120s into G6120 rockabilly machines; just like Eddie Cochran and Brian Setzer's big orange guitars.

Now Gretsch has got in on the Electromatic pimping fad. The freshly scrubbed Pro Jet and Double Jet models now feature pickup upgrades and new fingerboard inlays.

The Electromatic Double Jet pays tribute to the double-cut Duo Jet that Gretsch launched in 1961. Aside from the extra cutaway, the Double Jet's spec is identical to its single-cut brother.

But here's the niggle: the pre-facelift Electromatic Double Jet had period-correct thumbnail fingerboard inlays, and they just looked 'right'. Here Gretsch has chosen to replace the Double Jet's thumbnails with '57 'hump block' inlays.

It's unlikely to make any difference to the vast majority of people, but it's the kind of thing that keeps us - and Gretsch nerds - awake at night. Fellow detail fans will be pleased to know, however, that the horseshoe Bigsby fitted to our Double Jet is period-correct, although some '60s Jets came with a Burns vibrato unit or a G-cutout tailpiece.

So much for history - it's gold, sparkly and still as cool as your granny's mood when you wake her at 4am with AC/DC riffs. Which you will. Let's plug in…

Sounds

Running the Jet through a clean channel it's immediately clear that the new Blacktop Filter'Tron pickups are more Gretsch-like than those original mini-buckers.

The bridge Blacktop has much of that punchy clean sound that we expect from a Duo Jet. It's great for beating out old-school rock 'n' roll riffs. Gretsch guitars are more versatile than we give them credit for and both Jets pump out convincing rockabilly, blues and surf tones.

Then there's the rock stuff. Steve Marriott of The Small Faces and Humble Pie, and Malcolm Young of AC/DC, have both proven how great Gretsch Jets sound with some overdrive. The Blacktop Filter'Trons work great with the filth. The inherent brightness of the pickups cuts through an gives the overdriven tones a ballsy edge.

We're not claiming the Double Jet sounds like the high rolling Professional Series Gretsch models. There is still a big difference, but these latest Electromatics get closer than ever to the real deal.

It's time to give that elephant in the room a right good kick up the rear. Which is to say, why didn't Gretsch go the whole hog and build affordable replicas of its classic Jets while it had the chance? It wouldn't have taken much more effort.

Maybe Gretsch doesn't want to compromise its Japanese-made Professional range: if you buy a two grand-plus work of art such as the Gretsch G6128T-GH George Harrison Signature Duo Jet, you want everyone to know you unloaded your bank account on it. A 500 quid doppelgänger of your new pride and joy would likely not make you happy.

But as things stand, the Double Jet is perfect for Gretsch virgins seeking out great build, playability, tone and good looks. And the Electromatic cultists will no doubt keep on pimping them to get them even closer to the real thing, despite the pickup upgrades.

Gretsch Electromatic G5105 CVT III

Tue, 31 Jan 2012 20:19:00 GMT

Electromatic Series guitars aren't just a good way of getting your hands on an affordable Gretsch, they've actually developed a bit of a cult following in their own right.

"With the bridge pickup engaged the CVT comes across like a miffed Rickenbacker; that explosive power-chord thing that you hear on Jam records."

These guys want to convert their Electromatic Pro Jets into Duo Jets and Electromatic 5120s into G6120 rockabilly machines; just like Eddie Cochran and Brian Setzer's big orange guitars.

Now Gretsch itself has got in on the Electromatic pimping fad. The freshly scrubbed Pro Jet and Double Jet models now feature pickup upgrades and new fingerboard inlays. There are even new models including this '60s classic reborn with, gulp, a bolt-on neck…

'CVT' is short for Corvette, the model originally launched by Gretsch in 1961. While the first Corvettes had slab bodies, the outline was eventually honed into the shapely beauty you see before you.

Our CVT III has a mahogany body with a maple neck held in place with four screws through a plate, just like a Fender. Yep, this guitar has a bolt-on neck, which is not the norm for a Gretsch, but more on that soon. The chubby profile neck is mated to a rosewood fingerboard, with a 305mm radius and 22 well-seated and dressed medium jumbo frets.

The hardware includes an anchored (ie screwed into the body) adjust-o-matic bridge and bar tailpiece. Again, this is not classic Gretsch, but it does a textbook job of keeping the strings attached to the guitar.

