Line 6 Tone Port KB37 Review

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(More customer reviews)As a part-time, semi-professional musician/performer/producer [you can check out our NOVAkILL CDs here at amazon.com] I have a need for good quality and portability at a reasonable price. For maximum flexibility, I have been using USB audio I/O devices for the past 5 or 6 years, as they allow me to work on my workstation at home or laptop on stage with the same equipment. I was first attracted to Line 6 by the announcement of the KB37 because it looks so incredibly slick and sexy. To see if it could deliver the goods, I got hold of a UX2, which is basically the same as the KB37, without the keyboard. It took me about 5 minutes to realise the potential of this set-up so I got hold of a KB37 as soon as they were available.
HARDWARE - The unit feels really solid. The plastic is very heavy-duty and it all seems pretty well put together, although one of my VU meters is slightly crooked. The three-octave keyboard has a good feel and also feels fairly robust. The I/O knobs [chrome] are perhaps a little loose [it is easy to bump them and change their position] where the controller knobs [black] are very stiff until you use them for a while. It is very light-weight and no wider than most two-octave keyboards so it is extremely portable. The footswitch jacks are a real bonus. The audio inputs and outputs are very good, allowing you to get high quality, clean recordings and to monitor everything easily.
DRIVERS - Line 6 Monkey makes sure your drivers and other software are always up-to-date so it is a good idea to let the monkey look for the latest versions when you are setting up as the CD that ships is nowhere near current [it doesn't even support the KB37]. Once the Monkey had done it's thing, everything just worked. You use the driver interface to assign controllers and footswitches to different functions. It works really well but is a little hard to get at in a hurry.
SOFTWARE [GEARBOX] - This is definitely the best part of the deal. The are plenty of amps, cabinets and other effects available and you can chain them all together to create amazing results. If you are not happy with what you get, you can go on-line and buy even more from Line 6, but I have barely scratched the surface of the bundled options after almost a year. GearBox has very flexible routing - you can assign the hardware VU meters to any of a number of things [inputs, outputs, etc]. You can monitor and/or record with or without effects and you can even record your vocals or guitar parts whilst monitoring other instruments through the unit. You can have a single stereo signal path or two unique mono paths. e.g. one set-up for your vocal and a completely separate effect-chain for your guitar at the same time, whilst monitoring your hardware synths through the unit. Because it operates outside the normal Windoze audio system, latency is negligible which makes it great for using live.
IN USE - This is where we ran into a few problems at first. The KB37 only transmits on MIDI channel 1 so, because we had been using Channel 8, I had to go through all of our songs and change things to Channel 1. But it was worth it because in every other way, the KB37 delivers for us. It is a great device for recording vocals and synth parts and it is a flexible and handy controller for our sequencer and soft-synths. On stage it is even more impressive as we can use it for live vocal effects without having to run our voices through our sequencer software. With two footswitches attached I can change GearBox presets easily on stage and mute the effects between songs.
SUPPORT - Terrible. We had a few problems with the unit when we first started using it and the Line 6 forum was completely useless. After 8 weeks of getting no help from them whatsoever, I eventually discovered that the problem was not with the KB37. If it had been, I doubt it would ever have been solved.
OVERALL - This is close to the perfect solution for us. It is robust and portable, simple to use, yet offers incredible sound quality, both for getting clean recordings and from the amazing GearBox software. If the support was better, this would be a 5-star review.

