GiZmo GuerillA

KRK ROKIT 8 G3 8" Powered Studio Monitor

2017-05-26T05:16:00.005-07:00

I'm definitely a fan of the KRK Rockit Studio Monitors!

I owned two sets of the KRK RP5 G1 series before. I sold my first set when i was about to go on a performance tour to another country and bought a same set after a couple of months there.

I remember using old passive studio monitors for a 20 song project. It was a full production of each song and deadline was short. Upon finishing the first two tracks, I submitted it to the client and on the spot they were rejected due to sound quality. I did another mix and again it did not pass. They waited for my third mix but I knew then that if that did not pass the qualities they're after, I will lose the contract. I called friends and did research and became interested with the KRKs, after all, Sony studios uses them. That same day my second mix was rejected, I got me a pair of KRK RP5s and worked on one song. It was heaven at first try as I could hear even the slightest nuisance and knew instantly what was wrong with my first mixes. The sound was clear, transparent without any additional colors which could interfere with my judgement. I've found "my studio monitor" at last!

The KRK RP5s worked well with most of my projects except for those which required mixing in the much lower frequencies like for RnB, Hip Hop and EDM genres, so I had to find another alternative to mix them; the KRK RP8s. Luckily, I had access to a friend's studio who had the KRK RP8 so I was not obliged to buy a set. Like the KRK RP5, the RP8 worked liked a charm.

To cut this short, on my opinion, I think KRK is at par with other studio monitors out there ten times its price. Now, I can't imagine working without them and they're a big factor why most of my mixes get approved even for the first they're heard.

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Now here is what the people from KRK have to say about the KRK Rokit 8 G3 Studio Monitors.

The KRK Rokit 8 G3 studio monitor gives you the amazing sound quality and accuracy that have made Rokits leaders in the industry for over a decade, plus a host of innovative features geared to meet the demands of today's most competitive producers and engineers. The Rokit 8 comes loaded with an innovative Class A/B amplifier pushing a composite woofer and a soft-dome tweeter, providing you with the high-headroom, low-distortion performance you need to really dive into your mix. Find out for yourself why KRK Rokit 8s are one of Sweetwater's most popular monitors.

KRK Rokit 8 G3 Active Nearfield Studio Monitor at a Glance:
Proprietary speaker combination delivers quality sound you can trust
High-performance custom amplifier provides essential tone control
Unique cabinet design ensures sonic accuracy and pristine stereo imaging
Proprietary speaker combination delivers quality sound you can trust
The most instantly recognizable thing about KRK monitors are those telltale yellow speakers. But there's far more to those speaker cones than their color. A combination of Kevlar and aramid fibers make the Rokit 8 G3 an incredible performer, delivering clear mids and tight bass. Add to that a soft-dome tweeter, and you'll get pristine highs extending all the way to 30kHz from your KRK Rokit 8 monitors.

High-performance custom amplifier provides essential tone control
One of the coolest upgrades KRK gave their Rokit 8 G3 studio monitors was a redesigned amplifier and active electronics system. For starters, this Class A/B amplifier delivers massive headroom and low distortion, keeping your audio clean and dropping your noise floor. In addition to that, Rokit 8s give you both high- and low-frequency controls, so you can tune your monitors to meet your environment.

Unique cabinet design ensures sonic accuracy and pristine stereo imaging
KRK's Rokit 8 G3, like the rest of the third-generation Rokit studio monitors, gains a lot from its unique speaker cabinet design. On the outside, the Rokit 8's radiused edges and proprietary waveguide provide a dramatically improved stereo image compared to standard square-edged cabinets. Internally, KRK designed the Rokit 8 to eliminate standing waves and other resonance issues, leaving you with pure, unadulterated sound.

KRK Rokit 8 G3 Active Nearfield Studio Monitor Features:
Versatile nearfield studio monitor that's great for any style of music
8" Kevlar/aramid composite woofer delivers clear mids and tight bass response
Soft-dome tweeter with proprietary waveguide provides smooth and lucid highs up to 30kHz
Active 2-way electronics provide high-headroom/low-noise amplification
High- and low-frequency controls let you contour your sound to your environment
Front-slotted bass port and resonant-free cabinet increase sonic clarity
Radiused edges and contoured front baffle provides clear sound and accurate stereo imaging
System optimized limiter prevents unexpected peaks from damaging speakers

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How To Manage Drum Overtones

2017-05-26T03:38:00.000-07:00

At times, drum overtones can become a nightmare not only for the drummer but the whole band, sound engineer to the extent of the listening crowd as well. Although, overtones and sustain seem to go hand in hand, it can be annoying when there is too much but also makes your drum sound dull when totally killed. So, where to we draw the line? Here are Gig Warrior's tips on how to manage drum overtones to make life a bit easier.

Drums and drumming most times is subject to preference so it is hard to pinpoint what is really right or wrong because thereˊs almost none. Instead, drums can be judged by whatever sounds good or bad, but then again, subject to preference.

Usually, it is wise to dampen or lessen overtones as much as possible because the notes from these overtones actually messes with the whole mix to the point that a song being played could sound out of tune. There are three basic ways to dampen drum overtones: first is by using the drum key, second is by placing a ring damper and third is by using masking tape and tissue paper. Although one can also tackle experimenting with room acoustics which does work, for now we discuss what would be the basic and immediate ways a drummer can use.

With the drum key, you need to adjust the bottom sides first or opposite the skins that you hit, called resonant skins or snare side skin for the snare. It should be adjusted just tight enough so that it can still have flexibility to move or resonate. After that, you go on to the batter side and adjust it according to your preferred note. Now, when you hear and think that itˊs got an intrusive overtone, try tightening or loosening the resonant side until you hear the overtone become weaker without losing your desired note. After that, adjust only one lug on the batter side while hitting the drum. Slowly loosen that lug until you the overtone is gone or at least minimal. It is important that you adjust only one lug.

For the second option, you can buy a drum ring damper which is actually the same material as the drum skins cut like a donut. Dampers or drum rings are available in different sizes and usually it can solve drum overtone problems easily just by placing them on top of a drum. Although for some instances using dampers can become too much that it ruins the drumˊs natural sound, most times it works fine which is why as a drummer, I always bring dampers for the snare, tom 1, tom 2 and floor tom and use them depending on how the room acoustics affect the drum sound. This is a rule of thumb for drums or any music source for that matter: Same equipment and same players, set up at different rooms or venues equates to different sound each time.

Now letˊs go to what seems to be a more barbaric solution by using adhesive tapes and tissue paper. As crude as this may sound, this works on the same principle as the ring dampers that you can buy but actually more efficient. Yes, efficient because you actually have control of just how much damping you need to apply to achieve minimal overtone nuisance but enough sustain. Just make sure that your are using soft tissue and adhesive or masking tape that really sticks.

Although most times, our concern is to kill overtones, there are actually instances that we need them and some artists that want them. If one knows how to properly manage drum overtones, it can actually make the overall sound or mix better.

I, in particular, love drum overtones as long as they are in tune. Of course this would depend on the Key scale of a particular song you are performing so using overtones is best used inside the controlled environment of a recording studio but not recorded when playing multiple songs of different keys in a live performance. I actually started using overtones for recorded work by accident. I was on a studio session run and my drum track had this terrible overtone on the toms which was colliding with the other instruments. I was struggling to lessen the overtones without sacrificing natural sustain since the song seems to ask for it. Our sound engineer recommended that I tune the whole kit to a scale within the key of the song and I did so with reference to a keyboard. It was a tedious task since unlike a guitar where you only turn one knob to tune, a snare or tom would has 12 to 16 lugs. After more than an hour of tinkering and tuning the kit, we were ready so we did another take, but this time, we did not dampen the drums to kill the overtones and instead highlighted it. It was amazing! The drum-kit produced loud powerful notes with overtones which blended well with the mix. I was blown away and my perception of drum overtones totally changed after that.

