While most of our On The Road reviews take place at DJ events or live band performances, once in awhile an opportunity comes along to do something completely different. When this happens, the outcome is uncertain.

Case in point, when a local promoter calls needing a sound system for a 25,000 square foot arena and exhibit hall  attached by a long hallway and entrance area. Obviously, the correct way to this would be with a properly engineered installed system. Unfortunately, there wasn’t time for that. In fact, due to some snow damage on the roof of one of the buildings, the event cane very close to being cancelled. So, a sound system was needed and needed now.

Raiding the Live2Play, we commandeered 2 Cerwin-Vega P1500X, and 2 P1000X powered loudspeakers. We gave the P1800SX subwoofer the weekend off—as the make-shift PA was just needed for announcements, this was one time it was NOT all about the bass.

The attached video will walk you through the set-up procedure and give you some idea of the scale of the job. While all of the speakers performed flawlessly during the event and covered their assigned areas adequately, the biggest challenge we had (as expected) was dealing with loss of intelligibility in the main dome arena. In a perfect world, we would have liked to have had a second set of speakers on the side of the show floor. This would have allowed us to lower the gain so that two P1500X speakers would not have had to reach all the way across the show floor. We had also counted on a much larger crowd, but due to that roof thing mentioned above, the human sound absorption quotient was lower than expected.

A quick survey of the exhibitors on the final day revealed that there were no issues in the entrance area or exhibit hall. In the main dome area (again, no surprise) a few booths along the back wall reported that the announcements were lost in the echo and floor noise.

So, while we were quite pleased with the performance of the CV PSeries speakers, it would have been nice to have more of them along with additional set-up time. Given what we had to work with, however, the event was a success.

As for the P1800SX subwoofer, that was back in service the following weekend in all of its chest pounding glory, at a wedding reception for 140 people—accompanied by the same two P1500X speakers we used at the dome the week before. As for the smaller P1000X speakers, they’ll be seeing plenty of use this summer as our go-to powered speakers for wedding ceremonies and as the main back-ups for the P1500x duo.

For all the specs, click here

The post On The Road: CV PSeries Loudspeakers appeared first on l2pnet.com.

If you are like me, you are likely always on the look out for things you can do to make your performances or recordings better. Sometimes that augmentation is on a grand scale (a new guitar, anyone?); but often one can make small changes that have a big impact. One of those changes just might the addition of a small tool to your audio arsenal: a small-format PA mixer.

Using a portable PA for the intimate gig is all the rage these days; however, plugging your instrument or your voice directly into many of these admittedly very helpful devices can nevertheless produce a less-than-desirable outcome. There’s only so much tweaking of your sound you can do with the minimal EQs and limited (in quantity and quality) effects provided on most of these units.

Ok, so hopefully you’re convinced of the wisdom of taking on a sidekick mixer to augment your main portable PA. One temptation might be to pinch your pennies and get a bargain model. But wait! You don’t have to “settle.”

Soundcraft, long one of the leading manufacturers of studio and touring mixing consoles—the kind you see supporting some of your favorite international acts at their stadium shows, or helping them produce their latest top-10 smash-hit album—also offers a line of compact, portable PA mixers. One of the most recent to be released is the Soundcraft Notepad 124FX.

BASIC EQUIPMENT

The Notepad 124FX has 12 inputs, the first four channels providing line and mic inputs on separate connectors (XLR for the mics, TRS jack for the lines) and gain-controls. Each also has a three-band EQ (note: all level controls except the main volume are rotary pots) plus a push-button 100Hz high-pass filter. An effects send level, L-R pan, and channel level knob is also provided fro each channel.

The other eight input channels are arranged in stereo pairs of TRS. These don’t have EQ, only effects send and output level controls, and pan, but do offer a two gain levels by push button (4dB and 10dB). Beyond the channels are found: two balanced main and two monitor 1/4” outputs; a TRS effects send output; two pairs of RCA jacks, for input (returns) and recording. A minimal dual four-LED indicator setup gives you a visual level above the main fader.

The on-board digital effects section is made up of a small screen with two rotary pots and one button. The first knob chooses the effect and doubles as a tap-tempo switch for the beat-linked effects, while the second knob adjusts the effect level going to the main mix. A basic but solid selection of effects is provided, including reverbs, delays and choruses as well as some other weirder effects.

SOLID PERFORMANCE

Upon plugging in and turning up the Notepad 124FX, I was immediately reminded of Soundcraft’s reputation for high-quality audio. Even in a small, affordable package, the quality was top-notch, with no noticeable noise or channel crosstalk. Both vocals and electrified acoustic guitar came through crisply, with no unwanted coloration. To add our own tone colors, it was easy to get a quick EQ mix, dial up some tasteful reverb for the voices, and some chorusing to broaden the guitar sound, thus achieving a rich, full sound, overall.

The Notepad 124FX almost qualifies as the perfect example of a small utility mixer. An internal USB audio interface is the only thing that seems “missing,” only because of the plethora of other mixers that contain that now-standard feature to serve the computer-based recording / performing user. However, you’ll be hardpressed to find a mini-mixer that has BOTH Soundcraft-level audio quality AND a built-in sound card for a street price just under $150. – Dan Walsh

Video: Soundcraft NotePad Mixers introduced at Winter NAMM 2010

The post Review: Soundcraft Notepad 124FX PA Mixer appeared first on l2pnet.com.

The latest addition to the Live2Play audio arsenal is a pair of QSC KW152 powered speakers—we only wish this little video camera … could do a better job of letting you hear just how great they sound. So far, we’ve had these out at four gigs, the smallest being a group of thirty people in the side room at a local party house, and the largest being a gymatorium (or audnasium) at what was once part of a local University. Granted, for the smaller events, these speakers are most definitely overkill, but I’ve always been of the belief that it’s better to have more power than you need than to come up short. In addition to the KW 152 tops, we also have a KW 181 sub that we’re anxiously awaiting an opportunity to use. So far, we haven’t needed ’em as those 15″ drive in the 152s have been getting the job done quite nicely.

What’s with the “W”? First there was the K-Series, which has now been out a little over two years. The K-Series features three different 2-way systems (with 8″, 10″ and 12″ LF drivers) constructed of molded ABS and the K-Sub, which is of birch construction. The advantages to ABS is that it’s lightweight and (at least with QSC’s ABS models) totally seamless for a sturdy, tight, well-balanced, unit. UPDATE: Read our new review on the K-Series (5/2012)

On the downside, ABS has it’s limits and venturing beyond a 2-way 12″ can be problematic. So, in order to create boxes with with “bigger bass,” the engineers at QSC opted to go back to a material that has been used in loudspeaker construction for decades: Birch wood. The difference is, this time they were armed with new ideas and technologies that shaved 30 or more pounds off comparable cabinets of the past. In addition, the new KW Series features the same, now-road-proven 1000W Class D amp that’s been in service on the K-Series for over 2 years. This means that, along with larger low frequency drivers, you’re also getting QSC’s extensive DSP featuring DEEP™—which is sort of like being able to turn your amp up to “11”—only with just the bass. We’ll talk more about that in the second part of this review and give you a demo from the studio where you should be able to get a better idea of the kind of “over the top” bass these boxes put out. For now here’s a short video from a recent gig the will give you at least, a little idea of how the KW 152 looks and sounds.

Here’s some additional information on the KW series from QSC’s Ray Van Straten:

The post QSC KW 152 Review, First Time Out appeared first on l2pnet.com.

Over the last month, I’ve had several opportunities to get better acquainted with the KW152s in a variety of challenging venues—so, what do I think?

For my initial review, “QSC KW 152, First Time Out,” I included a video clip of our QSC KW 152 powered loudspeakers at work in a small-medium sized party room. I admit, it wasn’t much of a challenge for such a capable loudspeaker. Over the last month, however, life at Live2Play/SPL for the KWs has not been so cushy. First, it was a September evening in huge, damp, open party tent (when we managed, for the first time, to ignite the “Limit” lights) followed by a 7 hour stint in a large, open, beautifully appointed party room with acoustics not unlike a 55 gallon drum.

Camp Out
Few things beat being the DJ for a wedding a reception on a clear New York, late summer evening, outside, under a tent. But as dusk sets in (on about the 4th hour of the open bar) dampness and drunkenness become the rule. What was plenty loud a couple of hours earlier, has become “C’mon, Crank it!” With most of the tent open, the sound from the speakers has acres and acres to roam. Suffice it to say that the KWs could be clearly heard 1/10th of mile away and beyond. Well, being that our job is test the limits of this gear, we ran ‘em full-tilt until (during a track with extremely heavy bass) the limit lights* kicked on. I admit that I was a bit concerned to see those red lights come on, but it ultimately was a non-event, noticed only by me. (All K Series and KW Series speakers from QSC include sophisticated amp and transducer protection—Given that the fan never spun up and the units stayed cool, my guess is that we had triggered that either the excursion limiter or output overcurrent. We backed he gain down ever so slightly, and things returned to normal.) Fearing that I had reached the limits of the loudspeaker, I asked QSC for additional detail on how the limiter works and was told: “The clip limit indicator light comes on at the onset of the engagement of the protection system (GuardRail™) – the same system that is found in K Series, the KLA Line Array as well as the GX Series amplifier. Although the circuit is engaged, it does in no way indicate that you’ve reached maximum output. The circuit is very dynamic and allows for a considerable amount of headroom above and beyond when you first see the light. However, if the light remains in a constant lit state, you’re fully limited.”

And then…
For the next test event, we took the KWs, along with one KW181 subwoofer, to one of the larger (in terms of cubic feet of air space) party venues in Rochester, NY (see video). As the Blues Brothers would say “This place is a barn.” The KWs were well up to the task, blasting away at full-tilt for most of he evening without a whimper. I was impressed.

Did I mention…
The KW Series features four models: along with the KW152 and KW181 sub is the smaller KW122 (12” 2-way) and the larger KW153 (15” 3-way). All K Series and KW Series feature the same, proven, 1000 watt Class-D amplifier modules, capable of 2000 watt peaks. Inputs are provided for Mic/Line (channel A) and Line Only (Channel B) with gain controls. While this is somewhat lost on DJs, solo/duet musical performers, especially when using a keyboard, will find that they can connect a mic to A and keyboard (or guitar) to be and be ready to go. If you need to run the mix to second speaker, just use that handy “Line Out” XLR port. An additional welcome feature on the KWs (except the sub) is that the push-button “mic-line” switch on the A channel has been replaced with a sensitivity selector. At the tent gig, where we really needed the extra headroom, we tweaked the switch from the “0” to the “12” position which provided plenty of additional juice (and may have had something to do with the limiter kicking in…. do ya think?).

Another face-melting feature of the K and KW models is the built-in Digital Signal Processing. For the lows, you have the option of filtering out some of the low-end when you are using an external sub; selecting an all-purpose, full-range, “Norm” setting; or switching the to DEEP™ setting which will give you a nice kick in the bass while still protecting the speaker from self-destructing. We made several attempts to record onto video a comparison of how the sound changes from position to position, however the added bass just drove our camera’s audio circuits into clipping. An in-person demo at your local dealer is recommended. On the high side, you can run flat, or switch to the “Vocal Boost” position.

So, in conclusion…
While we’re still not quite done pushing the envelope with KW152s, the verdict at the moment is that these are the “swiss-army knife” of loud-speakers that musicians and DJs who play small to medium sized venues will whole-heartedly embrace. When you need to take it up a notch, look to the KW153s, and if you are doing a lot of school dances, add an extra sub (or 2 or 3). For this old hippy who still enjoys rockin’ ‘em on the dance floor, the KW152s are the perfect compromise of power and (thus far) reliability. At 67 pounds, they are quite manageable. The integrated handles are well-placed and balanced so you don’t bash the side of your head or pull a muscle when lifting them on to a stand, the 16 gauge grills are as strong as the ones on an old Jeep, and the texture painted birch enclosures are easy to touch-up when the need arises. M10 rigging points are standard on the full-range models, and the KW181 sub rides on it’s own heavy duty coasters.