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The latest addition to the award-winning TonePort family of USB recording and modeling interfaces, TonePort KB37 delivers world-class Line 6 guitar, bass, and vocal tone with the added convenience of an integrated keyboard controller.TonePort KB37 comes with Line 6 GearBox modeling software, which provides a must-have collection of 16 guitar and 5 bass amp/cab models, 30 stompbox and studio effects, and 6 models of high-end studio microphone preamps. And with its exclusive ToneDirect� monitoring, super simple set up, and full-sized keyboard, any musician from beginner to pro can easily record studio quality tracks! Hardware features include two high-quality XLR microphone inputs with phantom power, a guitar/bass instrument input, stereo line inputs and outputs, S/PDIF digital output, stereo headphone jack, analog VU meters, dual footswitch jacks, expression pedal jack, patch select and transport control buttons, pitch bend/modulation wheels, and four assignable real-time knobs and buttons.TonePort KB37 ships with Ableton Live Lite 5 � Line 6 Edition recording software for an immediate studio experience right out of the box.Both hardware and software are compatible with the most popular Mac and Windows recording programs and support 44.1/48KHz with 16/24-bit recording, plus a 96KHz compatibility mode.

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Boss ME-50B Bass Multiple Effects with COSM Review

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(More customer reviews)Brand new. Its awesome. And the company I got it from was extremely patient with me being impatient and annoying

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ME50BMulti-Effects Made Simple BOSS understands that bass players want access to powerful effects, but they don't want to get caught up in the menus and programming hassles of a multi-effects processor. Enter the ME-50B. Just like its guitar-oriented sibling, the new ME-50B puts BOSS' finest multi-effects for bass into a convenient floor processor with the feel of a compact pedal. Forget about menus and cursor buttons. Just reach down and twist a knob!Independent COSM Compressor/Limiter and EQEveryone knows that the fundamentals of good bass tone are compression and EQ. That's why the ME-50B features two dedicated sections for these essential effects. The Compressor/Limiter uses advanced COSM modeling-including a "Natural" compression setting that retains the nuances of your playing-to give you tight, punchy tone. Simply select the compressor "Type" and adjust the Sustain/Threshold knob to get the tone you want. The Master section includes a 3-band EQ with a sweepable mid for precise tonal shaping.Get Creative with Cool Filter/Tone EffectsThe ME-50B includes a variety of unique tone-shaping effects just for bass. These include a handy "Octave Up" effect, which adds a note one octave above the original while retaining your natural bass sound-complete with adjustable drive on the octave-shifted note-plus favorites like Slow Gear, T-Wah and a Defretter effect for instant fretless sounds. Using the Tone effect preset, you can get quick tonal variations with preset EQs like "Bottom Boost" and "Mid Shape." Incredibly Warm Overdriven Sounds and MoreWant some extra bite? Switch on the ME-50B's Drive effects, which include settings like "Muff Fuzz," "Bass Driver," "Natural" and "Metal" to give you a range of overdriven/distorted sounds. A new "Hi Band" effect creates a distorted sound on the high frequencies while keeping the lower frequencies intact-perfect for creating complex tones while keeping your original playing dynamics. There are also four synth bass sounds with su

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Gibson LES PAUL STD 50'S NECK Review

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(More customer reviews)I was undecided between a Fender and a Gibson Les Paul. I checked out U-tube reviews and sounds and took the leap of faith and purchased the 2008 Gibson Les Paul Standard with 50's neck. WOW. Say it with me now... WOW. Absolutely beautiful fit and finish on this guitar. This is the type of guitar that you pass down to your children. It has a very throaty voice unlike the Fenders. Fenders were very twangy to me and that's fine if you like that sort of sound. Not for me. The guitar has a very ballsy/throaty/blues-rock sound to it. I have it paired with a Line 6 75 watt amp. They are a very good pairing. You'll love this amp as well. It provide hundreds of different sounds at the touch of several buttons. However, lets get back to this guitar. I know it's a lot of money, but you will not be disappointed. Holds it tune, and is a bit lighter as well. This is the type of instruments that you have a hard time putting down since it sounds soooo good.

