40 minute read
GEAR REVIEWS: DPA, Godin, Taylor, KRK and more
Modeling amps have come a long way. Blackstar’s new Silverline series concentrates on practical amp versions and features that guitar players actually want.
The whole package is quite classic, with the silver (hence the name) control panel, and the blue-grey vinyl covering and silver grille cloth. Celestion’s G12 V type speaker drives things and is voiced to handle vintage and modern styles of tones. There are six amp selections to choose from that cover sounds from clean to raging; clean warm, clean bright, crunch, super crunch, OD1 & OD2. The gain and volume controls sit next to a simple EQ system; Bass and Treble, along with their ISF (infinite shape feature). This unique control when turned to the left, captures an American amp tonal quality, and to the right, goes into the British territory. Essentially, it acts as a mid boost/cut function as the American side scoops the mids, while the British side pushes them.
Advertisement
The next big selection comes from the response section, covering EL84, 6L6, 6V6, EL34, KT66 & KT88 power amp tubes. Each has their own signature sound and gives the player options that in most cases might defy what’s available, like a big and clean KT88 tone for example, and of course all at a reasonable volume. There are modulation, delay and reverb effects built in, which all share the selector knob for adjustability, but each has four variants; Phaser, Flanger, Chorus, Tremolo covers the modulations and the delay has Linear, Analog, Tape and Multi modes, while the reverb choices are Room, Hall, Spring and Plate.
Plugging in and dialing up a great clean tone? No problem at all! Changing the response section can really alter what’s going on tonally. Working through the variants, with the EQ set flat, it’s quite noticeable. Moving into the crunch modes, it really feels and responds like a tube amp. The OD1 and 2 modes really get into that heavy amp area, but the real kick in the pants is the KT88 response -- a big volume jump with that, but in a good way!
One cool thing is keeping the naming structure of the sounds almost generic and letting the response section dictate the kind of amp the player wants to emulate. So, there’s no trying to find that perfect VOX sound for example, dial up the EL84 response, and match the voicing and gain to taste. Not having to work around a sound designer’s version of a particular amp gives the player the ability to create their own version. The real pleasant surprise is the fidelity; in some high gain modes, a lot of other modeling style amps get to hissy and a bit brittle. Not here, it sounds big, rich and full. The effects section didn’t leave us wanting, either. The tremolo was really nice BLACKSTAR Silverline Special 50-watt 1x12”
and warm, and the delay and reverbs were very natural and not over processed.
Connecting it into a computer running PreSonus Studio One, the USB really blew us away. Getting great DI tones out of amps can be hit or miss, but in this case, it’s on target like a sniper. The overall sound quality was great, and still maintained a natural feel and response, throughout the settings.
Overall, it’s the non-modeling, modeling amp (say that out loud). It covers the stuff guitar players want to do -- get great tones easily, and get plenty of them. For players who have given up on digital amps, this is a whole new world, and it’s got a lot to offer. Chris Devine
PROS CONS
Footswitch not included, app is needed to get into deep editing. Great sounds, plenty of voicing options, great for USB recording.
STREET PRICE
$529
Great workmanship, plenty of padding and protection, reasonably priced
CONS
None.
STREET PRICE
CROSSROCK Metro Series Deluxe Gig Bag G ig bags usually fall into one of two categories; A-super expensive, or B-super cheap. The expensive ones have features that are expected considering the high price, and the cheap ones are usually laughable, poorly made with no padding to speak of, and fall apart quickly. You’re basically wrapping your axe in a windbreaker. appx $110
So, finding a reasonably priced gig bag, with suitable padding and decent construction is kind of like finding a unicorn. Well saddle up, Crossrock’s Metro series of gig bags checks all the boxes.
We received their electric guitar version and first off, the grey material is quite stylish, never mind the fact it can easily be seen through all the black cases and bags at any gig! It’s also water resistant. Size wise, this should cover any Strat, Tele or Les Paul sized instrument. We were able to fit in a PRS as well.
The two-tone handle was very comfortable, as are the double shoulder straps. They also have nylon straps stitched in, with a section that is loose, with D rings, allowing for a cross strap or items to be hooked on, like a carabineer keychain. An open pocket also resides on the back, to tuck the straps into, if desired. In the front, there is a main double deep zipped pocket, and a smaller zippered pouch on the exterior of that!
There’s over an inch of multi-layer EVA & Pep foam lining on the interior, which is in a soft microfiber like material throughout, with the exceptions of the headstock area, that has a tough nylon like material to prevent string ends from poking the lining, and the bridge area, where the bridge screws could do some damage, as well. The neck rest block, covered in the lining material, is Velcroed in and also has a Velcro strap to ensure the neck is secured to the block. To go even further, there’s a padded strip of foam, again with the same lining material to place on the fingerboard to prevent any damage to the frets or fingerboard. The zippers are very robust, with the pulls being a custom piece, branded with the company’s logo.