While it may seem that in this day of high tech materials and composites, “Birch” would be about as old school as you can get. In reality, however, “It’s the wood that makes it good” (apologies to Kenny Rogers) allowing QSC’s lab-coated engineers to create a series of loudspeakers that has the strength to be durable, and still be light-weight enough to lug and lift without first attending a weight training.

*(In the first part of this review, I had mentioned that I use an Ashly Compressor/Limiter in my rig. My main purpose in doing so is to aid in leveling out gain variations in digital files and not to protect the speakers. At the request of QSC, the C/L was not used during this segment of the review.)

The post QSC KW 152 Review, Part 2 appeared first on l2pnet.com.

If you have read any of my other IK reviews, you may have noticed one common gripe, the inability to use IK products in a live situation. Keep in mind; this is almost always touted as a feature.

Well, it looks like someone at IK has heard my rants, or more likely, the rants of numerous other reviewers, bloggers, and of course, customers. IK’s latest release, the iRig Stomp has significantly advanced the feasibility of using IK products as part of your live rig.

The iRig Stomp is essentially a stomp box sized interface (smaller than a Boss, slightly larger than an MXR) that allows you to use any iOS version of AmpliTube as part of your pedal board.

The Good:
-Lots or effects, little space: If you’re anything like me, you have a board setup with all of your favorite effects, but there are always a few lesser used pedals that get left at home. I know several musicians who will use a multi-effects processor in addition to their stomp box collection for the odds and ends. The iRig Stomp gives you the flexibility of a multi-effects processor in the space of an individual stomp box and an iOS device.

-It will take a beating: The build quality is easily on par, or better than several of my other name brand stomp boxes. It features a steel casing, heavy-duty switch, and true bypass. Additionally, it sports an 1/8th” headphone jack, making it ideal for late night jam sessions.

-Plays well with others: If you have been playing for a few years, you have probably amassed a large collection of gear (on the forums they call it GAS,, Gear Acquisition Syndrome). Up until now, the majority of iOS and computer-based effects I have used are not designed to work with my existing gear. Not so with the iRig Stomp, I swapped out my chorus pedal (since I actually like the chorus included in AmpliTube Slash better), and have been using it with my analog pedals and amp, just like any other stomp box.

-Meet the newest member of the band: Most importantly, you can take it and use it anywhere! All you need as a clip to hold your iPod or iPad on your mic stand (IK has options for both, as do a bunch of other manufactures), and it is ready for your next gig. I also love that you can change the effects you are using based on the song; chorus, boost, delay, reverb, one swipe of your finger, and you have it. Keep in mind; you will want to create presets for each song you plan on using it for. I wouldn’t recommend trying to adjust effects while on stage, particularly on the iPod/iPhone.

The Not-So-Good:
-If anything can go wrong: As much as I love that you can change the effects you are using at any time, I also hate that the iRig Stomp requires an iOS device, proprietary 1/8” cable, and mic stand clip. There seems to be a lot of additional non-standard pieces required to use the iRig Stomp. If one of them breaks before a gig, it’s not likely that someone else in the band, or someone at the venue is going to have a spare lying around. The addition of the iOS device also gives you one more thing to remember to charge, and what happens if your grandma decides to call your iPhone in the middle of a face melting solo?

Clearly, these are all minor what-ifs, but are all certainly things to consider before taking the iRig Stomp to your next gig.

-It sounds good: But it doesn’t sound great. There is a part of me that hates to gripe about the sound quality you get with iOS versions of AmpliTube, because it is far superior to the 90’s multi-effects processor I used for years, but at the same time, it isn’t as good as a nice analog pedal. Some effects are great, others not so much, and that may change depending on your existing setup. Just be aware, the iRig Stomp probably won’t replace your current board/amp setup.

Overall, the iRig Stomp is pretty awesome. If you currently own an iOS device and you use AmpliTube, or any other amp/effects modeling software on it, the iRig Stomp is pretty much a no-brainer. At about $60, it’s right in-line with the cost of many other stomp boxes, but is much more versatile than your standard stomp box.

Enough with the typing, it’s time I get back to the important stuff, relearning my G n’R riffs… because you can’t have an iRig Stomp without a copy of AmpliTube Slash.

Keep rocking
-”Guitar Guy” Tim

Questions/comments, send me a message at tim@l2pnet.com
Follow Tim on Twitter: @GuitarGuyTim

Are you feeling left out Android users?

I’m writing this after the review because I am now using the iRig Stomp for purposes it was never designed for. Although IK MultiMedia doesn’t offer an Android version of Amplitube, I was able to get the iRig Stomp working with several third-party apps like GhettoAmp, Delay Effects, and gStrings. Please note that I did experience some latency issues. Obviously there are no guarantees when working with third-party software, but if you’re up for tinkering with gear, there definitely is potential.

AmpliTube (APP Store Link) and the iRig Stomp link
$59.99 for iRig Stomp
$19.99 AmpliTube

The post Overall, the iRig Stomp is Pretty Awesome appeared first on l2pnet.com.

QSC K-Series powered speakers demonstrate their versatility and “K” pability.

Thinking back to the winter NAMM show a year ago this past January, I recall QSC being very hush-hush about a product that was set to release that following spring. In fact, they were so secretive that they would not allow members of the press anywhere near the closely guarded entrance to the special bunker constructed in their booth. Obviously, they were well aware that the best way to get the attention of the press is to tell them you have something that they are not allowed to see. But the suspense was only momentary; before long, we were all telling our readers about the new K-series line of active loudspeakers.

BASIC K-PABILITIES

To refresh your memory, the K Series is made up of three full-range models (K8, K10, and K12) housed in rugged and relatively lightweight ABS enclosures. The KSub rounds out the lineup but forgoes the ABS in favor of birch plywood. So far, nothing to really write home about, but here’s where it gets good. Built right into the back of each of these models is a one-killowatt continuous Class D power module with a two-channel mic/line mixer that includes some very handy, “fix-it-on-the-fly” EQ adjustments.

Inputs for each channel utilize combo XLR / 1/4” TRS jacks. In addition, the full-range models have a set of RCA connections for an iPod, portable CD player, or similar device. So, up to three audio sources can be summed to a balanced output and “daisy-chained” to additional units. So, what does this mean?

Well, for a solo act or track singer, you could leave your mixer home and use the inputs on the back of your QSC K-Series speaker of choice. For a slightly larger band, you could run your stage mixer into one unit and then simply daisy chain that single to the next, a handy option, should you happen to be using the “Ks” as stage monitors with a single monitor mix.

K Series Back

Taking a closer look at the back of one of the QSC K12s loaned to us for this review (see photo) we find two switches for selecting the loudspeaker’s preset EQ settings. The HF setting can be set to VOCAL BOOST when additional presence is desired in the critial mid-range area, QSC K12 Backor FLAT to maintain the integrity of the incoming signal. The second switch, labeled LF, can be set to NORM, DEEP™ (for a hefty boost to the bottom end), or EXT SUB when using the Ksub).

Another feature worth mentioning is QSC’s Tilt-Direct™ pole mounting system, which allows you to mount the speaker with a 7.5° downward tilt to better focus the sound energy directly on the audience. So, as you can see, this line of speakers offers a lot of options and possibilities. Now let’s load up and see ho they do on the road.

IMPRESSING THE BAND

Seldom, if ever, does it happen that I yank a product right out of the hands of the UPS delivery man and immediately take it off to play a gig. Well, I did that this time…and now I remember why I seldom, if ever, do that. Although active speakers are simple in concept, you can’t overlook the fact that these babies have a lot of power, and therefore require some special attention in terms of set up and placement.

K Series Load

Not expecting a Saturday night booking, I decided the first place to put the two K12s and single KSub to the test was at the local church where I also serve as “sound tech” for the evening’s worship band rehearsal. The K12s weigh in at manageable 41 pounds each, which makes carrying both at once doable in most situations. I found that carrying them upright, using the handles on top was far easier than using the side handles, but that’s a matter of personal choice. Even when having to shlep them up a flight stairs, I found the K12s well-balanced and controllable. The task of hoisting them up on stands has been made easier by the inclusion of a large rubber foot on the bottom of each unit, which makes a great handhold when lifting the speaker onto a stand.

For this application, I wanted to use the KSub as well as the two K12s. The sub has been designed with sturdy casters so it doubles nicely as a support vehicle for a road case or one of the 12s. The only concern I have about the sub, and this comes from living in the great white Northeast, is the lack of protection to the electronics while in travel mode. If you live in an area where snow and slush mound up in the winter, you may want to fashion a cover for the electronics. Hey, I’m just sayin’.

With our two K-Series full-range cabinets and sub in position (the sub, BTW, pulls its signal directly from one of the K12s) it was time for band practice to begin. The EQ switches for left-side K12, which was driving the sub, were set at EXT SUB and VOCAL BOOST. The right-side’s LF switch was set at NORM. After a few tweaks on the soundboard, practice began. The keyboard (a Yamaha Clavinova) needed a little more bass, so I dialed in some additional low end for the KSub to munch on. Then there were the vocals. The K12s brought the vocals across so crisply and cleanly that, for a moment, the singers them selves stood awestruck. Simply put, these speakers sounded very, very good. Read part 2 of this review here.

The post Review: QSC K-Series appeared first on l2pnet.com.

I have been a pretty tireless advocate of getting musicians on in-ear systems for monitoring for a really long time.  And I run up against the same three objections all the time.

1) Isolation. This is actually a FEATURE of custom in-ears but some people don’t like it

2) Hate the feeling of something in their ear. Not a lot I can do with that one

3) Cost. Which is one I totally get. Custom in-ears are pricey. And add a trip to an audiologist to have molds made and it increases both the cost and the hassle factor.

I was a fan of really good universal fit in ears because the address two of those three issues, They do not isolate as much as customs and the cost is literally pennies on the dollar compared to custom fit models. But the choices have not been good lately. Future Sonics used to make a great set of universals called Atrios but they are no longer available. JH makes a universal fit version of the Roxanne series but the are still $1299. And the universal stuff from Ultimate Ears and Westone… I have just not been super impressed. (Although I have and like the customs I have from both companies.)

So I was intrigued by an email I got touting a Kickstarter campaign for some new Universal fit stuff out of the UK made by a company called Flare Audio. Small. All-metal. And–this is big–removable and replaceable cables and drivers.

I had them send me a set and I like em. Way more low end than I expected out of a universal fit that is so tiny and solid his. The highs can be a little sibilant but for those of us with compromised high-end hearing from years of gigs, it is nice to be able to hear the high-hat again.

There are some really interesting design features. I was initially taken aback to see no strain relief. This was on purpose as Flare says that it is crucial that the entry point of the cable be tiny to ensure quality sound. They have opted for chamfers inside the body to hold the cable and claim that in their test, when abused the cable will eventually break but not at the body. I’ve been pretty hard on ’em and no damage so far.

But that brings up the really cool thing here. You will be able to get a replacement kit with a new cable and driver set for about $35. And there will be various options including a braided cable (great for stage use) different angled ends and even one with a mic and remote for using with your phone. This can really be a “one-set” deal that you can adapt for stage or everyday use.

At $120 (If you do it via the KickStarter campaign that has just 12 days to go…) they are roughly 1/10th the cost of customs. Nothing will ever replace a good set of pro, custom-fit in-ears. but if you want to try it out without dropping $1200+, the Flare R2 is a great way to go about it.

The post Flare Audio Universal Fit IEMs appeared first on l2pnet.com.

There’s no questioning that sound engineers really like gear, and that advancing technology prompts audio manufacturers to feed that addiction. There was a time when bragging rights came with owning racks of processing. Today, however, it’s all about leveraging technology so we can achieve more by doing less.

With a small footprint, unparalleled processing power and the flexibility to mix on almost any touchscreen device, the PreSonus StudioLive RM16AI and the StudioLiveRM32AI Rack Mount Digital Mixers series are the poster children of this less is more concept. The plethora of features built into these rack-mountable black boxes rivals mixing consoles that cost twice as much.

