API’s TranZformer CMP is a powerful, if sometimes subtle, tone-shaping machine. It’s also much more intuitive to use than a pedal with four knobs and three mini toggles might seem. And just like the studio compressors it’s derived from, the CMP is incredibly satisfying to use once you get in a flow and unlock its secrets.
Any player confounded or intimidated by the concept of compression and how to use it constructively would be well served by experimenting with the CMP. The effect of a nudge to a given control can often seem minor. But each knob has exceptional range and great sensitivity, so you can take a painterly approach to fine-tuning a sound: A dot of extra sustain here, a bit more output gain there, and your flat-sounding Strat becomes a whole lot richer and full of body and color. The available output is no joke either. Depending upon your amp and pickups, you can use the CMP to readily dish loads of high-headroom clean boost or make your amplifier growl with smooth intensity. Perhaps best of all, the CMP is quieter than a mouse. And if you’ve worked with lesser pedal compressors that make you pay for extra sustain and punch with an earful of hiss, you’ll be thrilled at what the CMP can achieve.
At 280 bucks, it’s not cheap for a stompbox. But the quality of the CMP, the care and execution that went into its fine control set, and its capacity to transform tones in subdued or dramatic fashion make that sum look like a relative deal.
Line 6’s Catalyst collection is the current in a generation of amplifiers bridging the space between digital modeling’s numerous gamers and also massive opportunities’ desires for old-school simplicity. These amps supply in-depth, convincing amp versions– but few of them– in a compact, vintage-style layout that makes evasion of alternative tiredness a concern. The really accessible rates additionally make the series a straight competitor to Boss’ ultra-successful Katana amps. The Catalyst is offered in three versions: Catalyst 60 and also Catalyst 100( both of which have one 12 “audio speaker ), and also the Catalyst 200, which has two 12” speakers. For this evaluation I tested the Catalyst 100, which sells for a very small $399. Straightforward Complexity The Catalyst has lots of bells and also whistles. Externally, however, it looks a whole lot like an easy, standard 2-channel amp. There are knobs for increase, gain, bass, mid, treble, existence, network quantity, reverb, master, and also impact quantity.
There’s likewise a handle that lets you select from six initial amp models: clean, boutique, chime, crisis, dynamic, and also hi gain. Mini switches allow you save and also pick in between two channel presets or engage hands-on setting, where what you see is what you get. Other mini buttons permit you to engage increase, faucet tempo, and also choose impacts and also a receiver. On the back panel is an outcome power handle that lets you select from mute, 1/2 watt, 50 watts, as well as 100 watts. There’s also a USB jack, a DI out, as well as an impacts loop.< iframe course=" rm-shortcode" data-rm-shortcode-id =" fb890ac1b0ff2b05c6580ca062a45773" frameborder=" 0" elevation=" 300 "scrolling=" no
” src=” https://w.soundcloud.com/player/?url=https://soundcloud.com/premierguitar/sets/line-6-catalyst-100-review” width= “100 %” > Six Amps in One There’s not enough room in this testimonial to cover all the amp models in depth. And I think that for several players even simply a few used with the complete series of their clean and also unclean variations will be every little thing they ever before need. Still, the Catalyst’s capacities and potential– particularly about its price– will certainly thrill any type of potential user.I started my own try outs the store voicing at the 1/2- watt output setup. Naturally, there’s not a lot of output in this setting, though it’s a great deal of enjoyable as a technique amp. At the 50-watt output setting, though, I can feel the amp and listen to in a much more total means. There was clearance to spare and it’s responsive and also remarkably dynamic to selecting nuance. And also it was remarkably very easy to get SRV-style bite out of otherwise clean, blues-tinged phrases– once more, really outstanding. The helpful boost knob lets you dial in extra kick, and, thoughtfully, each amp version has actually an especially tailored increase articulating. In store mode higher increase setups included a lot more gain to the amp design’s cleanish audio, as well as the saturation sounded as well as felt natural.