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Marshall MG250 DFX Stereo Combo Amplifier Review

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(More customer reviews)I bought this amp at a bargain price and thought that I may resell it. I'm very fussy about amps as all I've had until the last year or so were pre CBS Fenders. A Princeton Reverb, A Deluxe Reverb and a Twin Reverb with EV SRO speakers. Well, this Marshall can't be a Fender vintage tube amp but it is a really decent amp. And the cost of tube amps is nuts. I decided to keep this amp. It has some nice clean sounds, which is what I'm after. I also use a Fender solid state and I find that these amps sound pretty good. Not like the solid state amps of the 60s. Standell solid states or the Silvertone 6 x 10"? :

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The MG250DFX is a 2-channel stereo amp with special features such as FDD (Frequency Dependent Dampening), CD ins, plus emulated line out, and emulated headphone jacks. It features digital effects including reverb, delay, chorus, and flange. With 100W (2 x 50W) and 2 - 12" Celestion speakers, this is a fully gig-capable amp, and it retains all the features that make it great for practice, too.

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IK Multimedia AmpliTube 3 Amp & FX Tone Modeling Software Review

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(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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Washburn Taurus Series T14QTS Electric Bass Review

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(More customer reviews)At this price point you would expect much better quality and setup. Buzzing frets and other issues. I purchased a Rogue 5 string bass for $100 and it had reasonable quality and good setup. No excuse for this. Contacted Washburn and they basically said I should pay to have the frets fixed...right.

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Fender Hot Rod Deville 212 Tube Combo Amp Review

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(More customer reviews)The Fender Deville HotRod 212 is an excellent amplifier. With a few simple modifications it can be voiced to be superior to most amplifiers produced by Fender and other makers. The stock amp is very loud and a bit hard to control in smaller venues. Also the reverb is slightly thin. Finally, the voicing of the drive and more drive channels is a bit aggressive. After the following mods found on [...] the amp is stunning. Here are the mods I performed.
- Replace the stock master volume with an audio-taper is the best way to fix the oversensitive Master (A250KÙ). Your tech will need to bypass resistor R45 with a straight wire to raise the gain level of the master to match the volume channel.
- Replace the V1 and V2 12ax7 tubes with 12at7 tubes. This will improve the headroom and tame the drive and more drive channels. The sound becomes richer and competes head on with pricer Fender and expensive competitor amps. If you like a bit more punch that is still bluesy try keeping a 12AX7 in V2
-Replace V3 with a 12au7 or a 12at7. This slightly reduces gain, not power, in both channels and improves headroom making the amp more suited to blues and jazz. The amp will still rock and play just as loud. These tube changessweeten the sound of the clean and distortion channels.
- Cut out resistor R103. This is part of a treble boosting circuit in the reverb section possibly added by Fender to help sell the amps in noisy music stores. This simple mod makes the reverb very rich and superior to many amps on the market including many of Fender's best.
If you get a Deville Hot Rod, read Justin Holton's site carefully. These amps have VERY HIGH VOLTAGE and the volume pot and resistor removal require knowledge and safety steps. DO NOT try this in less you are technically trained. A tech can easily make these changes for you. If you proceed yourself you must be trained and take proper precautions as described on Justin's site. Such changes will VOID the warranty so this is best done on used gear.
The amp stock is excellent and very well made. These changes take to top tier performance.


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Fender Hot Rod Deville

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Maxon AD-9 Analog Delay Review

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(More customer reviews)Maxon AD-9 Delay
A++ on this one. A bit pricey $$$$ - yes, but this is a super nice analog delay pedal for the money. One of the best I've ever played to date. Gets those great full, spacey and lush sounding delay and echo sounds so common in older recordings. There are few TRUE analog pedals left on the market these days and this one takes the cake. I play through an old Fender Princeton amplifier and the tone and sounds I can dial in are nothing short of awesome! Pedal is solid, with a nice diecast chassis and will last a lifetime if taken care of. Maxon pedals are made in Japan too, so you know this is a quality effects pedal with top notch components and circuitry. This unit allows for up to 450 milliseconds of delay time, possesses true bypass wiring and again is the best value on the market today for a legitimate, real and true sounding analog delay!! Get one and you'll be a fan too.
Product link:
[...]