Here’s what I’m talking about: First, both the RM16AI and the RM32AI come with 16 XMAX or 32 respectively Class A solid-state recallable mic pres. Add to that direct Wi-Fi and wired LAN communication, an onboard FireWire S800 interface, a tightly integrated software suite for Mac, Windows, and iOS and a fast and intuitive workflow.

For old school engineers who argue that the true feeling of mixing comes only with knobs and faders, PreSonus designed the UC Surface “Battle Ready” respecting that sound engineers never know what to expect when the band hits the stage. You could be walking into a war zone so the StudioLive RM series mixers with UC Surface have your back. As PreSonus states in the brochure “UC Surface works the same on all three platforms, supports iPad and Windows 8 touch-screens, and networks via wired or wireless connections.” The workflow on the UC Surface is logical. “You can see everything you need when you need it, and the most commonly used and important functions are only one or two touches away.” Want to learn more? Just click here and we’ll continue this walk-through at productionmaster.com

Or you can find a full review in the L2P eZine. Or is SPL is more your deal, you can find it THERE as well.

The post Walkthrough: StudioLive RM16AI/RM36AI From PreSonus appeared first on l2pnet.com.

Finally, someone has done it!  Quality digital effects are now available to the most popular (and significantly superior imho) mobile OS in the world.  That’s right, IK Multimedia has brought their extremely popular amp/effect modeling software Amplitube to Android.  As you can probably already tell, being an Android fanboy, I couldn’t be happier.  So now the real question, is it any good?

For my review I used the iRig UA, which is a universal audio interface for all Android devices using Jelly Bean (OS 4.2) and up.  My primary testing device is a 2014 Samsung Galaxy Tab Pro 8.4”.  In order to use Amplitube an IK Multimedia audio interface is required.  Most Android users will need the iRig UA.  There is a second model, the iRig HD-A, that is available for select Samsung devices.

The iRig UA is a pretty simple device, it features a ¼” input jack for your guitar or bass, a ⅛” input aux jack so you can jam along with your favorite tracks, a ⅛” output for your headphones or to connect your amp or PA (an additional ⅛” to ¼” adapter is required if using an amp or PA), the output level is controlled by a volume dial, and finally a micro USB port for connection to your Android device.  The iRig UA ships with a micro USB to micro USB cable so you’re ready to go right out of the box.  The device itself is made out of durable plastic and features a multi-colored LED light that shows you when power is on and also changes color to let you know if your input volume is too high or too low.

To get started with Amplitube UA, you’ll need to download the free app from the Google Play Store, click here to download Amplitube UA.  Make sure to register your iRig UA with IK Multimedia, because when you do, they open up an additional Distortion Pedal in the app.

 
After several hours of playing with the iRig UA and Amplitube UA, I’m very happy with IK Multimedia’s first entrance into the world of Android.  Here are a few of my favorite features:

 
The Good:
-Killer Sound – Okay, to be fair, Amplitube isn’t going to sound as great as a room full of vintage tube amps and boutique pedals.  That being said, it is easily the best amp/effect simulation option available for Android.  The sounds and effects are very usable.  They’re perfect for a late night jam through headphones and jamming with friends when you don’t want to bring your entire rig.  Heck, I’ve already set up several presets that I’ll use for practices and small gigs.

-Latency, What? – The biggest issue with amp and effect modeling for Android has been latency.  Due to the hardware inconsistencies, it has been nearly impossible for developers to create usable audio apps.  In order to work around this, the iRig UA is literally an outboard sound card, which essentially bypasses the Android device’s internal sound card.  By doing this, IK Multimedia has been able to bring the latency to a non-discernible level, which essentially makes it no different than working with any other digital effects processor.

-So Easy a Drummer Could Use it – That’s my nice way of saying it is incredibly user friendly.  All of the amps and effects are setup with virtual knobs, making them as easy to tweak as your physical setup.  There’s virtually no learning curve when it comes to finding the perfect sound.  Additionally, you have several user presets available so you can save your settings for easy recall in the future.    When comparing Amplitube UA to the different multi-effects processors and modeling amps I’ve demoed, it has the best interface I have used, hands down.

-It’s Good and It’s Only Going To Get Better – Okay, there is a bit of speculation going on here on my part, but… if the development of Amplitube for IOS is any indicator, over the next several years we’re going to be seeing more effect, more amps, and more features.   Since its initial launch, we’ve already seen a whole pack of Fender Amps added to Amplitube UA.  I’m already waiting in anticipation for what IK Multimedia will unveil next.

The Not So Good:
-Good But Limited – While I’m excited to see future development, we don’t have it yet.  Out of the box you get 5 amps and 9 effects.  For an additional $40 you can add 15 amps and  7 effects (less than $2 each). While you can certainly get some great sounds, I’m already left wanting more.  Especially when I look at all of the options that are available for IOS.

 
-Blast From The Past – I realize that Amplitube UA is the first foray into Android and is likely being ported over from an IOS version.  That being said, I wish that IK Multimedia could have brought over a newer version of Amplitube.  As of right now, there’s only a portrait version of the software, no landscape mode.  This isn’t a huge deal, but I would really prefer to have it in landscape when using my table. Like the previous point, this is likely to be remedied over time.

-And My Amp Plugs In Where? – While by no means a deal killer, instead of sporting a ⅛” headphone jack, I really wish the iRig UA had a full sized ¼” jack.  This is really just a preference, but in my home studio I have dozens of 1/4” to 1/8” adapters because they are commonly shipped with headphones, but I couldn’t find a 1/8” to 1/4” adapter so I ended up going to Radio Shack to buy one.  

-Clip, Velcro? – Once again, not a deal killer, but I really wish the iRig UA box had a belt clip or some type of bracket on the back of it.  I have my table secured to my mic stand with an iKlip Xpand, but my iRig UA has just kind of been handing in open space without a convenient place to put it.  Ultimately, I stuck some velcro on the back of it and added the other side to the iKlip Xpand. It would have been nice if the box had a clip or something on the back to better help secure it.

Final Thoughts:
If you’re looking at the iRig UA my guess is you either have a limited gear budget and are looking for lots of effects without spending too much, or you’re someone looking for a convenient way to plug in late at night or on the run.  Either way, the iRig UA + Amplitube UA is a pretty solid choice.  From both a sounds standpoint and a usability standpoint, I prefer it to basically every sub-$200 multi-effect units I have tested out.  That being said, if you’re going to purchase the iRig UA, I would allot an additional $40 and purchase the entire amp/effect catalog that is currently available.  To be perfectly honest, I haven’t purchased it yet, but based on my experience with IOS versions of Amplitube, I’m confident that you’ll be much happier with your purchase if you have more amp and effect options at your disposal.

The street price for the iRig UA is $99 and is available through most music retailers.  You can purchase it directly from IK Multimedia here.  Amplitube UA is a free amp, but as previously mentioned, plan on spending $40 to get all of the available amps and effects.  You can download the free app here.

Have you tried out the iRig UA?  If so, we’d love to hear your feedback.  Feel free to comment below or connect with me on twitter @guitarguytim

Until next time,

-“GuitarGuy” Tim

The post Amplitube on Android – iRig UA Review appeared first on l2pnet.com.

Recently during my flight across the pond from Florida to the UK for the London Guitar Show, I found myself thinking about what happens when musicians get together. Will there be the usual conversations about new projects in the midst? Are you still playing with so and so or where have you been playing? How’s the family; how’s your health and diet; nice to meet you; what instrument brand are you playing? And on and on it goes at these gatherings.
Of course musicians like everyone else talk about everything human that could possibly come to mind. But after all the gear, the people, and activities drift away, what is the one specific thing unique to fingerstyle guitar players? They talk about fingernail care.That sheepish little topic in reality is probably on par with considerations NASCAR drivers give to the tires on their cars prior to a race. I mean, those little fingers we pluck with produce the note or notes at hand (no pun intended) and their nails need to be cared for on a daily basis.

Looking at it all under a microscope, once any note or notes are played, that’s just the beginning of the musical adventure. Is the note produced from a bare finger, a metal pick, a plastic pick, a natural fingernail, a porcelain fingernail, a fingernail that was put together with cut up ping pong ball parts, tissue paper and super glue? Once the note is produced based on a specific strike, the question I always have is in regards to what kind of a tone I prefer to sustain.Sometimes the note should be a staccato and stopped as abruptly as possible. Perhaps I want the note to ring out for a select duration. A lot of this is determined with the non-plucking hand, but that hand can only work with what initial note it has been offered.

Generally the discussion about caring for nails turns into “the nails vs no-nails approach” to fingerstyle guitar. Perhaps a short nail is to the player’s liking. The latter is my preference, since I am constantly touring. If I just breathe or have a nightmare, it seems like a plucking hand fingernail meets up with some horrifyingly brutal demise and with my luck it’s usually on the way to the show. Then I frantically either chew off the broken nail, or reach in my pocket for a nail file or piece of sandpaper.So at the London Guitar Show, where I was honored to be a part of the UK D’Addario Strings team, in between performing I roamed the halls. One particular booth caught my eye: Wolfram Slides. Curious about their products, I ventured over and noticed that they also had an entire display of high-quality nail files. Putting the slide thought on hold for a minute, I investigated and discovered that these little gems with their own special velvet cases were made from some of the finest Bohemian crystal. Having visited Prague and purchasing a similar file, I was even more excited to find such a file closer to home and one that could cut, shape, and seal in one go. If this sounds like a big deal, it is for a fingerstyle guitar player who takes his craft serious. You’d be surprised how many times I’ve been in a pickle just before a show and the improper use of a cheese grater (dramatic effect here) has caused a nail to chip or wind up in nail heaven. Try to ask around and see who might have a file. I’ve never had more luck than a kind offering of a ragged and used emery board of some sort.

As fate would have it, I did chip a nail prior to playing at the Acoustic Cafe and luckily I had just acquired one of the Wolfram files. Don’t ask why I had not included my other file in one of the compartments of my guitar cases because I carry everything else in there – extra strings, slides, peg winders, batteries, capos, ear plugs, note pad, tape, tuners, a metronome, and a few sharpies. I’m sure I sound like an infomercial right now, but the truth is I won’t go anywhere without one of these files ever again.Sound like I’m off my rocker? Just think of this for a minute. Consider the most valuable tool you have in your trade and ask yourself if you could do without it. What’s the most valuable tool in my trade? The finger that’s playing the note you are about to hear.

The post Fingerstyle Fingers appeared first on l2pnet.com.

This time around we will be taking the ISP Beta Bass pre amp out for a test drive. The Beta Bass is the latest offering from ISP for bass player, WOO HOO !!!! I love it when we get new gear.

Let’s look at some info from ISP about the pedal. SP Technologies introduces the Beta Bass Preamp Pedal™ which brings a truly professional bass guitar preamplifier to the floor. The Beta Bass Pedal was designed using an external 9 volt AC adaptor, which is internally multiplied to provide a +/-15 volt power supply for a professional full 30 volt signal swing.

The Beta Bass Preamp Pedal includes a boost/cut Bass control, dual semi-parametric mid band EQ with sweep-able frequency and a boost/cut treble control. Also included on board is ISP’s Time Vector™ based compression for silky smooth compression and a phase manipulation exciter. The phase manipulation exciter allows additional tone shaping and enhancement not possible with standard EQ and adds that POP to cut through the mix. Add to this a split band Bass distortion circuit, the world famous Decimator Noise Reduction, with tracking improvements designed for the bass guitar, to keep things quiet, plus an XLR direct output for connection to a mixer and you have one amazing floor pedal Bass Guitar preamplifier.

The Beta Bass Preamp Pedal distortion circuit is designed to allow a mix between the full range clean bass signal and the Bass Distortion circuit allowing you to keep that Bass warmth when using Distortion. The Beta Bass Preamp Pedal is designed to provide the ultimate Bass Guitar Tone for any playing style from Jazz to Metal.

Here are some technical specs for those who are interested in them:

• Input Impedance: 500K ohms
• Maximum Input Level: +20dbu typical
• Maximum Output Level: +/- 15db
• Bass Treble Cut Boost Level: 60Hz-1kHz
• Mid1 parametric frequency range: 200Hz-6kHz
• Mid2 parametric frequency range: Based on Time Vector Processing
• Compression Section: Adaptive response auto makeup gain
• Decimator Noise Reduction:  Greater than 80db
• Power Requirements:  9V AC 1500mA power adaptor
• Max Current Draw:  865mA
• 7” x 5” x 1.9”
• 2.2lbs
• Made in the USA.

