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Lisätiedot: Musamaailma
Tulossa – Warwick LWA 1000
Testipenkissä: EBS FuzzMo
EBS Swedenin uusin mausterasia tuo maukasta fuzzia basistin elämään.
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EBS FuzzMo (169,90 €) on sähköbassoille suunniteltu fuzz-tyyppinen säröpedaali.
Kiinassa rakennettu efektiloota edustaa EBS:lle tyypillistä vankkaa tekoa, sen jämäkän oloisella jalkakytkimellä ja sulavasti toimivilla potikoilla.
Elektroniikan sähköntarpeen voi tyydyttää kolmella eri tavalla:
Jos on käytössä EBS:n Drome-, Gorm-, HD- tai TD-mallinen vahvistin, voi käyttää vahvistimen tarjoamaa phantom-syöttöä TRS-plugijohdon kautta. TRS-johto tulee silloin kytkeä FuzzMo:n lähdön ja vahvistimen tulon väliin.
FuzzMo-pedaali toimii toki myös perinteisesti yhdeksän voltin paristolla, mutta pariston vaihtamiseen tarvitaan ruuvimeisseliä, koska pohjalevy on ensin irrotettava.
Kolmas vaihtoehto on käyttää Boss-standardin mukaista virtalähdettä (9 V DC, miinus keskellä).
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Vaikka EBS:n FuzzMo muistuttaa ulkoisesti firman Billy Sheehan -pedaalia, vaikuttavat fuzz-pedaalin säätimet kuitenkin hieman toisella tavalla soundiin.
”Mieto” ei ole FuzzMo:ssa homman nimi, sillä Gain-säätimen vaikutusalue menee keskivahvasta erittäin rankkaan fuzziin. Shape-nupilla säädetään säröefektin sointia, mutta kyseessä ei ole perinteinen tone-potikka, vaan yliohjauksessa syntyvän aaltomuodon säädin. Vasemmalla äärilaidalla on tarjolla orgaanisempi ja lämpimämpi kanttiaalto, kun taas toisessa ääripäässä lootasta lähtee kirkkaampi ja purevampi kolmioaalto.
Lopulliseen särösoundiin vaikuttaa vielä FuzzMo-logon alle sijoitettu minikokoinen vipukytkin:
Kun kytkin on vasemmassa asennossa, säröpedaalin EQ-osasto on pois päältä (FLAT). Keskiasennossa särösignaalissa vaimennetaan hieman keskialueen taajuuksia, kun taas oikealla laidalla (SCOOP) syntyy Trash-tyylinen, pureva särösoundi.
Nykyaikaisissa bassoefekteissä jaetaan bassosignaali usein heti tulon jälkeen kahteen. Puolet signaalista menee efektin läpi, kun taas toinen puoli miksataan ennen pedaalin lähtöä kuivana efektoituun signaaliin. Tämän menetelmän suuri etu on, että basson alkuperäinen dynamiikka ja pyöreys säilyy miltei ehjänä efektityypistä huolimatta.
Juuri tällä tavalla toimii myös EBS FuzzMo:
Volume-säätimellä asetetaan särösignaalin voimakkuutta ja Blendillä lisätään siihen sitten oman tarpeen mukaan basson puhdasta signaalia. Etenkin bassoille tarkoitetussa fuzz-pedaalissa tällainen ominaisuus on erittäin tervetullut, koska fuzz-piirit leikkaavat toimintaperiaatteensa takia etenkin soittodynamiikkaa melko rankasti. FuzzMo-pedaalilla ei synny ongelmia puuroutumisen kanssa, jollei juuri sitä halua.
Tässä on lyhyt esimerkkipätkä sormilla soitetusta Jazz-bassosta (molemmat mikrofonit täysille avattuna) ja hyvin miedolla fuzzilla:
Plektralla soitetuille Rickenbackerille lisäsin hieman enemmän, ja hieman purevampaa, säröä:
Puhtaan signaalin annostelun ansiosta EBS:n FuzzMo toimii myös mainiosti viisikielisen basson kanssa (EMG-mikrofoneilla varustettu Yamaha BB-malli):
On muuten syytä huomauttaa, että kaikissa esimerkkipätkissä Gain-säädin pysyi alle puoleksi avattuna. EBS-pedaalista lähtee tarvittaessa vielä huomattavasti rankempia soundeja!
