Archive for September, 2010

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Cool new gear: Line 6 DT50 amplifiers

Thursday, September 30th, 2010

The DT50 is Line 6's new flagship amplifier series.

I was lucky enough to have Line 6 send me out a Spider Valve MkII 112 combo to review. Whilst I found that it had some great amp and effects models I felt that it had a little too many features for me. I thought that if it was just a two or three channel amplifier with a few great amp models to cover most sonic territory that it would have been brilliant.

When I saw that Premier Guitar had a new article on the new Line 6 DT50 series of amplifiers I was very excited.

Here’s what Line 6 have to say about the DT50 series:

Calabasas, CA (September 30, 2010) — Line 6, Inc., the industry leader in digital modeling technology for music-creation products, announces DT50, its new line of flagship guitar amplifiers. The new amplifiers deliver a wide range of inspiring amp tones by delivering a deeper integration of flexible, boutique-style tube design and revolutionary new HD amp modeling technology.

“By far the most creative and advanced integration of tubes and amp modeling technology today can be found under the hood of DT50,” comments Elliot Chenault, Line 6 Product Manager. “We’ve totally rethought the relationship between modeling and tubes. The digital section of the amplifier effectively “talks” with the analog section, which was designed by living-legend tube amp designer Reinhold Bogner, for an incredibly responsive and distinctive amplifier that stands alone as Line 6’s flagship amp.”

DT50 guitar amplifiers produce the four amp voicings on which all great amplifiers are based – classic American cleans, chimey and crunchy British tones, and modern high-gain distortion – and they do so with exceptional results. To deliver the most authentic sonic signature, each voicing is comprised of a preamp and tone stack fueled by brand-new Line 6 HD modeling technology, and automatically paired with dynamic analog circuitry including tube configuration and negative feedback topology courtesy of Reinhold Bogner’s uniquely versatile 50-watt EL34 power section.

To produce a classic American amp voicing, for example, DT50 guitar amps engage HD amp modeling technology to configure the preamp and tone stack to produce a gleaming, classic clean tone and supports it by automatically reconfiguring its analog components for a high amount of negative feedback, reproducing the analog circuitry of heralded American amplifiers.

Players can also create their own signature tones with easy front-panel access to the tube amp’s analog Class A/Class AB and Pentode/Triode switches. Their favorite Class A amp tones can be run in Class AB, and so on. The mixing and matching of HD amp modeling technology with reconfigurable analog circuitry is one of the many benefits of groundbreaking new Line 6 technology, which is debuting in DT50 guitar amplifiers.

The amps feature a classic, two-channel design for a simple and engaging experience. Each channel can be set with a completely different reconfiguration – Channel A can be Voicing I/Class A/Pentode; Channel B can be Voicing IV/Class AB/Triode – for total one-touch reconfiguration via the channel switch. The streamlined and straightforward layout is free of complexity and learning curve, and is ideal for the gigging musician.

DT50 guitar amplifiers integrate seamlessly with new POD HD multi-effect pedals. Together they deliver incredible tonal variety, functionality and component-to-component communication via new proprietary L6 LINK technology. POD HD multi-effect pedals can add scores of effects, trigger DT50 analog circuit reconfigurations, and more.

All DT50 amplifiers include a high-quality spring reverb model on each channel, a serial FX loop with level boost/cut, and a push/pull volume pot that engages a Low Volume Mode, which is perfect for late nights or smaller venues. An output transformer-tapped XLR connection provides a cabinet-simulated direct output, providing a line-level output which dynamically interacts with the DT50 speaker and tubes. Channel switching can be achieved via standard 1/4-inch footswitch, MIDI, or L6 LINK connections.

DT50 112 features a 12-inch custom Celestion G12H90 speaker; DT50 212 features 12-inch Celestion Vintage 30 and custom Celestion G12H90 speakers; DT50 412 cab is cross-loaded with two 12-inch custom Celestion G12H90s and two 12-inch Celestion Vintage 30s.

DT50 112 – $1849.99 (MSRP)
DT50 212 – $2149.99 (MSRP)
DT50 Head – $1649.99 (MSRP)
DT50 412 Cabinet – $1149.99 (MSRP)

For more information:
Line 6

This sounds like the perfect amp for someone who wants some versatility without needing multiple amps, but still wants relative simplicity from their setup.

Here is a video of the DT50 head courtesy of Premier Guitar.

I can’t wait to try this amp out.

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Floyd Upgrades Brass Sustain Big Block for Gotoh – review

Monday, September 27th, 2010

Floyd Upgrades brass sustain block for Gotoh

I’ve noticed quite a bit of hype lately regarding big brass block upgrades for Floyd Rose style tremolos. The name most associated with these parts are Floyd Upgrades. There is talk of greater sustain, and fuller, richer tone as a result of a nice big block of solid bell brass replacing what is usually a pretty nasty looking thin piece of pot metal.