When I first un-boxed the pedal I noticed the nice blue and white paint job. I picked it up and felt a nice metal pedal. I immediately start turning the knobs. They’re very smooth and nice quality. I pushed the buttons and they are nice and tight. Not moving all over the place. A very solid pedal, it should hold up very well in a pedal board and on the road.

So looking more into the pedal I notice it does not run on batteries but a 9V AC 1500mA power adaptor (which is included). That’s not a problem for me as I use a power supply on my pedal board. But if you don’t just make sure you have an extension cord with you so you can plug it in. The ISP Beta Bass preamp can actually take the place of four different pedals. A preamp, compressor, exciter and a distortion pedal. Let’s look at the preamp section. It has all the basics but there are two mid sections both with sweep knob’s that let you fine tune the mid-section. And of course it has bass and treble knob as well as an Input / gain and a master volume for overall volume of the entire pedal.

For me this is a very cool pedal as I go direct to the main sound systems 90% of the time. I do many gigs where volume is an issue and amps are not allowed on the gig. This pedal is the key. It’s a very well thought out pedal as it gives you just about everything you would need in an all in one pedal. A lot of times stage space is at a premium so using my regular pedal board is not possible. This pedal is perfect for this situation as well. In situations where there are multiple bands all you need is this pedal your bass and a cord and you’re good to go. Set up and pack up in five minutes

I used this pedal on several different gigs with different setups. The first being The Morning Blend TV Show on fox here in Las Vegas. This was an acoustic gig that I used a Dean 5 sting acoustic bass and the Beta Bass Pedal direct to their sound system and out to the masses on TV. Just an fyi I never tried this pedal before this gig. I plugged it in through an amp in my office but that’s it.

It sounded great and the soundman made several comments as to the tone I was getting

The next gig was at Gileys Dance Hall, Saloon & Bar-B-Que. This gig is also a direct to the sound system gig. This time I used it in my pedal board with some other pedals ( chorus, compressor ) and my Fender American Deluxe 5 string Jazz Bass. Once again Great sound. One night I did switch to another bass with single coil pickups and the decimator section was great for cutting the buzz they make.

Also one night on Fremont street with the Ampeg V4b and 2×12 cabinet. Great sound ! I got to crank up the distortion on this gig, Very cool !

I did one more Acoustic gig in a medium sized ballroom in Reno for the Humane Society Blue Jean Ball. Same Results. With very little tweaking I was able to make the inexpensive acoustic bass sound amazing.

All in all a really nice pedal and would have loved to keep it.

This is a perfect pedal to give you that pro sound you’re looking for. This is the all-around I have a great sound pedal.

Retail price is $499.00 but can be found for around $416.00 if you do a little shopping.

Make sure to check out the video about this pedal

The post ISP Beta Bass Preamp Pedal – New Gear Review appeared first on l2pnet.com.

My life would have been better if Shure had never even sent me these microphones. I was quite content with the mics I have been using. Was it really necessary for them to tease me with these wireless wonders and then send a big brown truck, armed with call tags, to pry them from my grip? I think not. Cruel and inhumane treatment to say the least. Oh well, welcome to my world.

Our story begins over one year ago, when Shure invited me to try their new (at that time) QLX-D wireless systems. Obliging my request, they sent a QLX-D2 handheld with an SM58 cartridge and a QLX-D14/SM58 Bodypack/Headworn combo. Unfortunately, their delivery was delayed. By the time they arrived it was the “off-season” here in Upstate NY—when I would much rather sit by the blazing fire than load my gear into a snow covered truck in sub-zero temperatures. So, at Shure’s request I prepped the unopened box for its return flight. Time passed, winter turned to spring, and when the snow melted the mics were still here (probably because UPS was unable to get down our icy drive). Long story short: Shure extended the loan so the mics went into active duty.

Click here for specs

After chopping through the thick cardboard shipping box, I found each mic (paired with a QLX-D4 receiver) looking well-rested and ready for some serious action. At first glance I knew I was going to like working with these. The receivers are sturdily cased in metal, the antennas are long, strong and look like they could pull in signals from the planet formally known as Pluto. The power supplies are located mid-cord so you don’t have to deal with plug hogging wall warts that always leave you one outlet short on the power strips. I can tell these will be hard to break and I like that.

Quiet Observations

The QLX-D2 handheld with SM58 capsule has a fantastic feel. It’s hefty and nicely balanced. Whether engaged in song or just making a few announcements, when you bring it to your lips you feel like a rockstar, baby.

The SM35 headworn not only sounds great, but is relatively comfortable wrapped about your noggin. As a DJ/MC for weddings who enjoys moving all over the room, I need a headworn with the lowest possible hassle factor. This one stays in place once you find the “sweet spot” where it feels like it’s not even there. The headworn that I typically use (supplied by a different manufacturer) is of similar quality and has served me well for several years. It too is an exceptionally comfortable and a great sounding microphone. But this Shure is better. It’s a bit more comfortable, the sound is amazing, and at no time was there a black hole in the audio. It has been a fzzzzstttt-free summer.

Like everything else branded QLX-D, the body pack for the headworn feels like it was designed by NASA. It’s solid, durable and heavy enough to anchor a small boat (well, maybe not). My point is, there’s a warm and fuzzy feeling that comes with having gear that’s built to work as hard as you do—this system takes you there and beyond.

Grab Your Suit

To test the wireless performance of the QLX-D transmitters and receivers, we first took them to the North Coast for a wedding on the beach. As it is an excepted fact that sand, water and electronics don’t mix, I decided to play it safe and set-up the PA for the wedding ceremony as far back from the seating area as possible. Typically, I want the PA up in front of the guests so that the officiant’s voice is coming from approximately where they are standing and so that there is minimal delay and echo. This time, that was not going to happen due to the location of the ceremony site.

With the Shure handheld stand-mounted on the beach, and the receiver in the sand-free zone some fifty yards away, I awaited the officiant and bridal party. As the entrance music faded, and the bride and groom took their places, I started to question my decision and feared that I had placed the mic too far away to pick up their voices. That concern quickly faded as even with the sound of the waves in the background, the SM58 capsule caught every word and whimper. So, as the sun sank into Lake Ontario, another couple was pronounced bride and groom and even the squawk of the seagulls came through like crystal. Time to party.

Over the summer, I used these two wireless microphone systems at around 25 wedding receptions. While most of those were DJ jobs, there were several occasions when professional singers were coaxed into providing some impromptu entertainment. How did I know they were truly professionals? Good question. First, they didn’t ask me to play a backing track—they knew how to carry a tune and where used to working without net. Second, their credentials were easy to check with a quick search of YouTube.

Now, I don’t know about you, but when I hand off a wireless mic to someone who knows how to use it, I want it to be the best I have. The QLX-D2 (with a little added EQ and compression) in the hands of a professional simply blew the crowd away. On the downside, I have never had a handheld that seemed to attract so many non-professional singers and “rappers.” On countless occasions it was snatched right off my table by juiced-up guests who simply couldn’t survive another moment without destroying “Paradise By The Dashboard Lights.” Their passionate vocals from dead-center in the feed-back zone may have missed the mark, but that mic sure made them look, and feel, great.

And isn’t that the difference between microphones? The feeling you get using it? I have to admit, that when I was out on the floor, doing the introductions or addressing the crowd, it was wonderful being able to hear my own voice clearly and succinctly. It’s sort of like when you drive down the street and see the reflection of you in your car in a store window looking cool as cool can be. Not once did a guest complain “We couldn’t hear you.” Microphones really only have to get one two things right—they should sound clear and intelligible. If they are wireless, they also need to provide fzzzzstttt-free coverage throughout the venue. This one wins on all counts.

The final night out for the QLX-D2/SM58 was for a gathering at our church. As is typical of these events, everyone was requested to bring a dish-to-pass, except for me. I was asked to bring a mic-to-pass as several people would be speaking from locations throughout the congregation. Having already tested this mic’s acoustic and wireless pickup range, I knew that such a task would child’s play. As expected, it came through again with flying colors.

So now comes the worst part, and I have put it off long enough. Time to return these wireless beauties to their comfortable travel containers and call for the man in brown. Forgive the tear, but having spent so much time with these two mics, well, let’s just we’ve formed a special bond. They are simply brilliant, great to work with, sound superb, and as I mentioned previously, can take anyone’s vocal performance to an unexpected new level. I am so going to miss these two microphones.

The post Review: Shure QLX-D Wireless Mics appeared first on l2pnet.com.

Prior to this review, my only experience with Harbinger was seeing their PAs at my local Guitar Center.  I’m always interested in testing out products from new brands to see what’s available, so when the Harbinger L2404FX-USB 24-Channel Mixer came up for review, I jumped at the opportunity.

For a quick overview, the L2404FX-USB is a compact 24-channel mixer which features 10 mic preamps with built in compression, 24-bit digital effects, USB out for 2-channel recording, 4 aux sends/returns, 4 subgroups, 8 inserts with direct outs, and a whole lot more.  But, you’re not here to read a specs sheet, you’re here to read how this unit works, and more importantly, sounds.

For my demo, I used the mixer in my home project studio.  In my home studio I do a variety of projects that range from recording voiceovers and guitar demos to holding jam sessions with my friends.  

Initial Thoughts:

Right out of the box, I was very impressed with the overall quality of the L2404FX-USB.  Based on its price point (which we’ll get into later) it definitely fits more on the budget end of 24-channel mixers, but it sure doesn’t feel like it.  The chassis is steel which feels durable.  The sides of the mixer have removable plastic handles that can be swapped out for rack rails which are included.  

One of of the telltale signs of inexpensive mixers is an inconsistent feel in the knobs (really the pots behind them) and the faders. The L2404FX-USB didn’t have this issue.  The knobs and faders all had a decent amount of resistance as they were slid or turned, and the amount of resistance was consistent across the board.  While this may seem insignificant to some, making finite adjustments can get very frustrating when the feel/resistance of the knobs and faders varies from channel to channel.  The quality construction makes this unit feel much more expensive unit than it is.

Features and Sound:

I’m happy to report that once plugged in, the unit is as quiet as can be.  It is actually much quieter than the unit I have been using. I didn’t have any of the standard issues that  inexpensive mixers are known for like hisses leaking in from channels that weren’t being used.  

Being someone who primarily records at home, I jumped right into hooking up the USB to my computer to see how it worked. Without doing anything other than allowing my computer time to recognize it, I was able to pull it up as an input source in Presonus Studio One v2 and Pro Tools First. Please realize, this unit isn’t meant to be a home recording interface.  It only passes 2 channels of audio (L/R).  This is ideal if you want to record a copy of a live show or a jam session, but it really isn’t designed to be your main interface for multi-tracking.  That being said, if you already have a smaller recording interface – I use a PreSonus Firestudio Mobile – by using the direct outs on the L2404FX-USB, you can quickly expand your number of accessible pre’s. With a few patch cables, I was able to hook up channels 1-6 on the mixer to my interface and went from 2 mic channels to 8.  

I’ve had several questions regarding the quality of the effects. The built-in effects, for what they are, are very good. In a small to medium venue or church, they are completely usable and would sound very good.  They’re incredibly user friendly and can be assigned to subgroups so that you don’t have to use them on all channels. I found the reverbs, chorus, tremolo, and delays to be nice and natural sounding.  The phaser, flanger, detune, pitch shift, were fun to play with, but I don’t actually see me using any of them in a live situation.

Back to my original comment “for what they are”, the truth is, with this mixer and really any mixer with built-in effects, they’re convenient and usable, but not as good as many of the rackmount effects out there.  Especially the higher end units.  I would say that the built-in effects are as good or better than pretty much any $200 or less unit.  If you’re using one of those, leave it home and just use the mixer.  If you do happen to have a higher end reverb you love to use, bring it along and use the aux inputs, there are 4 to choose from.  I actually found this to be one of the things I loved most about this board.  All too often, effects equipped boards either have no aux channels or only have 1 or 2 aux channels which essentially handcuffs you into using the built-in effects.  Harbinger has given their effects, but if you don’t want to use them, they have also given you as many aux channels as most non-effects boards of this size.

