I nearly fell outta my chair this morning when I receieved notice of this. In Septemeber of 2009 the nearly original lineup of the semi-phsychodelic-prog-rock band Gong released a new album of brand new material. In the early 1990's Daevid re-united Gong for several tours and subsequent albums and compilations, as well as solo albums. What's most significant in this fan's observation about this time round, and I'm sure other fans have and will notice is that Steve Hillage and Miquette Giraudy have joined the cast this time out and have a big hand in producing the new music as well. For years Daevid Allen had tried to get Hillage onboard again but Hillage in his trues style preferred to remain "unidentified", and stay in the producer's chair he has held for so many years.

The album is available now at http://www.planetgong.co.uk/

 

 

 

 

It's been said by others that it's tough to find a girl who play guutar like this. Eita  is a strikingly talented and beautiful young Japanese musician. As well as shredding an an axe or 4, she is also a keyboardist and violinist. She plays all 3 instruments in her band Sevenseas.

Check out this really high quality and informative video series available on You Tube. Make no mistake all you shredders out there can learn a thing or two. 

"Surely not a well established company", so says Acrobatics Software. The makers of this week's Freebie Friday VST download effect. Vento is reportedly a high structured 4 voice chorus effect with filtering each voice with different harmonic modulation. The tremelo section offers additional shine and sculpting. Get it here

The new Memory Boy carries the performance heritage for warm analog delays and modulations that made its ancestors the go to legends that remain today. With two years in design using new and refined, analog IC's the focus was making the legend affordable to every musician while maintaining the character and artistic sounds that let you stand apart.

 

All analog delay with Feedback
Up to 550 ms delay time
Selectable Chorus or Vibrato modulations rates
Choose between triangle or square modulation waveforms
Expression pedal control of delay time or modulation rate
True Bypass

The Ring Thing presents state of the art modulation control allowing the user to explore a new sonic world that is both familiar and inventive. Complex modulations with interactive parameters create any sound your mind can imagine. From metallic sweeps to subtle color changes to unique and limitless modulations, the Ring Thing will become your sonic dream machine.

Articulate pitch shifting, preset tuning, selectable waveforms and external control delivers sound designer mystery, with a Rock and Roll edge.

Go to www.ehx.com/products/ring-thing

Hey it's Freebie Friday again! Today's free vst plugin is from the company Mdsp which makes and offers free vst plugins for PC/Mac, Pro Tools Auio Units. Today's offering from them is what is commonly known for years as a Duck delay or sometimes referred to in the pro audio lingo as a "ducker". A delay that is said to have a ducking effect is when the signal is input at a certain level the delay signal is lowered to allow more of the input through and thus making the signal such as an instrument signal running through the delay unit "louder" or as said by Mdsp's explanation "more intelligibility". Go here and download the Duckdelay today and start experimenting with modern day daw delay ducking.

Electro Harmonix for a long time has been guitarist's tools of choice for the effect afficiondo. Recently the y have released a new vocal oriented pedal that is a vocoder. Essentially a smaller version of their V256 band vocoder pedal. It also features gender bender knob to go from male to female and somewhere in between. To my ears this is a rock solid unit when you are going for this type of effect. Vist and learn more about the Iron Lung here.

It's dead Jim! Or is it? I am a part time guitar/bass music instructor and use an old Dell PIII based system at the music store I work at to run Youtube, midi, audio, and a few vst/vsti plugins. The hard drive resides in a portable carriage rack so that I can take it back and forth from my home to the studio. Last week the hard drive fell out of my guitar case and suffered a 8-10 inch from the floor fall. When I got to the studio the system wouldn\'t boot up and the drive was not showing up in bios. Needless to say the fall resulted in adead hard drive. It is a high quality IBM 30 gig drived that was originally made in 2000. Anyhow over the years I\'d heard of the fremedy to rescue info from a dead hard drive such as mine by putting it in your freezer and then you only get one time to boot the drive and gather your info off it and then after that one time the drive will never work again.

I don\'t keep any valueble data on this sytem so it would not be a big loss if the drive were never again to work. But I always wanted an opportunity to try the freezer trick so the next day I put the drive in a plastic zip lock bag and stuck in the freezer overnight and a bit longer than 24 hours. Note some people say that you only have to leave it in the freezer for an hour or s but i had other things to do. Well low and behold I took the drive out of the freezer and put it in the system and booted it up and within minutes the system was running as if the whole incident had never happened. Fellow geeks warn me that I should expect the drive to not last too much longer. In any case it is a fascinating concept that you can take a hard drive and stick in a freezer and make it work? A broken hard drive for that matter. So go dig out that dead hard drive you may have sitting in geek scrap parts box. You do have a box of old computer parts sitting around don\'t you?

The Paul Reed Smith Guitars Booth was in full jammin swing at Winter NAMM 2010. This video features legendary guitarist Al Dimeola.

Korg Wi-Tune Wireless Tuners

Announcing the world's first wireless tuners: The Korg Wi-Tune

Korg created the world's first hand-held tuner back in 1975. Since then, tuners have become a widely used item among musicians. Korg has continued to lead the way, creating a succession of revolutionary tuners featuring new technology and new ideas. Now, KORG announces the world's first wireless tuning system; the Wi-Tune. Using Korg's Wireless Tuning System, the Wi-Tune allows you to tune any instrument in any situation, unobtrusively, accurately, and easily. Our Wi-Tune systems are ideal for instruments such as sax, clarinet, flute, horn, or tuba; instruments where using a traditional tuner could be problematic. Wi-Tune eliminates these obstacles, allowing new avenues for practicing. Wi-Tune wireless tuning is also discreet, and can be used in nearly any musical environment.
Major features

* Wireless tuning - no cable required! The transmitter clips to your instrument and sends the signal wirelessly to the tuner!

* The large backlit LCD offers excellent visibility, even at a distance. The newly designed meter follows even slight changes in the sound, and provides a large note name display.

* The integrated cover/stand allows the tuner to be placed on a music stand, table, or on the floor to accommodate any situation.

* Three Wi-Tune packages are available:
WR-01: Regular clip - guitar, string instruments, etc.

WR-01BW: Smaller clip for Brass & Woodwinds

WR-01S: Includes strap for use with Saxophone, clarinet, etc.

* Internal mic allows tuning using the main unit alone

* Sound Out mode produces a reference tone from the internal speaker for tuning by ear

* Markings indicate pure major third and minor third intervals for exceptional ensemble harmonies.

* Designed to provide environmentally-friendly extended battery life.

Again the iPhone/iTouch is in my New Year crosshairs. Can't put this one aside. New from the folks that make the cool software company known as Way Out Ware is iSample. Available now at the App Store.

Sample The World

iSample 2.0 is a very powerful sample based music production tool. New with the 2.0 update are an array of features that make iSample a leader among the beat making / pocket studio apps. iSample ships with over 50 MBs of samples created by Mutato Muzika (founded and run by Devo's Mark Mothersbaugh) that provide a great starting place to create your own jams, and also to get started with iSample.

Visit  www.wayoutware.com/isample/

DEMO OF THE NEW MIDI MOBILIZER AND PLANET WAVES RIG REMOTE APPLICATION AT WWDC

Demo of the new MIDI Mobilizer and Planet Waves Rig Remote Application featured at Apple's Worldwide Developer Conference 2009

 

WATCH DEMO!

When used with the upcoming Planet Waves Rig Remote application for iPhone and iPod touch the MIDI Mobilizer gives guitarists the freedom to control Line 6 Variax® digital modeling guitars and Vetta^TM II digital modeling amplifiers.

The Rig Remote app features an attractive graphical display that takes a nod from the Line 6 software commonly used to adjust Line 6 gear via personal computers. The innovative Multi-Touch user interface makes it simple for iPhone and iPod touch users to scroll, choose and adjust models of amps, guitars, pickups, pickup placement, alternate tuning and more. Guitarists can easily save their favorite settings and apply them to any Variax guitar or Vetta II amplifier.

MIDI Mobilizer and Rig Remote 1.0 are currently in final development, with pricing, availability, and more detail on the complete feature set to be announced at a future date.

For more information on Planet Waves please visit: http://www.planetwaves.com/

For more information on Line 6 please visit: http://www.line6.com/

 

   

 

 

 

     2009 brought us a new album from David Sylvian. "Manaphon", would make a nice Christmas gift for the David Sylvian/Japan fan on your list, if not the Prog/Avant Garde Rock afficiando. I must say when I first saw, I guess that's the way you have to say it now since it's all about visual these days, the you tube of "Small Metal Gods", I was like "oh here we go again, more cerebral lyrical content that only David can understand music". Hey it works. I just gave the vid a proper watching and listening. I really like it now. Can't say for the entire album....yet. I am going to buy a copy preferrably from a real store. I miss the days of walking into the record store and discovering a new prize album. Anyhow give these vids a viewing and maybe you'll be smitten with the music. Also David music and bio, and current events are available at Samadhisound. 

 Watch the video for "Small Metal Gods" here.

 

 

As promised two Freebie Friday downloads. This is a multieffect plugin with features had they been in the real hardware world wound have cost a player in upwards of 100's if not 1,000's of dollars depending on the quality of the hardware you bought. Who would have ever thought you'd have the whole palette for FREE one day. Here it is from Luxonix.

LFX-1310 is a Free plug-in multi-effector including 24 types of algorithm and 3 serial slots. This freeware is the stand-alone version of Effecting Module of Ravity(S) & Ravity(R). Every algorithm realizes the very effect you have on your mind, and is fully optimized for low CPU load. Get it now HERE!

Today's Freebie Friday Download offered is Mobius a Looper in VST form for PC and MAC from Circular Labs. Mobius is a tool for live recording and manipulation of audio loops, with features similar to those of the Gibson Echoplex Digital Pro and the Electrix Repeater. This is a live performance looper, not to be confused with static loop triggering and assembly tools like Acid. It is similar to having 8 synchronized stereo EDPs with the ability to copy loops and timing between them. Extensive MIDI and keyboard control is provided. Get Mobius for FREE here.     

 

 

Today's Freebie Friday Download offered is Mobius a Looper in VST form for PC and MAC from Circular Labs. Mobius is a tool for live recording and manipulation of audio loops, with features similar to those of the Gibson Echoplex Digital Pro and the Electrix Repeater. This is a live performance looper, not to be confused with static loop triggering and assembly tools like Acid. It is similar to having 8 synchronized stereo EDPs with the ability to copy loops and timing between them. Extensive MIDI and keyboard control is provided. Get Mobius for FREE here.

 

 

 

 

Just when Californian's thought they were being left out of the fun this just came in across my desk...Late!...but better than ever there's still time for you who live in the Golden State to make it to two out of the 4 dates announced at the www.awatslive.com

 

 

 

 

 

 

Because of the traditional American long Holiday Weekend known here as Thanksgiving weekend Freebie Friday also observed the long Holiday weekend but promises to return this Friday December 4 with not one but 2 Freebie VST's! Stay tuned and logged on as the end of the year brings us exciting new ventures into the virtual future of Guitars!

Once again it's Freebie Friday! Today's offering is from Antress, which is generously offering their version 4.75 Modern Plugins available for Free Go to http://antress.er-webs.com/ and get this professional suite of plugins now. These processors work just as well if not better than ones that cost hundereds of dollars or more. Of course you may find some of them not to your liking or quite the effect you were looking for to finish that long overdue track. But with 15 different processors to chosse form and mix together there's gotta be somethin right?   Get em while there hot at  http://antress.er-webs.com/

New Plugins:

Modern Lost Angel

* Classic LA-2A(R) compressor clone.
* Power On/Off switch.
* Gain Reduction meter include.
* Peak control (Threshold, 0 to -48 dB).
* Gain control (0 to 48 dB).
* Attack time (Variable, 0.1 to 10 ms).
* Release time (Variable, 0.05 to 3 secs).
* Comp/Limit modes switch.

Modern Spacer MK-IV

* Power, Meter On/Off button.
* Stereo level meters include.
* Pre-Delay control (off to 2 secs).
* Time control (off to 10 secs).
* Room Depth control (15 to 3000 m).
* Room Width control (20 to 300 m).
* Mix control.
* LS, MF, HF, HS controls for Reverb EQ.
* Output control (-18 to +18 dB).

Changes:

Modern FireChainer (Improved GUI).
Modern Amplifier (Improved GUI).

All Plugin List:

Modern Compressor
Modern Equalizer
Modern Spacer
Modern Exciter
Modern DeEsser
Modern Limiter
Modern LostAngel
Modern SeventhSign
Modern BlackDragon
Modern FireChainer
Modern Premier
Modern Amplifier
Modern DeepPurple
Modern Analoguer
Modern FlashVerb

Modern Series VST Plugins, Free for You, enjoy !

The much anticpated DropTune pedal from new company Morpheus is now shipping World Wide. This new pedal is a new kind of it's type for the guitar slinger of the Twentyfirst Century. It allows the guitarist to drop their tuning a full octave or somewhere in between. Now you don't have to touch your tuning pegs to play that thunder clapping low C riff. With the Morpheus DropTune inserted in your effect chain right after your guitar your good to go with a step of a switch!

Visit Morpheus at http://www.morpheusefx.com/pages/droptune.html

 

Morpheus DropTune Guitar Polyphonic Pitch-dropping Pedal Features:

* Polyphonic pitch-dropping effects pedal
* Drop tune up to 3-1/2 steps in 1/2-step decrements
* Full octave drop and octaver
* Latching Effect On/Off switch
* Momentary Down and Toggle/Up switches
* Bright backlit Drop Tune, Octave, Octaver, Toggle, and Effect indicators
* Rear panel Input Level control with front panel LED level display
* In, Out, and power supply jacks (power supply comes included)
* Rugged cast-metal chassis

 

 

Kramer have announced their new Pacer Classic. Here's what they have to say about it in their own words...