Drum overtones can be a nightmare which you may want to kill but it can also be your friend; the key is knowing the difference and learning how to properly manage them.

What Does Frequency Response In Speakers Mean?

2017-05-26T02:22:00.000-07:00

What Does Frequency Response In Speakers Mean?

Although a common for seasoned sound engineers and musicians, for newbies, the term "frequency response" might be totally new. It simply indicates the dynamic range of sound frequencies a certain speaker is able to respond, operate on or produce. So if you see a speaker with a frequency response of 100 hertz to 17 khz, it indicates you that it can effectively accommodate and function with sound frequencies within that range.

So how important is knowing the proper frequency response to an engineer or musician? Although often disregarded, frequency response is of great importance not only for achieving good sound but also for the protection of your equipment. By knowing the frequency response of a speaker, you can know at what particular range you are most likely to make adjustments with when using an equalizer. A common mistake by those unfamiliar with frequency response is by adjusting frequencies beyond the speaker's range. This not only produces bad sound but can damage a speaker significantly. For example, by adding gain to 60 hertz using a speaker with only up 90 hertz frequency response on the lower range, not only do you produce colored sound or noise, but exposes the speaker to dangerous frequencies it can't handle which may damage it.

To cut this, short, before mixing, setting up a cross-over or using your system, know the frequency response of your speakers and equipment to get the best sound results and protect the equipment as well. Most speakers have this detail at the back so you can know it at a glance.

Alesis M1 Active MkII Compact Active Nearfield Monitors

2010-07-17T14:18:00.000-07:00

I actually learned the art of audio editing, mixing and recording at a friend's studio using a pair of Alesis passive nearfield monitor speakers which was later upgraded to Alesis M1 Active MkII Compact Active Nearfield Monitors. Back then when I started, I honestly had very little knowledge about how the speakers should work on a recording studio environment. I didn't realize then how crucial it was to have a "flat studio monitor system" so as you could mix music with the proper balance playable to all sorts of media playback device. I was lucky enough to start with a pair of decent Alesis monitors and from then my knowledge grew and clients came in. After having my own home studio, the studio where I first tinkered with sound design acquired the Alesis M1 Active MkII for their studio, and because I had a contract project for them, I was able to use it.

Although the Alesis M1 Active MkII is much cheaper than its passive predecessor, since it was a more recent model, the technology must of course be better. With an online selling price of $199 for a pair, it was a steal! The Alesis M1 Active MkII's design consists of cabinet material made of MDF with internal dampings on the insides. Main color is dark grey and laminated. Each unit of the Alesis M1 Active MkII measures 15x 8.5 x 10 inches and its edges are rounded for acoustic diffraction. The front edges of the speakers are mounted with glass fiber for additional damping.

A 6.5 inch driver is used as the woofer for the bass and mid frequencies and a one inch silk dome driver is for the tweeter. The cones for the woofer are made of carbon fiber which makes them stiff and light compared to other driver cones. The crossover point for the tweeter is set at 2kHz and the whole system's frequency range is from 50Hz to 20kHz which could be used to mix a lot of musical genres maybe except for those hip-hop tunes which require lots of bottom bass below 50Hz. The Alesis M1 Active MkII works well as nearfield studio monitor speakers for project or home studios and depending on the user, it's well capable of handling professional broadcast quality tasks.

Overall, upon testing the Alesis M1 Active MkII with audio CDs of different musical genres, it delivered clear quality sound with good tonal balance. Having a bi-amp design, the Alesis M1 Active MkII generates transparent audio which is good for mixing. At an affordable price, one could have a serious sounding 2-way studio monitor with full range performance.

***A Gizmo Guerilla Music Gear Review

Korg Triton Extreme 88 keyboard

2010-07-07T04:53:00.000-07:00

Extreme as its name, the Korg Triton Extreme 88 keyboard is packed with 1334 presets and functions and features for sampling and music composition. Comparing it to the previous Korg Triton, its 48kHz ROM is five times as much. Selling at around US2,300, it is not cheap, but quality, precision and functionality comes with a price. The Korg Triton Extreme is also available in 76 keys at US$1,900 and 61 keys at US$1,600. Aside from the number of keys, the difference with the Korg Triton Extreme 88 keyboard is its feature called Real Weighted Hammer Action II keyboard which lets the user experience a true piano feel; this feature is Korg exclusive.

the Korg Triton Extreme 88 keyboard feature Korg's Open Sampling System which is 16 bit and can let you sample audio direct to the sequencer while being played. Its extensive library of samples include Orchestral Collections, Trance Attack, Studio Essentials and Dance Extreme.

With a polyphony of 200 notes, the Korg Triton Extreme 88 keyboard could handle even the densest musical arrangements. Truly a composer's dream machine, it has 200,000 notes and 200 songs available! Another feature which also became popular is the RPPR, which means Realtime Pattern / Play Recording.

Aside from the Korg Triton Extreme 88 keyboard's extreme functionality in both recording and live apllications, it also looks attractively cool as with the Triton series or other Korg products.

For those who mean serious business in keyboards, production or performing live, this is for you.

***A Gizmo Guerilla Music Gear Review

Paiste PST 5 Rock Set Cymbals

2010-07-07T02:47:00.000-07:00

I think this time I'll review some cymbals, particularly a set which I just recently bought at a local music store around the corner. The Paiste PST 5 Rock Set has an online price tag of US$345 but we got ours during a high discount sale season for the price of HK$2,000 which is equivalent to US$257. It wasn't really my plan to buy a set, and was supposed to buy only a crash to replace the old and cracked Zildjian I've been pounding fro the past several months. Since the price of a single crash was not so far from the price of the Paiste PST 5 Rock Set Cymbals, I thought it would be wiser to buy the set.

The Paiste PST 5 Rock Set Cymbals included a pair of 14" inch Rock hi-hats, a 16" Rock crash and a 20" Rock ride; just the basic set-up with standard sizes. The cymbal set was very affordable and wasn't really on the high-end product list of Paiste so my expectations weren't much but overall, the cymbals' performance far exceeded my conservative expectations.

Straight from the music store I went to the bar to set up my new toys. I played around it for about half an hour and it sounded very decent and professional but it was still to be put to test on its baptism of fire during an actual gig.

11 pm: gig - time to put the Paiste PST 5 Rock Set Cymbals to real life test. For our first set as a full band, we usually play lighter music on weekdays, perfect time to see if the cymbals could handle finesse and subtle performances. I liked the hi-hats very much, like its model name, it produced a "pst" sound which is controllable. The sound was bright, clear and cutting without going of the mix. The rock crash was fine but too thick sounding for light music and the ride also sounded to thick, for my choice that is.

After our first set, our second set was comprised of classic rock hits which needed a lot of power and attack. Only then did I hear the Paiste PST 5 Rock Set Cymbals full potential. The crashes handled heavier songs with justice, the hi-hats could loud or subtle depending on how you control it. The ride had a good ping, bell and enormous wash sound which was needed for thrashy rock tunes. Overall, it was a true rock cymbal set!

The Paiste PST 5 Rock Set are affordable cymbals from a trusted brand name made from high-grade bronze alloy of professional class. Affordable and cheap yes, but "cheap-sounding"... certainly not. I think it's worth way more than its actual price. Although I'd still prefer a slightly thinner ride sound, I'd use this set for live or studio applications anytime.