In conclusion, I was very impressed with this board, especially considering where it is positioned in the market.  Its street price is $399. At that price there are only a handful of other units available with this many channels, built-in effects, and USB out.  Based on my tests, Harbinger’s mixer didn’t suffer from many of the common flaws found at the budget end.  If you’re interested in learning more, you can find them on Herbinger’s site here, or on Musician’s Friend here.

The post Harbinger L2404FX-USB – Hands On Review appeared first on l2pnet.com.

Rockn Stompn Sequential Power Strip

The order in which audio gear gets turned on matters. Those of you with a bit of experience know this already but still, sometimes we forget. Or we get involved with something else that takes up mental bandwidth and the next thing we know, we have sent a speaker-shattering transient through the PA. It is a source of amusement and derision for pretty much everyone except the unfortunate soul who owns the PA in question.

For those who are still learning or who missed this part of class, a transient in the world of sound is just what it sounds like. Something that comes and then goes. Quickly. In a matter of milliseconds. Mostly when you hear talk of transients, it is in discussions about mics. How well do they handle transients. In this case that is gonna mean sounds with a very hard attack. Think of the initial crack of a snare drum or the impact of a cymbal. In both cases, the sound sustains and develops over a longer period, but 90% of the sonic energy comes in those first handful of milliseconds.

In this case we are not talking about any sound produced by any instrument. We are talking, pretty much, about electricity. It is a lot less of an issue with modern digital gear, but older analog stuff is different. If you have ever plugged a mic in to a system that is already on, you have heard one kind of transient. What you may not know is that some audio gear produces the same kind of “sound” when it is turned on. And that “bang” through the system can do bad things. Like shred speakers.

It is with this in mind that the Rockn Stompn Sequential Power Strip was created.

(Here’s a video. Shot by soundguy extraordinaire Keith Nachodsky at a venue where he does some work. This system is on a pro-level sequencer but something is turning on out of order. You can hear the thump as SOMETHING is turned on after the power amps are providing power to the speakers. As “thumps” go this one is minor. Imagine this at roughly 10 times the volume and you get an idea of the damage that can be done by turning a system on out of order.)

Let’s get the obvious out of the way first. The name sucks. Just way too goofy. So from here forward, we will use the MODEL name with is the RS-4 PLUS. It looks like your basic black heavy-duty power strip with eight outlets divided into four pairs. And on the end there is a stompbox-style footswitch. That footswitch is the on/off switch for the unit with a timely twist. When you stomp it, only the first pair of outlets initially gets power. Then a few seconds later, the second pair lights up and then the third and finally the last pair. (There is also a pair of very small rotary switches on the side that alter the timing of how everything turns on. More about this later along with an illustration of how I can be an idiot and how one should actually RTFM—Read the F%*$ing Manual—even for something as seemingly straightforward as power.)

The idea is that the stuff that actually powers speakers—power amps or powered speakers or even a guitar or bass amp—gets plugged in to the LAST pair of outlets. That way, there is no power to the speaker when anything “upstream” gets power. So those upstream items still produce a voltage transient when they come on, but you are not amplifying that and sending it out to blow up your speakers.

This is a real thing. I own a couple of old Mesa Boogie guitar amps and the coolest one is sitting in the shop right now, really unusable until the speaker gets re-coned. Any of you who have ever played a Mark Series Boogie (this one is a Mark IIB) know that they are LOUD amps. And I play gigs where we are often deemed “too loud” before a single note is played. That is partially the burden borne by anyone leading a band with a horn section and partially the kinds of gigs we play. Mostly casinos and some where the clientele is a bit on the grayer side and they are not really there—most of them—to hear the band. They are there to drink and gamble and pick up chicks and the band lies somewhere between added bonus, audio wallpaper and an actual annoyance for some of them. Bottom line is I have never had that amp turned up past about 2.

So how did the speaker get toasted? Probably by me unplugging and plugging in guitars while the amp is on. That horrifying sound you get when you do that is a kind of transient. Not the kind that the RS-4 PLUS is gonna help with—only me getting smarter and using a silent cable or switching the amp to Standby before switching guitars is gonna help that, but you get the idea.

It can literally happen with just one mistake. Turn the system on out of order one time and it CAN be enough to ruin a speaker. The re-cone on mine is gonna run me a couple hundred bucks. Expensive mistake…

It is not just the act of turning things on. If you have everything in a rack-mounted system—mixer, outboard gear and power amps—all plugged into one strip and you turn the STRIP off to save a couple of seconds instead of turning off the amps and then everything else, you have a possible speaker shredding on your hands.

My only negative when gigging with the RS-4 PLUS was pilot error.

We go through a lot of batteries between wireless mics, guitar packs and in-ears. A minimum of four on an average gig and as many as 20. So after a ton of research, I finally found rechargeables that are worthwhile. (For the record, we use Eneloop Pros. ) When we are on a multi-night gig, one of the things I do at the end of the night is to gather all of the batteries together and put them in their charging bays. At the time we did the review, I had to have three different multi-unit chargers—we are now down to two. One of those was plugged into the RS and one into the Furman Voltage Regulator/Power Conditioner that in turn, fed the RS. The battery chargers we were using at the time had to be removed from power and have power re-applied AFTER the batteries were placed in them. Force of habit, I loaded up the chargers and then powered off the Furman and powered it back on. The charger directly attached started charging but the one attached to the RS did not. This is because when it loses power, it does not come back on when power returns. You have to hit the foot switch again. So, the next night I was in a serious scramble for batteries.

But this does point to something to be aware of. If you blow a fuse on your club gig, when the lights come back on, your gear will NOT when using the RS-4 PLUS unless you hit the switch again.

Except it actually will.

This is where I should have RTFM’d. I never looked at those rotary switches or read the instructions printed right on the bottom of the RS-4 PLUS. This updated model has several different modes. The rotary switches are labeled On and Off with positions from Zero to 15. In “Standard Mode” each click represents one second. You can determine the amount of time between each pair of outlets turning on and have a different timing for them turning off. But when one of those is set to Zero, things get interesting.

With the On switch at Zero, you access Instant On Mode. Which would have saved me from myself. In Instant On, the RS-4 PLUS comes on—one outlet at a time—as soon as power is applied. The number on the Off switch determines the amount of time between each power segment and the times for both the On and Off sequences are the same.

With the Off switch at Zero, the first pair of outlets (Receptacle One) is ALWAYS ON, regardless of the sequence. You can use this mode to make sure power is never interrupted to something crucial. Like a computer that may be playing backing tracks, for instance. In this mode, the number on the On switch determines the delay in the on-off sequence.

When both are set to the same number, you access a Timer Mode in which the entire strip powers off after a set period of time. In this case, the seconds become hours. This is a great feature for venues where those who usually turn things on and off may not be around at the end of the gig. Example: A church gig on a Wednesday night youth service where the sound guy goes home to actually spend some time with his family before the festivities end. (Sound familiar, James Elizondo and Bob Lindquist and all you other church sound guys?)

All in all. The RS-4 PLUS is gig worthy and well-built and looks good. (Note to all musicians, white power strips form Home Depot do NOT look good an stage and they make you look like an amateur.) The new modes in the updated model make it as powerful as a high-end rack-mount sequencing units from, say Middle Atlantic costing close to triple the price tag on the RS-4 PLUS. (And if you happen across one that is not updated, no fear. The new modes can be added to older units via a firmware update which the company is doing for free. And the power-strip format (versus a reach mount) actually make it useable in more situations than a straight rack-mount.

You need to carry at least one power strip almost regardless of the instrument you play. Get one that makes you look like a pro AND protects your expensive gear at the same time.

The post Rockn Stompn RS-4 PLUS Sequencing Power Strip appeared first on l2pnet.com.

By Rev. Bill

If you have been waiting to switch over to an in-ear-monitoring system because either A) the systems available were complicated and difficult to set up and run for the musician who knows how to set up a basic PA but not much else about audio or B) they were just too expensive, then it is time to stop waiting.

There have been some fairly inexpensive in-ear systems out there but they have been OK at best. The Shure PSM 300 is designed from the get go with musicians in mind and it is priced at a level that… Well, let’s put it like this…both of the working players we had give the system a spin bought one for themselves. Without hesitation.

The PSM300 comes in a couple of different configurations but you need to ignore the low-end one and just go straight to the configuration called the P3TRA215CL. It’s a mouthful, but all you need to remember is that it includes a belt pack that is made of metal, not plastic, and it includes much better 215CL isolating earbuds.

OVERVIEW
The system consists of three pieces, the aforementioned 215CL earbuds, the P3RA belt pack and the P3T transmitter. If you decide to cheap out (it’s only 100 bucks difference, don’t cheap out) you get the P3R receiver and the 112GR earbuds. They are OK. But the higher-end package is so worth the extra Benjamin that… Like we said before, don’t cheap out.

The system operates in the 500 MHz band. Actually there are three options—the G20, H20 and J20—that cover the space between 488 and 590 MHz in 24 MHz chunks. This is important. You get one chunk that is 24 MHz wide and where in that wider range your chunk lies depends on which band you buy. Shure has made that decision really easy with a tool on their site that allows you to put in your city or ZIP code and see what frequencies are most open in your area. This doesn’t help those of us who travel for gigs that much but, especially for local players and singers, it is a valuable tool that will help make what can be the hardest (and to many musicians, undecipherable) decision in buying any wireless gear—matching a unit to frequencies that you can actually use—nice and easy.

Like any in-ear wireless system, you basically get a pair of inputs on the transmitter which can loop out to another unit but the PSM300 has some important differences that make it really well-suited to musicians who are not also audio engineers.

The inputs are 1/4”, not XLR. The audio geek side of me wasn’t happy with that when I opened the box. But after I used it for a gig and passed it along to one of the guys in my band to try, I was able to take a step back and realize that for guys like my bandmate, 1/4” makes more sense. Especially for singers who play an instrument and may not have a PA with a ton of Auxes for monitor mixes. Or a lower end, possibly analog mixer with only 1/4” outputs for those Auxes.

The P3RA belt pack has a single volume control as well as a variable control that can be used for either balance when using a stereo signal or to mix between two discreet signals that are sent to both earbuds in MixMode (more on that later). You also get additional control that the straight P3R lacks including some equalization and—crucially—a limiter. (The P3R actually includes a basic limiter as well but there are no user controls available.)
THE STORY
I have been a big believer in the use of in-ear monitors—for singers especially—for a long time. I have spent a lot of money to have several sets of transmitters and receivers in my live rack for myself and a few others in the band. The last few years have been super frustrating.

I have the gear and have been using the Presonus RM32AI as a mix system which gives me a whopping 16 Aux sends so I have enough to literally provide a stereo in-ear mix for every person in the band. And they are having none of it. Horn players appear to be morally opposed to in-ears. Singer and bass player who sings hate anything in their ears.

I have VERY slowly made some headway. Mostly by recording gigs and showing singers their pitch issues when they are on just wedges. We do a lot of three- and four-part vocal harmony and one person being a little flat can make the whole vocal sound like crap. I have had some help from the sound engineers at a couple of venues we play. They love us all on ears because it keeps stage volume down. And when you are in an 8-piece band with a horn section, stage volume is a constant issue. At this point I have the trumpet player on ears, myself, the drummer and—just recently—the keyboard player who sings backup and two or three leads a night. So we are halfway there.

Because the keyboard player is pretty stationary, he was using actual headphones and an Aphex HeadPod headphone amp driven by a mix that I sent. But the real danger of a setup like that became reality on a gig a couple of months ago.

When you have a mixed system of ears and wedges onstage, it is crucial that everyone on ears has a limiter in-line or built-in to their system. That HeadPod does not have one and we were trying to get monitors sorted on a gig and got hit with a blast of feedback from one of the wedges when the system came up to volume. It was physically painful for Bill, my keyboard player. After that, when I told him we had the PSM300 coming for review and that it had a limiter built-in, he jumped at it.