The chime model, loosely influenced by a Vox amp, is warmer as well as thicker than the boutique design in cleaner setups. But when I engaged the boost (with the handle at noon) and set the gain handle around 11 o’clock, the amp positively screamed– producing a hostile as well as at times piercing audio that would certainly compensate a gamer with a commanding strategy like Eric Gales or a 1960s-influenced guitarist who likes the potency of single-note lines.The high-gain model
, on the other hand, is a fire-breathing monster. With the gain at 11 o’clock, there is a lot of lower end, and also the feeling of the amp moving air comes to be extra obvious. Involving the boost softened the attack somewhat, that made soloing extra fluid. But there wasn’t much of a difference via the series of the increase handle from noontime to max. The amp version is rather saturated to start with.There was headroom to
extra and also it’s impressively vibrant and also receptive to choosing nuances.No Jumping Through Hoops Running Loops Making use of the tidy model, I
ran my Yamaha UD Stomp hold-up via the results
loop. The results were usually sublime and dimensional. The power-amp-in feature lets you plug in a pedalboard and play it directly right into the Catalyst 100’s power amp. I made use of an additional configuration, with a Mesa/Boogie V-Twin preamp pedal, straight through the Catalyst’s power amp and it appeared incredible. And also although the preamp is bypassed in this mode, the increase function is still active. Evaluate 10 o’clock, it included a good final touch to the Mesa/Boogie preamp’s clean channel, making it audio discernibly richer. In my simple point of view, simply the power amp and speaker cabinet alone deserve the $399 price.Though Line 6’s well-known HX technology is installed in the Catalyst, the firm did a great task of keeping alternatives very easy to browse and also handle. There isn’t an unlimited buffet of results, as you could anticipate. There’s a standalone reverb, and also apart from that you can just make use of one extra impact concurrently, unless you bring your pedalboard to the event. In complete there are 18 effects, organized right into three classifications: inflection, pitch/filter, and hold-up– each with an equivalent LED in green, blue, or purple, respectively. If you’ve utilized Line 6 products previously, many of these excellent impacts (and the color coding) will be familiar. There’s the magnificent vibrant “eluding” delay, some modulation versions based on renowned pedals like the MXR Phase 90 and also others, as well as some traditional Line 6 pitch/filter results like growler synth and synth strings. If you do intend to utilize even more impacts concurrently, the results loop is a superb means to spot in external effects.The USB connection, by
the means, enables link to a computer so you can make use of Line 6’s modifying software program, which allows you to dive deep into tone modifying or simply fine tune a few points. I visualize that, in truth, many customers will certainly simply identify exactly how to get a number of core sounds straight from the amp, save them, as well as simply opt for that. Yet it’s always terrific to have choices, as well as if you’re somebody that really makes best use of the capacities of editors and modelers, you’ll have a field day with the app.The Verdict For any guitar player looking for an all-in-one, plug-and-play arrangement for practice sessions, live programs, and also recording (you can videotape directly utilizing both USB and the built-in DI with taxicab simulation), the Catalyst, at $399, is quite difficult to beat. It’s obtained more functions than lots of players will require, yet what will certainly count for a lot of the target audience is just how much you can achieve without diving too deep. And also though the rate might recommend or else, Catalyst isn’t simply for novices or intermediate gamers. Any kind of expert guitarist that’s tired of dealing with tube related maintenance and also expenses will certainly be happy with much of the sounds below.
Six Amps in One There’s not enough room in this testimonial to cover all the amp designs in deepness.
I started my own experiments with the store articulating at the 1/2- watt result setup.
The high-gain version, meanwhile, is a fire-breathing monster.
No Jumping Through Hoops Running Loops Using the clean version, I ran my Yamaha UD Stomp hold-up through the results loop.
The Verdict For any guitarist looking for an all-in-one, plug-and-play arrangement for method sessions, live shows, as well as recording( you can tape-record directly using both USB and the integrated DI with taxicab simulation), the Catalyst, at $399, is quite challenging to defeat.
While the Yamaha name is renowned in circles past the guitar globe, they’ve made first-class guitars because the 1960s. And also while they don’t let loose new launches with the frequency of some larger guitar brand names, from time to time they boil down the hill with a brand-new axe that advises us of their ability to build wonderful electrical 6-strings. In 2015, Yamaha presented the first generation Revstar. With a good-looking aesthetic influenced by the firm’s motorbike auto racing heritage, the Revstar incorporated sweet playability and also classic design touchstones. This year, Yamaha gave the Revstar an overhaul– including body chambering, updated pick-ups, and new changing. What’s impressive is just how these changes enhance the already remarkable playability and flexibility of the original.Keyed-Up Cruiser At
a glance, the newest Revstars
look a whole lot like the originals. And streamlined controls suggest little distinction in between the Yamaha and a lot of various other simple 2-pickup electrics. There’s a volume knob, a tone knob, as well as a pickup selector. Simple? Not necessarily. The control design is cost-effective, it conceals a chest of tone possibilities. The pickup switch is currently a 5-way selector. Positions 1, 3, and 5 are neck, neck/bridge mix, and bridge pickup setups. Placements 2 and also 4 deal awesome out-of-phase noises. Yamaha additionally made the tone knob a push/pull pot which turns on a passive increase called the emphasis switch. It successfully kicks up the mid and also reduced arrays and also slashes off the higher frequencies. When it comes to our evaluation guitar, the revised circuit is paired with a collection of Yamaha-designed VP5 P-90s with alnico 5 magnets. A humbucker-equipped version is also available.The build high quality on our gorgeous sundown burst Revstar is very good.