I was curious as to how much of a difference a large brass block would make on a Floyd Rose type bridge, especially a Gotoh unit, like I have in one of my guitars. The Gotoh licensed Floyd Rose bridges actually come with a fairly sizable brass block in the first place.

I contact Adam at Floyd Upgrades to talk to him about his products, including the new Floyd Upgrades bridges that he is now selling. He graciously sent me a 42mm brass sustain block for Gotoh for me to test out for myself as a starting spot to see what his upgrades could do for my guitar.

The Floyd Upgrades block is quite a bit thicker than the stock Gotoh block.

Upon initial inspection the big block is definitely a nice solid high quality piece of brass. It is definitely thicker than any standard block found attached to a tremolo. I got onto installing the new big block (big block install DIY), and the following is my thoughts on the upgrade.

I had read that quite a few people commenting that the big block upgrade made their bridge feel much heavier when using the whammy bar. I did not notice this too much myself. I am attributing that to the fact that most Floyd Rose type bridges use pot metal blocks which are probably a bit lighter than the stock brass block on the Gotoh bridges.

The thicker block does limit your bridge’s dive and pull-up range a bit. I plan on taking a dremmel to my cavity and widening the cavity a bit where the block hits. It may not bother a lot of people though.

One thing that would have been nice is if the Floyd Upgrades block came slotted like many stock blocks do to help keep the springs in place, and for Ibanez Edge type bridges, screw holes for the lock plate that Ibanez bridges typically come with.

I’ve personally never had a problem with the springs coming loose on an Ibanez Edge tremolo unit I have that is missing one, but I know a lot of Ibanez guitar players have a concern over it.

Sound-wise the Floyd Upgrades brass big block gave me a bit fuller and bigger sound than I originally had with the stock Gotoh unit. Sustain was also a little better too.

When I recorded some samples to have a look at the waveforms I noticed that the stock Gotoh sample looked to be “louder” based on the decibel reading on my recording program, but the Floyd Upgrades sample “sounded” louder, even if the decibel reading was slightly lower. Looking at the waveforms I noticed that the Floyd Upgrades sample was more compressed, and that’s what I attributed to the higher volume when listening to the samples I recorded.

I found the Floyd Upgrades brass sustain block provided me a small, but significant upgrade to my tone. Increase in sustain and fullness of tone was only fairly small, but it did provide a positive change. I think that due to the Gotoh bridge coming with a brass block in the first place that I was fairly spoilt with regards to my guitar’s stock tone.

However, if you have most other types of Floyd Rose bridges on your guitar, which typically have a nasty tone sucking pot metal block I bet the Floyd Upgrades brass block upgrades would blow your mind. I have two Ibanez guitars with original Edge bridges which I think would benefit greatly from some Floyd Upgrades brass big block magic. I definitely plan to give them the upgrade in the near future. I will be sure to review them as well.

Overall I think that the Floyd Upgrades brass sustain block upgrades are a very worthy upgrade for any Floyd Rose toting guitar. You will be impressed with the resulting fuller tone, and will enjoy having your guitar sustain more like a hard tail guitar. The limiting in the range of movement might seem like a deterrent to some, but it is not a difficult job to open up the cavity a little if you feel the need. Brass block upgrades are not especially expensive, so it’s definitely worth trying them out yourself.

A big thanks to Adam Reiver from Floyd Upgrades for providing me with the brass sustain block for Gotoh.

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Cool new gear: Jim Dunlop Hetfield’s Black Fang picks

Thursday, September 23rd, 2010

Awesome looking picks for the metal master.

James Hetfield is one of the masters when it comes to heavy metal riffs. His right hand chops are second to none in tightness and intensity.

Hetfield, in collaboration with Jim Dunlop have created a new line of picks for the master himself with Hetfield’s Black Fang picks.

These ultex picks feature a sharp tip, and three different thicknesses, which should satisfy all metal-head guitar players. Here’s the run-down from Dunlop:

From ass-kicking Metallica epics like “Master of Puppets” to new monsters like “Cyanide”, riff master James Hetfield’s venomous style has inspired many. Preferring picks with a bright tone and biting attack, Hetfield looked to Dunlop for the perfect tool for his fierce downward picking style. Based on a vintage tortoise-shell pick, the Black Fang is made of tough, sturdy Ultex material with a defined tone and sharp attack. Its pointed and contoured tip gives you ultimate speed and control—perfect for players looking to unleash their tone clearer, faster, and with unrivaled precision. “It’s fast, bright, and strong because of its hard point and material,” says the man himself. “It gives you everything you need—just add venom.”

Available in .73, .94, and 1.14mm gauges

I for one cannot wait to unleash some awesome metal riffs with these bad boys.

