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J. Leiva Percussion Zoco Cajon

Thu, 23 May 2013 10:58:00 GMT

Read more about J. Leiva Percussion Zoco Cajon at MusicRadar.com

Based in Montilla near Cordoba, Spain is a company that hand-makes some truly beautiful cajons. Founded originally by Jose Leiva, his son Pepe now offers a range of not only elegant high-end Flamenco models and highly innovative 'travel' cajons but even this impressive entry-level cajon.

Build

"The first thing that you notice is just how well-made the Zoco is"

The first thing that you notice is just how well-made the Zoco is, and when you pick it up you certainly appreciate its substantial build quality. The surround is formed from seven layers of recyclable phenolic plywood which, in addition to adding strength, also keeps the overall production costs down.

The surround is a chunky 12mm thick and this type of construction apparently also helps to reduce moisture absorption. The frontplate (tapa) is between 2.5mm and 4mm and also made from plywood to keep it affordable, and interestingly all the Leiva Cajons have screen-printed finishes rather than designs stuck onto the tapa. These finishes are sealed with a light varnish so that overall there is hardly anything likely to impede the natural sound of the cajon.

The patented Pepe Leiva Direct Tension System (or DTS) is a wonderful innovation and allows the player to instantly change the response of the 'snare' sound over a considerable range at the twist of its rear-mounted dial. The two small-gauge guitar strings lie vertically down the rear of the frontplate in a 'V' shape and produce awesome snare effects, from subtle all the way through to super snappy.

Hands on

The Zoco is an immediately satisfying cajon to play, unlike some models that take you a while to discover their 'sweet spots'. The frontplate is really comfortable to play for extended periods and has a lovely yielding feel. Perhaps due to its substantial surround and thin, articulate frontplate you can explore a wide dynamic range with ease.

Bass tones are punchy and sonorous and blend effortlessly with the Zoco's mids and crispy finger tones and slaps. With just a hint of miking near the rear sound hole you get an enviable replication of a drumkit and on one gig recently (even un-miked) it kept up with amplified acoustic guitars and vocals.

Read more about J. Leiva Percussion Zoco Cajon at MusicRadar.com

Roland RD-64 Digital Piano

Thu, 23 May 2013 10:37:00 GMT

Read more about Roland RD-64 Digital Piano at MusicRadar.com

Weighing in at 12.8kg (28lbs 4oz), the Roland RD64 is surprisingly heavier than a Nord Electro 4HP but still fairly easy for one person to move. Due to the compact 64-note weighted keyboard, it will also fit into smaller vehicles (again like the E4HP).

"The buttons, casing and switch gear feel solid"

We're not too keen on the RD64's looks: it's boxy and a bit plasticky with lots of wasted space on the top panel and underneath the keyboard. On the positive side, the buttons, casing and switch gear feel solid.

Personally, this writer would have put all the controls in the space under the keyboard (Jupiter 80 style) instead of on the left, which would have made the RD64 shorter and even easier to transport. We would have added some real-time sliders/pads on the top panel too, but that's just us.

Quick draw fingers

The 64-note (A to C) Ivory-Feel-G keybed is nicely balanced beneath the fingers with a fast and precise feel. This isn't surprising as it uses the same technology found in Roland's flagship stage pianos. In fact, the RD64 has one of the nicest actions around to play piano sounds from and therefore works well as a controller for DAW related piano playing tasks too.

The keys have a grained ivory like surface that helps when you're playing fast with sweaty hands, though we still think 64 notes is too restrictive for serious piano playing and would have preferred instead a 73-note board with all the controls under the keyboard as previously mentioned.

Super grand sound?

"The main piano sound is great for solo piano performances or ensemble work and sounds pretty natural"

Moving on to the onboard sounds, the main SuperNatural grand (selected by the Tone Variation 1 button) is very good indeed, though one particular note (A flat above Middle C) has a weird resonance. That aside, the main piano sound is great for solo piano performances or ensemble work and sounds pretty natural on the whole.

Two further variations are accessible via the tone variation buttons: another stereo piano and one in mono, too, which is always handy to have. Further shaping of the sounds can be done with the 2-band EQ and via the two EFX buttons and Reverb button.

Unfortunately, these effects are basic at best and can't be edited so you're stuck with them. Surely it wouldn't have taken much effort to include a wider range of effects with a DAW editor? After all, let's not forget this isn't a cheap bit of kit we're looking at! Thankfully, the effects do their jobs well but there's just not enough choice or variation available for the money.

Feeling shortchanged

It's handy to have the D-Beam for a hands on (or hands off) way to control sounds. Alas, there's no filter to get stuck into and no synth sounds either. As for the rest of the sounds, they're nice to have but very under whelming.

The electric pianos sound good when played softly but pretty plasticky when you really start to dig in, and the organs lack a sense of authenticity with a lifeless basic tone. Although, it has to be said the onboard rotary emulation is actually very good.

The clavinets are the weakest sounds of the bunch, lacking in both attack and authenticity. They should have been much better for the money and don't cut it next to the current crop of Nord's, Korg's and Yamaha's.

Finally, as much as Roland is pushing the RD64 as a MIDI controller, the conspicuous lack of any real time sliders, dials or pads really stunts it in this respect. In general, there's just not enough onboard the RD64 for the modern producer and performer.

Read more about Roland RD-64 Digital Piano at MusicRadar.com

PRS Paul's Guitar

Thu, 23 May 2013 10:25:00 GMT

Read more about PRS Paul's Guitar at MusicRadar.com

PRS Paul's Guitar is essentially a production version of the guitar that the acclaimed luthier and brand name-sake himself uses. So how far has the firm come since our 1994 Custom 22 comparison model?

Back in 1994, Paul Reed Smith had been in the production guitar business for nearly nine years. He'd unveiled his first limited-edition Dragon I guitar in 1992, and the production version, the Custom 22, in 1993; both guitars introduced the shorter 22-fret neck and the intonated, wrap-over Stoptail bridge to the PRS guitar - features that would prove fundamental to the sound of the company's instruments.

Earlier this year, 19 years on, PRS released the oddly titled Paul's Guitar, based on the 408 Maple Top we looked at a few months back - a close replica production version of the Private Stock guitar Smith actually uses. Again, it's 22 frets with a Stoptail bridge. So, what's different here? Well, quite a bit, really…

Build

The majority of modern double-cut USA PRS guitars use a thicker 'McCarty'-depth body; here, the rim depth is greater than our comparison Custom 22 (this writer's own 1994 model); as is the mahogany back and the overall thickness. The maple cap's thickness, on the other hand, is virtually identical: 20.8mm (0.82 inches) on the Custom, 20mm (0.79 inches) on Paul's Guitar.

Wood specs are pretty usual: a one-piece mahogany back with a centred-joined figured maple cap classed as artist-grade 'dirty' maple - though it looks very clean and pristine to us, the stain process emphasising the figuring. As usual, there's no binding, and the stain goes over the edge. The neck is the relatively new pattern shape, a slight change to the previous wide-fat neck.

"The headstock has a Honduras rosewood facing and new open-backed Phase III top-locking tuners"

The headstock has a Honduras rosewood facing and aside from the new open-backed Phase III top-locking tuners, we have an enlarged inlaid 'Paul Reed Smith' logo plus, on the fingerboard, 'brushstroke' birds - yet another new variant of Smith's famous inlays.

Another change here is to the Stoptail bridge. It's machined aluminium, but there are six brass inserts that act as the strings' break point, and "make the low-mids come down a little bit and the high-mids come up a little bit", says Smith. "You get the sound of a brass bridge on an aluminium bridge," without the increased weight.

We detailed the pickups and electronics of the 408 back in our previous review at the end of last year, but again, there are changes here. The 408 uses a three-way lever switch in the classic PRS tone control position; the tone control is in the PRS rotary or three-way toggle pickup selector switch position. Here, we go back to classic PRS: a three-way toggle replaces the three-way lever selector switch, and placed between the volume and tone are the two mini-switches that switch from single-coil to humbucking modes.

Finally, the neck pickup remains the same as the 408, but instead of the bigger bridge pickup, we have another 'Narrow 408' at the bridge (with a few more coil turns than he neck pickup). Both pickups appear in their nicely designed Blackberry-inspired mounting rings, along with a pair of third- generation 'lampshade' knobs.

Sounds

"Paul's Guitar dramatically illustrates the change, sonically, in PRS guitars"

Paul's Guitar dramatically illustrates the change, sonically, in PRS guitars. It even seems to have progressed from the 408. There is zero volume drop between the single/full- coil modes, and the resulting differences seem subtle, with just a little zing to the virtually hum-free single-coil mode, especially in the low-string response, and a roundness to the humbucking. These narrow 408 pickups certainly recall a mini-humbucker, but overall the guitar sounds less staid than the Custom: more alive.

In both pickup modes, there's a Fender-like percussive bounce, but where many Fenders can be a little ear-wearing in the high-end (especially on the bridge pickup), here, well, it's odd. It's like the high-end has been 'sweetened'. There's a slight feeling that the tone control has been knocked back a little or more, like a slightly cocked wah. It's such a lively guitar, though: beautifully resonant and ringing.

The stylistic breadth of the guitar leaves the Custom 22 in the shade. Earthly jazz tones, sweet Fender-y cleans, classic rock... just good sounds with balance. We thought the 408 was good, and we still might choose that for heavier tones from its bridge pickup, but with this combination, not to mention the more classic drive thanks to the control positions and the fast three-way toggle, we have a new favourite. At least in terms of sound...

