This is not a nostalgia trip. This is Spread Eagle sounding like a band with unfinished business.

A Band Still Built on Grit

The current lineup features Ray West on lead vocals, Gianmaria “Jommy” Puledda on guitars and vocals, Rob De Luca on bass and vocals, and Rik De Luca on drums. Rob De Luca also produced the album, with mixing handled by Rob De Luca and Tom Camuso.

That matters because The Brutal Divine feels internally driven. It does not sound like a band chasing trends or trying to polish away its scars. It sounds like musicians who know exactly what Spread Eagle is supposed to be: raw, streetwise, loud, confrontational, and melodic without losing the dirt under its fingernails.

The Songs

“Street Noise”

“Street Noise” is the perfect first strike. It captures the pulse of New York with subway grit, city pressure, broken-dream imagery, and that restless feeling of life moving too fast around you. The track has the energy of a band kicking open the door rather than politely announcing its return.

Ray West sounds sharp and full of attitude, while the guitars and rhythm section drive the song with a street-level urgency that makes it feel lived in. This is not manufactured danger. This is the sound of a band that understands the city because it came from that kind of environment.

“Flat Earth Vultures”

“Flat Earth Vultures” is nastier, faster, and more biting. The song takes aim at manipulation, misinformation, public chaos, and the way people can be turned into spectators in their own lives. It has a sneer to it, but also intelligence. This is not just attitude for attitude’s sake; there is a real point of view underneath the riff.

The band has described the riff as a defining example of street metal, and that description fits. It is aggressive, dirty, and direct, but still musical. It has the kind of hook and attack that should work extremely well live.

“Ant Farm”

“Ant Farm” shows another side of the record. Where “Street Noise” is urban motion and “Flat Earth Vultures” is social venom, “Ant Farm” goes darker and more psychological. The song deals with isolation, depression, addiction, pandemic fallout, and the feeling of being trapped inside systems that grind people down.

This is where The Brutal Divine starts to feel bigger than a hard rock comeback album. It suggests emotional weight. It gives the record a sense of depth and makes the heavier direction feel earned rather than cosmetic.

Other Tracks

The full album tracklist includes “Gunflower,” “Jail Rat,” “Forbidden Local Honey,” “Pushed To The Limit,” “Scars In Our Eyes (City Kids),” “Inside A Shrunken Head,” and “Makebeliever.” Not every song has been fully detailed publicly yet, but the titles alone feel very Spread Eagle: ugly, poetic, street-damaged, and full of character.

“Gunflower” sounds like the kind of title only a band like Spread Eagle could pull off, mixing beauty and violence in one image. “Jail Rat” feels like it could be pure street-level storytelling. “Forbidden Local Honey” has a weird, sleazy charm to it. “Scars In Our Eyes (City Kids)” sounds like it could carry some of the album’s emotional weight, while “Inside A Shrunken Head” suggests the band is still willing to get strange and dangerous.

The Sound of a Band Sharpening Its Blade

Spread Eagle’s 2019 album Subway to the Stars proved the band still had purpose. The Brutal Divine feels like the next step: tighter, darker, heavier, and more focused. The band has always had grime and swagger, but this new material seems to bring more bite and more modern urgency.

Jommy Puledda’s guitar work appears to be a major part of this new identity. The riffs are being presented as sharper and heavier, while Ray West’s voice remains one of the band’s defining weapons. Rob De Luca’s role as bassist, producer, and key creative force gives the album a strong center of gravity. Rik De Luca brings the physical, hard-hitting drum presence needed for this kind of record.

The result is a version of Spread Eagle that honors the past without being trapped by it.

The Tour

The supporting tour is ambitious and impressive. Spread Eagle’s 2026 run covers U.S. club dates, the Monsters of Rock Cruise, album release shows, summer dates, continental Europe, Scandinavia, the U.K., and of course, the US.

Spread Eagle Tour Dates

That kind of routing says a lot. This is not a token album cycle. The band is working the record, putting the new songs in front of real audiences, and backing up the release with the kind of live campaign that hard rock bands are supposed to do.

The setlists appear to balance classic material with new songs like “Street Noise” and “Flat Earth Vultures.” That is exactly the right move. Fans still want “Broken City,” “Scratch Like a Cat,” “Switchblade Serenade,” and “King of the Dogs,” but the new material deserves to stand beside those songs, not hide behind them.

100% Live, No Fake Shine

One of the most refreshing things about Spread Eagle in 2026 is the band’s commitment to being a real live rock band. They have been promoting the shows as fully live, with no backing-track fakery, and that matters. In an era where too many rock performances feel overly programmed, Spread Eagle are leaning into risk, sweat, and human energy.

That attitude fits the album perfectly. The Brutal Divine is not supposed to sound airbrushed. It is supposed to sound dangerous. It is supposed to breathe, snarl, and shove back.

Final Thoughts

The Brutal Divine looks like a major late-period statement from Spread Eagle. The songs released so far are aggressive, smart, and full of personality. The album’s themes of manipulation, isolation, pressure, survival, and community give it more substance than a simple hard-rock revival record. The tour shows that the band is still willing to do the work.

Most importantly, Spread Eagle do not sound like a band trying to relive 1989. They sound like a band dragging that original street-metal spirit into 2026, rough edges intact, and making it hit harder.

If the rest of The Brutal Divine lives up to “Street Noise,” “Flat Earth Vultures,” and “Ant Farm,” this could be one of the most exciting hard rock releases of the year.

The alder body brings that familiar Fender backbone, giving you a tone that’s balanced but never sterile. There’s a natural punch in the low end, but it doesn’t get flubby, and the highs have that glassy shimmer without ever turning harsh. It’s the kind of resonance you feel before you even plug in, and once you do, it translates into a sound that has both clarity and weight. It’s not trying to overpower a mix like a traditional bass, and it’s not sitting on top like a standard guitar either. It finds this perfect in-between pocket that makes it incredibly usable in layered arrangements.

The neck is where things start to get interesting in a very real, hands-on way. That early ’60s “C” shape feels immediately familiar, but the 30-inch scale changes the game just enough to keep you on your toes. If you’re coming from guitar, there’s a slight stretch that forces you to be more intentional, and if you’re coming from bass, it feels fast and almost nimble. The 7.25-inch radius and round-laminated rosewood fingerboard bring that unmistakable vintage curvature, which makes chord work feel natural and expressive, especially when you’re digging into those jangly, chorus-soaked voicings. The vintage tall frets help bridge the gap between old-school feel and modern playability, giving you enough height to really grab the string without fighting the board.

Once you start dialing in the electronics, the personality of this instrument really opens up. The three vintage-style early ’60s single-coils are wired with individual on/off switches, and that alone turns the Bass VI into a tonal playground. You’re constantly flipping combinations in and out, chasing different textures, and it never feels redundant. The bridge pickup can get tight and cutting, almost like a baritone guitar that’s ready to slice through a dense mix, while the neck pickup leans into a deeper, rounder voice that can sit underneath everything with authority. When you bring all three pickups into play, there’s this huge, piano-like quality where the low end blooms and the highs shimmer just enough to keep everything defined. Engaging the strangle switch tightens the low end and shifts the entire voice into something more percussive and articulate, which is perfect when you want clarity without losing character.

The tone itself is where this instrument really earns its keep. There’s a richness to it that feels alive, almost like each note has a little extra dimension to it. You hit a low note and it doesn’t just sit there, it expands and breathes. There’s a harmonic complexity that makes even simple lines sound more interesting, and when you start adding effects, it becomes something else entirely. Reverb and tremolo turn it into a cinematic machine, the kind of sound that feels like it belongs in a wide, open landscape or a dimly lit club scene. Push it with some overdrive or fuzz and it holds together in a way that a lot of instruments in this range don’t, keeping articulation while still getting gritty and aggressive.