The CVT comes with a master volume and master tone control both manipulated with lovely chrome 'G Arrow' knobs. The real frontpage news is the trio of mini-humbuckers encased in chrome-plated covers.

These pickups were originally spec'd on Pro Jet and Double Jet models. We liked them plenty on the Jets, so we're expecting good things when we plug this Corvette into an amp.

Sounds

The CVT III is a blast. The bolt-on neck actually works well on this guitar. It feels robust, like you can beat the hell out of it and it won't give up. It jangles through a clean channel but it really comes to life when you add some overdrive.

With the bridge pickup engaged it comes across like a miffed Rickenbacker; that explosive power-chord thing that you hear on Jam records. Selecting the other humbuckers one by one reveals some usable warmer tones, but it's the punk rock bliss in the bridge pickup that made our day.

In short, it's great when you find a budget guitar that punches above its weight. How about a single-pickup version, Gretsch?

Gretsch Electromatic G5435T Pro Jet

Tue, 31 Jan 2012 20:10:00 GMT

Electromatic Series guitars aren't just a good way of getting your hands on an affordable Gretsch, they've actually developed a bit of a cult following in their own right.

"The Jet's complement of hardware includes a set of vintage-style tuners, classic screw-on strap buttons and beautiful chrome 'G Arrow' control knobs"

These guys want to convert their Electromatic Pro Jets into Duo Jets and Electromatic 5120s into G6120 rockabilly machines; just like Eddie Cochran and Brian Setzer's big orange guitars.

Now Gretsch has got in on the Electromatic pimping fad. The freshly scrubbed Pro Jet and Double Jet models now feature pickup upgrades and new fingerboard inlays.

The Pro Jet is based around a chambered basswood body with a laminated arched maple top. You can own a Pro Jet in a black or gold finish with a deep brown back and neck.

The set maple neck is topped with a slice of rosewood, 22 medium jumbo frets and again has a 305mm (12-inch) radius, the same as a Les Paul, which might give you an idea of the great playability on offer here. By the way, the fingerboard comes studded with similar, '57-era 'hump block' inlays to those featured on the recent Gretsch George Harrison Signature and Custom Shop Tribute model guitars: fab indeed.

The Jet's complement of hardware includes a set of vintage-style tuners, classic screw-on strap buttons and beautiful chrome 'G Arrow' control knobs. You also get a horseshoe Bigsby Licensed B50 vibrato although this isn't period correct: '50s-era Jets would have been retrofitted with the longer-bodied B3 Bigsby. Just like the one on Beatle George's original guitar in fact.

The previous Pro Jet - and Double Jet - were loaded with the same mini-humbuckers that now come fitted to the CVT III Corvette. As such, as mentioned before, both Jets have been duly upgraded with sexy-looking Blacktop Filter'Tron humbuckers that claim to offer a more authentic Gretsch tone.

Sounds

Running the Jet through a clean channel it's immediately clear that the new Blacktop Filter'Tron pickups are more Gretsch-like than those original mini-buckers.

Then there's the rock stuff. Steve Marriott of The Small Faces and Humble Pie, and Malcolm Young of AC/DC, have both proven how great Gretsch Jets sound with some overdrive.

The Blacktop Filter'Trons work great with the filth. The inherent brightness of the pickups cuts through an gives the overdriven tones a ballsy edge.

We're not claiming the Pro Jet sounds like the high rolling Professional Series Gretsch models. There is still a big difference, but these latest Electromatics get closer than ever to the real deal.

It wouldn't have taken much more effort. The Pro Jet only needs a B3 model Bigsby vibrato, a chunky silver-backed perspex pickguard, sculpted pickup rings and a pair of DynaSonic lookalike single-coils to nail the '57 Duo Jet's aesthetics.

But as it stands, the Pro Jet and Double Jet are perfect for Gretsch virgins seeking out great build, playability, tone and good looks. And the Electromatic cultists will no doubt keep on pimping them to get them even closer to the real thing, despite the pickup upgrades.

Fret-King Black Label Elise GG

Tue, 31 Jan 2012 11:00:00 GMT

Vintage's AV3H impressed us on its release and this Fret-King version is even better. Basically, the two-piece, centred-joined mahogany back is routed out to leave a centre block that runs just beyond the stud tailpiece - the rest is hollow.

