Applause by Ovation UAE148-4 Ukulele Review

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(More customer reviews)For anyone interested in buying a ukulele and can afford it, the Applause Ukulele is the one to buy. If you've ever heard ukulele's before, you'll agree that most have a sound that's just not quite right. It's as if they are out of tune, even when they're not. I know some will argue that's how they're meant to sound, but it never sat well with me. I played classical guitar and I expected the better ukulele's would be able to emulate that same harmonious in tune timbre. Unfortunately, you can spend a thousand dollars and still not get a great sound (when compared to a classical guitar). Fortunately, I've now been proven wrong, the Applause ukulele sings like a guitar. If that's the sound you're after, you wont be disappointed.
P.S. I've also read a lot of stuff about the volume of this uke and I would say it's only down about 10% on volume, but it sure makes up for it in sound.

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The roundback design puts a new spin on a traditional shape. the styling is similar to the ovation elite guitars. features include: spruce top, walnut bridge, nato neck with rosewood enforcement strip, epaulette sound-hole design, rosewood fingerboard

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RODE NT1A Cardioid Condenser Microphone Review

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(More customer reviews)If you are in to producing/engineering and want a super mean condensor mic without spending alot of cash, this is one to get; very cheap with an extremely expensive sound. It does not have any polar switches or any built in eq's, but most all DAW's do have eq's and phase reverse abilities. Plus, its better to cut freq's that are there, then to try and boost freq's that aren't there; the latter is impossible actually. I'm telling you, don't let the price tag throw you off; this baby makes everything sound good. I've used it on vocals, acoustic guitars, drums as an overhead/ride mic as well as a room mic for ambience. I also have a matched pair of NT 5's that are also absolutely amazing. Rode is a great Australian company that makes amazing mics with a 10 year warranty; yep...10 years. Get one, you won't be dissapointed. Remember though, bad acoustics = bad recording sound.

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The original NT1 was voted "Best Microphone at Any Price" by the editors of Electronic Musician magazine. The NT1A delivers performance usually associated with higher priced microphones. Features: large capsule (1") with gold-plated membrane; cardioid polar pattern; ultra low noise, transformerless circuitry; state of the art surface mount electronics; heavy-duty satin-nickel finish; internal shock mounting system; gold plated output connectors; true condenser (externally biased); full frequency response. The NT1A will blow you away! Ultra low-noise, transformerless circuitry.Cardioid polar pattern.Large capsule (1") with gold-plated membrane.Surface mount electronics.Heavy-duty satin-nickel finish.Internal shock mounting system.Gold plated output connectors.True condenser design (externally biased). WARRANTYAll RODE products are warrantied for 1 year from the date of purchase. Your purchase may be registered ?on-line? or by mailing the warranty card. The RODE Warranty covers parts and labour that may be required to repair the microphone during the warranty period.The Warranty excludes defects caused by normal wear, modification, shipping damage or failure to use the microphone as per RODE's Instruction Guide.

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Aphex 204 Aural Exciter and Big Bottom Review

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(More customer reviews)According to the paperwork that comes with this unit, the aural exciter has been used in all types of recording and live sound to add to the quality. First thing, this is an audio enhancement system, not an effect, preamp or anything else. But it is worth every penny I can promise! It has 2 channels, each channel with an aural exicter and optical big bottom. The exciter seems to work on the natural overtones and harmonics while the big bottom seems to increase low end while keeping it clear and distortion free.
I personally have only used this unit in my guitar rig. I play 7 and 8 strings usually tuned to low F. One of the big problems most players have with guitar is getting a nice fat low end that doesn't sound like mud. The big bottom has allowed me to add that heavy punch to my sound while keeping its clarity. Plus, my chords sound so thick and strong. I can actually feel my palm mutes hitting me in the chest now. Great for any guitar player but I highly recommend it for those who are using drop tunings. The aural exciter will bring out those beautiful overtones and single out every note in the chord. In turn, I've found my chords sound a lot more clear AND that it makes dissonant chords sound better instead of seeming like a jumble of crap because of the definition of each individual note. Harmonics also sound brighter. A little bit of this function goes a long way, I have mine set at about 1 across the board.
While touring I have seen the exciter used in PA systems. It seems to really improve the overall sound. Several times I have seen the Aphex in bass rigs. They have always been really tight and punchy, an excellent tone that really stands out.
I must say, buy the Aural Exciter. Its only going to improve your sound whatever the applicaton. I'm not going to say it will make it magical, but this is one piece of equipment that I just cannot see doing any damage. A lot people go crazy buying gear only to add to set up time, junking up their signal, etc. but I have only seen positive effects from the Exciter. It comes at a low price too. As a guitarist I stand by this thing 100%, and for all those who are having trouble taming the low freq. of their 7+ stringers, I think this is the answer.