***A Gizmo Guerilla Music Gear Review

Studio Projects LSM USB Microphone

2010-07-06T23:03:00.000-07:00

A lot of studio engineers or musician-composers nowadays would prefer having a conventional microphone for recording and a USB microphone ready in case for quick set-up recordings or even location projects, which meant buying two separate mic units. Wouldn't it be nice to have a microphone which could function as both? That's precisely the main feature of this next microphone on review here at Gizmo Guerilla, meet the Studio Projects LSM USB Microphone.

Same as other USB mics in the market, the Studio Projects LSM USB Microphone could be plugged directly to a computer via USB cable and one could start right away recording with it, but unlike other USB microphones, the Studio Projects LSM USB Microphone also has a mini-XLR output connector so that you could use it as a conventional microphone which you plug to a mixer for analog applications or to an audio interface of your choice. This is such a handy and important feature especially to those who have small home studios or "studio on the run" which is mobile.

The Studio Projects LSM USB Microphone also features a large diaphragm condenser capsule which is capable of reproducing that typical studio sound which can be attained by other recording microphones many times more expensive.

Here are its features:

Studio Projects LSM USB Microphone Features at a Glance:

Color: Black

Large-diaphragm condenser microphone

Cardioid pickup pattern

Features both mini-USB and mini-XLR outputs

Requires 48V phantom power when used over mini-XLR output

34mm "True Condenser" capsule

Offers 16-bit/48kHz recording resolution

Features a K67-style backplate

Has a single 27mm diaphragm made of gold-sputtered 6-micron Mylar

I haver tried testing this mic for only a few minutes and could say that the playback of the recording (via USB) was decent and standard and tried it direct to board as well as a conventional mic and still it was fine. There is of course a slight difference in audio quality, digital to analog, but I couldn't say it was bad. Like most digital recordings, using it the Studio Projects LSM USB Microphone by USB cable produced clearer, sharper and more transparent sound while the analog gave more warmth and the frequencies were more leveled out and shall I say intertwined. It is of course, again, a matter of preference; plus there are tons of effects and EQing that could be done to achieve the sound you want. Then again, I wouldn't recommend too much processing unless the genre of music or the audio project requires so.

Priced at US$179, the Studio Projects LSM USB Microphone is a great 2 in 1 studio tool to have around or bring along.

***A Gizmo Guerilla Music Gear Review

Samson Q1 USB mic

2010-07-05T06:35:00.000-07:00

Lately, I've been very interested with USB microphones and about how they can be used for studio applications so here's another USB mic gear review, this time it's Samson Q1 USB microphone.

The Samson Q1 USB mic priced at US$69 is very affordable indeed. What's great about this USB mic package is that it also includes a Cakewalk recording software. The Samson Q1 USB mic is easy to set-up and could be plugged and used directly to a computer without any mic preamp or audio interface.

Let's check the technical features of the Samson Q1 USB mic as provided by the manufacturer:

Dynamic handheld microphone with USB interface

Plugs in directly to any computer with USB

Compatible with any computer based Digital Audio Workstation

High quality A/D converter with 16-Bit, 48kHz sampling rate

Super-cardioid pick-up pattern

3m / 9.84' USB Cable

Includes Cakewalk Music Creator software

Tripod desk stand included

I used Sony Vegas as my DAW when I tested this mic. There were no latency problems, and as promised it was plug and play. I tried test recording some voice-overs and narrations and singing some soft tunes. Playback of the recording with no effcts and all EQs at flat sounded decent. I tried singing some loud songs and shouted, I got some clips so I made adjustments. After that, the VU meters indicated no clips but playback of the recordings revealed otherwise. Well, these are just the results from my own personal tests, but then again, since I didn't mic, I only had a few hours which means my settings could also be a culprit.

As for my final say on this music gear review, the Samson Q1 USB mic is an affordable unit which could be used for home studio or personal recordings like podcasts, however, I would not recommend it for other more serious or professional projects. Anyway, this is just one of the Samson line of USB mics which they made very affordable, they other models which are well suited for the professional studio environment. But for the price of US$69 you'd get a USB mic with cable plus a Cakewalk software, it's a good deal.

***A Gizmo Guerilla Music Gear Review

Takstar SM-16 recording microphone

2010-07-03T07:37:00.000-07:00

Recently, I've been using this microphone for a couple of my projects so I've decided to write about it. I'm not actually familiar with the brand name Takstar but the microphone unit seemed decent. The Takstar SM-16 recording microphone looks sharp and sturdy plus the unit comes as a complete package with accessories. I got mine second hand, like a lot of things I own at a cheap price of HK$200 which is equivalent to US$26. The actual price online of the Takstar SM-16 is set at US$100-130, so this mic is very affordable although when you hold it it seems expensive.

Here are the Takstar SM-16's technical features:

Gold-plated diaphragm for accurate sound reproduction
Consistent cardioid polar pattern
High sensitivity, low self noise and low distortion
Wide and smooth frequency response range
Supplied with clip-tight elastic-suspension shock mount
Suitable for recording, broadcasting, as well as on-stage performance
Element: Back Electret Condenser
Polar Pattern: Uni-directional
Frquency Response: 20Hz-20kHz
Sensitivity: -35dB±2dB (0dB=1V/Pa at 1kHz)
Equivalent Noise Level: ≤15dB A
Max. Input SPL: ≥135dB (T.H.D≤1% at 1kHz)
Output Impedance: ≤400Ω±30% (at 1kHz)
Power Requirements: 48V±5V DC Phantom Power
Body Dimensions: ø44×150mm

The Takstar SM-16 is ideal for both studio and live applications. It has low noise but high output and the captured audio is clean and clear from the loudest to the softest sounds. It came as quite a surprise because it was the first time that I've encountered such a microphone. I just bought it because it looked good and was very cheap but I was not really expecting much quality, I was proven wrong!

The Takstar SM-16 recording microphone's package includes:
SM-16 microphone – 1pc
SH-200 shock mount – 1pc
Windscreen – 1pc
User's manual – 1pc
Aluminum carrying case with foam inlay – 1pc
Color outer box – 1pc

For it's features and price, it's a steal and good enough to produce broadcast quality recordings. Like I always say, it's not what you have but how you use it.

***A Gizmo Guerilla Music Gear Review

Nady USB-24M - affordable USB microphone

2010-07-02T10:06:00.000-07:00

Here's an affordable entry by Nady into the USB microphone market, the Nady USB-24M. With an average price tag of US$35, this is one of the cheapest USB microphones in the market made for the musician or home producer. Let's take a look at its technical features first.

Dynamic Microphone
Frequency Response- 50 Hz to 15 kHz
Material- Plastic
Microphone Type- Handheld
Dimensions-7" Length x 2" Diameter
Connectivity Technology
Cable - 10 ft
Weight- 5 oz
Interfaces- Type A USB
Sensitivity- -55 dB
Microphone Sensitivity - -55 dB
Microphone Controls- On/Off

Same as most USB mics, the Nady USB-24M is a plug and play unit making it very easy to use. Due to the price, I was actually expecting poor sound quality, latency issues and other issues, but upon trying it out, I was quite surprised how it delivered with precision and quality what it was made to do. Having a digital conversion rate of 24-bit/96kHz, the captured sounds where very clean and clear. Its frequency response is the same like Shure's famous of most-used SM58.

Although I would not recommend it for actual broadcast quality recording, for podcasting, demo recordings and other home projects, the Nady USB-24M will do justice.

***A Gizmo Guerilla Music Gear Review

Zildjian Drumsticks

2010-07-01T04:50:00.000-07:00

I was just thinking of what other things I could review or write about concerning drum gear, and I just thought why not drumsticks? I guess it's a lame excuse for me for not being able to finish a review on the Pearl Eliminator Demon Drive Double Bass Drum Pedal, but then sticks are actually of great importance as well. As most drummers would say, your sticks are the extension of your arms.

