Top Finds of 2010 / MXR Micro Flanger

MXR has been doing it and doing it well for quite some time now. This is a company that has been steadily creating magic in a box for as long as I can remember, and a company that through hard work has become a favorite of players from every walk of life. Thinking back on my own pedal adventures I cannot think of one stage in my playing career where I have not had an MXR pedal as a part of my tonal arsenal. The MXR line has consisted of everything from timeless classics, no-frills champions, one of a kind originals, and let's also not forget the many MXR sleepers that have come to the surface to make our tonal dreams come true. Recently MXR chose to redesign a handful of their most sought after creations, breaking them down to their purest form, and releasing them onto the masses. Simple these pedals may be but nontheless quite useful within any situation. This little collection of pedals was one of the coolest of 2010, and below I will share with you my favorite of th bunch. This is a stompbox that once again shows us the beauty of the analog circuit and why less is most definitely more. 

Micro Flanger

M152

• All analog circuitry with bucket brigade technology
• Two control knobs for simple operation
• Faithful recreation of the classic 80's pedal

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This new M152 Micro Flanger is based around the sound of the super popular M117 Flanger. With the ability to knock out many of M177's tones and many of it's own, the M152 stands a beast in it's own right. Sporting an analog circuitry and designed with kickass bucket brigade technology, you can be sure you'll get the warmest and smoothest of tones. A true bypass footswitch has also been added to this design for the ultimate in tone preservation and clarity. Control layout is pretty simple - Rate knob for controling cycling speed, and Regen knob for dialing in overall intensity. I in fact have had lots of experience with the original 80's M177, and if there's one thing that has always impressed me about this pedal it is it's range. I was excited to discover the Micro Flanger rides side by side with it's classic cousin covering may of the same ground. How MXR was able to pack so much tone into such a small box I do not know, and do not care. All I know is that with all the gigantic stompboxes floating around out there it's nice to see something that saves pedalboard space while at the same time getting straight to the point. 


With an effect like the flanger you always have to be very careful how you use it. Dial in too much of the flanger and your root tone will suffer, but then use too little and you won't get the effect's point across. The key is to tap into that magical little area where your root tone and the effect will get along their best. With the M152 Micro Flanger it wasn't all that tuff to find it's sweet spots, thanks to it's stunning sounding analog circuitry and simple yet versatile control layout. I found the M152 capable of producing spot-on vintage flange tones, as well as rich and aggressive modern sounds. I first paired the pedal up with a big'n'beefy 100 watt Super Lead and my single P90 Junior copy. I worked in a mellow slow and subtle flange effect from the M152 and dialed in a nice'n'gritty rhythm tone from the amp. I picked out a handful of pretty chords to accentuate the pedal's velvety sound. The pedal produced a glowing type of effect that added imagination to my guitar's tone. The flange effect blew in and out like a mellow breath, never taking over my amp's tone while letting it's voice be heard. The subtle effect worked great for adding size to my chords and for giving the overall tone some sweet character. At medium flange setting it was more of the same. Here I found some of the coolest sounds from this pedal. Some flanger pedals you can't even dial into their medium settings without having things sound too strong. Here is where I give MXR some major props. They designed a flanger and not some extreme strange cousin. Both at high and slow speeds the Micro Flanger creates absolute magic. The little bit of grit being produced from my amp married perfectly to the Micro Flanger's warm and focused sound. Here I kicked in a bit more gain which again accented the flange effect beautifully. For those of you high gain freaks wielding hot rodded super amps, this flanger will do wonders for you. It doesn't matter if you use P90's, humbuckers, Strat or Tele single coils, or any of the many other pickups out there - the Micro Flanger will do you proper. Plugging in my buddy's Les Paul got me some more really hot tones. The fatness and weight of the humbuckers drove the pedal to really knock out some killer sounding classic sounding flange. Rolling the amp up to lead tones and getting the Micro Flanger to create stinging flange tones was absolute Rock God heaven. The effect swam in and out through the room helping to create wild psychedelic visions. Chugging down on big power chords, digging into double stops, bending strings, and striking down on harmonics all sounding spectacular, if not epic! Really there isn't much more to say about this little gun metal grey demon. Go out grab one plug it in and see for yourself. A small footprint enclosure, two knobs, and a simple design is all it takes to make this one of the coolest pedals in the scene today. The M152 Micro Flanger is small, elegant, and packs a punch much larger than most pedals twice it's size. It is pedals like these that make MXR the company it is today. With the experience that these cats own and the group of builders/designers that back their play - MXR continues to sit way up high on the totem pole. 

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For more info on the M152 and the rest of the MXR/Dunlop Manufacturing collection go to www.jimdunlop.com You can read up on a ton a cool info on many many of their products and check out some really cool vids. We will continue to bring you more from our friends at Dunlop so make sure to stay tuned. More to come very soon!

Top Finds of 2010 / Rock On Audio

This my dear readers is a piece of gear I was especially excited to have discovered. The simplicity and capabilities that this gadget is able to provide is nothing short of genius! If ever you've played in a band, recorded music, or just jammed with friends - you know the hassle of getting everything dialed in and mixed just right. Playing live shows I have sat in just about every seat possible - from guitarist, bassist, and singer, to drummer, dj, and horn player - just to name a few. And in each role I have ever played in a band there is one issue that has always stood out above the rest - that being poor stage mixes. Unless you're playing a proper gig, have your own sound guy, or have an expensive in-ear monitor setup - chances are you'll end up with something not so pleasant. You know how the story goes; You start with a haywire collage of confusing noise, end up having to sacrifice one thing in order to benefit elsewhere, and then the war between what will sound decent starts to work it's nerve. For ages now I have been asking myself "Why and the hell doesn't someone come up with a simple fix for this problem?" With all of the technology out there one would think there would have been an answer to this long ago. Well earlier this year my dreams were answered, and to my surprise this creation wasn't expensive, complex, or hype driven (which was nice for a change). The responsible party for the Rock Box and man behind the Rock On Audio brand is a passion driven cat named Pete Lewis. If you guys have been hunting for a simple quick solution to your monitoring needs, please continue.