Kramer Guitars have a long history of making guitars that are performance driven. Its reign in the 80's as one of the top guitar companies in the world is legendary. Kramer is proud to announce the upcoming release of the Pacer Classic. This new model's specs' are off of the famed 1983 USA Pacer and is a classic shredder's guitar!

The Pacer Classic's body, neck and electronics layout is spot on to the 1983 Kramer Pacer, which was famed for its versatility and playability. No wonder every guitar player from that era were Kramer endorsees!

A little modern history: The Pacer's beak headstock and classic 80's block logo top off this classic Kramer with a locking nut to keep you in tune. You vintage Kramer nuts will notice we moved the truss rod adjustment to the headstock, but that's the only difference in the Classic's neck from the original. Just so you know Kramer was the #1 selling guitar brand in the world in the mid 80's!

The playground: Classic dot inlays on a satin finished, thin tapered Maple neck with jumbo frets. No splice joint here folks, it's all one piece topped with a Maple board.

The guts! A Mahogany body loaded with classic Alnico magnet pups, with a volume, volume, tone control layout with a 3-way mini-toggle. The variety of tones are MANY! We've also added a treble bleed mod to the volume controls to keep that sparkle when you back down the decibels. It's topped off with a Floyd Rose TM tremolo system for all the dive bombs you can handle while staying in tune.

Features

* Body Material: Mahogany
* Neck Material: Hard Maple, Satin Finish
* Neck Shape: Thin Taper C-Shape
* Neck Joint: Bolt-on
* Truss Rod: 2-way adjustable
* Scale Length: 25.5"
* Fingerboard: Maple
* Neck Pickup: 900R
* Bridge Pickup: 910T
* Controls: Neck Volume, Bridge Volume, Tone and 3-way mini-toggle selection switch
* Fingerboard Radius: 12"
* Frets: 22; medium-jumbo
* Bridge: Floyd Rose Tremolo
* Nut Width: 43mm
* Hardware: Black
* Machine Heads: Die cast
* Colors: Pearl White, Candy Red
* Warranty: Kramer Limited Lifetime

Visit www.kramerguitars.com

 

 

Hey man what day is it? Why it's Friday. But not any Friday it's Freebie Friday where Guitar Community features a free download of a vst effect or vsti instrument plugin from around the net. Today's freebie is a great and complete set of effects and stomp boxes for guitarist as well as bassists. Free Amp from Fretted Synth is vst effects plugin for Windows that offers all the compliments of a guitar arsenal including stomp box effects and virtual rack effects such as reverbs and delays.

Don't got the mulla for Guitar Rig or Revalver 3. No worries you got one a mouse click away at http://frettedsynth.home.att.net/ Visit Fretted Synth and start jammin now.

The Moog Guitar has won the 2009 MIX Foundation TEC Award for Outstanding Technical Achievement, Musical Instrument Category. This prestigious award takes its place alongside the many others in The Moog Guitar's list of honors, including the Guitar Player's "Reader's Choice Award," Electronic Musician's "Editor's Choice Award," Popular Science's "Best Of What's New Award," and NAMM "Best In Show: honors.

The Moog Guitar has single handedly shredded it's way to scarf up nearly every award in it's path. An interesting development is the number of patents that have been issued that support the Moog Guitar technology. There have been 6 patents issued with another 7 still pending.

Currently the  Moog Guitar's tradition of excellence continues with the new Model E1. The E1 is the production model of The Moog Guitar and uses the same innovative electronics and pick-ups as the Paul Vo Collector Edition. Priced at $3,000 less than the Collector Edition, the Model E1 brings The Moog Guitar's incredible expressive powers to a whole new world of guitarists.

For more information, visit their web site at http://www.moogmusic.com/.

Aiming to bring all tube amplifiers to the masses without sacrficing quality is what the new MA Series of amplifiers from Marshall is all about. These amps appear to be a promising new venture for the guitarist to tap into the legendary sound of classic players from Hendrix to today's shredders on into tommorw's guitar slingers. Read all about the new MA Amps here.

The Specs and features:

Clean and Overdrive channels- features independent volume control and its own 3-band EQ for serious tone shaping. The Overdrive Channel is equipped with an additional Gain knob, a Boost switch, and Crunch Balance knob. The Gain knob adds an additional level of gain staging, providing the classic Marshall crunch sound. Engaging the Boost switch delivers a mean Marshall grind for effortless soloing or powerful metal riffing. The Crunch Balance knob sets the level difference between the Overdrive and Boost levels, effectively yielding a three-channel sound. An included footswitch allows switching between the current channel settings.

The addition of Presence and Resonance controls in the Master section provides an extra dimension of overall tonal control with a wide range of sound shadings. A select spring reverb is built in; the depth of the Reverb effect is also controlled in the Master section.

The power amp stage features either two (50-Watt models) or four (100-Watt models) EL34 pentode valves (tubes); the preamp stage uses three ECC83 (12AX7) dual triode valves. This tried-and-true combination provides the player with the authentic, heavy Marshall sound.

The rear panel offers Serial FX Loop In and Out jacks as well as both 8-Ohm and 16-Ohm speaker outputs. The included footswitch also connects via the real panel.

The Marshall MA Series guitar amplifiers will be available in late fall 2009. Individual models and pricing are as follows:
MA50H 50-Watt Amplifier Head MSRP: $950.00
MA50C 50-Watt Combo Amplifier MSRP: $1000.00
MA100H 100-Watt Amplifier Head MSRP: $1100.00
MA100C 100-Watt Combo Amplifier MSRP: $1250.00

www.marshallamps.com

Apogee Electronics, manufacturer of digital audio hardware systems and related accessories, has recently released GiO. An audio interface and Midi Foot Controller dedicated to Logic Studio 9, Mainstage 2, and Garage Band 09. The unit is fully USB powered and offers hands free control of stompboxes, Midi expression, audio inputs and outputs all in glorious stereo. Full DAW control record/stop/start/Next Preset/Previous Preset selection. This unit promises to be a guitarist's dream when running a Mac based system.

Discover more control here Apogee Electronics.

Apple has released a major update to their power house music application. Logic 9 has more power, more control, and advanced production tools, as well as taking the guess work out tempo editing for most musical productions. For the guitarist there is now a wide selection of ampilifiers, cabinets, and stomp box effects, to get you to Eleven Heaven.

Right out of the box this new revamp is ready to rock! With new performance plugins to trigger loops live or preset, and also live mix tracks all in real time in the real World. Logic 9 is compatible with nearly every music hardware and software available today. Hook up your audio interface and/or midi controller and control Logic 9 and it's instrument/effects plugins though midi and mic/play/run through your audio interface while reaping the benefits of smart programming of Logic 9. Third party developers Apogee and Euphonix make dedicated hardware specifically for Mac. One of which guitarist will want to check out is the GiO. See companion blog here. For Mac guitar players this new Midi Foot Controller is an important new development adding a new choice that is built for Mac from the ground up as alternative to the now gratefully growing number of choices for any Midi Foot Controller. This puts GiO almost as a contender against 2 of the more popular dedicated hardware interface controllers: Guitar Rig and Amplitube, both of which are gladiators in both the Mac and Windows arenas which GiO is not in regard to the latter arena.

Read all the specifications and details for the new Logic Studio 9 here.

            Following up on their successful DP-004 4 track digital multiitrack recorder, Tacam has come back with an even better unit in the DP series of portable digital multitrack recorders. Inspired by their portatstudio legacy of products, this new digital multitrack recorder holds a lot of promise particularly for those guitarist/singers, and any other kind of musician looking to get into portable digital multitrack recording, while offering big desk recording features.

Features:

* 8-track Digital Portastudio
* 2-track simultaneous recording
* (2) XLR microphone inputs with phantom power
* (2) 1/4" line inputs, one switchable to guitar level for direct recording
* 1/4" footswitch input and Autopunch features for punch-in recording
* RCA line outputs
* 1/8" stereo headphone output
* Powered by four AA batteries (included) or PS-P520 power supply (optional)
* Chromatic tuner and metronome features
* Stereo reverb effect on send/return path
* Level, Pan and 2-band EQ controls per channel
* 44.1kHz/16-bit recording resolution
* Records to SD or SDHC Card media, up to 32GB supported
* USB 2.0 connection to computer for backup and track/mixdown export
* 2GB SD Card, USB cable, AA batteries included
* Built-in stereo electret condenser microphones
* Backlit LCD display

Visit www.tascam.com

 

New USB 2.0 recording interface from Tascam. The US 100 does it all. Record your guitar/bass directly into the US 100 along with a mic and/or stereo inputs. Not tomention the stereo inputs are switchable to accomodate a turntable so you can finish getting your vinyl into the digital and cd World. Read the specs from Tascam below.

TASCAM's US-100 breaks the price barrier for great-quality recording into your computer. The microphone input captures great-sounding performances, or you can plug in your guitar or bass directly into the instrument-level input. Stereo line inputs can be switched to RIAA phono level for digitizing your vinyl collection from your favorite turntable. The USB 2.0 connection guarantees playback without hiccups on your Mac or Windows computer, and the compact aluminum construction withstands the hazards of the road, studio or dorm room.

The US-100 records in stereo at CD-quality 48kHz/16-bit resolution and includes a free copy of Audacity software to get you started. An XLR or 1/4" microphone input is provided, as well as unbalanced stereo line ins and outs. Step up to TASCAM quality without breaking the bank with the US-100.

The Specs:

* Bus-powered USB 2.0 audio interface
* XLR or 1/4"microphone input
* RCA line inputs switchable to RIAA photo inputs with ground lug
* 1/8" stereo headphone output
* 48kHz/16-bit audio resolution
* Zero-latency hardware monitoring
* Mac and Windows drivers included
* Audacity recording software included
* Solid Aluminum case construction

Revolutionary new product from Artioli Designs. Billed as the World's first Chord-Forming Capo. This new tool stands to really revolutionize the expansion of the guitar player's tools. The concept of the Chord-Forming Capo is called "Open Voicing" which is an entirely new concept made possible by the Voice Capo. Open Voicing is achieved by forming chords on an instrument and then playing over those held chords."By galvanizing expertise in science, art and music, Artioli Designs builds musical products that inspire." Reads one of the description about Artoli Designs. Visit Artoli Designs website and learn more about this exciting new product. Lot's of cool illustrations and pics to understand the different applications of using the Chord-Forming Capo.

We've heard a lot about how Les Paul was a pioneer in the development of the the electric guitar, among his other ideas and inventions. We know he helped changed music and had a big influence on Rock & Roll music. I hope that we do not stop there. It's worth taking a second look at this interesting purveyor of the 20th and 21st century. I recently responded to Jimi Jame's post about the death of Les Paul by adding that you can listen to live interviews given by Les over the last 17 years by way of the Steve and Johnnie show at WGN Radio. One of the stations that Les Paul worked at from time to time. WGN Radio and the Steve & Johnnie show are currently making available all their interviews and chats with Les over the years available for download as an MP3 file or you can listen right on line. There are also people who were close or influenced by Les that recount their memories of him. I took a few minutes and downloaded all the interview audio available that Les gave and wasn't disappointed. I loaded them onto my trusty Zen MP3 player and listened to them while I was working at one of my jobs as a paper packer. Admittedly I never listened to his music much over the years but knew from listening to what I had heard that he was an impeccable guitarist. A friend of mine when I first went to college as a music major lent me a tape of him and Mary Ford playing at different gigs in the 1940's. Complete with slapback echo, and early overdubbed recordings. I did enjoy listening to it and it definitely was musician's music way above the curve as well as the pop music of his time. What the listener gleans from listening to Les speak about his life, his music, and, and some insight into how he had lived to be 94 and still playing his guitar, is a person we rarely get to be but has all the right stuff to be what we aspire to become as people without even trying. His sense of humor was also notable. Like when he describe how terrible of a driver his Mother was. The unusual things he did to get ideas for designs and recordings. Like once in the 1940's he rented a hotel room he had once stayed New Mexico for an hour to get the dimensions of the shower for designing an echo chamber. There's more funny humour to that story in his own words. Also notably is all the famous people he was friends with who inspired him. Little known facts for some of the more younger fans is that he was good friends with Bing Crosby who gave him one of his first tape recorders that he modified for making an echo machine, and multitrack tape recordings. Another interesting story was he saw Jimi Hendrix auditioning at a small carryout-bar joint in the mid 1960's before he was signed to Warner Brothers Records and at the time was also an A&R man for his label. He reportedly went out to call his boss at his label only to return to find that Jimi had been rejected because he was too loud. Less never heard about him again until he was famous. Wild. I don't want to spoil the fun. There are also memorable accounts from famous musicians like Tommy Emmanuel, Tommy Shaw of Styx, songwriter Doyle Dikes, among others. Take some free time and give some of these great interviews a play while they're still available. Go to this page for the direct links at WGN Radio

Hard rock group Kiss's farewell tours appear to be never ending. The group has just released their new high octane album "Sonic Boom", with US tour already in progress. Indeed the album kicks off witht the new heavy hitter "Modern Day Delilah". The album feature quite a few sonic adventures for fans of old days and of this day. There are many young rocker fans that have discovered Kiss through their parents record collection or by other means such as games like "Guitar Hero" and "Rock Band". The US tour is in full swing and the Kiss army will be visiting a town near you if not your own complete with fire breathing and plenty of blood spitting.