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Featuring the new Optical Big Bottom® for enhanced low-end response; two independent channels; internal power supply; XLR and 1/4' I/O; and improved overall sound quality and flexibility, the 204 markedly increases the presence & clarity of almost any audio signal. Unlike an EQ or other brightness enhancers, Aphex' process recreates missing harmonics without generating significant changes in the actual signal level. It extends high frequencins and enhances the stereo image, resulting in a greater perceived loudness without the introduction of noise due to increased gain. The new Big Bottom process provides deeper, more powerful bass performance without adding more power amps or speakers, and with little or no increase in peak output. The 204 is ideal for a everything from sound recording/mixing & broadcast/production to streaming audio, sound reinforcement, home theater, clubs, and more. THE AURAL EXCITER SAFELY ADDS EXCITEMENT The Aural Exciter adds dynamically related harmonics to the signal at very low levels and these harmonics add little, if any, level to the signal. Because of the intelligence in the Aural Exciter side chain, the effect is useful over an extremely wide input dynamic range. DYNAMIC EQ ADDS MORE LEVEL FOR THE SAME AMOUNT OF ENHANCEMENT Dynamic EQ boosts a part of the frequency spectrum when theinput is above a threshold. If the input is already high, the additional equalization can result in overloading the amplifier, speakers or both. BIG BOTTOM VS. OTHER BASS ENHANCERS A speaker's excursion increases with low frequency peaks. If those peaks are increased by a Dynamic EQ and/or a Subharmonic Synthesizer the speaker, at the very least, will fatigue more quickly. This will also increase the danger of the speaker jumping the gap or literally coming apart. Big Bottom adds little or no peak energy to the signal. Instead, it adds density (persistence of a low peak-to-average ratio).

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Ludwig Junior 5 Piece Drum Set with Cymbals (Blue) Review

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(More customer reviews)We got this for our 9 yr old son. When the box came, there was no manual provided for assembly. After about 15 minutes, we noticed a sticker on the outside box stating to go to the Ludwig website for video instructions. So, that means you need to assemble the drumkit in whatever room your computer is set up in (which is NOT the room we intended to set the drum up in). The video showed a different kit being assembled, and some of the hardware and steps were not applicable to the set we have. This made it VERY confusing and there were points during the video where we were completely lost. My husband assembled it somewhat on his own because the video wasn't helping much. It took us 2 hours and a lot of hair pulling.
Once assembled, the drum kit looks very nice. The cymbals however sound very "tinny". I don't think the sound quality of this kit is 5-star, but for the price I would say we're fairly satisfied. We plan to use this kit for 1 year, and then buy a better quality, full-sized kit if our son continues.
Other than the assembly, we are fairly happy with this kit and my son loves it.

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The Ludwig LJR106 Junior Drum Set is an affordable way to start 'em out early! The LJR1064 features bold new color options and comes complete with a throne and hi-hat stand. When Ludwig says complete, they mean it! This set also comes with the cymbals pictured, a bass drum pedal and all heads. Ludwig Drums There's a reason the world's best drummers are playing Ludwig drums. Because for 90 years, Ludwig has designed and crafted their drum kits and components with both eyes on quality, and both ears on sound. The Ludwig sound is inimitable. The look? To say they look good is simply an understatement. But that beauty is more than skin deep. Ludwig knows that along with your music comes a long series of setups, performances, tear downs and moves. So they build their kits to keep looking and sounding good, gig after gig after gig. Ludwig kits have been carefully selected to give you that legendary Ludwig look and sound, matched to your musical tastes, your skill level and - importantly - your budget. AmericanMusical.com is an authorized dealer of Ludwig products.

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Shure Beta 98H/C Clip-On Cardioid Instrument Microphone Review

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(More customer reviews)I've been using this microphone for a number of professional performances over the last seven or eight years. The Shure Beta has one of the best quality sounds and pick up of any microphone I've ever used. Clamping it to the bell of my saxophone allows movement without being tied to stationary microphone stand. The only issue has been the thin cable that connects it from the clip to the XLR connector. It doesn't take much to damage it (this is the second one I own) and over the years, it obviously wears faster than an ordinary microphone/cable. The result is that the longer you own it, the more careful you have to be or else you'll have a crackle and pop everytime you move the wrong way. It's a shame they can't improve on the design of the otherwise amazing microphone. I've tried to compensate by leaving the cable wrapped in the reel (taped up) with only enough length required to get the clip from my waist to the bell of the saxophone which has helped extend the life this long. I'm getting ready to replace it again and I'm thinking about shifting to a wireless.

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The Beta 98H/C premium cardioid condenser instrument microphone that clamps onto the bell of wind instruments or onto the rim of percussion instruments, and its transformerless preamplifier circuitry improves linearity across the full frequency range. The pickup pattern of the BETA 98H/C provides high gain-before-feedback and excellent rejection of unwanted noise. Its high maximum sound pressure level (SPL) enables it to handle the extreme demands of brass, woodwind and percussion instruments.
The integrated gooseneck and ratcheting swivel joint allows the mic to be easily positioned and secured, and an isolation shock-mount reduces the transmission of instrument "key noise" and other mechanical noise. A gooseneck angle brace is included to provide better retention of the microphone placement during more active performances.