The double-cut body, which tastefully mirrors vintage Yamaha style aspects with a trace of ’60s countered lines, is constructed around a layer of maple over chambered mahogany. And though the building and construction really feels considerable, it’s still light at nearly 8 extra pounds. The carbon reinforced neck is developed around a 24 3/4 “range as well as features a 12 “radius rosewood fretboard. The tastefully subdued pearloid inlays are positioned in between jumbo, stainless-steel frets that will weather years of roadway rash prior to showing any type of wear. Unlike the deep glossy finish on the body, the rear of the neck is completed in satin. It’s an absolute dream to hold and also really feels much faster as well as more accurate for the lack of gloss.In the context of a complete band, the emphasis switch is additionally a convenient solution when you need to duck right into the rhythm pocket.Shifting Gears on the Open Road Yamaha succeeded in their efforts to makethe Revstar extra comfy. Compared to a Gibson SG Classic, the Revstar feels a hair larger however a lot more well balanced.
Hanging over my shoulder from a strap,
it really did not exhibit any type of tendency toward neck dive. This isn’t the only advantage of Yamaha’s chambered style, but it pays a big reward in this respect.With the Revstar out in front of an Orange OR50 and also a 4×12, added comparisons with the SG classic were informing as well as enlightening. As a whole, the Yamaha’s P-90s have a reasonably lower outcome, are much less loud, as well as exhibit greater
overall clearness. While the pick-ups on both guitars sound likewise hefty playing campfire chords, the Revstar’s output was more express playing barre chords further up the neck. Lead lines from the Revstar likewise brandish a bit much more midrange honk that begs for funk riffs. Combined with a glass slide, the Yamaha gladly changed into a blues monster.Pulling up on the focus switch kicks maintain right into high equipment. That maintain comes with the price of some information in the leading end, yet it’s definitely perfect for long, drawn-out lead lines as well as slide. In the context of a complete band, the emphasis switch is additionally a helpful solution when you need to elude right into the rhythm pocket. It’s also a breeze to turn in between the two expressions. Eventually, the focus switch shines most with high-headroom amplifiers. With smaller sized amps, like a 5-watt Champ, the increased lows as well as mids cause audio speaker break-up as well as some mud at moderate quantities, while the “undistinct” result continued to be gritty, yet eloquent.The Verdict At just a shade under$ 800, the Yamaha Revstar is a large amount. The range of offered tones is impressive. And the sharp, one-of-a-kind looks promote themselves. While the P-90s are a natural fit for traditional rock and also blues riffage, the total capacity for selecting information, the out-of-phase switching capabilities
, and the low/mid increase function significantly prolong the guitar’s vocabulary– making the new Revstar an excellent buddy for many pedals as well as very with the ability of being the only phase guitar you require. Whether you desire crystalline, single-coil chime or punchy, bottom-heavy power chord tones, the Revstar handles everything as with dignity as a café racer leaning right into a sweeping contour, and also really feels fantastic doing it.Yamaha Revstar Standard RSS02T Demo|Look < iframe frameborder =" 0" height= "car" lazy-loadable=" true "scrolling =" no" src=" https://www.youtube.com/embed/-yuNsTAt6dY?rel=0 "design=" position: absolute
Blues-rock singer-songwriter Cass Clayton releases her brand-new single, “We’re All Going Down,” a delicious bluesy, gospel-tinted song. Cass explains, “In ‘We’re All Going Down’ I’m broaching a tough subject, and I have some concerns about the backlash. I don’t ever write something to be controversial, but it seems like I find interest in things that […]
Jackson Audio’s pedal cooperation with modern funk hero Cory Wong can have taken a couple of different paths. Considering Wong’s design, a compressor would certainly have been an evident option. Rather, the Optimist is a twin overdrive that builds on a Klon-inspired baseline, adds a second overdrive, and has a smart EQ to develop a super-flexible overdrive. Named after Wong’s second album, The Optimist fits Wong’s fun-loving as well as abundant individuality. But it additionally explains the method you may approach a gig with this pedal in hand. With each other, the two different overdrives and also active EQ give you enough tones to cover virtually any job this side of Slayer cover band.Attacking the Klones
Jackson Audio’s pedals
are constantly practical, and The Optimist is specifically so. Each overdrive circuit has actually devoted tone, gain, and volume handles. When you hit both switches over at as soon as, just underneath those are a trio of small EQ controls that brighten. And since the EQ can be utilized separately, you actually obtain three tramples in one. That’s remarkable given The Optimist’s small size.Modeling a circuit based on the Klon Centaur is absolutely nothing new.