It's capped by a solid maple top - very unusual at this price point - carved inside and out, then faced with a figured maple veneer. At 368mm (14.5 inches), wide and 450mm (17.75 inches) long, its smaller than an ES-335 and, of course, the treble side is pulled back, offsetting the horns and the waist.

"If you know your sounds and how to get 'em, this guitar will suit pretty much anything."

A major difference, visually at least, is the six-in-a-line back-angled headstock, giving a Gibson Trini Lopez vibe. It looks better than the bulky 'stock on the AV3H in our opinion.

Aesthetics asides it's a complex guitar to make and that's before we get to the equally complex electronics housed under an over-sized inset backplate.

We have three pickup sources: the two Wilkinson magnetic pickups and the piezo elements of the tune-o-matic-style bridge that, like most hybrids, aims to provide an acoustic-like tonality to contrast and complement the conventional magnetic tones.

Control of the passive magnetic pair is straightforward with a three-way toggle pickup selector, master volume and tone. The active piezo circuit is more involved with a volume and three-band EQ from three separate, centre-notched rotary controls. Finally, a three-way mode switch enables magnetic or piezo individually or both together.

The output is a single jack that with a mono lead mixes both sources to the same amp or with a stereo 'Y' you can output the two systems to separate amps.

It's very tidily constructed and a good weight. The neck has a similar profile to the DBC, although here it's very a tad asymmetric feeling slightly bigger on the bass-side. And despite the plethora of controls, it's pretty obvious what's what.

The smaller centre-notched knobs operate the EQs, the regular knobs the volume and passive tone, the piezo volume being the lowest of the three.

Telltale details such as how clean the body and fingerboard binding is and fret ends are all very ship-shape, likewise the very tidily bound f-hole. Fret-King has established a reputation for quality and these, just like the JD we looked at last year, don't let the side down at all.

Sounds

The Elise looks and sounds a little bit sophisticated. The humbucker has a nice hotter-than-PAF-like output, a little more aggressive in the high end, but the neck single-coil is very much in the 'hot Strat' camp and played clean there are a host of older sixties tones here, some smooth jazz or way more contemporary arpeggios that work effortlessly with our pedalboard.

There's a nice fat fullness to the overall sound, which is more woody than a standard ES-335 style. Edging up the wick, electric blues and more forceful jazz fall out of the guitar. If you know your sounds and how to get 'em, this guitar will suit pretty much anything, with perhaps with the exception of clinically clean country Tele twang and all-out metal.

Adding a coil-split to the humbucker would certainly help the former and if you can control the feedback then the latter would be a possibility. But those extra knobs are calling…

The quality of the piezo sound is acceptably acoustic-ish, certainly good enough to add texture to the magnetics when, for example, run through an acoustic combo; good enough certainly for a hybrid jazz tone, less acceptable for a strummy acoustic intro and pretty much a no-go if you need to do an acoustic gig and this is the only guitar you have.

Along with what are clearly a couple of pre-production glitches on this sample, there's also a high frequency, almost out-of-phase 'halo' to the sound that doesn't do the tonal quality any favours.

That said we got some very usable hybrid sounds running both signals into a clean-ish Fender-style combo where the piezo adds a different, certainly acoustic-like, texture. Potentially, it's a very powerful machine but be prepared to do a little work to get the most from the piezo side.

Giltrap's Elise is a bold guitar that,so long as the piezo hiccups are sorted by the time it hits the stores, is a lot of guitar for the money - a really neatly designed and excellent sounding electric guitar with some acoustic-like colour. You'd be foolish not to audition this - and the rest of the Black Label range.

Fret-King Black Label Eclat DBC

Tue, 31 Jan 2012 10:00:00 GMT

Classed by designer Trevor Wilkinson as a "no-brainer", the Eclat DBC is obviously based on the Les Paul Junior.

The standard Eclat resides in Fret-King's Blue Label range - a Wilkinson-ised version of a Les Paul Standard while the Eclat 2 goes for more of a Les Paul Special vibe.