Its price may top the £4k mark, but Paul's Guitar's street price is way more reasonable at £3,359 - it's doubtful you'll pay more. For followers of Mr Smith, and there are many, Paul's Guitar is a no-brainer. Sound-wise, its another step forwards, even from the recent 408 Maple Top.

Compared with our 1994 Custom 22, well, it's in a different league. The rub for those among us who love the more classic look of our featured Custom 22 is that we can't buy a guitar like it with these Paul's Guitar pickups and electronics. There are no classic 'bursts, no moon inlay options and, frankly, the oversized headstock logo is... Paul, we know it's your guitar!

Smith's virtually unique obsession with the smallest detail means the guitars sound better than they did 20 years ago. Do they look better to the more classically informed guitarist? That's up to you.

Read more about PRS Paul's Guitar at MusicRadar.com

Blue Spark Digital

Wed, 22 May 2013 10:34:00 GMT

Read more about Blue Spark Digital at MusicRadar.com

The Blue Spark Digital cardioid-pattern condenser mic is evolved from Blue's regular (analogue) Spark model, but with a digital-only output: USB to computers, or 30-pin plug to Apple iPhones and iPads.

The included cables also have a separate headphone socket, which enables you to monitor what you're recording direct from the mic - a sonic improvement over iOS headphone jacks according to Blue - and with zero latency. There's a smart stand/ shockmount included, too.

In Use

"Whether it's a Mac, PC or iOS device, you just plug in and go, with no need for drivers"

Whether it's a Mac, PC or iOS device, you just plug in and go, with no need for drivers. The LEDs are blue by default, meaning that the rotary knob is controlling your headphone volume.

Pushing the knob in for three seconds turns the LEDs orange, whereupon you're changing the mic gain. We tried acoustic guitar, vocals, speech and a guitar amp and found the gain range (and 128dB SPL capability) appropriate for all.

The onboard Focus control gives you a slightly different response, most noticeable in the low-end. Vocals and guitars sit more prominently in a mix with it on (low frequencies are rolled off around 100Hz), while the off position instead has a little kick at 90Hz. Background noise is impressively low, while the mic's neutral tonality means it's well suited as an all-rounder.

Read more about Blue Spark Digital at MusicRadar.com

Laney Ironheart IRT-Studio

Wed, 22 May 2013 10:17:00 GMT

Read more about Laney Ironheart IRT-Studio at MusicRadar.com

Laney's Ironheart range combines West Midlands technical expertise with offshore manufacturing economies to create a package that's hard to ignore. With the obligatory low-wattage 15-watt steel-cased head already in the catalogue, Laney's next step is another form factor that could be a hit in the home recording market. The IRT-Studio is an amp that squeezes a feature-packed 15-watt all-valve head into a svelte and smart 2U rackmount chassis.

"The IRT-Studio is an amp that squeezes a feature-packed 15-watt all-valve head into a svelte and smart 2U rackmount chassis"

As you'd expect, the IRT is an all-steel affair, but the metalwork is cleanly cut and folded, finished in satin black with white lettering. As is the way with steel cases, there are a lot of screws to remove to get at the valves, but they all go back cleanly, with no misaligned holes to cause cross threading.

The IRT's electronics are split into three main groups: the front panel and main printed circuit board occupy the front third of the tray chassis; the two EL84 output valves and transformers mount horizontally to a smaller 'board attached to a steel rail, which adds rigidity to the whole structure; while the output components are on another 'board in the rear, enclosed in a steel screening can to minimise hum. Usually, we expect to see toroidal mains transformers in Laney's products, but the IRT uses conventional horseshoe mains and output transformers.

The PCBs are neatly laid out and of high quality, and there's plenty of ventilation, with slots underneath and a large anvil- shaped mesh grille on the top, illuminated inside by red LEDs, but with no fan assistance.

In terms of rack mounting, the manual advises you leave at least one clear rack space above and below the IRT; we'd go further and suggest it should be on the top of any rack, because those EL84s chuck out a lot of heat, which may not be so good for devices immediately above it. Lack of a fan at home isn't such a big deal; in home studios, the noise can be a distraction, but using the IRT in a live environment could mean a completely enclosed rack case, where forced air cooling becomes more essential.

Rather than a using a switch, the IRT has two inputs for the different output power levels: one for 15 watts and one for less than one watt. There are three channels, with clean and rhythm channels sharing the top EQ, while the lead channel has its own EQ and a separate boost control.

"The USB section outputs the fully processed sound on the right channel and a dry sound on the left"

Both EQs are conventional passive types with pull-switches on bass, mid and treble controls to extend bass response, lower the midrange frequency notch and broaden the treble respectively. We like the red collars on the controls, which make it easy to see when a switch is active. Towards the right of the front panel are three master controls for dynamics, a global tone control (which comes at the end of the amplification chain), and the built-in digital reverb.

The IRT-Studio's busy rear panel features a fully balanced output on XLR, with ground lift, +4/-30dB level switching and switchable speaker emulation. Next is the USB section, which outputs the fully processed sound on the right channel and a dry sound on the left. The dry channel has its own level control, and there's a useful re-amp input that connects the USB dry return to the amp input.

There's an aux in for your mp3 player, and a headphone outlet with its own level control, as well as a source switch that allows monitoring of either the USB or amp signal. As if that weren't enough, there's a series effects loop with switchable levels and a bypass option, and lastly, a speaker outlet with switchable impedance and a connector for the IRT's footswitch, which allows remote control for channel switching, both boost functions and the reverb. All in all, the IRT-Studio looks like a serious piece of kit, with all the functionality a serious home recordist could ask for.

Sounds

We tried the IRT-Studio in a simple home setup using a Windows 7 PC and Cubase LE, as well as a more professional environment with a Mac running Pro Tools. We also used it as a straight amp, plugged into a 2x12 cab loaded with Celestion Vintage 30s.

"The IRT-Studio is aimed primarily at the modern metal player, and the sounds it produces are certainly in the right ballpark"

Installation on the computers was straightforward, with a little tweaking needed on the Windows machine to get the audio into Cubase. We took Laney's recommendation to download an ASIO4ALL driver, after which the USB port worked reliably.

The speaker-emulated XLR output proved to have slightly better audio quality; however, the USB output allows the luxury of re-amping, outputting a dry guitar signal that can be fed back into the amp after recording, allowing for endless tweaking in the search for tone.

The IRT-Studio is aimed primarily at the modern metal player, and the sounds it produces are certainly in the right ballpark, with bright cleans that sound great when enhanced with a touch of the IRT's superbly crafted digital reverb.

The tones continue through heavy percussive crunch rhythms to searing hot leads with practically endless sustain and enough range to handle seven-string or detuned instruments with ease. At these extremes, the IRT works really well; what it's not quite as good at is subtle, mildly overdriven stuff, but in fairness, that's not really what it was intended for.

The pull-switches on both channel's EQ controls are a little disappointing; they work, but the effect isn't particularly noticeable, and it's better to reach for the global tone and dynamics controls when you need to tailor a new sound.

Overall, the Laney proves to be quick and easy to use in the studio, and we were able to put down a commercially usable track without any major issues. Used live, there's just about enough power to cope with small unmic'd gigs - but, of course, with the built-in DI, the IRT begs to be hooked up to a PA, which makes its modest 15 watts less relevant.

There's no doubt that the IRT-Studio has the features to become an indispensable tool for home use, serious project studios and the occasional live gig. Within the genres it's intended for, it certainly meets all of our expectations, although outside the metal/ shred environment the IRT is somewhat less effective as a tone tool.

Nevertheless, to find all these features in a real valve head is a real coup, and right now, the IRT-Studio doesn't have much in the way of direct competition, because the majority of products are software or hardware digital- modelling solutions - good in the studio, less so for live use.

The IRT's strength is that it can transition seamlessly from one to the other, or even do both at the same time if needed, making it practically indispensable when real valve- powered tone is needed.

Read more about Laney Ironheart IRT-Studio at MusicRadar.com

Meinl Marathon Series Timbales

Tue, 21 May 2013 11:30:00 GMT

Read more about Meinl Marathon Series Timbales at MusicRadar.com

The German company Meinl is unique amongst the major manufacturers in producing equally broad ranges of both cymbals and percussion instruments. Adding to Meinl's already generous timbale offerings are these mid-range Marathon Series Timbales.

Build

The Marathon Timbales are a formidable, heavyweight pair - 15"x8" and 14"x8", made from 1mm gauge steel, strengthened with two circumferential flanged beads. There are four finishes - Black Nickel, Brass, Chrome and the unusual Antique Matte of the review pair.

Timbales require a specialised stand and Meinl's is impressively strong and stable with its double braced tripod, goodly height extension, stout memory lock and geared tilter. The shells themselves have the usual paired hook rings welded to the steel hoops which stack over one another and are then bolted tight over the centre support post. Through this also passes the L-arm for mounting cowbells etc, which also has two extension locking nuts for positional flexibility.

Hands On

"All timbales can be fearsomely loud, but this pair, with their steel shells, can easily blow your head off"

All timbales can be fearsomely loud, but this pair, with their steel shells, can easily blow your head off. At 8", the shells are of the deeper variety for timbales and give each stabbing rim shot an extra depth. Playing your cascara on the hembra shell the tone is hard, less tunefully complex than with brass timbales, but the extra shell depth again adds a welcome touch of duskiness.

Meinl's thin timbale heads have the logo printed on underneath the semi-transparent membrane. Centre strokes are dampened but the rims have the necessary ring. Tuning of the six chromed lugs is smoothly undertaken with the included, heavyweight L-shaped key - and Meinl also throws in a small bottle of lubricating lug oil in case it's ever needed.