The floating tremolo is one of those features that really defines the experience. It’s not built for abuse, it’s built for expression. There’s a smooth, subtle movement to it that lets you add just enough wobble to chords or single-note lines to create motion without pulling things out of tune. It pairs beautifully with the natural sustain of the instrument, letting notes drift and sway in a way that feels almost vocal. The tremolo lock is a practical touch that keeps things stable when you need it, and it’s the kind of detail that shows Fender was thinking about how players actually use these guitars in real situations.

Even the old-school Bass VI mute adds a layer of personality. It’s a bit of a throwback, but when you engage it, you get that thumpy, controlled attack that can sit perfectly in certain mixes. It’s not something you’ll use all the time, but when you need it, it’s there, and it does exactly what it’s supposed to do. The vintage-style tuning machines round everything out with solid stability, and while they don’t scream modern precision, they hold their own and fit the overall vibe of the instrument perfectly.

Spending time with this Bass VI changes how you approach playing. You start thinking less about traditional roles and more about texture and space. It pushes you to write parts that aren’t just rhythm or lead, but something in between, something that connects everything else together. It’s the kind of instrument that makes you slow down just enough to be intentional, but not so much that it feels restrictive. There’s a flow to it once you settle in, and that’s where it really shines.

What stands out most is how inspiring it is. It doesn’t feel like something you’ve played a hundred times before. It nudges you into new territory without forcing it, and that’s a rare thing. You might pick it up planning to track a simple line and end up building an entire arrangement around it instead. That kind of creative pull is hard to fake, and it’s where this instrument separates itself from more conventional designs.

The Fender Vintera III Early ’60s Bass VI feels like a faithful nod to its roots, but it doesn’t come off as a museum piece. It’s alive, it’s usable, and it’s full of character. It’s not trying to be the most versatile instrument on paper, but in practice, it covers more ground than you’d expect because of how it sits in a mix and how it responds to your hands. There’s a certain swagger to it, a bit of attitude that comes from its quirks, and instead of smoothing those edges out, Fender let them shine.

If you’re looking for something that breaks you out of the usual patterns, something that makes you rethink how you approach tone and arrangement, this is the kind of instrument that delivers in a big way. It’s not about replacing your main guitar or bass, it’s about adding a new voice that brings something unique to the table. Once you get comfortable with it, it becomes less of a novelty and more of a go-to for ideas you can’t quite get anywhere else, and that’s where it really proves its worth.

At its core, the PA50 is designed around a simple but effective acoustic architecture. The system uses dual 4.5-inch full-range drivers coupled with a dedicated high-frequency horn. This configuration is particularly well-suited for vocal-forward applications. The smaller cone size allows for tighter transient response in the midrange, which is critical for vocal articulation and speech intelligibility, while the horn handles the upper frequency spectrum with improved dispersion and clarity. The result is a system that cuts through ambient noise without sounding brittle or overly compressed in the highs.

From a frequency management standpoint, the PA50 leans into a naturally balanced voicing rather than an exaggerated “smiley curve.” That means mids remain present and defined, which is essential for acoustic instruments, vocal harmonics, and keyboard textures. While it won’t deliver extended low-end response like larger PA systems with dedicated subwoofers, it avoids muddiness and maintains a clean low-mid profile—something that’s often more valuable in small venues where excessive bass can quickly become problematic.

The integrated three-channel mixer is where the system becomes particularly practical. Two channels support microphone or instrument-level inputs, giving performers flexibility for dynamic mics, acoustic-electric guitars, or even direct keyboard connections. The third channel accommodates line-level input for prerecorded material, backing tracks, or auxiliary devices. This configuration supports a wide range of use cases, from solo performers running vocals and guitar, to small duos incorporating backing tracks or light electronic elements.

Signal flow is intentionally straightforward. There’s a single master level control governing overall output, which minimizes setup complexity and allows for quick adjustments in live environments. While more advanced users may miss per-channel EQ or onboard effects, the simplicity here is deliberate—it reduces failure points and ensures consistent, predictable performance across setups.

Portability is a defining characteristic of the PA50. The enclosure is compact and lightweight, yet constructed with durability in mind. A heavy-duty steel grille protects the drivers, while reinforced corners add structural integrity for transport and frequent use. The integrated speaker stand mount is another important detail, as elevating the system improves sound dispersion and audience coverage significantly compared to floor placement. This is especially important for speech applications and small performances where even coverage across a room is critical.

One of the more forward-thinking aspects of the PA50 is its scalability. While it performs well as a standalone unit for small rooms and intimate settings, multiple units can be linked to expand coverage. This modular approach allows users to grow their sound system incrementally rather than replacing it entirely as their needs evolve. For performers building an audience or presenters moving into larger spaces, that flexibility adds long-term value.

In terms of real-world performance, the PA50 excels in environments where clarity and portability matter more than sheer output power. Coffeehouses, rehearsal spaces, small event rooms, classrooms, and acoustic gigs are all ideal scenarios. The system’s ability to maintain vocal presence without harshness makes it particularly effective for singer-songwriters and spoken word applications.

Technically speaking, the PA50 is not trying to compete with high-wattage, multi-component PA rigs. Instead, it focuses on efficient acoustic design, practical input configuration, and reliable construction. That design philosophy results in a system that is easy to deploy, easy to use, and consistently effective in its intended range.

Overall, the Kustom PA50 represents a well-executed example of purpose-driven audio engineering. It delivers clean, articulate sound, integrates just enough mixing capability to be versatile, and maintains a form factor that supports true portability. For users who value clarity, simplicity, and scalability in a compact PA solution, the PA50 stands out as a highly capable and dependable option.

Right out of the gate, the biggest win here is the solderless design, and yeah, that might sound like a convenience thing, but it’s more than that. This isn’t some cheap clip-together setup that feels like it’s going to fall apart after two pickup swaps. Mojotone went with screw-down terminals that actually clamp the wire in place, and it feels solid—like you could gig this thing hard without worrying about a connection cutting out mid-set. For anyone who’s ever scorched a pot or cooked a pickup lead trying to solder in a cramped control cavity, this is a breath of fresh air. You strip the wire, tighten it down, and you’re in business. It makes swapping pickups almost addictive because you’re no longer committing to anything permanent. You can chase tone without the fear factor.

The component quality is where this harness really flexes. You’ve got CTS pots with a custom taper that actually feels usable across the whole sweep, not just that last little bit where everything suddenly happens. When you roll back the volume, it’s smooth and gradual, not that abrupt drop-off that kills your tone halfway down. The CRL 3-way switch is the real deal too, with that firm, mechanical click that just feels right under your hand. It’s the same style that’s been holding it down since the ‘50s, and there’s a reason nobody’s messed with that formula. It’s reliable, it’s consistent, and it just works.

Then there’s the Switchcraft jack, prewired and ready to go, which might seem like a small detail, but it’s one of those things that separates a pro-level harness from a budget one. You don’t realize how important a solid jack is until you’ve dealt with a loose or noisy one. This thing locks in tight, keeps your signal clean, and doesn’t give you any of that crackle or drop-out nonsense. Paired with the cloth push-back wire, it all just feels like it belongs in a serious instrument.

Tonally, the Mojotone Dijon capacitor is a big part of the story. It’s not just there to darken things when you roll off the tone; it does it in a way that stays musical. You don’t lose definition, you just shift the character. Roll it back a bit and you get that warm, rounded edge without turning everything to mud. Roll it all the way down and it still holds together in a way that’s usable, especially if you’re going for those jazzy neck pickup tones or trying to tame a bright amp. It’s subtle, but it’s the kind of subtle that matters when you’re dialing in a sound.

Where this harness really separates itself from the pack is the internal switching options. This is where the “convertible” part actually earns its name. Being able to toggle the treble bleed on and off is huge. With it engaged, your highs stay intact as you roll back the volume, which is perfect if you’re using your volume knob to clean up an overdriven amp. Without it, you get that more traditional roll-off where things darken slightly as you back off. Having both options available without rewiring anything is a game changer, especially if you’re still figuring out what works best for your rig.