So, all those features are well thought out, and the overall workmanship is excellent, with no stitching issues to be found. The zippers were ultrasmooth, and the lining material was ultra-plush. It’s really nice to find a wellpadded gig bag that isn’t ultra-expensive but offers up plenty of protection for the player’s beloved instrument. It’s a gig bag, you CAN actually gig with! We dig it. Chris Devine
There used to be a great divide, you could go out of your budget and get the best, or stay within your budget, and maybe get “meh.” In-ear monitors are no exception. Finding a reasonably priced, great sounding pair was impossible. Clear Tune released their CE320 models recently, and they’re worth giving a listen to.
Their system is quite modular, Clear Tune ported over a lot of the components and research from their higher end models. Inside each earpiece is a three-driver setup, covering the highs, mids and lows respectively. The earpieces are detachable from the cable and include a great selection of foam and silicone inserts. We’ve mentioned it before, but getting a great seal is super mega important in IEM’s not just for comfort, but for proper sound response and isolation.
Plugging these in, we were frankly Very Impressed, like wow. First off, the earpieces are fairly small and very light, meaning no physical fatigue during long usage. Performers won’t wear them if the comfort isn’t there, and we would give the comfort factor a 10. Sound-wise they’re fantastic. With the right insert we were able to block out loud ambient background noise no problem, even when cranking up a very harsh aggressive heavy mix (think detuned deathcore, but meaner). We got plenty of low end that maintained definition, and the high end stayed clear without getting harsh. Moving on to a mellower ambient synth mix, we could hear perfect nuances throughout. We had no issues with sonic ear fatigue either; the balanced response made these a pleasure to use.
Mobile podcasters might want to bring a set of these, as they take up far less room than a set of “cans” would in bag or case. YouTubers and Twitch streamers who might normally have a set of on ear headphones for monitoring should look into a set of these; the sound is great, the price is reasonable, and they’re less noticeable on-screen.
These are really great sounding, and yet at this price, they sound far better than some boutique audiophile ear buds that are far more expensive. For the performer who wants to dip their toes into a set of IEM’s, these are well worth it, and you’ll wonder how you lived without them for so long. Chris Devine CLEAR TUNE MONITORS CE320 In-Ear Monitors
PROS
CONS
None.
STREET PRICE
$249
TAYLOR GUITARS 524ce Builder’s Edition Acoustic W e’ve been lucky to have reviewed many of Taylor’s fine guitars, from inexpensive to the super high-end models. Each time we’ve experienced something new, and with the 524CE Builder’s edition, again we’re exposed to a new angle of Taylor’s quest for acoustic perfection – complete with their legendary new V-Class bracing system.
It’s a Grand Auditorium body style with a whole lot of tropical mahogany, as it’s used on the top, sides, back and neck. And like we said, it also features Taylor’s V-Cclass bracing, which allows the top to maintain structural rigidity, but allows the musical resonance to come through at every point on the fretboard. The ebony board sports Taylor’s century inlay, as does the headstock. A beveled armrest is also incorporated, and the lower cutaway has a wonderful carved access to the upper frets. One very unique point, no pickguard to clutter up the wonderful dark burst finish. With all those lovely dark woods, it’s very warm sounding. It’s still punchy but more focused in the midrange areas. piezo signal, only to not use it in a mix because of any “quacky”ness they can’t sort out? With this system, as well as this guitar’s particular warmth, that track WILL get used. As per usual, the materials and overall build quality are flawless, as one would expect from Taylor.
This guitar is a dream to play, with a pick and without. There’s plenty of projection in picking and strumming situations. The fret work is perfect, and the comfort is complete up and down the neck. Overall, sound wise, this guitar is ultrawarm, with no harsh frequencies or unwanted overtones coming through at all. It maintains punch and attack, but in an overall smoothness that is quite delightful. On its own, it can certainly fill up a room, and when working with a vocalist, it keeps to its own space, while not edging into the singer’s frequencies. Players in a situation where another guitarist might have an instrument with a brighter spruce top, this again carves out its own territory. It’s certainly a bit darker, but not in a bad way at all. When some guitars get older, they get warm and mellow, sometimes losing that snap and attack. This is the best of both worlds, that classic warmth, with the big presence and modern playability.