We found the tuning range from deeper throatier tones to taut and brittle taps impressive. The thick, chromed steel hoops are kind to your sticks and you'd better have your earplugs in place when you go for your solo - ear splintering, stinging sharp strokes just peel off the rims.

Read more about Meinl Marathon Series Timbales at MusicRadar.com

Roland GR-S V-Guitar Space

Tue, 21 May 2013 10:30:00 GMT

Read more about Roland GR-S V-Guitar Space at MusicRadar.com

For players willing to embrace it, Roland's V-Guitar system offers an awful lot - it can deliver many sounds that are simply not available from a conventional pedal and amp setup. Now the GR-S V-Guitar Space offers a portion of V-Guitar technology in a Boss Twin Pedal chassis.

Roland's V-Guitar system is not exactly a budget buy, and requires the use of a guitar equipped with a divided pickup, such as Roland's GK-3, and its 13-pin connection - a further investment that can put many off.

That may have been the end of the matter at one time, but not any more: if you'd like some of those sounds without shelling out for a full-blown VG-99 or would like access to them from a conventional electric guitar, Roland has made it possible with the release of a new pedal, the GR-S V-Guitar Space.

Build

It has a divided-pickup guitar input, but also has a pair of standard jack inputs, plus outputs to connect to an amp or pedals.

If you're using a standard guitar, you simply connect it to the L (mono) input and use the jack outputs for either stereo or mono operation. Roland does point out, though, that you won't be able to enjoy the full potential of the GRs using a conventional guitar, since the signal from each string can't be processed individually.

"The GR-S creates its sounds by applying independent processing for each guitar string"

If you are using a GK pickup, there's also a Guitar Out socket, so you can send the normal clean pickup signals of the GK-compatible guitar to another device - perhaps an effects unit, the output of which can then be connected to the GR pedal's jack inputs in a send/ return scenario, if desired.

The pedal features four different sounds that you can select and tweak manually. Besides this manual mode, you also get four user memories that store and recall any sound you create, regardless of how the knobs are physically set. These are cycled with a single button or accessed by the patch up and down buttons if you're using the pedal with a GK pickup.

The GR-S creates its sounds by applying independent processing for each guitar string. It has a tone knob that brightens the sound, and a Color knob that has a different function for each of the four effects: crystal, rich modulation, slow pad and brilliant clean.

The right-hand footswitch operates a freeze effect, which creates an instant loop of the sound and sustains it for as long as you hold it down, letting you solo over it.

Sounds

With a conventional guitar, the GR-S is basically a fancy chorus pedal - you get four different flavours of modulation and pitch effects combined with ambience, each with Color knob adjustment, which brings in metallic resonance, more modulation or the like. Use a divided pickup (like the one on our Roland GK-3-equipped Yamaha Pacifica), though, and it comes to life with more detail and depth.

This is typified by the slow pad effect, a lovely evolving sound, which has an attack that swells in according to the setting of the Color knob, a feature absent with a normal axe. The other sounds provide crystalline modulation with an icy metallic edge, very spacious chorusing and faux 12-string (or even 18-string) sounds...

We do like the idea that Roland has equipped this pedal to make some part of its VG and GR sounds available to anyone playing a regular guitar. However, that is not the primary focus here - while this pedal can certainly add something a little different to your tonal palette and still fit into your basic pedal setup, their full sonic potential is not realised in this way.

"With a divided pickup, buying this pedal makes much more sense"

What's more, it's a lot pricier than conventional stompboxes, and although that probably reflects the fact that it's filled with more expensive electronic gubbins than most, you'd have to have a good listen and think very hard about adding it to your 'board.

With a divided pickup though, buying this pedal makes much more sense. This pedal really does respond differently and provide a deeper, more stunning range of effects if you're using a GK pickup.

Not only will you will get optimum use out of it in that scenario but it offers an ideal opportunity to buy into the V-Guitar world for a lot less than shelling out for a VG-99. It could be a worthwhile buy if you already have a guitar fitted with a GK pickup or are thinking of adding one to your guitar and dipping your toe in the VG/GR water.

Read more about Roland GR-S V-Guitar Space at MusicRadar.com

Native Instruments Battery 4

Tue, 21 May 2013 10:14:00 GMT

Read more about Native Instruments Battery 4 at MusicRadar.com

Battery began life at a time when Native Instruments didn't really deal in bundles but rather in dedicated software applications, each of which performing an independent task. It's been over a decade since Battery first appeared as a plug-in but, more tellingly, more than six years since Battery 3 was unveiled. While there have been some solid tweaks since, there's been nothing significant enough to warrant the release of a new version.

"Does a company of this size need two dedicated drum engines? Delightfully, the answer is yes"

Battery fans feared the worst when Native Instruments debuted Maschine in 2009. After all, does a company of this size need two dedicated drum engines? Delightfully, the answer is yes. Now, Battery 4 has been released as a flagship new application within Komplete 9. Of course it's available separately from that bundle, but with the landscape for virtual drum machines having changed so dramatically does Battery still rule the roost?

Colour coding

From a design point of view, there's no getting around the fact that Battery 3 has been showing its age for some time. Although its cell based matrix of drum pads remains a great approach to beat programming and sound triggering, the grey and green combination was never our favourite.

Indeed, while colour-coding of pads was possible there was little continuity from one kit to the next. The only way to track down sounds was either to audition them or to squint hard at the interface. Battery 4 addresses this head-on with a much better design. Without a trace of light grey or green, the layout is now a slicker, darker affair.

Colour coding is more straight-forward too, with preset kits now mostly showing kicks in red, snares in yellow, claps in pink, hats in light blue and so on. Below the matrix of pads in the upper surface, the middle of the GUI is dominated by the waveform display whose waveshapes match the colour of the pad you've selected for editing. Neatly, key parameters such as Tuning, Key Range, instant Reverse, Pan, Volume, Phase invert and L-R switching are available to the right. Mercifully, start and End flags on the waveform itself make selecting the active area of any sample straightforward.

Assault and Battery

The lower part of the GUI concerns basic modulation possibilities, starting with Volume and Pitch Envelopes for each pad that feature two different Envelope configurations for each. Velocity can be mapped to Volume or Pitch (or both), while a simple 'dual' filter design lets you scoop out bass and treble from either end of the frequency spectrum at the same time.

Each pad features its own Compressor that keeps things simple on this main page with a basic Amount dial only, while send dials to the Delay and Reverb modules (we'll come to these shortly) lie on the right. Overall this makes Battery 4's workflow quicker, though the best development on this front comes from a new tagging system for individual sounds within the plug-in's library.

Building your own kits used to involve a lot of faff but now Battery 4 contains kit piece names that are further sub-categorised (acoustic, analog, electronic) so that you can audition via Battery's own browser to drag and drop hits into the cells you want them to fit.

In-depth configuration

Once you've exhausted these initial sound sculpting tools, you can go under the hood of your cells and overall kit configuration via a series of tabs at the bottom. The Effects tab opens up more per-cell sonic treatments with Saturation, Lo-Fi, Filter/EQ and Transient Designing modules, as well as a complete set of controls for the Compressor module mentioned earlier. Further to the right, the Master tab allows access to sub-grouping Busses, the Reverb and Delay master modules, as well as Global Filter/EQ, Compressor, Limiter, Transient Designer and Saturation modules.

The Modulation tab offers multiple opportunities to 'interrupt' signal flow with twin LFOs and a dedicated Modulation envelope, and drop down menus let you assign these to the parameters of your choice. Brilliantly, the waveform display toggles from LFO or Envelope shapes and the waveform of the sound you're processing as you hover over parameters, which is neat and hugely effective.

Oodles of options

Even though this version has been a long time coming, it's been worth the wait. Design wise, we're happy to leave the old version's looks firmly in the past. Workflow has been so significantly improved that once you have familiarized yourself with what's new, beat building becomes more fun than ever. The new kits sound great and with the integration options - Battery 4 will accept samples from a wide range of file types - there's no need to stick with NI's own libraries of content because you can so easily expand these with your own.

Once you have configured sounds into cells, the giant strides NI have taken in terms of effects processing in recent years make their presence felt here too. Certainly, I would have no hesitation in recommending Battery 4. In fact, it should be considered towards the very top of your list if you're looking for a software only drum plug-in.

Read more about Native Instruments Battery 4 at MusicRadar.com

Gretsch Roots Collection G9220 Bobtail Round-Neck AE

Mon, 20 May 2013 10:52:00 GMT

Read more about Gretsch Roots Collection G9220 Bobtail Round-Neck AE at MusicRadar.com

Gretsch's Roots Collection is allowing the firm to don a new guise as a folk-friendly brand. One of the first off the line is the G9220 Bobtail Round-Neck AE resonator.

Word-association time. Think Gretsch, and you'll picture candy- coloured archtops with oversized f-holes; gleaming Bigsby vibratos; Eddie Cochran and Brian Setzer; and Beatle George changing the world on The Ed Sullivan Show.

Well, the new Roots Collection swaps Gretsch's typecast Cadillac-and-Cherry Coke vibe for a down-home pickup truck and moonshine range of acoustics, resonators, mandolins and other folky instruments. The launch of the range comes at a time when roots instruments are enjoying a huge resurgence in popularity.

Build

If resonator guitars didn't already exist, some steampunk fanatic would have knocked one together eventually. Those guys love over-engineered parts; and the resonator in our G9220 Bobtail is basically a mechanical speaker cone spun from 99 per cent pure Eastern European aluminium, which helps project the sound and gives the guitar its unique tone.