Rock Box Limiter/Rockon Cable

FEATURES:


(Rock Box)

• Built-in Limiter: Designed to protect your precious ears
• Large input Range: Accepts signals up to 7.5V peak to peak.
• Line/Spk Switch: Engages a 30dB pad for different input signals 
• Dual Colored LED Indicator: Speaker = green / Line = blue
• 1/4" TRS Input: Accepts mono balanced TRS and un-balanced TS signals
• 1/4" TRS Parallel Output: In parallel with TRS Input for sharing mix
• 1/4" Headphone Ouput: Use with Rockon Cable or headphones/in-ears
• Volume Control: Specially designed output limiting for IEM's
• Small Build: For setting up with any pedalboard or setup
• 9V DC Power: Provided 9V AC adapter (+). Polarity can be changed. 

(Rockon Cable)

• Performer End: 1/4" plug for your instruments signal. Continuing down this end of the cable about a foot or so down is your In-line 1/8" headphone jack for your monitor mix. 
• Rock Box End: TRS 1/4" plug plug into Headphone Out on Rock Box. Splitting away from the TRS 1/4" plug is a In-line Female 1/4" jack which send your instrument cable to amp/tuner/pedalbaord/etc...

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It all seems pretty darn simple now doesn't it? Well that's because it is. This product helps you experience the magic of crisp clear sound, freeing you of that muffled unpleasant stage noise, all in a simple easy to use setup. Wireless systems up until now (at least the decent ones) are expensive and usually only found in professional setups. A good quality in-ear setup makes for a spectacular tool when playing huge stages, clubs, arenas, and outdoor venues. But what about the rest of us who aren't quite at the jumbo venues yet, we could use some help too. In fact, it is on smaller stages where sound is usually at it's worst, where monitors are at their cheapest, and where one can take all the help he can get. The Rock Box Limiter and Rockon Cable are the answer to all of our dreams.


Putting this little gem through it's paces I must admit was quite a blast. Do not let the size of this gadget fool you, it is capable of fitting into more applications than one might think. I was able to use it with many different in-ears and headphones, and in a bunch of different live and studio applications. The first task I assigned the Rock Box to aid me in was as a simple headphone amp. Here I paired the Rock Box up with a high performance set of Monster® Jamz™  in-ear headphones. I plugged my guitar into my pedalboard, then out into the Rock Box's input, and in-ears straight into the Rock Box's headphone input with a mini to quarter inch adapter. My first impression of this little box was how quiet it was and how crisp and defined the signal was. My Hagstrom's humbuckers came through beautifully with lots of beefy lows and mids, and rich'n'creamy highs. Another impressive thing about this piece of gear was how much output it had on tap, plenty for any stage or band practice. To get a little ambience into the in-ears I turned to my reverb pedal, dialing in just enough to let things breath. Here I also began to experiment with my dirt boxes (overdrive-distortion-fuzz-etc..). Surprisingly enough they all sounded pretty damn good. Usually pushing any stompbox directly into any piece of gear sounds flat and lifeless, but this was not the case here. As a late night practicing tool or for those of you who'd like to give your roomates/parents/girlfriend a break from the noise - this baby works like a charm. 

Next came using the Rock Box in jams, practices, and live gigs. First I brought it along to band practice, and here is where I found this baby very very useful. If there's one thing I cannot stand when in a jam or band practice it's weak vocals and loud drums. As a guitar player it is important for us to hear the singer. It helps us with the vibe and feel of a tune, helps shape the dynamics in our playing, and just plain ol' keeps us in the moment. In a matter of seconds I was able to run the PA's signal into the Rock Box and hear exactly what was coming through it. With the Rock Box's volume control I was able to maintain and tame my mix, and with my set of kickass JH Audio JH 16 Pro's plugged into box I had myself some super quality overall sound. I was able to hear the lead and back-up vocals like never before!!! Super rich and full, with plenty of sparkle and clarity, and with a superb frequency range. Getting the rest of the instruments into my in-ear mix was a cinch. To get both guitars into the mix we setup a couple of SM57's in front of our amps, with the bass we ran it into a DI and split it's signal to the mixer and into the amp. The quality in the JH Audio's really let the bass hit hard and smooth. Then last for were the drums. Believe it or not, the existing mics in the room and bang in the drummer hit created plenty of drums to be heard. Later I also experimented with room mics, a stereo mic on the kit, and micing kick and snare. All of it worked like a dream! Band practice had never sounded so damn good. Which leads us to the stage. Again the Rock Box quickly and beautifully came through like a champion. Here it was even easier to dial in and get my in-ear mix - in fact I didn't have to do much. Here I shared my stage monitors/wedges mix with the Rock Box. To do this I just ran the stage monitors out into the Rock Box's in and whallah! Just like you would when you play a gig and ask the sound guys for more drums, more vocals, less of this, less of that - I was able to do this in my ears. On the quality was stunningly better. What was really impressive was how quickly it all went down. With the accompanying Rockon Cable the task is child's play. The Rockon Cable's design I must say  is genius! I gotta take the time here to give Pete some major props. The cable just like a standard cable plugs into your guitar, but then about a foot or so down sits a 1/8" (mini) input jack for your in-ears/headphones/etc... The bottom of the Rockon Cable spilts into a 1/4" plug which goes into the Rock Box's headphone jack, and a 1/4" output for running a standard cable into it and then to your amp, pedals, or pedalboard. I found this little piece of gear works great with every gig I brought it along to and every jam I sat in on. With the Rock Box's Line/Speaker switch you can control and tame any signal. The built in limiter will also make sure your ears are always protected and in the safe zone. All in all this is hands down one of the most ingenious, coolest, and most useful pieces of gear you will ever own in your arsenal. The Rock Box Limiter makes it possible for anyone to own a great sounding IEM setup. And for it's price you really can't beat this little gem.

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For more info on Rock On Audio and the Rock Box Limiter go to www.rockonaudio.com Also make sure to check out the many cool vids showing the Rock Box in action. Scroll to the bottom of our site and search Rock On Audio in our Youtube search engine. We will keepyou up to date in any happenings with this very hip little company and bring you more info as it comes. Stay tuned and keep rockin!

Quick Update

Hey guys,

I just wanted to apologize for the lack in posts recently. I had some issues with my laptop and an external hard drive that was corrupted. I lost a bunch files which consisted of many of my review layouts. I have been rewriting and trying to get back on track as quickly as possible. I will be dedicating this entire month to our Top Finds of 2010 and will continue with our regular posts, artist features, podcast demos, etc... in Feb. I want to thank our contributors for being patient and for the awesome gear they've helped out with. Stay tuned for some more super cool gadgets! Please keep emailing with any suggestions, any new gear companies, and any other news you may want to alert me of.

