Guitar's News World

PUZZLE BAND

ngandonika2@yahoo.com (JulisDee) — Wed, 09 Jan 2008 20:17:00 +0000

Puzzle Band Profile ( in Indonesian )

Puzzle Band adalah band yang lumayan baru asal yogyakarta indonesia..
band yang terbentuk akhir tahun 2005 ini adalah band yang lumayan mempunyai karakter dalam musiknya, sedikit unsur britpop yang dicampur dengan nuansa electric yang dimainkan oleh sang programmer ( Mr. AnT ) memberikan sedikit refresh pada perjalanan musik di indonesia yangmenurut saya sangat mengalami kemunduran dikarenakan banyak band-band baru yang hanya mengedepankan sisi komersialitas tanpa memikirkan kualitas...!!!!

band yang digawangi 6 player ini, sepenuhnya ingin membangkitkan kembali industri musik indonesia dan para penggemar musik didunia oleh para pemusik yang tidak bertanggung jawab...!!!

Support mereka..!!!!

ESP LTD RZK600 Richard Z Signature Electric Guitar

ngandonika2@yahoo.com (JulisDee) — Wed, 09 Jan 2008 18:48:00 +0000

ESP Guitars is debuting a new Signature Series guitar under both their ESP and LTD brands for Richard Z., guitarist for the acclaimed European rock band Rammstein.

The LTD RZK-600 offers a Platinum Silver finish (with a cross graphic on the tail) and custom-shaped mirrored pickguard with chrome hardware. The guitar is based on a neck-through design, with Alder chosen as the body material. A 3-piece Maple neck includes 24 extra-jumbo frets on a Rosewood fingerboard, along with custom cross inlays. White binding on neck and head helps accent the guitar's clean design, which is accessorized with an original Floyd Rose original tremolo, Grover tuners, and EMG 81 pickups with matching silver covers.

"For over a decade, Rammstein has created some of the most innovative music in the world of industrial metal," says Allen Steelgrave, ESP Director of Marketing and Artist Relations. "Anyone who's seen them on tour knows that Rammstein puts on some of the most intricate shows imaginable. They've been a huge act in Europe for years, and are experiencing success in the USA as well. We're glad to partner with Richard on a guitar that's as cool and unique as his music."

Radial Tonebone Plexitube Tube Distortion Pedal

ngandonika2@yahoo.com (JulisDee) — Wed, 09 Jan 2008 18:47:00 +0000

This two channel tube distortion pedal combines the natural warmth and harmonic generation of a 12AX7 tube with the control and saturation of their unique multi-stage solid-state drive circuit. This combination provides incredible gain with tons of overtones and, when combined with their unique passive-interactive EQ, produces four generations of Marshall Plexi tones worthy of a Shakespearian Ode.

Designed to enhance on-stage functionality, the Plexitube features two distinct distortion channels for on-the-fly transition between rhythm and lead settings. Channel-1 has been optimized for rhythm with chunk rhythm tones and scooped out mids for a thunderous wall-of-sound and complete world domination. Channel-2 is optimized to produce razor-sharp cut for solos and sustaining mids that are so smooth, they can make a grown man cry. This is augmented with an effects loop that can automatically turn your delay on for leads. No tap dancing!

When the Plexitube is off, true-bypass connectivity ensures the natural tone of your guitar goes directly to your amp without obstruction or a tone robbing load.

The Radial Tonebone Plexitube takes metal guitar one step beyond anything you have experienced so far. God save the Queen!

Features
12AX7-equipped tube distortion

Clean, rhythm and lead in one pedal

Insert loop on lead channel for effects

True bypass clean for natual tone

Huge chunky rhythm settings with scooped mids

Plexitube Setup:
The Plexitube is your 'Plexi-in-a-box'! Just plug the Plexitube output into your amp to open up a world of tube driven British rock tones. The separate trim, drive, contour and eq controls give you instant command of both rhythm and lead distortion settings as well as a true bypass mode that ensures that nothing gets in the way of your pure guitar-to-amp tone.

... But that's just the begining because you've also got a foot-switchable effects loop at your disposal thats there when you need it and out of your clean signal path when you don't.

You will be amazed at the breadth and scope of the sounds just waiting to be discoverd in this truly versitile pedal!

Development
Since Radial introduced the Tonebone Hot British, scores of players have commented on how they have finally achieved the type of fat rich tones that they can hear in their head, but have been unable to achieve through their amp. In fact, the comment Radial get most of all is that the Hot British is likely the best 'Marshall-in-a-pedal' made today.
But if you know guitar players, the one thing that never changes is their constant quest to move one step beyond and in this case, this is literally what Radial has done.

For players that want to use the Hot British for both rhythm AND for soloing, transitioning between two drastic settings by twisting knobs is simply impractical. For many, having two Hot British pedals on the pedalboard has been the only solution. This certainly works but requires more real-estate and costs more. To simplify the process, players have been asking us to provide a more compact all-in-one solution. This is the Plexitube.

The Process...
During the development process, Radial found that the type of player that would use a multi-channel Tonebone Hot British would approach his tonal selection very differently than a player using a multi-channel Tonebone Classic. For rhythm, Classic player tends to look for tones that begin with slight overdrive that sound like an amp breaking up and the lead tones tend towards Clapton and Hendrix where mid range is prominent. The Trimode accomplishes this by providing two separate input drive levels and output levels like a traditional two channel amp.

The Plexitube is different. The metal player has pretty much determined that he will be working with full-on distortion but needs to severely alter the tone as he transitions between rhythm and lead. For rhythm, the tones need to range from -in your face Marshall to huge scooped out mid tones that create sonic wall. For leads, the tone shifts to cut through the mix without being overly loud.

In technical terms, it comes down to how much of the frequency spectrum you want to control. The human voice and the solo guitar live in the midrange while bass and drums sit below and cymbals sit on top in the high-frequency zone. The scooped out mid tones that have become signature to so many of today's metal guitar players move the sound energy out of the mid range zone into the bass and high frequency zones, leaving the mid range free for the voice and lets the lead guitar cut through.

The Plexitube presents the guitarist with two distinct channels that meet with commonality, but expand off to their distinct roles to optimize both lead and rhythm tones. This is achieved by allowing the player to select various voicing curves and tune them in using the contour control.

As detailed above, the 3 position voicing switch on each channel is arranged slightly differently whereby on the rhythm channel, its voicing control is always active. This differs from the lead channel by introducing an 'extra scoop mid' instead of the original Hot British setup that would let you bypass the voicing altogether. This option is however maintained on channel-2.

Keep in mind that either channel may be used for rhythm or lead for two different rhythm or lead tones from a single pedal. A rhythm guitarist may wish to transition between a 'Boston' or 'Doobie Brothers' style distortion that is rich in the mid range and then punch in a 'Metalica' or 'Nirvana' style scooped tone as he transitions from song to song. The Plexitube easily makes this possible. For the lead guitarist that is looking for two different solo tones, the Plexitube lets you transition from 'Van Halen' type saturation to 'Queen' style bandpass mid tones.