Key Features
Transformerless preamplifier circuitry that improves linearity across the full frequency range.
Pickup pattern provides high gain-before-feedback and excellent rejection of unwanted noise.
High maximum sound pressure level (SPL) enables it to handle the extreme demands of brass, woodwind and percussion instruments.
10-foot high-flex cable with attached preamplifier (XLR connection)
Tailored frequency response for open, natural sound reproduction
Compact, lightweight construction provides a low degree of visibility
Gooseneck, ratcheting swivel joint and gooseneck angle brace allow for optimum placement and fixed positioning

Applications and Placement The most common BETA 98H/C applications and placement techniques are described below. Keep in mind that microphone technique is largely a matter of personal taste; there is no one "correct" microphone position.
Saxophone Placement: Clamp the microphone onto the bell of the saxophone, so the microphone is a few inches from and facing into the bell. This will produce a bright tonal balance while minimizing feedback and leakage.
Soprano Saxophone Placement: Clamp the microphone onto the bell of the saxophone and adjust the gooseneck so the microphone is facing the keys of the instrument, a few inches from the lower keys. This will produce a warm and full tonal balance. For a brighter tone, adjust the gooseneck so the microphone is facing into the bell, a few inches away.
Trombone Placement: Clamp the microphone onto the bell of the trombone and adjust the gooseneck so the microphone is facing directly into the bell, a few inches away. This will produce a bright tonal balance while providing maximum isolation.
Trumpet Placement: Clamp the microphone onto the bell of the trumpet and adjust the gooseneck so the microphone is facing directly into the bell, a few inches away. This will produce a bright tonal balance while providing maximum isolation.
Drum Placement: Clamp the microphone onto the drum rim and adjust the gooseneck so the microphone is aiming a few inches above the drum head and an inch from the rim. This provides a full tonal balance.

Specifications
Type: Condenser (electret bias)
Polar Pattern: Unidirectional (cardioid)
Frequency Response: 20 to 20,000 Hz
Output Impedance: 1200 ohms
Output Level (0 dB = 1 volt per Pascal): Open Circuit Voltage: -56.5 dB (1.5 mV)
Output Clipping Level (at 1kHz, THD < 1%): -9 dBV (0.35 V)
Maximum SPL: 143.5 dB
Dynamic Range: 112.5 dB
Signal-to-noise Ratio: 63 dB at 94 dB SPL (IEC 651)
Polarity: Positive pressure on microphone diaphragm produces positive voltage on pins 3 and 4 with respect to pin 1 (ground).
Weight: 2.3 ounces

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Giannini GWSCRA6 EL 6-string Brazilian Craviola Review

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(More customer reviews)I first saw a craviola on an informercial on PBS. The lead singer for the Starland Vocal Band was playing one and I was intrigued by the shape and sound. After much research, I discovered that the instrument was properly named Craviola and made in Brazil by Giannini. Then the search was on. Found the odd craviola in not very good shape on eBay, then eventually found that Amazon had them. Watched the price for months until it was in my price range, then jumped on it. Have not been disappointed. Came well set up and ready to play. Gig bag was included, but custom case cost more than the guitar. I've had it for a few months now and get compliments on it's sound constantly. It certainly is an attention getter. It has replaced my Guild F4CE as my go to acoustic. Would definitely replace if lost or stolen.

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Gianinni's midel GWSCRA6 acoustic 6-string, steel, Craviola comes with solid Sitka Spruce top, Pau-Ferro/Morado back and sides, gold plated machine heads, and adjustable truss rod. Giannini gig bag comes with at no extra charge.

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Casio PX3 Digital Stage Piano Review

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(More customer reviews)Received my PX-3 from JR Music through Amazon a little over a month ago. It arrived on the date promised with no problems with the packaging or the setup. The PX-3 is what it is; a lightweight, small footprint, digital piano and midi controller. That is what I wanted and I am very happy with it.
It fits on my desk, it is easy to move around, and it is not flimsy. I'm big and play rather heavily and it seems stout enough.
I like the feel of the matte keys and the piano action. The piano samples are good, I don't use the EP tones much but they sound fine to me.
It works my JV-1010, "Band-in- a-Box" and "Power-Tracks" with no problems. Setting up the layers for internal tones and external controls is easy after reading the manual. On the controller side I would have liked knobs, sliders and after-touch. It is possible to change the volume of an individual zone on the fly, but it takes a lot of coordination if I'm playing at the same time. Even given that, as a controller it is a lot easier to set things up on it than my old SL161 and it has the nice piano action.
I received the free gig bag for registering the piano from Casio within a month, it is very nice.