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The new AD-9 Pro model improves on one of Maxon's most coveted models in order to produce the best-sounding, most reliable analog delay ever. Featuring 4 of Maxon's proprietary MC4107D bucket brigade IC's, and the world's first RMS level sensor and companding noise reduction system, the AD-9 Pro delivers 450 millseconds of the most transparent analog delay sound ever available in a stompbox format. Offering improved headroom, the AD-9 Pro can accept any input signal and will work in an amplifier's effects loop as well as its front-end.The AD-9 Pro also features a switchable multi-head tape echo simulator function. This feature provides interesting new delay effects such as the 'Ping Pong" repeats made famous by Tape Echo units as well as ambient effects that recreate the echoes of a large concert hall with stunning accuracy.AD-9 Pro is outfitted with mechanical true bypass switching on both wet and dry outputs by use of a 4PDT switch assuring pure, unaltered tone when bypassed.In a world that grows more 'digital" by the day, the Maxon AD-9 Pro sets a new standard of analog innovation and audio purity.

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Marshall AS100D 2x8 Acoustic Combo Amp Review

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(More customer reviews)Finally, I've found an amp that does what I want it to. Great sound, clear and LOUD. Reverb could be better, but I sometimes use separate effects. Now here was the shocker: I hooked up my electic guit and PODxt, expecting the same crappy sound I've always gotten through acoustic amps (I've tried 5 different brands/models). JIMINY CRICKET what a fantastic sound with this amp, with an electric guitar thru the POD. I'm in HOG HEAVEN. Now, I suppose purists would scoff, but I'm into DRAMA not "multiple condenser mic" purity. All I can say is, after YEARS of flopping around trying to get the right sound at a human price, this wonderful machine does it all for me. At this price, I don't see how anyone could be disappointed.

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This Marshall AS100D Acoustic Combo Amp is the one to have. Specially designed for use with a variety of acoustic instruments with or without pickups. Its four channels give you the flexibility to handle piezo transducers or magnetic pickups, a mic for vocals or instruments, and external audio equipment via a phono input channel. Channels 1 and 2 have separate EQ and level controls but also may be linked. 2x50W stereo power gives you plenty of oomph for stage performance, and a balanced line out allows direct connection to a PA. The Marshall amp has a built-in digital reverb, delay, and chorus that add dimension to your sound, and a balanced parallel effects loop with level is included. Anti-feedback controls include a phase switch and notch filters for each channel with selectable extra notch depth for channels 1 and 2.

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Fishman AFX Pedal - Reverb Review

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(More customer reviews)This is definitely a high quality fx pedal! It's built like a tank and you couldn't ask for better quality reverbs - they are rich and lush and very "tweak-able." There are three reasons I give this 4 stars instead of 5:
1. This thing eats 9v batteries pretty quickly, quicker than most pedals I've used;
2. It didn't come with an AC adapter; and,
3. For $250, it should have come with the adapter and the kitchen sink.
That said, it's a very worthy pedal for acoustic reverb.

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With quality sound always at the forefront, Fishman starts with an all-analog, buffered bypass signal path to protect your signal from noise. The Fishman AFX Reverb pedal includes eight effect presets: Studio, Room, Plate, Chamber, Stage, Concert Hall, Cathedral, Canyon. Level, tone and decay time controls function for all effects, allowing you to dial things in just right for your instrument and amplification system. Make the most of your reverb effects with 1/4" stereo ins and outs. An input gain switch adds level boost, and the Fishman reverb pedal is housed in durable all-metal construction.

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Line 6 Spider Valve 212 Review