FuzzMo on tyypillinen EBS-pedaali – se on kestävän oloinen laite laadukkaalla soundilla, joka sopii mainiosti likaisten bassosoundien ystäville.
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EBS Sweden FuzzMo
169,90 €
Maahantuoja: F-Musiikki
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Plussat:
+ vankka rakenne
+ toimii sekä paristolla, phantom-syötöllä ja virtalähteellä
+ bassolle optimoitu soundi
+ kolmiasentoinen EQ-kytkin
+ Blend-säädin
+ tarjoaa runsaasti fuzzia
Miinukset:
– pariston vaihtaminen vain ruuvimeisselillä
Review: Tanglewood TU-1CE, TU-3, TU-3E & TU-5
The humble ukulele’s popularity has been on the rise over the last few years, not least because these instruments are easy to carry around and plenty of fun to play.
This fact hasn’t gone unnoticed by British brand Tanglewood, who have recently broadened their range of ukes.
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The quartet of ukes we’ve received for testing – the TU-1CE, the TU-3, the TU-3E and the TU-5 – are all part of Tanglewood’s mahogany-bodied Union-series.
All Union-series ukuleles have mahogany necks with glued-on neck heels and headstocks.
The fingerboards have been crafted from rosewood.
Tanglewood’s geared, open tuners work very well.
Ukuleles come with one of several different bridge designs, depending on the manufacturer.
Tanglewood has chosen the most practical ukulele bridge, which anchors the knotted string ends in little slots cut into the top of the bridge.
All Union-series ukuleles have a sound box made from laminated mahogany.
The instruments have received a clear satin finish.
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Tanglewood’s TU-1CE (current price in Finland 116 €) is a soprano ukulele with a deep cutaway. It comes with a pickup and preamp installed.
The soprano is the smallest of the common four ukulele sizes. The TU-1CE has a scale of only 34.5 cm.
The workmanship on this Tanglewood (built in the Far East) is very good in relation to its low price. Look at that clean neck joint!
The TU-1CE sports 16 small frets, as well as dot position markers.
This soprano comes factory-equipped with top quality Aquila Nylgut strings.
The Tanglewood’s preamplifier is powered by a button cell and offers controls for volume and tone, as well as a chromatic tuner.
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The Tanglewood TU-3 (119 €) is a concert-sized uke. A stylish hardcase is included in the price.
A Concert-ukulele is the next bigger size to a soprano.
This model has a 37.5 cm scale.
This TU-3 has an exceptionally nicely grained body…
…with a highly figured back.
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The TU-3’s electroacoustic version – the Tanglewood TU-3E (129 €) – comes equipped with the same preamp model we’ve already seen on the TU-1CE.
The TU-3E’s fingerboard offers you 18 small frets.
The simple rosette found on all Union-series ukuleles complements the organic, woody look of the instruments very well.
The output jack is situated on the lower rim.
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Just like the two Union concert-ukuleles, Tanglewood’s baritone uke, the TU-5-ukulelessa (149 €), also comes in its sturdy case.
The baritone is the largest traditional ukulele size, with the TU-5’s scale length measuring 51.2 cm.
The TU-5is equipped with 20 small frets. Our test sample came with a set of black nylon strings tuned to High-g-tuning (d4-g3-h3-e4), meaning that the fourth string is one octave above a regular guitar string.
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This is what the TU-1CE sounds like when recorded with a condenser microphone:
The built-in piezo system results in a very decent direct sound:
This clips mixes the microphone with the piezo output:
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I recorded the concert-sized Tanglewoodin TU-3 with an AKG C3000 and a Shure SM57:
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Acoustically, the piezo-equipped TU-3E sounds virtually indentical to the all-acoustic TU-3:
Sadly, our test sample displayed some sort of trouble with its under-saddle transducer (probably an uneven bridge slot), which rendered the pickup sound rather useless, because the middle pair of strings was much louder than the two outermost strings:
Here’s a mix of the TU-3E’s electric and acoustic signals:
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I recorded Tanglewood’s TU-5 baritone uke using an AKG C3000 condenser microphone and Shure’s dynamic model SM57:
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Tanglewood’s Union-series ukes are well-made, lightweight instruments with a very down-to-earth charm.
