SSL X-Desk: Art for All?

SSL X-Desk Review

2009 was a year of changes and Solid State Logic got it perfectly. More than ever, the British manufacturer wanted to perpetuate its leading position in the professional analog mixer market launching a new product, the most refined of all: the X-Desk, a compact, 16-channel, analog line mixer developed for project studios. This human-sized mixer aroused our curiosity…

Even though acronyms have changed a lot with the advent of the internet, SSL (simply think “Oxford, England”…) still remains a synonym for professional quality to any audio enthusiast – both for sound and technical aspects. After many years of having become one of the indispensable products in professional studios all over the world, the British manufacturer started to show interest in modular solutions with its X-Rack Series, allowing (almost) anybody to enjoy their legendary sound if they had the need and the budget. In 2008 they presented the Matrix, which confirmed the manufacturer’s will to win new clients over with a new analog mixer concept. Equipped with 16 inline channels, 40 inputs with digital routing and DAW control, it combines the best of both the “out-of-the-box” and the “in-the-box” worlds. Now, SSL moves even further in that direction with the X-Desk. No more jam-packed mixers: 16 line input channels, no mic preamps nor EQ, but enough mixing and connection possibilities.

At first sight, the mixer’s extremely compact size (17.1″ x 12.2″ x 4.7″) will surprise you, considering it’s an SSL, even if the Matrix had already started with the trend… You can now have the Oxford sound directly in your home studio, even if it’s more a home than a studio – like in this review!

Nevertheless, just look at the mixer and you’ll know it’s a real SSL. First of all, you’ll notice the typical sturdy manufacturing. Reliable production, clear silkscreen and a well thought-out design that makes the workflow easier. The mixer has the same 25-pin D-Sub connectors you’ll find on most professional products. Moreover, all ten D-Sub sockets on the rear panel are recessed, ensuring an easy integration of the X-Desk in your production environment. No connector will be outwardly exposed, therefore reducing the space needed to set up the mixer. We all know that connectors can take up a lot of space and SSL dealt with that issue properly.

The small mixer looks nice and it promises a lot of flexibility and ease of use. But what about the technology inside?  Let’s take a closer look…

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Conclusion

SSL struck a decisive blow with the X-Desk by offering an expandable mixer that focuses on the real needs of today’s professional music production. This compact device concentrates all the brand’s know-how and philosophy to provide all the essentials for quality mixing. It surely doesn’t have anything to envy its competitors – does it have any competitors, considering its price?

SSL fans will enjoy the typical SSL sound energy. For all the rest who always wanted to work with SSL products, the X-Desk is the best opportunity to realize their dream at an affordable price.

Advantages:

• Clean but biting SSL SuperAnalogue sound in a compact mixer
• SSL typical versatility and philosophy
• Routing, summing and monitoring possibilities worthy of a large mixer
• Precise functions that make the X-Desk a fully reliable mixer
• Cleverly designed stereo Cue bus providing 16 summing channels
• Expandability that allows you to link up to eight X-Desks and use all outboard combinations you wish
• What a price!

Drawbacks:

• Talkback sound
• CUE ST level control without push-push switch (like on the 4000!) to cut/activate the signal without loosing the level setting
• Cables must be bought separately…
• No “X-Desk XPander” version without monitor and FX send/return functions to optimize X-Link chaining…

To read the full detailed review see:  SSL X-Desk Review

Celemony Melodyne Editor Review

Ever since the creation of the first DAW, no other software has caused so much ink to be spilled and generated such expectations. The Direct Note Access technology, which was introduced by Celemony at Musikmesse 2008, is one of those holy grails no one ever thought to be accessible because it allows you to edit single notes of a polyphonic audio recording. Is it some sort of de-mixing? Yes and no! Is it a revolution? You bet!