THE GIGS
I was the first subject. Gig was a five-night run at the Casablanca in Mesquite, NV—a venue we use often for reviews. I got the box from Shure just before I left for the gig and brought it along. For the first couple of nights, I used the system that I have mounted in my PA rack as normal and switched it out for the PSM300 for the last two nights of the gig.

I was thankful that I carry way too much stuff—I am of the philosophy that I would rather have it and not need it than need it and not have it—so I had XLR-to-1/4” adapters. Popped those onto the XLR lines that I removed from the rack and plugged in to the PSM300 and I was ready to go. Turned it on and hit the Scan button to let the transmitter find a clean frequency and then the Sync function to pair up the transmitter and receiver. I even used the 215CL earbuds instead of my customs.

To be honest, even though my customs sound better than the 215CLs, using the universal-fit buds that came with the PSM300 made for a better gig experience overall. When I am on my custom-fit buds, I can only use the one-ear-in method most of the time because I have—as I noted before—a singer who I need to communicate with and a horn section leader I need to communicate with and both refuse to go to in-ears. If we were on a closed system, I would have an open mic onstage that fed only the in-ears which would make life a LOT easier. But that system does not work well with wedges. Anyway, the looser, less sealed nature of the fit of the 215CLs allowed my to play the whole night with BOTH buds in and still hear enough ambient sound to communicate effectively. (This is a big deal as going with only one bud in is very much NOT recommended. In many ways it defeats the purpose of going to in-ears. Try to avoid doing it.)

I only had one issue with the system. It TEARS through batteries. There is a rechargeable option and I would seriously consider it. Either that or invest in some good Eneloop Pro rechargeables. I turned the receiver off between sets and it still died about 15 mins before the end of set five. If, like us, you do “grinder” gigs like casinos where you play five hours over a six hour period every night, have TWO sets of batteries and change them out after set four to make sure you get through the night. (Shure told us they expect approx. 6 hours on a set of AA batteries and to be fair, my hearing—after playing in live bands for more than 40 years—is compromised and I had the belt pack volume control pretty close to railed. If you are at a more reasonable volume level, you may find you get better battery life. But I would still have an extra set on hand. Better to have it and not need it than to need it and not have it…)

Subject two was my keyboard player and we got to break out the MixMode with him. And I think that was a big part of why he decided to buy the system. I set up two mixes. One was what I would typically give him as a mono mix for a wedge or his headphones—he also wears one-off for the same reasons I have to—and a second one that was ONLY his vocal. Between the volume control and the Mix knob on the side of the receiver, he was able to dial in a mix that had enough of his vocal and could even boost that in his own mix on the tunes he sings lead on. (And, like me, with the 215CLs he was able to wear both buds which is vastly preferable.)

This is one of the places where the PSM300 using 1/4” inputs works well. His keyboards feed into a rack-mount, older Alesis line mixer and the outputs are all 1/4”. So if he is really focused on hearing himself, he can use that same MixMode and make one of the inputs a feed off his keyboard mixer and the second one a vocal heavy feed coming from me. If you are a guitar player, you can do the same thing. If it’s an acoustic, plug right into the PSM300 and then loop out to the PA. If it’s an electric, use the FX loop on your amp to feed the PSM300 then loop it back out to your amp and take an Aux that’s vocal heavy if you sing or that has whatever you normally want to hear if you don’t sing. What this approach does is allows you to have a pretty instant “more me” mix.

The final subject was guitar god with the Vegas-based Voodoo Cowboys, Matt Woodward. His experience with the system is on video and will be posted in the next few days.

BOTTOM LINE
At a list price of $799, the PSM300 is the highest-quality and most affordable option for in-ears that is seriously aimed at musicians and not engineers that we have ever seen. Street price is closer to $700 bucks and at least one on-line retailer is offering 0% interest for several years making for about a $15 a month payment. Even if you are only doing a gig or two a month, at that kind of outlay, this is a no-brainer solution for players and singers who are finally ready to 1) be able to really hear onstage, 2) save their hearing and their voices (being able to really hear means most singers do not push as hard and end gigs with less vocal fatigue than singers who insist on staying with wedges and, 3) stop contributing to the onstage volume arms race.

The post ROAD TEST GEAR REVIEW: Shure PSM 300 In-Ear Monitor System appeared first on l2pnet.com.

By Rev. Bill

There has been a cornucopia of wireless lately at the palatial L2P/SPL West HQ. I feel like I have written about nothing but wireless systems for ages. But this one is special for me.

You see, I took a lot of crap for my early and enthusiastic adoption and support for digital wireless. That started about 15 years ago when I met Guy Cocker and Jamie Scott at a fledgling company called X-Wire. Guy was the first person to figure out how to make digital transmissions work for music. It was, he told me back then, all about error correction. Analog wireless never had to worry about this because it transmits in an uninterrupted stream. Digital transmits in “packets” of bits and bytes and the packets are reassembled into a re-creation of the original data stream on the receiving end. If any of those packets become corrupted or arrive out of order due to things like interference, you are hosed without really good error-correction. I’ll leave it at that but if you want to geek out on it check HERE

X-Wire was sold to Sennheiser who pulled the same thing RCA engineers did when that company bought Fender and needlessly “improved” a product that worked and people loved so that it fell in line with their idea of “good engineering.” (Mesa Boogie founder Randall Smith once famously commented that RCA engineers understood good engineering but had no idea what kind of distortion sounded good to a guitar player stoned out of his mind on Thai weed…) The result was the System 1000 which was such a flop that you can’t even find them on eBay. Then, when his non-compete agreement expired, Guy launched his own actually improved version under the moniker X2 at Summer NAMM 2007. They showed their new guitar wireless and—crucially—met Line 6 founder Marcus Ryle. By Winter NAMM 2008, Guy had a prototype of the world’s first digital wireless vocal mic and it was the talk of the show. By March of that year X2 had been bought by Line 6. Jamie eventually went on to found the highly regarded amp company 3RD Power and Guy is still at Line 6 and still the driving force behind their family of digital wireless products.

The Line 6 thing is important beyond just the fact that Guy’s latest wireless creations carry their brand. The MI and pro audio worlds—and even the overall music industry—have been upended several times by Ryle and his cohorts at Oberheim and Alesis before he even started Line 6 and made amp and effect modeling more of a norm than a geeky exception in music creation. It took the rest of the universe of companies that make guitar and mic wireless almost a decade to get onboard with digital and 2.4 GHz. But knowing the history and that Marcus had seen the potential of this technology to the point of buying X2 confirmed what I thought when I first met Guy and Jamie and is really why I was such an early and vocal  proponent of the technology. I have a deep respect for Marcus and really consider him to be a visionary—which is not a term I use lightly. If Marcus says it is worthwhile, do yourself a favor and listen. It is not a coincidence that pretty much every company that dismissed the tech early on, now makes their own version. And some of them are very good.

I started using the Line 6 Relay G50 as soon as I could get my hands on one. I used it for years and was always really happy with it, although I will admit that another guitarist who I had give the unit a spin hated it. Because it was “too clean.” Which is one of the things I loved about it.

But the G50 was getting a little long in the tooth right about the time I went to the Winter NAMM show in 2015. I had suddenly and unexpectedly gone from someone who played the occasional gig to doing close to 100 dates in just a couple of years and I am hard on gear. I dropped by Line 6 at the show for the obligatory walk through their latest stuff and saw the G70. I started lusting after it pretty much right away.

The G70 is not an incremental upgrade. It is not going overboard to describe it as a re-imagination of guitar wireless. Other mfgs have been adding “extras” to stompbox-style guitar wireless systems for a while. The Audio-Technica System 10 has a built-in A/B box function and the Shure GLXD sports a tuner as two examples. But the “extras” on the G70 open possibilities that no other system can.

It has three outputs—two 1/4” and an XLR—and an Aux input. And it’s programmable. Here’s how that works.

You can define eight different setups or scenes. Each one allows the user to select which output (or outputs) that scene uses. So, not only do you have a virtual A/B box for those who use two different amp setups, but if you are using, say an acoustic guitar that really needs to get into the PA, you can choose the XLR output. You step through presets using a standard stompbox foot switch.

The ability to do this is a big deal. In the past, most of us using wireless had to go wired with the acoustic because it needed to get to a direct box and not the guitar amp setup. Unless you are using some kind of effects on your acoustic, the G70 allows you the same freedom you had with your electric guitar with an acoustic.

More than just the output is definable on a per-preset basis. For me, this is the big one: Adjustable output gain.

On most gigs, I play three different guitars: A 1968 Gibson ES335, an Epiphone Riviera with three P90s and a “clone” Gretsch Black Falcon. From time to time I will switch one of those out for a Reverend Avenger. Obviously very different tone signatures, but also wildly varying output levels. The 335 has been through a ton of changes in terms of pickups and wiring including at various points; coil-split switches, ultra-hot pickups and a Ghost bridge with embedded piezos in the saddles for a quasi-acoustic tone. But last year, we took it back to as close to stock as possible including all-new wiring. That wiring change (Recommended and done by Neil Smith at Vegas Custom Guitars has opened up the instrument massively and it is now the highest output of the four. (The Riviera had that title prior to the wiring change.), The Riviera is a little lower output, the Reverend a little lower than that and the Black Flacon a bit lower than all the rest.

The majority of my gigs are in casino lounges. Volume is a huge issue. In order to keep my vintage Mesa Boogie Mark III under control, I use a THD Hotplate  and that actually does double duty as a way to even out the output between guitars as well attenuating the overall volume of the amp. When the 335 is in use, the Hotplate is set at -8dB, with the Riviera, it’s at -4dB and the Black Falcon or the Reverend are at 0. It works but it’s a pain and increases the time it takes me to switch guitars. And when the dance floor is pumping, that extra few seconds can kill the vibe.

All of which explains why I was super interested in the idea of presets that include the ability to manipulate the gain of each guitar at the point where it hits the rest of the signal chain.

Now, the real idea here is that each preset will also have its own transmitter. Which is great if you are a touring band making enough dough to pay for a couple of additional transmitters. (They list for $279 each and you can find them in the usual online locations for about $199). But for the rest of us, the transmitter does not attach to the guitar strap, it attaches to a belt or gets put in a pocket and we unplug and plug in with each instrument change just like we would if we were wired.

When you add new scenes, the default workflow is that each new scene is on a different transmitter channel. But—and this is a case where you really want to RTFM or you’ll miss it—it is possible to set up more than one scene using the same transmitter channel. So it is possible to get the same functionality of varying output levels with a single transmitter

Switching between scenes is cake. Hit the footswitch and it will cycle through existing scenes, returning to the first one when the switch is depressed with the last scene showing. The LCD for reading what scene you’re on is large and bright and very easy to read and—addd bonus—you can choose a color to correspond with each scene. The transmitters come with a set of colored plastic collars that correspond to the colors for the scenes and that screw onto the input to the transmitter. When you get the G70, the transmitter has the black collar on by default but replacing it with a different one is quick and easy and does not require tools. The idea here is that if you are using multiple transmitters, the collar color on the transmitter and the scene color on the receiver match, which makes it fast and easy to make sure the right transmitter is hooked up to the right guitar.

As long as we are talking about the transmitters, this is one of the things I like most and that will be appreciated by traveling players more than anything. Every other wireless for guitar I have ever used—including previous Line 6 models—used a mini-XLR input. Which means you needed a special mini XLR-to-1/4” cable. And if the cable dies or you lose it or the dog eats it in the middle of a four-night run, you are likely hosed. Because even if there is a music store in town, they probably do not stock that particular cable. You are gonna have to go online and order it. And they are not cheap. Plan on spending between $20 and $30 for a foot-long cable.

The G70 has a standard 1/4” input to the transmitter. It ships with a very nice 18” cable with a locking collar on one end so it can be screwed tightly into the transmitter. But, if cable tragedy arises, it can be replaced with any standard 1/4” guitar cable. I don’t know about you, but I probably have a half-dozen foot-long cables in my gigging toolbox. And if you don’t (first, shame on you because cables—even on pedal boards—fail all the time and having a backup is a basic part of what should be in any gig bag), you can pick up a backup for under $10.