Regardless of their low price tags these ukes are decent musical instruments, not toys!
I must say I enjoyed Tanglewood’s fat neck profiles a lot. These are neck a grown-up man can hold on to!
Judging by the fine performance of the TU-1CE’s pickup system, I’m willing to believe that the TU-3E’s underwhelming pickup sound is just a one-off oversight in quality control.
Still, the whole picture is really very positive, both in terms of workmanship and sound. The inclusion on classy-looking hard cases in the price of the three ”bigger” models on test makes these Tanglewoods even more enticing. In my view, Tanglewood’s Union-series ukuleles are a great, and affordable, way to get to know the Hawaiian cousin of the guitar.
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Tanglewood Union-sarja ukuleles
Finnish distributor: Musamaailma
TU-1CE – 116 €
TU-3 – 119 €
TU-3E – 129 €
TU-5 – 149 €
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Pros (all models):
+ workmanship
+ satin finish
+ fretwork
+ Aquila-strings (except for TU-5)
+ case included (not with TU-1CE)
+ TU-1CE: good-sounding piezo system
Cons:
– TU-3E: piezo system’s performance in review sample
– TU-5: spongy feel of factory-installed strings
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Review: Zoom H6
Zoom have released their new handy recorder flagship:
The Zoom H6 is a six-track mobile recorder with exchangeable microphone modules.
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Zoom’s H6 (rrp in Finland: 398 €) comes in its own carrying case.
The package includes the H6 itself, two mic modules – the XYH-6 offering XY-stereo and the MSH-6 with an MS-stereo capsule – a foam windscreen, a USB-cable, four AA-size batteries and a 2 GB SD-card.
Also included is Steinberg’s Cubase LE audio-sequencer software.
At the moment the H6 is the only field recorder offering you different exchangeable mic and preamp modules.
In addition to the supplied XY- and MS-modules you can also buy Zoom’s shotgun module (SGH-6) or a module with an additional pair of XLR-/TRS-inputs (EXH-6).
For this review we were also supplied with Zoom’s accessory pack for the H6 (APH-6), which contains a furry windshield for outdoor recording, as well a USB-power supply and a remote control.
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Except for its control panel the Zoom H6 is entirely covered in a non-slip rubbery coating, which also cuts down on handling noise during recording.
A typical Zoom-feature has been carried over into the recorder’s XY-module:
You can switch the stereo width of the XY-setup by turning the capsules. The options are the slightly narrower 90 degrees angle…
…and the wider pickup pattern of 120 degrees.
The combined XLR/TRS-connectors have been placed on both sides of the H6. The Zoom offers switchable phantom power for condenser mics.
On the left side you’ll find the access to the SD-card, as well as the headphones output and the volume control.
In addition to the recorder’s mini-USB-port the right side is home to the Menu-button and the device’s nifty navigation toggle.
This recorder runs on four AA-size batteries, and will run for approximately 20 hours on a fresh set of alkalines.
You can place the Zoom on most camera tripods, thanks to its standardised thread. There’s also the HS-1 hot shoe adapter available, which makes it possible to mount the recorder straight onto a camera.
The small monitor speaker isn’t particularly Hi-Fi, but it’s good to have it for quick checks.
The unit’s line level output, as well as the connector for the optional remote control, has been placed on the bottom rim of the Zoom.
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The Zoom H6 can handle two audio formats:
Linear WAV-files offer you sample rates of 44.1, 48 or 96 kHz with 16 or 24 bits of resolution. When you choose WAV as your recording format the H6 works as a multitrack recorder, which makes it possible to do overdubs, and which allows you to mix the recorded tracks afterwards. You can do your mixdown internally, using the Zoom’s own Project Mixer, or by exporting the separate tracks to an audio-sequencer.
Another function that only works when you’ve chosen WAV as your recording format is called Backup Record. This nifty function records the input signal from the exchangeable module twice – one set of tracks uses your input gain settings and is routed to the L/R-track, as usual, while the second set is recorded with 12 dB of attenuation as the so-called Backup-track. The Backup-track is your safety in case your own settings were too hot.