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The new Privia PX3 redefines the stage digital piano category with unprecedented sound quality and performance features in a lightweight design that is supremely portable. Featuring tone editing, insert effects, MIDI controller capabilities, an Ivory Touch 88 note scaled hammer action keyboard and weighing only 23.6 lbs., the Privia PX3 is ready to take stage. Casio PX3 Digital Stage Piano Features Ivory Touch 88 key scaled hammer action for supreme feel 64 insert effects give you added flexibility and versatility USB MIDI interface for connection to your computer without the need to install drivers Authentic sounding piano tones are sure to impress Backlit LCD screen is viewable even on a dark stage Piano Sounds The grand piano sounds in the PX3 deliver an unprecedented level of realism and expression. Four dynamic levels of stereo piano samples are integrated with Casio's proprietary Linear Morphing System, for a grand piano sound with seamless transitions and a superior dynamic range. For added realism, the PX3 simulates the sound of open strings when the dampers are raised by the pedal using Acoustic Resonance DSP. Performance Control The PX3 was designed to be the heart of your live performance rig. Its controller features allow you to control two upper and two lower zones. Each zone can be one of the PX3's sounds, control an external MIDI device or both simultaneously. The PX3's internal tones can be customized to meet your needs with 64 insert effects, adjustable filters, envelopes and more. All of your changes can be stored and instantly recalled from the PX3's 64 registration locations. Ivory Touch The new PX3 features a new Ivory Touch, Tri-Sensor 88-note scaled hammer action keyboard. Casio's superior engi

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M-Audio Solaris Multipattern Condenser Microphone Review

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(More customer reviews)Happy with product, only took about a week. It actually came with a shock mount which that wasn't list to come with it. Thanks

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The Solaris is a large-capsule condenser microphone that sounds as good as it looks. Beneath the stylish exterior lies the best-sounding solid-state electronics available at any price. Vintage design principles merge with incredibly tight manufacturing standards to yield no more than +/-1dB of deviation across the entire 20Hz-20kHz frequency range. The industry-thinnest evaporated gold diaphragm also delivers incredible sensitivity. Multi-pattern architecture provides flexibility that makes it ideal for just about any miking situation--included capturing vocals, guitar, piano, drums and live events. It's like having three mics in one.

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Akai MPK 49 Controller Keyboard Review

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(More customer reviews)First of all, the pads DO suck. MPC's are known for their pads so you'd think Akai would at least be able to put the same type of pad/contact design on their MPK line. Instead they put a bunch of pads with no play that feel like buttons and make the keyboard housing vibrate when you pound them. On top of that they placed the contacts so far away it's damn near impossible to get 127 velocity on the pads without going Full Level. Even my LPD8 feels better than this thing. And even though they look like the MPC1000 pads, the 1000 pads are twice as thick as the ones here. I would have loved for them to have put the 1000 pads on this. At least then I'd be able to play back a chopped loop without feeling like I'm dialing a phone number.
The best part of the controller is the control surface. The transport keys, knobs, and sliders feel great. The LCD screen looks great.
Something unique about the controller is that it has built in MIDI settings that mimic classic MPC functions (16 level, MPC swing, note repeat). Too bad the pads keep you from fully enjoying these features.
The keys are decent but slightly noisy because they vibrate on release. The controller is also one of the few 49 key controllers out there with aftertouch. I prefer the lever-like feel of the Axiom when it comes to using aftertouch but the keys here are not a dealbreaker.
There's also a simple arpeggiator you can use. It's fairly simple in that there are only 5 settings you can use to separate notes in a chord. If you've used a more sophisticated arp (like the one on a Yamaha KX8), you'll be disappointed though.
The MPK is a good controller but Akai could have done way better than this. If you're using this for the keys and control surface it's a decent investment. But if you're thinking of buying this for the pads so you can drum and play back chopped loops, get an MPD instead.

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More than just a USB/MIDI controller, the Akai MPK49 USB/MIDI Controller Keyboard helps you maximize your musical ideas on-stage or in the studio. It combines a high-quality, 49-key, semi-weighted keyboard with aftertouch and 12 genuine MPC drum pads. It also offers 48 total accessible pads via 4 pad banks, and you can control up to 72 different parameters via 24 assignable Q-Link knobs, faders, and buttons as well as optional footswitches.

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Yamaha MO6 61 Key Music Production Synthesizer Review

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(More customer reviews)This is an amazing keyboard. Excellent sound, absolutely awesome for live playing...and if you are into techno/trance/house...there isn't any other keyboard which can compete. Build quality? Excellent...Made in Japan.
The competing keyboard for this model is Korg M50-61. Although it is lighter, the M06 far exceeds in quality and real-time playing. Overall, the perfect keyboard for techno/trance/house production for real pros.

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Yamaha, the world's largest musical instrument manufacturer and the leader in synthesizer technology, proudly introduces the MO Music Production Synthesizer. Targeted to semi-professional musicians and home/project studio owners as well as songwriters and performers, the MO provides a full set of authentic sounds and comprehensive music-making features including an emphasis on contemporary styles and voices. Highly portable and compact, the MO also serves as an ideal keyboard for live performance situations. The MO contains many advanced music production tools. These include a built-in Song sequencer, and a useful Pattern mode that allows you to build complex rhythmic/chordal patterns by using preset Phrases - or Phrases of your own creation. Moreover, the powerful Arpeggio feature gives you over 1700 sequenced phrases that you can trigger at the touch of a key.Drawing on the technology and sounds of the professional level MOTIF ES, the new MO features an expanded sound set, with an exceptionally large internal wave memory capacity. The keyboard has a full complement of realistic instrument Voices (total 512) and Drum Kits (64), and includes many modern and vintage synthesizer sounds, making it well-equipped for current dance, club and techno music styles. For sound shaping and signal processing, the MO features sharp, responsive filters (with real-time knob control from the panel) and an extensive set of high-quality effects.The MO also seamlessly integrates into computer music systems, with special remote control functions that let you operate your favorite sequencer software from the instrument itself. In addition, the MO is the latest instrument in the Yamaha line to feature compatibility with the convenient Studio Connections system. Studio Connections lets you make and save MO settings to a song within your DAW application (such as Steinberg's Cubase), and use the Total Recall features to instantly restore those settings when you reopen the song.