"In the case of the Bobtail, laminated mahogany provides a more rigid base for its resonator cone"

You might be surprised to learn that an acoustic guitar with a 500-plus quid price tag is made from laminated mahogany. While solid tone woods undoubtedly add some glamour to an acoustic guitar's spec list, in the case of the Bobtail, laminated mahogany provides a more rigid base for its resonator cone.

The Bobtail is available in Square- and Round-Neck formats. Square-Neck resonators rest face-up on your lap. They feature a very high action and are used exclusively for slide - usually by bluegrass players. Round-Neck models can be played like conventional acoustics, and are very popular with the blues fraternity.

That said, 'Round-Neck' is actually a bit of a misnomer for our Bobtail. The glued-in mahogany neck has a V profile that comes to more of a pronounced taper than the softer profile of, say, a Martin 'modified V' neck. The playability of the neck is further enhanced by its 400mm (15.75-inch) radius rosewood fingerboard and 19 beautifully finished medium-jumbo frets.

The Bobtail comes loaded with a Fishman Nashville pickup. Developed in association with star luthier Paul Beard, the pickup is discretely attached to the resonator cone. A combined jack socket/strap button sorts the output.

The Bobtail has plenty of vintage-style appointments. The nickel-plated Poinsettia-design resonator cover plate, Grover Sta-Tite tuners and Art Deco soundholes are crowned by a pearloid headstock fascia lifted from the classic Gretsch Synchromatic archtops of yore.

Sounds

"A resonator has always been the easiest way to bag some classic Delta blues and bluegrass tones"

A resonator has always been the easiest way to bag some classic Delta blues and bluegrass tones; the Bobtail just makes it more affordable. We did compare the Bobtail to the new G9240 Alligator Biscuit Roundneck model, and while the Alligator pumps out a swampy twang that's not far from the sound of a banjo, the Bobtail is more well-rounded (a bit more Romeo And Juliet) with less of the strangulated note decay of the Alligator. You'd be advised to try the entire Roots Collection range to make sure you get the tone you need.

While some might struggle with the V profile neck, it's worth persevering. In our experience, the Bobtail's neck felt like an old friend remarkably quickly and thw action worked great for both fingerstyle and slide.

The onboard pickup does a pretty good job of reproducing the sound of the resonator, but it is passive. And although Fishman does offer an active version, you'd have to remove the cone to replace the battery, so we'd recommend an external preamp if the passive pickup doesn't do it for you.

The Bobtail is definitely inspiring. The quality of tone, playability, construction - and, yes, serious eye candy - make it the best resonator in its class, in our opinion. In summary, Gretsch might be best known for rock 'n' roll machines, but it has nailed the rustic stuff with this Roots Collection.

Read more about Gretsch Roots Collection G9220 Bobtail Round-Neck AE at MusicRadar.com

IK Multimedia iLectric Piano

Fri, 17 May 2013 10:21:00 GMT

Read more about IK Multimedia iLectric Piano at MusicRadar.com

iLectric Piano follows a similar formula to earlier IK iPad release iGrand Piano, but with the focus on electric keyboards rather than acoustic ones.

"This reinforces the argument that the iPad is capable of serving as a respectable sound source for keyboard players"

Sample-based Fender Rhodes, Wurlitzer and Clavinet instruments are all present and correct, and they reinforce the argument that the iPad is capable of serving as a very respectable sound source for performing keyboard players.

iLectric Piano also provides the likes of FM pianos and electronic grands. There are multiple sonic variations on all of the instruments, the downside being that some of them have to be purchased as a £6.99/$10.00 in-app expansion pack.

All the presets are tweakable with the MIDI-assignable knobs, while adjustable effects help to breathe life into the sounds. A MIDI recorder and a variety of audio export options are here, too, as is Audiobus support.

Read more about IK Multimedia iLectric Piano at MusicRadar.com

Gear4Music DP10 Digital Piano

Thu, 16 May 2013 21:01:00 GMT

Read more about Gear4Music DP10 Digital Piano at MusicRadar.com

Digital pianos are nothing new, but the efforts manufacturers go to in order to deliver a piano-like key action and authentic sound means these instruments can still be pricey. Even the cheapest models tend to be considerably more expensive than a half-decent second-hand upright piano. Not so with this Gear4Music offering...

The DP10 is a digital piano with a standard 88-note hammer-action keyboard, a selection of different sounds, built-in speakers, and an attractive integrated stand. The base of the stand incorporates three piano-style pedals. An unobtrusive panel at the rear provides connectors for power and audio I/O, as well as a USB socket for hooking up the DP10 to a computer. Two headphone jacks are also provided on the underside of the piano.

Once assembled, the DP10 is not an unattractive beast. The black stain-effect wood finish and clean lines may be somewhat neutral, but they will blend in anywhere.

The DP10 has a slide-over lid that tucks back into the body of the instrument to reveal the keyboard... And what a keyboard it is.

The weighting and 'bounce' of the keys is exactly what we'd expect from an acoustic piano, and is as good as anything we've seen on digital pianos costing three times as much as this one. The touch sensitivity of the keys can be adjusted to suit your playing style, but we found the out-of-the-box setting to be perfect.

The three brass-finish piano pedals are positioned much as they would be on an acoustic instrument, and have a solid feel and positive spring-back action. They provide the conventional sustain, sostenuto and soft effects.

The DP10's built-in sound system gives a clean and undistorted sound and can kick out as much sound as you would realistically need. However, the main speakers are mounted on the underside of the piano facing downwards. When placed on a carpeted floor, this reduces the clarity of the sound. On the plus side, though, the stereo imaging is very effective and the sound seems as wide as the piano itself.

The speaker system can be disabled by plugging some cans into the second of the two headphone sockets. This is perfect when you want to practise in private or tinkle the ivories without disturbing anyone.

The other headphone socket does not disable the speaker system. This comes in handy if you are playing in a group or ensemble and want to be able to hear your own sound clearly above that of your fellow musicians.

Sounds

The DP10 comes loaded with a small palette of sounds. There are two piano sounds (one bright, one warm), then there's CP80-style electric piano, harpsichord, vibraphone, church organ, strings, trumpet, sax and oboe. The two piano sounds are reasonably good; they're not going to challenge a top-end physical modeling synthesis engine, but are very playable nonetheless.

The other sounds are a mixed bunch. None are bad and all give a decent emulation of the source sound, but none leap out as being particularly great. It's possible to load two sounds at once as a layered pair or, by using the 'strings (lower)' preset, you can create a split with strings under your left hand and whatever you like under your right hand. The split point is fixed at F#3. It's a shame this can't be adjusted.

The DP10 also features a reverb unit and chorus effect. There are four different presets for each, with no further control possible. While some may find this a bit limiting, we found the presets to be well judged, offering a useful spread of possibilities. The addition of more fine tuning controls would only add unnecessary complexity to the impressively straightforward DP10.

Another handy feature is the built-in metronome, which emulates the sound of a classic clockwork metronome, complete with bell ring on the first beat of each bar.

Simple

Gear4Music has kept things simple on the features front: this piano isn't trying to act as your backing band or your recording studio. The DP10 is all about the pleasure of playing the piano.

The control panel that runs across the rear of the keyboard is delightfully uncluttered. There's a power switch at the far left, to the right of which is a volume slider followed by a single function button. And that's it.

The function button works in conjunction with the keyboard: hold down the button and press a key to select a different sound, change effects presets or enable the built-in metronome. The control panel clearly labels each key that can be used in this way. It's a straightforward procedure and should be a doddle for even the most technophobic of users.

Ins and outs

If you want to record the sound from the DP10, or feed it into a separate speaker or PA system, then the aux-out connector on the rear panel will do the trick. Surprisingly, there's also an aux-in connector, which enables you to mix an external signal with the DP10's sound – perfect for when you want to play along with CDs or backing tracks.

Alongside these audio connectors is a USB port. This enables you to send MIDI messages from the DP10 to your computer and vice-versa and means you could use the DP10 as a master keyboard in a studio. We'd like to have seen old-school MIDI ports as well as - or instead of - a USB port. MIDI ports are ubiquitous and would have enabled the DP10 to control other keyboards and synthesizers.

There are better sounding digital pianos out there, but at three or more times the price of the DP10. Ultimately, the most important thing in any instrument is playability, and in this regard the DP10 performs very well indeed. As an entry-to-intermediate level instrument, it will not disappoint.

Read more about Gear4Music DP10 Digital Piano at MusicRadar.com

Cymbal Doctor Home Pro Cymbal Cleaning Kit

Thu, 16 May 2013 11:06:00 GMT

Read more about Cymbal Doctor Home Pro Cymbal Cleaning Kit at MusicRadar.com

Cymbal Doctor is a cymbal cleaning, restoring and polishing system, the brainchild of American drummer Larry Jaworske (also a vintage car restorer) and Sam Lankford, whose expertise is in metallurgy, aviation and "marine polishes for extreme applications".

Build

There is a Home Pro Kit and a more heavy-duty Touring Kit. We have the Home Kit which includes 24"x24" rubber work mat, 8oz bottles of cleaner/brightener, polish and sealer; rubber gloves, applicators and foam polishing pads, microfibre towels, ultra microfibre finishing towel, rugged electric polishing tool and pads, logo protection film, instructional DVD and strong gigging bag.