Jackson Audio added sufficient tone-shaping control to make the Klon-inspired OD1 side of The Optimist much more flexible than the typical klone. Without an original Centaur available, I used Electro-Harmonix Soul Food as a standard, which I made use of with a Schroeder Chopper TL, Fender Player Jaguar, as well as a Fender HSS Stratocaster plugged into a Fender Hot Rod Deluxe.premierguitar · Jackson Audio Optimist Review
Some Klon individuals like that pedal’s mid-heavy, medium-gain work. Others prefer to utilize it as a robust clean increase. I discovered that the Klon-inspired side of The Optimist is most oriented toward the first application. With the gain all the way down, it has a bit more bite and grit than the Soul Food. In Clip 1 you can listen to an instance with the volume at about 1 o’clock and the tone at twelve noon. It’s a very healthy low-gain tone that I can think of as an always-on, foundational sound for a lot of applications. The series of the gain handle is especially inviting. I couldn’t locate a “dead” place anywhere in the gain control’s array. Optimum gain levels have less premium sizzle as well as a little bit much more general gain than many klones [Clip 2] And you sense that Jackson Audio and Wong intended to discover one of the most functional and musical feasible range of gain tones that a Klon-style circuit allows.
Flat Is Fabulous
The OD2 side of The Optimist offers you flatter frequency response as well as even more transparency. Wong contrasts this side of the pedal to a Timmy or a ZenDrive. Internally, your signal hits OD2 very first after that OD1 before the active EQ. It’s an excellent empty canvas since OD2’s flatter reaction protects even more of your initial tone. As well as with the EQ controls I might conveniently get more Screamer-like noises or enlarge my lead lines.Setting all knobs to
noon produced a fantastic crispy tone that matched well with P-90s. Similar to the OD1, the OD2’s gain as well as tone knobs have a broad move. Neither side of The Optimist would identify as “high gain,”also at optimum worths, yet there are plenty of good hard-rock tones offered– especially if you make use of humbuckers.The Bandaxall-derived EQ involves when you hit both switches over at the same time. And you can increase or cut the bass, middle, or treble regularity bands approximately 12 dB from the noontime position. Utilized by itself, this EQ helped me darken the tone of an excessively brilliant Telecaster as well as tame the woofy reduced end from a Jaguar. I’ve never made use of specialized EQ pedal in my chain, but The Optimist absolutely opened my ears to the possibilities.The Verdict I keep in mind the very first time I played a genuine Klon. It had not been my thing. Over the years I’ve developed a healthy and balanced appreciation for this subgenre of overdrives. At this moment there are numerous variants on the circuit that credibility is less important than what connects with your particular having fun style. The Optimist takes this a lot more broad-minded considering a klone’s possibilities, as well as includes a flat-response overdrive as well as a virtually flawless energetic EQ that can assist you tailor the pedal to your configuration in really specific methods.
Attacking the Klones Jackson Audio’s pedals are constantly sensible, as well as The Optimist is specifically so.
Some Klon individuals like that pedal’s mid-heavy, medium-gain work. Flat Is Fabulous The OD2 side of The Optimist gives you flatter frequency feedback and also more transparency.
Setting all handles to twelve noon generated a superb crunchy tone that matched well with P-90s.
The Bandaxall-derived EQ engages when you struck both switches over concurrently.
Though big hollowbodies like the Gretsch G6120 are beautiful and an essential ingredient in countless classic records, they can be a tricky playing experience for the uninitiated. Navigable fretboard space is limited by solidbody standards. Big bodies can feel bulky. They’re sometimes feedback prone in high-volume situations, too. Consequently, I’ve watched many solidbody-oriented chums who rarely play hollowbodies handle a big Gretsch with the baffled look of a spacefarer deciphering an alien tongue.
This latest affordable, mid-line evolution of Gretsch’s classic 6120, the re-designed Electromatic G5420T, smooths navigation of those intrinsic challenges. A new approach to trestle block bracing and FT-5E Filter’Tron pickups give the guitar a zingy, lively, and surprisingly feedback-resistant resonance. And the ultra-smooth playability makes it relatable for the average solidbody player. Together, the improvements make the G5420 a welcoming and intuitive-feeling vehicle for the less-orthodox modes of guitar expression that big Gretsch’s enable.