Before we dive into the innards of the program, a brief summary about Melodyne is necessary for those of you who don’t know it yet. Celemony created Melodyne in the wake of the Antares Autotune, which allowed you to edit the pitch of an audio recording. Melodyne worked under the same principles (pitch shifting and time stretching with formant control) within an interface conceived for musicians instead of sound engineers. After detecting the notes, you had several tools for pitch, time and amplitude correction, so you could actually edit audio recordings as easily as MIDI parts, under one condition: the audio recording had to be monophonic. The software’s excellent algorithms and idiot-proof user interface gave lots of product ideas to their partners (like Ueberschall, who developed customizable loop banks for the Melodyne engine) and competitors. For instance, Autotune got a new user interface (see the Autotune EVO), several competitors appeared (Waves Tune, Zplane) and the main audio sequencers integrated Melodyne-like functions (Steinberg introduced VariAudio in Cubase 5 and Cakewalk did the same with AudioSnap for Sonar).

While competitors were still trying to catch up with the first Melodyne, Celemony changed the game again by offering individual note editing in polyphonic recordings. During the product presentation at Musikmesse, Melodyne’s boss had a blast changing a guitar minor chord into a major chord using a simple MIDI keyboard. And to top that, he also modified the trumpet of a Miles Davis recording without changing the double-bass or the drum part. Impressed? There are no words to express it. The presentation of the product had such an impact that some people thought it was a hoax. That, together with the time it took for the official release to come out raised serious doubts among the audio community. But…

Melodyne Editor, the first software using Direct Note Access technology (DNA) has finally hit the stores. And it works…

On Familiar Ground

The installation is extremely easy. You will only need the serial number to activate it online on Celemony’s website. The software is protected in two different ways: either you activate the product online, in which case the registration is limited to only one computer (you’ll have to uninstall it first before installing it on another computer) or you transfer your license to an iLok key. Once you did that you can start your sequencer (I work with Cubase) and look for Melodyne Editor in your plugin list.

Users of previous Melodyne versions, especially those who had the plugin version, won’t feel too estranged at first sight. The user interface (the look and layout) didn’t change much. Under the Settings, Edit, Algorithm, View, and Help menus, you’ll still find the aluminum-like bar hosting the basic parameters. Most of the interface is made up of a sort of piano-roll grid displaying yellow, orange and red events… On the right side, you’ll still find the “Correct Pitch” and “Quantize Time” buttons, as well as three automation-capable controllers that allow you to play with the pitch, the formant or the volume parameters in real time. On the center of the tool bar you’ll find the Undo/Redo icons and the tool box (with the same old icons): from left to right, you’ll find six tools for selection/zoom/scroll, pitch editing (with modulation and drift parameters – a sort of audio pitch bend), formant editing, volume editing, timing editing and note separation editing.

Right below these icons, there are two fields that display the note detected in the segment selected and its distance to the correct note. Finally, on the left side of the bar you have the transfer parameters. Just like with the first plugin version, the first thing you have to do is start the detection process: once Melodyne is inserted in the track that is to be processed, click on the transfer button and start playback in the sequencer. Depending on the algorithm you selected in the “Algorithm” menu, Melodyne analyzes the audio material and generates events on the grid. There are three algorithms available: monophonic (melodic), rhythmic/unpitched and polyphonic. In this review, we will focus on the latter since the two others are already known from the Melodyne plugin.

Before we get into details, we have to mention that, unlike the first Melodyne plugin, you can fully resize the program window and freely zoom in/out via shortcuts. It would have been perfect if it had a button to switch into full-screen mode with a single click…

Now let’s take a look under the hood…

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Conclusion

Melodyne Editor is indeed the revolution we expected, thanks to its DNA technology. The algorithm is not infallible and (still?) doesn’t allow to entirely de-mix a song. Nevertheless, there has not been such an exciting invention in the audio industry ever since the creation of Autotune – and the invention of samplers before that. Melodyne is available for a very affordable price considering the huge R&D efforts Celemony had to make to achieve these results.

While we wait for a more comprehensive version that includes MIDI export of the detected notes, we strongly recommend Melodyne Editor to sound engineers (to repair an acoustic guitar recording when the guitarist already left the studio), to musicians who work with loops (and never find the right sample in the right key) and to all sound designers. You will undoubtedly have lots of fun discovering the huge possibilities it provides. However, there is still one thing that remains unclear: what happens to the copyright of the processed samples? If I change all the notes of a Miles Davis phrase, will he still be the owner of the melody I use in my song?