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M-Audio ProFire 2626 High-Definition 26-in/26-out FireWire Audio Interface with Octane Preamp Technology Review

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(More customer reviews)A few months ago, i decided to update my MOTU 828 mkii firewire interface with something that has better DAC converters, so i did some research and i decided to purchase the M-Audio Profire 2626.
When i plugged this unit in my studio and listened to it, i was taken by the clarity of the DACs, i also did some testing of the preamp mics, and they are clean sounding and uncolored.
So, I thought i had a great deal.. a 192/24 firewire 8x8 interface for around $500. Unfortunately, as i started using the unit more and more in my studio, i realized the many problems m-audio has been infamous for: bad drivers and unreliable software.
1-The biggest problem with the unit is that the latest ASIO M-Audio 2626 Windows XP drivers will blue screen some XP workstations when changing the audio resolution from 96k back to 48k or 44k in a DAW or some other program that uses the unit's driver. There is a thread in the M-Audio's forum about this, and quite a few people are experiencing this problem. As of January 10th 2010, the problem is still unresolved.
The funniest and saddest thing of all, is that when i use the free ASIO4ALL drivers with the Profire-2626, they do not crash Windows when switching audio resolutions. This should tell you how bad M-Audio drivers are.
2-The marketing literature for the M-Audio is basically incorrect and will lead you to believe the digital mixer offers true mixing flexibility (like MOTU's CueMix software) of all inputs and outputs.. which is FALSE. You can use the digital mixer's faders to control the analog inputs coming into the unit, ONLY if the inputs are connected to the preamps via XLR plugs.. if you use TRS 1/4" jacks to connect to inputs 3-8, the signal bypasses the mic preamps and cannot be controlled in the digital mixer. How stupid is that?
I had to go out and order 1/4" to XLR adapters to connect some of my synths to be able to control their input in the digital mixer
My older MOTU 828 mkii unit never had this inconvenience...
3-Want to use the 2626 inputs and outputs to send digital signals from your DAW to an analog box and back into your DAW?
Good Luck.. it took me a while to figure out how to do it (nevermind i used to do this in the MOTU 828 mkii all the time) and then i wasn't able to monitor the return signals without listening to the return signal mixed with the send signal!
Yep.. you can't monitor return signals without going through the mixer unless you are using the XLR inputs.. because if you use the TRS inputs you cannot control or mute the signal!!
2010-02 UPDATE
4-About 10 months ago, a user in the m-audio forums discovered that the Profire 610 and the Profire 2626 are not sample accurate when recording. What does this mean? it means if you want to record a band playing together, the tracks are going to be out of sync with each other, and you will need to synchronize them by hand in your DAW.
M-Audio confirmed this was a problem with their drivers, but after 10 months of waiting a fix hasn't been released yet.
All this problems with M-audio's unreliable and poorly written software have lead me to eventually replace this unit with something that offers better software and hardware quality, like the RME fireface 800.. the thing stopping me is the price.. the RME Fireface goes for about twice the price of the Profire 2626.. and for a good reason.
The experience with the profire 2626 has taught me a lesson: Don't buy another M-Audio product ever again.
But, don't just take my word for it.. point your browser to M-audio's profire forums and you will see all the problems users are having with this unit..


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Building on a legacy of award-winning FireWire audio interfaces, the M-Audio ProFire 2626 brings next-generation performance to your PC or Mac host-based recording system. This powerful interface delivers 26 x 26 simultaneous I/O, complete with an onboard DSP mixer sourced from up to 52 audio streams. It features every kind of connection you needincluding award-winning Octane preamp technology on all eight analog inputs, ADAT, S/PDIF, word clock and MIDI. Critically acclaimed JetPLL jitter elimination technology ensures pristine audio quality and reliable synchronization all the way up to high-definition 24-bit/192kHz resolution. In addition, ProFire 2626 offers easy FireWire connectivity, extremely low latency, dual headphone outputs, front-panel instrument inputs and standalone operation. ProFire 2626 is compatible with most major audio software, including Pro Tools M-Powered.* * Compatible with Pro Tools M-Powered 7.4 with downloadable update. Please visit m-audio.com for update availability. 96kHz and 18 x 18 I/O maximum with Pro Tools M-Powered.