These drastic tonal variations are attained by selecting the voice control to either boost or cut the mid range and adjusting the contour to find the 'sweet spot' for the tone you are looking for. One thing for sure, the Plexitube will never leave you short when it comes to creating new and exciting tonal textures.

To further advance 'playability', the Plexitube introduces the concept of an effects loop in the solo channel. This unique feature lets you create a separate pedal chain for soloing that will automatically activate the moment you toggle from rhythm to lead. You could for instance have a delay ready and waiting so that when you hit channel-2 for a solo, the delay also goes on with a single foot stomp. No more tap dancing! This feature makes performing on stage easier and gives the impression of a more professional guitar setup.

The Tonebone Plexitube steps up on-stage performance with great tone and grater functionality.

More Features
Build like little Sherman tanks... yet compact enough to fit on your pedalboard, Tonebone pedals are among the world's most compact tube distortions. Tonebones use a proprietary hybrid circuit that combines the control of a dual-stage solid-state front end with the natural harmonic generation and warmth that only a real live 12AX7 tube can generate.

The tube is mounted on its side to keep the pedal profile down for easy pedal action and is powered by an external 15VDC supply. Power is internally regulated and filtered to eliminate noise. To further reduce self-noise a unique ground plane circuit topology is employed that makes Tonebone tube distortion pedals the quietest of all pedals in their class.

Tonebone is also built tough; 14-gauge steel construction reduces stress on the PC board and a baked enamel finish will keep your Tonebone looking great for years!

Technical Info

Circuit type: Hybrid tube / proprietary circuit

Tube type: 12AX7 vacuum tube

Input impedance: 1meg Ohm at input jack

Output impendence: 10K Ohm

Drive control: Input drive gain control for both channels.

Intermediate Ch-2 Drive trim adjuster: Recessed control -- accesable with a tweeker.

Voicing 1 & 2 3-way switch: Used inconjunction with the Ch-1 and Ch-2 Contour controls
-- Channel-1: Fat, Scoop, Out

-- Channel-2: Fat, Scoop, Extra Scoop

Ch-1 & Ch2 Contour: Separate sound shaping control for each channel. Used in conjuction with the VOICING 3-position switch

Mid boost 3-way switch: Used to fatten up the sound for more cut and sustain during solos. Also, will fatten up the sound of single coil pickups.
-- High: +12dB @ 620Hz

-- Medium: +7dB @ 390Hz

-- Off: No boost

Top end 3-way switch: Switch sets the overall tonal character of the Plexitube to best match the amp and settings. Brighter amps are normally compensated with darker settings.
-- Bright: Boosts +6dB @ 10kHz

-- Flat: No boost

-- Dark: Cuts -6dB @ 1.8kHz

High & low EQ controls: Unity gain to +15dB
-- Low: +/- 14.5 db @ 100Hz

-- High: +/- 10 db @ 4.3kHz

Level-1 & Level-2 controls: Used to balance the output level between the input drive without altering any of the tonal characteristics. Works like the master volume on an amplifier.

Footswitch: True bypass with green on/off status LED
Heavy-duty high-cycle switch

LED indicator: Large 3mm OD ultra-bright status LED
Switching: Opto-coupler assisted, 5msec Rise time

Construction: 14 gauge steel, baked enamel finish

Size: 7 in.w x 4 1/4 in.d x 2 in.h (174 x 108 x 51mm)

Weight: 2.15lb (1kg)

Ibanez SZ520QM

ngandonika2@yahoo.com (JulisDee) — Wed, 09 Jan 2008 18:45:00 +0000

Evolution doesn't have to mean more complicated. The SC and SCA S Classic axes and the new SZ have evolved into even simpler instruments than their famous S ancestor. The comfortable slim body with fat Mahogany tone and sustain that made the S famous is there -- but the SZ and S-Classics feature simple fixed bridges and a 25.1 scale neck that has a different feel than the S guitar's 25.5 scale.

Series Features:
Thru-body, staggered stringing compensates for different string thicknesses and provides superior tonal balance, feel, articulation and sustain.

3-piece set in neck for better upper fret access and sustain.

Quilted maple top and slightly thicker S mahogany body provide incredibly full sound with a wide range of overtones.

New Gibraltar III bridge offers fixed bridge simplicity and sustain. No sharp edges for longer string life.

SZ520QM Features:
SZ set-in neck

3pc. Mahogany neck material

Mahogany/Quilted Maple top body

22 medium frets

Rosewood Finger Board - Rosewood offers a strong, bright sound and an attractive appearance with a long grain.

Gibraltar III bridge

IBZ SZ1 (H) neck PU

IBZ SZ2 (H) bridge PU

SZ special inlay

Nickel hardware

Have you seen the headlines? "Guitar rock is back."
We're happy to hear it. Except at Ibanez, guitar rock never "left" - and if you're the type of player who reads Ibanez catalogs, you've been too busy playing guitar or bass to worry a whole lot about the media's take on music. However, the papers are right about one thing: there are more new guitar and bass guitar styles than ever before. That's why there are more different kinds of guitars and basses in the 2003 Ibanez line up.

Winter NAMM 2008 Complete Coverage

ngandonika2@yahoo.com (JulisDee) — Tue, 08 Jan 2008 19:18:00 +0000

Lauten Audio will debut three new studio microphones at the 2008 Winter NAMM show in booth #6983; the LT-381, FC-357 and ST-221. Each new model compliments each other as well as their first product, the Horizon tube microphone, and enriches their professional studio microphone line.

"Each of these models offers a new unique flavor to any studio microphone arsenal" said Brian Loudenslager, founder of Lauten Audio. "We spent weeks in the studio tweaking these models until we found their sweet spots. We then spent the next several months on production planning because we believe the real challenge is not in producing a couple great sounding prototypes, but in reproducing that sound in a final product consistently and efficiently. This is one of our focus areas and key strengths."

LT-381
The highly anticipated LT-381 features newly designed large dual-diaphragm capsule, new-old-stock military grade pentode input and triode output circuit, and variable omni, cardioid and figure-8 polar patterns. The LT-381 is designed to be a high-performance vocal microphone that produces incredibly full and detailed recordings. It is an exquisitely crafted work-of-art, and a remarkable fusion of form and function.

FC-357

The FC-357 is a solid-state multi-pattern large diaphragm condenser microphone. The FC-357 has class-A electronics and a dual-diaphragm capsule capable of omnidirectional, cardioid and figure-8 polar patterns. This microphone is for recordists looking for very clean and natural sound reproduction.

ST-221 stereo pair
The ST-221 is a small diaphragm tube microphone that will be packaged in pairs. These microphones feature interchangeable cardioid and omnidirectional capsules, new-old-stock military grade vacuum tubes and premium high-resolution electronics. The ST-221 combines the characteristics of the small diaphragm and the tube, making it an ideal choice for recording instruments.