To wrap it up, if I were to have only one gift under the Christmas tree, I’d ask for this one!

Advantages:

• Technological feat that revolutionizes audio editing and sampling
• Ease of use
• Stunning results when used for the right application
• Price (considering the R&D investment)
• Amusing and creative tool
• One of the best monophonic time-stretching & pitch-shifting tools, maybe even the best…

Drawbacks:

• CPU consumption: you’ll have to bounce!
• Left and right channels cannot be edited separately
• Not multitimbral
• Disappointing results with some audio material

To read the full detailed review including sound samples see:  Celemony Melodyne Editor Review

Fender Bassman TV : Old-School Amp

Bassman TV Twelve Review

The 50’s saw the birth of the first electric bass guitars by Leo Fender with the famous Precision Bass model. Inevitably, the first Bassman amps with their tweed covering quickly appeared on the market. To celebrate its non-birthday, Fender introduces a new amp series based on these pioneer models.

Fender has always made good use of the desire most guitar and bass players have for legendary instruments that are very difficult to get a hold of nowadays. Obviously, that also applies to bass amps. That’s why Fender introduced the new Bassman TV Series whose look and sound is very close to the Bassman amps of the early 50’s.

The series includes four models: the Duo Ten equipped with two “Fender Special Design” Eminence 10″ speakers, the Fifteen with one Celestion Green Label 15″ speaker, the Ten with one Celestion Green Label 10″ speaker, and the Twelve equipped with one Celestion Green Label 12″. We will test the latter in this review. For your information, both the Duo Ten and the Fifteen are equipped with casters which is a good idea considering their weight (61.3 lb).

As soon as you unpack it you’ll be immediately seduced by the old-fashioned tweed covering, the chrome chassis with mirror effect (so you can redo your hair), the black chicken head knobs… It isn’t missing anything! The Twelve, with its 12″ speaker, is quite heavy (44.6 lb) and bulky (20″ x 22″ x 12.75″). In other words, it’s huge! The manufacturing and finish quality leave no doubt about its sturdiness–it will surely withstand long rehearsals, studio sessions and live gigs without a hitch. The old Fender logo, the small red light and the cloth grill in front of the speaker round up this compelling Bassman TV. The plastic handle is the only minor drawback–we’d rather have a leather one.

Now let’s take a closer look under the hood….

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Conclusion

Fender understood that nostalgia is not only a guitarist’s thing. Even though they, once again, combine some new with some old stuff, the look and the sound quality of this Bassman TV are a real joy. The amp is easy to use, has a personal look and an awesome sound. What could you not like about it? That it’s unique: it has a particular sound and personality and you won’t get anything else out of it. You either like it or not!

Advantages:

• Sexy look
• Manufacturing quality
• Great vintage sound
• Ease of use
• Musical and effective controls
• XLR output
• Personality…

Drawbacks:

• … but poor versatility
• The bright switch is inconsequential
• No standby switch

To read the full detailed article see:  Fender Bassman TV 12 Review

Changing Strings on Electric Guitars

Short Guide to Changing Strings on an Electric Guitar

Everybody knows how to change strings on an electric guitar.   Elementary, no?  Still, it’s an entirely different task when it comes to changing strings properly and on different types of bridges.

Most guitar players tend to overlook it, but one of the most important contributors to having a good guitar sound has to do with how the guitar is set up and adjusted. A good set up will result in maximum playing comfort and tuning precision, i.e. it will allow you to bring the best out of the instrument. When it comes to the set up of a guitar, we usually think about the neck bow, the action (strings height) and the harmonics (tuning), while neglecting the actual stringing. I’ve met too many guitarists who complained about their instrument’s tuning and failed to see the mess of strings their tuners were–making it a feat for the guitar to stay in tune.

The goal of this article is to explain to you (again!) the most important thing a guitarist ought to know: how to change the strings of his/her instrument.