Hands On

"The muck simply floated off and the cymbal came up spectacularly"

The DVD details the three-stage process of cleaning, polishing and sealing your cymbals. The operative words in the blurb are 'safe', 'fast' and 'mirror-like' finish. Well, it's pretty fast, though some cymbals required a lot of elbow grease. We took between five and 20 minutes per cymbal, with mostly good results. 'Mirror-like' finish might put you off. Most of this writer's cymbals have a regular, satiny finish. The few which have a brilliant finish don't need much renovating and the normal finish ones we don't want to end up brilliant.

So we were wary to start. We tried it first on a grubby old 18" A Zildjian with classic regular finish. We didn't get the easy dramatic results seen on the DVD, but by cleaning it twice, using lots of paper kitchen towel to get off the black (metal polishes often invoke black residues), we eventually achieved a satisfying natural gleam.

Next we risked a cherished 40-plus years old 20" Paiste Stambul which had been browny-orange for years. The muck simply floated off and the cymbal came up spectacularly. Bull's-eye. Encouraged, we spent idle moments all week tackling all manner of cymbals, old and new, cheap and expensive. Ancient stains and marks left by injudicious sticky tape would not budge. But most cymbals at least got a welcome freshening-up.

Finally we came to a Paiste 602 Paper Thin Crash. This it seems originally had a heavy 'varnish' and, working round the logo, we ended up with a mottled, dull cymbal which now looks worse. The message is that this is an undeniably effective product, but take care and don't get over confident with it.

With the heavy electric polisher the kit is expensive, but you can buy cheaper packs with just the cleaning products to spruce up your dowdy old platters. The cleaned-up cymbals do also sound a bit sparklier and fresher.

Read more about Cymbal Doctor Home Pro Cymbal Cleaning Kit at MusicRadar.com

ProjectSAM Lumina

Thu, 16 May 2013 10:59:00 GMT

Read more about ProjectSAM Lumina at MusicRadar.com

The third in the Symphobia series, Lumina (for Kontakt 5 or the included Kontakt 5 Player), focuses on the fantasy and mystery cinematic genres with legato instruments, textures and pre-recorded phrases.

"The recordings are breathtaking, blending seamlessly with its sibling packages"

The recordings are breathtaking, blending seamlessly with its sibling packages. The ensemble phrases are lush and the single instruments (recorders, harp, whistles, etc) have a sound straight out of Middle Earth.

Sadly, the choirs and soloists sound a bit flat and synthetic, and the odd selection of cartoon patches might be better suited to a standalone library. Some annoying programming also mars an otherwise stellar package: the phrases can't be automatically tempo-synced within Kontakt, articulation can be illogical, and the keymapping could do with tweaking.

Read more about ProjectSAM Lumina at MusicRadar.com

New Sonic Arts Nuance

Wed, 15 May 2013 10:47:00 GMT

Read more about New Sonic Arts Nuance at MusicRadar.com

For most producers, mega-samplers like NI Kontakt and MOTU MachFive deliver far more power than is actually required for the majority of their sampling needs. Often, all you want is the ability to quickly load up a few samples, throw a filter on top and maybe hook up an envelope or LFO - and that's where Nuance hopes to step in.

"Nuance is a streamlined sampler with a well realised featureset that puts the emphasis on workflow and ease of use"

Nuance is a streamlined sampler (VST on PC, AU on Mac, standalone on both) with a well realised featureset that puts the emphasis on workflow and ease of use. It can load WAV, AIF and SFZ files, and saves patches out in its own file format with the option to embed the referenced samples.

Samples are dragged directly into the interface, where looping and keymapping are done graphically, by moving and resizing zones and loop ranges. We did have minor issues with resized zones not always triggering at certain velocities, but the developer assures us this is fixed in the next update, which should be available by the time you read this. Glitches aside, the mapping system is intuitive and quick, with no limit on the number of zones and the abililty to overlap zones (albeit without any sort of crossfading).

The minimalist effects section hosts a multimode resonant filter (high-, low- and band-pass) as well as one-knob compression and distortion processors. Up to eight unison voices can activated, and the legato glide time is adjustable.

It's perhaps in the modulation department that Nuance most impresses, however, with three velocity-sensitive AHD/AHDSR envelopes (one hardwired to the amp) and two LFOs onboard. Sources (which, ingeniously, include Unison) are linked to targets in a simple modulation matrix.

Nuance sounds great, with the filter packing plenty of bite and the modulation system inspiring all manner of crazy sample-mangling japery. Fuss-free sampling indeed.

Read more about New Sonic Arts Nuance at MusicRadar.com

Roland GR-D V-Guitar Distortion

Wed, 15 May 2013 10:44:00 GMT

Read more about Roland GR-D V-Guitar Distortion at MusicRadar.com

For players willing to embrace it, Roland's V-Guitar system offers an awful lot - it can deliver many sounds that are simply not available from a conventional pedal and amp setup. Now the GR-D V-Guitar Distortion offers a portion of V-Guitar technology in a Boss Twin Pedal chassis.

Build

It has a divided-pickup guitar input, but also has a pair of standard jack inputs, plus outputs to connect to an amp or pedals.

"The GR-D offers four effects types: VG Distortion 1, VG Distortion 2, Poly Distortion and Synth"

The GR-D offers four effects types: VG Distortion 1, VG Distortion 2, Poly Distortion and Synth. There are gain, Color and tone knobs, the functions of which change depending on the selected effect. For the distortion effects, the gain and tone knobs offer what you'd expect - adjusting the amount of distortion and brightening the sound respectively - but for the Synth sound their functions adjust the synth waveform and the synth's filter cut-off frequency. The Color knob does something different for each effect, and the right-hand footswitch offers a useful boost to the sound for soloing.

Sounds

With a conventional guitar, you get four different distortion effects, covering a wide range of sounds that go beyond the 'overdriven amp' style. It's obvious this isn't a conventional distortion pedal - noise is absent when not playing, even with loads of gain, and there's a nice individual string clarity.

Using a divided pickup with its 'humbucker for each string' configuration and plugging in via the 13-pin connection with a Roland GK-3-equipped Yamaha Pacifica, though, it's clear the pedal is optimised for this type of operation.

"Poly Distortion is derived from the polyphonic distortion in Roland's early guitar synths"

String clarity is more pronounced, with separate distortion processing for each string eliminating the atonal harmonic artefacts of mono distortion - this is most apparent in the case of Poly Distortion, which is derived from the polyphonic distortion in Roland's early guitar synths, and designed to deliver distortion while letting chords ring and resonate.

VG Distortion 2 has an octaver effect that you don't hear with a conventional pickup, but the most acute sonic difference between using conventional and divided pickups comes when selecting the Synth sound.

This sounds like a proper analogue synth, complete with filter squelch, and raises the pitch an octave with the solo switch engaged. With a normal guitar, it sounds like a weird fuzzy distortion, with the solo switch simply making it louder. Overall, you get four different, focused sounds using the divided pickup, but your usual guitar will still give you a useful range of unusual distortion voices.

"With a divided pickup, buying this pedal makes much more sense"

With a divided pickup though, buying this pedal makes much more sense. This pedal really does respond differently and provide a deeper, more stunning range of effects if you're using a GK pickup.

Read more about Roland GR-D V-Guitar Distortion at MusicRadar.com

Gear4Music WHD 14"x6.5" Steel Snare And Gigbag

Tue, 14 May 2013 22:50:00 GMT

Read more about Gear4Music WHD 14"x6.5" Steel Snare And Gigbag at MusicRadar.com

WHD, the brand previously known as White Horse Drums, has fallen under Gear4Music's wing since 2011. In those two years the stable has released full kits, e-kits, cymbals and snares to the market. It is the latter that we concentrate on today, in the form of a 14"x6.5" steel-shelled snare drum.

Build

Immediately obvious when you unpack this WHD snare is that you're getting an awful lot of drum for your money. It's far heavier than you'd expect. It won't suit everyone's taste aesthetically, but beneath its love-it-or-loathe-it hammered white gloss finish is a drum that delivers way beyond its price point.

There are a handful of niggles... The badge, for instance, is a little cheap-looking, and on closer inspection the finish on some of the 20 lugs looks rough and ready. For under £100, however, the finish here is more than acceptable. Our gripes are minor and perhaps to be expected at this entry-level price.

The gigbag included in the bundle is the Gear4Music High Grade Snare Drum Bag, which retails for £15.99 on its own. So, when you consider that you're getting that chucked in along with the snare and still getting change from £100, you can't fail to be impressed by the value for money on offer here.

Hands on

So, on face value it appears that you're getting a lot here for sub-£100, but how does this WHD steel snare sound? Well, pretty darn good, actually.

We get a fair sound from the snare with the WHD-branded Remo coated heads that come as standard. Once we swap these out for our own preferred choice, however, the improvement is instantly noticeable. We're able to get a decent pop/rock sound with little in the way of blood, sweat, or tears.

Played within the context of a kit, the snare performs admirably, providing a satisfactory 'thwack' at mid tuning. Crank things up a little higher and you'll hear some ping in the sound. WHD's choice of die cast hoops help to mute any wild overtones and keep the sound controlled and consistent.

A general concern with budget snares is their ability to handle tonal intricacies. You'll be glad to learn that, in this area, the WHD puts up a decent fight.

Part of our extended test of this drum includes a handful of function-band rehearsals, a test which enables us to whisk the snare through a plethora of tracks and styles.

The drum gives a good account of itself at the rockier end of things. Give the drum a quarter turn all the way around and it produces a little extra top end. When we take things up a gear it handles rim shots with surprising aplomb.