The tone pot bypass switch is another killer feature. Flip it off and suddenly your signal path is more direct, giving you a little extra punch and brightness. It’s not night and day, but it’s enough to feel, especially in a live setting where you want to cut through without touching your amp. It’s like having a built-in “kick” for your tone without adding any extra pedals or clutter. That kind of flexibility makes this harness feel less like a static upgrade and more like an active part of your setup.

The layout itself stays true to the classic Tele control scheme, with volume up top, tone below, and the three-way switch handling bridge, both, and neck positions. It’s familiar territory, which is important because the last thing you want is to lose that instinctive control you’ve built up over years of playing. At the same time, the ability to rotate the harness for reverse orientation is a nice touch. Some players swear by having the volume closer to their picking hand, and this gives you that option without any weird modifications.

Installation is about as painless as it gets. Mojotone even throws in a screwdriver, which is a small but appreciated detail. You drop it in, connect your pickups and ground, tighten everything down, and you’re ready to go. No soldering iron, no burnt fingertips, no second-guessing your joints. It lowers the barrier to entry in a way that opens this kind of upgrade up to a lot more players, but it doesn’t compromise on quality to do it.

What really stands out after spending time with this harness is how interactive it makes the guitar feel. The controls aren’t just there anymore, they become part of how you play. You start riding the volume more, shaping your gain and dynamics directly from the guitar. You use the tone control as a fine-tuning tool instead of just a way to roll off highs. The added switching options mean you can adapt on the fly, whether you’re tracking in the studio or adjusting to a different room on stage.

There’s also a certain confidence that comes from knowing the components under the hood are top-tier. You’re not dealing with scratchy pots or unreliable switches. Everything feels tight, responsive, and built to last. It’s the kind of upgrade that doesn’t just improve your tone, it improves your relationship with the instrument. You stop thinking about the electronics and just play, which is exactly how it should be.

The Mojotone Solderless Convertible Tele Harness manages to hit that sweet spot between vintage authenticity and modern flexibility. It respects the classic Tele formula while quietly expanding what’s possible, and it does it in a way that feels intuitive rather than complicated. For players who like to tweak, experiment, and really dial in their sound, it’s an absolute no-brainer.

At the end of the day, this isn’t just a convenience upgrade for people who don’t want to solder. It’s a legit tonal and functional step up that can breathe new life into a Tele. It keeps the soul intact while giving you more control over how that soul comes through your amp. Once it’s in there, it just feels right, like it should have been part of the guitar all along.

At the core are two MAX-HD microphone preamps delivering up to 75 dB of gain. That amount of clean gain is significant. Many compact interfaces top out in the 55–60 dB range, which can leave low-output dynamic and ribbon microphones underpowered or noisy. Here, the combination of -128.9 dBu EIN and 0.001% THD+N means that even at higher gain settings, the noise floor remains impressively low and harmonic distortion negligible. The preamp topology is clearly optimized for transparency rather than coloration. Transients remain intact, upper harmonics stay smooth, and low-level detail is preserved without grain.

The 20 Hz–20 kHz frequency response is flat and accurate across mic, line, and instrument stages, ensuring that what you capture reflects the source—not the interface. With a dynamic range of 115 dB on mic and line inputs, the Quantum LT 4 provides substantial headroom for modern recording workflows, especially when tracking high dynamic range sources like percussion, orchestral instruments, or wide-band vocal performances.

The integrated combo XLR/TRS inputs allow true mic/line flexibility. Line inputs support a gain range from -20 dB to +20 dB with a maximum input level of +15 dBu, making the LT 4 fully capable of integrating external mic preamps, hardware EQs, compressors, synths, or mixers without overload. This positions the interface not just as a standalone solution, but as a scalable component within a larger hybrid analog/digital rig.

For guitarists and bassists, the Fender-designed Hi-Z instrument inputs deserve special attention. With a maximum input level of +12.9 dBu and extremely low distortion (0.001% THD+N), the front-end impedance and gain staging are clearly tuned to preserve attack, string articulation, and high-frequency content. Direct-recorded guitars retain transient snap and dynamic response, which is essential when pairing DI tracks with amp simulation or reamping workflows.

Conversion quality is equally impressive. Operating at 24-bit resolution with supported sample rates up to 192 kHz (44.1, 48, 88.2, 96, 176.4, 192 kHz), the LT 4 offers ample precision for professional tracking, mixing, and post-production. The 115 dB digital dynamic range ensures detailed low-level capture and strong transient clarity. High sample-rate support benefits time-based processing, pitch manipulation, and high-frequency content reproduction, particularly in dense or layered productions.

Monitoring architecture is another strength. Balanced 1/4″ TRS main outputs provide clean, low-noise signal paths to studio monitors or external processing. The headphone amplifier delivers 46 mW at THD+N ≈ 0.007%, with a dynamic range of 113 dB. In practice, this means sufficient output level for most studio headphones while maintaining clarity and controlled distortion, even at higher monitoring volumes.

Latency performance is a defining characteristic. Fender’s custom low-latency drivers for macOS and Windows allow real-time tracking with minimal buffer settings. For performers, this translates to a responsive feel—especially critical when tracking vocals, drums, or software instruments. The interface maintains stability while keeping round-trip latency low enough to eliminate the disconnected sensation that plagues lesser USB implementations.

Loopback functionality expands the digital routing matrix, enabling internal DAW audio and system audio to be captured alongside live inputs. For podcasting, livestreaming, or content production, this eliminates external routing workarounds and additional hardware mixers. Standalone Mixer Mode further increases versatility by allowing the LT 4 to function without a DAW or computer, effectively transforming it into a compact analog-style mixer with digital precision.

Integration with Fender Studio Pro and Universal Control provides remote access to direct monitoring parameters, routing adjustments, and mix balances from computer, tablet, or phone. This level of control enhances session efficiency, particularly in collaborative environments where performers may require independent monitor adjustments without interrupting workflow.

Physically, the interface maintains a compact footprint while offering robust connectivity via USB-C. Its dimensions make it suitable for desktop studios, mobile rigs, and field recording setups without sacrificing professional I/O capability.

Technically speaking, the Fender Quantum LT 4 delivers on the metrics that matter: high clean gain, exceptional noise performance, wide dynamic range, low distortion, stable low-latency operation, and flexible routing. It is equally at home in music production, voiceover work, streaming, podcasting, and hybrid analog setups.

For engineers and creators who evaluate gear by measurable performance as much as brand reputation, the Quantum LT 4 stands out as a technically sound, scalable, and musically transparent interface that exceeds expectations in its category.

Guitarist Benny Fiorentino remains the band’s spark plug. With a backstory that reads like a pulp novel—bullets in Buenos Aires, triple-decker grit in Brighton, late-night jams with Aerosmith alumni—his playing still channels danger, precision and a lifetime of stubborn persistence. His Strat-and-Marshall attack brings the EP its ripping, unglued riffs, the kind you can only get from someone who came up sweating it out in real clubs, not YouTube tutorials.

Frontman Steve Sera matches that fire with a vocal delivery that feels physically thrown at the microphone. His voice carries the grit, humor and blue-collar theatricality that have always defined Axminster’s vibe, but on Mad As Hatters he sounds especially dialed in. He pushes the themes of modern frustration and creeping madness with a kind of full-body urgency, turning every chorus into a punch that lands just a little harder than expected.

Bassist Danny “Digger” Callan anchors the low end with the kind of attitude you’d expect from someone who once literally dug graves for a living. His lines thump, grind and punch through the mix, giving the songs a basement-rattling force that pairs perfectly with Fiorentino’s guitar bite. Drummer Xanon Xicay—whose timing is as famously precise as his smile is contagious—lets loose with tightly wound grooves and sharp, articulate hits that push the band forward without ever stealing the spotlight. Together, Callan and Xicay form the kind of rhythm section that makes a band sound dangerous in all the right ways.

The EP itself moves fast, hitting four distinct moods without losing its cohesion. “World Gone Crazy” opens the set with a tense, modern edge; “Rat Race” channels blue-collar exhaustion into a fist-pumping, street-wise rocker; “Down to the Wire” leans into urgency and grit; and “Ya Monkey” closes things out with the swagger of a band that has paid its dues, survived the grind and come back for more. Every track feels like a release valve—loud, hot-blooded and unapologetically rooted in the DNA of Boston’s hard-rock tradition.

