equipment
Features:
» XLR (x2) & RCA(mono x4) output
» 2 band EQ control (Hi / Low)
» LED input/output level indicator
» Selectable headphone monitor output (ch1-2 or ch3-4)
» Headphone output, MIC (Phono) input
» USB spec version 1.1 Lame!
» A/D Converter: Resolution : 16bit, Dynamic range : 103dB, Frequency response: 20~20kHz (@ fs=44.1kHz)
» D/A Converter: Resolution : 16bit, Dynamic range : 106dB, Frequency response: 20~20kHz (@ fs=44.1kHz)
Vestax’s The Tank costs a substantial $430 / €290 and is available worldwide, although you wouldn’t know that from their non-existant marketing materials. More information on the Vestax Tank.
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How about a quality valve amp that sounds great, with neither bells nor whistles, at an affordable price for everyday musicians?
Founded in 2009 in Seattle, Washington, that’s exactly what Jet City is all about. The company is headed up by ex-Loud Technologies/Blackheart colleagues Dan Gallagher and Doug White, plus, wait for it… Mike Soldano. Now you’re listening.
“This ain’t an amp for players who like to program a bunch of different sounds and then select them with several footswitches.”
Soldano, of course, is a legend in guitar amplification. His were the hand-built, no-compromise heads that stood behind Clapton, Knopfler, Lukather, Gary Moore and countless other heroes in the eighties and nineties: he still makes them and they still cost limbs. Now, however, his design nous is available to all via Jet City, so just how do you compromise on no-compromise?
You start by designing your amps in the US and building them under strict quality control in China. Jet City makes much of the fact that the three key parties – Gallagher, White and Soldano – are free of penny-pinching corporate pressure, and that Soldano has carte blanche with design.
Nevertheless, offshore build is essential if you want to hit these price points. “We chose our contract manufacturers carefully and we’re really happy with the processes of development,” comments Gallagher.
Read more on musicradar.com
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The Shure Beta 98A is a precision-engineered compact, high-output miniature condenser microphone for professional sound reinforcement and studio recording. An extremely uniform cardioid polar pattern provides excellent gain-before-feedback and off-axis rejection of unwanted noise.
Both Beta 98A configurations feature high sound pressure level capability (SPL). Beta 98AD/C includes A98D drum mount with flexible gooseneck that makes it an essential, accurate choice for toms, snares, and percussion. Beta 98A/C is recommended for a variety of acoustic or amplified instruments including drums, piano, reed, wind, and strings.
read more on shure.com
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Yamaha has announced the release of M7CL StageMix, a new free App for the iPad that provides remote control of Yamaha’s M7CL digital mixing console
StageMix provides remote control of M7CL functions
StageMix provides remote control of M7CL functions via a simple, intuitive graphical interface from anywhere within wireless range. The software has been specifically designed to allow engineers to adjust monitor mixes from the performers’ positions on stage, directly controlling mix parameters via the iPad rather than having to rely on verbal directions to a second engineer.
The result is better mixes in less time: a huge advantage during high-pressure pre-show setup. StageMix does not provide remote control of all M7CL parameters, but is focused on the requirements for adjusting monitor mixes on stage.
Mixer Window
The main page of the StageMix is called the “Mixer” window. It shows the EQ curve, CUE and ON buttons, fader and level meters, and channel names for eight adjacent channels. Across the top of the screen, all Input, Mix and Matrix level meters and faders are displayed in blocks of eight. This is the “Navigation/Meter Bridge”. Press any of these blocks to select which channels are viewed in the fader strips below.
Sends On Faders
The colour of this button matches those used on the M7CL console. [CUE] and [ON] buttons appear below, allowing the currently active Mix or Matrix bus to be Cued and turned On/Off.
EQ Editing
One band of EQ can be adjusted at a time. Press one of the green circles to select the band, and it will be highlighted yellow. EQ bands in StageMix are labelled as follows:
- HP = HPF (input channels only).
- 1 = Low Band.
- 2 = Low-Mid Band.