These new models are expected to ship in the second quarter of 2008. List prices will be announced by March, 2008.

For more information, visit their web site at www.lautenaudio.com.

Roland Announces 5Th Annual Worship Summit

ngandonika2@yahoo.com (JulisDee) — Tue, 08 Jan 2008 19:15:00 +0000

Roland is pleased to announce its 5th Annual Worship Arts Summit to be held on Sunday, January 20, 2008 at the Winter NAMM show in Anaheim, CA. This musical celebration has become a highly anticipated event and will be offered at three times: 11:00am, 12:30pm and 2:30pm.

The 11:00am and 12:30pm performances will feature the David Crowder Band. From Waco, TX, the David Crowder Band combines their innovative sound and accessibility creating a unique and energetic style that's all their own.

The 2:30pm performance will be hosted by a band of all-star Gospel musicians and vocalists led by Los Angeles music director and producer, Andrew Gouche. This soulful Gospel-Jam will also feature Don Lewis on organ.

Roland invites you to joint the festivities as David and Andrew get 2008 off to a joyful start. Seating is limited, so be sure to arrive early!

For more information, visit their web site at www.rolandus.com.

Clavia Releases Nord Wave Manager

ngandonika2@yahoo.com (JulisDee) — Tue, 08 Jan 2008 19:12:00 +0000

Clavia has released the Nord Wave Manager, the application that allows Nord Wave users to create Sample Instruments from any standard audio file and download these to the Nord Wave synthesizer through its USB interface.

The Nord Wave Manager has some very powerful functions in order to assist users to create multi-sampled waveforms, called Sample Instruments. These Sample Instruments can then be used as waveforms on the oscillator 2 on the Nord Wave. The Manager can extract individual samples from a mono or a stereo audio file and map them across a keyboard range; these samples can then be adjusted in e.g. pitch and/or amplitude. The process of setting start and loop markers is very easy to accomplish with the Nord Wave Manager. It has provisions for two loop types, Long Loops and Short/Single Cycle loops. In order to create seamless loops from a variety of sounds, an adjustable crossfade option is available. Setting a start point and an alternate start point in a sample is a one-click function.

Every change that can be applied to a sample or a group of samples in the Nord Wave Manager can be monitored in real time via the computer audio card. Any change in e.g. the positioning of the loop markers or setting for the crossfades is instantly heard during playback. The Nord Wave Manager can also be used offline; Sample Instruments can be edited and/or created using only a computer. The results can then be downloaded to the Nord Wave synthesizer at a later stage.

The Nord Wave Manager also contains a librarian function that can manage the memory content of the Nord Wave — both the Sample Instrument memory and the Program memory.

The Nord Wave Manager is available as a free download at www.clavia.se in the Nord Wave Download area and is compatible with Windows XP, Vista and Mac OSX.

Summary:

Creates mono or stereo samples from an audio file (.wav format)
Easy to map samples across a keyboard range
Graphical interface for setting start- and alternate start points in a sample
Graphical interface for creating loop markers, and loop crossfade options
Real time monitoring of any adjustments
Librarian utility for Sample Instruments and Program

For more information, visit their web site at www.clavia.se.

eMedia's Guitar Pro 5.1 Overview

ngandonika2@yahoo.com (JulisDee) — Tue, 08 Jan 2008 19:07:00 +0000

eMedia's Guitar Pro 5.1 is the new Windows/Macintosh hybrid version of the best-selling multi-track tablature editor software for guitar, banjo and bass from Arobas Music. Besides writing scores, Guitar Pro 5.1 is a tool for beginner and accomplished guitarists alike to improve, compose, or accompany themselves.

New advanced notation features add drum notation, vocal notation and tablature support for any stringed instruments with four to seven strings! You can create complete scores for a band in minutes. Guitar Pro 5.1 is your total solution for creating lead sheets, scores, or lesson sheets for your students.

Guitar Pro 5.1 features the newest in playback technology including RSE—Realistic Sound Engine. RSE gives you real time playback of your scores with realistic sound samples taken from high quality guitars and real-time effects such as wah-wah. These new features make Guitar Pro 5.1 the guitar players' best choice for composing and transcribing. Improved ASCII import/export and the newly enhanced speed trainer will show you why Guitar Pro is the dominant force in guitar music.

Guitar Pro has been a best seller in Europe and has over a MILLION users worldwide. It is hailed by Guitarist Magazine as an intelligent, simple, clear and precise tool." Riff Magazine says Guitar Pro, "is unquestionably the best that can be found in the field of tablature editing for PC."

Guitar Pro 5.1 will be available at computer and music retail stores nationwide with an estimated retail price of $59.95. The hybrid CD-ROM is compatible with Windows 98 SE/2000/XP and Macintosh OSX 10.3 or higher.

PUZZLE BAND

ngandonika2@yahoo.com (JulisDee) — Tue, 08 Jan 2008 18:12:00 +0000

Slash Joins Bill Gates Onstage In Las Vegas

ngandonika2@yahoo.com (JulisDee) — Mon, 07 Jan 2008 18:39:00 +0000

Velvet Revolver and Guns n’ Roses legend Slash joined none other than the one time richest man in the world Bill Gates onstage in Las Vegas January 6.

Gates was delivering his final keynote speech at the Las Vegas Consumer Electronics Show, before he steps down from the top Microsoft job next year.

Midway through, while illustrating the next generation of guitar hero with his spoof guitar, Gates introduced his ringer in the video game before Slash stepped out onstage armed with his guitar and sporting his trademark black hat.

Not content with his surprise guest, the multi-billionaire also drew on video sequences featuring contributions from the likes of Jay-Z, Bono and George Clooney.

Thanks for the info to Gigwise.com.

Helmet guitar

ngandonika2@yahoo.com (JulisDee) — Mon, 07 Jan 2008 18:28:00 +0000

NAMM supposedly stands for the “National Association of Music Manufacturers.” It’s purportedly a trade show for music instruments and technology. But, for brief but glorious moments, “NAMM show” translates in English to “ridiculous musical stuff.” Just how ridiculous? We’re talking guitars made out of football helmets.

Just in case you think you might extract any respectability from this $299 novelty guitar, there’s more: interchangeable face masks. Multiple colors for matching your favorite team (you’ll have to provide the logos — guess they didn’t pony up for a license). A built-in speaker, just in case an amp looks too, you know, professional. And the pièce de résistance, football-shaped guitar picks.

Any pride left? Well, how about filming a demo video playing this,(inexplicably) shirtless. Hint: do not tell, say, potential dates or job interviews “Last night, I took off my shirt and started totally wailing on my helmet guitar!” That could be interpreted in way too many ways, none of them not wrong.

Hey, at least Miesel Stringed Instruments doesn’t have any illusions. They promise the guitar “will have you rockin’ all the way from your rec room at home, college dorm, tailgate party, to the Super Bowl after party!”