Taylor also outfitted this with their Expression
System 2. The pickup is placed behind the bridge saddles, not under them. It adds a bit of natural softness, and none of the harshness of the usual under the saddle pickups that usually require EQ to balance things out. Speaking of
EQ, it’s a simple system with Treble,
Bass and Volume controls. Ever do a session where the engineer tracks a
While the $2999 price tag might seem high, considering the quality materials, perfect workmanship, playability and overall tone, it’s an investment any serious guitar play should consider. It comes with our highest recommendation. Chris Devine
PROS
Great warm tone, plays beautifully, beyond excellent workmanship
CONS
None
STREET PRICE
$2999
Acoustic guitars have such allure, with nothing to get in the way between a player and their passion, but at times getting upper fret access (even on a cutaway) is difficult, and the lower bout can be uncomfortable during long sessions. Washburn’s Bella Tono Allure model solves those issues with some flair, and all at a very affordable price.
Upon first look, something might seem off, proportionally. The lower cutaway is very extended, and the body shape seems a bit smaller. With this enhanced cutaway, there’s pretty much unhindered access to the upper frets, while the top also has a beveled arm rest for extra comfort. The top is solid spruce, while the back and side woods are acacia. It’s certainly a unique wood choice, one that is very durable and resistant to moisture. The neck is mahogany, with a rosewood fretboard, and features a traditional 25.5” scale. The neck has a very unique tropical inlay done with an island and seagull motif, adorned in abalone and turquoise. The soundhole is also decorated in abalone, along with the top binding, which is done in maple as well. Finally, the strings rest on a bone nut and bridge, with a Barcus-Berry LX4 Preamp that sports, high, mid, low, presence and volume controls, along with a tuner that has a very large and bright display. The tuners are very smooth, and quite beefy feeling. Overall, a nice build quality from Washburn,
WASHBURN Bella Tono Allure SC56S Acoustic
well done. One minor, oh-so-slight blemish that seemed to be a stain of the glue on one part of the turquoise island inlay was barely noticeable visually, but didn’t hinder playability. This body shape is Washburn’s “studio” version that offers up comfort and playability, while maintaining the highs and lows of a more traditionally-sized instrument.
Sound-wise, the “studio” name lived up to its claims, with very loud projection acoustically. It’s quite bright, but also maintains a sweetness on the top end. With the cutaway, there are no issues gaining upper fretboard access. Chords rang true with a crisp, rich tone and plenty of definition (and thankfully, no boomyness). Lead bits across the entire neck played smoothly with just enough attack to be present, but not spiky. The overall comfort was very nice as well, with no fatigue on the strumming arm, either. The Barcus-Berry system is very flexible, and the controls have a center detent, allowing the player to cut or boost the frequencies of their choosing just by feel.
OK, so with all the inlays and unique construction, here’s the real surprise; it clocks in at just $499. It’s very uncommon to find an instrument with these elements executed so well in this price range. Even with the tiny blemish on our demo/test guitar, it’s a knockout. Washburn swung for the fences with this one, and for the features, sound and playability, it’s a serious hitter. Chris Devine
PROS
unique inlay and body style, great upper fret access
CONS
super-tiny blemish on inlay of our test instrument
STREET PRICE
$499
Ok, so why do you need a DI box? Well if you have any instrument that uses a standard 1/4” connection and want to go directly into a mixer or interface, it’s the best way to convert that high impedance signal to a balanced, low impedance signal like a microphone has. Countryman has been doing DI’s for decades, and their Type 10 DI Box is the latest in their line.
Like most DI boxes, they have 1/4” in and thru connections, as well as the XLR output. A threeway selectable pad with -15dB, 0dB, or -30Db options sits on one end while at the other, ground lift, and power test selector switches reside. This unit is hefty and robust, with an extruded solid aluminum body. All the connections and switches are well recessed inside, as well. This is a fantastic feature, with no way something could break, or snap off one of the switches.
This is an active DI box, and it can be run off of an internal 9volt battery or by 48V phantom power. Active DI boxes run great with passive instruments like bass guitars, or acoustic guitar pickups, without active preamps of course. But
COUNTRYMAN Type 10 Active Direct Box
the selectable pad gives plenty of range to work with active instruments.
Plugging in acoustic and electric guitars, this lil unit was super clean, and very articulate. A lot of times when doing a session with a mic on an acoustic guitar, and a DI off of the piezo pickup, when it comes time to mix, the DI kind of gets dismissed. Not here, that clarity really brings in a new dimension, without having to crank the track’s signal to get it to be heard. Bass guitars also really benefited, again, not having to max the volume out on the track means less noise and distortion of the signal you’re trying to maintain. It’s easy for basses to get a bit gritty, but in this case, the DI gave that extra attack and punch without coloring things. Electric guitar players using computer for re-amping or even as your live rig, this clarity is welcome in the world of plugins and modern impulse responses.
