djByron [Dan Byron]husband, father, christian, musician & technophile ( but not a dj )

The Empress Superdelay which was just released last week has arrived on my door step!  I’m really stoked about this pedal being a delay-addict.  Once I have a few hours to spare I’m planning on posting a full review here.

Initially what drew me to this unit was two things…

1. I currently own their Tremolo pedal which is a great sounding versatile Tremolo pedal.  I’m really impressed by this pedal and figured if the Superdelay is anything like it I can’t go wrong.
2. The features and versatility of the Superdelay based on the pre-release teaser videos and audio clips won me over. They really did a great job of hyping the delay pedal up, enough to get me to pre-order it…

Here’s my current scenario.  I own a modded Diamond Memory-Lane analog delay pedal which is amazing, but it’s analog,  and being analog it has a few native limitations.  One major one being the delay time limitations of analog circuitry.  Being that it’s analog you also loose some of the other goodies found in digital units (presets/user-presets, multiple delay types and modeling).  Now seeing that I never plan on getting rid of the Diamond, I began a quest to find a secondary digital delay pedal that would fill the voids left by the Diamond, would fit in the remaining space on my pedalboard, have true-bypass and still sound great (go figure).

Today I think I found that pedal in the Empress Superdelay.  More to come!

A month ago I made the official switch from PC to Mac and in doing so I had to find a new audio editor for posting various church service elements (preaching, teaching, music etc).  When I was on a PC, Sony’s Sound Forge was an easy choice but moving to Apple I had to do some research.

Initially I tried to do it in Garage Band.  I was successful, but it was really cumbersome when compared to other audio editors and DAWs I’ve used (SoundForge, ProTools & Sonar) .  Since that point I’ve managed to grasp the basics of GB but it is still not the most efficient tool when editing a stereo file.

After that, I tried Amadeus Pro for a week or two. I downloaded the trial seeing that it was a $40 piece of software that did everthing I wanted it to do. But after using it for a couple weeks found the UI somewhat awkward.  Nice, full featured software, just awkward compared to what I’d been using for years (Sound Forge). That’s when another Google search turned up Peak LE 6 by Bias.

Peak LE 6 is more like to Sound Forge and it’s interface is awesome.  It has all the features I need and plays nice with the Waves Gold Native plugin bundle that I own (I should mention that Amadeus Pro worked with the AU version of Waves plugins too).  So now, my process for posting audio is something like this.

1. Launch Peak 6 LE and open audio file(s) directly from CD
2. If this is a lengthy spoken word file convert from stereo to mono
3. Apply Waves L1 Ultramazimizer to get levels consistent. Note that this could also be done with an included compressor or the Apple AU compressor that is a part of OS X Leopard / Garage Band.  I just own the Waves plugin so I use it.
4. Trim, cut and fade where appropriate
5. Save file as mp3 to be downloaded or streamed in flash (32kbps mono for spoken word and 128kbps stereo for audio)

Some other features in Peak 6 LE are:  The ability to podcast (complete with audio ducking to lower music level during voiceovers) as well as the ability upload your podcast via ftp from directly within the software.  iTunes integration which allows you to export audio files directly to an iTunes playlist.  Support for three simultaneous real-time AU/VST effect/instruments and a record timer that automates record stop time.

Peak LE 6 also includes some bundled software aptly named the “Peak LE Production Pack”.  The BIAS Freq-2 pro-quality paragraphic EQ.  WireTap Pro which allows you to capture internet and system audio with no loss of original quality.  SFX Machine LT  a real time VST plug-in with many special effects.  32 VST audio effects from Maximum Digital Audio (delay, limiter, dithering, de-ess, tone generator, and more). Top quality audio loops from PowerFX audio and 100+ high quality sound effects from Hollywood Edge.

Peak LE 6 is available to purchase as a download on the BIAS website for $129. There is a free trial download too but it won’t allow you to save anything duing the trial period.