New Shoes in Blue
Trestle bracing, as a name and design concept, graced Gretschs beginning in the ’50s. That system utilized a bridge-like pair of laterally oriented braces. Trestle block bracing is different. It situates a slim, light center bock that is shaped like a bridge arch at a 90-degree angle between two straight, lateral braces. In one sense, the construction is akin to a center-block semihollow body. But the Gretsch trestle block has much less mass and a smaller footprint than the center block in, say, a Gibson 335, making the design a great compromise between rigidity, stability, and resonance. The effects, at least to my ears, are audible. And one thing every staffer that touched this guitar agreed upon was that this was the liveliest affordable Gretsch that any of us remembered playing.
The G5420T also feels like a dream underneath the fingers. The 12″ radius makes string bends extra easy. Hammer-ons, pull-offs, and, yes, fleet-fingered Chet Atkins picking feel effortless. And in general the playability is so nice you often forget that notes much past the 17th or 18th fret are a pretty uncomfortable reach. The control layout is a familiar take on Gretsch convention. The master volume control on the treble-side horn is always a blast to use for volume swells. And while the bridge volume is situated pretty far aft on the body, it’s easy enough to reach for fine tuning adjustments and corrections to the neck/bridge blend. The Bigsby, meanwhile, is both fluid, smooth, and, in relative terms, pretty tuning-stable if you’re not too aggressive.
You don’t achieve playability and intonation like that on our review model without sweating the details, and the 5420’s neck, nut, fretboard, and frets all feel very much of a piece.
Construction quality is typically very good in Gretsch’s more affordable Streamliner and Electromatic, and the G5420T does its part to hold up the family reputation. You don’t achieve playability and intonation like that on our review model without sweating the details, and the 5420’s neck, nut, fretboard, and frets all feel very much of a piece. Little details like the binding around the f-holes are also flawlessly executed. One of the only overt signs of the G5420T’s mid-priced status is the polyester-azure-blue finish, which, while dazzling, looks a bit ripply and thick in spots. Even so, in sunlight, it reveals traces of pearlescent turquoise and lake placid blue, depending on the angle from which you view it.
Balance and Brawn
As Gretsch tells it, the new Filter’Trons are designed for stronger bass output and more articulate high end. I don’t know if I would call the low-end exceptionally robust. But 6th string notes exhibit a concise, classy punchiness that resonates with just-right complexity and gracefully adds balance and ballast to chords. Some players expect low notes on a Gretsch hollowbody to explode with the heft of a grand piano. But the chiming low notes of a Fender Rhodes electric piano are a more apt analogy for the 5420’s present, overtone-rich-but-understated bottom-string output. This same knack for balance translates to awesome, articulate overdrive and fuzz tones (though, needless to say, it is important to mind the feedback when messing with the latter).
High-end output, meanwhile, is beautiful. First- and 2nd-string notes ring presently and in graceful balance with the rest of the strings, lending a kinetic but not-too-hot edge to leads and chords. And anyone with an affinity for vintage rockabilly or late-’60s West Coast psychedelia will love the way these high notes hop, quaver, and sing with a waggle of the Bigsby. For this author, anyway, it’s a visceral, addictive thrill—particularly with a big Fender amp and a heap of spring reverb and slapback echo.
The Verdict
Any player well versed and at ease with the idiosyncrasies of a Gretsch hollowbody will love the way the 5420 sounds and feels. And on the latter count, certainly, the 5420T is the equal of many much more pricey guitars. It’s very easy to imagine an upmarket or vintage Gretsch owner who sweats gigging with an expensive axe taking this guitar out instead and feeling right at home. The pickups are very well balanced, present, and detailed. And the Bigsby is smooth and invites all manner of twitchy or surfy vibrato moves. Most important is how these factors conspire to offer an uncommon playing experience with an upmarket feel. “Riff machine” may be a term that you could apply to many guitars, but the combination of the 5420T’s playabililty and open, detailed, and balanced pickups add up to a deep well of habit-smashing inspiration—all at a very nice price, to boot.