Read more in Peter Kirn's article at Createdigitalmusic.com.

Maven Peal Ships First Impact Pedal, The Howler

ngandonika2@yahoo.com (JulisDee) — Mon, 07 Jan 2008 18:27:00 +0000

Impact pedals are a new pedal category that incorporate Maven Peal's patented Sag Circuit power supply design features into a small, compact pedal. Impact pedals change the feel of the strings as well as the sound of your tone without negatively impacting your neighbors, family, band members and your ear drums.

"What's really fun about the Howler is that you can use it in a variety of ways, including a Clean/Fat Boost, a Clean Treble Boost, Jazzy/Tweedy Dark Compression, Overdrive and as a Clean Buffer for driving long cables/difficult loads, or as a Clean Buffer with additional sag. You can do so much with this pedal, some guitarists are already using two Howlers: one in front of the amp as a Clean Treble Boost and/or Overdrive, and one in the recording signal chain to add warmth (sag) to the signal," explains Dave Zimmerman, Maven Peal's president and circuit designer. "You can't make a loose amp tight with the Howler, but you sure can take a tight amp, such as a transistor or modeling amp, and make it bloom like never before."

The Howler is handcrafted using the same audiophile quality components used in Maven Peal amplifiers, giving you a transparent tone and very low noise floor. The Peal knob allows you to add that saggy, compressed feeling and smoothed out high end of a cranked amp to any amplifier, including transistor and modeling amps. Because the Peal knob behaves differently with different guitar volumes and Gain knob settings, and doesn't need to be pushed into overdrive to sag the signal, the Howler offers a new and unique range of control over your tone.

The Howler offers Gain, Tone, Peal™ and Volume knob controls and runs on an 18 volt adapter for more headroom (no internal batteries). Input, Output and Power jacks are located at the front of the box (as opposed to the side) for easy access when mounted to a pedal board. Retailing for $450 plus shipping, the Howler is available direct from Maven Peal Instruments.

The Maven Peal Sag Circuit (patent numbers 5,635,872 and 5,909,145) takes MI amplifier technology into the 21st century by giving guitarists and bassists genuine control over the vintage sound and feel of power supply sag using today's components. Maven Peal Instruments, Inc. uses nonlinear analysis (chaos theory) to design audio and musical instrument amplifiers.

BSM Introduces The VX-C Classic Pedal

ngandonika2@yahoo.com (JulisDee) — Sun, 06 Jan 2008 20:57:00 +0000

The BSM VX-C Classic model is the most authentic copy of the British Vox Treble and Bass booster from the late 60's. It offers the original tone network and gain making it the perfect copy of this out-of-production stompbox.
The VX-C Classic model includes a tone control, that allows an extraordinary amount of versatility from a woolly bass tone up to a sparkling high-end vintage sound. It's also possible to produce the sound of a wah-wah pedal, set to a fixed middle position. So you can create the sound of Michael Schenker during his work with UFO or Mick Ronson, guitarist in the early 70s David Bowie backing band the Spiders.

The booster is true bypass and can powered only by battery and has no external power supply. The BSM full guarantee periods are 1 year for all mechanical parts, including the switch, pots, jacks, etc. and 3 years for the electronics.
MSRP: €180.00
For more information, visit their web site at www.treblebooster.net.

Ampeg Debuts New Dan Armstrong AMG100 Electric Guitar At NAMM

ngandonika2@yahoo.com (JulisDee) — Sun, 06 Jan 2008 20:55:00 +0000

With its distinctive Plexiglas body and unique interchangeable pickup system, Ampeg's Dan Armstrong "see-through" guitar has been turning heads and impressing discerning guitarists since its introduction in 1969. Now, nearly four decades later, Ampeg is unveiling its AMG100 electric guitar line — wood-bodied iterations of the famed original, which was reissued in 2006 as the ADA6. Offering nearly the same specifications as the ultra-thin ADA6 — albeit crafted from traditional vintage electric guitar tone woods instead of clear acrylic — the new AMG100 is available in three versions: AMG100 BLD ($949.99 list / $729.99 MAP), featuring a lightweight swamp ash body with vintage blonde finish and single-ply black pick guard; AMG100 CH ($699.99 list / $529.99 MAP), with its lightweight mahogany body sporting a vintage cherry finish and laminated black pick guard; and AMG100 BK ($599.99 list / $449.99 MAP), featuring an alder body with black finish and tortoise-shell pick guard.
Boasting both the symmetrical, double-cutaway body and removable pickup system that set the Dan Armstrong design apart from other electric guitars, each of the three AMG100 models features a 24.75-inch-scale bolt-on maple neck, 24-fret rosewood fingerboard, and unique neck joint permitting easy access to two full octaves of riffage on every string. Above the nut, the headstock incorporates nickel Grover die cast tuners, which are positioned for nearly direct string pull while being close-coupled for minimum string tension differences. The result is a guitar that stays in tune even under the duress of overzealous windmills Swappable pickups supplied with the guitar include the single-coil "Rock Treble" and dual-coil "Sustain Treble" controllable via retro-styled rotary pots for volume and tone, as well as a three-way tone switch offering multiple "presets" from a single pickup. The center switch position allows the tone circuit to be bypassed, while the other two positions enable the single tone control to affect different frequencies as the tone knob is adjusted.
The Ampeg AMG100 along with other new Ampeg/LOUD products for 2008, will be on display in booth #5776 (Hall B) at the NAMM Convention in Anaheim, California, from January 17-20.
For more information, visit their web site at www.ampeg.com.

Yamaha SA503 TVL Troy Van Leeuwen Electric Guitar

ngandonika2@yahoo.com (JulisDee) — Fri, 04 Jan 2008 21:54:00 +0000

Yamaha SA503 TVL Troy Van Leeuwen Electric Guitar




	LIST PRICE: $1,499.99 MANUFACTURER: Yamaha PRO: Versatile tone circuit provides Gibson and Strat tones CON: Not available without Bigsby

Troy Van Leeuwen may not exactly be a household name, even to readers of this magazine. For the record, he’s the former guitarist with Failure and A Perfect Circle, and currently Josh Homme’s sixstring sidekick in Queens of the Stone Age. But he’s certainly one of the more original guitarists to surface over the last decade or so. While Yamaha’s choice of Van Leeuwen’s name to grace a signature model does not make obvious sense from the traditional “star worship” marketing approach, Van Leeuwen did help Yamaha develop a fresh, offbeat instrument that stands out from the crowd as much as its namesake does.

Features

At first glance, the Yamaha SA503 TVL Troy Van Leeuwen model resembles a Gibson thinline electric from the late Fifties, such as an ES-335 or ES-355. Its symmetrical double-cutaway body shape is similar to that of a Gibson ES- 335, and the “top hat” control knobs, dot fingerboard inlays and polished aluminum Bigsby tremolo tailpiece are all features that are reminiscent of vintage thinline Gibsons as well. However, the SA503 TVL also features three single-coil soapbar pickups—a configuration inspired by Gibson’s beastly ES-5 Switchmaster models produced between 1949 and 1956 (with its controversial and outrageous “All” pickup setting).