Some players may say, but my interface/ mixer has combo XLR connections, why should I get an external DI? Well, this is an analog design, so no A/D conversion is taking place. Which means when the signal hits the interface/mixer it hasn’t been messed with, and the mixer/interface gets a much better, balanced signal, right from the start. The clarity and depth of this lil box can’t be understated. If you’ve used DI’s in the past and shrugged and said “meh,” look here, this will open your ears! Chris Devine
PROS
Super clear, low noise, well designed
CONS
None
STREET PRICE
BULLET CABLE 30’ GEARMANNDUDE Signature
Premium cables took a turn about 20 years ago, when manufacturers started to use exotic metals and manufacturing techniques and overcharging the consumer, citing better tone. Since then things have settled down, and players can see through the haze for quality cables at a reasonable price, and the Gearmanndude signature cable from Bullet Cable delivers on usable features and tonal quality.
The first thing is the length, coming in at 30’, but since it’s a coily cable, it compresses to a much smaller length when not stretched out. It’s finished off in a nice white exterior shielding. It’s quite beefy overall, and for players who hate when cables get all spaghetti-ed up in a tangle, this might be your solution. The ends are reminiscent of a bullet casing (living up to company name) in a sleek red finish. The black heat shrink/strain relief has Gearmanndude’s message “love” boldly printed on it.
Unscrewing one of the ends, the connection to the end is very well done. It’s super robust. This is where even expensive cables fail, so the attention to this end of things is very re-assuring!
One of the other ends is a Neutrik Silent plug. This end always goes to the instrument. There’s a small contact at the end of the plug, and the cable is silent until that contact gets pressure. No need for a mute switch or an extra piece of gear, the cable is dead silent. No hearing the cable short out while trying to plug it in to an instrument!
Plugging in a variety of instruments into amps, pedalboards, interfaces and DI’s, the cable sounded great, with plenty of clarity, and no loss of tone. Usually there is some noticeable degradation after 20’ of cable, but not in this case.
The silent plug feature is a YUGE plus. Our reviewer used it with an acoustic plugged into a PA system at a gig, and got none of the usual plugging in/unplugging noise issues to annoy listeners when switching guitars! An added side bonus is the white color; you can find the cable on a dark stage very easily, and there’s no way someone could mistake this for one of theirs. Let’s face it, coiled cables always look cool, but in the past many didn’t sound all that great. But this is a well-made and thought out cable. The street price of $59 is reasonable, especially considering the materials and construction, making it a premium cable, without a premium price tag. One that’ll last a very long time. Chris Devine
PROS
Silent jack, well-made
CONS
None
STREET PRICE
$59.95
There are singers that just take whatever the sound person gives them, then there are ones that know what they like in a microphone. It’s theirs, and they don’t share it because it’s part of their sound. In these cases, they look for a great mic, and DPA’s 2028 is one of those mics you don’t want to share.
Starting off, it’s a condenser with a supercardioid pattern. Under the grille is a pop filter and shock mounted cartridge. Now what that means is the handling noise gets greatly reduced – great for ham-fisted vocalists like us. The cardioid capsule also makes off axis responses flat. So, sound going into the capsule on a sideway angle won’t get tinny or encourage feedback, especially at higher gain and volume situations.
Natural is probably the best way to describe the sound of this mic. What goes in, comes out, no EQ shading. It means the singer isn’t fighting the mic, or trying to place it where it sounds good, which could mean away from their voice, requiring them to have to project more. DPA’s reputation for mics that don’t color things is well preserved with this new model.
Regardless of mic technique, this sounded fantastic. Our reviewer put it through its paces in a variety of musical styles. In some cases, especially in lower vocal ranges, it really carried nicely, and didn’t need to really “ get on it” to get the lower sounds he wanted, and did not have to back off, making worrying about blowing things into the flabby/muddy territory a thing of the past.
Even going off axis on a vocal performance wasn’t an issue. What we got was a signal that didn’t get glassy, hissy or thin. Proximity effect was kept to a minimum, as well.
This is the singer’s singer mic – if you catch our drift. It’s got a professional price to go with it, at $699 street price, but it’s an investment you’re making in your sound. In most cases a lot of singers don’t think about what live mic they have, but trying this one out will make you think what you’ve been missing out on. Chris Devine DPA 2028 Vocal Microphone
PROS
Well-made and designed, natural sound
CONS
none
STREET PRICE
$699
EarthQuaker Devices certainly makes some very extreme and over the top stomp boxes, and when we heard about their Plumes pedal, we were prepared for the same insanity. But what we found was an overdrive that refined the sea of green TS style pedals, and their variants, into a very practical and versatile pedal.
With a pretty familiar control layout of Level, Tone and Gain, it’s very easy to navigate. To dig further under the hood, it’s driven with JFET opamps, and the additional three-way toggle switch covers a symmetrical LED clipping, an opamp boost, and an asymmetrical silicon diode version. A lot of drive pedals benefit from higher voltage input but do require 18V at the source. The Plumes does run on a standard 9-volt, but internally it doubles, allowing for greater and cleaner headroom, without a special power supply. Nice. The footswitch is a flexi- switch, allowing the unit to work like a traditional on/off switch, or as a momentary switch to just kick on for something like a bigger note sustain.