Mad As Hatters isn’t just a quick collection of riffs and attitude; it’s proof that Axminster still carries the spirit of the era that forged them. Forty-plus years in, they’re not mellowing out or reinventing themselves—they’re sharpening the edges, tightening the screws and delivering exactly the kind of high-octane rock their fans have always loved. For a band with this history, the EP isn’t nostalgia; it’s a declaration that they’re still here, still loud and still swinging with everything they’ve got.

If this is a preview of the next chapter, Axminster isn’t just rocking since 1983—they’re rocking like they never left.

One of the most technically impressive features is the AI-Powered Stem Separation engine, which uses machine-learning models to unmix audio into drums, bass, vocals, and other elements with minimal transient loss. Unlike external services, Studio One performs this separation nondestructively and aligns all stems to the session’s tempo, key, and timeline. The system’s ability to reshape an imported reference track into editable components without third-party tools greatly accelerates remixing, educational breakdowns, and sample-based production. Combined with Global Transpose—which updates audio, MIDI, chord tracks, and notation in real time—the DAW offers an unprecedented level of harmonic flexibility. Modulating the key of an entire arrangement becomes a single-click operation that reprocesses the musical structure rather than merely shifting pitch.

The bundled instruments in Studio One Pro 7 represent a major expansion in both synthesis and hybrid sampling. Sub Zero Bass delivers multi-layered low-end architecture built from synth, electric, and organic bass sources, offering highly dynamic textures that respond well to modulation and velocity shaping. Cinematic Lights introduces a powerful hybrid engine combining orchestral brass, strings, morphing synth pads, and immersive field recordings, making it ideal for film composers and sound designers. Deep Flight One, reintroduced as a standalone instrument, provides evolving drones, ambient textures, and percussive elements with three independent sound engines, giving users deep modulation pathways and richly atmospheric presets. Together, these instruments significantly reduce reliance on third-party libraries and provide a tightly integrated sonic ecosystem inside the DAW.

Studio One Pro 7’s recording and editing architecture showcases a commitment to technical precision. With support for 64-bit floating-point WAV at up to 768 kHz, the system offers mastering-grade resolution capable of extreme dynamic processing and high-headroom signal chains. Features like Retrospective Record, Pre-Record Audio Input, Print-FX processing, and seamless Auto Punch comping give engineers a fast, reliable workflow for capturing performances without losing spontaneous ideas. Pipeline XT ensures that analog hardware can be integrated with automatic latency compensation, allowing hybrid studios to operate with sample-accurate alignment. Editing remains intuitive, with a drag-based interaction model that is both fast and non-destructive, enabling micro-surgical audio manipulation while minimizing UI overhead.

The mixing and spatial audio capabilities in Studio One Pro 7 position it as a competitive platform for modern post-production and immersive music creation. OpenAIR2 convolution reverb includes 7.1.4 impulse responses for Atmos-ready mixes, and the Multi-Tap Surround Delay provides per-tap spatial placement for complex rhythmic or cinematic effects. ProEQ3 elevates frequency-domain control by adding per-band dynamics, allowing engineers to sculpt mixes with surgical precision. State Space Modeling underpins many of the included processors, capturing the nonlinearities of analog hardware with detailed component-level accuracy. This modeling architecture extends to Ampire and Pedalboard, offering realistic amp, cabinet, and pedal simulations that eliminate the need for external guitar-processing suites.

In composition and scoring workflows, Studio One Pro 7 integrates the notation engine of Notion 6, enabling users to move seamlessly between score, drum, tablature, and piano views. The Lyrics Track can be assigned to either audio or MIDI, providing a textual navigation layer within the session. Sound Variations triggered by notation symbols make articulation management intuitive for orchestral and sample-based instruments. Having these systems tightly linked within the DAW allows composers to handle traditional scoring and modern sequencing without exporting to external tools, creating a unified environment for hybrid orchestration.

The deep integration with Splice adds another level of technical intelligence. Search with Sound analyzes timbre, tempo, key, and rhythmic profile, surfacing samples that fit the current project context and automatically syncing them to the session. This removes the guesswork from sample selection and accelerates beat production by reducing time spent browsing externally. When combined with Impact XT, Sample One XT, and Studio One’s pattern editor, the DAW becomes a highly efficient loop-based production ecosystem without sacrificing the detail and control needed for high-end mixing and mastering.

From a financial perspective, Studio One Pro 7 offers an unusually strong return on investment at $199.99. Its integrated toolset replaces a long list of external applications and plugins that typically require annual subscription fees or costly one-time purchases. The built-in AI stem separation eliminates the need for paid demixing services. The hybrid clip launcher replaces the need for Ableton-style performance tools. The bundled cinematic instruments reduce reliance on Kontakt instruments that often cost hundreds per library. OpenAIR2 and the immersive-ready mixing suite replace third-party spatial tools. Ampire removes the need for separate amp/pedal simulators. The integrated notation engine replaces dedicated scoring software. When these savings are aggregated, most creators recover the cost of Studio One Pro 7 within the first month of active use, and many see annual savings between $800 and $2,000 depending on their prior plugin ecosystem.

Studio One Pro 7 ultimately succeeds because it eliminates fragmentation. Instead of stitching together a workflow from eight different tools, users gain a unified production, composition, mixing, mastering, and performance environment built on a single codebase. For producers, engineers, composers, and hybrid creators who value technical depth paired with extraordinary workflow efficiency, Studio One Pro 7 is far more than a DAW upgrade—it is a complete modernization of the creative pipeline, one that pays for itself rapidly and continues to deliver long-term value as production demands evolve.

While Combat Zone leans into a more aggressive and hard-driving direction, the band emphasizes that it is also their most eclectic body of work. Drawing on foundations that span punk, psychedelic rock, progressive structures, country, blues, jazz, and classical, the record forms a dynamic tapestry of styles shaped by the band’s deep musical roots and constant exploration.

The album’s ten tracks-The Greatest Show in Town, Punchdrunk, What You Crave, Problematic, Down But Not Out, Divebar Allstars, Three Days Under, The Day I Killed Brian Scott, Bullets From The Board, and On Causeway-each contribute a distinct voice to the overall narrative. Together, they create a portrait of a band unafraid to evolve, refine, and expand its artistic identity while staying connected to its origins in Boston’s vibrant music scene.

Guitarist and co-founder Bruce Owens reflected on the creative journey behind the record, noting the unconventional origins of many of the songs. “This album was interesting to make. A lot of these songs started from riffs that were influenced by everything from classic metal to Indian ragas. The interesting thing was tying and stitching these diverse riffs together to make cohesive songs. It was a labor of love and we are very happy with the result.”

Every track on Combat Zone carries its own character, shaped by the band’s varied influences and their commitment to pushing their sound in new directions. From crushing riffs to atmospheric moments grounded in unexpected musical textures, the album represents a bold step forward and a statement of artistic clarity.

With studio sessions approaching, B.F. Raid is fully focused on completing the final stages of production and delivering an album that reflects their most ambitious vision to date. Fans can expect a listening experience that is heavier, broader in scope, and marked by a depth that speaks to the band’s continued growth and experimentation.

When Combat Zone is released, listeners will hear B.F. Raid as they have never heard them before-powerful, expansive, and fully embracing a diverse spectrum of influences that elevate the band’s sound to new heights.

B.F. Raid (Boston’s Final Raid)
51 Pleasant St #245
Malden, MA, 02148
United States
Helena Erato

B.F. Raid is a powerhouse heavy-metal band born out of Boston’s raw grit and blue-collar heart. Known for their explosive live energy and street-level storytelling, the group channels the attitude of the city’s late-night dive bars, its stubborn pride, and its unfiltered rock heritage. Their music blends the aggression of classic metal with modern edge, capturing both chaos and character in equal measure.