The big advantage of using the H6 in MP3-mode is, of course, this mode’s greatly extended recording time, made possible by data reduction. The recorder lets you choose from many different recording quality settings between 48 and 320 kbps. When in MP3-mode you use the Zoom’s Monitor Mixer to mix all of the six inputs into one stereo file, which is the recorded. This means that, when recording using the MP3-format, the end result is always a single stereo file, instead of the separate tracks you get when running in WAV-mode.
When you’re using the MS-module you can adjust the side-mic level, either before recording (WAV and MP3) or afterwards if you’ve recorded the module’s input signal using the Zoom’s MS-Raw-mode (WAV only).
More information on MS-stereo can be found HERE.
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The Zoom H6 is very easy to use, because the signal routing is fixed:
The module’s output always goes to the L/R-track (stereo), while inputs one to four are routed to their corresponding mono tracks (1-4).
Beneath the Gain-controls there’s a row of track status buttons, as well as the recorder’s ”transport” buttons.
The Zoom’s Monitor Mixer is where you adjust the signal levels and pan positions of all the signals for monitoring.
The Monitor Mixer window also shows you the status of each channel’s bass cut, compressor/limiter and phantom power.
This is what the Menu-view looks like.
To mix down recorded tracks you use a different internal mixer, called the Project Mixer.
The Project Mixer allows you to adjust each track’s volume and pan position, as well as the playback pitch for each track (without changing the playback speed).
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In my opinion Zoom’s H6 hits the bull’s eye:
The exchangeable mic modules give you an enormous amount of flexibility to tailor the recorder quickly to the recording situation you find yourself in. The H6 is easy to use, and the recorder’s sound quality is very, very good. Thanks to the built-in metronome and chromatic tuner it’s easy to make sure you play in time and in tune. I’ve also enjoyed the Zoom’s nice compressors and limiters, which work very musically.
To demonstrate the H6’s performance and sound I recorded a short song using the recorder’s overdub function. I used the X/Y-module (at 90 deg) to record the steel-string acoustic, and recorded two mandolin tracks and two vocals with my trusty Shure SM57.
First, I mixed the song using the Zoom’s internal mixer, after which I exported the stereo file to Garageband, where I cut off the count-in and added a little bit of reverb:
I also tried taking the other route by exporting all the separate files from the H6 into Garageband, where I remixed the song using the original tracks:
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I used a series of sine-wave sweeps to give you an idea of the effect the side-mic level has on the stereo-width of the recorded material. The lower the side-mic level is, the narrower your stereo image gets.
Side-mic +6dB:
Side-mic -2 dB:
Side-mic -9 dB:
Side-mic -22 dB:
Side-mic off:
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I think Zoom’s H6 is a great field recorder and portable multi-track studio. The H6 works great to capture your song ideas or to for quality recordings of your band rehearsals or live gigs. The Zoom makes pro-quality recording on the road possible.
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Zoom H6
Finnish distributor: Studiotec
Zoom H6 – 398 €
APH-6 – 48 €
EXH-6 – 58 €
SGH-6 – 118 €
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Pros:
+ exchangeable L/R-modules
+ rugged build
+ colour display
+ Overdub-, Pre Record- ja Backup Record -functions
+ quality compressor/limiter-section
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Review: Tokai ATE-33N Thinline
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Tokai Guitars are known for their well-made copies of classic guitar and bass models.
The brand-new Tokai ATE-33N Thinline is part of Tokai’s more affordable Chinese-made range, and represents their version of a Thinline Tele-type guitar.
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The Tokai ATE-33N Thinline (current price in Finland 437 €) is a real looker and will delight fans of the natural look, despite its moderate price tag.
Roger Rossmeisl – known for his classic Rickenbacker designs – hit upon the concept of the Thinline Telecaster in the late 1960s when working for Fender. The original version was made with a body which featured three large pockets routed out from the back. A separate, glued-on solid piece of wood served as the body’s back.
Tokai approaches the construction of the ATE-33N Thinline the other way around: the pockets are routed into the front of the alder body, which then receives a beautiful, five millimetre thick swamp ash top. This solid ash top was made from three side-by-side pieces on our test sample, with the nicely matched grain efficiently disguising the glue lines.