Gretsch G5420T Electromatic Hollowbody Demo | First Look
The late Eddie Van Halen spent a lot of his early profession looking for what’s currently referred to as the “brown audio.” Years after cracking the code, he assisted bottle different versions of the dish right into the 5150 line of amps. Numerous models of these amps are now studio and phase staples, and are frequently used in heavy categories that go beyond Van Halen’s vision.These amps have never been economical. The new EVH 5150 Iconic Series designs provide a much more budget friendly take on 5150 layouts as well as are used in two versions: a 40W 1×12 combo that retails for a really practical $899 and also an 80W head version at $999. For this testimonial, we consider the 2-channel combo.High-Calorie Combo Platter The 5150 Iconic Combo is powered by 2 6L6 power tubes, two ECC83 preamp tubes, as well as a specifically created 40-watt
Celestion speaker, all of which are enclosed in a closed-back MDF closet for tighter, heavier bass feedback. Closed-back combos are slightly uncommon as they are more expensive to produce and also tube cooling can be a worry. Many dedicated EVH tone chasers will probably more than happy for the distinct effects of the closed-back setup, though.The combination has a thin, utilitarian ambiance. Besides a 5150 logo on the top left edge of an evh as well as the closet logo design fastened to the bottom
best edge of the grille, there’s little to differentiate it. The controls are hidden away on the leading panel. Here you’ll find gain and quantity handles for each channel, as well as shared controls for EQ( reduced, mid, high), increase, reverb, vibration, and also existence. There’s also a noise gate control specifically for channel 2. There are three mini buttons: one for network changing and also the other 2 for the additional presets for every of the channels. The back panel is house to a XLR outcome( with speaker emulation), a power amp mute button, a preamp out jack, a power degree button( which lets you choose in between 40W or 10W), and an impacts
loophole. The amazing feature of this loop is that you can utilize the return jack to bypass the preamp while the increase, vibration, power, and reverb level continue to be functional.A Ton of Gain Unchained While the 5150 Iconic is a 2-channel amp, each network has its own switchable reduced -/ high-gain setting, efficiently giving you 4 different gain accounts. Channel 1 has a button for selecting in between clean and
overdrive. The channel 2 mini-button
, on the other hand, engages the ultra-hot” melt “voicing.The overdrive predetermined of network 1 is basically a problem channel, type of like heaven channel of the 5150 III, yet with slightly even more gain. Despite having the gain at 2, the overdrive predetermined is quite distorted. Bumping the gain to simply 4.5 yields tones closer to distortion
than overdrive.Channel 1’s overdrive mode varies deep right into high-gain realms as well as can conveniently be used as a” lead” channel.Channel 1’s overdrive mode ranges deep right into high-gain realms and can quickly be used as a” lead “network. Channel 2, nevertheless, is comparatively hellacious. With gain at just 2 you’ll obtain output about equivalent to funnel 1’s overdrive
channel with the gain at 8. With network 2’s gain up to 7, I was well right into extreme modern steel territory.
But that’s simply the suggestion of the iceberg! Network 2’s shed setting adds much more warmth and saturation, producing absurd quantities of suffer. Solitary notes seemed to last for life, also without finger vibrato. Sometimes it seemed like an EBow at work.With this much outrageous gain readily available, it was a smart move for EVH to consist of a noise entrance on the 5150 Iconic. The gate is helpful, however it has its restrictions. Despite the gate threshold at optimum, a reasonable bit of hum and also amp sound lingers at the most beastly levels.The Best of Both Channels If there were a way to footswitch between network 1’s overdrive and tidy sounds, the 5150 Iconic would basically become a 3-channel amp, with tidy, problem, as well as lead noises. But that would likely make the Iconic a lot more costly. In lieu of a footswitchable third network, however, the boost function, which is footswitchable and also adds up to 10 dB of quantity, is one means to MacGyver an artificial 3-channel setup. I got a pretty convenient design template utilizing these
three setups: Channel 1 with gain on 2 and overdrive predetermined selected. Guitar volume reduced for a cleanish sound.An increased variation of that cleanish audio, with increase on 8 and also guitar volume at maximum for a crunch sound.Channel 2 with gain high for a lead sound.If only there were a way to get
a footswitchable configuration with four sounds to consist of the burn pre-programmed! The Verdict James Brown, the legendary amp developer that functioned closely with Eddie Van Halen to produce the original Peavey 5150 amp, was hired by EVH in 2019 to become a major
analog designer. He was tasked with masterminding the
5150 Iconic collection. As well as it’s safe to say Brown succeeded.The resulting 5150 Iconic Series 40W 1×12 is an unique amp. It can conveniently
do the Van Halen thing. Yet
it’s additionally remarkably flexible as well as efficient in audios from tidy to ultra-high gain to the most severe molten steel. It’s likewise simply an excellent all-around amp. As well as it’s easy to think of the 5150 Iconic becoming ubiquitous in the manner of a Fender Hot Rod Deluxe for the heavy-music set.EVH 5150 Iconic Series
Combo Demo|Look
These amps have actually never ever been economical.