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(More customer reviews)I've been playing guitar for about 16 years, but I'll admit I know next to nothing about amps. I know what are generally considered to be good amps (Bogner, Marshall, Mesa/Boogie, etc.), but I couldn't look at the specs on an amp and tell you if it was any good.
After a little research, I came to the conclusion that I wanted a tube combo amp, something suitable for gigging or for practicing in the bedroom, that would give me a good variety of tones. (I like to play a wide range of music, from classic rock to metal and fusion, and bands I play with usually do covers.) I went down to Guitar Center with this in mind, and one of the salespeople pointed me to the Line 6 Spider Valve 212.
I plugged in an Ernie Ball Music Man JP6 (the same guitar I have at home) and immediately fell in love with the tone. You can see the specs for this amp a little farther up on the page, so I'll just talk about what matters: this amp sounds great. Plug in a good guitar with some good pickups, and you can dial in pretty much any tone you're after. Crank it up loud, and the tube power really shines. More than a dozen amp models (two choices for each individual setting on the dial) give you a wide variety of possible sounds. You'll likely hit on one or two models that you prefer, but even within a single setting you can dial in an impressive variety of tones.
I wasn't thrilled with the clean setting, but all I had to do get the clean sound I was after was to turn down the gain on the crunch setting, add a tiny bit of tape delay and some reverb, and there it was: my perfect clean tone. I've settled on the metal modeler (amber LED) for most of my high-gain tones, but I've only had it for about a week. I'm sure I'll find all kinds of great tones on different settings.
The one complaint I have about this amp is about the effects. They are limited, as you might expect with onboard effects, but the modulation effects in particular are practically unusable. The chorus and flanger are combined on the same dial for some reason, but all I really hear when I turn it on is a flanger, which is far too overpowering besides not being tweakable. A shame, since chorus is the only modulation effect I regularly use. The phaser and tremolo are okay, but I rarely use either and haven't experimented with them. The delay, on the other hand, is very usable, and I'm glad it got its own dial with three different flavors. The tap button for setting the tempo is essential and makes the onboard delay all most guitarists will need. The reverb is decent but a little overpowering at anywhere past about 11:00 on the dial.
Some other cool things about this amp include a built-in noise gate (just hold the tap button while turning the reverb dial past noon to activate it), distortion boost (hold the tap button while turning the drive dial past noon), and a tuner (hold the tap button in until the preset indicator switches to tuner mode). You can also save all your favorite settings as presets, easily navigable with a Line 6 FBV Express or Shortboard foot switch. (I strongly recommend spending the extra $100 on an FBV Express, though $230 for a Shortboard seems a little steep.)
(A quick side not about presets: the amp comes with 400+ presets, including 9 user-programmable banks with 4 patches each, totaling 36 programmable channels. You can't overwrite any of the artist or song presets. The presets are mostly decent at best, but they're a good starting point for tweaking. The amp does include a port for a PODxt, which you can also control with your FBV foot switch, and though I've never used one I'm sure it has plenty of programmable patches, so you aren't exactly limited to the amp's channels or presets.)
All in all, this amp sounds great with a huge variety of possible tones and options that will suit the needs of most guitarists playing in cover bands or just having fun at home. No, it can't compete with a Mesa Dual Rectifier half stack, but for a tube combo amp at well under $1,000, it can't be beat. Did I mention how loud this thing gets? I haven't been able to crank it past 10:00 on the master volume yet. I can't imagine anyone would ever need to go past 1:00, even at gigs. It's a seriously loud 40 watts.

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Spider Valve fuses the versatility of amp and effects modeling with the performance and feel of a world-class tube amplifier. Combining award-winning Line 6 modeling technology with a genuine tube amplifier designed by legendary amp designer Reinhold Bogner, Spider Valve delivers unmatched performance, responsiveness and tonal flexibility on the stage and in the studio.

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Fender Hot Rod Deville 212 Review