The body of Tokai’s ATE-33N Thinline sports a gloss finish, while the neck has received a thin satin finish.
This Tokai is no slave to vintage fashion – truss rod adjustment is at the headstock end of the neck, which is a far more practical solution.
These nice Kluson-copies work fine.
The maple fingerboard has a larger radius (meaning it’s flatter) and fatter frets than its Sixties counterpart, making the ATE-33N easier to play. Especially string bending is far more comfortable with this type of neck.
The neck joint is a traditional four screw affair.
From a sonic standpoint, the traditional three-saddle, bent sheet-metal bridge that doubles as a pickup frame is probably a Tele-style guitar’s most important ingredient.
With these bridges octave compensation is always a matter of compromise, but most guitarists learn to live with the design’s limitations.
The ATE-33N Thinline is equipped with two singlecoil pickups that use soft steel slugs as polepieces and bar magnets stuck to the bottom of the bobbin.
Here’s a look at Tokai’s three-position switch and the guitar’s master volume and tone controls.
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Now seems to be the perfect time to buy an electric guitar, judging by the sheer quality displayed by the very favourably priced Tokai ATE-33N Thinline.
The ATE-33N Thinline seems to tick all the right boxes with ease:
The satin-finished maple neck feels great. It’s rounded D-profile provides a sturdy fundament for tone and sustain, and it is comfortable to play, too. This model’s well-dressed frets and the fretboard’s flatter radius make a slinky set-up possible. Our test sample measured 1.4 mm for the low E and 1.2 mm for the high e (at the 12th fret), and it played well and without string rattles all across the neck.
Played acoustically you can clearly hear the open character of the hollowed out thinline body. Naturally, a T-style thinline won’t win a shouting match over a ES-335, but the hollowed out pockets do still make a discernible difference in this Tokai.
There’s lots of talk on guitar forums about the nastiness of many budget Tele-pickups, but I can only state that Tokai’s set of Mk3-pickups perform rather well. The neck pickup is war and round, but never muddy or one-dimensional. The bridge unit dishes out the Country twang with the right amount of bite and conviction. And the Tokai also nails my favourite Tele tone – the chimey middle setting with both pickups on. This means that changing the Tokai pickups for some aftermarket brand wouldn’t be my first priority, at least…
Here’s a taste of the ATE-33N Thinline’s clean tones, starting with the neck pickup and moving on from there:
And here’s a bit of Rock riffing:
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In my opinion the Tokai ATE-33N Thinline scores high in the value-for-money stakes. It is a beautiful-looking instrument that plays very well indeed.
I have to admit having some reservations about the pickups before plugging in, but the sound of the Mk3-units has really won me over. This Tokai dishes out all the T-style tones we’ve come to expect from a traditionally styled and built example.
And should you decide to upgrade the pickups, regardless, the ATE-33N Thinline will prove to be a great starting point for any such ventures.
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Tokai ATE-33N Thinline
437 €
Finnish distributor: Musamaailma
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Pros:
+ outstanding value for money
+ workmanship and finishing
+ playability
+ sound
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Review: Bluetone Amps Princeton Reverb
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Finnish boutique amp company Bluetone is yet to become a household word. Nevertheless, Bluetone’s dynamic duo of Harry Kneckt and Matti Vauhkonen have already garnered lots of praise with their all-valve designs, and the word keeps on spreading steadily.
Custom Sounds in Helsinki have recently started to stock Bluetone-amplifiers, and they were kind enough to supply Kitarablogi with a Bluetone Princeton Reverb combo for testing.
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The Bluetone Princeton Reverb (current price in Finland approx. 1,600 €) is Bluetone’s handwired – and slightly updated – version of a 1960s Fender Princeton Reverb (in its AA1164 guise). Bluetone’s improvements over the original issue include a post phase-inverter master volume (PPIMV), a larger speaker, as well as an external bias point. The Bluetone Princeton Reverb is rated at 15 Watts.
Bluetone’s Princeton is factory-equipped with a 12-inch WGS Black Hawk Alnico speaker, but you can order yours with a different speaker, if you wish.