Peace,
Alfie

Top Finds of 2010 / Jam Pedals Tube Dreamer 72

One pedal all us players can agree is a must on our pedaboards is the OD. As simple as these pedals are they can be used to achieve an enormous palette of tones, for just about any style of music. Overdrivers get along with anything from the cleanest of signals to the dirtiest and muddiest. Since the beginning of the stompbox revolution players have been hunting down, experimenting with, and hoarding many different breeds of overdrive boxes - All in the name of taking their sounds to the next level. It is the OD that is responsible for many of the signature tones of yesterday and today, and the favorite of many'a stompbox builder. Google overdrive and you will be sure to come across an endless sea of boutique, mainstream, and one-off creations. But of all these creations there is one circuit that is copied and tweaked far more than the rest.... the mighty TS808. If you've ever had a chance to run a proper old school Tube Screamer through it's paces you know just how and why these pedals are so special. Only problem with many of the modern designs is they come off more as distortion boxes than actual overdrives. A proper TS style pedal is subtle and pushes out a signal that works with your tone instead of  against it (which is where many builders miss). Well, here is a company that hasn't steered me wrong yet, and with this here design has been able to take the mighty 808 to rockin' new levels. I promise you one thing - you won't have to worry or be confused about what is or isn't an overdrive here. 

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Tube Dreamer 72

Vintage Overdrive

* Controls: Level, Tone, Gain

* High quality components

* True Bypass Switching

* Power: 9V battery or standard 9VDC adapter

* Uses only 6mA of power when On

* Custom artwork available

* Point-to-Point version available

* Bass version available

* Lifetime warranty

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The Jam Pedals Tube Dreamer 72 is a spot-on true to heart classic sounding overdrive pedal with some characteristics of it's own - and a look to die for. This baby was designed specifically for achieving that cranked tube amp tone at both high and low volumes. You won't have to worry about this pedal taking your tone hostage or coloring anything you stack it up on top of (thanks to a special secret chip). These pedals are hand built in Greece with the finest parts and components, and added upon each one is a bit of artistic flavor. The Tube Dreamer 72 sports true bypass switching for the ultimate in tone preservation, and like all Jam's pedals carries a lifetime warranty. A LIFETIME WARRENTY!!! But it's gets better? There isn't only one version of this pedal available, no siry Bob. Besides the 72 version which we will be looking at here, Jam also offers a 58 version based around the famous JRC4558 chip, an 88 which stacks the other two version together and adds a high gain switch, and last there is a + (plus) version which is a heavier version of the 72. Each one of these pedals can be built point-to-point and come with an array of different custom art works. And so the bass playing cats don't jealous - there are also bass versions of the Tube Dreamer ready at the helm. Pretty nice huh? Now for some tones.

Running the Tube Dreamer 72 through all of my amps was indeed an absolute dream. This was also true of my guitars, through every type of pickup, and with many other pedals. It sounded best with my tube amps of course but I was surprised to hear how well it sounded with a few solid states as well. When you got a pedal of this caliber in your signal path things are just bound to come out sounding awesome no matter what you plug it into. I began using the TD72 through a few different low watt amps, from 5-22 watters. I started with some super mellow pedal settings to see what kind of use I could get as a booster. With it's level at unity, it's gain at about 5-7%, and it's tone at noon - the TD72 let the amp's characteristics shine through beautifully. My root tone's nice'n'warm signal was converted into a more powerful version of itself, which let me dial in many more tones on the fly. I noticed that by turning up the TD72's level I could get plenty of punch and grit from tubes. Then with the pedal's gain rolled up even further things would only get sweeter and much much smoother. Something else you'll find quite nice about this pedal is it's tone control. With most overdrive pedals you get decent gain controls and even plenty output on some occasions - but when it comes to their tone controls they come off a bit too weak and unresponsive. What ends up happening is the builder either has to choose one sweet spot amongst the sweep spectrum. With the TD72 I was able to both maintain my amp's key tones and also help them into new grounds. Cranking the tone low I was able to hear a huge difference in the amp's tone, a difference that was usable and created a sweet and warm overall feel. The TD72 was able to kick out lots of sweet spots within every one of it's controls, giving all my amps new territory to walk upon. Another amp that worked quite well was a Fender 22 watt Deluxe Reverb. Completely dry with no verb and it's tone controls at noon, the Deluxe Verb was able to dish out some of the smoothest and meanest dirt sounds when combined with the Tube Dreamer. Being such a simple amp, all you really need to do is roll everything to noon and you're home free. Highlighting the Deluxe Reverb's capabilities was really something that brought upon some impress classic rock and blues guitar tones. An overall great match. From here I began exploring with higher gain amplifiers - first with some clean character amps, then with the big crunchy bad boys. My modified 4x10 Hot Rod Deville was a great place to start. Having a ton of clean headroom to play with really came in handy for dialing tons of different dirt tones at all levels. I was able to go from an inkling of grit to the smoothest grittiest growls. Alone it is damn near impossible to get an overdriven tone from my Deville - thanks to it's four 100 watt 10" speakers (I did do this on purpose though). With the pedal in the mix I had any dirty tone I wanted. I noticed that the louder I'd get, the more my picking attack was accented. This brought upon some very tasty sounds, harmonics, and wildness. As I'd push the 72's gain control higher, the grit would become dirtier yet the output would stay the same. And it sounded great at low volumes! With the gain at around 15% the pedal began tossing out these really nice mildly crunchy blues tones that brought my amp to life and had it singing like a little devil. Then there was converting the Deville into a true machine of dirt of growl - a very easy task when setting this pedal just right. Last came a Super Lead, one of my favorite amps of all time. Here the TD72 once again did things that sounding awesome. Taking the Suepr Lead's tone and accenting it, really brought to the amp to life in ways I thought were not possible. I found myself able to dial the pedal in in many different settings, leave it be, to have access to tons of tones on the fly. Working my guitar's tone and volume controls came in handy here, which made for some great tone shaping on stage. Semi-clean tones I was able to take to rich'n'thick overdrives, leaving me with a wider collection of overall dirt tones. At higher gain levels the TD72 was able to convert the Super Lead into an absolute beast! The sustain that came to be was very nice to play with and gave me new textures to play with. By the end of my demo with this pedal I had plugged in a handful of different single coil guitars, semi-hollow and solid humbucker guitars, and an array of others. Same went for amplifiers, from the lowest gain to the meanest. The TD72 got along beautifully with every piece of gear I through at it and gave back a killer results. We've had a chance to put a handful of Jam Pedals through their paces and are yet to be disappointed, and doubt we ever will. If you suffer from the same tone seeking sickness that I suffer from go out and grab yourself one of these Tube Dreamer versions, you're amps and guitars will thank you for it.