Vist them at www.kissonline.com

Up in North London on October 7, 2009 a unique reunion of respected musicians that made up various incarnations of the entity B'il Sabab, arabic translation meaning "the man with an aim", or better known as the essential progressive rock group King Crimson. Robert Fripp, Bill Bruford, John Wetton, Mike and Pete Giles, David Cross, and, Mel Collins, along with Porcupine Tree alumni Steven Wilson assembled for a playback gathering of the newly mastered 5.1 surround sound versions of the King Crimson catalog. Robert Fripp led the festivities with an opening speech before bringing on Steve Wilson, who along with Fripp, were behind the remastering of the Crimson King's catalog. Sounds like a great party.

In The Court Of The Crimson King, Lizard and Red are all available through the Panegryic label, with the remainder of the band's back catalogue being re-issued throughout 2010.

The three current re-issues are reviewed in the latest issue of Classic Rock Presents Prog, on sale now (cover pictured below). The re-issues come with extensive sleeve notes from Prog's own Sid Smith.

Stop by the and visit the Crimson King himself at www.dgmlive.com/

Following up on the smash hit Spider III series of digital amplifiers, Line 6 has recently released the Spider IV series. This new and updated series of amps are ready to play for any style and type of guitarist. There's one for you too.The Spider IV 120 is shown here.

The specs:

Spider® IV guitar amplifiers redefine what is sonically possible from modeling amplifiers. Feast your ears on the sophisticated touch response, complex distortions, and tube-style compression of the most advanced Line 6 amp modeling to date.

Inspired by the sounds of immortal American, British and European amplifiers, (and inspired by the features that made Spider III amplifiers the #1-selling guitar amps in the country*) Spider IV amps grant you unlimited access to sparkling clean tones, rich mid-range tones on the verge of breakup, high-gain metal mayhem and more. Plus you get stunning presets, juicy effects and the unparalleled flexibility that made Line 6 famous.

Over 50 of today's hottest guitarists and bands hand-crafted more than 300 presets for Spider IV 75, 120, 150 and HD150.

 

More cool info about Line 6 amplifiers and their other groovy products can be found at www.line6.com

 

 

 

 

 

 

Since 1995 I've owned at one time or another most of the current crop of Roland Guitar to Midi Converters. Plus a couple of other alternatives from other brands sometimes inaccurately called "guitar synthesizers" I currently do not own such a device at all, but like to use my guitars to play synths and VSTi's from time to time. I will attempt to offer a brief review here on what this unit is and what it does. I am assuming most readers may know the basics behind MIDI and it's application to guitars. That said, I recently bought the G2M Universal Guitar to MIDI Converter from Sonuus. A brand new company hailing from the UK. A quote from their website reads: "Established to exploit new technologies to create desirable products at sensible prices, sonuus is focussed on providing musicians with solutions that are better, simpler, or more affordable than anything else available on the market today." Pitch to MIDI is Sonuus's proprietary technology behind the G2M. Settin me back $99, the G2M is their first product. A small, simple, yet effective device to get my guitar to access MIDI keyboards, sound modules, computer soundcards etc. The unit measures about the size of a large matchbox. The bad news first. The unit is only monophonic. You cannot play chords. Only note on, note off, single notes. It also transmits velocity, and pitch bend permanently set at +2 semitones. A 1/4" input jack on one side for your guitar to plug into, along with a boost switch in case your guitar pickups send out a weak signal. Next to the boost switch is a little knob like bump protruding out with a hole to attach a carrying strap. On the other side is a standard MIDI output jack, and a 1/4" output/thru jack for sending your signal onto your amp, effects, etc. It is crucial to send the guitar signal first through the G2M. Lastly on top of the unit is 4 led lights. A green light tells you that the unit is powered on and also used for the built in tuner, a red light for low battery warning, another red light warns the user if the unit is clipping, and an amber led that lights when the unit sending midi notes. Sonuus intended the unit to give accurate triggering of notes with low latency. The unit also doubles as a standard guitar tuner. I found this aspect the least useful in the way it is implemented but never the less could come in handy. In use I was up and running my guitar through the unit in minutes. Ironically the latency on my Korg OASYS workstation offerred the worst response with mistriggered notes, inaccurate pitch. The response is best with synth patches with short attack settings and short releases. Most patches like saxes, clarinets, and, lead synth patches worked best. I had the best response of playing solos, and fast and furious leads with my pc running win xp triggering VSTi's. I tried Sonar, Live 8, and Chainer. All were acceptable for jamming with solo instruments, single notes playing big washy pads were my favorite things to play. Given the size of the unit, it's amazing you could command such power with your guitar in such a little device. For further reading and to read the official release and documentation visit the Sonuus website. Below is a video of the G2M summed up in good detail

This one does go to 11, well maybe it doesn't say so on the label, but you know.

 

 

"This pedal does one thing and one thing only. If you have a mid to high gain amp and you want more distortion — this is your pedal. The tone produced is not the boxy, stale distortion many pedals generate. The distortion that the Sahana Boost pedal delivers blooms and adds a new layer to your current tone. The Sahana Boost pedal was specifically designed for the new Sahana amp however it works great with any mid to high gain amp. This is not your average boost or overdrive pedal!"

 

Check it out at www.portcityamps.com/

25 years ago in early October 1984 the World was yet again priveledged to hear the sound of a progressive entity known as The Mahavishnu Orchrestra. The band was totally new save for the sole directing member and guitarist John McGlaughlin. This new more mature version, simply called "Mahavishnu". Tapped into the digital age of musical instruments and recording. An album was recorded in April and May of the same year long before the American tour ensued. McGlauglin was experimenting and working with new sounds being created and played on the expensive Synclavier II Digital Music System from the then sparkling company New England Digital. Though the Synclavier System was mainly a keyboard synth computer based system, McGlaughlin instead of using a keyboard opted for the Aria Pro II/Roland Guitar Controller originally from the Roland GR series controllers of the time. It is important to know that this system helped to drastically change the Mahavishnu sound of this era along with Bill Evans on Saxes, Mitchell Forman on Keybaords, Jonas Helborg on bass, and, Dan Gotlieb on Drums. Also take note that Billy Cobham was the drummer on the studio album with Dan Gotlieb listed as percussion. Cobham opted not to tour however. The album itself at first listen reveals no fireworks on first listen. If fact it's almost a given that one had to see the show with these fantastic songs and musicians as a companion to this music. From the opening funk driven "Radioactivity", leading into the gentle and reassuring "Nostalgia", to the joy of "Clarendon Hills" are among some of the album's highlights. The album as a whole is a compelling listen from beginning to end. One of the few albums I will never be bored with. For years it was neglected to be pressed to CD. In the late 80's when CD's were becoming the rage for everyone it was briefly released on CD never to return until 2005 and currently still available. I personally enjoy this era of The Mahavinu Orchestra more than any of their previous incarnations. From the recording itself to the concert. I was fortunate enough to attend one of the shows. Indeed it was a meeting of the spirits. Positive vibes were in air and in abundance at the Wax Museum in Washington, DC that October night in 1984. Each member of the band took an extended solo while the others sat in circle fashion and listened attentively to what their fellow band mate came up with musically. Up until that night I'd never seen a guitarist play as fast McGlaughlin. Though that clearly isn't the goal speed has it's places. Funk slappin bass was in full swing by this stage of the game but no one played a bass quite like Jonas Helborg. His performance that night riveled many a Jaco performances I had seen. Most of the extended soloing and music centered around the new album but 2 encores were from the Mahavishnu catalog and McGlaughlin donned a Gibson Les Paul for them instead of closing the show with the Synclavier. A true meeting of the spirits indeed. Visit Jon McGlaughlin on the web at www.johnmclaughlin.com/

The term "affordable guitar" can be an oxymoron when attempting to buy a guitar considered to be higher quality than a so-called budget guitar. DBZ guitars from World renowned guitar builder Dean B. Zelinsky offers high quality electric and acoustic guitars with a vast range of options, brillaint colors, and "over the top" designs. They are currently offering these guitars in US made and import versions "Great playing guitars that look superior on stage is what DBZ is all about," says DBZ Guitars CEO, Dean B. Zelinsky. DBZ Guitars was founded August 26, 2008 when world-renowned guitar builder Dean B. Zelinsky saw the need to take guitars to an entirely new place. DBZ Guitars breaks through the monotony on a whole new level. With vivid finishes, lifelike textured tops, and three-dimensional carved art, Zelinsky has returned to raise the bar a second time. Check out the full range of their guitars at www.dbzguitars.com

Feedback as a technique in playing the electric guitar in contemporary music has been with us for quite some time. Though it most likely was going on before my time in some form or another, my first exposure to it's haunting, mysterious, if not ethereal sound was with Jimi Hendrix and The Who's Pete Townsend. We mostly hear this effect in Classic Rock format but all Rock musical genres have offered up recordings featuring this effect. First a bit of history concerning feedback with an electric guitar. Not to be confused with the kind feedback that a microphone does which sends everyone into a frenzy and all the dog kennels in the neighborhood into a massive howl. In concept a guitar's feedback is similar to a microphone's feedback. Guitar feedback can be controlled relative to where the guitarist is standing in proportion to the amplifier. To simplify further the guitar pickups are like the microphone in that they are picking up the signal emitted by the amplifier and then "fed back" into the amplifier resulting in what is referred to as a feedback loop. It's called a loop because the sound is constantly "looping" around and back into the guitar pickups. Requirements for getting feedback with your guitar: an electric guitar and a relatively robust guitar amplifier. Preferably something more than a practice amp. The only other requirement which could be negative is the volume of the amplifier must be set nearly at full or near full volume/maximum gain stage. Ears withstanding the results are always rather interesting.

Enter 2009 and the vst software effects platform. In 2008 Softube released a very cool and significant vst plugin for Windows and Mac called "Acoustic Feedback". I'd recently become familiar with their product through the use of their "Amp Room" vst software. Which I found a pretty useful contender to all the other gunslingers out there. With Acoustic Feedback however Softube have created a tool that I think is in the right direction to enable guitarist to express themselves further into newer territory. Then again a "meat potatoe's guitar player may have no use whatsoever for something like this. If you have an iLok account you can download the demo for VST or TDM from their website and can be used for 10 days after which you must buy a an iLok license to continue using it. I already have an iLok account for my Pro Tools system and so getting up and running was no issue. Using Acoustic Feedback you can get real subtle feedback to natural (what we are used to hearing), up to extreme wild feedback. The vst installs easy enough and you can get shrieking immediately. There's no presets to deal with. The main engine that makes it all happen is "Realistic Simulation" in Softube speak or in layman's terms Physical Modelling. This has become a valuable tool in my guitar arsenal. I can command such subtle feedback bends and vibratos in songs that I always wanted to play. I'm talking David Torn territory here. I am playing sounds that I never thought I'd never would've come up with without it. I particularly love the way it waits for me to play my notes and then the feedback slips in upon holding a note. Or play, strum, slow arpeggiate, a chord and listen how the "sound" of feedback happens. Check out the videos from You Tube and the Softube website. Get crankin!

 

Alternative rock outfit Three Days Grace has just released their third album "Life Starts Now" with a promising kickoff video. The Grace is back in fine form. At times I always think that singer Adam Gontier is yelling at times more than singing but in a good way. And the formula always appears to work. Fans and newcomers alike will enjoy this album. The band does what they do best and if one studies their 3 releases over the years they will be rewarded with consistancy. It's rare to see that in band now but Three Days Grace does it with precision and delivers the goods with refreshing modern quality. Go to the Three Days Grace official website and see the new video for the song "Break" here.

Never to miss a chance to blog about my favorite rock group Rush, thought I'd post a heads up about a new short film from a series titled "City Sonic: Films About Places Where Music Happens" directed by Bruce McDonald. A collection of stories about extraordinary shot in places where their musical lives were transformed. This particular one features Geddy Lee bassist and synthesist of the band Rush. In it Geddy speaks about the place that was once the concert homes of the bands Cream, Genesis, among others that Lee himself attended and eventually went on to shape Rock history there himself. The film also explores the landmark album "All the World's A Stage" where Rush recorded their fist live album during a 3 night stand there. The album was the band's first Billboard top 40 seller. Ironically when one read past interviews of this time period the band was less than happy with the recordings only to find out during the production process to be pleased with the synergy between them and the audience. They also realized that the performances were better than first thought. You can read more about the film(s) here as well as read about Bruce McDonald the director at this link.

Not to be outdone by Geddy, Rush's guitarist ALex Lifeson is costarring in a Canadian Vampire Comedy called "Suck" In it Lifeson is a US boarder guard. There also plenty of appearances by Iggy Pop, Henry Rollins, Moby,and Alice Cooper. Malcolm McDowell also stars in it. How can it go wrong? The the film's synapses: Actor/director Rob Stefaniuk brings an edgier twist to the vampire story in his rock 'n' roll romp "Suck," which debuted at the 2009 Toronto International Film Festival. Stefaniuk's hero is a conflicted musician in a go-nowhere band looking for immortality and a record deal. Then, the female bassist, played by Jessica Pare, is made into a sexy vampire, transforms her bandmates, and fame quickly ensues.

This film looks very promising and has recently made it's World premier in Toronto at Yonge-Dundas Square on September 11, 2009. Suck's others stars are Jessica Pare, as well as Dmitri Coats from the band Burning Brides.

On June 22, 1979 Neil Young and his group Crazy Horse Released the essential album: Rust Never Sleeps. Half acoustic and half electric with studio enhancements. The album is basically a live album that plays out like a studio album would. The audience is still heard but reportedly rubbed out but still heard at the beginnings and endings of songs. It's also worth knowing that 2 songs are from different times and not part of the orginal concert. It doesn't really matter because this album is consistant throughout.