The SA503 TVL breaks from the vintage Gibson model by featuring a set neck made from carved maple, a stiffer wood that provides brighter, more punchy tone than the mahogany used on classic Fifties Gibsons. The top, back and sides are maple as well, and the body and rosewood fingerboard are bound with cream-colored, single-layer binding that gives the guitar a burnished, old-guitar glow. The only concession to modern design is the guitar’s distinctive split f holes, which span a larger surface on the guitar’s top than traditional f-holes.

Controls include a master tone control and separate volume controls for each of the three soapbar pickups. But the coolest and most useful feature is the SA503’s “all-access” pickup selector system, which consists of two three-position toggle switches. This deceptively simple but versatile circuit provides access to all seven possible pickup combinations, and because the switches are located close to each other it’s easy to select any desired combination with a flick of two fingers. One toggle switch controls the neck and bridge pickups in a traditional manner (bridge/both/neck) while the other switch turns the middle pickup on or off or disengages everything but the middle pickup.

Sound

Thanks to the “all-access” system and its beefy soapbar pickups, the SA503 delivers a surprisingly vast palette of guitar tones. P90-style pickups could very well be the ultimate pickups for hard rock rhythm guitar, providing more weight than Strat or Tele pickups and better definition and cut than large humbuckers, and they’re a great complement to resonant warmth of the SA503’s semihollow body and the brightness of its maple construction. With all the different combinations available from its three pickups, the SA503 can sound like the fattest Strat you’ve ever heard but it can also serve up tasty vintage Gibson flavors, too.

This guitar absolutely screams through a vintage tweed Fender (I used a ’57 Deluxe for testing), yielding ballsy, bluesy tones that would have made Stevie Ray envious. It’s even more snarling and aggressive though a high-gain amp like a modern Marshall, Mesa-Boogie or Krank, pumping out thick, sustaining solo tones and slashing power chords. Despite having a semi-hollow body, the guitar does not suffer from uncontrollable feedback howls, and it’s relatively easy to harness feedback for more creative purposes.

The Bottom Line

Even if you’re not familiar with Troy Van Leeuwen’s stellar playing, you should check out this guitar if you want a versatile studio or stage ax that drips with cool vintage vibe and tones. If you love the sound of a Strat but prefer the feel of a Gibson (and don’t want to sacrifice Gibson tones either), the SA503 TVL with its 24 3/4–inch scale, 22- fret neck and traditional thinline design coupled with its outstanding three-pickup “all-access” circuit will certainly satisfy your needs. This guitar looks, sounds and feels great, and it’s a surprisingly good value compared to other pro-quality thinline models on the market.

Gretsch G6128T-TVP Power Jet Electric Guitar

ngandonika2@yahoo.com (JulisDee) — Fri, 04 Jan 2008 21:37:00 +0000

Gretsch G6128T-TVP Power Jet Electric Guitar

Gretsch will always be associated with rockabilly and the Beatles, but plenty of hard rockers have strapped on Gretsch guitars over the years. The solidbody Duo Jet is a particular favorite of players like AC/DC’s Malcolm Young, Billy Zoom of X and Aerosmith’s Joe Perry, who love the Duo’s snarling rhythm tones and honking lower midrange.

Gretsch currently makes several variations of the Duo Jet model, including versions identical to the ones played by George Harrison, Cliff Gallup (guitarist with Gene Vincent and the Blue Caps) and Malcolm Young, but their new G6218T-TVP is designed for hard rockers who want more modern tone without sacrificing that classic Gretsch look and feel. The Power Jet’s basic design most closely resembles that of a late-Fifties Duo Jet, featuring “thumbnail” Neo- Classic fingerboard inlays, a 24.6-inch scale and Gretsch’s unique dual-toggle and triple-volumecontrol circuit, but it features several “upgrades” that make it a thoroughly modern ax.

Features

To make the Power Jet more appealing to today’s players, Gretsch made several improvements to the classic Duo Jet design. The most significant difference is the pair of TV Jones Power’Tron pickups installed in the neck and bridge positions. Although they look identical to original Gretsch Filter’Tron humbuckers, they have considerably more output and much fatter tone, especially when harnessed to a high-gain amp. Another significant difference is the Adjusto-Matic bridge, which has individually adjustable saddles for each string and is “pinned” to the top with a pair of Allen screws that allow it to float without moving under pressure.

Other modern touches include Schaller straplocks and locking Sperzel tuners, which allow you to abuse the Power Jet’s Bigsby vibrato without knocking the strings out of tune.

Beyond that, the Power Jet shares identical distinguishing characteristics that have made the Duo Jet stand out from the crowd all these years. An arched laminated maple top caps a solid mahogany body featuring carved-out resonance chambers, an original Gretsch innovation that came back in style in the Nineties when dozens of guitar makers adopted it into their own designs. The resonance chambers make the Power Jet exceptionally light (my evaluation model tipped the scales a little over six pounds) and enable it to deliver impressive volume and acoustic-like tone when strummed unplugged. The single-piece mahogany neck has a solid, chunky feel, and its ebony fingerboard features a 12-inch radius and 22 medium jumbo frets to make string bending an absolute pleasure whether you’ve strung your guitar with heavy-gauge telephone wire or ultralight-gauge cheese cutters.

Sound

If you’ve found the Gretsch sound a little wimpy, you owe the Power Jet a second look. Power’Tron humbuckers deliver significantly more midrange bite than any previous stock Gretsch pickup. Their tone falls somewhere between the fatness and warmth of Gibsonstyle humbuckers and the beefy twang of P90s. The pickups lack that distinctive lowermidrange honk and throatiness of an original PAF Filter’Tron, providing more of a bump in the upper midrange that makes the guitar’s treble sound fatter and increased output that generates more sustain. Rockabilly purists may moan, but Gretsch makes dozens of other models that address their desires, and it’s about time that rockers got a Gretsch model all to themselves.

The three rotary controls consist of a master volume and individual volume knobs for the neck and bridge pickups. A threeposition “tone color” toggle switch located below the three-position pickup selector toggle provides the guitar’s only internal means of modifying tone. Tone is unaffected with the toggle in the center position, while the “up” position emphasizes bass and the “down” position rolls off treble. This is one Gretsch quirk that players either love or hate; many find that the alternate positions simply make the tone too muddy or overly boomy. However, this feature has survived more than 50 years, so someone out there must really dig it.

The Bottom Line

The Power Jet successfully straddles the line between vintage appeal and modern tone. If you’ve shied away from playing a Gretsch because you think it won’t be able to rock hard enough, the Power Jet may change your opinion. With its glossy Jet Black finish and chrome-plated hardware, the Power Jet looks like it means business, and thanks to its gnarly Power’Tron pickups, it sounds that way, too. The crop of Gretsch guitars produced since Fender started working with the company in 2002 are the company’s best ever, so there’s never been a better time to join the growing ranks of Gretsch players.