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(More customer reviews)Ok lets agree together that fender has the most awesome clean sound on planet earth that all guitar amp manufacturers wish they have. And this Fender Deville 2x12 has it! however,the overdrive/distortion is really unuseable unless all you play for the rest of your life is twang rock and blues!
There are tons of musicians like me who play more than two styles of music, and on a weekly basis that really play gigs on the weekends and rehearse during the week. My complaint with this fender amp model is that,WHY PAY SO MUCH MONEY FOR THIS AMP AND USE ONLY ONE CHANNEL ,WHICH IS THE CLEAN CHANNEL. then ending up spending more money on 3 or 4 more solid state pedals to put infront of the clean channel and claim to have a great tube sound! uuh duh!
to prove my point, just google this amp concerning the modification on the overdrive/distortion channel and there's tons and tons on the web costing you and extra $400 more not including the shipping. If this was a one channel amp and the price is $400 street deal, then you will see 5 stars from me,cause its not made in the U.S.A.
there are other amps out there for $100 less "use" and some new! and both channels are useable and gig worthy out of the box without pedals. any used mesa boogie would do,peavey classic series,bogners,marshal DSL/TSL,egnaters,vOX ac30 etc... if buying a name brand is your thang cause you wanna be associated with the "club" your pathetic! The Fender frontman 65R has a much better overdrive/distortion at gig level and its not even a tube amp! aaaaaahhh!
TONE IS NOT A NAME BRAND IT BEGINS WITH YOU.....
FENDER CORPORATE! SHAME ON YOU!!! IF LEO FENDER WAS ALIVE TODAY MANY OF YOU WILL BE FIRED....
TO PROVE MY POINT FENDER HOT ROD DEVILLE 2X12 III IS JUST OUT AND IT HAD TO DO WITH THE DISTORTION CHANNEL! I GUESS FENDER POLICE WAS READING MY COMMENTS!

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Everything you need, and nothing you don't! The Hot Rod DeVille 212 sends 60 scorching watts straight into a pair of 12 in. Fender Special Design Eminence speakers, courtesy of two 6L6 Groove Tube output tubes and three 12AX7 preamp tubes. Three channels give you a choice of 'normal' (with bright switch), 'drive' (with gain and master controls) and 'more drive' sounds, with additional features including an FX loop, Fender long-spring reverb, external speaker jack, internal variable bias control and 2-button, 3-function channel select footswitch. The look is pure Fender, featuring a chrome panel with vintage pointer knobs, plus black textured vinyl covering and silver grille cloth. Features:Independent Gain and Master Controls in Drive ChannelBright SwitchEffects LoopReverbExternal Speaker Jack2-Button 3-Function Footswitch for Channel Select, Drive Select and "More Drive" SelectChrome PanelVintage Pointer KnobsInternal Variable Bias ControlTechnical Info:Model Name: Hot Rod DeVille 212Type: All tube preamp and power ampOutput: 60 watts into 2 or 4 ohms (Switchable)Ohms: 2 or 4 ohmsSpeakers: 2-12 in. Fender Special Design SpeakersChannels: 3 Selectable Channels (Normal, Drive and More Drive)Controls: Presence, Reverb, Master, Middle, Bass, Treble, Drive Select Switch, Drive, Volume, Bright Switch, Standby SwitchCovering: Black Textured Vinyl with Silver Grille ClothWeight: 53.5 lbs. (24.26 kg)Dimensions:Height: 21 in. (53.34 cm)Width: 24.25 in. (61.59 cm)Depth: 10.75 in. (27.30 cm)Tube Complement: 3 X 12AX7, 2 X 6L6, Solid State RectifierAccessories: Comes with 2-Button 3-Function Footswitch for Channel Select, Drive Select and "More Drive" SelectFootswitch: Uses 2-Button 3-function footswitch p/n 0050419000, Accy.Introduced: 1997

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Seymour Duncan SFX03 Twin Tube Classic Distortion Pedal Review

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(More customer reviews)I've owned at least a dozen different distortion gadgets over the last twenty years. This one sounds the best. The distortion ranges from a smooth, subtle compression to a very robust hard-rock sound. Unlike other distortion widgets, this one doesn't seem to add off-sounding artificial harmonics, so the transition from clean to distorted is very smooth; it responds very well to the dynamics of your playing style. This is now the sole distortion-adding device I own and use, having sold all of my other stuff on eBay because it just didn't sound as good. It's a bit pricey (compared to a Boss or Digitech stomp-box, or even a classic tube screamer) but, in my opinion, it's worth the price. My only reservation is that the tubes aren't user-replaceable, but if they last as long as SD claims, it shouldn't be a problem. Construction quality and materials are top-notch, and the thing looks like it could survive years of abusive use, unlike some cheezy plastic-case stomp boxes I've owned.

