Showing posts with label guitar. Show all posts
Showing posts with label guitar. Show all posts

Line 6 Tone Port KB37 Review

Line 6 Tone Port KB37
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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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Cakewalk V-Studio 20 Stereo Audio Interface Review

Cakewalk V-Studio 20 Stereo Audio Interface
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Drivers for Windows 7 64Bits shows many problems, even though the VS20 is a great tool, good recording quality and makes the recording process really friendly.

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IK Multimedia AmpliTube 3 Amp & FX Tone Modeling Software Review

IK Multimedia AmpliTube 3 Amp and FX Tone Modeling Software
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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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Oscar Schmidt 21 Chord Autoharp Review

Oscar Schmidt 21 Chord Autoharp
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I purchased this for my six year-old's birthday because her father and I play guitar and she always wants to be a part of the music practice. She is learning to strum in time and be dedicated to practicing an instrument. We all love playing this. Fabulous quality, take some time to tune. Buy the hard case for it and plenty of picks.


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DeArmond Ashbory Bass - Black Fretless Mini Bass with Gigbag Review

DeArmond Ashbory Bass - Black Fretless Mini Bass with Gigbag
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This is a serious instrument that sounds like an upright bass or a bass guitar depending on how you set the pickups. It is great with the small size but big tone. Go to YouTube and search for and listen to some of the clips. I love my Ashbory! I love my Fender Jazz 1978 bass but as I get older it gets heavier. Ashbory is great to carry on a plane or camping. Play it through a Crate Taxi battery amp and you are ready to make great music!

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Gibson LES PAUL STD 50'S NECK Review

Gibson LES PAUL STD 50'S NECK
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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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Agile AL-2000 Blue Flame Review

Agile AL-2000 Blue Flame
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I have been playing guitar and recording for over 40 years. I have owned just about every guitar there is including custom built ones and Gibson Les Paul guitars from the 70's. I currently own 5 Agile guitars and am very happy with them.
The Agile AL-2000 looks plays and sounds wonderful. Agile makes many upgrades to this model the 2000 being the base model. It is inexpensive but not a "cheap" guitar.
Agile guitars are made in Korea in the same facilities that produce guitars for the "big name" manufacturers. Rondo has them built to their specifications and is the direct importer who sells direct to the customer. An equivalent Epiphone would cost hundreds of dollars more than the Agile. Rondo music stands behind their products and Kurt who runs Rondo is easy to deal with and very helpful in answering questions and resolving any issues with his products.
The only upgrade I might do on the AL-2000 is to add Duncan JB and Jazz pickups. However it sounds so good at the moment I keep putting it off. Agile also makes some absolutely beautiful upgraded versions of this model with gorgeous real abalone and pearl inlay.
Don't be put off by the low price it's an absolutely great guitar!


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Boss ME-50B Bass Multiple Effects with COSM Review

Boss ME-50B Bass Multiple Effects with COSM
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I've used this for about 6 years now. the COSM Compressor/Limiter works amazingly well. Also there is a noise supressor, which works very well. All the effects sound great, and you can highly customize and save them. This unit is great for gigs. The base unit is very solid, the expression pedal is very solid also. Nothing about this unit feels cheap, it is heavy! It also has grips on the bottom to keep it from sliding around.
My only con is that "Octave Up" and "Octave Down" effect have a noticable delay, a few milliseconds max, but you can hear it if you are playing. Not sure if a listener would notice.

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Fulltone CLYDE Deluxe Triple-Voiced Wah Effect Pedal Review

Fulltone CLYDE Deluxe Triple-Voiced Wah Effect Pedal
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The only good thing I can say about this pedal is that it has a true bypass; when not engaged, it does not alter your tone. However once engaged, it is the noisiest and most unfriendly pedal I have ever used.
There are two sources of noise. The first is a humming that occurs when attached to my SKB ps-45 pedalboard. This is a fully filtered and regulated power supply that is dead quiet with some Boss pedals that did not do well with adapters. I tried repositioning the Fulltone away from the board and any other electronics; the only way to get rid of this noise is to use the built in battery. Researching on the internet, I found this is not an uncommon problem, and apologists for this pedal are advising people that having to use a battery is a small price to pay for sonic bliss. (!?)
The other source of noise is high frequency hiss when engaged. When you depress the toe, the high frequency noise gets more pronounced. Depressing the toe is like progressively turning up the gain knob on your amp, but without getting any distortion, only noise. If you are playing vintage clean styles without any gain, it is noticeable and annoying, but might be passable for guys used to dealing with vintage gear and 60cylcle hum. Once you add any gain, the high frequency noise competes with the underlying tone for your attention. The noise is about as loud as the underlying notes, it is that bad!
I tried many things to troubleshoot: Repositioning the pedal, using another battery, adjusting the internal gain pot, using the ps-45 power supply directly to the battery terminal, other guitars, ground lift switch on amp, straight into the amp without any other pedals, etc. If internet searches did not show other people having various degrees of this problem, I would assume the pedal was defective, but I am led to believe that it just does not play well with other gear.
Here is the rub, if you go to Fulltone's website they claim that 90% of problems are caused by incorrect setup or _interference with other devices_. They have a reputation for poor customer service, (likely from guys like me who spent $250 on a top of the line pedal, only to be told that the problem is with something else in their chain. Warning: There is no phone# to call, all troubleshooting is through email.) This is a modern world full of complicated electronic devices, if you cant build a pedal that coexists peacefully in this environment, then don't built it! You may find that it works in _your_ basement, but imagine getting to your gig and finding out this is no longer a wah pedal but a distortion generator or AM antenna!
Regarding the tone, I have been demoing wah pedals and this one is uninspiring, or perhaps "too" vintage. The pedal travel is very broad, but the majority of tonal changes happen in a very small part of the sweep. You can find the area where the tonal changes occur, but it feels poorly designed. The three settings all provide varying degrees of increasing treble. (With the noise problems, the "shaft" setting is mostly unusable.) I wouldn't say that the three settings provide much variation in style or function, mostly just EQ. This pedal works best with rythmic rocking, and I did not find much ability to make subtle tonal "voice" changes for soloing, like I can with the Crybaby 535q. This is a vintage pedal all the way.
I have been playing guitar for 20 years so have a pretty extensive background in guitar gear, although I'm not a gear snob and feel that my expectations are realistic. I'm glad I had the time to fully take this pedal through its paces (troubleshooting, etc), because the store I bought it from has a 48 hour return policy. It goes back first thing tomorrow morning.