Ibanez Artcore Electric Guitars

ngandonika2@yahoo.com (JulisDee) — Thu, 03 Jan 2008 20:45:00 +0000

Ibanez Artcore Electric Guitars

When Artcore guitars debuted in summer 2002, they turned the music industry upside down. No longer were full and semi-acoustic guitars just big expensive jazz boxes for jazz players. With Artcore guitars you get an amazingly affordable price plus the quality and tone you expect from Ibanez, the guitar company with over four decades of experience making full and semi-acoustic guitars. Don't let the low prices fool you; these are superb guitars for the money.

Huge assortment of styles…from big and small bodied full hollows to small bodied semi-acoustics, including the classic Ibanez Talman shape.
Medium output Artcore pickups accurately reproduce the cool, complex tones of a hollow AND work well with effects.
The great upper fret access and sustain of a set-in neck at the price of a bolt-on.

New Gibson robot electric guitar tunes itself

ngandonika2@yahoo.com (JulisDee) — Thu, 03 Jan 2008 20:41:00 +0000

BEIJING, Nov. 15 (Xinhuanet) -- Just imagine, a robot guitar that tunes itself. Well, you don't have to imagine because after 15 years of research Gibson Guitar is launching a limited edition Les Paul Robot Guitar in December that has players expressing enthusiasm and skepticism.

"It will not make you a better guitar player but it will allow the average player to access some very sophisticated tunings," Gibson Guitar Chief Executive Henry Juszkiewicz told Reuters on Tuesday.

The six nonstandard preset tunings were used on hits ranging from "Honky Tonk Women" by The Rolling Stones and Hendrix's "Voodoo Child" to Led Zeppelin's "Going to California" and Joni Mitchell's "The Circle Game."

Gibson says the robot guitar is aimed at amateurs who have a hard time keeping their guitars in tune, as well as professionals who now use technicians during concerts to keep about 100 guitars tuned to different keys.

Temperature variations, changing strings and simply playing the instrument have long been tuning challenges for guitarists with even the best musical ear. Gibson said the robot guitar is the biggest advance in electric guitar design in more than 70 years.

But some have already poured scorn on the robot guitar.

"I'm sorry, this is just lazy. With stuff like this, tuning is going to be a lost skill," wrote LettheBassPlay on the www.ultimate-guitar.com website forum.

Gibson said the robot guitar is the biggest advance in electric guitar design in more than 70 years.

Gibson will launch 4,000 limited edition, blue silverburst Les Gibson Robot Guitars around the world on December 7 at a price in the region of 2,500 U.S. dollars. It expects to roll out a standard robot edition starting in January 2008.

www.chinaview.cn

BOSS RT-20 ROTARY ENSEMBLE

ngandonika2@yahoo.com (JulisDee) — Thu, 03 Jan 2008 20:31:00 +0000

The New Standard in Rotary Speaker Simulation

From the Beatles to Jeff Beck, Santana to Stevie Ray, many guitar greats have embraced the rotary-speaker sound on stage and in the studio. Today BOSS proudly announces the newest member of its Twin Pedal series - the RT-20 Rotary Sound Processor. Employing COSM-modelling technology, the RT-20 authentically reproduces classic rotary-speaker sounds. It offers adjustable Rise Time, Horn and Bass speed, Overdrive, and more. And not just for classic twirl, the RT-20 can be used to create unique overdrive and pulsating effects as well. This pedal sounds amazing, and offers a stunning graphical view of the virtual rotors on its built-in display.

- Authentic rotary speaker sounds by COSM technology
- Slow/Fast transition time is adjustable from gradual to rapid change; optional Expression pedal can control speed in real time
- Onboard Overdrive effects
- Adjustable mix balance between Treble Rotor and Bass Rotor
- 4 types of sounds, from standard rotary speaker effects to rock-oriented tones, UNI-V, and more
- Guitar/Keyboard switch
- Dazzling virtual-rotor display

COSM Technology

Years of intensive research and development have made Roland and BOSS world leaders in modelling technology. Roland's breakthrough Composite Object Sound modelling (COSM) uses the advantages of multiple modelling methods, and succeeds in accurately emulating existing sounds as well as producing sounds that have never before been created. With the RT-20, COSM is used to simulate classic rotary characteristics, and beyond. The virtual horn and bass speaker can be independently adjusted, while the RT-20’s unique graphic display provides a realtime view of the rotation pattern and speed.

Connections

Guitars and keyboards alike can be plugged into the RT-20; use the Drive Type switch to optimize the effects for guitar or keyboard. Surround your listeners in animated sound with the RT-20’s dual outputs, which enable true stereo effects. Add colour by adding an Expression pedal (such as the new BOSS FV-500H/FV-500L, optional), which lets you control parameters such as rotation speed seamlessly from slow to fast in real time. The RT-20’s phone jack is handy for private practice and experimentation.

Virtual Rotor Display

Thanks to its stunning visual display, the RT-20 might be the most eye-catching pedal in BOSS history. The spinning lights don’t just look cool, they also show the audio-rotation characteristics of the RT-20 in real time. The center of the display, illuminated in red light, represents the virtual horn. The outside ring, illuminated in blue, displays the rotation of the virtual bass speaker. It’s attractive and informative!

Fender Joe Strummer Telecaster

ngandonika2@yahoo.com (JulisDee) — Thu, 03 Jan 2008 20:18:00 +0000

Fender Joe Strummer Telecaster

Here's what Fender say about the Joe Strummer Telecaster:

The legacy of Joe Strummer (1952-2002) continues to live on, grow louder and shake up the establishment with the summer 2007 release of Fender's new Joe Strummer Telecaster, modeled after the beat up and battle-hardened '66 Tele he wielded as leader of "the only band that matters", seminal Brit punk commando unit the Clash.

Designed in cooperation with the Strummer estate, the guitar has a highly distressed "road-worn" treatment that duplicates the original's worn-to-the-wood layers of gray auto primer and flat black spray paint. It also features a "Revolution Rock" engraved neckplate and a limited edition art customization kit that evokes Strummer's vibrant DIY ethic.

Strummer was, of course, the Clash's articulate and fiery co-founder, lyricist, rhythm guitarist and lead singer; he later founded, recorded and toured with the Mescaleros. All his life, he vigorously championed individuality, self-expression and change, tenets often reflected in the constantly altered look of his favorite instrument, his Telecaster (currently on display in the Rock and Roll Hall of Fame and Museum in Cleveland, OH), an otherwise standard '60s-era model with all the original parts and specifications.

When Strummer bought it in 1975 for ?120, the guitar had a Three-color Sunburst finish. He was having none of that, of course but his improvised DIY gray and black "finishes" deteriorated quickly, giving the guitar its distinctive look. Like Strummer's music, the battered guitar changed constantly, plastered as it was with stencils, stickers and new paint jobs through the many stages of Strummer's life and career.