If you need more info on these hand made Greek masterpieces go to www.jampedals.com or go to our direct links. We will continue bringing you guys more and more of these magical pedals as they come and keep giving you the best possible insight. Stay tunes for more from Jam Pedals. Pictured above is another version of the Tube Dreamer, the TD88. Just another of the cool and crazy creations from our friends at Jam Pedals.

Top Finds of 2010 / Ampeg SVX

Just think - A few years ago the only way to get a proper sounding vintage tone was to own some vintage gear of your own, borrow some, or build the gear yourself. But this is all a thing of the past thanks to today's wonderful world of plug-in software. Now anyone can own an impressive collection of both vintage and modern gear, all stored and ripe for the picking straight from your computer. Let's say maybe you want a classic Tweed or Blackface tone, or maybe you're after some of rock history's favorite stompbox effects. No problem! All you gotta know is the right place to turn and you're in there with the best of yesterday's tones.
And it doesn't end with amps and stompboxes either. Today you can find software

capable of mimicking anything from signal processors to microphones, and guitar cabs to micing techniques. And the list goes on. One of the champions on the forefront of this magnificent technology is non-other than the mighty IK Multimedia - creators of the popular AmpliTube programs. Today you will find it's damn near impossible to come across a studio and not find one of IK's powerful programs lurking in the cut. The reason for this is simple. Spot-on feel and spot-on sound. For those of you familiar with any of the IK Multimedia guitar orientated software, you know of what I speak. And for those of you multi-

instrumentalist/bass playing monsters, IK has also got some mojo for you. It's called Ampeg® SVX, and it is a must have for anyone looking for a professional proper Ampeg® bass sound. I have now been exploring and experimenting with the Ampeg® SVX software for a good 2-3 months and I will say I am quite impressed. The versatility, simplicity, and professional sound of the SVX software is perfect for every level of player and producer.

FEATURES

• 4 Separate Modules: tuner, pedalboard, amp head, cabinet/mic
• 8 Stompbox Effects
• 4 Signature Ampeg® Bass Amps Modeled
• 6 signature Ampeg® Cabinet Models
• 6 Microphone Models
• High Precision Tuner
• Stand Alone and VST/AU/RTAS Plug-In for all Popular DAW's
• Includes SpeedTrainer™ for Playing Along with your Favorite Recordings
• Includes AmpliTube X-GEAR for seamless integration with all the other “Powered by AmpliTube” products, MIDI control and StompIO integration
• Powered by AmpliTube® with Exclusive DSM™ (Dynamic Saturation Modeling) Technology for Award-Winning Sound and Realistic Feel
• Mac OS X (including Leopard) and XP/Vista Compatible

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Now, my partner and I may not have the biggest and most luxurious of recording setups. But where it lacks in size is it sure as hell packs in punch. And it is thanks to software programs like Ampeg® SVX that our sonic capabilities are as powerful as they are. I began meddling with the SVX software simply to just dial in and hunt for usable tones, just like I would with any bass amp. But unlike an amp I needed not worry about a beastly 300 watts of sound. Something both my ears and neighbors are very thankful for. For bass guitars I used a 70's reissue Jazz Bass and old Danelectro. I started by plugging the JB straight into my trusty Whirlwind IMP DI, then out into the mic pre, and on into DAW. I began with the SVT Classic head and matching cab, and Dynamic 20 mic (based on the Electro-Voice® RE-20). I dialed the amp's controls straight up the middle, with Ultra Hi/Lo switches out, and left the mic placement as it was. I let my fingers slide up and down the Jazz bass's fretboard, tapping on it lightly, and thumping with my thumb from string to string. I did this to see if I could get the software to respond just like an amp would. Right off the bat I was able to hear, and more importantly feel, all of the little accents and intricate frequencies that make a great sounding bass amp great. Next I pulled up a session and laid down a scratch bass track. Once I had the track down I went back and listened, and with little effort I was able to set the Classic SVT model just where I wanted it. Without leaving my seat I was able to experiment with a handful of different mic positions which all really sounded amazing. I'll tell you this much - with a tool like this finding tones has never been easier. In no time at all I had a rich, warm, and punchy bass tone that responded great to both my fingers and guitar pick. Later once I had my final take down, I had no trouble fine tuning the bass track with just a hint of eq and compression. In less time than one would imagine I had myself a killer classic rock bass tone which complimented anything I stacked it up with. All in all the SVT Classic model was able to deliver soft thumpy country tones, deep'n'punchy funk tones, and a world of different rich and aggressive rock tones. All which I was able to store away for future recording or live use. Along with the SVT Classic's Hi/Lo switches and the array of stompboxes that can be thrown into the mix - The possibilities are endless.  