Bluetone’s cabinets are made from 15 millimetres thick Finnish birch plywood, resulting in a very sturdy, yet lightweight combo.
The level of workmanship displayed on the Princeton Reverb really doesn’t leave anything to be desired – this combo is the real boutique deal!
True to form the cabinet is open-backed.
Bluetone’s Princeton uses three 12AX7-valves and one 12AT7 in its preamp.
A 5AR4-valve deals with the combo’s tube rectification, while the output section employs two 6V6s.
The amp’s full-length spring reverb comes from MOD Kits.
The 50 W WGS Black Hawk speaker has originally been designed with Vox AC30-type tones in mind, and seems like a strange choice for a small Fender-style combo.
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This Bluetone is a single-channel combo equipped with a three-band EQ-section, reverb and tremolo. Thanks to its master volume control you can drive the combo’s preamp hard while keeping the volume levels down.
Our test sample was one of the last pre-production models; the final series has all the front panel lettering placed below the controls for improved visibility.
On the back panel you’ll find two speaker outputs, plus a jack for the footswitch.
This rugged footswitch comes included with the amp.
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For a mid-sized valve amp Bluetone’s Princeton Reverb is quite lightweight, yet it feels very sturdy.
Switch the combo on, and you’ll be surprised at the absence of mains hum and noise in general. This beauty is really quiet – great!
Many original Blackface and Silverface Fender Princetons have been modified along the way with a larger speaker. The original 10-inch Jensen sounds OK, but many find the tone to be a little too thin for their taste.
The Bluetone Princeton sounds much bigger and fatter from the get-go, thanks to its larger, 12-inch speaker.
This is what my Fender Telecaster sounds played through the Bluetone with clean amp settings:
Bluetone’s tremolo circuit sounds very tasty:
If you use the Low input there’s plenty of headroom to be had from the Princeton Reverb for clean humbucker tones (played on a Hamer USA Studio Custom):
But this little combo can also bare its fangs if you add some gain. Soundwise you’ll get just the type of distortion you’d expect from a low-powered, Fender-style amp. There’s plenty of bite with a healthy dose of compression and an open-sounding mid-range. Don’t expect oodles of cream from this combo, but if you’re after a gritty Sixties and early Seventies Blues- and Rock-vibe, the Bluetone Princeton Reverb is just the ticket.
Here’s the Telecaster, plugged into the High input, with Gain turned up all the way:
Plugging the double-humbucker Hamer into the combo’s Low input resulted in these sounds:
The Bluetone reacts very nicely to your guitar’s volume control, allowing you to turn down for clean-ish tones and turn up for overdrive:
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In my view Bluetone’s Princeton Reverb offers genuine Finnish boutique quality at a very fair price. The workmanship is outstanding and the combo sounds fantastic. The Bluetone Princeton Reverb could be described as the ultimate Blackface-combo.
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Bluetone Amps Princeton Reverb
Current price in Finland approximately 1,600 € (Bluetone amp cover: 50 €)
Contact: Custom Sounds Finland
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Pros:
+ genuine custom shop quality
+ point-to-point-wiring
+ Master Volume control
+ high-quality, 12-inch speaker
+ fine reverb and tremolo-effect
+ footswitch included
Testipenkissä: Zoom MS-60B + MS-100BT
Kitarablogilla oli mahdollisuus tutustua bassolle tarkoitettuun Zoom MS-60B -multiefektiin, sekä kitaralle tarkoitettuun MS-100BT:hen. Zoomin Bluetooth-teknologia hyödyntävällä StompShare-appsilla (vain iOS) pystyy kokeilemaan ja ostamaan lisää efektejä MS-100BT:lle.
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Zoom MS-60B (hinta alle 100 €) on MultiStomp-malliston sähköbassoille kehitetty malli. Punaisesta rasiasta löytyy 50 vapaasti editoitavaa ohjelmapaikkaa, ja jokaisessa efektiohjelmassa (patch) voi ketjuttaa maksimissaan neljä efektiä peräkkäin. Tarjolla on 58 eri efektityyppiä kompressoreista modulaatioefekteihin ja viiveistä vahvistinmallinnuksiin.