Basic Principles

Basically, changing a guitar string means fastening one end to the tremolo system and the other end to the tuner (a.k.a. machine head or tuning key) so you can wind it until you get the desired note. In order to have maximum tuning stability, the basic principle is to limit chafing at both points as much as possible, i.e. at the machine heads on the headstock and at the bridge (be it with a tailpiece or a tremolo system). Once the guitar has been tuned, the main goal is for it to stay in tune while you play, in other words, that the strings return to their original position after using the tremolo arm.

Required Materials

• New strings.
• Cutting pliers.
• String winder.
• Optional: Depending on the tremolo system you might need an Allen wrench.

You’ll need the cutting pliers to snip off the the excess string protruding from the tuning peg once the strings have been installed. Apart from the fact that it looks awful, leaving long string ends bulging from the headstock can be dangerous to yourself and the other musicians you play with. A steel string could easily pierce through the flesh or under a fingernail or even poke someone’s eye out…

The string winder is an optional but strongly recommended tool. It allows you to wind the strings steadily around the tuning pegs and makes string setup much easier. You can get one for a couple of bucks in any music store.

Before Reaching for your Beloved Guitar

We recommend that you change strings one by one, unless you need to remove all strings at once to adjust the neck, service the fingerboard, etc. This allows you to avoid nasty situations, like the one depicted here.

In this specific example, a false move could result in the need to adjust the tune-o-matic bridge all over again.

Moreover, for guitars with floating tremolo systems (Floyd Rose and similar), this is the only one way you’ll be able to spare yourself several hours dedicated to tuning the guitar after having changed the strings.

Try to use strings with the same gauge (= thickness) as the string set you are replacing and, where possible, use the same brand. That’s the best way to go if your guitar is properly set up. Obviously, if you plan to change the string gauge, it’s a good idea to set up the guitar accordingly.

Ready? Let’s go!

Step by Step (in general)

1. Bridge: on most tremolo and tailpiece systems, you simply have to feed the string through the tailpiece or through the body of the instrument.

Feed the string through the holes…

… the string comes out through the saddles.

2. Pull the new string…

3. … and feed it through the tuning peg hole.

4. Now we have to wind the string around the tuners. First, pull the string to its full length until it is fairly tight. Leave some extra string length (about 1.5 or 2 times the distance between two tuning pegs of a six-in-line tuner configuration, like on Strats or Telecasters; or the same distance between two tuning pegs of a three-on-a-side tuner configuration, like on Les Paul or SG models) and crimp the string with your fingers so the end of the string points out at a right-angle.

5. Use this kink to fasten the string around the tuning peg and turn the string winder with one hand while you tighten the string with the other, so that the string starts to wind around the tuning peg. Be sure to turn the tuner in the right direction: guitar headstocks are built so that the string goes straight from the nut to the tuner axis; on three-on-a-side tuner configurations, the headstock is built so that the strings are wound on the inner side.

 

6. Continue winding the string around the tuning peg so that the first turn is made above the string end coming out of the peg hole.

 

7. Continue tightening the string and turning the string tighter so that the string winds underneath the string end coming out of the peg hole.

8. Continue turning the string winder until the string is tight enough. Turn the tuner with your hand to tune the guitar.

9. Check the result: you should see the string end coming out of the tuning peg with the first coil above it and all following coils properly and neatly wrapped below it around the peg.

There must be at least three full coils around the tuning peg. It is very important for the winding to be as neat as possible, that way you avoid the string from moving around the tuner axis, the string finds its position naturally and the guitar stays better in tune.

10. Last step: in order for the coils to find their right position, gently pull on the string. The tuning ought to change a bit (the string will sound lower). Repeat (tune the string and pull on it) until it has no effect on the tuning.

11. Finally, cut the excess string protruding from the tuner.

12. Now, repeat all steps for each string!

Now let’s take a look at how this is done on other more complicated tremolo systems…

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Conclusion… and some tips!

As you can see, restringing a guitar is not very difficult if you know how to do it. So take your time to do it calmly at home instead of doing it in a rush right before your gig or recording session is about to start.

Last but not least, some extra tips:

I personally fell in love with locking tuners because they are very easy to use, allow me to change strings in no time and play right away without the fear that my guitar won’t stay in tune.