TS pedals have that signature mid frequency hump that in some applications isn’t desirable. The Tone control on the Plumes has a full range, giving the player the ability to dial in what they want and not have external EQ as a workaround.
Working through the modes, the first one is quite crunchy -- we ran it into a Fender Blues Jr, and it sounded more British than James Bond at afternoon tea! Seriously, we like the Blues Jr as a pedal platform amp, but this combined the warmth of tubes with a much tighter response overall.
Moving onto mode two, it’s a clean boost, and if you want to hit the front end of an amp hard, this does the trick. Our Blues Jr really interacted with it well when set clean, but when set a bit dirty it really opened up nicely. It’s that “more” you’re looking for. It also worked very well after a few of our fave drive pedals, for some very nice gain stacking.
Mode 3 works a bit like a traditional TS pedal, but with a much more noticeable fuller bass response. It also dabbles a bit in that transparent area where it feels like a layer of cleans still sits in the mix. It’s got an overall sweet character that sings easily. There are some very noticeable volume jumps between the modes, so keep that in mind if you plan on changing them between tunes. Going between humbuckers and single coils, we really liked what the Plumes added to
the mix. Rolling back the volume cleaned it up in an amp-like fashion as well.
Overall, it’s a low to mid gain level of drive, with plenty of sustain for classic tones. It might not go into the realm of having an umlaut, but it’s probably the best in its range of drive. Our reviewer really dug modes 1 & 3 on their own, especially into a clean amp, as well as using mode 2 with an additional drive pedal.
It’s the drive that you imagine a TS should sound like, with options that cover what guitar players actually want. If you like your rig but want “more,” this is the pedal that will deliver. Chris Devine
PROS
three great modes that work fantastically in many applications!
CONS
None
STREET PRICE
$99
GODIN A12 Acoustic 12-String
Traditional 12-string acoustic guitars sound great, but try to tour with one. The extra tension of the strings, along with the wood being at the mercy of its environment can make tuning and practicality difficult on the road. The necks are usually also quite large, making the player really have to adjust their technique to the instrument. Godin’s sorted that all out though with their A12, combining modern playability with great stability.
The thinline body is about the same thickness of an electric guitar, with a single cutaway design and bolt on neck. The maple body is chambered and finished off in a strikingly classy gloss black with white binding. The neck is also maple, with a Richlite fingerboard, which is also the material the bridge is made out of. Graphtech’s TUSQ nut guides the strings to their tuning machines. The headstock is quite large with a 6 on a side configuration, but this allows for no angles or bends that would cause strings to get bound up at the nut. A Godin under-the-saddle Piezo pickup, along with four sliders on the upper bout completes the electronics, with simple Treble,
Mid, Bass and Volume controls. but the depth is very present on the A12, along with the requisite shimmering octaves.
Location-wise, the sliders sit in a perfect area for adjusting levels on the fly, and not having to look down at them. The neck is super comfortable, especially for players coming from the electric world; there’s not a lot of adjustment to deal with, it feels like a nice big electric guitar neck. It’s a bit wider, but overall very easy to get used to.
Our reviewer put this through its paces during recording sessions as well as live gigs in an acoustic cover band. It blended well with his singer’s acoustic 6-string, and when it came time for leads, those extra strings really filled things out in the mix. Long practices were no problem at all either, with no real big neck-heavy droop. Overall, it’s done so well, it’s one of those “yeah I need one of these” guitars. It makes owning a 12-string practical for just about everyone. Chris Devine
The string arrangement on our test guitar had the bottom 4 strings with their usual pitch and an octave above, while the B and E strings are done in unison. The octave strings are also “above” their counterparts, making the octave strings the first ones to be struck, when down picking or strumming.
Once tuned up, it was amazing sounding, even unplugged, it resonated and projected very well -- perhaps not as loud as a traditional acoustic, but enough to be heard in a small setting like working out parts with a singer. Plugging it in, the piezo sound was nice and very balanced overall. Putting a mic on it also yielded some extra
“air.” It’s rich and full without any tinny-ness that usually comes from guitars with thinner bodies. Sometimes 12-strings can also get very glassy sounding,
PROS
Great sounding 12 string, great neck, excellent playability
CONS
None
STREET PRICE
$1195
We reviewed Graph Tech’s Ratio Guitar tuners back in 2018, and now they have brought their Ratio tuner concept to Bass Guitar.
Graph Tech has their Ratio tuners available in many variations and colors, and their 2+2 Y style tuners were a direct fit for our test bass, a Yamaha BB404. This was quite a relief, as this bass isn’t as popular as say a P or J style bass, but they dropped in with no issues.