Since re-emerging with a revitalized lineup and a sharpened creative vision, B.F. Raid has built momentum through a wave of new recordings, videos, and live performances that celebrate both their roots and their evolution. With the upcoming album Combat Zone, the band expands its sound into heavier, darker, and more cinematic territory – a reflection of Boston’s past and present told through roaring guitars, pounding rhythms, and unapologetic honesty.

Design & Build Quality
Let’s begin with the physical form factor. The R1280T sports a classic, understated MDF wood veneer finish that leans into a vintage hi-fi aesthetic without veering into kitsch. The wooden enclosure isn’t just for looks—its medium-density fiberboard construction plays a role in resonance suppression, which contributes to the speaker’s clean response and tonal neutrality. Each unit feels solid in the hand, and the removable mesh grilles offer both protection and versatility for those who prefer a naked driver look.

The front face houses a 4-inch woofer and a 13mm silk dome tweeter in a classic two-way configuration. The flared bass reflex port is front-facing—a smart design choice that allows for closer wall placement without muddying the low end, a flaw that plagues many rear-ported competitors in small rooms.

Inputs & Controls
On the rear, the R1280T features dual RCA line-level inputs, allowing for two simultaneous device connections—ideal for users who switch between sources like a turntable and a computer without constantly replugging. A 3.5mm-to-RCA cable is included, making it easy to hook up smartphones, tablets, or laptops out of the box.

Volume, bass, and treble dials are located on the side of the right speaker, with an impressively wide adjustment range. This analog EQ section provides +6/-6 dB cut/boost for both bass and treble, enabling meaningful tonal shaping. The volume knob has a smooth feel with a detent at unity gain. A compact IR remote rounds out the control experience, offering simple volume and mute functionality for convenience across the room.

Sound Quality
The real surprise is how well the R1280T performs sonically. With a rated RMS output of 42 watts (21W per channel), the speakers deliver more than enough volume for nearfield or small-room use without distortion. Frequency response is listed at 75Hz to 18kHz—though modest on paper, the usable range feels broader in practice.

What’s most impressive is the tonal balance. The 4-inch woofer, aided by the bass reflex port, produces surprisingly full and articulate low-end detail without resorting to artificial boosting. The bass has enough extension for general music listening and light mixing, stopping short of sub-bass rumble (as expected). However, the low-mids are warm and tight—something I found missing in the JBL 308P MkIIs, which tend to be flatter and more clinical in that region.

The silk dome tweeter adds a refined top end, free from the harsh sibilance or spikiness that plagues many budget speakers. It’s soft, natural, and unfatiguing, offering excellent stereo imaging and detail. Vocals sit forward and clean, while cymbals shimmer with surprising clarity and air. The 1800Hz crossover point is well-integrated, delivering a coherent image that sounds like a single point source rather than two disparate drivers.

Head-to-Head: Edifier R1280T vs. JBL 308P MkII
This comparison may raise eyebrows—how could a sub-$150 speaker outperform a professional monitor that’s five times the price? The answer lies not in raw specs, but in context. The JBL 308P MkII boasts 56W Class D amps for each driver, an 8-inch LF driver, and a broad, flat frequency response designed for neutral studio monitoring. But with all that muscle, the JBLs can be overwhelming in a small untreated room. Bass energy builds up quickly, and the waveguide’s wide dispersion can smear stereo imaging if your setup isn’t dialed in.

The Edifiers, by contrast, are tailored for nearfield use and excel in typical desktop environments. Their tighter soundstage, subdued low-end bloom, and more forgiving treble make them more enjoyable for casual listening and multimedia work. While the JBLs remain more accurate for critical mixing, the R1280Ts offer a more musical and less fatiguing experience for everyday use. Simply put: the Edifiers sound more pleasing, more often.

Additional Technical Considerations

Nominal Power Handling: 21W per speaker, continuous output
Drivers: 4″ woofer, 13mm silk dome tweeter
Crossover Network: Passive, 2nd order analog (manufacturer does not disclose slope)
Impedance: Approx. 6 ohms nominal
Cabinet Tuning: Front-ported, tuned to emphasize low-mid response without introducing port chuffing
Distortion: THD < 0.5%

Final Verdict
The Edifier R1280T isn’t just a “great for the price” speaker—it’s a genuinely great speaker, period. It performs well beyond expectations, delivering warm, balanced sound with surprising low-end authority and sweet highs. It’s not meant to replace high-end studio monitors in critical mixing environments, but for everyday listening, podcast production, or casual DAW work, it’s a no-brainer.

These speakers are an ideal upgrade from tinny desktop speakers or all-in-one Bluetooth boxes. They’re also a fantastic entry point for vinyl enthusiasts looking to connect a turntable without needing a separate amp. And for those who want more punch, Edifier offers sub-compatible and Bluetooth-enabled siblings in the same product family.

Bottom line: Edifier’s R1280T powered bookshelf speakers are the definition of value and versatility. If you’ve got a modest budget but crave quality sound, skip the hype and get these instead. You won’t regret it.

Rachel Brosnahan as Lois Lane is downright annoying. Where Margot Kidder typing “Let’s see what kind of trouble I can get into today” has spanned the ages, Brosnahan’s interview with Superman is cloying and irritating. Why is it even in the film and what filmgoers want to subject themselves to the bad acting and script in repeated viewings? It doesn’t have the humor of Gunn’s Guardians of the Galaxy and writer/director Gunn appears to be a big part of the problem.

Where Marvel’s Spiderman brought all three current and previous actors together to great success, Routh – Cavill – and Corenswett, who could all be brothers with their resemblances, would have been a nice and easy fit into a “pocket universe.” But Kryptonite, oh my God, it’s like doing an origin story all over again. Enough. How many slings and arrows does Corenswett’s character have to suffer? A Superman film where Superman is not super is like sour milk, and that is what James Gunn is feeding the audience. Heck, I’d like to cast Cavill/Routh/Corenswett in a remake of the Frankie Avalon/Annette Funicello 60’s smash Beach Blanket Bingo, but that’s me.

How about the Earthly casting for Ma and Pa Kal-El – Clark Kent? (Pruitt Taylor Vince and Neva Howell) What is this, the Beverly Hillbillies, such poor casting another reason why it doesn’t hold up to repeated spins save for the youngsters today that Gunn is certainly wanting to appeal to. The casting in the original 1970s movie, especially for Clark Kent’s parents and his younger self (Jeff East) just sterling.

OK, Joe, what do you like about the film? Super Dog is fantastic, the sets are beautiful, the robots in Superman’s ice palace brilliant and not used properly, and – again – had Gunn brought the previous two Supermen back for the pocket universe instead of the tired old Kryptonite cliche, well, what a wasted opportunity. And the only thing worse than Nicholas Cage as Superman in The Flash multi-verse disaster is Ben Affleck as Batman, but I digress. The Flash used images in 2023 of George Reeves, Christopher Reeve and Nicholas Cage, but as mere cameos. Cavill, Routh and Corenswett congregating in the pocket-verse rather than the kryptonite would have possibly saved the day. Except that this mess of a film has all the convoluted worst elements of the Avenger movies AND the Flash. But what do I know? The Avengers smashed the box office as Lex Luthor hoped to smash Superman with Trumpian lies in this one. With Nicholas Hoult about as effective as the lame Joker Jared Leto (2016 Suicide Squad,) or the idiotic casting of Ezra Miller as Flash (why not TV Flash star Grant Gustin?) the film is a roller coaster ride for the kids, of a deeply wounded Superman and immense film cacophony

A Commentary by Joe Viglione

SUPERMAN RETURNS 2006 with Brandon Routh
MAN OF STEEL 2013 with Henry Cavill as Superman
SUPERMAN 2025 with David Corenswett

11 Years After Scarlett Johansson’s Science Fiction Blockbuster Lucy, the star delivers on this David Koepp written Journey Into the Depths

The weather started getting rough,
The tiny ship was tossed,
If not for the courage of the fearless crew
Theme from Gilligan’s Island

The 7th in the Jurassic World films, Scarlett Johansson takes control of this really innovative David Koepp-penned film. The franchise continues to earn billions of dollars and this entry will add to the gold and platinum. Jonathan Bailey played Fiyero in Wicked and has a most interesting character here as Dr Henry Loomis, leaving behind former Jurassic Park actor Jeff Goldblum to all things Wicked.