This blog post is not an album review, rather a pause for appreciation of classic timeless album. The album plays out really nicely. Starts off with Youngs wavering voice on Hey Hey My My acoustic version and closes with the raucous My MY Hey Hey electric version. Essentially the same song. Some key quotes one can glean from the album as whole to ponder are "More to the picture, than meets the eye.." and "They give you this and you pay for that.."At least 30 years on after some hefty life experience those words come to light to this writer. Young and his band are in fine form. Nicolette Larson is a guest with her beautiful voice on "Sail Away" one of the tracks that are not from the actual concert. Young's sensitivity to Native American culture really stands out on the whole album as well as his already stated social and political opinions at this point in his career.

I was just starting my juinior year of high school when this album tarted circulating in and around the circles at my school. I didn't appreciate it as much then, though I've always been a Neil Young fan I grew up with partly as a young boy in suburban Maryland thanks to my oldr sister. Later that year in 1979, the movie"Rust Never Sleeps" was released in theatres. I never made it to the cinema to view the movie and still haven't though MTV and VH1 over the years when they were about music, used to show excerpts from the movie as single videos. The movie has been available in all formats recently.

Interesting trivia about the name of the album Rust Never Sleeps was suggested by Mark Mothersby, one of the members of the New Wave group Devo. Pretty cool huh?

 

 

Long considered a metal guitarist's arsenal, Germany's Hughes & Kettner have produced a variety of high quality guitar and bass amplifiers, as well as other professional products that appealed to many types of musician but have always been in the forrfront of many of today's modern metal genres for over the last 20 years or more.  H&K again have released a new metalman's dream amplifier head that is sure to satisfy the aspiring Hetfield to defcon 11! It also updates the forward thinking H7&K design already in place in earlier amplifiers like the Zenterra and Switchblade. The Coreblade will alow the user to backup their presets to a standard USB stick. How cool is that? Hughes & Kettner's products will make you break the bank but their design and build always screams quality to me.

September 24, 2009

In succession of the highly popular SWITCHBLADE TSC Hughes & Kettner proudly presents COREBLADE, the next evolutionary stage of programmable all-tube guitar amps, especially designed to meet the demands of modern metal guitarists. The head delivers a stalwart 100 watts and combines brutal tone, untamed dynamics and explosive punch with amazing flexibility unequaled by any other tube amp so far. COREBLADE's most prominent features include our exclusive TSC tube management, the all-new IDB??? noise gate and - as a world premiere - backup the 128 presets to a USB stick without a computer.

 

COREBLADE is equipped with four channels, two of them voiced to offer completely different high-gain alternatives. Beyond that, the amp sports a versatile drive channel and a clean channel with plenty of headroom. For sound refinement COREBLADE features three first-class effect modules, covering a wide range of standards from authentic spring reverb to chorus and delay. As all effects are added using our unique "Inversed Parallel Modulation", the guitar signal always stays in the analog domain.

Noise gates are the secret weapons in modern metal sounds. Therefore COREBLADE is the first amp to take advantage of the newly developed IDB^TM (Intelligent Dual Breakpoint) noise gate. This cool device simultaneously measures the gain at the input jack and after the preamp, thus being able to react perfectly in any given situation, be it as a radical tool for sound design on stage or as a delicate noise suppressor in the studio.

As the sole amp manufacturer worldwide Hughes & Kettner masters the use maintenance free PRN potentiometers (PRN = programmable resistor network), completely analog rotary knobs with 256 resistor steps which can be digitally accessed. Employing this elaborate technology each of COREBLADE's channels can be set up total independently and all parameters like EQ, gain or presence may be saved and recalled in an instance with the push of a single button. And all this with no digital components in the signal path, mind you. Management of the 128 user presets is easy as a breeze with the included MIDI floorboard.

The TSC (Tube Saftey Control) power amp management, introduced with SWITCHBLADE earlier this year, automatically adjusts the bias, takes care of defective valves (emergency switch-off) and displays the tubes' characterists at the rear of the amplifier. TSC accepts EL34 and 6L6 tubes, even in mixed operation ??? which means personal tube customizing without limits!

The MC412CL is a new 4x12" cabinet, especially crafted for COREBLADE. Oversized and made of even stronger wood, it is loaded with Celestion Classic Leads and handles 320 watts at 8 ohms, thus converting the amp's primal power into massive sound pressure.

COREBLADE is exclusively manufactured in Germany in Hughes & Kettner's Custom Shop, certified to the strict reglementations of ISO9001 to guarantee utmost reliability and longest service life. COREBLADE facts:

* four channels: 2 x high-gain (independently voiced ), versatile drive channel, clean channel with outstanding headroom
* optimal adjustment of power amp feedback for each channel
* three parallel fx modules: reverb, delay, modulation
* groundbraking, ultra high-precision IDB^TM noise gate
* completely analog, programmable and maintenance free PRN potentiometers
* all rotary knob settings storable in 128 presets
* perfect control over all presets via included MIDI floorboard
* backup presets directly to a standard USB stick
* 100 watts TSC^TM power amp; preamp: 3 x 12AX7
* automatic bias adjustment, display for characteristics facilitates tube selection
* emergency switch-off of defective valves, hassle-free replacement of tubes
* power amp customizing with EL34 and 6L6GC, even in mixed operation

 

Coming on the heels of the announcement of the fantastic new recording and guitar processor called Eleven. M-Audio simeltaneously announced 2 more products. A new version of Fast Track Recording Audio interface and the new SBX10 Powered Active Subwoofer.

New Fast Track:

Top Features
includes Pro Tools M-Powered Essential software > make music immediately
one-for-all compatibility > works with most popular recording software-including Pro Tools M-Powered 8*
1/4" instrument input > record guitar, bass and keyboards
phantom powered XLR mic input > use dynamic and studio-grade condenser microphones
stereo RCA outputs > easily connects to your stereo system or powered monitors
Turn your computer into a powerful music production studio with the M-Audio® Fast Track®-the best-selling recording interface in its category. Featuring a simple "plug-and-play" USB connection, Fast Track is the easiest way to record guitar, vocals and more with your PC or Mac. Simply plug in your instruments and you're ready to rock. Fast Track even offers phantom power so you can use professional-quality studio condenser microphones like the M-Audio Nova®. Fast Track is compatible with most popular music recording applications from GarageBand to studio-standard Pro Tools® M-Powered^TM*, and includes easy-to-use Pro Tools M-Powered Essential recording and effects software so you can start making music immediately.

* Fast Track is compatible with Pro Tools M-Powered 8 and higher. Pro Tools M-Powered 8 is an expanded version of Pro Tools M-Powered Essential and is a paid upgrade.

Bundled Software

Pro Tools® M-Powered^TM Essential gives you easy access to many of the same Pro Tools software features that professionals use every day to create Grammy® award-winning albums, Emmy® award-winning television shows, and Academy Award®-winning films. This easy-to-use software lets you create pro-sounding mixes with up to 16 mono or stereo audio tracks. You also get 60+ virtual instrument sounds to play and record, plus EQ and other effects to make your mixes sound professionally produced. It even comes with over 5.5GB of music-making tools to help you get started instantly.

New SBX10 Powered Subwoofer:

Top Features
10" fiberglass/paper composite driver > full, tight bass response for accurate monitoring
all-discrete 240-watt internal amplifier > plenty of power to reproduce extended low frequencies
variable 50-200Hz crossover > compatible with any direct-field monitor system
subwoofer bypass footswitch > audition how your mixes will sound with and without a subwoofer
flared rear bass-reflex port > high efficiency, minimal air turbulence
The M-Audio® SBX10 active subwoofer is designed to give your monitoring system some serious low end. The SBX10 delivers tight, clean bass response down to 20Hz-revealing the extreme low frequencies in your music so you can make accurate mixing decisions. Comprising a 10" fiberglass/paper composite driver, a 240-watt all-discrete internal amplifier, and a variable 50-200Hz crossover, the SBX10 subwoofer delivers unbeatable performance in a compact chassis-great for studios where space is tight. An oversized magnet, high-temperature voice coil, high-density cabinet and a full complement of inputs are just some of the additional components that round out this high-quality design. The unit even includes a bypass footswitch so you can easily judge how mixes will sound with and without a dedicated subwoofer. The SBX10 represents the perfect addition to any studio monitor setup.
Engineered Especially for M-Audio Monitors

Designed for use with the M-Audio CX and BX Deluxe series-or most other studio monitors-the SBX10 active subwoofer delivers the kind of bass response necessary for music, film and multimedia projects. Since today's personal audio systems are designed to reproduce very low bass frequencies, it is critical that your audio production environment allows you to monitor and adjust those frequencies while you are mixing. When paired with either the M-Audio CX or BX Deluxe studio monitors, the SBX10 becomes part of an integrated system that provides accurate monitoring for the entire 20Hz to 20kHz spectrum. Of course, it enhances most other direct-field monitors as well.
Don't Strain Your Speakers-Or Your Ears

Studio monitors like the CX5 and BX5a Deluxe are designed to work well as full-range monitors. Yet when they reproduce extremely bass-heavy material at high volumes, it can be both taxing on the speakers and fatiguing to the listener. When they're used in tandem with the SBX10, however, the system can comfortably reproduce full-range signals at higher levels without stressing the components.
Active Crossover for Two-Channel Setups

The SBX10 subwoofer accepts the two-channel stereo outputs from your mixer, audio interface or sound card, and your main monitors connect to the subwoofer's outputs. The internal crossover network of the SBX10 splits the signal at a user-defined crossover frequency (50-200Hz), routing everything below it to the internal sub and everything above it to the main speakers. This significantly improves fidelity because the components aren't tripping over each other to reproduce the same frequency-and each only has to deliver frequencies to which it is ideally suited. The variable crossover makes it possible to tailor the bass response in your monitoring environment in order to achieve the most accurate acoustic response-both in studio and home theater applications.
Rock-Solid Bass Performance

Bass you can feel takes some heavy-duty power and components. That's why the SBX10 carries a hefty 240 watts of totally discrete Class A/B power for tons of headroom. The 10-inch driver features an oversized magnet and a high-temperature, long-throw voice coil, delivering maximum low frequency output and optimized power handling. The cabinet is made of 3/4-inch vinyl-clad MDF with 1-inch front and back baffles, serious internal bracing and a flared rear bass-reflex port to minimize turbulence and improve low frequency efficiency. The fiberglass/paper composite driver provides exceptionally accurate bass response, resulting in a clean and refined low-frequency extension that minimizes listener fatigue.
No More Guesswork

A good monitoring system allows you to create material that translates well across a variety of playback environments. As such, it's important to know what your mixes will sound like both with and without the low-frequency extension a subwoofer provides. Fortunately, the SBX10 includes a subwoofer bypass function that completely removes the subwoofer amp, speaker, and crossover from the signal path-sending the full-bandwidth program to your direct-field monitors. By plugging in the included footswitch, you can control this function dynamically as you're playing back your material-even from across the room.
Optimizing Your Studio Monitor Setup and Placement

Why would anyone need directions for setting up reference monitors? Just put them on your desk, and you're done, right? Well, it turns out that reference monitors are actually one of the most important and influential elements of your studio, and can really make or break the performance of your whole setup.
Read full article (English)

Eleven^TM Rack is a revolutionary new guitar recording and effects processing system designed to eliminate the challenges guitarists have faced in the studio and on stage. Say goodbye to the lackluster guitar amp "models" of yesteryear: Eleven Rack utilizes a unique tone cloning design and one-of-a-kind, custom-designed True-Z input to re-create the experience of playing through a full guitar rig. By combining studio-standard Pro Tools® software with a DSP-accelerated high-resolution interface, Eleven Rack puts professional recording into the hands of every guitar player. Whether you're tracking in the studio or playing on stage, Eleven Rack delivers fresh, mind-blowing, hyper-realistic guitar amp and effects tones that will inspire your best performances.

Eleven Rack in the Studio

Eleven Rack combines studio-standard Pro Tools software with a high-resolution, dual DSP-powered audio interface so you'll never have to worry about latency when recording with its built-in amp/effects tones - nor will your computer have to carry the processing burden. Eleven Rack also takes re-amping to the next level by recording both dry and processed guitar signals simultaneously, allowing you to re-amplify later without patching a single cable. We even found a way to embed the Eleven Rack amp and effects settings into the audio tracks you record, enabling you to automatically recall those settings from your audio files on any Pro Tools system with Eleven Rack.

Eleven Rack On Stage

Eleven Rack also rocks onstage as a standalone amp tone and effects signal processor - we pulled out all the stops to make sure it sounds and feels just like playing through the real deal. We also included a classic collection of effects, from must-have stompboxes to world-class rackmount studio processors. Eleven Rack has all the I/O flexibility you need to integrate it into your existing rig, and easily incorporate the tones you've recorded with into your live setup - closing the gap between studio and stage. Eleven Rack also offers incredibly powerful control options using affordable MIDI controllers and expression pedals, giving you full foot control over everything from vintage wah effects to tempo-driven delays and more.

Eleven Rack combines hyper-realistic guitar amp and effects tones with a dual-DSP-powered interface and studio-standard Pro Tools LE® software to create the ultimate recording solution for guitar players.

Introducing True-Z

Among guitar tonehounds, it's a well-known fact that input impedance - the electronic resistance found in the input circuit of the amp or effect you're plugged in to - has a huge impact on your guitar tone. We realized that re-creating this electronic relationship was critical in nailing the sound and feel of our emulations. Others have tried to fake this with signal processing but we weren't satisfied with a one-size-fits-all-approach. Each guitar reacts uniquely with each amp or effect - so we had to come up with a true analog solution that allows your guitar to interact realistically with our amp and effect re-creations.