To celebrate Strummer's fierce sense of individuality, Fender and acclaimed artist Shepard Fairey collaborated on the new guitar's limited edition Joe Strummer Telecaster customization kit, which includes stencils and stickers inspired by the custom designs Strummer decorated many of his instruments with. The kit comes in a classic 12" album cover featuring graphics by Fairey and photography by Bob Gruen and will accompany the first 1,500 guitars.

Specification
Model Name Joe Strummer Telecaster
Series Artist Series
Colors Custom Road Worn, (Polyurethane Finish)
Body Alder
Neck Maple, "C" Shape, (Gloss Polyurethane Finish)
Fingerboard Rosewood, 7.25" Radius (184mm)
No. of Frets 21 Vintage Style Frets
Pickups 2 Vintage Style Single-Coil Tele Pickups with Alnico Magnets (Neck & Bridge)
Controls Master Volume, Master Tone
Pickup Switching 3-Position Blade:
Position 1. Bridge Pickup
Position 2. Bridge and Neck Pickups
Position 3. Neck Pickup
Bridge Vintage Style 3-Saddle Strings-Thru-Body Tele Bridge
Machine Heads Fender/Ping Vintage Style Tuning Machines
Hardware Distressed Chrome
Pickguard 3-Ply Mint Green
Scale Length 25.5" (648 mm)
Width at Nut 1.650" (42 mm)

Unique Features
Revolution Rock Neckplate,
Road Worn Finish,
Art Customization Kit (First 1500 Units Only)
Kit Contains: Joe Strummer 12" Album Cover, Art Print, Stencil Sheet, Sticker Sheet, Template, Instructions and Bio.
Strings Fender Super 250R, Nickel Plated Steel,

Accessories Deluxe Black Hardshell Case

Lead Guitar Techniques for Beginners: Hammer-On-Pull-Off

ngandonika2@yahoo.com (JulisDee) — Thu, 03 Jan 2008 20:08:00 +0000

by Dirk Hagemann
www.blueslessons.net

Today we take a closer look at one of the most simple lead guitar
techniques. But if you can play this very fast you´re on the way to
become a guitar hero. You can learn this technique and after that
I have some nice exercises for you.

Hammer-Ons (abbr. h.o.) you hit a note and after that you use your
finger to hammer on another string to produce another note.

E.g.: Use your forefinger to play the note on the 5th fret and hit the
same string with you ring finger two frets higher on the 7th fret.
You don t pluck the string again for the second note.

In a tabfile you can read a hammer-on like this:

|-----------------------|

|-----------------------|

|----5^7----or----5h7---|

|-----------------------|

|-----------------------|

|-----------------------|

Now we play a hammer-on with more notes.

Your 1st finger lays on the 5th fret the whole time. Play the e-String
on the 5th-fret, hammer-on the 8th fret then on the 7th fret with your
little finger and then remove the finger so that the sound of the 5th
fret note keeps ringing. This sounds harder as it is.
Play it slow at first.

|--5^8^7--5-|

|-----------|

|-----------|

|-----------|

|-----------|

|-----------|

Practise: Play some Hammer-Ons like this (it´s the first pattern of the
Pentatonic-Scale!):

|--------------------------5^8---|

|---------------------5^8--------|

|----------------5^7-------------|

|-----------5^7------------------|

|------5^7-----------------------|

|-5^8----------------------------|

Pull-Off

The Pull-Off technique (abr. p.o.) is quiete the same as the hammer-on,
just backwards.

Ex.1
Put your finger the 5th string of the D-string, pick the
string and pull of your finger without interrupting the sound.

Ex.2
Put two fingers on the 5th and 7th fret, then hit the string and remove
the finger from the 7th string and let the note from the 5th string ring.

  Ex.1     Ex.2

|-------|-------|

|-------|-------|

|-------|-------|

|--5p0--|--7p5--|

|-------|-------|

|-------|-------|

Hammer-On-Pull-Off Exercise

    Exercise 1a - Pentatonic Exercise                Exercise 1b - More notes

E||--------------------------|--------5h-8----------|--5h-7h-8-----------------|

B||--------------------------|--5h-7----------------|-----------8p-7p-5--------|

G||--------------------5h-7--|----------------------|--------------------7p-5--|

D||--------------5h-7--------|----------------------|--------------------------|

A||--------5h-7--------------|----------------------|--------------------------|

E||--5h-8--------------------|----------------------|--------------------------|

Exercise 2 - Start slow at first!

|------------------------------5---|-----8------------------------|

|--7h8p7p5-----------------5h8---8/|--10---10p9p8-------10~-------|

|----------8p7p5---7---5h7---------|--------------9p8h9-----------|

|----------------7---7-------------|------------------------------|

|----------------------------------|------------------------------|

|----------------------------------|------------------------------|

Exercise 3a - For advanced players

|--8p5h8p5-------------------------|

|----------8p5h8p5-----------------|

|------------------7p5h7p5---------|

|--------------------------7p5h7p5-|

|----------------------------------|

|----------------------------------|

Exercise 3b - No Blues anymore

--8p7p5h8p7p5-----------------------------------------------------||

--------------8p7p5h8p7p5-----------------------------------------||

--------------------------7p6p5h7p6p5-----------------------------||

--------------------------------------7p5h7p5h7p5-----------------||

--------------------------------------------------7p6p5h7p6p5-----||

--------------------------------------------------------------7p5-||

Exercise 4 - Small h.o./p.o. solo

E||--------------------------------------|--5----5-----5h-8------|

B||-----------------------------5-----5--|----------7------------|

G||-----------5-----5h-7p-5h-7-----7-----|-----------------------|

D||--5h-7p-5-----5-----------------------|-----------------------|

A||--------------------------------------|-----------------------|

E||--------------------------------------|-----------------------|

--8p-5--8p-5-----5------------|--------8--------------------------||

--------------8-----8p-5------|-----5-----------------------------||

------------------------------|--5--------5h-7--5h-7-----5h-7-----||

------------------------------|-----------------------5--------5--||

------------------------------|-----------------------------------||

------------------------------|-----------------------------------||

For more exercises and GuitarPro files for this lesson visit:
www.blueslessons.net

www.blueslessons.net

From the 12-Bar-Blues, the Shuffle Rythm and the Blues Turnarounds to
the Blues and Pentatonic Scale, to Lead Guitar techniques, Slide guitar
lessons and more. For each Lesson there are images or GuitarPro files
and midis to listen to. Each lesson can be downloaded as textfile.
PLUS: mp3 Blues Backing Tracks/Jam Tracks and Ebooks!

Dean Evo XM Electric Guitar

ngandonika2@yahoo.com (JulisDee) — Thu, 03 Jan 2008 20:07:00 +0000

Great style and function at a very affordable price.