Johansson does not look like her Lucy role from 11 years back, another sci-fi blockbuster, and her pairing with homosexual-in-real-life actor Bailey kind of makes them the Doris Day/Rock Hudson of this era. Neither does Bailey look like his creation in Wicked. The acting is most fluid and Director Gareth James Edwards (who turns 50 on Jo Jo Laine’s birthday, July 13) will have a birthday surprise of more than a billion dollars to his brilliant catalogue of science fiction films Godzilla (2014), Rogue One: A Star Wars Story (2016), The Creator (2023)
The Matrix truly capitalized on taking elements from old movies and recycling them. Writer Koepp and Director Edwards do not go that far, but Steven Spielberg – Executive Producer – is celebrating Jaws, originally released on June 20, 1975, and the jaws are chomping all over this epic. It is hardly a coincidence.

There are some minor lulls in the picture, very minor, and perhaps put there to make the thrills and spills all the more film-viewing fun, what stands out, though, is after all these sequels, the film brilliantly stays away from the old and gives something pretty new (*despite the comments above,) fresh for the series and, as always, exciting.

Read Joe’s Substack here: https://joeviglione.substack.com/p/jurassic-world-rebirth

One of the standout technical features of the Boombox 3 is its new three-way speaker system architecture. Internally, JBL has configured the unit with a dedicated subwoofer, dual midrange drivers, and a pair of high-frequency tweeters. The subwoofer operates at 80W RMS (AC) or 60W RMS (battery), the midrange drivers each push 40W RMS (AC) or 30W RMS (battery), and the tweeters handle 10W RMS each (AC) or 8W RMS (battery). This distribution results in a total output of 180W on AC power and 136W on battery, an impressive figure for a portable speaker. This separation of frequency ranges not only enhances clarity and precision across the audio spectrum but also contributes to the speaker’s notably low distortion, even when pushed to high volume levels.

The acoustic tuning is focused on producing JBL’s signature “Pro Sound” with an emphasis on tight low-end response and dynamic range. The Boombox 3 has a frequency response range from 40Hz to 20kHz, which ensures that everything from sub-bass-heavy genres to crisp acoustic tracks are faithfully reproduced. The improved subwoofer design, in particular, provides deeper and more resonant bass than its predecessor, making it a compelling choice for bass enthusiasts and users who enjoy full-bodied sound in open-air environments.

Powering all of this is a high-capacity lithium-ion polymer battery rated to deliver up to 24 hours of continuous playback under moderate volume levels. The charging time clocks in at approximately 6.5 hours from empty to full using the included AC power cable. Although the unit does not support USB-C charging, the dedicated AC input allows for faster and more stable charging suitable for a power-hungry device of this size. While some might see the lack of USB-C charging as a shortcoming, it’s likely a necessary tradeoff given the Boombox 3’s higher power draw and output capacity.

Connectivity-wise, the Boombox 3 utilizes Bluetooth 5.3, offering low-latency wireless audio transmission, improved energy efficiency, and better range compared to previous Bluetooth implementations. The speaker supports simultaneous pairing of two source devices, allowing users to alternate control of the playlist without needing to disconnect or re-pair devices. For those who prefer a wired connection, a 3.5mm AUX input is available, though it’s worth noting that users have occasionally reported slight latency when using AUX with time-sensitive sources like electronic drum kits—a limitation that likely stems from internal signal processing optimized for general media playback.

JBL’s proprietary PartyBoost feature further enhances its scalability. Through the JBL Portable app, users can link multiple PartyBoost-compatible speakers to create synchronized playback across larger areas or for stereo pairing. Unlike some competitors that rely on Wi-Fi-based systems, PartyBoost maintains its synchronization over Bluetooth, making it more portable and less reliant on stable network conditions.

From a build standpoint, the Boombox 3 carries forward JBL’s iconic silhouette but with meaningful refinements. The chassis includes reinforced twin sidecaps, an integrated metal carry handle with a high-grip silicone underside, and durable waterproof fabric wrapping the body. With an IP67 rating, the speaker is not only waterproof up to 1 meter for 30 minutes but also completely dustproof. This level of ingress protection means users can confidently take it to beaches, parks, or construction sites without compromising performance or longevity.

While the unit weighs in at a hefty 14.7 pounds and measures over 19 inches in width, it’s clearly designed more for mobility between locations than for ultra-portability. It occupies a niche between home speakers and smaller outdoor models like the JBL Xtreme series, offering much more output and acoustic depth while still being luggable with one hand.

Additional conveniences include the built-in power bank functionality via the USB-A port, allowing users to charge phones or small devices directly from the speaker’s battery. However, the USB port is for charging only and does not support audio playback via USB drives, a distinction that’s important for buyers looking for media flexibility.

JBL also deserves credit for the eco-conscious shift in packaging. The Boombox 3 arrives in a recyclable, paper-based box, and even the tray is biodegradable. The use of soy ink for printing is a subtle but notable step in reducing environmental impact, reflecting broader industry trends toward sustainability.

In summary, the JBL Boombox 3 is not just an iteration of a previous product but a robust, performance-driven upgrade that balances audio fidelity, rugged portability, and modern convenience. It’s ideal for users who need powerful, distortion-free sound in a portable form factor—whether that’s for backyard parties, on-location workouts, or casual listening in acoustically unpredictable environments. Its price point is on the higher end for consumer Bluetooth speakers, but for those seeking professional-level sound in a portable format with long battery life and full weatherproofing, the Boombox 3 delivers exceptional value.

This hybrid of analog fuzz and digital pick enhancement creates a distinctive sonic palette that veers into experimental and futuristic territory without compromising playability. The fuzz circuit itself responds sharply to pick dynamics, offering everything from razor-edged highs to thunderous, exaggerated lows. While the pedal is inherently high gain, its gate eliminates noise efficiently, making it silent when not in use—an impressive feat for such a volatile circuit. The extra gain stage, activated by a dedicated switch, alters the EQ by emphasizing the high mids and rolling off some bass content. This allows the player to punch through a dense mix or tailor the low end for specific applications like staccato riffing or lead lines.

The most innovative feature of the Razor Fuzz is the virtual plectrum function, a digital overlay that detects and exaggerates pick attack with an uncanny level of control. While the core fuzz remains analog and untouched, the digital layer runs parallel and injects a programmable transient response into the signal path. Controlled by the “pick volume” knob, this overlay introduces various forms of harmonic and percussive complexity that can be dialed in to blend with the fuzz or dominate it entirely.

Each plectrum mode introduces a distinct character to the tone. The “Sandpaper” mode functions like a textured transients enhancer, perfect for rhythmic chugs or cutting lead lines, imitating the abrasive rasp of a shaker or the serrated edge of a sixpence against a string. The “Metal” mode introduces artificial harmonics that simulate pinch harmonics without any right-hand technique, giving leads a pronounced hair-metal flair with a glistening, synthetic edge. These harmonics aren’t subtle—they become a defining feature of the tone, ideal for aggressive, high-velocity solos.

“Metal Long” pushes this concept further into modulation territory. It generates a sustained harmonic shimmer that feels almost like a ring modulator reacting to your picking. This mode introduces randomness into the attack profile, transforming your tone into a hybrid of guitar and glitch synth, ideal for experimental solos or layering textures. Finally, the “1-note” mode introduces a pitch-locked overtone based on a user-defined root note. This functions like a pedal tone generator, consistently reinforcing a harmonic center beneath your playing, whether you’re strumming chords or executing lead runs. The result is akin to having a minimalist keyboard player tracking your lines in real time, enriching the harmonic structure of your sound.