The tuning stability can be improved by lubricating the nut with graphite (rub a very fat pencil where the strings make contact with it) or specialized products (Nut Sauce, etc.) that allow the strings to slide freely through the nut. If you feel the tuners don’t “respond properly” try this solution first instead of running to your nearest guitar tech.

That’s it for today! You have no excuses now, so I don’t want to see spaghetti-like-strings anymore! Don’t hesitate to send me your comments and questions.

To read the full detailed article see:  Changing Strings on Electric Guitars

 

 

 

 

MIDI: The GM Standard and its Extensions

GM, GS & XG: A Little History

Many sound cards and synthesizers, as well as most audio software, are compatible with one of the three midi norms (GM, GS, XG). Though MIDI has long since proven its utility, the existence of different standards can be confusing, so this article has been put together in order to clarify a few points.

For someone who just wants to listen to music, or for a multimedia developer looking to add background music or sounds to their program, the Midifile format has proven to be a real asset. It allows a user to play a sequence that was written by another person, whatever gear or software they were using. But in the past, only the notes and rhythm of the musician were encoded, which didn’t necessarily guarantee a similar sound. In fact, the sounds coming from each sound card, each synthesizer, were different (different in their sound and in their organization). Patch number 15 could be a piano on synthesizer X, and a trumpet on synthesizer Y. It was sometimes necessary to be an expert in MIDI and/or have a lot of patience to get the right settings in order to listen to a piece written by another musician working on a different synth or platform.

The MMA (Midi Manufacturers Association) fixed this problem in 1991 by creating the GM (General Midi) standard. The goal of this standard has been to unify the behavior of sound generators when playing back a Midifile sequence. In order to be labeled GM, an instrument must be multi-timbral and polyphonic up to at least 24 voices, and include at least 16 families of sounds (pianos, guitars, strings…), each containing 8 variations (for example, for strings: violin cello, double bass, etc…

The main advantage of this standardization is that each patch number now corresponds to a certain instrument no matter what the machine. So, instrument number 71 will always be a bassoon and number 12 a vibraphone. The sound generator must also contain a drum kit, whose mapping (placement of the separate elements on a keyboard) is also standardized. Finally, MIDI controllers must be recognized also.

To read the full detailed article including the GM reference guide see:  MIDI The GM Standard and its Extensions.

Mackie Onyx 820i Review

It’s been a while since the first Onyx mixers with the FireWire option first came out, and now Mackie carries on with the Onyx 820i, which comes with Pro Tools M-Powered. Hmm…so what does M-Audio think about that?

At AudioFanzine, we were very surprised when we first received the Onyx 820i. We have not heard anything about a new Mackie analog mixer series sold with ProTools M-Powered, and there was also no information about it to be found on the web! The unit comes with “universal” drivers compatible with DigiDesign’s sequencer. As we write this review, we still don’t know if this is the result of a cooperation between ProTools and Mackie or if the manufacturer just took the liberty to use the software. What’s more, even though the pack we received included the Onyx and Pro Tools M-Powered, the latter is not an integral part of the product that you will find in stores. So let’s focus on the mixer then…

Unpacking

We like the overall design of the mixer, and the aluminum chassis gives it a sturdy and classy look, which is a very good point considering it’s an entry-level mixer. The plastic knobs–from the solo and mute buttons to the EQ controls–will be familiar to all Mackie users. The mixer’s compact dimensions (14.2″ x 9″ x 3.8″) and weight (9.7 lb.) make the mixer seem sturdy. We’ll have to see if this holds true under real-life conditions. It also has four rubber feet on the bottom side so it’s a mixer that will surely stay in place.