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Cool new gear: Rock Lock

Thursday, September 16th, 2010

The Rock Lock - handy new anti-theft device for the gigging musician.

I’m sure many gigging musicians have a certain anxiety when it comes to leaving their guitars alone while out in public. There’s always that worry that you might come back and find your precious instrument missing.

A new product has appeared that may hopefully reduce the chances of having your guitar go missing.

The Rock Lock is a new way of securing your guitar when out in public. You loop the cable around a secure fixed or heavy object, load the Rock Lock to the cable, and lock the Rock Lock around your guitar neck.

Here’s a few of the details on the Rock Lock:

  • MADE IN USA!!!
  • PATENT PENDING
  • Core Constructed from Cutting Edge Metal Replacement Technology
  • Nitro-Cellulose Safe Over-Mold
  • Heavy-Duty Braided Steel Cable
  • 1 Year Full Warranty with Registration
  • 2 Keys Included, with optional Key Registration
  • Fits almost all standard 6 string Guitars.
    This excludes: 12 String Instruments, Flamenco/Spanish Guitars, and Bass Guitars.

It really is quite surprising that no one had come out with something as simple as the Rock Lock before. Musicians have had the worry of having their guitars stolen for decades, if not centuries!

It all seems like a fantastic way to secure your valuable guitars, and at a price of $49.99 USD it looks to be a very cost-effective  investment.

The Rock Lock is available for pre-order now with free shipping too.

http://www.therocklockcompany.com/

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Sanyo Pedal Juice – review

Wednesday, September 15th, 2010

A really clever idea, why didn't anyone think of it earlier?

One of the frustrating things with using standard wall-wart power supplies with your pedal board is the associated AC ground loop noise that may arise. Another issue is having to worry about finding a place to plug in your pedal board at gigs. With the Sanyo Pedal Juice these issues are no longer a problem.

The Pedal Juice is a 9V Lithium-Ion battery featuring SANYO eneloop technology. It provides up to 50 hours of continuous, quiet, clean, stable power depending on the pedals on your board. It will only take about 3.5 hours at most to recharge it to capacity.

Sanyo have provided a multi-colour LED on the Pedal Juice which indicates the percentage of battery life left in the unit. When the LED is green you have approximately over %60 of battery life left, when orange there is approximately 30-60% left, and red indicates less than 30%. This is extremely useful because you will be able to judge after recharging the unit a few times whether or not you need to charge up the Pedal Juice before a gig or rehearsal. The Pedal Juice also comes with a power button so you don’t need to worry about unplugging your cables to stop power drain.

With 2,000mA of available juice on tap the Pedal Juice should be capable of running a reasonable amount of pedals from its two outputs without any issues. I currently have 5 pedals connected to it (2 distortion, 1 compressor, 1 digital delay, and 1 flanger to give you a reference point), and I have had no issues powering them.

The only issue you may have out of the box is that the Pedal Juice only comes with two single patch cables. This is easily remedied though by purchasing a daisy chain cable, but it is a shame that the Pedal Juice did not come with one out of the box.

You will need to be careful if you have a pedal that needs a positive polarity power source as the Pedal Juice is wired for negative polarity. But don’t fret as Sanyo saw fit to provide one polarisation conversion patch cable. Just take care to make sure you don’t mix your cables up.

You may be concerned about the Pedal Juice weighing down your pedal board and taking up a lot of valuable real estate, but don’t worry. The Pedal Juice is about the same size as a standard Boss pedal, and is exceptionally light. You could probably velcro it to the bottom of your pedal board if it’s design could accommodate it.

Another handy thing about the Pedal Juice is that it is water and shock resistant, so it should be able to withstand the rigours of playing on stage, where it might have liquids (water, beer, etc) accidentally spilled on it, or get kicked around during the heat of the set.

What really matters though is how the Pedal Juice allows you to operate your effects pedals. The wonderful thing to report is that there is nothing to report. Power up your amp, plug in your guitar, turn on the Pedal Juice and you will be greeted with no additional noise, other than what your signal chain may typically generate. The Pedal Juice wont make your noisy distortion pedals any quieter, but it wont introduce any more noise like a power supply connected to a “noisy” power outlet, or a close to being overloaded power supply.

The only thing that may put people off the Sanyo Pedal Juice is it’s price, and that it’s only capable of powering 9V devices. There are AC powered “clean” power solutions on the market that are a similar price to the Pedal Juice that also offer the ability to power devices that may need 12 or 18V. But if you are only needing to power 9V devices, and like the idea of not having to worry about plugging in your pedal board to power your effects the Pedal Juice is probably perfect for you.

Overall the Sanyo Pedal Juice is a an extremely innovative idea, and I am surprised that no one had come up with a similar product earlier. If you are only looking to power 9V devices, and want to get your pedal board off troublesome AC power this device is probably perfect for you.

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