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The Seymour Duncan SFX03 Twin Tube Classic is great for country, blues, surf, classic rock & more. The Twin Tube Classic is a two-channel guitar preamp that uses a duet of subminiature 6021 dual-triode vacuum tubes and is voiced to evoke the classic sounds that define rock and roll. The new-old-stock, USA-made Phillips Sylvania 6021s represent the pinnacle of tube technology. They were designed and manufactured to meet the U.S. Government's MIL-E-1 spec for reliability under conditions of severe shock, vibration, and temperature. They provide extremely long service life and exhibit virtually no tendency toward microphonics. High-quality vacuum tubes are only part of the key to a great-sounding tube preamp. The Twin Tube Classic employs a fully encapsulated, toroidal (try saying that three times fast) transformer to achieve the high plate voltage required for true tube amplification. The 100% vacuum tube signal path with a high-voltage power supply allows the tubes to operate at their fullest potential. The result is maximum dynamic range, the most gain, the smoothest tone, and the low-order harmonics one expects from a great tube preamp. The Twin Tube Classic also features true bypass with gold relays, up to 90 dB of gain, a silent switching circuit designed to eliminate pops and clicks when changing channels, and a heavy-duty chassis with a candy copper paint job and stylish "chicken head" knobs. A 16-volt AC transformer is also included. Okay, if all of that means something to you, then you my friend, are more than a bit of a nerd. But if you'd didn't get it all, I'm sure you got the gist: this is an awesome sounding pedal and you need one! Seymour Duncan SFX-03 Twin Tube Classic Pedal Application High-quality, two-channel, guitar preamp. Uses a duet of premium, mil-spec, subminiature, USA-made Phillips-Sylvania® 6021 dual triode tubes. Great for country, blues, su

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Eventide TimeFactor Twin Delay Stombox Review

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(More customer reviews)I got this after a couple of failed attempts with cheaper Boss and TC units. For the extra $$ it's built like a tank, and works exactly as advertised. Awesome, inspiring delay sounds, more than I could explore in a lifetime, are readily accessible. If you just want simple delays there are much cheaper stompboxes (e.g. Digitech Digidelay, Boss in the $100 range) that do the job fine with a lot less programming. But if you use delay a lot are are particular about the details, avoid the $200-$300 range TC and Boss options and get the Eventide.

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Top recording studios worldwide use Eventide effects on hit after hit. TimeFactor includes Eventide's best delay effects from the last 39 years without compromising quality OR flexibility.Plug-and-play expression pedal control of wet/dry mix or any combination of parameters. Control program changes and vary parameters continuously via MIDI. Supports instrument or line level inputs and outputs. Plays well with others; adapts seamlessly with a wide variety of amps and other foot pedals.Easy to upgrade; download new software from the Internet and install via USB.10 Stereo or Mono Delay effects Digital Delay Vintage Delay Tape Echo Mod Delay Ducked Delay Band Delay Filter Pong MultiTap Reverse Looper Studio Quality Sound Instant Program Change Real-time control with 10 knobs, MIDI or expression pedal Tap Tempo and MIDI Clock Sync/Generate 100 User Presets, unlimited through MIDI True Analog Bypass Rugged cast metal construction Metal footswitches for instant Preset access Mono or Stereo operation Guitar or Line Level Inputs and Outputs

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Line 6 Vetta II Combo Amp Review

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(More customer reviews)This amp has servered me well, I still use it extensively for live performances as well as recording. I bought it back in 2004 and it's still going strong.
The paragraph below is basically the same review I posted on Musicians Friend back in 2006.
This amp has all the features I've ever wanted and a lot more. If you're a mad scientist type that likes experimenting, then you will love this amp. If you're someone that doesn't like messing around with a lot of knobs and settings, then this is not the amp for you, buy a Fender twin or a Marshall half and be done with it. While the Vetta II alone offers a lot of capabilities I do recommend the FBV floorboard and Variax guitar if your budget permits. The value of being able change your amp and guitar models with a single click of a footswitch is worth the price of admission IMHO. Before I had the Vetta II and Variax I can't tell you how many times I wished for this capability while switching guitars between songs at a gig. The only issue I've had with this amp is it's susceptibility to power surges. It used to reset itself on me during rehearsals but since then, I've always plugged it into a surge protector and it's never reset on me during a gig.