What’s the big deal with these tuners, you might be saying. Well, consider the various thicknesses of strings. With normal tuners the gear ratio for the E is the same as the G string. Graph Tech calibrated each individual tuner’s gearing to fit that particular string, so that you’re not making a million turns (exaggerated, I know) to get to pitch, while the E takes 10 turns, again, an exaggeration, but you get the idea!
GRAPH TECH Ratio Bass Machine Heads
Stringing it up with a set of D’Addario Nickel Wound 45-105’s went very smoothly. Getting up to pitch went really fast. Once we did our usual break-in and string stretching, they held tune perfectly. Now the cool thing is for players that might want to go to a drop D Tuning, in just about 1 turn, we were down to pitch; it takes the guesswork out of switching tunings easily.
OK, you may be thinking “changing tunings on the fly, that’s for guitar players.” Well, not really. It’s not uncommon for bass players to change a string’s tuning, usually up or down a whole step, to make playing difficult parts a lot easier, especially in the studio. It can also give the illusion of bass parts that are almost impossible.
Overall for the street price of $99, they’re quality tuners, which give the player the ability to tune up, or down quickly. If there’s a “to do” mod list for your bass, start here. Chris Devine
PROS
Easy install, smooth gear movement, easy to get to alternate tunings
CONS
None
STREET PRICE
The new Jimi model from JHA’s Icon Series features earpieces that are a bit bigger than what we’ve seen from other IEM’s (and we’ve seen a lot). Inside are seven balanced armature drivers, which might account for the larger size. The black braided cable is detachable, and color coded; blue for left side, red for right side, and has O rings to keep moisture out at the connection point. The cable is also silver plated, which provides great conductivity and won’t corrode or oxidize. Included are plenty of selections for earpieces, foam, and silicone. We’ve said it before, getting a good seal is key to making sure IEM’s deliver, and we had no problem with installing them, plus a tool for removing the earpieces and cleaning them is included. Nice touch.
One thing to notice on the braided cable is an integrated control for bass response, the two mini trim pots can be adjusted with the included mini screwdriver. Its range is very potent, going from zero to +12dB.
Plugging these in, our reviewer said, “Where have you been all my life?” These just sounded flat-out phenomenal. The top end is quite rich and dynamic. Overall with the bass set in the middle, they felt quite balanced sonically. One thing that can happen with IEM’s is ear fatigue, and it’s usually due to the continual higher frequency response that comes from smaller (and fewer) drivers, but with the adjustable bass control, blending in just enough extra lows can easily combat any issues, especially with extended use. The low end didn’t get flubby, either.
Even the larger size wasn’t a problem -- the foam insert held them in place, and blocked out external noise perfectly. While most IEM’s are typically meant for live use, our reviewer even used these in the studio, choosing them over some very nice over the ear headphones during tracking, they’re that good. The frequency response covers 10Hz to 23kHz, which is quite amazing considering the size. Overall, these are quite possibly the best sounding set of IEM’s we’ve tried. Considering the street price of $1699, they certainly deliver a premium sound to go with their premium price.
For the performer who wants a premium set of IEM’s that’ll last years, look no further, you will pay for that performance, but you won’t be disappointed. Chris Devine JERRY HARVEY AUDIO JIMI Custom In-Ear Monitors
PROS
beyond excellent sound, adjustable bass response.
CONS
a bit expensive
STREET PRICE
$1699
When it comes to studio monitors, affordable speakers are usually meant as a supplement to another pair of high-end units, mostly to see how a mix will sound in contrast. However, when a set comes along that is affordable AND can hang with more expensive units, take a listen. KRK has something to say with their classic offering, the Clasic 5.
With a layered 5” glass aramid driver covering the lower frequencies and a 1” soft dome tweeter, it’s very nicely balanced right out of the box. It should be, it’s based on the classic KRK Rokits of previous generations. We connected them to our Focusrite 2i2 interface using the XLR balanced inputs with no issues. There are also connections for RCA and 1/4” TRS inputs if needed.
Tweak-ability is also available, and depending upon the acoustics of the room they’re in, the high frequency adjustment controls range from -2dB to +1dB, while the low frequency runs from -1dB to +2dB. There is a flat setting, which is the obvious starting point, but the user gets a ton of flexibility not only to adjust for the room dynamics, but for the type of music they’re working with. in the flat setting. When we boosted the lower frequencies, you could really hear, and feel the difference, so keep that in mind if doing a session that really goes low (EDM peeps, we’re looking at you). You may also wish to decouple them from your desk, either with short risers or iso-pads from someone like Auralex.