- 3 = High-Mid Band.
- 4 = High Band.
Functions:
- Controllable Parameters.
- Sends on Faders.
- Input Channel Faders.
- Input Channel On/Off.
- Input Channel Parametric EQs.
- Input Channel Cue.
- Mix Master Faders.
- Mix Bus On/Off.
- Mix Bus Parametric EQs.
- Mix Bus Cue.
- Last Cue/Mix Cue Mode.
- Clear All Cues.
- Graphic EQs (Please note that this parameter may not be available in the initial release)..
Display Only Parameters:
- Input Channel Names.
- Input Channel Meters.
- Mix/Matrix Bus Names.
- Mix Bus Meters.
- EQ Input Meter.
- EQ Output Meter.
find out more on yamahaproaudio.com
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This guitar could transform your playing, but there are strings attached
Back in 1950, the first commandment of electric guitar manufacture was set in stone: thou shalt have six strings. While most luthiers obeyed, others have since broken protocol, to the delight of more adventurous players and the disgust of old-school purists.
If you frowned on the seven-string boom of the early Noughties, then you’ll probably hate Schecter’s new Damien Elite 8. Not only does it feature the bowel-emptying low B much loved by Korn and the gang, it also has a tectonic-plate-quaking eighth string that’s thicker than an industrial cable.
Eight stringers do have real benefits, with jazz cats (Charlie Hunter) and metal bands (Meshuggah/Deftones) all taking advantage of the added melodic range. But make no mistake: this is the most esoteric guitar we’ve seen in ages.
read more on musicradar.com
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Tascam DR-03
This recorder packs 24-bit recording with built-in stereo mics into a package smaller than an energy bar. The DR-03 records to microSD media, and a 2GB card is included to start capturing audio right away.
The DR-03 features playback functions like looping and Variable Speed Audition to slow down music without changing the pitch. It’s designed for low handling noise when recording handheld during concerts or interviews.
The DR-03 is available now from select retailers for a street price less $100.
Find out more about the DR-03.
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The next version of iOS – the operating system for the iPhone, iPad and iPod touch – will have an unexpected surprise for musicians: real MIDI support.
Apple’s iOS 4.2 update, due in November, includes some interesting new features that didn’t make Steve Job’s official announcement.
According to a report in AppleInsider, beta testers have found that iOS 4.2 adds support for the CoreMIDI framework to the operating system’s application program interfaces.
CoreMIDI could be huge for iOS music apps, because it provides standardized MIDI support. It is a built-in system that supports MIDI devices and how they communicate with other applications.
MIDI support means that the iPad could be a touchscreen control surface for any MIDI device; developers will be able to create multi-touch sequencers that control MIDI hardware; and you should be able to plug your MIDI keyboard into an iPhone, iPod touch or iPad and play your iOS software synths.
CoreMIDI on iOS 4.2
more on www.synthtopia.com
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Check out the new Fender Blacktop Jazzmaster HS, one of four new guitars to join the company’s Blacktop series. According to Fender, the Blacktop Jazzmaster HS expands the capabilities of the classic Fender Jazzmaster guitar by powering it with a high-gain humbucking pickup.
Available in a pretty sunburst finish or a shiny black, the Blacktop Jazzmaster HS features a Duncan Designed single-coil Jazzmaster neck pickup and a humbucking bridge pickup, along with skirted black amp knobs, a Jazzmaster tremolo tailpiece, and a control layout featuring a single three-way toggle switch. This guitar has an alder body, a maple neck with 9.5-inch radius Rosewood fretboard, 22 medium jumbo frets, a gloss polyester finish, and chrome hardware.
The Blacktop Jazzmaster HS, priced at $700 (MSRP), comes in two colors: the 3-Color Sunburst with a Rosewood fretboard (Part #014-8400-500) or Black with a Rosewood fretboard (Part #014-8400-506).