High-Calorie Combo Platter The 5150 Iconic Combo is powered by 2 6L6 power tubes, 2 ECC83 preamp tubes, and also a specifically developed 40-watt Celestion speaker, all of which are enclosed in a closed-back MDF closet for tighter, heavier bass action.
The combo has a sporadic, utilitarian ambiance.
The Best of Both Channels If there were a method to footswitch in between channel 1’s clean and also overdrive noises, the 5150 Iconic would basically end up being a 3-channel amp, with tidy, crunch, as well as lead sounds.
The resulting 5150 Iconic Series 40W 1×12 is an unique amp.
Fender’s new Paramount PS-220E Parlor is a million kinds of fun. For starters, imagine picking up a little old Stella tucked away in a dusty corner of a garage sale—only to find the action is perfect and the tuners actually work. Then consider the basic joys of any good little acoustic: how easy it is to hold, how light it is, how little room it takes up when you leave it sitting around the living room waiting for whatever spark of inspiration hits at random. The PS-220E dishes oodles of those small pleasures. And while the price isn’t exactly small for an imported instrument of this stature, the playability and versatility are equal to much more expensive instruments.
All Dressed Up
There are a lot of reasons the Paramount sells for a somewhat premium price. It’s charmingly handsome—in no small part because of the detail work that reveals itself up close. The purfling, rosette, and backstrip are fashioned around a pretty feather-and-checker pattern of blue, green, and red that alternate with spaces of antique white. The entire neck and headstock are bound, and quite immaculately at that. The ovangkol fretboard inlay and headstock overlay are classy and understated but feel that extra bit luxurious. The visual charm is reinforced by a subtle chocolatey burst finish on the solid mahogany top. And while the solid mahogany back and sides are made from what some might call rough grain, the rustic effect works in harmony with the fancier details to create a sort of restored antique look.
While the price isn’t exactly small for an imported instrument of this stature, the playability and versatility are equal to much more expensive instruments.
You certainly can’t complain about the detail work on the guitar’s exterior. Adding so many visual treats means more spots where workmanship can go wrong. But everything from the frets to the binding, purfling, and inlays are pretty much perfect. Inside, things are less so. There is evidence of sloppy gluing and less-than-precise kerfing cuts—none of which have any bearing on the sound. But the price of the guitar does leave you longing for a tidier touch on that count.
Sit and Strum Awhile
If you imagined the perfect guitar for sitting down with after a long workday, or the ideal songwriting partner that you drag from the garden to the beach to the living room and down to the studio, it might feel a lot like the Paramount PS-220E. The action is delectably low, and you can vigorously strum barre chords from the 1st fret to the 12th without hearing any buzzing or clanking strings. The C-profile neck is just substantial enough to make you feel like you’re not squeezing to fret effectively, but slim enough that you can move around quickly. The easy playability means the PS-220E very handily transcends simple strummer roles. Fingerstyle moves and complex chords are made significantly easier for the low action and nice set-up, which can give you a lot of confidence for stretching your playing. It’s great for leads for the same reasons. Occasionally there is a slight sense of disappointment because the small parlor body can only generate so much muscle for these applications. And there is inevitably some limits to the dynamic range you can generate. That said, the PS-220E has impressive headroom for a guitar of this size. And pushing it to its limits rarely creates any harsh overtones.
The Fishman Sonitone Plus undersaddle pickup and preamp are, in general, an effective addition to the PS-220E. The tones most suited to the guitar tend to live in the lower third of the tone control’s range, and I generally played with the volume as low as possible to soften any undersaddle transients. Hard strumming, needless to say, brought out the least flattering of these sounds. But the Sonitone could sound quite sweet in fingerstyle situations, which makes it a nice fit for the very fingerstyle-friendly PS-220E.
The Verdict
It’s hard to find a reason to complain about any aspect of the PS-220E’s performance or playability. It feels fantastic—at times like a natural extension of your body. And if you struggle at all with hand or body fatigue from wrestling with a bigger instrument, it’s hard to imagine a more enjoyable alternative. But the PS-220E is appealing for many reasons beyond comfort. The playability makes it a much more direct line between your musical intuition and imagination, which is a pretty invaluable thing whether you’re a songwriter or tackling a challenging tune or arrangement. It’s a good thing the PS-220E is as stylish and easy to play as it is, because $829 is pretty steep for an import instrument. But regardless of price or place of manufacture, you can’t argue that the PS-220E is a pure joy to hold and play.