Technically, the Razor Fuzz’s success lies in its ability to blend the transient shaping power of digital signal processing with the organic behavior of a hand-wired analog fuzz. The pick detection algorithm, derived from earlier Rainger FX units like the Break Box and Pull Focus, has been refined to respond with minimal latency and surprising sensitivity to playing dynamics. Rather than acting as a fixed effect, the virtual pick system feels like an extension of the player’s right hand, adapting in real time to rhythm and intensity.

The enclosure itself is compact, road-ready, and in line with Rainger FX’s distinctive aesthetic—industrial, quirky, and built for high-performance applications. With true bypass switching, it integrates seamlessly into any pedalboard without altering your dry signal path when disengaged. The overall layout is intuitive, despite the pedal’s complex internal processing. Players who want plug-and-play simplicity can rely on the default settings for instant gratification, while tweakers and sonic explorers will appreciate the depth and flexibility of the controls.

In terms of real-world application, the Razor Fuzz shines in both studio and live settings. It is particularly suited for players seeking unconventional sounds, cinematic textures, or hybrid acoustic-electronic environments. Whether used in a standard rock setting or as part of a sound design rig for film or experimental music, the pedal delivers a unique blend of saturation and modulation rarely found in a single unit.

Ultimately, the Razor Fuzz isn’t merely a fuzz pedal—it’s an instrument modifier that challenges traditional ideas about tone and technique. By fusing analog and digital technologies, Rainger FX has created a tool that not only sounds ferocious but encourages new playing styles and musical ideas. The pedal doesn’t just respond to your performance—it interacts with it, pushing boundaries while preserving enough familiarity to stay musical. It’s a creative powerhouse for guitarists who want to break away from the norm and explore new frontiers of fuzz.

The Chorus Symphony isn’t just a nod to the past — it’s a meticulously faithful recreation of the famed Boss CE-1 Chorus Ensemble, which itself was derived from the preamp and chorus section of the legendary Roland JC-120 Jazz Chorus amplifier. These circuits are synonymous with spacious, analog chorus and lush vibrato, revered by players across generations. The CE-1 became a staple for artists like Andy Summers of The Police, John Frusciante of the Red Hot Chili Peppers, and guitar virtuoso Joe Satriani — and it’s easy to hear why. The sound is warm, deep, and immersive — characteristics that the Chorus Symphony captures with remarkable authenticity.

At the core of the Chorus Symphony is an all-analog signal path built to mirror the original 1970s circuit. But unlike its vintage counterpart, which commands sky-high prices on the used market (often exceeding $1,000), Behringer has made this tone accessible to just about everyone, with a street price under $100. That’s not just good — it’s revolutionary. For players who’ve only dreamed of owning a CE-1 or a JC-120, this is a chance to bring that tone home without emptying your wallet.

Functionally, the Chorus Symphony offers a versatile control layout. Onboard knobs for Level, Intensity, Rate, Depth, and Output Sensitivity allow players to dial in everything from subtle shimmer to full-on psychedelic swirl. A dedicated footswitch toggles between Chorus and Vibrato modes, each with their own distinct sonic character. In Chorus mode, you get that wide stereo spread and modulation depth that defined the golden age of analog chorus. Switch to Vibrato, and you’ll uncover pitch-bending textures that are expressive, otherworldly, and beautifully musical — the kind of effect that inspires riffs, not just accents them.

One of the hidden strengths of this pedal lies in its adaptability. A DIP switch inside the enclosure lets users toggle between true bypass and buffered output, making it easy to tailor the pedal’s integration into various signal chains. Another internal High/Low output switch controls the headroom, which is especially useful for players who want to hit their amp or interface harder for added drive or character. In the High setting, you can edge into that beautiful analog breakup that vintage preamps are known for — giving your tone not just modulation, but weight.

It’s also worth noting the build quality. While Behringer has taken criticism in the past for its plastic pedals, the Chorus Symphony bucks that trend with a durable metal enclosure that feels built for the road. The design even leans into retro stylings, calling back to the pedal’s roots without being overly flashy. It looks the part and, more importantly, feels like a professional tool.

In mono, the pedal offers a solid and expressive voice — but the magic really opens up in stereo. Running the Chorus Symphony through two amps or recording channels creates a spacious, enveloping sound that elevates everything from ambient textures to jangly rhythm parts. Whether you’re playing through headphones, a studio setup, or a stage rig, the stereo spread is impressively wide and musical.

For those who can’t read between the lines, let’s spell it out: this pedal is a straight-up tribute to the Boss CE-1, powered by the same circuit topology that defined a generation of chorus tones. It’s the same modulation engine that made the Roland JC-120 a studio mainstay — and now it’s available on your pedalboard for under a hundred bucks.

Final Thoughts:
The Behringer Chorus Symphony is one of the best examples of classic tone democratized for modern players. It’s not a watered-down emulation, but a lovingly crafted analog recreation of a historic circuit — and it sounds phenomenal. Whether you’re chasing vintage chorus warmth, psychedelic vibrato, or just want a new layer of expression in your tone, the Chorus Symphony is an unbeatable value and a welcome addition to any rig.

If you’ve ever lusted after the sounds of the CE-1 or the JC-120 but couldn’t stomach the price tag, your wait is over. Plug into the Chorus Symphony, and you’ll hear what all the fuss was about — and why this might just become your new favorite pedal.

The first thing that jumps out about the EZBeam Q3 ILS is its battery-powered operation. Freed from the constraints of cabling, this compact fixture can be placed virtually anywhere, making it ideal for locations where traditional power sources are limited or aesthetics require clean setups. With a built-in lithium battery offering up to nine hours of full-output life, the EZBeam Q3 ILS easily covers the duration of most events without the need for recharging.

Chauvet DJ equips the EZBeam Q3 ILS with three quad-color (RGBA) LEDs capable of a 180° tilt range, allowing for precise positioning and dynamic beam effects. The fixture’s 16° beam angle provides a focused wash that’s perfect for wall accents, spot effects, or detailed scenic lighting. When multiple units are combined, the creative options expand exponentially, from elegant color washes to intricate, synchronized displays.

Control flexibility is another major strength. The EZBeam Q3 ILS is DMX compatible with multiple channel mode options (6, 9, 14, and 17 channels) and supports wireless operation through D-Fi USB connectivity (dongle sold separately). For even quicker setups, it also pairs easily with the IRC-6 remote and is fully ILS (Integrated Lighting System) compatible. This makes it effortless to integrate the EZBeam Q3 into larger pre-programmed light shows, synchronized with other Chauvet DJ ILS-capable fixtures for a seamless visual experience.

Another major advantage is the EZBeam Q3 ILS’s silent operation. The fanless design ensures that the fixture remains whisper-quiet, making it an excellent choice for refined settings like weddings, museums, theatrical performances, and other environments where sound distraction must be minimized.

Despite its small size, the EZBeam Q3 ILS is built with durability in mind. Housed in a compact but sturdy chassis weighing just 7.6 pounds, it strikes the perfect balance between portability and reliability. It’s simple to transport, quick to deploy, and powerful enough to make a real visual impact.

For anyone seeking a professional-grade lighting solution that combines portability, wireless convenience, beautiful visual performance, and smart control options, the Chauvet DJ EZBeam Q3 ILS offers incredible value. It’s a compact powerhouse ready to adapt to the demands of today’s dynamic events — delivering style, sophistication, and ease of use in one sleek package.

At the core of the StudioLive 16.0.2 USB are 12 XMAX Class A mic preamplifiers, renowned for their clarity, warmth, and low noise. These preamps ensure that every nuance of a vocal performance, instrument, or broadcast element is captured with pristine fidelity. An additional talkback mic input brings the total to 13, providing convenience for managing sessions and rehearsals. The mixer also offers 16 line inputs, four aux mix buses, MIDI I/O, and a powerful 16-in/16-out USB interface, allowing for full multitrack recording and playback at 24-bit/44.1kHz or 48kHz resolution. Whether you’re tracking a live show, producing in the studio, or doing both simultaneously, the 16.0.2 USB handles it with ease.