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Rover RM-75 F Model Solid Handcarved Mandolin (Sunburst Finish) Review

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(More customer reviews)I'm just an amateur, having played the mandolin for only 2 years, so take the following with this in mind...
This, my second Rover, first F model, is a very nice mandolin... good tone, excellent playability, very nice finish. Mine came in the box looking like it probably did when it left Asia, with the strings slack and the bridge off, requiring setup. I did mine myself, but this could be an issue for someone not comfortable with performing the process i.e. install the bridge at the approximate proper location, tighten the strings, tune, adjust the bridge locaton as required for proper intonation up and down the fretboard, repeat as necessary.
I had issues with the "adjustable" bridge that was supplied. This is a multi-piece device allowing the string height to be moved up or down by turning the adjustment wheels on the bridge. This one, like others I've seen, was already at maximum bottom. Fortunately the height is to my liking, but if I did have to lower it I would have had to remove it and sand or shave off bits. Additionally, the mechanism on my bridge was loose, so it leans a little on top and really should be replaced.
Lastly, the price has risen considerably since I bought this mandolin from Amazon last fall. If Amazon is not now shipping these mandolins professionally set up, one might do better to look for a different source.

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The new Rover RM-75 sets the standard by which all moderately priced mandolins will be judged and it will also make the highest priced ones extremely nervous, too! All proportions and features are exactly like vintage originals produced during the 1920's and 1930's that are highly collected today.

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Fender® American DeluxeTM Telecaster® - Aged Cherry Burst- Maple Neck Review

Average Reviews:

(More customer reviews)I have a handful of guitars in my arsenal and this one is my absolute favourite. I bought mine with a rosewood neck and it has the best feel and playability of any electric guitar I've played. The body is solid alder, finished with a beautiful "cherryburst" finish. I can sometimes look at my acoustic guitars and they will go out of tune, but this guitar will stay tuned for days, even with me bending notes and finger plucking the strings. It has a pretty pearloid pickguard which complements the sweet color of the alder body. The samarian cobalt pickups are as quiet as a church mouse when the guitar is idle but cry and sing when the Tele is being played. One of the really cool things about this guitar is the "S-1 switch", which is a button on the volume knob. When the pickup selector is in the middle (activating the bridge and the neck pickups) and the "S-1 switch" button is pushed down, it changes the pickup circuit from parallel to series, resulting in a fat, Les Paul-like sound. The back of the body is "scalloped" so it is perfect to play either sitting down or standing up, which makes it a pleasure to use in both the studio and when playing live. This guitar is made in the U.S.A. at the Fender factory in Corona, CA. It is a lifetime instrument, something you'll be able to pass on to future generations.

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Tone... Tradition... Innovation. Fender's new American Deluxe Telecaster® is the 21st centure way to rock Tele Style! New Compound radius fretboard allows effortless string bending anywhere along the neck, and staggered locking tuners improve tuning stability for stunt guitarist who like to bend behind the nut. New N3 noiseless pickups provide improved Telecaster tones for snappy bell-like chime with no hum; other features include a bound-top body with belly cut, S-1 switching, chromed brass bridge saddles, bound top and beveled neck heel.

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IK Multimedia AmpliTube 3 Amp & FX Tone Modeling Software Review

Average Reviews:

(More customer reviews)A guitar/bass amp modeling software product with usable tones...? Seriously?
Yup.
I've used Line6, Studio Devil, and some other unmentionables over the past few years and I just could not accept them as serious tools. Useful for practicing quietly at home in the late night hours? Sure...but when it came to using them for recording, forget it. Everything seemed off, from overall tone to playing dynamics. It was always obvious that you were using software. So for a long time, I just steered clear of these tools, convinced that it would take some long-term research and development to solve the many issues.
But I'm pleased to say that products like Amplitube are giving me hope. I am very impressed with their version 3 and the newer Amplitube Fender release. Someone really has their act together at IK Multimedia and shows a great understanding of how guitar sound is produced overall. Plugging in and finding quite convincing tones ranging from the sweetness of a stereo chorus Roland JC120 to the onslaught of a Mesa Boogie Triple Rectifier with a distortion box out front always brings a smile. There are some less-than-inspiring presets, but these may suit some ears more than mine.
However, the real power is in Amplitube's flexibility. You can take any preset that's in the neighborhood of what you're looking for and then tweak it until you're happy. Everything from stomp boxes to the amp face dials to rack effects and microphone placement, it's all there. You can even tell it which mics (e.g., Shure SM57, etc...) to use, where to place them relative to the speaker, how far you want them from the front of the cabinet, and what type of room (e.g., small studio, hall, etc...) to use. The differences are sometimes subtle, but everything adds up to an overall sound. And once you have the whole configuration "just so", you can save the settings to your own preset folder and then call them up whenever. No need to write everything down and hope that you've accounted for each variable. The software takes care of it for you.
We're using Amplitube with our Mbox 2/Pro Tools LE 8 setup and it makes demo recording so much easier. Now the hardest part of recording is setting up the drums and vocals, as the two guitars and the bass are easy to configure and record. Not to mention that the direct in analog-to-digital recording is clean and free from ambient noise, so there's only minimal scrubbing required during mixdown.
I've read some reviewers out there speaking poorly of Amplitube and about modeling software in general. The central argument is always the same: poor tone and playing dynamics. I can understand this complaint and in the past, I'd be right there with them, chanting the Luddite opposition to digital anything. But not anymore. I'd recommend that the diehards out there demo the newest versions of these products and think again about how things are shaping up. I've been playing on and off for almost twenty years and in that time, I've owned and jammed on a lot of different amps, including a Fender Champ, Deluxe Reverb, and Twin Reverb, a Dr. Z Mazerati, Engl Powerball, two different Marshalls, and a couple Vox. I'm not a tone snob, but my ear is pretty good. To me, the new wave of modeling software is really starting to nail down the tone factor. Moreover, they're getting much better at rendering variables and dynamics such as pick placement and attack.
Is it perfect yet? Eh...maybe not. But things have come a long way and in my opinion, it's good enough for most recording efforts. Pros out there may not agree, but I'm speaking here to everyday folks like me who just enjoy writing and recording music and playing out live on occasion. Note that for live applications, you'll really want a way to access the presets more conveniently, like IK's StompIO floorboard, which is another considerable investment by itself.
Bottom line: give it a try and I really think that (unless you're a tone snob) you'll be impressed.