Now, I won't get into every amp model that the Ampeg SVX has to offer, but I will throw down some props on another of my favorite's... The B-15R model (based around the classic Ampeg Portaflex amps). Talk about the perfect marriage between smooth and aggressive. I have been very lucky to have had access to these amazing amps in many of the recording sessions I have taken part of throughout the years. And of all the amps I have played the old school Portaflex's are amongst some of the best. Here I also used the Jazz bass to get some stellar tones, but the real treat was plugging in the Dano bass, which gave me some extremely cool and original bass sounds. To find the tone I wanted I went through the same process as before - throwing down a scratch track then fin tuning it. This time I found the Condenser 414 (AKG® C-414) mic worked quite nicely with this setup. I also threw in some of the software's stompboxes, as well as testing the program with some of my own. To dirty up the signal just a hint I found the Scrambler Overdrive worked beautifully. Here I must compliment on how simple and user friendly the interface of the software is. Everything is self explanatory which makes the entire program move really smoothly. Dialing in the SCP OD felt and responded just like an actual pedal, giving me the rush and satisfaction of having a new pedal! Playing through the software's pedals and using it's amps, mics, and cabs - I thought would deliver an overly processed sound (as it has been my experience with other software), but this was not the case. Running the Dano through the B-15R model gave plenty of super smooth lows and mids, tight focused highs, and a great level of response. With the software's SCP OD pedal in the mix, the tone jumped and thumped like a tornado. I only wished I could click it in & out like you would an actual effects pedal, which is where IK's StompIO and Stealth Pedal come into play. Another couple pedals from this software that I really dug were the Envelope Filter and SCP Octaver. Both of these pedals had lots of warmth, and versatility, which gave them that sweet sweet analog feel. Again, it would be if they were stompable. Next I went back to the B-15R's root tone and pulled out a few of my own pedals. Now. if ever you've had experience in running stompboxes through software, you know it can be quite tricky. Not all programs I have tried work well with effects pedals of other hardware But again this was not an issue here. Because of the Ampeg SVX's tone and feel, it took to everything I pushed through it and blended with it beautifully. Driving the amp model with one of my own overdrivers got me dead accurate overdriven bass tones which also helped in expanding the amp models overall tones. By this point it was pretty damn clear that this program wasn't going to disappoint. And it hasn't yet. When I ran the software's heads with no effects of any kind, I found they didn't mask the character of my bass guitars. Alone all of the amp models produced neutral and honest tones which made recording, practicing, and writing all great experiences. I have played both originals and reissues of the amps and pedals modeled in this program, and can safely say I know them inside out. . Nothing compares to these magical pieces of gear, and having this software on deck recreates many of those tones dead-on accurate. 


Listening back to the bass tracks I recorded didn't come across jagged or overpowering. I was able to hear all of my dynamics and accents like I would any killer amp. Some modeling and plug-in software can stick out like a sore thumb, causing you to work harder to correct it. The Ampeg SVX software does not introduce this problem in any of the applications I tried it with. IK Multimedia truly chose a fantastic collection of amps, microphones, and cabs to create a program that delivers an ocean of bass lovely tones. Having access to the tones available form this software can give a writing session a glimpse of what's to come - a demo recording the sound to inspire - and a live gig a taste of a studio's magic. Setups from the smallest home project studios to professional record producing giants, will find this a great source of magical sounding user friendly software. The Ampeg SVX program worked and sounded beautifully through all the hardware I ran it through, it worked great with other instruments such as keyboards and baritone guitars, and it did it all with a tasty organic feel. With an instrument like the bass guitar a thing like feel is  everything. It is the backbone and weight that carries a tune, and is the instrument that gets the crowd moving. Last I will say - This was only a scratching of the surface of what is possible with this software. Get in and dig for yourself.

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For more info on IK Multimedia go to www.ikmultimedia.com For more info on Ampeg SVX click here. You can also go down to our Youtube search engine at the bottom of our site and search for IK Multimedia demo videos and tutorials. Make sure to stay tuned for more Analog War Cry features on IK Multimedia to come in the very near future. See ya soon!!

Top Finds of 2010 / Apache Amps

Apache Amps

Amps,Mods,n'More

If there is one town fit for the musician it is Los Angeles, Ca. Living here in LA has always provided me with every piece of gear I have ever wished for - whether it be a guitar, amplifier, set up pups, or rare stompbox. But there is another resource that Los Angeles carries, one that if you ask me is worth more than gold. And this is?.... It's wide band of highly talented amp gurus. This last year I had a chance to meet one such cat, and this has been one of the-if not the most gifted builders I have ever met. This brother has not only introduced me to some new and exciting tone tools, but has also shown me to further appreciate the true meaning of passion for tone. His name is Tommy Aguilar, a laid back mellow individual with a keen insight on amp building and hot-rodding. Tommy and I's path crossed at one of my favorite local guitar shops (Time Warp Music) while doing a regular visit a few months back. What started as a just another gear chat with a fellow tone purist, ended in one hell of a treat. Within Time Warp's collection of impressive gear I would discover a handful of Tommy's hand built creations. Amongst these builds was a 50 watt JMP replica, a couple of hod-rodded amps and pedals, a killer sounding original Apache Amp and matching cab, and last - a curious little black box with a trio of vintage tubes sticking out from it. That little black box would end up being one of the most intelligently designed tone tools I would ever know. Ladies and gents, I'd like to introduce to you the...

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RectiDrive

preamp/clean boost/overdrive/fuzz

Features/Controls

• Power Transformer
• 6X4 Rectifier tube
• Compatible Preamp Tubes: 12AX7, 12AY7, 5751, 12AT7, etc...
• Built-in Power Supply
• Available Mods: Push/Pull Bright and Boost
• Hand Built in the USA
• Front Panel: Tone/Volume
• Side Panel: Volume

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Imagine being able to hot-rod your amp while at the same time having the option to leave it bone stock, as is, untouched, and untampered. When on a mission to upgrade or mod our amps, what is it we're trying to achieve? To put it simply the answer is - better tone. The hot-rodding of guitar amps is a ritual that has been regularly practiced since the birth of the tube amp, and one that continuously improves as time goes on. Sometimes the amps we choose to upgrade are budget builds, some simple boutique builds, and others DIY kits. But then there's those few that choose to modify their precious vintage pieces. And if there's on sure way to screw up the value of a vintage amplifier it is by opening it up to tinker away at it. So what is the alternative to this? Well, until now there really hasn't been many options. The Rectidrive puts this issue to r-e-s-t. 