"The Eclat DBC isn't a guitar to obsess over, just one to plug in…"

Aside from the iconic outline, this Eclat DBC differs with that very un-Gibson-like shoulder and cutaway, and like the other Eclats we have a scooped forearm cut here. Aside from that it follows the Junior recipe: 45mm thick slab body with small edge radius, mahogany set neck with dot-inlaid 22-fret rosewood 'board.

There's a simple, vintage-style wrapover bridge, three-on-a-strip tuners, dog-ear P-90-style single-coil,
a single-ply scratchplate and rear-mounted volume and tone controls, the output jack held in a recessed Tele-type collar.

It's a tidy job with a light, old-style two-tone sunburst and a full profiled very slightly flat-backed neck. It's not a guitar to obsess over, just one to plug in…

Sounds

Warming our test amps up with an original Les Paul Junior, we're reminded just how raw and brutal they can sound. With a 'c'mon beat that' cockiness we plug in the Fret-King and are very pleasantly surprised.

The hot output of the '57 Junior is matched here; there's less hi-fidelity, the Eclat sounds a little rounder but with similar juicy mid-range and roomy low-end.

Dial in a classic crunch amp tone and you have the archetypal rock rhythm machine. Kick in a level boost and the combination of the hot output and single-coil sparkle is the perfect anecdote to the almost over compressed LP Standard lead tone - this is edgier.

The tone control is nicely graduated: fully off, that choked 'woman' tone is more than usable while the volume control does soften things slightly when reduced. On our original LP Junior it almost enhances the sparkle as the amp cleans up. The Eclat is different, but is a 'Junior' this writer would happily take on a gig, as its tuning is more stable, the neck less of a log and upper fret access easier.

You can buy a US-made Gibson Les Paul Junior for the same price as this DBC model, which clearly remains its huge rival.

Is the DBC 'better'? Quite probably, but the iconic appearance and name is a huge draw. Do yourself a favour and try the DBC though - it's a really good rock guitar.

Coopersonic Germaniac Vintage Fuzz

Mon, 30 Jan 2012 15:00:00 GMT

The earliest fuzz pedal circuitry was based around Germanium transistors and several boutique manufacturers still produce pedals using them.

As its name undoubtedly gives away, the Germaniac from Nottingham-based Coopersonic is one such stompbox, being based around a single germanium transistor. Featuring true bypass, it can be powered from a battery or standard 9V adaptor.

Sounds

Disregarding the mania knob for the time being, the Germaniac functions as a basic two-knob fuzzbox with the level knob setting the overall output volume and the fuzz knob piling on '60s-style snotty-nosed garage fuzz, brash and rude with a top-end that cuts through.

If you start messing with the mania knob, things start to get extreme. Not a lot happens until the knob gets towards the halfway point but advancing it creates greater degrees of instability until self-oscillation sets in and you can get a range of wild chainsaw noises and analogue synth-style drones without even touching your guitar (although you can manipulate these with your volume control).

It's not all mayhem though - juxtaposition of the mania and fuzz knobs can yield some sweet spots for
a thicker and harmonically rich fuzz tone. In short, if you like your fuzz to be on the edge or you need some wild noises on stage, the Germaniac may be for you

Visual Sound Dual Tap Delay

Mon, 30 Jan 2012 14:00:00 GMT

Like many other Visual Sound pedals, this is a two-in-one design, although with channel one's modulation control you can add in chorus too.

Aside from that, the two delay channels are identical: maximum one-second delay time and controls for time division, delay time, repeats and effect level plus a manual/tap switch and mini tone control. Three hefty footswitches operate each channel's on/off status (both can be used simultaneously) and the tap tempo.

It's a mono delay but we have two outputs - mono, plus an output to a second amp, which can be switched to effected or dry. You can also mute repeat trails when the effect is off.

There's an external tap/click input socket too, for a new external click track box (to be launched next year) allowing the unit to sync to an external source or transmit BPM.

Sounds

Classed as a 'hybrid analog/digital circuit' we hear the clarity of digital with the tone turned up, with the option of more analogue sounds with reduced tone and potential for self-oscillating mayhem if that's your bag. It's dead easy to use, but complex 'multi-head' repeats can be achieved with both channels on and different time division settings.

To say the pedal market is swamped with delay pedals is an understatement. This is one for old-school occasional delayists; there's no programmability, but if you need a little slap back for a couple of songs or a more modern tempo-locked modulation, it's all here.

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