MS-60B:n metallinen kotelo ja jalkakytkin tuntuvat hyvin kestäviltä. Säätimet on asennettu kynnyksen taakse, siten ettei niihin vahingossa osu kengänpohjalla.
Pedaalissa on kaksi lähtöä, koska sitä voi käyttää joko mono- tai stereofonisena. MultiStompissa ei ole lainkaan kuulokelähtöä, sillä se on tarkoitettu puhtaasti lattiaefektiksi livekäytössä tai kytkettäväksi äänikorttiin tai mikseriin studiokäyttöä varten.
MultiStompin etureunasta löytyy myös USB-portti, joka mahdollistaa laitteen firmwaren päivittämistä.
Zoom MS-60B:n efektiohjelmia voi käyttää kahdella eri tavalla:
Ensimmäinen tapa on valita yksi haluttu efektiohjelma (patch), jonka jälkeen pystyy valitsemaan navigointinäppäimillä ohjelman efektiketjun yksittäisistä efekteistä sen, jonka haluaa laittaa soiton aikana päälle ja pois MultiStompin jalkakytkimellä (esimerkiksi efektiketjun filtteri tai chorus). Laite muistaa omatoimisesti jokaisen efektiohjelman kohdalla, mikä yksittäinen efekti oli viimeiseksi valittu päälle/pois-kytkettäväksi, ja tuo efektiketjun seuraavalla kerralla jälleen samalla tavalla näkyviin.
Toinen tapa on käyttää Zoomia A/B-tilassa. A/B-tilassa valitaan ohjelmalistalta niitä efektiohjelmia, joita halutaan käyttää, asettamalla niille järjestyksen kirjaimilla (esimerkiksi: “SynthStar: A”, “AsiaPalace: B”, “PitchDist: C” jne.). Valinnan jälkeen jalkakytkimen polkaisu vaihtaa yhdestä ohjelmasta seuraavaan järjestyskirjainten aakkosjärjestyksessä. Viimeisen efektiohjelman kohdalla hypitään kytkinpolkaisulla takaisin valittujen ohjelmien alkuun.
Tällaisessa, hyvin kompaktissa efektilaitteessa täytyy aina ensin oppia laitteen käyttölogiikka, koska yleensä runsaat ominaisuudet ja parametrit ovat ohjailtavia rajoitetulla määrällä painikkeita ja säätimiä. Lyhyen tutustumisajan jälkeen Zoomin MultiStompilla tulee kuitenkin erittäin hyvin toimeen, sen loogisen käyttöliittimen ja hyvän graafisen toteutuksen ansiosta.
Erinomainen Effect Chain -näkymä auttaa suuresti hahmottamaan jokaisen efektiohjelman signaalitietä. Virtuaalisen magneetin avulla voi muuttaa yksittäisten efektien järjestystä “nostamalla” niitä ja siirtämällä niitä yhdestä paikasta toiseen.
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Kitaramultiefekti Zoom MS-100BT (hinta alle 150 €) on MS-50G:n isoveli, ja se tarjoaa peräti 100 erilaista efektiä.
Muistipaikkoja patcheille löytyy 50, ja jokaisessa patchissa voi käyttää maksimissaan kuusi peräkkäistä efektiä.
MS-100BT:n käyttölogiikka on täysin sama kuin kaikissa muissa MultiStomp-sarjan laitteissa.
Kaikki Zoom MultiStompit saavat käyttövirtansa kahdesta AA-paristosta, joilla luvataan noin seitsemän tunnin yhtäjaksoista soittoaikaa (monokäytössä). Virtalähteen käyttö (ei kuulu hintaan) on kuitenkin ympäristöystävällisempi vaihtoehto, ja kun kerran laite on sähkösyötössään Boss-standardiin yhteensopiva, ei tule myöskään ongelmia pedaalilautojen virtalähteiden kanssa.
Myös MS-100BT:n firmware-päivitykset hoituvat kätevästi Bluetoothin kautta iPhonelta tai iPadilta.
Zoomin ilmainen StompShare-appsi on erittäin helppokäytöinen ohjelma. Sen perusnäkymässä kaikki ladattavissa olevat efektit ja vahvistinmallinnukset näkyy virtuaalisella varastohyllyllä. Efektejä ja vahvistimia pystyy kuitenkin myös selailla efektiryhmien mukaan.