When using them in a mixing situation, again the EQ controls are the user’s friend. Classic rock has their frequency ranges, and Euro-death metal has theirs. Setting the HF & LF to what works for that particular application, really enhances the session, and can at times help to zone in on any EQ issues that may be happening with your particular space’s quirks. Again, the LF control really can color things in a big way, so keep that in mind and dial in judiciously. We were able to tweak things to our liking with the dials, but one great thing we noticed is that the lows didn’t get muddy or flubby in a bad way, there was just more, a lot more. Depending on your session, this may be a good thing, or a bad thing, your mileage may vary. There’s no LCD screen or guide like on the latest gen Rokits, but this is meant to appeal to those who favored the earlier models, and they also carry a lower price point than the G4’s, which is nice for those just getting a home studio set up. KRK Classic 5 Powered Studio Monitors
We put these through their paces, doing guitar (acoustic and electric) as well as bass guitar during tracking sessions, and they delivered fantastically. There’s plenty of clarity and depth that just works musically, especially
One nice feature is an automatic standby feature. After 30 minutes of no signal, the monitors go into a sleep mode. It saves you from having to reach back to turn them on and off. They do wake up when signal is going through them but takes a second or so. Don’t be surprised coming back from a break, if there is a slight lag when you put them back to work, it’s just the speakers waking up.
Overall, these are a really, really nice set of monitors for the money that work with pretty much any musical situation for tracking and mixing. I mean, for $150 each it’s hard to find many faults. What the user gets for their cash is flexibility and great sound quality, regardless of the level of their studio space. Chris Devine
PROS
Great sound, very tunable, excellent price
CONS
Keep an eye on the LF control!
We’ve been reviewing USB mics for over a decade -- varying sizes, features, and price points. When a company like RODE, who has made their name with quality microphones for decades, has a new USB mic, it’s worth checking out.
First off, the size -- it’s quite petite. Amazingly, inside is a condenser capsule with an internal pop filter. On the back side are the USB and headphone connections while the front sports the headphone level control. It’s mounted on a yoke for angled placement when used on a desktop. The base of the unit is magnetic; we found this out very quickly. Our workstation’s desk is stainless steel, and it attached itself with a solid “CHONK” during our unboxing. It made for a very solid placement. The yoke comes with a rubber insert that mates to the base -- remove it and there’s a threaded hole for attaching to a traditional mic stand.
So the idea of a magnetic base: awesome. So many times, items like this just skitter across a desk, especially if a cable is pulled, inevitably, ending up on the floor. We know not everyone has a metal desktop, but kudos to RODE for this lil design feature!
Now the input level is controlled from the source of the recording device. The font control is for the headphone monitoring level. It interfaced nicely with our DAW of choice, Studio One, and we were also able to connect it to our iPad easily
RODE NT-USB Mini USB Microphone
with Apple’s camera adapter.
A lot of people dismiss USB mics, thinking that they’re meant for amateurs, but it’s not the case here. We used it like you would a normal condenser mic and started by doing an acoustic guitar tracking session. Aiming it at the area where the fretboard meets the body, this mic is HOT, we certainly had to tame it in a bit at the DAW side of things, but we got a great natural sound, with just a bit of air, no harshness -- to be a bit nit-picky, it was a touch on the dark side, but minimal EQ and re-positioning cleaned that up in a snap. We had no issues with latency as well, the headphone out provided a perfect monitoring situation.
Switching it over to vocals, it behaved like a traditional condenser would. Again, it is slightly dark, but not annoyingly so; just a touch of EQ and it brightened up nicely. Using it as a desktop/ voice over mic works nicely, but some users might prefer the flexibility to get it right onto a subject’s voice. Podcasters will likely eat this one up – it’s the perfect upgrade to any entry-level setup.
At the time of this review, we’re about two weeks into the Covid-19 “social distancing” situation, and a mic like this can do a lot of things on the content creator side, as performers have transitioned from live gigs to live streaming. Working as an instrument and vocal mic, as well as a live-streaming/broadcasting device, it’s got a lot of options for the performer who might need an all-in-one USB mic in situations like these. Considering the ultra-low price tag, it is in the great “bang for the buck” zone. The only downside is the included USB cable might be a bit short, but you’ve likely got a drawer of these around somewhere, anyway. Plug in and enjoy. Chris Devine
PROS
Great sounding, simple, flexible applications.
CONS
Could use a slightly longer USB
Ccble.
PROS
Neutral sounding, excellent on acoustic instruments and vocals.
CONS
None.