The first and perhaps most important thing to know about Riversong’s Glennwood TS6 is that it aspires to hybridize elements of electric and acoustic guitars. This is not a new idea—certainly not in the amplified acoustic era, where the straightest route to eliminating feedback is by reducing the resonant elements that cause feedback in the first place. Some acoustic/electrics achieve these ends by slimming bodies down to electric-guitar thickness. Riversong, however, sticks to traditional acoustic formula by making the TS6 a full-sized instrument. Its dimensions are a little bit atypical: the 16″ wide body and 4 3/4″ thickness are about the same size as Martin’s “jumbo” J body and the Taylor Grand Pacific. The pretty silhouette also echoes the curvaceousness of those larger guitars. Those similarities sometimes feel like an exception, though. At nearly every other turn, the TS6 very happily breaks the acoustic design mold.
A Nuts-and-Bolts Approach
You don’t have to look very hard or be an acoustic guitar construction expert to see that there is a strong deconstructive thread in the Riversong’s design. The gap in the top behind the bridge, the slim heel, and, above all, the bracing and neck-through build are major breaks from classic acoustic design philosophy. These very overt differences are also a clue to how the Riversong stretches the definition of what an acoustic guitar is.
Most tradition-minded acoustic builders would consider the small space aft of the bridge detrimental to a resonant top. And few would opt for the bolt-on neck and through-body re-enforcement that runs the length of the body. These obvious deviations from acoustic design dogma are just the start. Peek through the side port and you’ll see “skeletized” bracing that looks like sections of a cantilever bridge in miniature. Adjustment to the action and neck tilt? They’re made with an Allen key that you place through an access cavity on the back of the guitar at the heel.
All these very unconventional elements are executed at a very high level of workmanship. I failed to find a construction miscue anywhere. The fretwork is pretty much perfect and the solid wild cherry back and sides, Sitka spruce top, maple neck, and walnut fretboard are all shaped and put together with obvious care.
Electrified Vibrations
Considering that the TS6’s primary mission is that of a hybrid electric/acoustic—and that so many of its fundamental design elements would traditionally be considered detriments to acoustic tone—the TS6 sounds pretty good unplugged. If I had to guess, I’d venture that the Jumbo-like dimensions were adopted, in part, to offset the diminished volume and overtones that could result from the neck-through design. Yet the TS6 is notably resonant, particularly in the low-midrange, and exhibits nice sustain. It may not be as loud or detailed as a dedicated acoustic of similar dimensions, but it holds its own, and the combination of projection from the side port and soundhole creates a nice composite sound image that would be well worth miking and doubling with the pickup signal in a studio or on a quiet stage.
The combination of projection from the side port and soundhole creates a nice composite sound image that would be well worth miking and doubling with the pickup signal in a studio.
The TS6’s amplified qualities and its electric-like playability are the main attraction, though. The Fishman Flex undersaddle pickup and preamp hold up pretty well to hard strumming without getting quacky, but the guitar and pickup work best together in dynamic fingerstyle settings. I tended to work from fairly tame tone settings on both the TS6 and the Fishman Loudbox I used for amplification, but the TS6 left ample headroom for adding sparkle to the basically well-rounded tonal foundation. Playability, as advertised, is excellent for a flattop. The 16″ fretboard radius and jumbo frets make it easy to fret with a light touch. The 1 5/8″ nut width and the neck profile (which to me felt at various times like a 1960s Guild or a Rickenbacker) also conspire to lend a very electric-feeling experience. The neck-thru system’s ability to facilitate and withstand pitch-bending neck wobbles also checks out just as Riversong claims. I can’t remember using an acoustic in this fashion so readily, dramatically, and with such negligible effect on tuning stability.
The Verdict
At around $2,000, the TS6 is a flattop for players committed to the unconventional or performers that can also afford to keep a classic flattop around for recording pure acoustic tones (if they are concerned with such expressions). It’s a niche instrument, but it does a brilliant job of blurring the lines between acoustic and electric.
Country singer-songwriter Kimberly Morgan York unveils “Keep On Goin’,” the title track from her upcoming LP, slated for release on July 22. The album comprises the talents of Kimberly (vocals, guitar), Scott Baxendale (guitar), David Barbe (bass, engineering) Carlton Owens of Cracker (drums), Jay Gonzales from the Drive-by Truckers (piano), Matt Stoessel of Cracker (pedal […]