That's why we developed True-Z - a unique analog input circuit that replicates the input impedance of classic stompbox pedals and guitar amps, resulting in amazingly realistic sounds. It's almost as if the True-Z input on Eleven Rack morphs into the 1/4" input jack of whatever classic stompbox or amplifier you are using. When you plug into Eleven Rack, you get the same response - and same great tone - as when plugging in to a vintage stompbox or guitar amp. You can also manually control the impedance of the True-Z input and set it to a value that suits your playing best.

Eleven Rack Hardware

* Unique True-Z auto-impedance matching guitar input
* Incredible emulations of classic guitar amp tones inspired by Fender®, Vox®, Marshall®, Soldano, and Mesa/Boogie® amps*
* Refined collection of sought-after classic stompbox tones inspired by effects from MXR®, Electro-Harmonix®, Ibanez®, ProCo, Univox®, and more*
* Powerful collection of studio-quality rackmount effects processors
* Convolution-based cabinet emulations deliver unprecedented realism in cabinet tones
* Convolution-based microphone emulations inspired by classic dynamic, condenser, and ribbon mic designs
* Integrated FX loop switchable to incorporate existing mono or stereo rack and stompbox effects
* Controllable via MIDI controllers and expression pedals
* Built-in tuner
* Tap-tempo control of time-based effects
* High-speed USB 2.0 connection
* Supports up to 8 simultaneous channels of high-resolution recording up to 24-bit/96 kHz
* Stereo balanced XLR outputs and dedicated 1/4" outputs
* XLR mic input with 48V phantom power and pad switch
* 2 x 1/4" line-level inputs
* AES/EBU and S/PDIF digital I/O
* Stereo 1/4" headphone jack
* 1 x 1 MIDI I/O

* Eleven Rack is not connected with, or approved or endorsed by, the owners of Electro-Harmonix®, Fender®, Ibanez®, Marshall®, Mesa/Boogie®, MXR®, ProCo, Soldano, Univox®, and Vox® names. These names are used solely to identify the guitar amplifiers and effects emulated by Eleven Rack.

Pro Tools LE Software

* Award-winning Pro Tools LE 8 recording, editing, and mixing software - now optimized for guitar players
* Powerful Eleven Rack control window for creating/editing Eleven Rack rig settings right from Pro Tools software
* Records both dry and processed signals simultaneously, with recallable rig settings embedded into audio files
* Includes over 70 professional effects, including reverb, delay, chorus, distortion, flanger, phaser, reverse, EQ, and compression
* Powerful virtual instruments for creating backing tracks, including a drum machine, tonewheel organ, piano, synthesizer, and synth/sample workstation

Virtual Instruments

* Boom^TM drum machine and sequencer
* DB-33 tonewheel organ emulator with rotating speaker simulation
* Mini Grand acoustic grand piano
* Vacuum monophonic vacuum tube synthesizer
* Xpand!®2 multitimbral synth and sample workstation
* Structure Free sample player
* FXpansion BFD Lite acoustic drum module

Effects, Sound-Processing, Utility Plug-ins

* 1-Band EQ III
* 4-Band EQ III
* 7-Band EQ III
* AIR Chorus
* AIR Distortion
* AIR Dynamic Delay
* AIR Enhancer
* AIR Ensemble
* AIR Filter Gate
* AIR Flanger
* AIR Frequency Shifter
* AIR FuzzWah
* AIR KillEQ
* AIR Lo-Fi
* AIR MultiChorus
* AIR Multi-Delay
* AIR Nonlinear Reverb
* AIR Phaser
* AIR Reverb
* AIR Spring Reverb
* AIR StereoWidth
* AIR Talkbox
* AIR Vintage Filter
* BF76 Compressor
* BF Essential Clip Remover
* BF Essential Correlation Meter
* BF Essential Meter Bridge
* BF Essential Noise Meter
* Celemony Melodyne Essential
* Chorus
* Click
* Compressor/Limiter
* D-Verb
* DC Offset Removal
* De-Esser
* Delay
* DigiReWire
* Dither
* Duplicate
* Eleven Free
* Expander/Gate
* Extra Long Delay II
* Flanger
* Gain
* Invert
* Lo-Fi
* Long Delay II
* Maxim
* Medium Delay II
* Multi-Tap Delay
* Normalize
* Ping-Pong Delay
* Pitch
* Pitch Shift
* POWr Dither
* Recti-Fi
* Reverse
* SansAmp
* Sci-Fi
* Signal Generator
* Short Delay II
* Slap Delay II
* Time Compression Expansion
* Time Shift
* TL AutoPan
* TL InTune
* TL MasterMeter
* TL Metro
* Trim
* Vari-Fi

Pro Tools LE System Requirements
PC Mac

* Windows Vista (32-bit) with SP2
* Windows XP (32-bit) with SP3*
* 1 GB RAM
* USB 2.0 port
* DVD drive

* Mac OS X 10.5.5
* G5 or Intel processor
* 1 GB RAM
* USB 2.0 port
* DVD drive

* Home and Professional Edition only. Windows Media Center Edition is not supported.

Up until now, amp modeling solutions haven't really delivered the full depth, dimension, and response of a mic'd up rig. We decided to take this challenge head on to ensure Eleven Rack truly re-creates the experience of playing through the most coveted guitar amps in the world. Check it out:

* We spent years scouting a connoisseur's collection of vintage and modern amps and cabinets, paying special attention to choosing amps that represented the best of their generation and remained unmodified from their original design. We then painstakingly inspected every component, took detailed measurements, and captured every stage of the signal path - point to point.
* We incorporated nuances like power amp sag, ghost notes, and cabinet resonance that other amp modeling developers overlooked, giving our clones the truly multi-dimensional tone and hyper-realistic response previously only achievable by mic'ing a real amp.

* We set out to invent an input circuit that re-creates the electronic relationship between your guitar and an actual amp or effect. This can't be done digitally - so we developed a unique True-Z direct input that automatically adjusts the input impedance to match that of the particular amp/effects rig signal chain. Thanks to the True-Z input, plugging into Eleven Rack sounds and feels just like plugging into a real amp or effect.
* Using convolution processing, we captured the exact sound of the cabinets and mics used to create the tone of a mic'd combo - instead of using EQ filters to "fake" this sound the way other amp modeling solutions have done.
* We enlisted guitar recording expert John Cuniberti (Platinum and Gold recording engineer/producer and inventor of the Reamp® box) to ensure the mic'ing techniques used during development were absolutely top notch.
* We also emulated an assortment of vintage and classic effects processors - from must-have stompbox effects to high-end studio processors culled from our coveted Pro Tools|HD® TDM plug-ins used in pro studios around the world.

Guitar amp emulations based on*:

* '59 Fender® Bassman®
* '59 Fender® Tweed Deluxe
* '64 Fender® Black Face Deluxe Reverb® Normal Channel
* '64 Fender® Black Face Deluxe Reverb® Vibrato Channel
* '66 VOX® AC30 Top Boost
* '67 Fender® Black Face Twin Reverb®
* '69 Marshall® 1959 100 Watt Super Lead Plexiglas Head
* '82 Marshall® JCM800 2203 100-Watt Head
* '85 Mesa/Boogie® Mark IIc+ Drive Channel
* '89 Soldano SLO100 Super Lead Overdrive Head Clean Channel
* '89 Soldano SLO100 Super Lead Overdrive Head Crunch Channel
* '89 Soldano SLO100 Super Lead Overdrive Head Overdrive Channel
* '92 Mesa/Boogie® Dual Rectifier® Head Vintage Channel
* '92 Mesa/Boogie® Dual Rectifier® Head Modern Channel
* Digidesign Custom Vintage Crunch
* Digidesign Custom Modern Overdrive

Speaker cabinet emulations based on*:

* '59 Fender® Bassman® 4x10" with Jensen P10Qs
* '59 Fender® Tweed Deluxe 1x12" with Jensen P12Q
* '64 Fender® Black Face Deluxe Reverb® 1x12" with Jensen P12N
* '66 VOX® AC30 2x12" with Celestion Alnico Blues

 

* '67 Fender® Black Face Twin Reverb® 2x12" with Jensen C12Ns
* '68 Marshall® 1960A with Celestion G12H "Greenbacks"
* '06 Marshall® 1960AV 4x12" with Celestion Vintage 30s

Microphone emulations based on*:

* Shure SM7 Dynamic Microphone
* Shure SM57 Unidyne III Dynamic Microphone
* Sennheiser MD 409 Dynamic Microphone
* Sennheiser MD 421 Dynamic Microphone
* Neumann U67 Condenser Microphone
* Neumann U87 Condenser Microphone
* AKG C 414 EB Condenser Microphone
* Royer 121 Ribbon Microphone

Effects emulations based on*:

* Spring Reverb (based on the Fender® Deluxe Reverb*)
* Green JRC Overdrive (based on the Ibanez TS-808*)
* Tri-Knob Fuzz (based on the Electro Harmonix Big Muff Pi*)
* Black Op Distortion (based on the ProCo Rat*)
* Shine Wah (based on the VOX® V-846*)
* C1 Chorus/Vibrato (based on the Boss CE-1*)
* Orange Phaser (based on the MXR® Phase 90*)
* EP Tape Echo (based on the Maestro Echoplex EP-3*)
* BBD Delay (based on the Electro Harmonix Deluxe Memory Man*)
* Grey Compressor (based on the Ross Compressor*)
* Vibe Phaser (based on the Univox Uni-Vibe*)
* Black Wah (based on the Thomas Organ CB-95 Crybaby*)
* Flanger
* Roto Speaker
* Volume Pedal
* Eleven SR (Stereo Reverb)
* Graphic EQ
* Tuner

* Digidesign Eleven Rack is not connected with, or approved or endorsed by, the owners of the AKG, Boss, Celestion, Electro Harmonix, Fender®, Ibanez, Jensen, Maestro, Marshall®, Mesa/Boogie®, MXR®, Neumann, ProCo, Ross, Royer, Sennheiser, Shure, Soldano, Thomas Organ, Univox, and VOX® names. These names are used solely to identify the guitar amplifiers, speaker cabinets, loudspeakers, effects, and microphones emulated by Eleven Rack.

We went to great lengths to obtain the world's most sought-after amps and effects - in their original state - to create the sounds in Eleven Rack. Here are all of the vintage and modern amplifiers and effects boxes that Eleven Rack emulates along with a bit of their history, where you may have heard their signature tones, and how our emulations compare to the originals.

 

Eleven Rack Amps

'59 Tweed Lux

'59 Tweed Lux

Based on a 1959 Fender® Deluxe*

With a single 12-inch Jensen speaker and a pair of 6V6 tubes delivering 15 watts, Fender's "tweed" Deluxe became a recording studio favorite for everyone from ZZ Top's Billy Gibbons to jazz/fusion legend Larry Carlton. In fact, Carlton's acclaimed solo on Steely Dan's "Kid Charlemagne" is a Gibson ES-335 (with the guitar's tone control rolled back) straight into a cranked Fender® Deluxe.

With just a simple tone control, '50s-era Deluxe amps deliver crunchy clean sounds when used with single-coil pickups, and fat leads when driven with humbucking pickups. Even with that dynamic range, its low wattage keeps it totally under control for recording. While not exactly loud enough to cut a gig, Neil Young toured for decades with his beloved '59 tweed Deluxe, but he had to drag around a personal PA system just so he could hear it over the actual house monitors and PA.

For our emulation, the knobs range from 0-10 (instead of 1-12 on the original) to better match the other amps in Eleven Rack, and for consistency with automation and control surface controls. Our '59 Tweed Lux is also "jumped" so you can feed both the Instrument and Mic inputs in parallel. Turning either the Instrument or Mic channel volume to zero will un-jump the channels.

* Digidesign Eleven Rack is not affiliated with, or sponsored or endorsed by, the owners of the Fender® or Jensen names. These names are used solely to identify the classic amplifiers and loudspeakers emulated by Eleven Rack. References to artists and bands are for informational purposes only and do not imply endorsement or sponsorship of Eleven Rack by any artist or band.

'59 Tweed Ba

'59 Tweed Ba

Based on a 1959 Fender® Bassman®*

Originally designed by Leo Fender in 1952 to go along with his new "electric" Precision Bass, the world's first bass amp, the Fender® Bassman®, supplied less than 40-watts through a single 15-inch speaker. It was also covered in the same tweed suitcase cloth used on the Fender® Deluxe. Always willing to make a design better, Fender eventually felt that using four 10-inch Jensen speakers had a tighter bass response while still keeping the high-end intact. By 1959, the Bassman® had closer to 50 watts of power, using two 5881 (military spec 6L6) power tubes, and four inputs (high and low for each channel). Along with controls for Bass, Middle (midrange), and Treble, a negative feedback Presence control also allowed for more tweaking of the high-end frequencies.

Even though the '59 Bassman® was originally designed with bass guitar in mind, it became the holy grail of tone for nearly all of the pioneering country, rock, and blues guitarists of the '50s and '60s. Even blues harmonica players consider the Fender® Bassman® the industry standard when used with a "Green Bullet" microphone. It's this classic amp's layout and circuit design that became the blueprint for many others to follow, including amps made in a small shop in England owned by a drummer named Jim Marshall.

Just like Digidesign's '59 Tweed Lux, the '59 Tweed Bass' knobs range from 0-10 (instead of 1-12 on the original) to better match the other amp sounds in Eleven Rack, and for consistency with automation and control surface controls. The Tweed Bass is also "jumped" so you can feed both the Bright and Normal inputs. Turning either the Instrument or Mic channel volume to zero will un-jump the channels.

* Digidesign Eleven Rack is not affiliated with, or sponsored or endorsed by, the owners of the Fender®, Bassman®, and Jensen names. These names are used solely to identify the classic amplifiers and loudspeakers emulated by Eleven Rack.