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IK Multimedia AmpliTube 3 represents a massive upgrade of the popular amp and effects tone modeling software. AmpliTube 3 provides even more sound variety, realism, and creative power than earlier versions. If your recording or playing "rig" is lacking in that rich, lush expressive analog warmth, then you need to check it out. With over 160 precisely modeled pieces of vintage and modern gear available in one package, AmpliTube 3 is an incredible tone gear collection for the player/producer/engineer suffering from tone angst.More Gear - Infinite CombinationsAmpliTube 3 contains over 160 pieces of gear, more than double the amount of most other packages, including models from the most sought-after vintage collections and modern-day workhorses. You'll get 51 individual stompboxes and effects, 31 amplifier preamp & power sections, 46 speaker cabinet models, 15 high-end stage and studio mics, and 17 post amp rack effects. Plus, with the new AmpliTube 3 open architecture, you can add more packages as you need them, like AmpliTube Fender and Ampeg SVX.More Feel - True Dynamic ResponseAmpliTube 3 gear models give you ultra-realistic playing feelnot just the tonesbut the actual dynamic response of their hardware counterparts. Plus, with IK's proprietary VRM (Volumetric Response Modeling) technology, you can add totally accurate rotating speaker effects and free dual mic placement with room ambience and response to custom craft your tone.More Power - Creative InspirationAmpliTube 3 unleashes more creative power than previous versions, helping you to easily carve new, truly unique voicings for your guitar, bass, keyboard, drum, and vocals. IK's effects let you create sounds you never heard before, and the "drag & drop" effects configuration feature lets you quickly experiment with effects in the signal chain to get that totally unique sound.More Tone - More Than You Can ImagineAmpliTube 3 is the voice for your soul. With this insanely large collection of super-realistic modele

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DENON DN-HC4500 DJ Mixer USB Controller Review

Average Reviews:

(More customer reviews)Grate tool, very accurate cue points It works VERY WELL with serato in a MacBook Pro platform. The best money invested in the las 5 years. Grate for mobil and very practical in Club setting. Love it!!!!

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The Denon DNHC4500 is their first USB MIDI/Audio interface designed exclusively for computer performance club and mobile DJs worldwide. Ever since the needle hit vinyl, DJ's have been setting the standard for what's hot. Denon comes from that same philosophy and passion, leading the way and creating the path for DJ evolution. The feature-packed, professional, PC/MAC compatible DNHC4500 controller combines unmatched hardware performance with internal high quality audio processing offering low latency ASIO/OSX Core Audio support. The DNHC4500 does more than talk MIDI, it offers the exclusive flexibility to control Denon's optional BU4500 dual CD/MP3 player for simultaneous 4-player configuration. The controller is bundled and complimented with an LE trial version of PCDJ's revolutionary new software, Reflex, that offers an array of amazing forward thinking features. Denon DN-HC4500 Features Includes LE Trial Version of Reflex by PCDJ Internal 24-Bit Processing & USB Audio BU4500 Drive Support Multi Functional Touch Sensitive Jog Disc Vibrant Tube Display w/ 2-line Character Text Support Highly Responsive Soft Rubber Buttons, Switches & Knobs High Speed USB 2 Interface Among the DN-HC4500's other advanced features is a Multi Functional Touch Sensitive Jog Disc constructed with an ultra high-resolution pulse and touch sensor to accurately reproduce the most subtle or swift scratching movements made by the human hand. The Jog Disc can also be mapped to perform other vital functions too such as, pitch bending, scanning, file searching and dry/wet control for effects. In addition, a Vibrant Tube Display with 2-line Character Text Support offers two lines of character information, letting DJs quickly navigate through files, crates, folders and confirms without having to look up at their monitor. A visual 32-position Marker Point indicator foll

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Hercules DJ Control Steel Review

Average Reviews:

(More customer reviews)I love my Hercules RMX, but as my shows are getting bigger I'm starting to produce some of my music and using more effects so I switched to the Steel. I love this mixer as I can program up to 12 effects and works great as a video mixer without paying the $6 grand for the pioneer. If I get that big, maybe I will cough up the money for the pioneer, for now this is under $250 and works great. I may one day get an effects controller to plug into my denon, for now this is the best of both worlds.