One of the StudioLive 16.0.2 USB’s defining features is the PreSonus Fat Channel, an integrated processing powerhouse available on every input channel, aux output, FX bus, and main output. With a highpass filter, phase reverse, gate, compressor/limiter, and a 3-band semi-parametric EQ on each strip, users have all the tools they need to sculpt and polish their sound at their fingertips. The physical interface makes navigation intuitive, with dedicated knobs and displays providing clear, immediate feedback — a thoughtful design that prioritizes speed and efficiency, especially critical during live events.

The onboard effects section further enhances the mixer’s appeal, providing two independent 32-bit stereo DSP processors loaded with 50 presets. The reverbs are lush and immersive, the delays are tight and musical, and the vintage-style slap echo adds a nostalgic character reminiscent of classic tape delay units. This rich palette of sounds eliminates the need for bulky external effects racks, streamlining live rig setups and reducing load-in and setup times. Additionally, a 31-band stereo graphic EQ is strapped across the main outputs, allowing precise tailoring of the PA system to the room’s acoustics — an essential tool for live sound optimization.

Where the StudioLive 16.0.2 USB truly moves into the realm of next-generation mixing is in its wireless control capabilities. Using PreSonus’s QMix app, performers can adjust their own monitor mixes from their iPhones, iPod Touches, or Android devices, eliminating the back-and-forth communication often needed during sound checks. This independence empowers musicians to quickly dial in comfortable monitoring levels without interrupting the session or performance flow. For sound engineers, the StudioLive Remote app for iPad offers full control over all mixer functions, enabling real-time adjustments from anywhere in the venue. From tweaking the stage monitors while standing next to the performers to fine-tuning the house mix from the balcony or lobby, the freedom this wireless control provides fundamentally changes the way sound can be managed, increasing accuracy and responsiveness.

Scene memory and recall functionality adds another layer of intelligence to the StudioLive 16.0.2 USB. Users can save entire mixes or just specific Fat Channel settings, then easily recall them later. This feature is invaluable for installations like churches, clubs, and schools, where repeatable sound quality is a must, or for touring bands with a rotating setlist who need fast, predictable transitions between songs.

PreSonus also recognizes that a great mixer needs to integrate into a complete creative ecosystem. With the StudioLive 16.0.2 USB, buyers receive a license for Studio One Artist, a powerful DAW designed to maximize the mixer’s capabilities in a recording environment. Additionally, the included Studio Magic Plug-in Suite adds hundreds of dollars’ worth of value, delivering world-class sound processing tools from iconic developers like Lexicon, Brainworx, and SPL. These plug-ins are compatible across AAX, VST, and AU formats, ensuring flexibility no matter what DAW you prefer.

Physically, the StudioLive 16.0.2 USB is built to be roadworthy. Its rugged chassis, smooth 60mm faders, and high-quality knobs inspire confidence during both studio sessions and hectic live shows. The thoughtful layout minimizes clutter, keeping the operator focused and efficient. Whether used as the centerpiece of a mobile rig, a permanent fixture in a small venue, or a compact studio hub, it adapts effortlessly to different workflows and environments.

In summary, the PreSonus StudioLive 16.0.2 USB is far more than just a mixer. It’s a complete audio management solution that anticipates the needs of modern audio professionals. With its combination of stellar preamps, extensive processing capabilities, flexible recording options, powerful onboard effects, wireless control, and included software suite, it delivers a user experience that is smooth, empowering, and remarkably future-proof. Compact yet uncompromising, it lives up to the StudioLive name by offering studio-grade fidelity and live performance freedom in a way that few mixers in its class can match.

The Decade Preamp is not just inspired by the original; it’s a faithful recreation of the original 1980 circuit, packed into a rugged, compact die-cast enclosure ready to slip onto your pedalboard. Every element of the pedal, from the pre and post gain controls to the highly responsive three-band EQ, reflects the DNA of the original amp. What sets this pedal apart is the inclusion of a switchable Saturation mode, acting almost like a second channel. One flick of the switch, and you’re propelled into rich, harmonically loaded overdrive, dripping with character and edge — a true homage to the Decade’s gritty legacy.

One of the standout technical achievements is the internal voltage boost. Although the pedal runs off a standard 9V power supply or battery, it internally ramps up to 24V. This extra headroom ensures you get the same dynamic response, amp-like touch sensitivity, and fat low-end that made the original Decade so beloved. Whether you’re pushing the front end of another amp, using it as your main drive, or slotting it into a recording rig, the Decade Preamp delivers authentic vintage tone without compromise.

The pedal also features a hard bypass switch equipped with an anti-click circuit, ensuring that your signal stays clean and pure without unwanted noise when engaging or disengaging the effect. Whether you’re playing live on stage or tracking in the studio, silent switching is a welcome professional touch.

Beyond just being a tribute, the Decade Preamp is built to last. Premium components like high-quality pots, rugged switches, and heavy-duty fiberglass PCBs with 2-ounce copper plating guarantee roadworthy durability. Peavey’s commitment to authenticity even extends to the cosmetics — from the layout of the controls to the styling of the pedal, everything feels true to the spirit of the original.

Flexibility is another major win. The Decade Preamp is designed for both instrument-level and line-level applications, making it easy to integrate into a variety of setups — whether you’re running it into an amp, a DAW, a mixer, or a powered speaker system.

Ultimately, the Decade Preamp is more than just a nostalgic nod to the past. It’s a living, breathing tool for modern players who crave character, bite, and unmistakable attitude in their tone. For those who have been chasing the elusive magic of the original Peavey Decade amplifier, or those just discovering this secret weapon for the first time, the Decade Preamp Pedal offers a direct line to one of rock’s rawest, most honest voices — no vintage hunting required.

Key Features at a Glance:

• Faithful recreation of the 1980 Peavey Decade amplifier circuit
• Switchable Saturation mode for rich harmonic overdrive
• Internal 24V boost from a standard 9V power supply for authentic dynamics
• Pre and Post Gain controls, three-band EQ
• Hard bypass with anti-click circuitry for silent switching
• Built to high standards with premium materials and roadworthy design
• Output levels adjustable for both instrument and line-level use

If you’ve been looking for a preamp pedal that doesn’t just imitate vintage grit but embodies it, the Peavey Decade Preamp deserves a spot on your board. The secret is officially out — and it sounds better than ever.

One of the standout features of the Echo Sub is its wireless connectivity. By using Wi-Fi rather than Bluetooth, it ensures a stable connection with minimal lag, resulting in consistently smooth performance. Setup is straightforward through the Alexa app, allowing users to pair the subwoofer with one or two Echo speakers for a 1.1 or 2.1 stereo sound experience. This flexible configuration lets you customize your sound setup depending on your space and preferences, creating a richer and more immersive audio environment.

The Echo Sub offers a minimum frequency response of 30 Hz, providing that satisfying low-end rumble that adds impact to music and movies, while still delivering clarity up to 20 kHz. Despite having no traditional RMS power rating listed, it houses a 6-inch down-firing woofer that effectively fills the room with dynamic bass. At just 8 inches high and a little over 8 inches wide and deep, it fits easily into most living spaces without taking up too much room or disrupting your décor. Its modern charcoal fabric covering also matches the style of other Echo devices, blending naturally into any home setting.

Another practical benefit is its simplicity—there’s no need to fiddle with complex settings. Once linked through the app, Alexa handles the calibration to ensure the best sound balance based on your speaker setup. Voice control through Alexa also adds convenience, letting you adjust music playback, volume, and more without needing to reach for your phone or a remote.

Of course, no product is without its quirks. Some users mention occasional connectivity issues and slight challenges with balancing volume levels across paired devices, but these tend to be rare and are often resolved through software updates or simple troubleshooting steps.

Overall, the Amazon Echo Sub Subwoofer offers outstanding value for its price. It gives Echo users an affordable way to dramatically improve their audio quality, delivering deep, room-filling bass without the hassle or footprint of a traditional home theater subwoofer. With its easy setup, reliable performance, and smart integration with Alexa, the Echo Sub is an excellent choice for anyone looking to get more out of their smart home audio system.