'64 Black Panel Lux Vibrato

'64 Black Panel Lux Vibrato

Based on a 1964 Fender® Deluxe Reverb®, Vibrato Channel*

'64 Black Panel Lux Normal
Based on a 1964 Fender® Deluxe Reverb®, Normal Channel*

For nearly the entire time Leo Fender was designing amps, he always made sure to have a version of the Fender® Deluxe. With a single 12-inch Oxford speaker and a pair of 6V6s putting out just over 20 watts, Fender's Deluxe Reverb® became the ultimate small club amp. In the studio, it's been used to record countless #1 hits in Nashville thanks to "first call" session players such as Brent Mason.

At low volumes its crisp, clean high-end has been favored by Fender ®Telecaster® country rockers such as Pete Anderson (Dwight Yoakam). But push the amp past 7 with a humbucking pickup, and you've got an amazingly dynamic lead tone that's been used by blues/jazz great Robben Ford and '80s LA session king Steve Lukather. With his goldtop '58 Les Paul, Lukather used his Fender® Deluxe Reverb® to cut the solo on Toto's hit "Hold The Line."

Fender® made both a Deluxe and a Deluxe Reverb® at the same time. However, with its bigger cabinet and extra gain stage (which was used to isolate the reverb tank from the preamp), most players preferred the sound of the Deluxe Reverb®. After Leo Fender sold his company in 1965 to CBS, the black front panel was eventually phased out and replaced by "silverface" panels. The more desirable early and mid '60s Fender® amplifiers picked up the nickname "blackface" due to their black control panels.

For Eleven Rack, we've emulated both channels of this classic blackface-era amp. While both versions of our '64 Black Panel Lux emulation include Tremolo (which Fender® mislabeled as Vibrato), Normal is a single gain version, while Vibrato adds the additional gain stage like the original.

*Digidesign Eleven Rack is not affiliated with, or sponsored or endorsed by, the owners of the Fender®, Telecaster® and Deluxe Reverb® names. These names are used solely to identify the classic amplifiers emulated by Eleven Rack. References to artists and bands are for informational purposes only and do not imply endorsement or sponsorship of Eleven Rack by any artist or band.

'66 AC Hi Boost

'66 AC Hi Boost

Based on a 1966 VOX® AC30 Top Boost*

Originally released in 1958, the VOX® AC30 went through a few design changes that would eventually define the sound of British pop/rock in the '60s. First available by VOX® as a modification mounted in the rear of the amp, the "Top Boost" circuit added an extra tube and controls for Treble and Bass. It became so popular that VOX® eventually redesigned the control panel and officially added the circuit to the AC30 in 1963. It's this version of amp with two 12-inch Celestions (also known as 15-watt Blue or Bulldog speakers due to their color and labeling) and a quartet of EL84 tubes delivering 30 watts that helped change the sound of popular music.

While the Beatles are forever linked to the AC30 Top Boost, many other great bands built their sound with it, including Tom Petty and The Heartbreakers, REM, Radiohead, and U2. Armed with a Stratocaster® that fed into a digital delay, the Edge's percussive rhythm on tracks such as "Pride (In The Name of Love)" and "Where The Streets Have No Name" showcase the amp's distinctive high-end chime and glassiness. For lead work, Brian May's singing solo tones on such Queen classics as "Bohemian Rhapsody" and "Killer Queen" have helped make the VOX®AC30 one of the most sought-after amps of all time.

For our emulation, we've "jumped" the Normal and Brilliant channels. Tremolo and Cut (presence) are active on both channels. However, just like the original, the Treble and Bass controls are only part of the Brilliant channel, and have no effect on the Normal channel.

* Digidesign Eleven Rack is not affiliated with, or sponsored or endorsed by, the owners of the VOX®, AC30, Stratocaster® and Celestion names. These names are used solely to identify the classic amplifiers and loudspeakers emulated by Eleven Rack. References to artists and bands are for informational purposes only and do not imply endorsement or sponsorship of Eleven Rack by any artist or band.

'67 Black Duo

'67 Black Duo

Based on a 1967 Fender® Twin Reverb®*

Without a doubt, Fender's blackface-era Twin Reverb® is considered one of the greatest combo amps ever made. With two 12-inch Jensen speakers and a quartet of 6L6 tubes pushing 80 watts, no concert stage was complete without one. During the '60s and '70s, nearly every pro guitar player in every genre of music used a Fender® Twin Reverb®, from BB King and the Beatles (used on The White Album) to John Fogerty, David Gilmour, and Carlos Santana. It was during the recording of Santana's 1970 Abraxas record that he used his '61 Gibson SG and Fender® Twin Reverb® to track his classic instrumental ballad "Samba Pa Ti."

One of the main reasons for the amp's popularity is that it can maintain the classic Fender® clean sound even at high volume levels. For some players, such as Eric Johnson who uses two amps in stereo, a Twin Reverb® is the only amp that can really keep up with a driven Marshall® half stack. Another special feature of the blackface-era Twin Reverb® is the inclusion of a Bright switch. For our emulation, just like the original, as you turn the Volume knob up, the Bright switch has less of an effect. Dial the Volume knob around 3 or 4 with the Bright switch on, and you'll get that ultra-clean snap that it's famous for.

* Digidesign Eleven Rack is not affiliated with, or sponsored or endorsed by, the owners of the Marshall®, Fender® and Twin Reverb® names. These names are used solely to identify the classic amplifiers emulated by Eleven Rack. References to artists and bands are for informational purposes only and do not imply endorsement or sponsorship of Eleven Rack by any artist or band.

'69 Plexiglas - 100W

'69 Plexiglas - 100W

Based on a 1969 Marshall® 1959 100-Watt Super Lead Head*

In 1963, Fender® amps were expensive and hard to find in England. But there was one small store named Marshall's Music in a London suburb that stocked a few. The shop was owned by drum teacher Jim Marshall, whose students included Mitch Mitchell (The Jimi Hendrix Experience) and Keith Moon (The Who). The shop's amp repairman, Ken Bran, thought they could build the same kind of amps as Fender®, but using domestic part supplies. Within two years, Marshall® needed a bigger factory, and his amps were gaining favor among a new crop of local guitar players. A young Eric Clapton bought his first Marshall® combo for his new gig with John Mayall & the Bluesbreakers.

It was a volume-hungry Pete Townsend who eventually asked Jim to make a 100-watt head and 8x12 cabinet. It didn't take long before The Who's roadies protested, and the cabinet was split in half. Now with two 4x12 cabinets loaded with "greenback" Celestions, and a 100-watt head, the Marshall® stack was born and ready to usher in the era of the Guitar God. When James Marshall Hendrix landed in England, he thought it was fate having the same name as Marshall's owner, and left the store with a brand new 100-watt Super Lead stack.

This era of Marshall's amps had a plastic gold front panel. By the end of 1969, they switched to metal, thus making the "Plexi" heads highly collectable. Some of the greatest rock riffs and solos got their tone from the Plexi, including "Sunshine of Your Love," "Voodoo Child," "Cliffs of Dover," and every single guitar sound on the first two Van Halen records, including "Eruption."

For our emulation, we've based it on the legendary 100-watt 1968/69 version, which also has the "lay down" transformers favored by Eddie Van Halen. We've also "jumped" both channels like Eric Johnson's setup.

* Digidesign Eleven Rack is not affiliated with, or sponsored or endorsed by, the owners of the Fender®, Marshall® and Celestion names. These names are used solely to identify the classic amplifiers and loudspeakers emulated by Eleven Rack. References to artists and bands are for informational purposes only and do not imply endorsement or sponsorship of Eleven Rack by any artist or band.

'82 Lead 800 - 100W

'82 Lead 800 - 100W

Based on a 1982 Marshall® JCM800 2203 100-Watt Head*

By 1982, Jim Charles Marshall finally ended a bad distribution deal, which kept the company financially strapped for over a decade. He decided to trim the amp line down and focus on his new flagship amp, the JCM800. Named after the license plate on his car (which was just his initials and a plate number), the JCM800 delivered massive distorted rhythm sounds thanks to its cascaded preamp design, a quartet of EL34 tubes, and the addition of a master volume.

Unlike the Marshall® heads of the '60s, which needed to be on 10 to achieve an overdrive sound, a JCM800 could conjure up real distortion at any volume level, and that made it very popular in the burgeoning heavy metal scene. From Judas Priest to Iron Maiden and Slayer, no metal band would go on onstage without a wall of JCM800 stacks. It absolutely dominated the '80s rock and metal scene. In later years, Jane's Addiction's Dave Navarro and Rage Against The Machine's Tom Morello used JCM800 series amps to redefine the sound of metal-inspired rock.

* Digidesign Eleven Rack is not affiliated with, or sponsored or endorsed by, the owners of the Marshall® and JCM800 names. These names are used solely to identify the classic amplifiers emulated by Eleven Rack. References to artists and bands are for informational purposes only and do not imply endorsement or sponsorship of Eleven Rack by any artist or band.

'85 M-2 Lead

'85 M-2 Lead

Based on a 1985 Mesa/Boogie® Mark IIc+, Drive Channel*

Mesa Engineering was originally started by amp repairman Randall Smith so he could buy supplies for his other job, rebuilding Mercedes engines. It was this "hot rod" mentality that lead Smith to take a small Fender® Princeton and turn it into a 50-watt monster, complete with a JBL 12-inch speaker. In 1970, while repairing amps in his shop at Prune Music in Berkeley, CA, Smith left what he thought of as a practical joke in the storefront. When local guitar hotshot Carlos Santana heard it, he was blown away and said, "Man, this thing really boogies!" At that moment, the Mesa/Boogie® amplifier was born.

Over the years, Smith continued to improve his designs to include features such as switchable channels, effects loops, a slave out, 5-band EQ, and a power tube mode called Simul-Class. Different output power levels could be achieved by tweaking the Simul-Class rear switches to run the amp in Class A with a pair of EL34s, or in conjunction with a pair of Class A/B 6L6s. All of those features helped make the final design of the Mark IIc+ one of the most desired amps Mesa/Boogie® ever made.

The Mark IIc+ can be heard on everything from the progressive rock solos of Dream Theater's John Petrucci to the super chunky rhythm sounds of Metallica's James Hetfield. Used during the sessions for And Justice For All and Master of Puppets, Hetfield always had the amp's graphic EQ set up in a "V" curve to maintain a tight bass sound, while getting rid of any unnecessary midrange boominess.

We've based our emulation on the Lead channel with the Fat, Bright, and Gain Boost options on. We even re-created the classic "V" EQ curve!

* Digidesign Eleven Rack is not affiliated with, or sponsored or endorsed by, the owners of the Fender®, Mesa/Boogie® and Mark IIc+ names. These names are used solely to identify the classic amplifiers emulated by Eleven Rack. References to artists and bands are for informational purposes only and do not imply endorsement or sponsorship of Eleven Rack by any artist or band.

'92 Treadplate Modern

'92 Treadplate Modern

Based on a 1992 Mesa/Boogie® Dual Rectifier® Head,
Channel 3: Modern High Gain*

'92 Treadplate Vintage
Based on a 1992 Mesa/Boogie® Dual
Rectifier® Head, Channel 2: Vintage High Gain*

Released in 1989, Mesa/Boogie's Dual Rectifier® seemed cooler than a high-performance racecar. With more tone-tweaking options and distortion than any Boogie before it, the amp became the industry standard for players looking to achieve a massive sound. It first gained exposure at the end of the grunge period with bands like Alice in Chains and Soundgarden. But the Dual Rectifier® would find its greatest fame in the Nu Metal scene with Korn, Limp Bizkit, and Linkin Park. The Dual Rectifier® has also become a favorite of bands such as Creed, and more recently the Foo Fighters.

With the ability to run on either 6L6 or EL34 tubes, the Dual Rectifier® was named for its ability to select between either tube or silicon diode rectifier circuits. On top of that, an AC power selection switch offered a Bold or a Spongy option, which would drop the voltage like a Variac for a more "brown" sound.

For our '92 Treadplate, we emulated two different channels and selected the appropriate rectifier and AC power switch setting. For Treadplate Modern, we set it on the Red channel using 6L6s, a silicon rectifier, and the Bold power setting for a tight, aggressive tone. For Treadplate Vintage, we emulated the Orange channel with 6L6s, a tube rectifier, and the Spongy power setting for a more fluid lead tone.

* Digidesign Eleven Rack is not affiliated with, or sponsored or endorsed by, the owners of the Mesa/Boogie® and Dual Rectifier® names. These names are used solely to identify the classic amplifiers emulated by Eleven Rack. References to artists and bands are for informational purposes only and do not imply endorsement or sponsorship of Eleven Rack by any artist or band.

'89 SL-100 Drive

'89 SL-100 Drive

Based on a 1989 Soldano SLO-100 Super
Lead Overdrive Head, Overdrive Channel*

'89 SL-100 Crunch
Based on a 1989 Soldano SLO-100 Super Lead
Overdrive Head, Crunch Channel*

'89 SL-100 Clean
Originally from Seattle, Michael Soldano moved to Los Angeles and officially founded Soldano Custom Amplification in 1987 on April Fool's Day. Soldano quickly got a reputation for doing high-gain mods to old Marshall® heads. His goal was to add lots of gain without losing definition or clarity. This led to the creation of his own 100-watt amp called the Super Lead Overdrive. Built like a tank, and sporting a chromed chassis and transformers, some of the first SLO-100 heads were quickly purchased by Mark Knopfler, Steve Lukather, Lou Reed, Steve Stevens, and Aerosmith's Brad Whitford. Known for its singing sustain and clear articulation, the SLO-100 also became Eric Clapton's favorite stage and studio amp through most of the '90s.