Now, there are a handful of different applications this gadget can be used in, and believe me I tried them all. You can simply run it straight into your amp, through your amp's power amp in/preamp out or effects loop, use it in conjunction with your effects pedals, with a power amp (example: Marshall EL34 100/100), and so on and so fourth. I won't get too scientific on how this little baby works but here is pretty much the gist of it. Unlike many "tube" driven gadgets you will find out there today the Rectidrive is actually capable of kicking out real tube voltages, meaning real tube tone. Two adjustable gain stages slam the front end of whatever you choose to run it through, resulting in thick rich tones and tube soaked sustain. Each volume controls it's own tube's results, with the first tube sending it's signal slamming into the second tube. Depending on how it's set the Rectidrive can deliver anything from clean boosts, semi-grit, and overdriven rock tones, to high gain distortion, scorching leads, and even fuzz signal territories. The end result on your tone's character lies on your choice of amp, which means all that hard work at perfecting your tone stays perfectly intact. This means a California amp will kick out more of it's rich good sound, a British amp more of that throaty growl, a Liverpool amp a jump in jangle and chime, and so on and so fourth. I began my adventure with this little gem with a DeVille and duel humbucker semi-hollow body. Before switching on the Rctidrive I dialed in my root tone and overall output level. Once my amp was thumping out plenty of rich tube goodness I began working in the Rectidrive. So as to use it as an overdrive channel and having the ability to switching it on and off, I went ahead and plugged the Rectidrive into a footswitch. As a clean booster this baby worked wonders! I was able to boost all of my amps tonal characteristics without any coloration or change in feel. The Deville's big sparkling clean tone became even bigger and much more focused. Warming up or brightening my root tone was also a cinch thanks to the Rectidrive's tone control. This would later come in handy when throwing in different types of effects pedals. Slowly I began adding in a little gain for dirtying up my signal. I started with some light bluesy rock tones and classic rock grit. At even the lightest overdrive settings the Rectidrive kicked out an impressionable amount of harmonics. This added great results to my picking attack, bends, and double stops. I could hear and even more importantly feel the amp's tonal character hitting me straight in my soul. Cleaning up the signal was also a cinch with a roll back of the guitar's volume knob, this making for a wide variety of tones on the fly. Another setup that worked quite nicely was my Les Paul and AC15 clone, which was one of my favorite amps to play this unit with. Playing the Rectidrive through a sparkling clean tone was really something special, but through a decent amount of tube grit things only got better. Setting the 15 watter to a light crunch and setting the Rectidrive to take it into lead tones got me just about every tone I needed. On it's own I was able to take the amp from it's light grit to velvety cleans. Adding in the unit widened my tonal palette by ten fold. At the tips of my fingers I held the ability to go from cleans to grit, and crunch to all-out sustain. And again, no matter how much or how little gain I pushed through my amp, it's tonal character stayed intact and held it's own. Beyond these two amps I also dove into a 100 watt Super Lead and Fender Eighty Five solid state amp. I was able to improve on the Marshall's tone (which I thought not possible) and able to go places I'd never heard before. For this giant of an amp I broke out my 70's Strat build. Pushed through both high gain amp settings or dialed in into high gain settings itself, the Rectidrive was able to hit these really cool fuzz-like arenas that were a sound all their own. The single soil pickups in the guitar created an entirely different vibe to how the Rectidrive's dirtiness responded. Through each and every pickup position I was able to pull out something tasty and totally different. Within these many tones was the control and tightness of a great sounding overdrive, only with a howling top-end and slicing midrange punch that beat the silence silly with attitude. Adding in a clean booster to this combo created even more possibilities - which I will leave to your imagination. Finally was the Fender solid state amp, where things got unbelievably better. The sharp clean tone that I usually dial in Eighty Five amp became a proper wall of tube saturated dirt'n'grime. Something I have achieved from this amp before but not without such ease. Once I had my fill of running this baby through a decent collection of amps came time to toss in some guitar pedals. Being a pedal hound myself and having many of you pedal players as well, I wanted to see just how well this unit got along with stompboxes. With dirt pedals of all kinds the Rectidrive worked perfectly, adding in a boost in harmonics and overtones that brought my pedal to life and gave them new voices. Like with my choice of amp - the choice of pedal also made a difference on my tone's end result. With modulation pedals I was to add a super tube richness which warmed everything up to a vintage-like flavor. This was especially true through chorus, vibe, and delay pedals of all types. But my absolute most favorite use for this little monster, the one that delivered the quickest golden results.... was the pairing of a loaned Marshall EL34 50/50 preamp. The amount of control that I had over my tone was stunning! There was a simple straight no-frills attitude to my sound that charged out from my speakers with pure grade A tube tone. My buddy who owns the EL34 50/50 power amp was really taken by the sound we were getting from his unit and the little black Apache Amps box. With it's one tone control and two gain stages the Rectidrive did what many other much more complex units are capable of, and then some. I tell you, there are many gadgets out there today capable of some great sounding guitar tones. And if you look deep into these products you'll learn it is tube grit and saturation that they are emulating. This is what players are after when modifying and upgrading their amps and rigs. This little box takes you straight to the source with no side tracking and extra components for dulling your sound. After about a week or so of experimenting with Tommy's genius design I discovered there was absolutely no wrong way to use this thing. It didn't matter whether it was amp, pedal, or power amp, and whether those amps were tube or solid state - the Rectidrive did it's magic and did it without breaking a sweat. For those seeking pure tube harmonics and sustain, and super charged overtones and undertones - this is it.

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For more info on Apache Amps and the Rectidrive unit itself you can emial Tommy at profeti2001@yahoo.com or contact him here through my site. Tommy is also a genius at hot-rodding amps, building his own designs, and pretty much building you anything you want. You may not find a website leading you to this brother, but that don't mean jack! Stay tuned, I will try and bring you more from Tommy's Apache Amps in the near future.

Top Finds of 2010 / Voltage Guitar Pickups

As a gear fanatic and tone hound these are the things I love most - Upgrades and mods, a new piece of gear, and a proper gig or session. But there is something else which brings even more joy, something that stands out way above the rest. I call this "the mother of all rushes"... and that is - The discovery of a completely new and original product. In our history of gadgets, gizmos, and whatchamacalits, there are non more exciting than the coming of a new creation. Whether it be cosmetical, electrical, or for user friendliness. For those of you who have never heard of Voltage Guitar Pickups I implore you to please pay attention and make sure to visit their website once you've run through our post. I was blessed with a set of Voltage Chaos pickups earlier this year and the only thing I can say is... things will never be the same.