At the other end of the spectrum, cross sticking is more of a challenge. Some notes are almost drowned out by unwanted snare buzz, while ghost notes are often lost to the same problem. This is not a deal breaker, but a sign that the drum is more at home with straight-down-the-middle playing rather than the subtleties of light and shade.

Gigbag

The included snare case turns in a somewhat mixed performance. The presence of a stick bag that attaches to the front of the case is neat. However, when the snare is in our review model gigbag there's a little too much space to spare either side.

This, coupled with a lack of adequate padding, could cause problems if you want to take this snare gigging. It will need snugger protection if you're going to be chucking it in the back of a car night after night.

The WHD 14"x6.5" Steel Snare Drum and Gigbag certainly isn't for everybody, but you'd be hard pressed to find a better package at this price. Beginners and those looking for a rock bottom-priced snare that you can get a decent tune out of need look no further.

Read more about Gear4Music WHD 14"x6.5" Steel Snare And Gigbag at MusicRadar.com

Minster MLP200L Digital Piano

Tue, 14 May 2013 22:43:00 GMT

Read more about Minster MLP200L Digital Piano at MusicRadar.com

Acoustic pianos are wonderful instruments, but they are not always practical. They're fearsomely heavy, require regular tuning and servicing and, short of being recorded, they offer limited compatibility with technologically-equipped studios.

If you're looking for a piano sound and touch without the hassle of maintenance, but with tech compatibility, you need a digital piano. If your piano has to fit into a limited space is, the MLP200L model, from the Minster slim range, may be worth investigating.

Slimline design

The MLP200L comes in a single box containing the instrument itself and its stand. The lowest section of this houses its pedalboard. Assembly is straightforward, but despite its slimline dimensions, the instrument is still heavy enough that two pairs of hands are required to fix it all together.

As with Minster's larger digital pianos, the stand must be used. With the slimline range, this is partly because the stand incorporates the speaker box from which the sound is produced. This means the speakers are not located in an ideal listening position.

Functionality

The 'slim' tag refers to the MLP200L's front-to-back depth, which is impressively compact. Smaller dimensions mean limited space, however. As a result, the keyboard's options buttons are housed to the left of the keyboard, rather than the more conventional behind-the-keys location.

Some functions, including sound selection, are accessed via a combination of a button on the left and the keyboard's keys themselves. To change the internal voice, for example, press Setup and select one of the instruments listed on the keyboard's lowest two octaves.

In a similar way, it's possible to activate and edit a range of additional options. These include keyboard splits and layering, internal effects, keyboard transpositions and more besides.

Record and playback

One instantly pleasing function on the MLP200L is a basic record/playback capability. This is a great practice tool: play and record a piece, then listen back to it with some objectivity. You'll be surprised at the details of your playing that present themselves to you. You can identify sections that need attention, or indeed parts that you're playing particularly well. Then repeat the same process after you've done a bit of practice and see how you've improved.

There are 12 main voices, two split voices (where the keyboard is divided to accommodate two zoned sounds), three layered voices (where two sounds play at once across the keyboard range) and 14 extra sounds, which are assigned to the white keys between the main sound types listed above.

There are a few compromises with the MLP200L. It only has 64-note polyphony (this is the number of notes it can sound simultaneously. Some digital pianos have 128-note polyphony.), it has a smaller number of onboard sounds compared to its big brothers and fewer internal effects options.

All in all, though, this slimline digital is an attractive option. The key action is as pleasing as Minster's larger digital pianos and has four levels of touch sensitivity. This is sure to appeal to piano purists who are looking for a realistic touch.

The fact that it's able to 'talk' to a vast range of studio equipment, including keyboards, computers, sound modules and more, via MIDI and USB connections, makes it an attractive option for a studio setting, too. Plus it won't break the bank. So, if you're looking for a technology-ready piano to fit into a small space and deliver an authentic piano experience, check this out.

Read more about Minster MLP200L Digital Piano at MusicRadar.com

Minster MPS-8H Digital Piano

Tue, 14 May 2013 22:34:00 GMT

Read more about Minster MPS-8H Digital Piano at MusicRadar.com

Digital pianos appeal to a range of potential users. They make excellent practice instruments for those looking for realistic piano sounds, their headphone ports mean you can plug-in and tinkle the ivories without annoying your neighbours, and some models can be used as home and live keyboards.

Yamaha Clavinovas and Roland's offerings are usually the go-to when considering buying a digital piano, but they are by no means the only players in this field. The Minster MPS-8H is a mid-priced digital piano whose specifications, at least on paper, suggest this instrument might prove a force to be reckoned with.

Build

The piano arrives in two boxes, one containing the instrument and the other containing its stand, which itself houses the instrument's pedalboard. Both are well designed and built.

Full assembly takes no more than 15 minutes, but you'll need a screwdriver and plenty of lifting power. Putting this piano together is a two-man job, which means it's not really an option as a home/live hybrid solution.

The connections area, containing audio outputs, headphone port and the USB connector, is housed on the underside of the keyboard. This means that you have no choice but to use the stand - you can't use this keyboard on a tabletop.

Once setup is complete and the keyboard cover is back, you're greeted by an attractive panel featuring silver buttons, many of which are circled with red LEDs when activated. The panel buttons are self explanatory, yet many offer an impressive level of depth. This is best demonstrated by the voice options.

Voices

There are 12 instrument types, each with its own button that is located on the right of the panel. Each of these buttons offers five variations, giving a grand total of 60 native internal sounds.

Additionally, a full set of general MIDI (GM) sounds are accessible for compatibility with other GM-enabled instruments. You're not limited to a single sound across the keyboard range, either, as twin and layer modes enable you to split the keyboard or to combine two voices across it, respectively.

The keyboard also includes its own effects, organised into categories of chorus (with four variations), feedback, flanger, short delay and feedback delay. The separate reverb effect enables you to add spatial depth to the sound.

In conclusion

The MPS-8H offers a pleasing keyboard action that will appeal to acoustic pianists. While dedicated piano students will always benefit from playing a 'real' instrument, there are huge benefits to digital equivalents, as typified by the range of features available here.

With a collection of good quality in-built sounds, USB connectivity, which enables the keyboard to 'talk' directly to computer-based recording setups, onboard effects and plenty more besides, this keyboard deserves your attention.

Read more about Minster MPS-8H Digital Piano at MusicRadar.com

Bullet & Kitch/Natal Double Kick

Tue, 14 May 2013 11:42:00 GMT

Read more about Bullet & Kitch/Natal Double Kick at MusicRadar.com

When one of the UK's most-respected pedal designers and the fastest growing drum and hardware manufacturer on the planet choose to team up, you can be sure of something rather special. The unique pedal design expertise of Bullet and Kitch, married to the efficient manufacturing and global distribution of Natal - which is now under the wing of the mighty Marshall - makes perfect sense.

Since it was acquired by Marshall in 2010, Natal has seen some incredibly rapid growth. Marshall is, of course, synonymous with those great walls of amplification. However, the late Jim Marshall was himself a drummer and keen to invest in the great British heritage of Natal, adding a drum line to the great Marshall name.

At one of the autumn drum shows, Natal expressed their interest in the Bullet and Kitch designs and the seeds of the partnership were sown. The official announcement took place at the recent NAMM show, where the early fruits of this unique partnership were aired to the public for the first time.

For this review though it's the turn of another newly designed model. Hot from the manufacturers, and literally a day before its inaugural visit to Musikmesse in Frankfurt, we give the double version of this spanking pedal an exclusive and thorough testing.

Build

"This captures many of the worthy features from each of the two original models"

This exciting hybrid is an amalgamation of a chassis and drive shaft from Natal's ProSeries double, together with the footplate of a Bullet & Kitch FB-007. This captures many of the worthy features from each of the two original models. From the ProSeries model these include the 'Ultra Fast' cam, self-levelling hoop clamp and a stainless steel bearing shaft which allows an infinitely adjustable beater angle.

Other notable aspects include the lower spring attachment, hinged to allow a smoother spring movement, while avoiding any unnecessary spring stretching. Memory locks are provided on both of the two dual-sided (felt/plastic) beaters - which also bear the Natal sun logo - and being a doubler, an interconnecting drive shaft. This robust steel shaft has a total of eight bearing sets that should help give the remote pedal a smooth and fast action.

Ultimately, it's the contoured aluminium Joggle Board pedals, with their intriguing plastic blocks, that gives them a wholly unique appearance. The 6mm thick aircraft-grade aluminium looks great in contrast to the powder-coated components of the base plate and bearing posts. Both footplates are fitted with adjustable, sliding 'control blocks', designed for the feet to pivot - acting as a foot fulcrum for the heel/ toe technique. Embossed on both footplates are the Natal logos and brand name.

Hands On

With the foot of the pivoting rim clamp positioned between each of the two lower kick lugs, the main pedal is attached via the side-access clamp. Both beaters have their stems just protruding from the lower part of their individual clamps.

"The 'fast cam' helps rocket the beaters, accelerating them until they each slam onto the bass drum head"

For the first trial, the pedal is positioned/ set with a 'standard' flat footplate, with both beaters at their maximum length. The beater position means a slight trade-off between speed and power, but, within just a couple of stomps, the action - and indeed speed - impresses.

With a downward flick of our foot, the 'fast cam' helps rocket the beaters, accelerating them until they each slam onto the bass drum head. The pedal returns almost as rapidly and our feet produce a flurry of quick-fire wallops upon the bass drum - all good news.

Those familiar with this version of the Joggle Board will know the ease of adaptation from a standard pedal to the heel/toe action - just a quick flip of the rear-ended heel support is all that's required and the conversion is complete. This action can be returned back to a straight plate just as quickly, even in mid-performance, by lifting it with your foot, hinging it back to rest on the rear of the foot plate.