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Fender Hot Rod Deville 212 Review

Fender Hot Rod Deville 212
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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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Marshall AS100D 2x8 Acoustic Combo Amp Review

Marshall AS100D 2x8 Acoustic Combo Amp
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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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Maxon Real Tube Series Overdrive/Distortion Review

Maxon Real Tube Series Overdrive/Distortion
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The Maxon distortion pedal sounds excellent, with a choice of overdrive or fuzz and a wide range of effect levels. The EQs are excellent. It's a bit noisy, and the built-in noise suppressor is only of so much help. Also, there is no separate control for the volume boost. You hit the second switch and you get a boost that is quite dramatic at low gain levels, much less so at high gain. I've managed to find an acceptable compromise setting and the pedal sounds quite good, but I do wish for more control over noise and the boost.

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Carl Martin Hot Drive and Boost MKIII Pedal Review

Carl Martin Hot Drive and Boost MKIII Pedal
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Got this sweet pedal at 1/3 of normal price! LOVE IT!!! It sounds great,really helps my sound alot. Doesnt use batteries, BONUS!!

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Line 6 Spider Valve 212 Review

Line 6 Spider Valve 212
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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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Schertler DYN-V for Violin and Viola Review

Schertler DYN-V for Violin and Viola
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I am one of those people who always tries to find a deal. Why pay this amount for name brand when you can get the generic same much less. I've had to learn that in the case of sound equipment, you get what you pay for (for the most part).
Our fiddler needed a pick up and she didnt want one that effected or modified her fiddle in any way. Didnt want to cut any notches into the bridge, etc. She found this picked and when I saw the price, I was put off. Finally, the band caved in and loaned the money for her to get it.
I will say I'm very impressed. The sound is beautiful, we haven't had issues with feedback. It WILL take a little playing around with to find the right place on YOUR fiddle that sounds best. The first time she put it on in the middle of the body, the sound was very hollow. She's played around and found a great sounding spot.
We also bought a pre-amp just to give it that extra head room. If you have the money, buy this pickup.

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Hofner Icon Series Vintage Violin Bass Transparent Black Review

Hofner Icon Series Vintage Violin Bass Transparent Black
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To qualify this, I have only been playing the bass for a few months at the time I'm writing this review...
I fell in like with the look of the Hofner Icon at the local Guitar Center and bought it. After a month of practice, lessons, and research, I happened upon a Hofner 500/1 vintage '63 reissue violin bass (hand made in Germany) at a hole-in-the wall music shop in downtown Chicago and fell in LOVE with it and it's amazing flatwound strings! I dropped nearly $2,000 and brought this beautiful instrument (such high quality that it should qualify as a piece of furniture) and returned my Icon with no regrets.
I may actually purchase another Icon soon and throw some flatwound strings (Hofners from North Coast Music) and use it for my travel bass when on vacation.
Here's what you need to know about the available Hofner basses:
ICON ($400ish)
-Made in China with Chinese electronics that can be quirky
-Fit and finish is adequate for the price point
-Regular roundwound strings with some fret buzz depending on setup
-Hollow body
-A pain in the butt getting a case sometimes! Go EBay or Amazon!
-Available in lefty (often with a case oddly)
CONTEMPORARY ($700ish)
-Made in China with German electronics
-Fit and finish adequate...slightly better than the Icon
-Has regular roundwound strings
-Hollow body BUT has a sound block inside giving it more sustain and a more modern, hence "contemporary" bass sound
-Has a neck bridge so you can slap on a McCartney-style Hofner strap!
-Available in lefty I believe?
-No case
GERMAN-MADE HOFNERS ($2,000 +)
-Hand-made in the Fatherland
-Fit and finish are amazing! Beautiful wood, stain, finish, feel
-Hofner (Pyramid) flatwound strings that give the most mellow "thump" and feel like butter!
-Comes with either a German vintage bullet case or flight case
-Available in lefty of course!

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Eventide TimeFactor Twin Delay Stombox Review

Eventide TimeFactor Twin Delay Stombox
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Great Echoplex Tone in a Digital Device. I've been searching for this for years. You can use the Tape echo mode and set one delay to 350ms and the other to 500ms and tweak the tone from there. The output is in beautiful sounding stereo, you need two amps of course. The main advantage of this device/effect is the fact you can update the software via USB, in fact I suggest that it MANDATORY to do this before plugging in for the first time. It's not hard but it takes some effort at first. You have to go to their site and download some software then use the USB port. For the mac I could just use my printer cable for USB access. Then follow the instructions in the manual. The latest version is a beta but is wonderful. It has a buffer also which brightens the tone but the quality of sound is so good that you just have to adjust the tone on the amps, one extra thing, you should use the effect IN THE EFFECTS LOOP and set the switches to LINE. Worth the money and then some.

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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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