Voltage Chaos Pickups

(Strat Model)

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Take a close look at these pickups. At first look they may seem like just another everyday normal run of the mill Strat set. But then you look closer and notice there is something you have never seen on a set of Strat pups. Builder and designer Ben Sheppard calls this his "Voltage" single coil design. Now, this cool mesh grill design may look cool (beyond cool if you ask me), but there is a purpose behind this hip look. Ben designed these pickups to provide the player with healthy jumped in both power and sustain. This gives the already slick and unmistakable "Strat" sound an even cooler and much more versatile tone. The Chaos pups are wound from 5.8k to 6.2k and built with the finest parts and components. Each pickup is also calibrated for use in it's proper position for the ultimate in tone shaping and pickup blending. I've had a chance to rock these pickups now for a good period of time, and I will say they are like nothing I have ever played through a Strat. I have gigged, recorded, practiced, written, and compared these pickups to many others. One thing is for sure... these baby's are an animal all their own. This was a product that at first glance had me impressed as well as curious beyond belief. And even cooler was how great these pickups looked once they were wired into my guitar. Many times a company or builder will use looks solely to sell his/her product, and many times this technique works. This is not one of those incidences, nor is this design a gimmick of any kind. 


For my testing of these pickups I would plug into a handful of different amps, A/B them with a Strat sporting traditional pups, and would run them through a handful of different stompboxes. I began the adventure with a 22 watt 65' Deluxe Reverb reissue (on loan froma  good buddy) plugged into the normal channel, with a coily Bullet Cable and nothing else in the signal chain. The normal channel's Vol/Bass/Treble I set straight up the middle, this giving me a big'n'punchy blackface tone that sounded like absolute heaven. I began with the neck pickup, strumming away and a handful of different licks and chords. Right away the Chaos pickups chimed away with beautiful brute force and originality. It wasn't so much that they sounded extremely different or alien of a vintage Strat pickup. All of the snappy cutting power of a standard Strat pickup was there, only with more focus and clarity. The highs that these pickups let loose had a bell-like top end that shimmered and shined like diamonds. The bass was very present but not overpowering, with a smooth curve and tight corners. Then there was the midrange that these pickups produced (my favorite), a sound that slammed right in-between everything else and gave the amp a well balanced overall tone. The fact that these pickups gave more of everything made them very very versatile and also gave them a wider dynamics range. To warm them up I only needed to roll back on the guitar's tone control, and rolling back on the volume they would hold their own. Some pickups you start playing around with the guitar's volume control and you listen as your tone goes to all hell. Same goes for the guitar's tone knob. These pickups responded beautifully to this little trick, making them a prime choice for those of you who dial in & out on the fly. I also noticed how sensitive they were to my pick attack. This would later provide me with some tasty tasty sustain when matching them up with an overdriven amp and dirt pedals. Next I ran through a bunch of different chords, from the simplest to the most complex. Through every type of chord I played I was able to get stunning good balance. The pickups created great string articulation and clarity, had plenty of bite, and were easily tamable. Even the lightest of my touches I was able to enhance what the amp would dish out. I then pushed the Deluxe Reverb into a natural tube driven grit, and here is where these pickups did most of their magic. What had been projected through my clean tones was now flowing even stronger through a wave of gritty goodness. It seemed like the lows, highs, and mids became even stronger once I added in a little grime. Touching down softly on the strings produced light semi-dirty tones that bloomed in & out. The harder I dug in - the more the Chaos pickups gave me. Through very loud amp tones I was able to control and mold amp feedback as if pushing a paint brush. And still I took them further. It was time for me to break out something a little stronger, something with more wattage and output. My next choice would be a Super Lead slammed into a huge sounding rock tone. I wanted to see just how much these pups could do. To get an idea of the differences between the Voltage Pickups and a traditional vintage set of single coil pickups, I first played through my 60's Strat build. I ran through some blues licks, rhythm power chords, leads, and bends and double stops. Comparing the standard set of pickups to the Chaos set I easily heard the difference. It wasn't a matter of better or worse, nor did one set out weigh the other in any way. With the Chaos pickups everything was brighter, thicker, and meatier. Instead of softer, warmer, and spankier like you would get from a vintage set. The rockin good tone form the Super Lead made for great classic rock, hard rock, punk rock, blues rock, and every other type of rock I played. Switching from one pickup position to another was something quite special. Every pickup position kicked out a character of it's own, leaving me with an arsenal of golden tones to choose from. Here I broke out the pedals. First I plugged into some dirt boxes, then modulation, then wahs and the like. Through clean boosters the pickups were enhanced, never getting in the way of the root tone and only taking it further. Overdrive pedals were are something you will discover these pickups love most. Just like overdriven tube amps I was able to get lots of richness and clarity. With fuzz boxes I was able to maintain better string separation and huge amounts of sustain. Mixed in with a little delay I was able to shape some of the most epic sounding rock tones I have ever heard. I needed not blend these pickups with a compressor or EQ pedal. In the studio the Chaos pickups proved to be a very powerful weapon, as well as on the stage, and in practice. Anyone looking for pull more from their Strat's would do themselves nicely by wiring in a set of Voltage Pickups. Up until now I have played these pickups through more amps, pedals, and effects units than I can count. Each and every experience has been a positive one, a memorable one, and one full of inspiration. Hands down... there is no way to go wrong here. 

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You can check out more info on Voltage Guitar Pickups by visiting www.voltageguitarpickups.com Also make sure to stay tuned for more pickup features from this magical company in the near future. Keep on tuning in for the rest of Analog War Cry's Top Finds of 2010!!

Top Finds of 2010 / Ddyna Music: Bass 10

Righty-O here we go. We all have our own tastes, opinions, favorites, and go-to's when it comes to gear. Whether it be an amp or pedal, guitar or set of pickups. This is what makes gear so special and what gives us all our own unique tonal voices. To me there is no such thing as better than - what might sound good to me or work for me may not work for another, and vice versa. This next collection of articles and reviews are our own personal favorites - pieces of gear that stood out to us in one way or another. There is not one piece of gear featured on this site that isn't special to us, which is exactly why I started this site - to share with ya'll my insight and experiences. I thought there'd be no better way to start this Top Finds than by hitting you with the long awaited Bass 10 from my good buddy Dan Simon of Ddyna Music. I can remember when I first became acquainted with Dan (some 2 years ago or so) and him running down his idea of what would become the Bass 10. I must admit that even way back then I was quite curious and eager to see the pedal come to fruition. Now that this pedal is in rotation amongst the world of us stompbox junkies, I will say it has surpassed every one of my expectations. The world of effects pedals is one that does not touch or work for every player. But for those that do choose to use these little metal boxes of magic and wonder, I say it does not get much better than this.... the Bass 10.