For our '89 SL-100, we emulated three different channels. Clean and Crunch both have the Bright/Normal switch of a stock SLO-100. For Drive, we emulated Warren Haynes' (The Allman Brothers) Soldano's bright switch mod. Set to Normal, the amp is stock. With Mod engaged, the treble boost that would normally happen at lower gain settings is removed, which leads to a rounder, thicker sound. The Mod circuit has progressively less effect as the gain is raised, and no effect when the preamp is set to 10.

* Digidesign Eleven Rack is not affiliated with, or sponsored or endorsed by, the owners of the Marshall®, Soldano and SLO-100 names. These names are used solely to identify the classic amplifiers emulated by Eleven Rack. References to artists and bands are for informational purposes only and do not imply endorsement or sponsorship of Eleven Rack by any artist or band.

DC Modern Overdrive

DC Modern Overdrive

Digidesign Custom Modern Overdrive

If you're looking for a unique tone that blends the classic growl of a 100-watt Marshall® with more low-end girth, give our DC Modern Overdrive a try. Based on the JCM800, we added loads of extra gain and a carefully tweaked tone stack for a little extra thump! Plus, there's a Bright switch and a Fender®*-style Tremolo. Use a humbucker in the bridge position and you'll have a tone that can shred with the best of them.

* Digidesign Eleven Rack is not affiliated with, or sponsored or endorsed by, the owners of the Marshall® or Fender® names. These names are used solely to identify the classic amplifiers emulated by Eleven Rack.

DC Vintage Crunch

DC Vintage Crunch

Digidesign Custom Vintage Crunch

For our DC Vintage Crunch emulation, we blended the two most popular versions of the Fender® Deluxe* into one killer amp. Based on the tweed-era Deluxe, we added more gain and a Bright switch. To make it even more versatile, we added the blackface-era tone stack and tremolo. Using single-coil pickups, you can achieve glassy clean sounds and punchy leads with ease.

* Digidesign Eleven Rack is not affiliated with, or sponsored or endorsed by, the owners of the Fender® name. This name is used solely to identify the classic amplifiers emulated by Eleven Rack.

Eleven Rack: Effects

Green JRC Overdrive

Green JRC Overdrive

Based on the Ibanez TS-808 Tube Screamer*

Considered by many to be the quintessential overdrive pedal, the Ibanez TS-808 Tube Screamer pedal has become one of the most highly sought-after classic effects - thanks in part to being a favorite of guitar legend Stevie Ray Vaughan. Vaughan used an original Tube Screamer to overdrive the front end of his tube amps; he would even sometimes chain two TS-808's together to obtain super-saturated distorted tones.

The original TS-808 pedal - the most sought-after version of the Tube Screamer pedals - was produced between 1979 and 1982, and features three simple controls: overdrive, tone and level. The overdrive knob controls the level of distortion, the tone knob adjusts the amount of treble, and the level knob controls the overall volume output. Although the TS-808 can be used with a solid-state amp to mimic the tone of an overdriven tube amp, the best tones are achieved when using the pedal to drive the power section of a tube amp beyond the point of break-up.

Like many pedal manufacturers of the early 1980s, Ibanez utilized several different chips based on cost and availability at the time of production. To create our Green JRC Overdrive effect, we scoured the vintage shops and found a completely stock TS-808 with the original JRC 4558D dual op-amp. When measuring and analyzing the unit (as we did with all the vintage pedals that operate on a 9V battery), we even used old-school carbon zinc batteries to re-create the voltage discharge of the batteries commonly available when the pedal was introduced. The result is an amazingly realistic emulation of the original, providing a warm moderate overdrive to amps with clean settings, and pushing distorted amps to even higher levels of saturation by slamming the input of the amp with a high output setting on the pedal.

* Digidesign Eleven Rack is not affiliated with, or sponsored or endorsed by, the owners of the Ibanez name. This name is used solely to identify the classic effects emulated by Eleven Rack.

Tri Knob Fuzz

Tri Knob Fuzz

Based on the Electro-Harmonix Big Muff Pi*

In the late 1960s, Electro-Harmonix was a small, relatively unknown boutique pedal manufacturer in New York City run by owner Mike Matthews. Thanks to the growing popularity of distorted guitar tones - popularized by players like Jimi Hendrix and Keith Richards - the company had found a niche market selling small fuzzboxes and booster circuits to guitarists. After being inspired by time spent in the studio discussing tone with Hendrix, Matthews designed the pedal that would launch Electro-Harmonix into history and become one of the best-selling distortion effects of all time: the Big Muff Pi.

Released in 1971, the affordable Big Muff Pi was one of the first fuzzboxes to generate almost over-the-top levels of saturated distortion The pedal became Electro-Harmonix's first runaway hit, and, to this date, has found its way into the rigs of countless guitarists, including Carlos Santana, Kurt Cobain, Billy Corgan, Jack White, and many others.

Since the early 1970s, Electro-Harmonix has produced several versions of the Big Muff Pi, which featured three simple controls arranged in a triangle pattern: Volume, Sustain and Tone. Due to inconsistencies in the components used to build Big Muff Pi, it's difficult to find two vintage units that sound exactly the same. To create our Tri Knob Fuzz effect, we compared several different units and chose one that had the most burly tone, avoiding those that sounded more shrill or thin. Just like the Big Muff Pi, our Tri Knob Fuzz effect utilizes a straight-forward three-knob configuration.

When you plug into Eleven Rack, the auto-impedance matching True-Z input automatically sets the input impedance - which is notoriously low on this one - to the correct value, resulting in an extremely accurate emulation of the original.

* Digidesign Eleven Rack is not affiliated with, or sponsored or endorsed by, the owners of the Electro-Harmonix name. This name is used solely to identify the classic effects emulated by Eleven Rack.

Black Op Distortion

Black Op Distortion

Based on the Pro Co Rat*

During the mid-1970s, Pro Co Sound engineers Scott Burnham and Steve Kiraly repaired and hot-rodded existing overdrive and distortion pedals like the Dallas-Arbiter Fuzzface and others. It wasn't long before Burnham decided he could design a superior model from scratch - and thus was born the Pro Co Rat. After building several custom-order prototype models in the factory basement, Pro Co went on to mass-produce the pedal in 1979. Thanks to its unique tone and ability to produce heavy amounts of distortion, the Pro Co Rat became one of the most popular effects boxes ever, used by artists like Jeff Beck, Joe Walsh, Dave Grohl, Thom Yorke, Joe Perry and James Hetfield.

The pedal design is fairly simple, utilizing a single op-amp and variable gain circuit to produce its characteristic edgy distortion tones. The original version features three controls: distortion, tone, and volume. The tone control was a linear-taper pot that increased highs as the knob was turned clockwise. (Interestingly, later editions of the pedal reversed the tone pot, and re-labeled it "filter.") Many guitarists claim that the original early-1980s edition gives a more mellow tone than the later models.

We've based our Black Op Distortion effect on a stock, second-edition Pro Co Rat pedal. During the measuring and analyzing process, we even powered the unit using old-school carbon zinc batteries - the type that was available when Pro Co Rat was first introduced. The Black Op Distortion features three controls: Distortion controls the amount of overdrive in the op-amp, Filter attenuates the highs, and Volume controls the output gain. The Black Op Distortion works great as part of a cascading chain of gain: Set it to a moderate level and put it in front of a slightly distorted amp and listen for rich, distorted tones.

* Digidesign Eleven Rack is not affiliated with, or sponsored or endorsed by, the owners of the Pro Co name. This name is used solely to identify the classic effects emulated by Eleven Rack.

C1 Chorus/Vibrato

C1 Chorus/Vibrato

Based on the Boss CE-1 Chorus Ensemble*

The Boss CE-1 Chorus Ensemble is a landmark in vintage effects history. It was the first chorus effect to be produced in pedal form, and was the first product to be released under the Boss name. The CE-1 incorporated several unique design elements that later became standard-issue among modulation effects boxes. Virtually every chorus pedal released since then owes its heritage to the venerable CE-1 Chorus Ensemble.

The CE-1 pedal's lineage can be traced back to the Roland JC-120 Jazz Chorus, which utilized twin 60-watt amplifiers along with an analog effects section to produce exceptional chorus and vibrato effects. Roland decided to make the JC-120 effects circuit available in pedal form, so guitarists could enjoy the chorus and vibrato without having to purchase a new amp. The result was the Boss CE-1 Chorus Ensemble, which delivered an unmistakable new sound quickly made famous by guitarists like Andy Summers (The Police) and Jeff "Skunk" Baxter (The Doobie Brothers).

We created our C1 Chorus/Vibrato effect by emulating a vintage Boss CE-1 unit. Unlike models by other manufacturers, we felt it was important to capture both the chorus and vibrato modes. Going beyond emulating the original sound, we also enable synchronizing the modulation rate to an adjustable tempo setting.

* Digidesign Eleven Rack is not affiliated with, or sponsored or endorsed by, the owners of the Boss name. This name is used solely to identify the classic effects emulated by Eleven Rack.

Grey Compressor

Grey Compressor

Based on the Ross Compressor*

During the mid- to late-1970s, Kustom Electronics produced a line of guitar effects pedals under the Ross brand. Unfortunately, sales were rather sluggish, and the Ross family of pedals disappeared by the 1980s. In recent years however, guitarists have re-discovered the Ross lineup - and in particular, the grey-colored Ross Compressor. The pedal has been adopted by several high-profile artists, including Trey Anastiano (Phish).

From a schematics standpoint, the Ross Compressor and the MXR Dynacomp are surprisingly similar. However, the Ross compressor adds several small capacitors that result in improved stability and slightly warmer tone.

For the Eleven Rack Grey Compressor effect, we faithfully emulated a completely stock original circuit. The sustain knob controls the amount of compression, and the level knob controls the amount of post-compression gain. It's a straightforward effect that sounds great for clean country lead guitar tones, or for further overdriving distorted amps.

* Digidesign Eleven Rack is not affiliated with, or sponsored or endorsed by, the owners of the Ross name. This name is used solely to identify the classic effects emulated by Eleven Rack.

Orange Phaser

Orange Phaser

Based on the MXR Phase 90*

Ever since its debut in 1974, the MXR Phase 90 has been arguably the most popular phase-shift pedal on the market. Adding to its popularity is the fact that guitar legend Eddie Van Halen has used it extensively throughout his career. The pedal has also been used by countless other guitarists including Andy Summers (The Police), Steve Vai, Matt Bellamy (Muse), and Tom Morello (Rage Against the Machine).

The original "script logo" Phase 90 is the most sought-after by collectors. It produces a warm, thick phase effect that's mixed with the original signal to create a distinctive sound. Van Halen used the Phase 90 at multiple places in his signal chain to conjure up different sounds. Sometimes the pedal was placed in line before a Marshall amp head, and other times between the Marshall amp dummy load and a separate power amp.

We faithfully emulated the original "script logo" MXR Phase 90, making some minor tweaks to ensure the effect sounds equally great at any point in your Eleven Rack signal chain. Like the original MXR Phase 90, our Orange Phaser effect features only a single speed control - yet you can dial in many interesting sounds. Turn down the speed for a lush, sweeping tone. Crank up the knob for a fast rotary speaker-like effect. Or experiment by inserting Orange Phaser different places in your signal chain. When combined with the other effect emulations in Eleven Rack, the tonal possibilities are virtually endless.

* Digidesign Eleven Rack is not affiliated with, or sponsored or endorsed by, the owners of the MXR name. This name is used solely to identify the classic effects emulated by Eleven Rack.

Vibe Phaser

Vibe Phaser

Based on the Univox Uni-Vibe*

Listen to the classic Hendrix recordings "Machine Gun" and "Star Spangled Banner" and you'll immediately notice the thick, swirly sound of the Univox Uni-Vibe. Released in the mid-1960s, the Uni-Vibe was originally designed to mimic the sound of a rotating speaker cabinet. Truthfully, the pedal didn't quite nail the Leslie cabinet sound - but it did deliver a distinctive phase-shift effect that became a favorite of guitar legends Jimi Hendrix, Robin Trower, and David Gilmour.

From a technology standpoint, the Uni-Vibe was one of the most unique effects ever produced. It utilized a flashing lamp and photo resistors to generate the effect speed, and LFO to create the sweeping effect. The flashing lamp actually served two purposes: it determined the speed while giving the guitarist a visual indication of how fast the effect was running.

For our Vibe Phaser effect, we added a tempo-lock function, which lets you synchronize the speed to the tempo of your Pro Tools session. We also emulated both the chorus and vibrato modes so you can switch between the two. As is the case with most phase-shift effects, the Vibe Phaser sounds best when placed at the end of your effects signal chain, or even between the amplifier and cabinet.

The original Uni-Vibe didn't have a dial to control the rate. You had to connect a separate wah-style footpedal, which increased speed as you pushed it down. Our Vibe Phaser emulation allows you to control speed via the Eleven Rack control panel, or connect an expression pedal to adjust speed on the fly.

* Digidesign Eleven Rack is not affiliated with, or sponsored or endorsed by, the owners of the Univox name. This name is used solely to identify the classic effects emulated by Eleven Rack.

BBD Delay

BBD Delay

Based on the Electro-Harmonix Deluxe Memory Man*

Released in 1976, the Electro-Harmonix Memory Man provided guitarists with an affordable pedal that could produce echo/delay effects without requiring tape or other complex moving parts. Guitarists like U2's The Edge and Eric Johnson made extensive use of the pedal's analog delay and colorful chorus/vibrato effects. During the last decade, original units have become highly sought-after by vintage effects collectors.