Now, let’s have a closer look at the technical features of the Onyx…

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Conclusion

Mackie did an amazing job breaking the $500 price barrier with this compact analog mixer with three mic preamps, effective EQs and an 8 in/2 out FireWire interface. The quality design and manufacturing of this small Onyx make it a pleasant surprise. Mackie learned from previous mistakes and the 820i proves to be very comprehensive, as well as a good solution for live and studio musicians. The fact that it is ProTools compatible is already the focus of heated discussions because it seems Mackie might have tampered with DigiDesign’s system. Nonetheless, you’ll still have to pay an extra $250 for the sequencer, which raises the price to $750. It’s not that expensive but it makes us wonder why instead of bundling their highly recommended Tracktion software, Mackie encourages us to buy a competitor’s software…

Advantages:

• Quality/performance/price ratio
• Manufacturing quality
• Effective Perkins EQ
• Comprehensive connections
• Pre or post-EQ FireWire

Drawbacks:

• Preamps too limited for some applications
• Only two computer output channel
• Pro Tools compatibility smells like hacking…
• Pro Tools M-Powered not included ($250 extra)…

To read the full detailed article see:  Mackie Onyx 820i Review

Microphones: How to choose

Microphone Types

Long the role of the professional sound engineer, choosing the appropriate microphone has now become, with the proliferation of the home studio, the task of the amateur and even the beginner. This choice should depend upon what you’re going to be using the mic for, but also on personal preferences. In this article we’ll be dealing with the two main categories of microphones: dynamic microphones and condenser microphones.
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1.Sound Waves, 2.Diaphragm, 3.Coils, 4.Magnet, 5.Audio Signal

Dynamic Microphones

These mics generally have a more robust design due to the fact that they are more often used in live settings. They are also usually less expensive and resistant to moisture.

Dynamic microphones use a diaphragm which is attached to a coil of wire placed within the magnetic field of a permanent magnet. When there’s a variation in pressure on the diaphragm it will cause the coil to generate a varying electric current which then needs amplification. Because it’s necessary to attach the coil directly to the diaphragm, dynamic mics tend to have thicker diaphragms than condenser mics. Because of this, recordings are less precise as they’re less sensitive to high frequencies than condenser mics. Popular models include Shure SM57 and SM58.

Dynamic mics generally don’t need any electrical power to operate (as opposed to condenser mics). They are ideal for all-round high sound pressure levels (SPL).

1.Sound Waves, 2.Diaphragm, 3.Metal Plate, 4.Battery, 5.Audio Signal

Condenser or Capacitor Microphones

Also known as capacitor or electrostatic microphones, this type of mic picks up sound through a thin, flexible diaphragm that’s placed next to a metal plate ( as opposed to the rigid diaphragm/coil system used by dynamic mics).

Condenser mics can range from inexpensive Karaoke mics to ultra high level recording mics. Generally, they produce high-quality audio signals and are sensitive to distant sounds and high frequencies. Because of these reasons they are often used in studio recording situations.

Because condenser mics are more sophisticated and are more difficult to manufacture, high quality condenser mics are rather expensive. Condenser mics are ideal for recording voice, acoustic guitars, pianos, orchestral instruments, percussion, and sound effects. Some of the most famous models are the Neumann U47 or the AKG 414.

Phantom Power

Condenser mics require a power source, provided either from microphone inputs as phantom power or from a small battery. The most common type of phantom power is +48v DC. This phantom power is used to charge the diaphragm and plate. It also supplies a small amplifier which boosts the small current* generated by diaphram movements. Phantom power supplies are often built into mixing desks, microphone preamplifiers and similar equipment.

Ribbon Microphones

Ribbon mics are a type of dynamic microphone. They use a very thin metal ribbon that’s suspended between the poles of a powerful magnet. Sound waves cause this ribbon to move and create an induced current. Voltage output of older ribbon mics is much lower than dynamic mics so a transformer is used to increase voltage output and to increase output impedance. Modern ribbon mics avoid this problem by using improved magnets and more efficient transformers. Ribbon mics are usually bi-directional (see next page on pick-up patterns). Classic models include the RCA 44 and 77 as well as Royer mics.

Now let’s take an even closer look…

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Other Considerations

Fig.1: A Typical Frequency Response Chart l

Frequency response

This is a measure of the microphone’s sensitivity to different frequencies. It’s a characteristic of all mics that some frequencies are exaggerated and others attenuated. So the frequency response shows how a particular mic responds to particular frequencies.