STREET PRICE
$399
ROSWELL PRO AUDIO Mini K87 Condenser Microphone
Most audio gear falls into two categories; devices that color the sound with a signature touch, like a Neve board, for example, or items that don’t alter the sound at all, providing transparency to the source. Great microphones don’t often color things, it’s the first thing in the chain after the performer, after all. Roswell’s small-format Mini K87 is a reasonably priced condenser that packs the same punch as much higher-priced units. Let’s take a look…
It’s a large (34mm) diaphragm capsule that’s been gold plated. It’s taken its inspiration from the classic Neumann K67 and K87 mics, which are very desirable and of course, expensive and at times, unobtanium. The circuit does not employ a transformer in its design, which cuts down on noise and distortion, making it very transparent and an excellent go-to for vocals and acoustic instruments. The overall unit is very robust, with a heavy, solid casing and grill, and even includes a shock mount and case to round out the package. That’s a nice plus, especially under $400.
We tested out this unit first by doing some acoustic guitars. With placement about a fist’s distance from where the body meets the neck, we got the brilliance and body we were looking for all in one shot. Some mics tend to be a bit a bit off, one way or another at this starting point. Some tend to be harsh, or even dark, depending on the mic, but here, the starting point was the end point. Re-positioning the mic to find a sweet spot left us finding that there weren’t any spots that WEREN’T sweet with this little unit.
It certainly took the hassle out of doing that track completely. The small size was also welcome here, as it was easy to move into position in a tight studio space. Condensers always work in capturing that extra atmosphere and applying this to electric guitars as well was quite nice, especially a few feet away from the cabinet to add some ambience and room sound to the track. was a problem, but just a nuance that we didn’t catch at the time. Not a bad thing. In fact, we realized it enhanced the track with a touch more air than we had anticipated. Now we also realize it could be our singer’s natural tone and approach, but we found it to be a benefit in our application. Noticing this upon playback, we were able to place the mic a bit further from the vocalist and did another track. It gave us a much more natural approach and sounded better than the applying EQ to the other track. Sometimes positioning is key, and will save you from having to “fix it in the mix.” Get it right the first time, and you’ll save everyone the headache.
Overall for the cost, it’s a fantastic workhorse condenser that exceeds expectations. It’s certainly a studio mic that singers want to have in their arsenal if they do a lot of recording, and any studio would be wise to add to their mic locker. Studios may even want to look into a pair of these, using them as overheads for drums, or as room mics. Highly recommended. Chris Devine
STERLING BY MUSIC MAN StingRay Short Scale Bass
Short scale basses sometimes get overlooked, even though players like Stanley Clarke and Paul McCartney have been known to favor them from time to time. Not every manufacturer has one in their line up, and if they do, they seem to be missing something. Ernie Ball took their famous StingRay Bass and literally scaled it down, while retaining the essence of what made that bass a modern classic.
With a scale length of just 30”, the neck is very comfortable to wrap your hands around. The body also seems a tad bit smaller, as well. Control wise, it looks simple, with a volume control, three-way pickup rotary knob, and a master tone. But there’s a secret; the volume control is a push/ push version that engages a boost. Amazingly it is passive, so no need for batteries. The pickup is a humbucking version and the three-way rotary control allows the player to select the front coil, both coils, or the rear coil. test version was in Daphne blue, with a maple board. It’s also available in Olympic white, with a rosewood fingerboard. So keep those limitations in mind.
Bassists, if you don’t have one of these, it’s worth checking out; the smaller scale can make doing wider interval reaches easier, and chords aren’t as difficult. Overall, it can open up options in technique and creativity you may not have been aware of.
Guitar players, get one of these. Think of all the times you’ve gone to a jam, where four guitar players and no bass player shows up. Yeah, it goes to show how important bass is, even in a casual jam situation. The neck shape and scale make transitioning from a normal guitar super easy. Also think of all the times you’ve been recording a demo without a bass handy. Now there’s no excuse not sto lay down a scratch bass track.
The pickup in the “neck” mode was plenty round and full. Cool, mellow P-bass style tones still had attack but stayed velvety smooth. Going to the bridge added in that treble for Yes-like runs. If you want that harder attack, it’s right there. When both coils were engaged, it had a perfect balance of edge and warmth. Overall that setting was our reviewer’s fave. The volume boost is quite functional -- need to cut through a tough mix, but don’t want to bring an EQ or boost pedal? This is a lifesaver. The tone control was also fantastically useful, with a wide sweep, and no “drop off ” when turned down.
One thing we did notice, is when we did some slap and pop bits, the signal would cut out on an aggressive attack, only to slowly return. It felt like it occurred if the string made contact with a pickup’s pole piece. Lowering the pickup and raising the bass amp’s level to compensate fixed that.
Ernie Ball basses were cutting edge when they came out, and over the years, the design has been refined again and again -- this version of the StingRay gives players a whole new feel, with a sound that’s legendary and still contemporary. Even better is the Sterling versions are quite affordable, and still have the quality and features that Ernie Ball defined. Chris Devine
PROS
Great playing, great sounding, nice design
CONS
None