Electro-Harmonix continued to revamp the pedal over the years, culminating in the 5-knob Deluxe Memory Man version. In addition to classic analog-style echo, the Deluxe Memory Man could produce eerie and unusual pitch-shift effects if the user changed delay time while playing, or Radiohead-style flying saucer effects by increasing the delay feedback and warping the delay time while the pedal self-oscillated.

Our BBD Delay effect is named after the bucket-brigade delay technology used in the Deluxe Memory Man. In the original model, audio was passed through a series of charge packets to create the delay - kind of like buckets of water being passed down the line to put out a fire. We emulated virtually every aspect of the original pedal, adding a switchable noise control to enhance the realism. BBD Delay features all the controls present on the original: Input controls faithfully distorts the input signal, Mix blends between the dry and processed signals, Feedback controls the number of delay repeats, Delay syncs the pedal to tempo using rhythmic subdivisions, and Chorus/Vibrato controls LFO depth. We also added the ability to switch off the noise typically found in analog delay devices: For pristine delay tones, set the control to "OFF"; For realistic behavior of Feedback control, leave the noise set to "ON" and hear how it contributes to driving the effect to self oscillation. Our BBD Delay also offers an expanded delay function that provides 1.6 seconds of delay time - well beyond the capability of the original analog technology.

* Digidesign Eleven Rack is not affiliated with, or sponsored or endorsed by, the owners of the Electro-Harmonix name. This name is used solely to identify the classic effects emulated by Eleven Rack.

Roto Speaker

Roto Speaker

 

The Eleven Rack Roto Speaker effect emulates the unique spinning sound of a Leslie rotary speaker cabinet. There are several interesting ways you can use Roto Speaker, each providing a different type of sound. You can insert the effect before your amplifier, just like using a footpedal. You can also place Roto Speaker after your amp, and turn off cabinet simulation in Eleven Rack, resulting in a faithful rotary speaker cabinet emulation.

Since a real rotary speaker utilizes two horns that spin around in opposite directions, we gave our Roto Speaker effect a balance control, which allows you to control the level balance between the upper and lower rotors. The preset function allows you to switch between different virtual rotary speaker cabinet models.

Flanger

Flanger

 

To design our custom Eleven Rack Flanger effect, we listened to a variety of vintage and modern flange pedals; the Flanger is our customized design of this effect. The flanger effect was originally created by depressing the flange of tape reels; this was later re-created with modulated analog delay circuits in pedals. We studied the classic flanger models from manufacturers like MXR, Electro Harmonix, and A/DA, and finally came up with our own customized design that works great in front of, or after, the amp in the signal chain - without the noise or limited frequency response of typical flanger pedals.

Volume Pedal

Volume Pedal

 

While volume pedals aren't technically effects, guitarists have relied on them for decades to create reverse-attack and pedal steel-type sounds. Our Eleven Rack Volume Pedal is totally transparent, delivering everything you need in a volume device, but without the signal degradation and noise inherent in vintage models. You can position Volume Pedal almost anywhere in the signal chain. Simply connect an expression pedal to Eleven Rack and you'll have full foot control over the volume of your guitar - great for both studio and stage applications.

Graphic EQ

Graphic EQ

 

The Eleven Rack Graphic EQ gives you full control over 5 bands of EQ - 100 Hz, 370 Hz, 800 Hz, 2 kHz, and 3.25 kHz - ideal for cutting out troublesome frequencies or dialing-in just the right tone. We designed the Graphic EQ from the ground up specifically for guitar players. Positioned in front of the amp, the Graphic EQ is a flexible and transparent tone shaper with none of the noise typically found in pedal units. In fact, our design team consulted with many of the first-call pro engineers to learn what their favorite frequency bands for tweaking their legendary great guitar tones. The Graphic EQ also works well positioned after the amplifier in the signal chain. Our Graphic EQ effect also works great as a tone shaper or signal booster for guitars and microphones.

Eleven SR (Stereo Reverb)

Eleven SR (Stereo Reverb)

Based on the Digidesign Reverb One Plug-in

Eleven Rack features the most pristine, high-quality stereo reverb ever available in a rack-mount guitar recording device. We converted our acclaimed Reverb One TDM plug-in - which is used in countless professional studios to create award-winning albums, movies and television shows - to work in Eleven Rack. Our design team optimized the Reverb One technology for Eleven Rack, resulting in an incredible, high-fidelity reverb effect.

Up until now, you needed a Pro Tools|HD rig to enjoy the spacious tones of Reverb One - now you can experience the same great sounds right inside Eleven Rack.

Spring Reverb

Spring Reverb

Based on Blackface-era Fender Spring Reverb Units*

According to author Tom Hughes' book Analog Man's Guide to Vintage Effects, the idea for the Fender spring reverb can be attributed - fittingly - to surf guitar legend Dick Dale. In 1960, Dale asked Leo Fender to build a compact reverb unit that he could run his voice through. Fender responded by licensing Hammond Organ's state-of-the-art analog reverb technology, and the rest is history. Nearly every guitar amplifier produced since then has included some time of reverb, making it the most popular built-in amp effect.

To create our Spring Reverb effect, we analyzed the actual reverb units from several classic blackface-era Fender amps, including the '67 Twin Reverb and '64 Deluxe Reverb. Our Eleven Rack Spring Reverb emulates both the electronic circuits and spring tanks of the original models, resulting in a completely convincing emulation of the Fender reverb tone. In addition to the mix control present on the original amps, we added some controls that were not present on amplifiers, but were included on the original standalone Fender 6G15 reverbs: Decay and Tone knobs to give you full control over your reverb sound.

* Digidesign Eleven Rack is not affiliated with, or sponsored or endorsed by, the owners of the Fender name. This name is used solely to identify the classic effects emulated by Eleven Rack.

Shine Wah

Shine Wah

Based on the Vox V846*

In 1966, Vox engineer Brad Plunkett accidentally discovered the wah-wah effect while experimenting with the tone circuit on a guitar amp. The executives at Vox immediately saw the commercial potential of the wah-wah pedal - but originally wanted to market the device to brass and woodwind players. In the late 1960s, the Vox V846 wah-wah pedal with a shiny chrome treadle was introduced, which utilized a frequency response designed specifically for guitar players.

Eric Clapton was perhaps the first artist to popularize the wah-wah pedal, using on tracks like "Tales of Brave Ulysses" and "White Room." According to legend, Jimi Hendrix purchased his first wah after seeing Frank Zappa use one - and the rest is history. The classic Hendrix recordings "Voodoo Child (Slight Return)," and "Burning of the Midnight Lamp" are excellent examples of the wah-wah in action.

We emulated our Eleven Rack Shine Wah after a completely stock, vintage Vox V846. Our emulation gives you the flexibility to place the effect in your signal chain after the amplifier - a setup that would be quite difficult using the original V846. The Shine Wah effect can be controlled via expression pedal, MIDI CC data, or even Pro Tools automation.

* Digidesign Eleven Rack is not affiliated with, or sponsored or endorsed by, the owners of the Vox name. This name is used solely to identify the classic effects emulated by Eleven Rack.

Black Wah

Black Wah

Based on the Thomas Organ CB-95 Crybaby*

The history of the wah-wah pedal is rather convoluted. The pedal was first introduced by Vox in 1966, but soon after, Vox's former parent company Thomas Organ began releasing wah-wahs on its own. While Vox insisted on sticking to an alphanumeric naming scheme (hence the name V846), Thomas Organ decided to give the effect a snazzy new name - the Crybaby. It was a fitting moniker that accurately described the pedal's unique sound.

To create our Eleven Rack Black Wah effect, we emulated an original Thomas Organ CB-95 Crybaby pedal. Eleven Rack's unique auto-impedance matching True-Z input is an especially important part of re-creating this particular wah tone.

* Digidesign Eleven Rack is not affiliated with, or sponsored or endorsed by, the owners of the Thomas Organ name. This name is used solely to identify the classic effects emulated by Eleven Rack.

EP Tape Echo

EP Tape Echo

Based on the Maestro Echoplex EP-3*

The Maestro Echoplex was one of the earliest analog delay devices, and helped to bring about the popular delay sound of the late-1950s and 1960s. The Echoplex utilized a loop of magnet tape and a mechanically adjustable record head to create its legendary delay effect. By physically adjusting the position of the playback head, you could speed up or slow down delay time.

Originally released in 1959, the Echoplex went through several incarnations during its lifetime. In the early 1970s, Maestro released the Echoplex EP-3, which made use of solid-state "transistorized" technology instead of vacuum tubes. It also offered a "sound on sound" feature that allowed players to loop almost three minutes of audio, and record more parts each time around. The EP-3 model's popularity can be attributed to its use by artists like Eddie Van Halen, Eric Johnson, and Jimmy Page.

For our EP Tape Echo effect, we obtained an original Echoplex EP-3 in pristine condition, and painstakingly emulated virtually every aspect of the unit - even using tape cartridges provided by Mike Battle, the late inventor of the Echoplex. Our EP Tape Echo effect features all of the controls present on the original, with one significant improvement: While the original model offered a maximum of 600 milliseconds of delay, our Tape Echo effect has an expanded delay mode which provides an unreal 2.4 seconds of delay time.

Instead of capturing one dimension of the tape echo sound, we sought to provide control over all the electro-mechanical behavior that gives this device such a wide range in tone. In order to get everything from a simple Memphis style tape slap to three dimensional sustaining ambiences, we modeled everything in an Echoplex. Use the Head Tilt control to simulate the head alignment (or mis-alignment!) to the tape. Tape Hiss is even defeatable if you want pristine tones the original box wasn't capable of producing. Turn the noise on if you want the most realistic interaction of the feedback and mix controls. Adjust the WOW control and hear the sound flutter and warble. The Eleven Rack EP Tape Echo emulates the original Echoplex down to the smallest details, including providing access to the potentiometer to control the record level - a control that was somewhat hidden on the original unit.

* Digidesign Eleven Rack is not affiliated with, or sponsored or endorsed by, the owners of the Maestro name. This name is used solely to identify the classic effects emulated by Eleven Rack.

 

 

Eleven Rack Audio Examples

 

View more Eleven Rack Videos

 

 

 

Note: As good as these examples are, you really need to experience Eleven Rack in person to understand just how accurately it re-creates the experience of playing through a mic'd-up guitar rig. Visit your local Digidesign® dealer today and ask to play through a demonstration unit.

Eleven Rack is based on the same technology as our critically-acclaimed Eleven plug-in for Pro Tools software. Check out the buzz on the Eleven tone.

 

 

"It's really got the bite and the attack that's missing from most plug-ins, and it's as responsive to my playing as a real tube amp."

-Dave Navarro
(guitarist; Red Hot Chili Peppers, Jane's Addiction, The Panic Channel)

 

 

 

 

"I've seen the potential for years with small preamps and amp emulation plug-ins, but Eleven is the first plug-in that can honestly replace the guitar amp."

-James Michael
(producer, engineer, songwriter; Motley Crue, Meatloaf, Scorpions)

 

 

 

 

"I love Eleven. It sounds great, it sounds real, and it's easy to dial in good tones."

-Joey Santiago
(guitarist; Pixies)

 

 

 

 

 

"I think Eleven is a fantastic plug-in. It just makes the guitar sound bigger!"

-Gil Norton
(producer; Foo Fighters, Pixies)

 

 

 

 

 

"Eleven sounds like other amp modelers on steroids! I am so impressed!"

-Tony Visconti
(producer; David Bowie, T. Rex, Morrissey)

 

 

 

 

 

"If you blindfolded me, I'd tell you it was amped for sure."

-Dave Cooley
(producer; Silversun Pickups, Darker My Love)

 

 

 

 

 

"The sounds in Eleven are incredible; I'm using it on almost every recording."

-Kaki King
(guitarist, singer-songwriter)

 

 

 

 

 

"Eleven has the best AC30 model I've ever heard."

-David Bryson
(guitarist, Counting Crows)

 

 

 

 

 

"This plug-in is metal!"

-Brendon Small
(guitarist; creator of Dethklok/Metalocalypse)

"Eleven rocks...Every model has a large helping of the sonic depth and complexity found in a high-quality amp." -Guitar Player

"Digidesign's attention to detail in the development of Eleven pays off in the plug-in's highly flexible amp modeling environment, which reacts in much the same way as the real thing behaves." -Computer Music

"Eleven is impressive for the accuracy of its modeling...To my ears the amp models sound more accurate than most, with plenty of character and good touch responsiveness..." -Sound on Sound

"Digidesign went to extreme lengths to achieve accuracy in their modeling... Anyone who knows Vintage amps will tell you that no two old amps sound exactly alike, so the real question is do the Eleven models sound good-and the answer is yes." -EQ

 

 

B.C. Rich Guitars, who are also celebrating there 40th Anniversary, will be hosting a private online "Grand Unveiling" featuring all of their new guitar models for 2009. These new models have never before been seen by anyone outside of B.C. Rich headquarters!

B.C. Rich Guitars will be providing information, photos and even video on all of its new models for 2009. Registered consumers will be able to view these new models even before music retailers see them at the 2009 NAMM Show.

Sponsor
Visit Furman to learn how you can get the most from your Amp!

For access to the special online screening, you must first go to www.bcrich.com and sign up by JANUARY 10TH at 12:00 Midnight! Every person who signs up by the deadline will be given private access to the Grand Unveiling on January 12th at 12:00 a.m. Eastern Standard Time.

The "Grand Unveiling" will include the following new and exciting guitars:
- New Special 40th Anniversary models
- New exciting models from the Handcrafted shop
- Four brand new Kerry King models
- A "BRAND NEW" B.C. Rich body shape
- And the return of the Seagull, B.C. Rich's first body shape

To see all the current BC Rich Guitars and Sign up for the special unveiling, please go to www.bcrich.com