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Vetta II is the latest evolution of Line 6's flagship Vetta amplifier family.Inside Vetta II lives a virtual collection of 80 sought-after vintage and modern amps and cabs, over 50 stompbox and studio rack effects, and 4 classic mic/cabinet setups.At the touch of a single button, Vetta II can deliver two independent amp and effects paths at once, giving you the creative freedom to build incredibly detailed tones.At home, on stage, or in the studio, Vetta II features XLR balanced direct outs, AES/EBU and S/PDIF 24-bit/96KHz digital inputs and outputs, and A.I.R. II mic/speaker simulation.Vetta II is loaded with a pair of custom 12" Celestion speakers driven by a 150-watt stereo power section, and includes a direct digital Variax Modeling Guitar input that seamlessly integrates Variax's collection of guitars with Vetta II's collection of amps, cabs, and effects. Add an FBV pedal board, and this entire setup can be transformed into virtually any rig with just the press of a footswitch. And now there's even more!Download the FREE Vetta II V2.5 Update and get an all-new collection of Wah models, expression pedal controlled Pitch Bending, 6 new Amp Models, a dedicated Solo Boost function, Tuner enhancements, Tap Tempo that syncs to MIDI clock, plus much more.

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ML Noir XT - Classic Black Review

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(More customer reviews)I bought one of these guitars a few days ago, and man can it shred. It works great with line six and boss stuff, but I will probably drop some dimebucker or EMG pickups in it to get better pinch harmonics. Although it dosn't have any inlay, it dosn't affect your playing(exelent playabillity). If you want a good deal, and you want that dean style , I suggest a closer look at this one.(you might want a hard case if you intend to travel)WELL WORTH THE MONEY! (Also it isn't the phantom, it's realy the noir XT)

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EMG KH21 Kirk Hammett Active Pickup Set with Pickguard Review

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(More customer reviews)This is the by far the best pickup set I have ever seen or played. The ease of installation is great. I had to rout out some of my body and had to solder the plug in jack, but it was easy (I am mechanically inclined so that helped). The sound is awesome, I love the 3 position switch, seperate volumes for each pickup and the tone. You can play both pickups and then adjust the volume so that you get more from one pickup or the other and then adjust the tone as you see fit. Possibility's are endless. My Fender HSS is a totally different and 100% better looking and sounding guitar. I went to Musicians' Friend and found the matching cover for the back of the my guitar. My Strat is Vintage Red Wind so this looks awesome on it.......I wish that I could find a black whammy bar to match the pickups and the look would be complete......Great job EMG and thanks to Amazon.com I saved over 20 bucks compared to Musician's Friend and it was delivered to my front door in about 5 days. Awesome deal.......

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Kirk Hammett first visited EMG back in the early 80's when Metallica was a local group on the rise. We worked closely with him to release his first Pro-Series system, the KH20. Fast forward many years to today and Metallica is still leading the pack and Kirk is still searing though solos and ripping those monster chords. Over the years as venues grew bigger and techniques were refined, Kirk required different tools for different jobs, and so we offer his second Pro-Series system, the EMG KH-21. This system is a simple EMG-81/81 combination which utilizes powerful ceramic magnets and close aperture coils, endowing the tone with detailed intensity, incredible amounts of high end cut and fluid sustain. This setup comes with two volumes and a master tone all wired onto a custom 11-hole white pearl pickguard with contrasting black knobs. Lean and mean mettalitone.

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