Valitun efektin tai vahvistimen sivulla kerrotaan sen käyttötarkoituksesta, ja sitä millaisia parametreja se tarjoaa.
Efektiä/vahvistinmallia voi esikuunnella ääninäytteeltä, mutta paljon hauskempi on kokeilla sitä itse tositoimissa MS-100BT:n valitussa patchissa.
Kun täppää StompSharen Try-painiketta, efekti/vahvistin lähetetään kokeiltavaksi MultiStomp-pedaaliin. Kokeiluaika on 15 minuuttia. Kokeiltava efekti/vahvistin korvaa kokeilun ajaksi sillä hetkellä näkyvissä olevan efektin.
Lähettäminen kestää pari-kolme sekuntia, jonka jälkeen voi kokeilla vapaasti StompSharessa lähetettyä efektiä/vahvistinta. Kaikkia parametrejä pystyy säätämään, mutta asetuksia ei pysty luonnollisesti tallentamaan, ennen kun uusi efekti tai vahvistinmalli on ostettu.
Ostotapahtuma hoituu kätevästi Applen iTunes Storen kautta, samalla tavalla kuin median tai appsin ostaminen yleensä iLaitteissa. Tällä hetkellä efektit maksavat 0,89 € ja vahvistimet 1,79 €.
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Zoom MultiStomp -sarjan konsepti on kyllä todella toimiva, ja sarjan laajentaminen näillä kahdella malleilla (sekä choruksiin, viive- ja kaikuefekteihin erikoistuneella MS-70CDR-pedaalilla) kertoo näiden multiefektien suosiosta.
Zoomin MS-60B ja MS-100BT tarjoavat erittäin laajan valikoiman laadukkaita basso- (MS-60B) ja kitaraefektejä (MS-100BT).
Esimerkkikappaleessa on rumpu- ja perkussioraitojen lisäksi ainoastaan MS-60B- ja MS-100BT-pedaalien kautta äänitettyjä basso- (Jazz Bass) ja kitararaitoja (Telecaster):
MultiStompien hyvän käyttöliitymän kanssa tulee nopeasti toimeen. Vaikka yhdellä jalkakytkimellä varustettua multiefektiä ei luonnollisesti pysty käyttämään livenä yhtä sujuvasti kuin isoa pedaalilautaa, tarjoavat nämä Zoomit sopivia ratkaisuja moneen tilanteeseen.
Kokeilemisen arvoisia tapauksia siis!
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Zoom MultiStomp -pedaaleja
MS-60B – hinta alle 100 €
MS-100BT – hinta alle 150 €
Maahantuoja: Studiotec
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Plussat (molemmat laitteet):
+ hinta-laatu-suhde
+ soundi
+ pieni koko
+ helppokäyttöinen
+ monipuolinen
+ vain MS-100BT: laajennettavissa StompShare-appsilla
Namm 2014 – Tech 21 Fly Rig 5
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Tech 21 NYC:n upouusi Fly Rig 5 on minikokoinen multiefekti ja vahvistinmallintaja. Legendaarisen puhtaan SansAmp-soundiin on lisätty kaiku, boosteri (Hot), viive-efekti tap tempolla, sekä Marshall-tyylinen särökanava (Plexi).
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Maahantuoja: Musamaailma
”Pisara” ja ”Fantomi” tulivat takaisin – Vox Mark III ja Mark V
1960-luvun legendaariset Vox III– (aka Teardrop) ja Mark V -mallit (aka Phantom) ovat tulleet takaisin, uusina edullisina versioina.
Kitaroissa on ruuvikaula vaahterasta palisanteriotelaudalla, sekä lehmusrunko. Molemmat mallit ovat lyhytskaalaisia (61 cm), ja niissä on kolme yksikelaista mikrofonia ja moderni Strato-tyylinen vibratalla.
Kitaroiden lisäksi Vox tarjoaa nyt myös lyhytskaalaisia Mark III ja Mark V -bassoja.
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Maahantuoja: EM Nordic
Kitarablogi.com – Finland's premier Guitar and Bass blog 