A chart usually shows a mics’s frequency response. The x axis shows frequency in Hertz, the y axis shows response in decibels. A higher value means exaggeration and a lower value means attenuation. A completely flat chart (frequency response) would show that the mic is equally sensitive to all frequencies. But in reality a totally flat response is impossible and even the best mics have some degree of deviation. Also it should be noted that sometimes a mic is especially chosen for the specific frequency response that it has. For example, a mic with a frequency response adapted to the human voice would be a good choice for recording in an environment with low frequency background noise.

Self Noise

This measurement represents the lowest point of a mic’s dynamic range. This is important if you want to record very soft sounds. Basically, the lower the number is, the better.

Maximum SPL (Sound Pressure Level)

This is the maximum level a mic can accept. Here, the higher the number, the better. But one should note that mics with very high SPLs have higher self noise.

Sensitivity

Indicates how well the mic converts sound pressure into output voltage. The higher the number, the higher the sensitivity. A highly sensitive mics produces more output and will therefore need less amplification after. It should be noted, however, that a higher sensitivity rating does not necessarily make one mic better than another.

To read the full detailed article see:  Microphones: How to Choose

Schecter Stiletto Extreme 4: More than bass

Schecter Stiletto Extreme 4 review

Before manufacturing its own electric and bass guitars, Schecter made spare parts for other renowned guitar manufacturers. Those times are long gone and now Schecter makes high-quality original models at affordable prices. Today, we will test a bass guitar called the Stiletto Extreme 4…Quickly looking at Schecter’s catalog, you’ll notice that the brand offers a pretty wide range of instruments including modern-looking models, as well as more classic lines that recall the shape of some Fenders and Rickenbackers. Nevertheless, the latter are no cheap copies: they have their own specifications and do distinguish themselves from the original models. There is certainly something for everyone and almost every model has a 4 or 5-string version.

Among all these models, there’s a bass guitar series called Stiletto which combines a light body and a comfortable neck. This series includes five different models: Studio, Elite, Extreme, Deluxe, and Custom. We received the Extreme 4 (4-string version) in Black Cherry finish.

We unwrapped it as soon as we got it…

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Conclusion

This bass guitar made in China is a nice surprise when it comes to finish and manufacturing quality. The body with its Black Cherry translucent finish looks wonderful. The instrument is well balanced and the neck feels very comfortable. The Extreme 4 is impeccable until you plug it into an amp. Its sound is not amazing, it’s just the kind of sound you can expect for the price. Both pickups provide a high output level but they sound too similar and somewhat dull. The balance control doesn’t provide enough sound variations and you’ll have to resort to the more effective EQ to shape the sound.  In short: it’s a nice small bass guitar which deserves better pickups.

Advantages:

• Manufacturing quality
• Good finish
• Beautiful translucent Black Cherry color
• Effective EQ
• Ergonomically shaped body
• Comfortable neck

Drawbacks:

• Both pickups sound too similar

To read the full detailed article see:  Schecter Stiletto Extreme 4 Review

Apple iPhone: My iPhone is an 8-Track Recorder

Could the iPhone be the best portable recorder?

The iPhone is a great little piece of machinery.  It can do anything!  What’s the weather going to be like in Chicago tomorrow? At what time does Police Academy 17 run again?  7:20pm.  A Bomberman game? No problem-o.  Lady Gaga’s latest hit?  You got it.  We’re just missing some useful tools for musicians… You think? They are already here.

The iPhone’s first advantage is that it’s a phone, so it spends most of the time in your pocket, being accessible at any time. Its main asset is that its OS is open to third-party applications. In other words, you can download small programs–made by independent developers or by big companies– for lots and lots of possible applications. It’s quite impressive to see what these developers have to offer: an ultrasonic mosquito killer, a spirit level, a software that uses the sound print of a song to recognize it… In short, for every taste and every need, there are currently about 80,000 free or paid applications registered at http://appshopper.com/.