I use different kinds of sticks from time to time out of curiosity and because a lot of friends gives me sticks as gifts so I'd use it no matter what brand or model it was. But for my personal preference, for years and years, I've been so used to using Zildjian Drumsticks. Of course there are like hundreds of models of Zildjian sticks but I'll just stick to those which I know and have used a lot. These Zildjian Drumstick models are namely the standard 5A, 5B, 2B and 7A. Depending on the situation and my physical condition, I have these sticks at hand and choose which one is appropriate for the gig.

First of all, my drum sticks for all occasions, the one pair I'd never be without - The Zildjian 5B. Slightly larger than the 5A and has got a larger tip, for me, its weight, length, thickness and recoil is perfect. It could handle any type of musical genre, although I guess it is actually dependent on the drummer. The Zildjian 5B drumsticks could be used for soft and subtle approach or for an all out frenzy-manic drum attack. As for the 5A sticks, I hate to say this but I'll be honest, I buy it when they run out of the 5Bs. Since the difference between the two sticks are very minimal, it will do. But a lot of players find 5A the drumstick of their choice.

Now the Zildjian 2B; which are bigger, heavier and gives out a fuller more powerful sound with less effort. Yes, having it in your arms might be heavier but then you exert less effort when it's time to hit because its natural weight drives it as well. I usually use these for short concert gigs on large venues where there are no bar owners or managers that'll complain. But I don't use it on regular gigs where we do several sets, as it may become very tiresome.

The Zildjian 7A Drumsticks although slim packs a lot of power too because of the heavy part near the tip. But since the area of the wood that hits the skin is smaller, relatively, the sound it produce has lesser body compared to the 5B or 2B. The punch is there but the body is not, but then, the sound or tonal quality is of personal preference so what may be bad to me is good for others. I have these sticks just in case we play places where the over-all level needs to be so low (like dinner or wedding gigs) that the sound of the spoon and fork hitting the plates are louder than your snare hits! Believe me, there are gigs like this. The Zildjian 7A could deliver precise and punchy notes with less the volume, although this could also be achieved using any type of drumsticks by physical dynamics, having the 7A will make things easier. There are also times when I am just to tired or maybe sick, but the show goes on, these 7A drumsticks by Zildjian can save the day.

Bear in mind, these are "my own" personal preferences on drumsticks, in the end, it is a personal choice. What you want to use, what you're used to and what sticks you think you could perform at your best is what matters most. The only best way I know to get to know which drumsticks are for you is to experiment, keep on using different types and brands of drumsticks until you decide which one is for you. Happy drumming!

***A Gizmo Guerilla Music Gear Review

Shure PG42USB Microphone

2010-06-30T23:45:00.000-07:00

One of the music industry's most famous brands when in comes to microphones, Shure has made their entry into the digital world of USB connectivity. The Shure PG42USB Microphone went into market just January of last year with a price tag of US$249-299 depending on the merchant.

Let's take a look at the technical aspects and features of this USB microphone.

Large-diaphragm condenser
Cardioid
20Hz-20kHz
USB output — plug straight into a computer
Plug and Play connectivity
Integrated preamp with gain control
Zero latency monitoring
Headphone Jack
Monitor mix control
16-bit/48kHz sample rate
15dB pad
Max SPL: 135dB
Tailored for voice, but suitable for detailed pickup of any source

The Shure PG42USB Microphone's frequency range is quite broad from 20 to 20 giving us all the frequencies we might need in any type of music or sound recording. I've just tested it for a few hours and when testing USB devices the first thing I look for are latencies; and as claimed, Zero! I tried to record some vocals only using Nuendo with all EQs flat and no effects, playback sound was crystal with enough body. Although I must say it's not the usual sound you'd get from a conventional mic but not saying that's it's bad either, just different.

Honestly, for me, I think the price is a bit high for a USB microphone but then it's Shure. Anyone who had experience in studios and performed live must know Shure's reputation.

The Shure PG42USB Microphone is plug and play like most USB mics or devices, easy to bring, set-up and use. I'd say it would be sufficient to function as a professional recording microphone to produce broadcast quality audio and affordable enough for home or small studio projects. Although a lot of studio engineers or musicians would argue that USB microphones are yet to prove their effectiveness on professional recordings, USB mics like the Shure PG42USB Microphone are becoming essential tools used by podcasters, home studios and musicians or producers who want to record their materials or projects without much stress on setting things up.

***A Gizmo Guerilla Music Gear Review

Samson C01U USB microphone

2010-06-29T20:55:00.000-07:00

The advent of computer technology, particularly the USB functions, has brought birth to new types of music equipment such as USB microphones. One brand which I encountered on its debut appearance and was able to test for a couple of weeks is the Samson C01U USB microphone.

Built out of aluminum structure, the Samson C01U USB microphone is durable, sturdy and compatible for use for both PC and Mac computers. When using a conventional mic, you need to have an audio interface first connected to the computer and you connect the mic to the interface. With a USB mic, the process is simpler; just plug it to a USB input and it's ready for use.

It is a fact that digital recording has taken over analog and more and more people are getting into it. By using computers and DAWs (Digital Audio Workstation) for music production, the processes involved has become more easy and faster. Although there are still a lot of hard-core analog users, for the majority of the population, digital is more practical particularly because it costs less. USB mics like the Samson C01U has become an integral part of this new system of recording.

The Samson C01U USB mic has a large diaphragm and very user-friendly; just plug it in and use it. No interface, pre-amps, direct boxes or whatsoever. Takes out all the hassle from setting up conventional mics with mixers.

You must bear in mind that the Samson C01U USB microphone is uni-directional, which means it is not suited for capturing the acoustics or ambiance of a full room. Recording vocals and acoustic guitars went on great with this USB mic and I've used it as overhead for the ride cymbals and it worked fine as well. I've experienced no latency and the quality was similar to a conventional large diaphragm Audio Technica condenser mic which I used to have.

The Samson C01U USB microphone's price might be a bit tricky as it's being sold for a range of US$70 to US$240 depending on the dealer, a bit strange why the big differences in the price range, so it's up to you where to get it at a steal. For quick recordings like podcasts with very minimal set-up, this will do the job, but it could handle serious music production as well. In the end, it's not just about the gear but the user counts a lot as well.

Other technical info on the Samson C01U USB microphone:

Frequency response: 20 - 18,000 Hz
Polar pattern: Hyper-cardioid
Element type: Electret condenser type
Diaphragm thickness: 3 microns
SPL: 136 dB Max.
Dimensions: 7” x 2.125” x 2.125”
Weight: 1.06 lbs.

***A Gizmo Guerilla Music Gear Review

Sennheiser e815S - the affordable mic

2010-06-29T09:35:00.000-07:00

For the performing musician on a budget, the Sennheiser e815S is a perfect mic solution which could be used for almost anything. It could also serve as an emergency back-up mic or something you could use for rehearsals. The Sennheiser e815S is priced at US$49.99 a piece or US$110 for a pack of 3 mics. This is great deal for a mic which can be used for professional applications.

Aside from vocals, the Sennheiser e815S could also be used to mic-in guitar or bass amp cabinets and percussions and blowing instruments. Like soldiers who need extra or back-up guns, musicians and studios need back-up mics. At one point or another, by wear and tear, the mics you are using will break down. It's not a question of if but when.

I personally happen to have the Sennheiser e815S pack of 3. I use it to record client demos in my studio back home. At one time I recorded a choir of 10 people using just 2 of the mics and applying the XY mic'ing technique. With the proper gate, compression and EQ settings, I was able to record the choir with quality results. The client wanted it to sound like it was sung inside a church, so bit of cathedral reverb was aslo added to the mix. I then recorded them again for double track and what we got was like a huge choir section inside a big cathedral.