Fender Blacktop Jazzmaster HS specs:
- Body Material: Alder
- Number of Frets: 21
- Fret Size: Medium Jumbo
- Position Inlays: White Dot Position Inlays
- Fingerboard: Rosewood
- Fingerboard Radius: 9.5″ Radius (241 mm)
- Fretboard: Rosewood
- Neck Material: Maple
- Neck Finish: Gloss Urethane
- Nut Width: 1.650″ (42 mm)
- Scale Length: 25.5″ (648 mm)
- Neck Plate: Vintage Style 4 Bolt
- Truss Rod Nut: 3/16″ Adjustable Hex Nut
- Pickup Configuration: H / S
- Bridge Pickup: Hot Vintage Alnico Bridge Humbucking Pickup with Nickel Cover
- Neck Pickup: 1 Duncan Designed Single-Coil Jazzmaster Pickup (Neck)
- Pickup Switching: 3-Position Toggle: Position 1) Bridge Pickup, Position 2) Bridge and Neck Pickups, Position 3) Neck Pickup
- Controls: Master Volume, Master Tone
- Hardware Finish: Nickel / Chrome
- Bridge Hardware: Vintage-Style Jazzmaster Tremolo with Adjusto-Matic Bridge and Tremolo Lock Button
- Tuning Machines: Standard Cast/Sealed Tuning Machines
- String Nut: Synthetic Bone
- Switch Tips: Black Switch Tip
- Tremolo Arm Handle: Vintage Jazzmaster Tremolo Arm
- Truss Rod Wrench: 3/16″
- Strings: Super 250L’s, NPS (.009-.042 Gauges)
- Unique Features: HS Pickup Configuration, Simplified Controls/Switching, Black Skirted Amp Knobs
- Pickguard: (500) 3-Ply Black, (506) 3-Ply Mint Green
- Included Accessories: Truss Rod Adjustment Wrench
- Control Knobs: Skirted Amp Knobs
To learn more about the Blacktop Jazzmaster HS or any of the other guitars in the Fender Blacktop series, visit fender.com.
[via gearwire.com]
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New Pro Tools LE Interfaces
Avid Pro Tools Mboxes Announced: New Pro Tools LE Interfaces Ditch DigiDesign Name, Add Features
Pro Tools Mbox
High-Performance Pro Tools Personal Studio
Pro Tools Mbox Mini
Compact Pro Tools Personal Recording Studio
Pro Tools Mbox Pro
High-Definition Desktop Pro Tools Studio
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The 40th anniversary of the Minimoog hits this year: that’s four decades since the original reshaped the very notion of what a synthesizer looks like. Moog Music has answered with a real beast. It returns the core of the Minimoog Model D, but with the Voyager’s stable oscillators, patch storage, signature X/Y touch surface, pot mapping, and MIDI control – all while retaining a 100% analog signal path, if you’re a purist. Just like the Voyager, that means some analog-ically good sound, without sacrificing modern convenience. (Yes, even the Minimoog’s original creators recall that working without patch memory was a huge pain.)
And then it gets, well … a lot bigger. There are 61 keys instead of the original 44, plus a touch-sensitive ribbon controller, so you get more octaves and control. (I’ve long loved having ribbons on a keyboard since I first tried one on a Kurzweil.) And in an unexpected departure, the all-in-one keyboard design is coupled with patching right on the front panel, a feature we haven’t seen in a major instrument since 1970s keyboards from the likes of England’s EMS.
With raw voltage to patch in or out, the XL allows new sound customization, and unique opportunities to integrate it with other analog gear. To route out to other gear, you get 20 CV outputs, covering the keyboard, wheels, LFOs, ribbon, and more, 3 gate outputs, and 3 4-way mults. You also get inputs: 10 CV ins for the oscillators, of course, but also mod, sample & hold, LFO rate, and more, plus 4 gate inputs for envelope, LFO, and S&H gate.
In short, Control Voltage is back. At US$4995, a lot of people won’t be able to afford the XL, but that’s little matter. The instrument we’ll be gawking at in centerfolds, that boys and girls will paste on their ceiling and dream about as they go to bed at night, will be analog. Sorry, digital.
Find our more on createdigitalmusic.com
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