For audio heads like us, this has become quite interesting: the music category boasts over 2,400 very-poorly-sorted applications (when will we get filters and subcategories in the AppStore?). You’ll find the best and the worst you can think of: lots of applications which promote artists or radio stations, and even some which only display animations, song lyrics or artist info when a MP3 file is played. The finest of all is Shazam, an application that recognizes music on the basis of an audio sample (convenient to get the title of a great song playing on the radio). When it comes to applications developed to create music, there are six main categories:

• Virtual instruments (guitar, piano, drums, synth, etc.)
• Tools (meters, tuners, chord dictionaries)
• MIDI control surfaces
• Sequencers (most of them including a sound generator or a sample player)
• DJ applications (that allow you to mix and synchronize two tracks)
• Digital audio recorders

We could actually write a whole article about each of the categories, but given that AudioFanzine is about “Audio,” we thought we’d focus on the recording tools–specially considering that the iPhone could become a must have for on-location recording.

Now let’s take a closer look at how to do just that…

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Conclusion

With very affordable applications and some hardware enhancements, the iPhone can surely become a multi-track recorder for anyone (journalist or musician) willing to give up some audio features (transducer quality, simultaneous four-track recording, connectivity) to enjoy its excellent usability and the advantages of an all-in-one solution you can carry in your pocket. Just as the digital camera market is waning due to mobile phones, the portable audio recording market could also face strong competition from the iPhone.  This means that dedicated products will have to introduce technological improvements, like color touch screens, if they want to survive in the future. We’ll have to just keep an eye on it.

To read the full detailed article see:  Apple iPhone as an 8-track Recorder

Peavey Vypyr 75: Viper’s Bite

Peavey Vypyr 75 Review

The Vypyr Series was born out of  Peavey’s attempt to compete with the Line6 Spider Series and take a bite out of the modeling amplifier market.  Today we will review the Vypyr 75. Could the viper beat the spider?

Back in the 90’s, Peavey was one of the leading manufacturers in the solid-state guitar amp market thanks to its Transtube technology, which simulated tube amp sound with more or less success. With this background, and considering that modeling amps are currently very trendy, it’s natural for the US manufacturer to try to jump into this business. In fact, Line6 was the first to launch its Spider Amp Series and their numerous preamp simulations and effects, then Vox followed suite with its Valvetronic models.

Peavey now tackles this growing and tightly competitive market. Let’s start by unpacking the 75-watt Vypyr…

Out of the box

Once in front of this big 44lb box you feel two things: fear of the control panel with its multiple red and green LEDs (great for next Christmas!), and repulsion for its dubious look, which might have been futuristic in the 70’s. It’s not the best way to start, but we’re not going to let such small details derail us.  We are going to put our prejudices aside and pick apart this Vypyr…

Let’s start with the connectivity and the ineluctable guitar input connector, which is even a joke in the user’s manual: “If you are having trouble figuring out what this is then please put the amp back in the box and get some drumsticks. * (*No drummers were harmed in the making of this manual).” I have to admit that it made us laugh alot here at AudioFanzine–drummer jokes always hit the nail on the head.

You’ll also find a 1/8″ aux input to feed a stereo source for playback (iPod, drum machine, etc.), a phones output (which mutes the speaker when in use), and an USB connector which doesn’t require any driver and allows direct recording into your computer with mic simulation. Nice! On the rear panel you’ll find a connector for the optional footboard and a connector for an additional speaker cabinet (the internal speaker is a 12″ Blue Marvel). Peavey forgot to add an FX loop to insert your favorite effects, even though the internal FX of the amp are plentiful. It’s a pity.

Now, let’s take a look at the front panel controls…

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Conclusion

Making use of its broad know-how, Peavey created an amp which provides big sound possibilities at an affordable price. 24 quality amp modelings, a plethora of effects (which could be a problem for young guitar players who tend to overflow their sound with effects), 75 watts (more than enough to play with a band), a hideous look and a master knob that goes up to 13. All for $300! What else could you ask for? Line6, beware- here comes a new challenger!

Advantages:

• Wide choice of amp sounds
• Plethora of pre and post amp effects
• Good overall sound quality
• Very good value for money
• Phones output and Aux input
• Master volume that goes up to 13

Drawbacks:

• No FX loop
• Unreliable USB output
• Distasteful look
• EQ with imprecise LED indication system
• Optional footboard

To read the full detailed article see:  Peavey Vypyr 75 Review