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The portable, USB-powered Hercules DJ Control Steel offers dual mixing decks on a steel surface that's specifically designed for professional DJs who already have an audio interface, but need a reliable advanced digital mixer that offers a multitude of functions. This two-tone black and silver surfaced controller features a removable, customizable steel center plate, solid metal casing for perfect portability and solid, sensitive controls with plenty of space for precise mixing. The DJ Control Steel offers MIDI control capability, and it comes bundled with Virtual DJ 5 for PC and Mac.


Key Features
Dual mixing decks on a steel surface
Dual-deck DJ controller with equalizer and volume controls
Track reading controls (jog wheels, effects, pitch etc.)
Track mixing controls (cross-fader, volume faders, kill etc.)
Ample space under the DJ's fingers allows precise mixing
Ideal for mobile DJing, the device connects to and is supplied through the computer's USB port (whether PC or Mac, laptop or desktop)
Supplied with a carry bag, the controller can be carried over the shoulder.
2 decks, 6 sliders, 13 rotary knobs and 46 push buttons
Controls allow for easy mixing and offer access to advanced features
VirtualDJ DJC 5 version for PC & Mac, featuring a dedicated skin
Compatible with all DJing software programs using MIDI instructions
Runs on Windows XP, Vista and 7 (32- and 64-bit versions) and on (Mac OS 10.4, 10.5, 10.6)
For use with all digital music formats: MP3, AIFF, WAV, WMA, OGG, Audio CD formats and iTunes Library. iTunes playlists are now directly accessible in VDJ 5 DJC edition.
Dimensions: 13 x 9.7 x 2.6 inches

Controls 2 Jog Wheels
Enhanced precision (over 3 times DJ Console Mk1 & Mk2's jog wheels precision).
Adjustable resistance.
6 Faders
3 volume faders
2 pitch faders
1 cross fader
13 Rotary Knobs
6 equalizer knobs
2 gain knobs
2 effects knobs
2 preview knobs
1 balance knob
46 Push-Buttons
15 effects buttons
6 kill (EQ) buttons
6 read/cue buttons
4 pitch bend buttons
4 menu buttons
4 fast forward/fast rewind buttons
2 track loading buttons
2 preview buttons
2 synch buttons
1 scratch mode button

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Alesis MultiMix 8 USB 2.0 Mixer Review

Average Reviews:

(More customer reviews)I was a little nervous to buy this without reading someone's assurance that it would do specifically what I wanted: record our band multi-tracked into a MacBook.
But it works great. No hiccups while streaming 6 channels at once into Garageband. Amazing at the price.

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Designed with low-noise analog electronics, the MultiMix 8 USB 2.0 mixer lets you take advantage of 100 studio-grade 28-bit digital effects. Whether used for mobile or studio recording, the MultiMix 8 USB 2.0 mixer makes recording high-quality audio to your computer fast and easy. The MultiMix 8 USB 2.0 mixer is also bundled with award-winning Cubase LE software for instant creativity right out of the box.
Key Features
10-direct outputs to your computer for recording and 2 return inputs for monitoring
High-gain mic/line (XLR and 1/4-inch balanced) inputs with phantom power, 2 stereo balanced 1/4-inch
Line inputs, aux send (to onboard or external effects), stereo aux return
Switchable 75Hz high pass filters
100 onboard 28-bit preset effects including reverbs, delays, chorus, flanging, pitch and multi-effects
3-band EQ per channel with high/low shelving and mid band pass/reject
Separate 1/4-inch balanced main and monitor outs, headphone out
24-bit, 44.1 to 96 kHz operation with high-end A/D and D/A conversion through an integrated USB 2.0 Audio interface
Steinberg Cubase LE included

Specifications
Input Channels
Mic In Sensitivity Range: -60dBu to -10dBu nominal, +5dBu maximum
Line In Sensitivity Range: -40dBu to -+10dBu nominal, +25dBu maximum
Mic/Line Gain Range: +10 to +60dB

Equalization
High-Pass Filter: 75Hz, 18dB/octave
High Shelving: 12kHz, +/- 15dB
Mid Bandpass/Band Reject: 2.5 kHz, +/- 15dB
Low Shelving: 80Hz, +/- 15dB

Aux Sends
Aux Send A & B Gain Range: -∞ to +10dB

Aux Returns
Aux Return A Gain Range: -∞ to +15dB
Effects Level/Aux Return B Gain Range: -∞ to +15dB

Channel Levels
Channel Level Gain Range: -∞ to +10dB

Master Levels
Main Mix, Ctrl Room Gain Range: -∞ to +10dB

1/4-inch Inputs
Stereo Aux Return Level: +4dBu nominal, +20dBu maximum

RCA Inputs
2-TRACK IN Level: -10dBV nominal, +5dBV maximum

1/4-inch Outputs
Main Mix, Ctrl Room, Ext Aux Send Level: +4dBu nominal, +20dBu maximum
Headphone Output: 75 ohm output impedance >105mW into 75 ohms, >40mW
into 600ohms

RCA Outputs
2-TRACK OUT Level: -10dBV nominal, +5dBV maximum

Dimensions and Weight
14.5 x 10.75 x 5 inches
7 pounds

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