The principal of the heel/toe technique is that it allows the beater/s to strike twice for every downward movement of the foot. It is slightly misleading, in that it is actually the ball of the foot and the toes that do all the graft, and the heel simply drops downwards.

The area designated for the heel and each of the control blocks helps train the feet and the necessary muscle memory in order to master this technique quickly.

There are many advantages to learning a whole variety of techniques though - and this pedal will help you find the one that's right for you.

Read more about Bullet & Kitch/Natal Double Kick at MusicRadar.com

Universal Audio API 500 Series EQ Collection

Tue, 14 May 2013 10:35:00 GMT

Read more about Universal Audio API 500 Series EQ Collection at MusicRadar.com

Introduced in the late 60s, API EQs quickly became a worldwide industry standard, despite the fact that they're about as simple as EQ gets. UA's API 500 Series EQ Collection (VST/AU/RTAS) for their UAD-2 DSP system covers the two most sought-after API models: the API 550A Parametric and the API 560 Graphic. The 550B 4-band parametric, though, is noticeable by its absence.

"It was the sound that won the APIs their following - they were tough, punchy, tight and open"

You can't do much in the way of surgical tone-shaping with a 10-band graphic or a 3-band parametric that has only a handful of frequency choices; no, it was the sound that won the APIs their following - they were tough, punchy, tight and open, making the squat 3U high units a common sight in both consoles and bespoke 'lunchbox' racks.

550A

The 550A features high, mid and low bands, each with +/-12dB of cut/boost and only five centre frequency choices, which have been selected for their musicality rather than their calculated numeric intervals. The gain and frequency controls on the original hardware use a dual concentric arrangement, with the frequency selector being the inner knob. It's a fiddly arrangement, particularly for fat-fingered folk, so you'd hope that a software version would address this issue.

The concentric knobs themselves are still here, and still a tad fiddly, until you realise that you can hover the mouse pointer over the inner (frequency) or outer (gain) knob and simply scroll the wheel up or down to adjust it. You can also jump straight to a frequency by clicking it.

By default, the top and bottom bands are bell curves, and there are individual shelving options available for each. There's also an FLTR switch on board, which engages an overall band-pass filter, allowing only frequencies between 50Hz and 15kHz through. In line with the literal nature of these models, the gain knobs have the stepped 2dB increments of the hardware.

A non-stepped option would have added to the precision, as would a continuous frequency control, but the latter, particularly, would have taken the plugin away from the defined sound of the original. And on that subject, the sound is remarkably close to the original, especially the tough lower mids and open top end. It's always well focused and clean, regardless of how much boost is applied, unlike many EQs, which can become blurred and abrasive as the boost rises.

560

The API 560 graphic EQ is more straightforward than the 550A. The ten bands are each an octave apart, starting at 31Hz. Unlike most octave graphic EQs, though, this one sounds really tight and punchy, and is great on kicks and basses.

Like the hardware original, there's a 1.5dB boost over unity in bypass, so don't be fooled by this cheap (but faithful) bit of trickery. The gain for each band goes to +/-12dB but sounds like much more when you take it to the extremes. Finally, there's an Output control for evening out the levels.

The famed API power and punch are immediately evident in both plugins - we have to say that the Waves equivalents pale into insignificance in the shadow of these vastly superior emulations. The focus is impressive and the sound positively leaps out at you. If you're one of those sonic cynics who thinks all EQs sound the same, take these for a demo and prepare to be enthralled.

Read more about Universal Audio API 500 Series EQ Collection at MusicRadar.com

Peavey TNT 115 Tour Series

Tue, 14 May 2013 10:30:00 GMT

Read more about Peavey TNT 115 Tour Series at MusicRadar.com

The Tour Series includes heads and cabs and a pair of combos: the TKO 115 (reviewed last month) and this new TNT 115 Tour combo. We were impressed with the TKO, but this is more powerful, with a few bells and whistles to allow you to manipulate your sound further. Fortunately, it's also just as friendly to transport, because it's lighter than many other high-powered units.

"Its pedigree is unmistakably Peavey, including those all-important reliability and road-worthiness factors"

From the curved metal grille, inset side handles, metal corner protectors and black covering, this is sturdily built and ready for action. Its pedigree is unmistakably Peavey, and that includes those all-important reliability and road-worthiness factors that the company is known and respected for.

Unlike many kick-back designs, only the lower rear of the cabinet is angled back, to allow more room for placement of the amp in the squared-off section at the top. It comes with a well-equipped control panel that includes a headphone socket, plus an effects loop, variable DI and Speakon connector for an extension cab.

The back is sealed, so the front baffle is ported to allow all the sound to be projected forwards.

Sounds

"Thanks to the clearly set-out control panel, good sounds are easily found"

The TNT 115 is seriously loud, so whether used in kick-back placement or 'straight up', you can be assured it has enough volume to get you heard. Once you've chosen between active or passive input, the sound options are numerous, but thanks to the clearly set-out control panel, good sounds are easily found. Using just the basic tone controls offers plenty of scope, but the unit really comes to life when engaging the graphic EQ section.

The bright switch adds some top-end boost for a touch more note definition, and crunch for some good-sounding front-end distortion. Between these two sound modifiers sits the contour switch, which provides a high- and low-frequency boost while reducing the mids to produce the popular mid- scooped EQ setting. These are convenient ways to shape your sound, but then things get even more interesting.

Either side of the main EQ section are the high and low shelving controls. These act like trimming pots that allow the sound to focus on a frequency and tonality selected by you. Punch in the graphic EQ and you can now modify this sound by degrees. It is an ideal way to eliminate or enhance the natural tones of your bass, and that is the true beauty of this design.

We also have the option to add variable compression, and whatever style of music you play there is a setting here that will provide added thump and delivery. If you can't get a good sound out of this, then something is wrong... and it's not with the amp!

The new TNT 115 Tour combo is as easy on the eye as it is on the ears. But as cool as it looks, make no mistake, this is one serious mother that will rattle your fillings and make your knees wobble. The 'instant sound' switches get you up and running fast, but the best results come with familiarity of the control panel, and there's no shortcut to achieving that.

However, perhaps the most impressive thing about the TNT 115 is its raw power as a standalone unit. Naturally, you will get even more distribution when using this amplifier with a second cabinet, but it's still very loud when operating just as a combo.

Read more about Peavey TNT 115 Tour Series at MusicRadar.com

Gretsch Roots Collection G9500 Jim Dandy Flat Top

Mon, 13 May 2013 10:37:00 GMT

Read more about Gretsch Roots Collection G9500 Jim Dandy Flat Top at MusicRadar.com

The new Roots Collection swaps Gretsch's typecast Cadillac-and-Cherry Coke vibe for a down-home pickup truck and moonshine range of acoustics, resonators, mandolins and other folky instruments. The launch of the range comes at a time when roots instruments are enjoying a huge resurgence in popularity. Small acoustics, such as the G9500 Jim Dandy we have here, are attracting players looking for some Delta blues and old-school country tones.

Build

The Jim Dandy pays homage to the forgotten range of Rex-branded guitars that were produced by Gretsch in the 20s and 30s. Like those produced by Martin, Gibson and Stella - not forgetting the various cheap acoustic guitars sold through the Sears & Roebuck and Montgomery Ward catalogues - Rex instruments helped reduce the then-overwhelming domination of the banjo in popular music.

"The quality of the fretwork is the best we've seen on an entry-level acoustic"

Built in Indonesia (not Kalamazoo, Michigan, like the original guitars), the Jim Dandy features an agathis body that measures 330mm (13 inches) across its lower bout. The guitar echoes its ancestors' compact feel with a 610mm (24-inch) scale length.

The chubby, glued-in nato neck is topped off with a 305mm (12-inch) radius rosewood fingerboard studded with 18 vintage profile frets, 12 of which are free of the body. The quality of the fretwork is the best we've seen on an entry-level acoustic.

The guitar's unmistakable vintage vibe is cleverly achieved with a semi-gloss Sunburst finish, framed by the silk- screened body binding and simple soundhole rosette.

The oversized pearloid dot fingerboard inlays, white- buttoned nickel-plated open- gear tuners (plus the 'Steel Reinforced Neck' legend and 'Gretsch' and 'Jim Dandy' logos printed on the headstock) add extra sweetness to the retro eye candy.

Incidentally, 'Jim Dandy' is an Americanism that roughly translates into English as 'absolutely spiffing' or something similar. We'll soon see if it lives up to its name...

Sounds

"The Jim Dandy injects some much-needed fun and character into the typically bland entry-level acoustic market"

For those looking for some old-school Robert Johnson tone on a restricted budget, the Jim Dandy is the perfect guitar to pick down at the crossroads. It's bright, but there's just enough bottom-end to balance that out a bit. It works much better for fingerpicking than strumming in our experience; fingertips help to soften the top-end and release some of the guitar's inherent sweetness.

The supplied D'Addario EJ16 Phosphor Bronze 0.012 to 0.053 strings get the guitar's top moving, and work great for slide playing. Meanwhile, the chunky C profile neck proves sturdy enough to support open tunings without the need for truss rod tweaks; the action is low enough to comfortably play chords and licks, yet can still accommodate rattle-free slide work.

Okay, you're never going to mistake the Jim Dandy for a top-end Martin or Taylor, but it's really good fun to play. You should know that the guitar records very well, too, and it sounds bigger on 'tape' than you'd perhaps imagine.