Couple of other cool features. Like we already noted, there are two 1/4” outputs for feeding amps or FX units and an XLR output for feeding a PA direct. There is an additional 1/4” output called Tuner that is always active regardless of how a scene is setup. If you want to use a specific tuner, you can feed it from that output and pressing and holding the footswitch on the G70 for two seconds will mute the other outputs and just leave the tuner active. OR, if you do not plug anything into the tuner output, pressing and holding for two seconds mutes all the outputs and activates an internal tuner.

And there is an Aux In 1/4” that can be programmed on or off per scene. For the first gigs I did for this review, I set up all the scenes with it active and kept a 15-foot cable plugged into it as a backup in case I had a battery die mid-set. I never had to use it. But the way the Aux In is implemented is pretty clever and not obvious right away. There are two modes: Always On and Scene Only. Scene Only mode is the mode I used but, for the purpose I had in mind, I could have done it a better way. With the Aux In in Always On mode, the input is active BUT MUTED as long as the transmitter is active in any preset. So this means that you can keep a cable plugged in for emergencies and not worry a lick about hums or buzzes or added noise from an “open” cable sitting on the stage. It’s ready to go and if the transmitter dies or is switched off, you are instantly ready to plug in and rock out in a wired fashion. Very clever.

And, while we have been talking all about the G70, there is another version called the G75 with all of the same features but it is in a non-stompbox format suitable for placement on top of an amp rig or for those touring guys with guitar techs who are playing in situations where all amps, effects ,etc live with the tech and he or she does all of the switching (which is pretty common among bigger acts). If you like the format of the G75 and don’t have a guitar babysitter, there is an additional jack on the G75 version that accepts any momentary footswitch which allows for stepping through scenes/presets just like on the G70.

That leaves power and data—the only areas where I ran into problems.

All of the Line 6 wireless stuff—being digital—can be updated and upgraded via firmware. That used to be a fairly daunting process. I had done it with both a Vetta guitar amp and an XD-V 70 handheld wireless mic system and it was not what I would describe as fun. But, starting at least as far back as the POD HD stuff—and maybe earlier—Line 6 started to include some kind of USB connectivity which makes firmware updates MUCH easier. In the case of the G70, it is micro-USB and there is a port on both the transmitter and the receiver.

Now, USB can be a data conduit and it can also provide power. That is how those little portable hard drives and even USB thumb drives work. They get power from the USB connections as well as using it to send and receive data. So when it comes to powering the G70 you have two options. There is a standard 9VDC, 500MA input. But the unit does not ship with a power supply for that port. That is optional. Instead, it ships with a wall-wart power supply with a standard USB port on the top and a cable that is standard USB on one end and micro USB on the other. And the G70 is powered via the USB port.

I would love to see Line 6 change the standard package and include a power supply the plugs in to the 9-volt input. Here’s why. The connector is just beefier. Not just on the cable end, but the actual internal connector that attaches to the circuit board. A micro USB connector is designed for uses that do not include residing on a guitar player’s pedal board. They are pretty flimsy. And in my case, I was able to knock it off the circuit board by plugging it in a bit too roughly. The good news is that if you have an appropriate 9-volt adapter, you can plug that in and be good to go. If you are like me and have been playing with gear for a while, you probably have a shoe-box full of wall-wart power supplies and after a bit of searching I was able to find one that works. In my case it says TC Electronic on it and I really don’t remember what it came from. But if you have something that will power the G70 from the 9-volt jack, it would suggest using it. Or, Line 6 sells one as an accessory.

When I talked to Line 6 about this, they said they had only ever heard of it happening one other time, so this is hardly an indictment of quality control or design. I would just rather go with the connector I have more faith in.

THE GIGS

I have been using the G70 for a few months now.And it has been great. I have never suffered a glitch or wireless dropout and the battery life is stunningly good. A huge improvement over the previous generation. As I mentioned previously, I do mostly casino lounge and bar gigs. These are “grinders”—typically four or five hours of playing time in a total period of five or six hours. I can get almost TWO full nights out of one set of batteries.

I have seen a couple of reviews online that claim to have issues with getting interference and dropouts. I have used the G70 now in at least four different venues without a single hit. And one of those was a BAD environment for 2.4 GHz wireless. I have written about the Splash Lounge at the Aquarius in Laughlin, NV before, but not this part. My band, Rev. It Up, uses quite a bit of 2.4 GHz wireless. Three Audio-Technica System 10 PRO belt packs for the horns plus the Relay G70 for my guitar and our female singer uses a Line 6 XD-V 75 transmitter with a Heil PR30 head. Oh, and there is a router in the PA rack to set up a local network so I can control the PA from my iPad. The Relay G70 is newer tech and I think uses four antenna vs the two on the XD-V 75 and the System 10 Pro uses a frequency-hopping scheme akin to military-grade spread spectrum and they were fine. But, bottom line is we had to ditch the XD-V 75 and use the standard wireless that the house had available because it was dropping out—a lot.

The deal with 2.4 GHz is that it is the same spectrum used by a lot of wireless routers for computer networks. And, with the increasing number of devices—musical and non—in that bit of bandwidth, you have to be smart about managing devices. (The reason we had issues in Splash with the mic was that there is a powerful router in the room next to the lounge. In theory, it is there for vendors to use when they are on property and so it should be pretty quiet at night by the time the band is on. In practice—as should be expected in the real world—anyone who works at the casino who has ever been given the password to that router has it saved to their phone so they can be on wi-fi at work and not have to burn their cell plan minutes. Bottom line is that it is a very busy little router pretty much 24/7.) Almost all 2.4 GHz wireless devices include a Scan feature that will scout out a clean frequency. Use it whenever you can. But again, despite a crowded environment that took one of our devices out, I had not a single dropout with the G70. And this was not a single gig. This was 19 nights over a four-week period. A 90-minute set followed by a 30 minute break, another 90 minute set and 30 minute break and a one-hour set to close the night. That makes more than 75 hours of stage time without one dropout. As far as I’m concerned, it’s bullet-proof.

It is not the cheapest guitar wireless out there but at about $399 typical online price (MSRP is $699), it’s within 50 bucks of the other options and with the additional features plus the fact that it is all-steel construction (Did I mention that? Yeah, it’s beefy and there is like zero plastic), it’s worth the bump in price. It sounds great and it’s so flexible that it is just silly and it’s reliable—especially for those of us who play multiple guitars on the kinds of gigs where we have to depend on the gear to work every time.

The Relay G70 is literally my favorite guitar wireless system ever. And I have used a bunch of ‘em.

The post Line 6 Relay G70 Guitar Wireless System appeared first on l2pnet.com.

By Rev. Bill

I had a size problem. It was too damn big.

In November of last year I did the longest run of gigs I have ever done at one venue. We did 19 nights in a span of 25 days at the Aquarius in Laughlin, NV. And I had a epiphany about gear. Well, to be more accurate about broken gear.

The run was five-days-on, two-days-off for four weeks and in the middle of the 2nd run, I had two guitars—out the three I was carrying—go down. Weird coincidence, but both my 335 and my Black Falcon had one of the wires that feed the output jack come loose. If you have ever tried working on semi-hollow or hollow-body electric guitars, you know they are not easy. All the work has to happen through the F-holes. I made a trip to the local Wal-Mart and bought some fishing line and paper clips for fishing wires out of the body and tying the parts off and grabbed the soldering iron out of the toolbox that I carry on every gig and sat in my room trying to fix ‘em. I succeeded with one and got through the week then headed back to Vegas and my guitar savior Neil Smith who fixed them properly.

But in the days off that week, I thought a lot about gear and gigs and being in a town where the nearest music store was 100 miles away. That is actually a fairly typical situation for us when we play out of town. “Away” gigs for us mean Laughlin and Mesquite. One is 100 miles south of Vegas and the other 100 miles north and neither have a music store.

The guitar situation was a drag but I carry three so I got through it. But I only carry one amp. And it is a 35-year-old-ish Mesa Boogie Mark III. A tube amp. Notoriously finicky. It sounds great but if it went down in mid-run, I was screwed. I needed some kind of backup.

I initially turned to a Line 6 POD HD400. A great piece of gear. I have used most of the same FX modeling that is in the HD400 for a while but I used it in the form of the M9 multi-FX unit from Line 6. But the HD400 added amp modeling and and onboard wha and direct XLR outs that could feed a PA. I tore apart the pedal board i had used for the past couple of years and put the HD400 and my Boogie channel switches and my talk box right on the floor of the stage and finished out the run like that.

It worked OK. I am used to the M9 with six switches for accessing specific effects and the HD400 is set up very differently with three FX slots and each of those fairly limited in what kind of FX they can produce. Ironically, I don’t use a ton of FX. An overdrive, a compressor, a tremolo , a phase shifter and a delay. Pretty meat and potatoes. But getting the combos I wanted on the HD400 was a bitch. The slots are basically setup as drive FX in slot 1, modulation FX in slot 2 and time FX in slot 3. All of that meant I had to set up four different banks to make the combos I wanted and I was still not able to get back to what I was used to.

So when time came to put together a new pedal board I changed my thinking. The HD400 was my backup. I needed it for amp modeling in case my tube amp went tits-up on a gig.So, I grabbed the M9 again and put it all on one board.

And it was enormous.

The Old Pedalboard From Hell. It barely fits into the photo frame.

On the Line 6 tip, the HD400, the M9, a Relay G70 wireless and the non-Line 6, two channel switches, a Heil talk box with a little amp to drive it and an Aphex Xciter. It was more than 44 inches wide and weighed more than 50 lbs. I had no case so I built a frame inside of a giant duffel bag and put wheels on it. It took up so much space in my smallish car (a Chevy HHR)—in which I somehow manage to pack a full PA and my guitar gear—that I found myself in my driveway at 4AM pushing and shoving gear trying to make it all fit before leaving for another out of town run. And it took up a huge amount of stage space.By the time I had done a single run of gigs with it, I knew i had to make a change.

I have known about Tech 21 for a very long time. I first met the team at their HQ in Manhattan back in the ‘90s when I was doing GIG Magazine. Yes, they proudly and somewhat unbelievably manufactured their products in a building in NYC for a very long time. Up until 2002, when they expanded and moved 14 miles west to Clifton, NJ.

But I had never really used any of it. We did a lot of Tech 21 reviews over the years but I always assigned them to someone else. Up until less than a decade ago, I was a modeling amp guy—largely because I play the kinds of gigs where volume is a huge big deal and I need big tone at low volume. When the newer digital modeling offerings stopped offering models of the Mark Series Mesa Boogie combos—my preferred amp models—I tried to make due but could never get the tone I wanted and finally did what I had wanted to do since the ‘80s and bought a couple of Boogies. It was around 2008 and the financial meltdown and I was still making really good money as the editor of FOH Magazine and I checked Craigslist several times a day. I scored on some good gear deals.

About the time I was freaking out over the size of my Monster Pedalboard From Hell, the band went into the studio to record tracks for a new video promo. About eight 30-second song “sound bites.” Per the instructions of the agent who asked for this, no solos. Emphasis on vocals and the horn section. I was playing rhythm guitar and most of it clean so in the interest of simplicity, we ran the guitar direct. There was no way there was room for that board, so I used the rack-mount Tech 21 SansAmp that was in the studio. And I really liked it.

So I emailed the Tech 21 folks who, not being millennials, actually read and answer email. And I explained my situation and asked if they had a solution. I needed something that provided some kind of amp emulation (Tech 21 is NOT modeling but more on that in a bit…) that wasn’t huge but that had at least a good clean rhythm and high-gain lead sound. And they responded quickly saying that what I needed was the Richie Kotzen RK5 Signature Fly Rig. So I asked them to send one for a review and if I liked it I would sell the HD400 and buy it. (I shipped the HD400 to its new owner about a week ago…)

When it arrived I had no idea what the box was. I thought it looked like business cards but I knew I had not ordered new cards in months. I was astounded to open the box and see this little tiny pedal board. I fired it up and was pretty happy but was using it to drive a real amp (an early ‘60s Fender Princeton that I bought at a garage sale 30 years ago and that is in my office). The test would come at the next rehearsal where I planned to run it right into the PA.