For my preference, the Sennheiser e815S had bit too much presence on the mid-highs so just a little tweak on these frequencies did the job. The S meant it had an ON/OFF switch which some singers would favor and some would not. Having a switch on a microphone is good in conditions wherein you don't have a permanent sound-guy on the board watching out for feedbacks, so if something happens, one could easily turn the mic off if its the culprit. However, on some occasions vocalists tend to switch off the mic by accident in the middle of a song. I personally used it for several weeks before going back to my ever trusted SM58, but I think it performed quite well specially in songs which needed lots of highs and airy-type of singing or falsettos. It's unfair to fully compare the Sennheiser e815S to microphones way above its price range, but for the price it's being offered, it's worth having it around.

For Guides on Singing, Click Here!

***A Gizmo Guerilla Music Gear Review

Ludwig's Speed King - a legendary drum pedal

2010-06-29T02:14:00.000-07:00

Starting out playing with the drum-kit when I was just around 10, I had no idea about the brands, names and never gave value or care to the equipment I used. Only after several years did I realize that the first kit I ever played on was a classic Ludwig (have no recall on the model), Zildjian Avedis cymbals (of which I still have) and Ludwig's Speed King drum pedal. Now that the kit is no more, the pedal has been lost, I'd give up my new gear to get those old ones back.

I was using the Ludwig Speed King drum pedal, referred to many as the best drum pedal in world, period! Well, I actually have no recall of how it performed way back then, but I bought one of my own after about ten years. I've gotten a used Speed King but I'd prefer it from the new re-issues. I got the vintage ones but in top condition. Unfortunately, I lost it too during a concert tour somewhere when our gig was canceled due to earthquakes and volcano eruptions! I'm not making this up, it did happen. Anyway, enough of me and more of the Ludwig Speed King.

The new re-issues are priced at US100-120 which is not much for such a good quality and named single pedal. The main features of the Ludwig Speed King that differentiate it from other pedals is its direct drive system wherein a C shaped metal flat rod is used instead of a belt or chain; this eliminates lag when playing thus gaining more "Speed". The springs, unlike in other pedals, are hidden inside the main posts which prevents the springs from tangling with the drummers pants or shoe laces or legs and also giving a more faster response time. The Ludwig Speed King's design is effective and simple but revolutionary. Unfortunately, I can not use the Ludwig Speed King drum pedal for our gigs because it doesn't have a double-pedal version. To achieve double bass using the Speed King, I'd have to have 2 bass drums and 2 sets of single pedals; quite to bulky for most stages and a logistical nightmare to bring along.

Among the greats who used the Ludwig Speed King drum pedal are John Bonham and Ian Paice. When players like that used it, it's a bit hard to argue about its performance.

***A Gizmo Guerilla Music Gear Review

Axis Longboard Double Pedal

2010-06-29T01:24:00.000-07:00

Although not as popular as other brands such as DW, Pearl, Tama and others, Axis Percussion has been around for many years and known for making drum gears and accessories at a rather unique and revolutionary way but effective. One of their products which has been making raves especially in the world of power and speed drumming is their Axis Longboard Double Pedal.

I am a drummer and I own 3 sets of double pedals, an old Tama double pedal, a cheap nameless generic double pedal from China which works quite well and very light (ideal for tours), and recently a Pearl Eliminator double pedal which I got second hand. I also have other single pedals which I haven't really used for years now. I saw a drummer friend of mine based in Canada who just got the Axis Longboard Double Pedals and I was curious. According to him, it took a little adjusting and getting used to in playing but after a short time, his speed and power increased significantly. Being a curious drummer that I am, I had to check it out. By luck, I had a friend who just got his as a present. They played light jazz music and he was so used to his old Ludwig Speed King (my favorite single pedal), that he just opened the box and did not really use the Axis Longboard Double Pedal. He was kind enough to lend it to me for a couple of days. I felt a bit guilty because it was his gift and I'll be the first one to use it.... hehe..but what the heck.

The Axis Longboard Double Pedals had a very different and unique design compared to other double pedals. To me it looked like a spare part of an old spaceship that crashed somewhere. It looks very robust and mechanical. First time I've encountered such a pedal design in my 20 years of drumming. According to some and the manufacturers, they favored functionality over design "cuteness". Now I realize what they meant about Longboard... the foot area on the pedal was really long. Reminded me when I used Trak single pedals way back, which I enjoyed cause of the long board as well, but the Axis' was longer! It had about 2 inches more than other conventional pedals. Not only was this perfect for large footed drummers, one could also do a lot of footwork on it. being accustomed to playing nightly, many sets and long hours, I had to develop many types of footwork while playing to cope up.

Other than the craved logo-name Axis in color red, the Axis pedal looks very plain. Over-all it may not look very attractive to a lot of people or players... but hey... drum pedals weren't really meant to look good right? they are something we step on hard, thousands of times nightly and what matters is how it relates to our physical playing.

Yes, the pedals do look plain and unattractive to many, but its adjustable features are nothing but superb! It has almost all the adjusting features of other doubles bass pedals on the market plus more. Almost all pedals has adjustments for distance of each pedal set, tension of springs and beater height. The Axis Longboard Double Pedal is direct drive so it has no chain or belt adjustments. The beaters' distance from one another could also be adjusted horizontally. Aside from that, the beater head angle could also be adjusted and how much of it is sticking out near the skin; a big advantage compared to other double pedals. By these adjustments, not only can it improve your playing, but it could also make changes in the tonal quality of the bass drums. It took me awhile tinkering with all these adjustments. Again, I was like a child with a new toy (although just borrowed).

Similar to Ludwig's Speed King, the Axis Longboard Double Pedals are direct drive which eliminated the lag caused by belts and chains. That crucial fraction of a second counts a lot when you are playing at high speeds or you want precision in laying down your notes. The response is fast and accurate, as if it were part of your limb. Given the fast response plus the long board, using the heel-toe sliding technique on the board was easy. In some pedals, it is quite hard because of very little room to move about on the pedal boards. Aside from its mechanical function, the Axis Longboard Double Pedals are also very light. A lot of touring drummers would find this very favorable. Before a gig, it might just fine to carry and set-up a heavy double bass pedal, but after the gig, a few bottles of beer and all those release of adrenalin, it would be hard even to just lift your key chain.

Ok, back to playing. Speed and power is certainly not an issue as I could feel how the beater kicks in and how it became easier to play faster double bass licks. However, when I tried playing soft bossa or salsa at low levels, the beater still kicked in hard..... mmmm.... was it just me? I took it off and placed my Eliminator back, and I was able to do it how it should be. Then the Axis Longboard Double Pedal again. But then, I;ve only had it for a few hours and had been used to playing the Eliminator a long time, so I can't really rely on my judgement, yet. For me, as of the short time I used the Axis Longboard Double Pedal, it proved perfect for speed-hard-power metal drumming but not yet for music which required a lot of dynamics. Yes, double and triple kicks could be achieved easily due to large area for footwork, but I just couldn't put in dynamics such as making the first not of a double kick softer and the second harder and louder. With the Axis Longboard Double Pedal, it seems that my foot was set on automatic limiter-compressor leveling out the notes at maximum dB.

My friend doesn't know how much his pedals cost because it was a gift, but depending on models, the Axis Longboard Double Pedals is around US$400 to 750. Again, adjustment features are top-notch, longboard means more space for footwork, speed and power is truly incomparable.... dynamics and versatility for use in different styles is in question, in my case that is. But for all you speed and power maniac drummers out there, this is for you!

***A Gizmo Guerilla Music Gear Review

Korg KAOSSILATOR PRO

2010-06-28T07:38:00.000-07:00

The KAOSSILATOR PRO, is a late addition to Korg's KAOSS products. It is actually the descendant of the loop recorder and dynamic phrase synth which became famous a few years back. The main features of the KAOSSILATOR PRO similar to its predecessors are the X-Y intuitive touch pads, scale selection and gate arpeggiator. Now, it contains 200 programs which includes various synths, drums, effects, instruments and a total of fifteen programs for the vocoder.