It's the ultimate break-in guitar for the rocker who's just getting started. The perfect blend of vintage design and modern guitar technology, the Evo XM is has incredible sustain and great tone. The fast and solid bolt-on maple neck has a rosewood fingerboard. Dual humbuckers dish up tasty tones and sealed tuners keep your tuning stable. A patented angular neck joint makes it wonderfully easy to play.

Dean Evo XM Electric Guitar Features:

Basswood body

Bolt-on maple neck

Rosewood fingerboard

Dual humbuckers

Sealed tuners

Bixonic Expandora Multi-Stage Distortion Pedal Review

ngandonika2@yahoo.com (JulisDee) — Thu, 03 Jan 2008 20:03:00 +0000

Bixonic Expandora Multi-Stage Distortion Pedal Review

Bixonic recently released the Bixonic Expandora EXP-2000R, a reissue of the earlier EXP-2000.

The Expandora has more going for it than a great name. It's established a reputation as a great source for a variety of distorted sounds. It's been used by Bush, Megadeth, ZZ Top, Bootsy Collins and other artists.

The EXP-2000R retains the look of earlier versions, but improves on them by bringing to the front dip-switches that were previously inside the case. It also adds a switch to toggle between Bass and Guitar settings. As a result, the Expandora is like having eight distortion pedals combined into one.

Construction/Design

The Expandora is housed in a brushed aluminum housing. Some players may not like its "tuna can" design, but it's a refreshing alternative to the standard pedal block.

The case feels solid and substantial. The overall build quality appears to be very good.

The Expandora runs off a battery or a 9V DC power supply (not included). To change batteries, you have to remove one screw on the back.

The front face has three sets of controls:

Dip-switches that determine change the actual distortion circuit;
Gain, Tone and Level knobs to adjust levels; and
A bypass foot-switch.

All the controls feel solid and operate smoothly. The dip-switches are small enough that you won't accidentally bump them, but not so small as to be fiddly.

The Expandora has a completely smooth metal bottom. Bixonic includes 4 adhesive circles that can be applied to the bottom of the case to help keep the Expandora in place. Depending on your playing style, you may need to secure the pedal to keep it from sliding.

Sound

The Expandora delivers a wider range of sounds than most distortion pedals. The dip switches let you switch between eight different circuit configurations. The first two dip-switches control the basic drive structure, and have four options: Crunch, Overdrive, Distortion, and Forbidden. A third dip-switch adjusts the overall tone of the Expandora for guitar or bass. The result of these unassuming dip-switches is that you can instantly change the overall sound of the Expandora dramatically.

The three pot knobs give you complete control of the pedal's sound. The first knob controls the Gain of the input, along with the distortion. The second knob adjusts a high-frequency filter, which lets you control the brightness of the output. The final knob controls the level of the output.

With guitar, the Expandora sounds great, capable of excellent blues, rock and metal sounds. We couldn't resist going straight to the "Forbidden" settings. According to Bixonic's documentation, Forbidden mode "inflicts unacceptably hysteric sound onto your audience." They aren't exaggerating. Sick!

We also checked out what sort of twisted results we could get using the Expandora on other gear. We tested it with a Future Retro 777, one of the ultimate bass-line synths, and with a cheap drum machine, the Korg ER-1.

The 777 is modeled on the most important synth in techno, the Roland TB-303. Running the 777 through the Expandora added a whole new range of sounds, many of them sick and wrong. The Bass dip-switch option works well with techno sounds.

The ER-1 is an analog-modeling drum machine has a great variety of analog-style sounds. Unfortunately, its built-in distortion effect is lame, with no control over distortion level. We tacked the Expandora on the output, and found that it could warm up the sounds a little, or turn the clean output of the ER-1 into industrial noise. We don't know how many musicians will want to abuse their equipment like this, but it did demonstrate the Expandora's flexibility.

The Expandora will appeal to players that want a variety of analog distortion effects. If you tend to always use the same sound, a less-capable pedal will probably meet your needs.

At high gain levels, the Expandora circuits adds noise to the output. This was most noticeable on the Forbidden setting. The noise levels are not unusual for a distortion circuit, though, and can be eliminated with a noise gate if objectionable.

Summary

The Bixonic Expandora is a solid, well-crafted distortion pedal, capable of a very wide range of effects. Guitarist looking for a distortion pedal should put it on their short list. The range of circuit configurations possible through the dip-switch settings makes the Expandora very useful with other instruments, too, especially bass and bass-line synth.

Eastwood releases Pete Shelley Stairway Signature Guitar

ngandonika2@yahoo.com (JulisDee) — Thu, 03 Jan 2008 20:01:00 +0000

Eastwood Guitars has teamed up with the Buzzcocks', Pete Shelley, to make a replica of the guitar Pete used in the early days of punk (including the Spiral Scratch EP). There are only 88 Stairway Signature models being made and each is signed by Shelley. At just $1399.00 US, fans and collectors should be pleased.

The Pete Shelley Stairway Signature. Photo from MyRareGuitars, where you can purchase the guitar.

Specs:

Colours: Red

Body: Solid Mahogany, Replica of Broken 1976 Model

Neck: Bound Maple, SET NECK

Fingerboard: Rosewood, Block EDGE Markers

Scale Length: 24 3/4"

Width at Nut: 1 5/8"

Pickups: Single Custom Wound EW Humbuckers

Switching: None

Controls: 1 Volume, 1 Tone

Bridge: Vintage Thumbwheel, Chrome Tail

Hardware: In-Line Kluson Style Nickel/Chrome

Strings: D'Addario #10

Case: Custom Form-Fit Deluxe Hardshell

Website: http://www.eastwoodguitars.com/ and http://www.myrareguitars.com/peteshelleysignatureLTD.html for more info, pics, and to purchase.

RJM Music Technology Releases Redesigned Amp Gizmo

ngandonika2@yahoo.com (JulisDee) — Thu, 03 Jan 2008 19:55:00 +0000

The Redesigned Amp Gizmo has a new sleeker design, more memory and the ability to work with even more amps than the original design. The Amp Gizmo gives musicians a way to add MIDI control to equipment that doesn't normally have such capabilities. This allows users to control all of their equipment from a single MIDI controller, eliminating the need to "tap dance" between multiple foot switches. When used with amplifiers, the Amp Gizmo replaces the amp's footswitch, enabling MIDI control of all footswitchable functions.

The Amp Gizmo is compatible with virtually any equipment that has a footswitch or remote switching jack, and it can regulate up to eight individual functions. The original amp gizmo is in use by touring professionals who rely on it to integrate their rig. Dweezil Zappa, who has been using 3 Amp Gizmos on his current Zappa Plays Zappa tour, says: "In my guitar rig there are so many possible functions to control that I ran out of room to do any amp channel switching. I didn't want to give up any effects or loop control. Fortunately for me I discovered an ingenious solution for my problem, the Amp Gizmo. I have three and they perform 15 duties that would have been impossible without them." Dweezil Zappa