WHAT IT IS

On the surface it’s like a three-slot mini pedal board. But there is hidden stuff.

Starting in the middle, there is the famous Tech 21 amp emulation. It can be overdriven but it is voiced for a clean sound. To the left is a very good delay section with a hidden setting that will give you a decent chorus-like sound and to the right is a section titled OMG. This is where the RK really comes in. It stands for Ritchie Kotzen—a hotshot guitar player best known for replacing C.C. DeVille in Poison and Paul Gilbert in Mr. Big and for the band The Winery Dogs with Mike Portnoy and Billy Sheehan. It stands officially as maybe the favorite distortion unit I have ever used. Ever. On it’s own, it’s pretty good. But in conjunction with the dirty rhythm channel on the Mark III it is magic. Getting the rhythm chunk of a 4×12 out of a combo amp is supposed to be impossible. But it just kind of magically happens when the OMG circuit is engaged. It has literally changed the way I play. I am substantially more aggressive when using it.

The RK5 is all-metal and powered by a standard wall-wart style power supply. Oh and I nearly forgot. There is a clean boost available in the OMG section, too.

The rubber really hit the road at the next full band rehearsal. I brought a guitar and the RK5 and two cables and nothing else. The output ran into the rehearsal PA. As mentioned earlier, the Tech 21 stuff is an all-analog emulation of a guitar amp. It is NOT digital modeling. And, I know I’m late to the party, but at this point I am liking it better. There are no weird artifacts and it just sounds chunky and REAL. I dialed in a sound that was pretty close to clean with the guitar volume dialed back and that broke up just a little when the guitar was maxed. The studio where we rehearse has a large selection of good guitar amps including Fenders and Marshalls. And I promise that not using them was not missed at all. It was nothing short of a revelation to be able to carry something so small and get through an entire night.

So, here is where we stand…

I wanted something to use as an emergency backup. What I got was a piece that has become an important part of my rig even when I am using an amp, The RK5 can do double duty and allow me to go direct if my rig bites the dust or if volume concerns demand a direct input. Plus, my board is WAY smaller now. The RK5 has made me more than a bit happier. It’s a keeper.

The post Gear Review: Tech 21 RK5 FlyRig appeared first on l2pnet.com.

Over the past few years, I’ve used and reviewed several digital mixers—often times learning them on-the-fly while working with live bands. While I don’t profess to have earned my digital black belt, I have enjoyed learning the kicks. At the moment, my go-to for most events is a PreSonus StudioLive 16.4.2AI. I have other favorites but I like the PreSonus because it was easy to get comfortable with and has (thus far) held together very well. But sometimes, I just don’t need 16 channels.

6+2=ProDX8

As with analog mixers, digitals come in all shapes and sizes with varying channel counts and configurations. The more you get—the more it costs, usually. So, what if you are a small band on a tight budget. Let’s say you need a maximum of 8 input channels and a couple of auxes for monitors—something basic to keep everyone in balance. Oh, and as you probably don’t have a sound guy, the lead singer, drummer, or bass player will need to mix right from where they are performing.

Well, Mackie’s ProDX8 may be just what you are looking for. The ProDX8 is about the size of a standard paving brick (9” x 5” x 4”) and feels solid enough to pass for one. There are six mic/line ins (channels 1-6) and one stereo line input (channels 7&8). A single “encoder” (formerly known as a “knob”) can be assigned to any channel or function. For example, to control the gain of a particular channel, just press the button assigned to that channel and set the gain by rotating the encoder. In a like manner it can used to tweak channel EQ, adjust compression, add one of the on-board effects and set the volume in the headphones.

On the back side, combo Mic/Line (XLR & 1/4”) jacks are provided for inputs 1-6. The stereo channels (7&8) feed off a mini-jack or built-in Bluetooth. There are left and right main outs along with two aux outputs for monitors or for additional zones. Main and Aux outputs use balanced 1/4” jacks. (BTW: If you don’t need 8 mic/line ins, you may be able to get by with the ProDX4).

There are no faders on the base unit—just that one knob. While that works fine in a pinch, it’s better when you using an iPad or iPhone as the interface. A handy slot runs right along the top of the ProDX8 to position said iDevice.

At this point, I suggest you go to the app store and download Mackie’s “Mixer Connect” (available for iOS and Android) Run it in “demo” mode as you follow along.

Touch Screen Mixer Interface

As you can see, the Mixer Connect interface looks quite familiar. At the top of each channel strip there’s a mute switch. Click on the icon with the 3 horizontal sliders at the bottom of the fader to bring up several other options. In addition to controlling gain, each channel has several EQ options along with compression and a slate of popular reverbs and effects. There’s also a seven-band graphic EQ accessible through the main channel. So you have all of the basic control and processing needs right on your iDevice.

I recently used the ProDX8 for several events—most recently to mix sound for a quartet with guitar, bass, keys and two vocal mics. The room was particularly lively so I was more than a bit concerned about feedback. To ring out the sound, I set everything flat mixer on the mixer and then powered up the left and right mains (Mackie SRM 650s), the subwoofer, and a small 10” monitor. While the EQ options available are pretty basic, you should be able to a good gain before feedback sweet spot. Then again, so much depends on the room, where your monitors and speakers are placed, how many mics you need open and how loud you need to be. Using just two mics (Audix OM2), I had no feedback issues at all.

Going Live

Of course, what happens during soundcheck versus when the room is full of sound absorbing humans is two different things. Using the iPad interface, I made a few first corrections to the room EQ (main channel) to bring forward the high-mids and tighten the low end to improve vocal intelligibility. A fair amount (30% or so) of compression was added to reduce the dynamic range for a more consistent vocal level and accentuate the beat.

Wish List
While the ProDX8 has all the inputs needed for up to six mics and instruments plus a stereo line in, I wish they had included a USB connection. They didn’t. As I needed to us my computer as a music source, I created my own USB port using a PreSonus AudioBox iTwo. This work around not only provided a way to connect to the USB port on my laptop, but also added another gain control point. As the AudioBox iTwo takes its juice right from the computer, I needed only two AC outlets—One for the laptop and one for the Mackie ProDX8.

When using the Mixer Connect interface, the iPad (or iPhone) connects to the ProDX8 base via Bluetooth. When it worked, it was great. But it’s not (yet) totally glitch free.

On average, the iPad has lost connection with the ProDX8 base at least twice every time I’ve had it out. When this occurs, Mixer Connect reverts to the demo mode—the audio is unaffected and you can still adjust gain with the buttons and encoder knob, but you have no visual way of knowing what you are doing. To re-establish the connection, I found that switching Bluetooth off and then back on in the iPad’s settings brought it back without any hiccups in the audio. Easy to fix, but still a pain—and it really didn’t seem to have much to do with the distance the iPad was from the base (as long it was within 15 feet – but hey, it’s Bluetooth, not Wi-Fi)  The second item on my wish list would be a way to hard wire the iPad to the base so that a more stable option other than Bluetooth would be available.

If this happens too frequently, try resetting the network settings (see below). Aside from the minor issues with Bluetooth connectivity all else went well. Mixing on the fly with a touch screen takes a bit of practice as it behaves quite differently—specifically, it lacks the positive feel you get from wrapping your fingers around a fader knob. Holding the iPad and using your thumbs to work the sliders seems to work best. You may also want to check out one of the stand mountable iPod holders available from IK Multimedia, VocoPro and other manufacturers.

Mackie ProDX8 – Typical online price $299.

Note: If you want to play music off the iPad / iPhone that you are using as your control surface, best to hard wire to channel 7/8. Streaming audio from the same iPad that was being used as the mixer interface seemed to work, but as long as you can hard wire it, why not.

To reset your iPad/iPhone network settings: From techradar.com – Go to Settings > General > Reset > Reset Network Settings. It’s the third option down. You’ll want to avoid Reset All Settings and Erase All Content and Settings.

The post Mackie ProDX8 — A 6-Pack To Go appeared first on l2pnet.com.

I have been a pretty tireless advocate of getting musicians on in-ear systems for monitoring for a really long time.  And I run up against the same three objections all the time.

1) Isolation. This is actually a FEATURE of custom in-ears but some people don’t like it

2) Hate the feeling of something in their ear. Not a lot I can do with that one

3) Cost. Which is one I totally get. Custom in-ears are pricey. And add a trip to an audiologist to have molds made and it increases both the cost and the hassle factor.

I was a fan of really good universal fit in ears because the address two of those three issues, They do not isolate as much as customs and the cost is literally pennies on the dollar compared to custom fit models. But the choices have not been good lately. Future Sonics used to make a great set of universals called Atrios but they are no longer available. JH makes a universal fit version of the Roxanne series but the are still $1299. And the universal stuff from Ultimate Ears and Westone… I have just not been super impressed. (Although I have and like the customs I have from both companies.)

So I was intrigued by an email I got touting a Kickstarter campaign for some new Universal fit stuff out of the UK made by a company called Flare Audio. Small. All-metal. And–this is big–removable and replaceable cables and drivers.

I had them send me a set and I like em. Way more low end than I expected out of a universal fit that is so tiny and solid his. The highs can be a little sibilant but for those of us with compromised high-end hearing from years of gigs, it is nice to be able to hear the high-hat again.

There are some really interesting design features. I was initially taken aback to see no strain relief. This was on purpose as Flare says that it is crucial that the entry point of the cable be tiny to ensure quality sound. They have opted for chamfers inside the body to hold the cable and claim that in their test, when abused the cable will eventually break but not at the body. I’ve been pretty hard on ’em and no damage so far.

But that brings up the really cool thing here. You will be able to get a replacement kit with a new cable and driver set for about $35. And there will be various options including a braided cable (great for stage use) different angled ends and even one with a mic and remote for using with your phone. This can really be a “one-set” deal that you can adapt for stage or everyday use.

At $120 (If you do it via the KickStarter campaign that has just 12 days to go…) they are roughly 1/10th the cost of customs. Nothing will ever replace a good set of pro, custom-fit in-ears. but if you want to try it out without dropping $1200+, the Flare R2 is a great way to go about it.

The post Flare Audio Universal Fit IEMs appeared first on l2pnet.com.

There’s no questioning that sound engineers really like gear, and that advancing technology prompts audio manufacturers to feed that addiction. There was a time when bragging rights came with owning racks of processing. Today, however, it’s all about leveraging technology so we can achieve more by doing less.

With a small footprint, unparalleled processing power and the flexibility to mix on almost any touchscreen device, the PreSonus StudioLive RM16AI and the StudioLiveRM32AI Rack Mount Digital Mixers series are the poster children of this less is more concept. The plethora of features built into these rack-mountable black boxes rivals mixing consoles that cost twice as much.

Here’s what I’m talking about: First, both the RM16AI and the RM32AI come with 16 XMAX or 32 respectively Class A solid-state recallable mic pres. Add to that direct Wi-Fi and wired LAN communication, an onboard FireWire S800 interface, a tightly integrated software suite for Mac, Windows, and iOS and a fast and intuitive workflow.

For old school engineers who argue that the true feeling of mixing comes only with knobs and faders, PreSonus designed the UC Surface “Battle Ready” respecting that sound engineers never know what to expect when the band hits the stage. You could be walking into a war zone so the StudioLive RM series mixers with UC Surface have your back. As PreSonus states in the brochure “UC Surface works the same on all three platforms, supports iPad and Windows 8 touch-screens, and networks via wired or wireless connections.” The workflow on the UC Surface is logical. “You can see everything you need when you need it, and the most commonly used and important functions are only one or two touches away.” Want to learn more? Just click here and we’ll continue this walk-through at productionmaster.com

Or you can find a full review in the L2P eZine. Or is SPL is more your deal, you can find it THERE as well.

The post Walkthrough: StudioLive RM16AI/RM36AI From PreSonus appeared first on l2pnet.com.