The well-built Jim Dandy injects some much-needed fun and character into the typically bland entry-level acoustic market. It also reminds us that beyond our shed loads of expensive gear, we should be able to get a tune out of anything. You just know that Mark Knopfler or Joe Bonamassa could pick up a Jim Dandy and make it sing. Well, you can, too - this guitar isn't just for beginners.

Read more about Gretsch Roots Collection G9500 Jim Dandy Flat Top at MusicRadar.com

Amplesound Ample Guitar M

Mon, 13 May 2013 10:34:00 GMT

Read more about Amplesound Ample Guitar M at MusicRadar.com

Adding to its now four-strong lineup of guitar emulations, Amplesound's Ample Guitar M is a massively multisampled Martin D-41 guitar ROMpler (VST/AU/standalone) housed in the developer's own feature-packed engine.

Weighing in at 6GB, it features separate soundsets for fingered and picked playing styles, all recorded from two balanceable mic positions, with two stereo and two mono global playback modes.

Pretty much every element of the sound is adjustable, from the resonance and release to the fret noise and velocity sensitivity, while the "rhombic sampling structure" varies the sample playback from note to note for humanisation.

The automatic doubling option uses different samples for the left and right channels, with control over their spacing, and a board of eight effects pedals offers compression, delay, overdrive, EQ, chorus, phaser, reverb and wah-wah. They sound pretty good, too, although they're ported directly from Amplesound's electric guitar sims and thus aren't entirely appropriate for this more delicate acoustic. Keyswitches are used to shift between articulations, which include Sustain & Popping, Palm Mute, Hammer On, etc, and full control is given over to string choice and capo positions.

Not only can you play AGM via your MIDI keyboard, it also has a powerful built-in sequencer called the Strummer. Using this, you can construct your own strum patterns to an exquisite level of detail and use keyswitching to move between up to 12 user-defined chords, each with 28 predefined playing modes. It's staggeringly deep and flexible, yet manages to remain reasonably intuitive.

The online manual, however, is a bit of a disaster, making learning how to use the thing more hassle than it needs to be. Other than that, AGM is without doubt one of the best guitar ROMplers we've had the pleasure of using.

Read more about Amplesound Ample Guitar M at MusicRadar.com

ValhallaDSP VintageVerb

Mon, 13 May 2013 10:22:00 GMT

Read more about ValhallaDSP VintageVerb at MusicRadar.com

ValhallaDSP's latest plugin, VintageVerb (VST/AU/RTAS), is a nostalgic take on the curiously crusty hardware reverbs of yesteryear. At its heart are nine mostly Lexicon-inspired reverb algorithms to choose from, covering the usual array of halls, plates, rooms and spaces, as well as a few more esoteric designs. All stand up very well in the mix, but our favourite is the Chamber algorithm, with its beautifully smooth yet dense texture - a combination that a lot of reverb plugins don't quite manage to pull off.

"Color modes use modulation shaping and internal downsampling to replicate three different 'eras'"

Where VintageVerb really departs from ValhallaDSP's flagship ValhallaRoom reverb is in its three Color modes. These use modulation shaping and internal downsampling to replicate three different 'eras': 1970s gives a grungy, lo-fi texture, 1980s steps the quality up somewhat but still sounds pretty gritty, and Now gives you today's squeaky clean sound - see Vintage king for more. This simple decision to have the Color as a separate option, rather than building it into the reverb algorithms themselves, results in an impressive level of sonic flexibility without sacrificing simplicity and ease of use.

Simple spaces

Although it doesn't offer the same level of control as its older brother, ValhallaRoom, the Lexicon-style parameters that VintageVerb does give access to are straightforward and to the point without being overbearing.

"When you need a potentially enormous reverb tail, it's just the ticket"

The big Decay dial sets the reverb time, ranging from a short(ish) 0.2 seconds to a staggering 70 seconds. Next up are the Damping controls, providing basic high shelving from 100Hz to 20kHz, and Bass Multiplier, which multiplies the Decay time of signals below your chosen cutoff point (100Hz-10kHz) by anywhere between 0.25 and 4, giving independent control over the tail length for the low and mid/high elements of the signal. Indeed, VintageVerb begs to have that top end opened up, letting its gorgeous, airy highs wash over you, never sounding harsh or abrasive.

The Size dial sets the room size, of course, helping to achieve anything from a bold, upfront sound to a less defined, more spacious reverberation. Coupled to this, the Attack setting determines how long it takes for the reverb to kick in, functioning thus in all modes except Ambience and Sanctuary, where it controls the level or balance of the early reflections.

The density of the reverb is controlled by the Early and Late Diffusion settings, with higher levels giving that characteristic heavy ValhallaDSP texture. Finally, the Modulation Rate and Depth knobs control the amount of chorus applied to the tail, while High- and Low-Cut filters are on hand for final tonal adjustments.

While VintageVerb certainly isn't as flexible as ValhallaRoom, when you need an 'unreal' and potentially enormous reverb tail in that classic Lexicon sense of the phrase, it's just the ticket. Subtlety isn't its strong point, as even its shortest reverbs really leave their mark in the mix, but if you're looking to bring a bit of high-gloss spatial magic to your DAW without breaking the bank, this one comes highly recommended.

Read more about ValhallaDSP VintageVerb at MusicRadar.com

Faith Naked Series Mercury Parlour

Fri, 10 May 2013 10:43:00 GMT

Read more about Faith Naked Series Mercury Parlour at MusicRadar.com

Money is tight for us all, and last year Faith took the wraps - and quite a bit more - off the straightforward, clearly cost-effective 'Naked' range, of which we have an acoustic-only version of the Mercury Parlour on test here.

"With the Naked series the desire was to create real Faith guitars, made in the same Indonesian factory, by the same people, but simply more affordable"

Last year saw Faith claim the Music Industries Association's Best Acoustic Guitar award for its Venus HiGloss model, voted for online on MusicRadar.com. Established in 2002, and designed by Patrick James Eggle, one of the UK's foremost modern acoustic guitar builders, it's this very grassroots recognition that has seen Faith move from being just another acoustic brand to one that is increasingly desirable.

With the Naked series the desire was to create real Faith guitars, made in the same Indonesian factory, by the same people, but simply more affordable. The only way Faith could achieve this was to strip off everything other than the essentials needed to make a resonant all-solid wood instrument.

So, there's no case and no body binding. There's a thinner abalone rosette and rosewood, instead of ebony, headstock fascia and fingerboard. Crucially, Patrick James Eggle's design of these guitars is still reflected in the attention to detail and clean build quality.

Build

To many of us, ahem, more experienced guitar players, this 'value' aesthetic can often be a little too austere; we prefer to see binding and a gloss finish, offering more protection for the edges and a classier, or more classic, overall appearance.

"We were immediately impressed by the lovely shape and excellent build quality"

But when we pulled the Mercury Parlour out, our preconceptions changed - we were immediately impressed by the lovely shape and excellent build quality. The finish is superb, with the same two- stage satin finish on the neck as the body, giving the neck a smooth, easy-to-play feel. On this model, the solid Engelmann spruce top seems unusually pale, yet that tells us it will invariably darken down a little with age and use.

For a parlour size, the diminutive Mercury, which is only 340mm (13.36 inches) across its lower bouts, has a deep body - 110mm (4.33 inches) at maximum tapering down to 96mm (3.78 inches) by the heel. Like the top, the Indonesian mahogany back and sides are solid, which more than compensates for a slightly anaemic colouration.

Highly impressive, however, is the comfortable C-shaped neck profile, and the perfect setup. The frets are very well seated on the rosewood 'board, and well finished, too, with no sign - or, more importantly, feel - of any sharp edges. A nice touch that catches the eye is the neat rosewood truss rod cover, rather than the usual plastic we see on most affordably priced instruments. Nope, our first impressions are remarkably positive: this one is immediately playable straight out of the box, with a good volume, projection and sustain.

Sounds

Parlours can be tricky guitars to get right. Done correctly, the compact body should give quite a powerful, projecting tone, emphasising the midrange.

"Faith has managed to create the feel and tone of a much more expensive instrument"

We warm up our ears with a Collings 0002H parlour, and are immediately impressed with the Faith, especially considering we're making a comparison between a £4,000 instrument and a £400 one. Okay, we have to be honest and say that while the Faith has a very pleasant, sweet tone when played softly, when you really begin to dig in it tends to become a little harsh on the treble side and slightly wiry.

The Collings, however, is always articulate when played hard or soft, with a beautiful bell-like high-end. That said, we're left with the impression that Faith has managed to create the feel and tone of a much more expensive instrument. It's actually quite rich sounding, yet not boomy, while the thin satin finish really enables the top to breathe freely, enhancing projection. It's an ideal guitar for singer- songwriters, fingerpickers, blues and ragtime styles.

If the idea behind this Faith was to create a highly affordable, cost-effective guitar, then it's an unqualified success. Okay, as we've said, it does verge on the austere side of the tracks aesthetically - but if you find that too difficult to digest, Faith has an impressively large range to choose from, with numerous versions of this body style.

But aside from the clean design and impressive attention to detail, this all-solid wood guitar sounds good and plays exceedingly well - especially at the price. If it's sound and playability that you value over unnecessary appointments, this is a very good place to start your search.

Of course, it's not stage-ready - which accounts in part for the low price - but again it comes in a full electro version in Faith's other ranges. As an alternative, you could always fit one of the new-generation soundhole pickups when you play out. Either way, we doubt you'll be disappointed going down this naturist route.

Read more about Faith Naked Series Mercury Parlour at MusicRadar.com