BASS 10

Comp/EQ/Overdrive

Specs:

• Switching: True Bypass (TPDT)
• Input Impedance; 300k (min)
• Output Impedance: 4K (max at 5Hz)
• Input/Output Jacks: Neutrik 1/4" Phone
• Current Consumption: (Operating) 60mA (max) - (Standby) 54mA @ 18DVC
• Power: 12VDC AC Adapter (Supplied)
• Voltage Range: 12.0VDC-18.0VDC 
• Connector: 2.1mm x 5.5mm - Tip Positive
• Dimensions: 4.87(W) x 3.72(D) x 2.25(H)
• Weight: 0.92 lbs
• 100% Analog Signal
• Built with Top Notch Components in the USA

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Many of you guitar slinging readers of mine may and see the word bass and instantly be turned off. But for those of you who have done your fair share of pedal experimenting - you know that bass pedals can sometimes do more than just the trick of working with basses. The Bass 10 certainly proved worthy of providing for more than just the bass guitar. In my guitar ventures this pedal did more than I thought possible, this goes for many other instruments as well - stringed and not. It is the array of versatile controls that linger on the Bass 10's face that make it capable of taking your tone up on high and just about anywhere you want it to go. The controls themselves are very intelligently laid out and work with one another beautifully. The top row of controls sporting the white markers work as four Bandpass Filters - there for precise dialing in & out of the selected frequencies. The bottom row of controls is split into two channels/sections - The controls sporting the blue markers are a top notch great sounding compressor, and the ones with the red markers are your overdriver. Last you will find two footswitches - one for engaging the compressor and the other for kicking in the overdrive. Together all of these controls come together to create one of the most powerful and versatile pedal I have ever come across. The Bass 10 is a 100% analog circuit, sporting true bypass switching, and can run off of anywhere from 12 to 18 volts. 


My first run-through of this magical pedal began with a Jazz Bass and Ampeg amplifier. I found this a great pair for hearing exactly what this pedal was capable of. I started by rolling the amp in straight up the middle, this giving me a neutral sweet sounding overall tone. The bass I played both with my fingers and pick. One giving me a warmer softer sound, and the other pumping out plenty of thump'n'boom. I dug into the bass, slapped the strings a bit, played soft jazz and R&B runs, and simple roots rock bass lines. I did this to get an exact feel of what the Bass 10 would do for me. Once my ear got adjusted to the clean amp tone I went ahead and set the pedal's compressor. First I set the ratio to my liking, then the sustain, and last I worked in the compression's volume. Before using the pedal's EQ section to shape and mold my tone, I first played around with it to see how easily I could match the amp's root tone. This in fact ended up being as easy as pie. Engaged, the Bass 10 gave my tone more clarity and control. I was able to hear the strings much clearer, the touch of my fingers, and the walking of the notes. Playing softly the pedal's compression created this pillowy sound that sounded spec-tac-ular. The notes would jump out at me as if alive and breathing. I was able to maintain the tone's character while at the same time fine tuning each corner and peak of the overall sound. This is where a killer sounding compressor can do you proper, and what no other effect will do. Once set to the Jazz Bass' liking and kicked in, I found no reason to turn this pedal off. I found the compression channel very easy to use and very friendly to my attack. Here I began playing with the overdrive section and tuning in the EQ section to a bigger feel. I set the drive first to about 10'o'clock, started with the depth control back near it's lowest setting, and last dialed in the overdrive volume. The EQ's bass I rolled well past noon, the low mids at about 9'o'clock, high mids between 1 and 2'o'clock, and the treble at noon. In this setting the pedal provided me with more of a boost than an actual overdrive sound. It was the depth control's position that made this possible. Rolling the depth clockwise converts the overdrive signal into a more of a square wave tone other than a round sound. This control alone makes the overdrive channel on this pedal very very versatile. Oh, and before I forget to mention - The overdrive section cannot be engaged unless the compression channel is in action. This keeps the overdrive signal in check, and with the EQ stack blended in the possibilities are damn near endless. Getting a dirtier bass tone from here was very simple. Just roll in a bit more drive and depth and you are home-free. With the depth right around noon, drive just passed 9'o'clock, and OD volume to my liking - I was able to get a nice balance of my root bass tone and th pedal's dirty/compressed signal. I found this tone this tone worked great for jumping the dynamics in tunes and making things in general just sound much bigger. Here is where I discovered the range and possibilities of the Bass 10's depth knob. By rolling th depth closer to 2-3'o'clock and rolling in a little more OD volume, I was able to take the same drive setting into even more of a grittier tone. With the EQ section things only got better. I was able to shape the overdrive signal into anything I wanted - a big fat dirt sound, or a thin bass cutting punching machine. Even fuzz tones were no problem wit this pedal. Before experimenting with other instruments I also did plug in a Danelectro bass and a active pickup ESP bass. With both of these basses ( as well as the Jazz Bass) I was able to shape them way beyond their character tones. Giving the Dano bass more aggression and softening the EMG's signal were no problem. This proved one thing - Dan did his homework, making this a pedal fit for many types of bass guitars. Next came my guitars. I ran the exact same tests with a semi-hollow body, Strat, Tele, and Junior. The pedal's compression proved to work much better than some of the guitar comp boxes I have come across, and the overdrive section did this really cool tight'n'gritty thing that blended really well with other guitar tracks ( both clean and dirty). One of my favorite though was playing this baby through a lap or pedal steel. Hands down one of the best tools for this type of instrument I have ever heard. In the end this pedal worked beautifully for both vintage and modern tones. As a tool for the bas guitar I could not recommend anything else. For those of you who dig multi-functional pedals this pedal is a dream. I myself am a huge fan of finding pedals that work just as good in the studio as they do on the stage. The Bass 10 is of this breed of stompbox. This of course is only a graze of the Bass 10's capabilities... the rest is for you to discover.

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Find more information on Ddyna Music stompboxes at www.ddynamusic.com or click the direct link in our sidebar. Also make sure to search our other Ddyna Music reviews and articles. We will be featuring much more from Dan Simon's world to come in the very near future. Stay tuned and get ready for more Top Finds!!!