The KAOSSILATOR PRO's sound is well suited for modern dance and electronic music which includes the sub-genres of techno, house, breaks, hip hop, R&B, electro and reggae. For realistic drum sounds, the PCM sound generator does the job. I guess this makes it more ideal for DJ's although band applications are also many. One could record on the 4 loop banks and overdubbing is unlimited. For quick access of favorite sounds, there are 8 memory buttons which can be programmed.

Recording from other external devices is also possible with the KAOSSILATOR PRO using the line input. The data recorded and settings can be stored using SD cards and could be used with other KAOSSILATOR PRO units. You could also acquire beats from other online sites, save it and play it back using this handy device. It could also be used as a midi controller with a DAW from a computer. It's price tag runs at US$460.

At it's price, I'd say it's a bit expensive, considering that a lot of its features (except the touch pads) could be achieved by other midi controllers or control surfaces which are cheaper. But if you think this would really help in your live or studio applications, why not? And since it could trigger our recorded media from external sources, then it's a sampler as well. Depending on the type of music you're into, the KAOSSILATOR PRO could be a total waste or a very important tool.

For online downloads of beats you can use or for studio production, Click Here!

***A Gizmo Guerilla Music Gear Review

Samson AirLine Guitar - smallest wireless guitar system

2010-06-27T02:20:00.000-07:00

I do play guitars during acoustic sets and inside the studio, but in no way am I a "lead guitarist". But of course having worked with guitar players for a long time, has made me very familiar with their gear, also because I borrow their set-ups from time to time for projects.

One of the things that causes problems and disruptions on stage are cables, especially with guitarists because they usually move a lot. The solution: of course as wireless system. As a young band (not so long ago), we always saw rock stars with Nady guitar systems, so that's what our guitar player and bassist got. Sad to say, during those times the Nady system came an extra bonus... a radio station..hahaha... at times or most times, when we were touring Singapore, in the middle of a song, a local radio station could be heard along with the guitar sound. It was a mess. So we dropped using it. After a few years, I worked with some new players who again bought a wireless system, Nady again, and yes, although not that frequent, it still had that Radio add-on problem. Aside from the radio interference, the Nady's clip-type set-up which hung on o the strap also posed as a problem because it usually drops so we had to tape it secure. After a few months of battling those problems on stage, it was back to the messy cables which did a better job.

In Hong Kong, when we arrived, our alternate band's guitar player and bassist were using a wireless system with a transmitter just slightly bigger than a thumb and the receiver the size of an average phone. It was small! We played together in a bar (up to now) and during the first months, we noticed how their wireless systme worked so well without any major or even the slightest problems. It was the Samson AirLine Guitar - Wireless System. In my whole career it was the smallest wireless guitar system I've encountered.

Let's first take a lot at the technical specs of the smallest guitar system we know as provided by the Samson site:

AP1 Pedal Receiver:

Power switch and level control

Power On/Low Battery LED indicators as well as TX/Peak LEDs

Dual swivel mounting antennas for optimum positioning

1/4-inch unbalanced output jack

DC input

Squelch control

AF1/AG1 Transmitters feature standard 1/4-inch plug, Power/Battery LED, Power switch, 15dB pad switch and operate on single AAA battery

The transmitter of the Samson AirLine Guitar - Wireless System is so small and lightweight it is almost invisible, as if part of the guitar. It requires no beltpacks or clips and just plugs in to the guitar's jack. But don't let it's size fool you as it packed with the miniature circuitry and technology which can provide superb transmission, reception and quality sound output.

The transmitters of the Samson AirLine Guitar - Wireless System has two models. the AF1 was designed for Strat style inputs while the AG1 is for use with Gibson style inputs. Both models run on a single AAA battery which lasts up to 14 hours. The UHF (Ultra High Frequency) transmitters has an On/Off switch, LED power on or off indicator and a level control.

The AP1 is the receiver for the Samson AirLine Guitar - Wireless System. It has a 1/4" output jack, LED for peak signal and a volume level control. An AC-DC adapter could be used to power it or a 9-volt batter.

Now, our guitar player has been using his Samson AirLine Guitar - Wireless System for almost a year without problems. Sound is superb, reception is crystal, very compact and easy to set-up and durable. On occasions, during some guitar frenzy acrobatic shows, the Samson AirLine Guitar - Wireless System transmitter has beeb dropped, stepped on, even burned..yes burned for several seconds during a guitar on fire ritual, but still it works. It maybe the smallest wireless guitar system on the planet, but I could say it's one of the most durable and one of the best.

We got ours in Hong Kong for HK$2,500. Online average price is US$250.

***A Gizmo Guerilla Music Gear Review

AKG D112 Kick Drum Mic

2010-06-27T01:34:00.000-07:00

Referred by many as the best kick-drum microphone in the world, the AKG D112 Kick Drum Mic's reputation in the music industry is unmatched. It is a large diaphragm dynamic microphone with a very high SPL well able to handle up to 160 dB without having distortion, this kick drum ic can handle the heaviest footed drummer out there. It;s diaphragm is carefully engineered so that the low resonance frequencies handle frequencies below 100Hz very well having a powerful and solid response. There is also a natural rise at around 4kHz (meaning no EQing or very little) which gives out clear punches and presence of sound. So what do you have? A kick drum which delivers powerful, punchy notes which cuts but still maintaining the body needed. When purchased, the AKG D112 Kick Drum Mic comes with the SA 60 stand adapter.

Personally, I've used this mic in studios and many live applications. Now, it is still the one we use for daily abuse in a bar, and night by night it delivers superb sound and performance without a twitch. We've never encountered distortion, booming or feedback ever, and yes, we do play very loud. I use the AKG D112 Kick Drum Mic with a compressor-gate. I set the EQ to a level where the bass will boom and cuts it with the gate almost instantly and add highs at around 12kHz and boost it at 5kHz. The gate cuts of the boom and the highs gives presence so I have a huge drum sound that cuts through and well defined even for fast double bass patterns. But you must be aware that for different venues and conditions, EQing would vary a lot, so what would work for me might not for you. For example, we play in bar where there are mostly mirrors and steel within the interior, this means it will complement a lot of high frequencies. Vice-versa a well padded venue would produce lows. A fully packed venue will sound very different from a venue with very few people. It's knowing the acoustics of your venue, the sound you want and your ears that matter most when it comes to setting the proper equalization.

Technical Features of the AKG D112:

A classic Large-diaphragm dynamic microphone for bass instruments with extremely high SPL capability
Extremely high SPL capability - Handles up to 160 dB SPL with no audible distortion
Classic microphone for stage and studio applications
Frequency Range: 20 Hz to 17 kHz
Polar Pattern: Cardioid
Sensitivity: 1.8 mV/Pa (-55 dBV)
Impedanc e: 210 ohms
Size: 150x70x115 mm (5.9x2.8x4.5 in.)
The AKG D 112 has a built in windscreen and SA 60 stand adapter included

For the online price average of US$160, it's well worth it!

***A Gizmo Guerilla Music Gear Review

Shure SM57- the most versatile mic on the planet

2010-06-26T15:16:00.000-07:00

Another music industry standard brought to us by Shure is the SM57 microphone. With a price tag of a hundred US dollars on the average, this mic is very cheap compared to what it can do at par with other microphones maybe ten times its price.

A proven workhorse of recording studios around the world, the Shure SM57 is one of the most versatile mic you can find being able to record almost anything! It can be used for vocals, as guitar amp mic, acoustic guitar, drums, maybe anything that produces sound. The Shure SM57 is also great in capturing ultra loud sound sources like distorted guitars and drums. In fact, you could hear the Shure SM57 on literally thousands and thousands of recordings made.

Similar in some ways to the Shure SM58, the SM57 is also a dynamic mic that does need phantom power unlike its more expensive condenser mic counterparts. Although the two mics are nearly identical in nature, the SM58's round wind-pop screen makes it ideal for vocals. The SM57 does not have this so one would need to be very near to be able to sing properly with it, but it is perfect in catching a directional sound due to the nature of its top. From personal experience, comparing both mics with vocals, the SM58 produce more low and low-mid frequencies while the SM57 proved excellent on mid-high ranges which is why a lot of people who speak in public prefer it, due to the clarity. For mic'ing drums, I use SM57 on the snare top and bottom, as well as toms 1 & 2 and the hi-hats, then SM58 for the low tom and a dedicated kick drum mic. If needed some condensers for the overheads. A majority of rappers also prefer the Shure SM57.

Simply put, like the SM58, the Shure SM57 is a tool any sound engineer or studio musician should have. There was a time when I was in a situation to record with limited gear, I used only one SM57 to record the bongos, tambourine, shaker, acoustic guitar, snare (brush), main vocals and a group of 4 singers doing harmony back-ups! Yes one mic was all I needed and it went like a breeze and the final mix was approved without revisions. The money was also good for that project. I wonder what they'd say if they only knew I only used one SM57 mic, an old laptop (using its own factory stock soundcard) and a lot of guts... hahaha

***A Gizmo Guerilla Music Gear Review

Shure SM58 - built to last

2010-06-26T03:35:00.000-07:00

Undoubtedly, the Shure SM58 is the most used and most seen microphone in the world making it the industry standard. From humongous live concerts, to small bars, project studios and professional recording releases, the SM58 is a prime contender if not King. I don't know any musician who hasn't encountered this microphone. It is preferred by majority of live sound and studio engineers and artists as well. It's reputation is legendary and aside from that, it is almost indestructible!

Average price is also very cheap at US$100. Over the years, the SM 58s we've used had gone through rigorous abuse such as dropping from the stage 10 feet below, mic stands falling and hitting walls, deliberate throwing by vocalists and more. But still, it works without no change in the sound quality output. The only part that get's damaged most times is the pop shield which could be easily replaced and very cheap as well.

The Shure SM58 is a dynamic mic with low output and a presence peak in the upper mid range frequencies making it best for vocals. Its frequency response is rated at 50Hz to 15kHz with a polar pattern uni-directional cardiod pick-up. It is also equipped with a pneumatic shock-mount system which cuts down noise when handling.

My musical career spans more than twenty years and in my experience, a Shure SM58 is a must-have. For live and recording, I've used it for vocals, guitar and bass mic-in, ambience, cymbals, snare and even for the kick. For those occasions, it did not just serve its purpose but it actually did quite well even in areas it was not supposed to be used for. Since this mic has been so widely used, the sound it delivers is very recognizable which made it a music industry standard.

Technically, the Shure SM58 is very good with the mid-ranges and the bass is boosted as the singer's lips is nearer the pop shield, but the highs roll off to quickly. Some find this feature a disadvantage while others favorable because it lowers the risk for feedbacks during live performances but some singers look for that high sibilance. But then there are always EQs and compressors to compensate or complement these technical requirements.

As a live and studio musician, I don't think I can live without having the Shure SM58 in my arsenal.

***A Gizmo Guerilla Music Gear Review

ESI NEar05 EXPERIENCE studio monitor speakers

2010-06-26T02:30:00.000-07:00

I do have in my possession back home is a pair of KRK RP-5s, but I decided not to bring it this time when we flew to Hong Kong hoping that I could buy another set of studio monitors and the nEar05 eXperience by ESI proved to be another set of affordable studio monitor speakers for the serious studio musician on a tight budget like myself.

The nEar05 eXperience is actually the upgraded version of the nEar05 classic speakers which was specifically designed for serious home and project studios. Most online stores sell it at US$240 but I got mine at Tom Lee in Hong Kong during their sale for only HK$1,500 which is roughly equivalent to US$200. I was actually saving up for a pair of Genelecs which is quite expensive (well, for me that is), but I needed a pair of studio monitors quickly because of some projects that came up. Just in time, an accidental visit to Tom Lee led to me buying the nEar05 eXperience. Honestly, since I was hooked up on using KRKs and very impressed with the Genelecs, buying the nEar05 was not my priority, but I saw the big SALE sign which says HK$1,500 for a pair, so I thought why not give it a try. I was really surprised to hear such quality from such a price. So I asked for the box, manuals and specs sheet. For a home or small project studio, this would serve its purpose. I started to test it for another half an hour, which I think became a bit annoying to the store staff, but then, it's a music store right? So i did what I had to do. There is no doubt, I was convinced.

Features:

integral bi-amplified 70 Watt active near-field monitor

5 1/4" kevlar low frequency driver

1" silk-dome high frequency driver

cross-over control optimizes performance in relation to placement

magnetically shielded for desktop operation

input connections: 1 XLR balanced & 1 TRS balanced/unbalanced

input sensitivity: 200 mV

input impedance: 30k Ohm balanced, 15k Ohm unbalanced

Protection : RF interference, output current limiting, over temperature, turn-on/off

frequency response: 60Hz - 22kHz

crossover frequency: 3.2 kHz

low frequency amplifier: 40W

high frequency amplifier: 30W

blue power LED on the front

dimensions: 250mm (H) x 176mm (W) x 200mm (D)

weight: ca. 6.5kg / speaker

The nEar05 eXperience has a 5 inch Kevlar woofer which gives out quality ultra-flat low-mid frequencies. Kevlar..? hmm..same material they use for bullet-proof vests, but I don't think I'll be doing a shotgun test with my unit. ESI is actually the first studio monitor manufacturer to use kevlar and a lot of vendors have copied it from then, I think that includes KRK. There are no EQs on the speaker, just a level knob, which I think is fine since the frequencies are separated and optimized with the crossover (at 3.2khz). The nEar05 eXperience is also said to be magnetically shielded so it could function well beside any other equipment or gear without interference.

Upon getting home, I've done more tests with my new toy. Playing different kinds of music from hard rock, metal, acoustic, classical, etc.. I even became more convinced. The clarity is crystal and definition almost visual. Although it did not work well with Hip-Hop and R&B tunes (same with th KRK RP5s), there is an option to add a SW10K, a subwoofer speaker to complement the nEar05 eXperience making your system full-range capable of giving out all frequencies needed. Overall, for music production in a home or project studio, the ESI NEar05 EXPERIENCE studio monitor speakers will do a good job. For its price, function and performance, the nEar05 eXperience is one of the best buys I've ever done.

***A Gizmo Guerilla Music Gear Review

POD Studio KB 37 by LINE 6

2010-06-26T01:41:00.000-07:00

As a musician, I both love performing live and working in studios. Some studio projects every now and then is not only a great outlet for creativity but also provides a good source of extra income. I perform with a traveling band which means we go from one city or country to another, staying in one place for three months up to several years. Even when on the road, I always wanted to be ready to record materials which pops up in our heads or to be able to accomodate client projects such as jingles and other audio projects. Several years back, in order to supplement this need, I had to pay extra baggage charges so that I could bring just some of my equipment. This would include an audio processor, mixer, headphone mixer, midi keyboard, mic-preamp, direct box, headphones, monitors and some guitar and vocal effects processors. This was more than enough to fill-in my usual 25kg baggage limit on most airlines. Not only was it heavy, but the set-up consisted of several components which were bulky which made my travles a nightmare. For years I wanted to have all-in-one gear which is small, light and effective.

Enter the Line 6 POD Studio™ KB37!

Ok, let's tale a look at the official features of the KB37.

It is basically a powerful USB audio interface with a built in 37 keys midi controller with the excellent sound of the POD Farm 2 and a highly comprehensive I/O. The POD farm 2 boasts of more than 80 guitar amp model simulators which can be tweaked and edited; perfect for recording guitar parts. But it is not limited to guitars alone... there also bass amps, preamps for vocals and stompboxes! It is actually a loadful of processors and gadjets at your finger tips, not just plug-ins.

The KB37's control surface has the "retro" look but gives the user full authority on its use. The keyboard features 37 full-sized keys which are velocity-sensitive, solid and has great response to touch. Other controls are modulation and pitchbend wheels, octave buttons, assignable knobs and buttons, play-stop-rewind-forward-record buttons and VU meters for visual monitoring of sound levels.

For the inputs, there is a 1/4 inch PL guitar input, 2 XLR balanced inputs for mics which goes thru the mic preamps, 2 1/4 inch PL line inputs and a 1/4 inch stereo monitor in. For the outs, there 2 1/4 inch PL analog outputs, a S/PDIF digital output, and headphone stereo out. There is also an option to plug in an expression pedal. The guitar input could be set to normal or pad and there is phantom power for use with condenser microphones. Such features offer the user a truly professional recording experience.

Other Key Features are:
> Lowest noise for recording guitar (12dB more dynamic range than similar interfaces)
> Exclusive latency-killing ToneDirect™ monitoring
> Up to 24-bit/96 kHz recording

POD Farm 2 (Mac® AU/RTAS®/VST® and Windows® RTAS®/VST®)

18 immortal guitar amps with 24 cabs
5 thumping bass amps with 5 cabs
29 stunning stompboxes and studio effects (instantly increases to 64 with included FX Junkie model pack!)
6 warm and colorful mic preamps

The KB37 is ideal for use with pouplar DAWs such as the Ableton® Live, Cakewalk®, Logic®, Garageband®, Pro Tools®, Reason®, Cubase®, and other major softwares for recording. Th unit is USB 1.1 and 2.0 compatible and includes the Ableton® Live Lite Line 6 Studio Edition 16-track ReWire enabled recording software, Reason® Adapted virtual studio and RiffWorks™ T4 recording software for quality and professional recordings. For its average price of US$350, the features and its functions are well worth it! This is simply your affordable, portable music production gear which could produce broadcast quality recordings depending on your know-how and how you use it.

Upon reading about the KB37, I thought this was the gear I was looking for so I took the risk and got one after a week of reading reviews about it. Actually, I was more than satisfied! I got my unit way back in 2007 and have been traveling with it since then. Once or twice a month I am involved in a studio project of some kind and the KB37 proved to be the ultimate tool for the recording musician on the road on a budget. But don't let it's small size fool you as the recording one could do with this is of broadcast quality comparable to the quality output of major and expensive recording studios. If one knows how to use this gizmo properly, the results are nothing less than astounding!

Now my on the recording recording gear has lessened; just a laptop, a pair of monitors, 2 sets of headphones and the Line 6 POD Studio™ KB37. What used to be contained in a big studio room in the 80s or 90s is now neatly packed in one hand-carry travel bag or big knapsack. I love technology.

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***A Gizmo Guerilla Music Gear Review

RP-5 KRK Rokit Powered Studio Monitors

2010-06-25T23:51:00.000-07:00

The KRK Rockit 5 or RP5 is actually my near-field home studio monitor. Why the RP5? Well I'll be honest, first of all it looks cute and cool! hahaha..check it out..

OK. Now that we've agreed on the looks (have we?), second main reason I chose this is because of the price. I went on a hunt for an pair of affordable pair of studio monitors with professional features and this seem to be a good choice with a price tag of US250 to US$300 a pair depending on the store or distributor. I was lucky enough to get a discounted price of US$250 at a local distributor whom I knew. Another feature I was looking for in studio monitors was that it should be powered and bi-amped (two separate amps for the tweeter and woofer). By being being bi-amped, a monitor would not choke or will not be confused when different frequency ranges are played. By logic, speaker movements vary with different sounds or frequencies and by having two separate amps, these frequencies are shared and not jumbled up as one. Comparing to other monitors which only have a simple amplifier, bi-amped monitors deliver more crystal-clear and well defined sound which allows a studio engineer to dissect parts more intricately. By the way, the model I have are the ones made in US, now, there are the RP-5 G2 which are China made. There's a little difference on the design of the cabinet but the claim is that the performance and quality is the same. Maybe I'll check it out some other time.

The distinctive yellow woofer cone design of the RP-5 is made of woven-glass Aramid composite... mmm.. I don't really have an idea what that is but according to the manufacturers it is more tough and well able to handle the frequencies it is assigned to. For the tweeter there is a 1 inch neodymium soft-dome with ferrofluid (whew! more scientific words irrelevant to sound). The tweeter and the woofer has independent systems which its own set of transducers, electronics and enclosures.

The dimension of the RP-5 measures 10 7/8 x 7 1/4 x 8 7/8 inches. the cabinet is made of medium-denzity fiberboard with multiple braces inside and a central septum. The main color is flat black and its corners and edges are rounded which they say reduces sound diffraction resulting in better audio imaging. There is also a bass port hole at the cabinet's front bottom side.

Now for frequency range, the KRK RP-5 is rated with a frequency response of 53 hertz to 20 khz at ±2 dB. Crossover is at 3khz made possible by a 24db/octave crossover filter. The tweeter amp is powered at 15W while the woofer is at 30W, with both amps low-noise and distortion. The DMOS audio amplifiers with the RP-5s are made by SGS-Thomson.

Let's look at the back. There an adjustable input sensitivity knob that goes from -30dB up to -6dB and also a high-frequency switch with four positions; -2, -1, 0 and +1dB. I like the inputs because it has a XLR, TRS Balanced and RCA unbalanced jacks which make it convenient to be set-up with whatever connection one wants or what is available. There is a 110/220 VAC IEC main connector for the power cable a an on-off power switch. Most monitors have the power switch at the back. Manufacturers should consider on putting them in front because at times it becomes quite tiring to stretch all the way to the back of the speakers to reach them. Anyway, I guess they wanted to engineers to do some stretching exercises from time to time...hehe

For the sound performance, RP-5s are great for mixing most types of music except those which need a lot of bass or low frequencies such as Hip-Hop and R&B. Since the low frequency is only up to 53 hertz, if you plan to mix lower than that, you should the KRK RP-10 subwoofer to complement the RP-5s to ensure you are hearing all the frequencies and just doing guesses or mixing by the numbers. I have worked in studios with monitors such as Genelec, Mackie and Yamaha and I must say that although the price of the RP-5 is just a small fraction of these monitors, the sound quality is really not that far. Maybe If I didn't know the difference with the speakers I would judge that the sound quality is the same. Before getting the KRK RP-5 I have worked with an old pair of passive Alesis monitors and sad to say, most clients requested for revision-remix. After getting the RP-5s, almost all projects were nailed at first submission. Well, it is unfair to judge the Alesis studio monitors because as I've said, they're old and passive, and maybe, my ears are just not used to them. In the end, how use what you have is always a big factor. For using studio monitor speakers, whatever it is you have, I suggest using them first as sound reference before putting them o actual mixing work. Listen to different genres of music, watch a movie and use it for audio, play it while you sleep. When you're ears have become accustomed to the sound your studio monitors produce, it would be easier to do mixes with quality results.

I use my RP5s with a Line 6 Pod Studio KB37. Check out what I have to say about the KB37, another great and affordable gear which is an ideal must have for home studio start-ups.

***A Gizmo Guerilla Music Gear Review