Oh my how far we’ve come! Computer based recording is going to the next level later this year. This plugin is absolutely AMAZING. Pay special attention to the portion when he starts changing keys in real-time.

This is funny… Guy hacks a baby monitor to function as a wireless guitar amp. I wonder if a mom would ever think of doing such a thing?  Leave it to us dads.

My quest for my first guitar amp finally came to an end a couple weeks ago when I finally found and bought a Mesa Boogie Lonestar Special!  Man this thing is awesome…  Now granted I haven’t been playing for years and don’t have a ton of amps to compare it to but this thing sounds amazing.  I’ve been playing it for a few weeks now and I’m blown away by the tone.  As of now I’m using my Vox Tonelab SE with the fx loop (all modeling turned off) for delay, chorus, reverb, wah, volume & tuner.  It remains to be seen if I end up selling the Tonelab and move to individual stomp boxes (we’ll see).  The selectable output wattage is an awesome feature of the amp allowing me to choose from 5,15 or 30 output watts.  So now I’m able to get great tone using my Sennheiser E609 mic in a small to medium size venu with out deafining those around me (and keeping the sound techs happy).

I had the chance to play the 1×12″ version of the Mesa Boogie Lone Star Special today at a local music store.  Very nice amp with killer tone.  Not sure it’s worth the money in the scheme of things but we’ll see after I have some other amps to compare it to.  Great tone and two channel design.  One of the things that drew me to the amp was the output wattage switch that allows you to choose between 5,15 or 30 watt configurations.  However, as I had previously read in a couple of other posts, this really doesn’t do much other than give you options when it comes to head room.  The 5 watt setting is very close in volume to the 30 watt setting.  I’m begginning to think that I won’t find exactly what I’m looking for with out going to something like the Maven Peal (and I don’t think that’s even an option due to price).

I currently am using the original MBox and love the thing.  The portability, sound quality and ease of use is what makes it a great unit.  Just plug and record!   The only thing that I don’t like about the original MBox that I have, is the fact that it does not have MIDI in/out.  I have to use third party hardware to provide the MIDI interface necessary for using software synths.  The MBox 2 added this MIDI interface, but before I could pick one of those up I noticed somthing even better.

On my regular trip to the Digidesign website, I just saw that they’ve posted a new interface on their news they’ve dubbed the MBox 2 Pro.  What does this interface have that the MBox 2 doesn’t?  At first glance it looks like they’ve added better sound quality (thus “Pro” to the name).  A couple of additional inputs brings the track count up from 4 to 6 (4 of which can be used as mic/line and the other two are S/PDIF).  Firewire connection now replaces the antiquated USB 1.1 interface.  Two stereo headphone outs as well as dedicated studio monitor outputs give you additional monitoring options.   Below are the specs from the Digidesign web site.

“The Digidesign® Mbox® 2 Pro is a portable, high-definition audio/MIDI production system  that delivers truly professional sound quality.  Packing an impressive variety of connection options into a compact interface, Mbox 2 Pro puts powerful multitrack recording and mixing capabilities into your hands, so you can create wherever inspiration strikes. Mbox 2 Pro also includes award-winning, industry-standard Pro Tools LE™ software, over 50 effects and instrument plug-ins, and the Pro Tools Ignition Pack — a collection of powerful tools to get you started creating right away. ”

Features

• Award-winning Pro Tools LE recording, editing, and mixing software
• Comprehensive Pro Tools Ignition Pack software and audio tool collection
• Professional sound quality
• Powered by FireWire* or included power supply
• Supports up to 24-bit/96 kHz resolution**
• 4 analog inputs (2 XLR/1/4” TRS combo jacks & 2 1/4” TRS jacks)
• 6 analog outputs (1/4” jacks)
• 2 instrument DI inputs on the front panel
• 2 channels of S/PDIF digital I/O (RCA)
• Built-in phono preamp input (RCA) for direct turntable connection
• 1 MIDI input and output (16 channels in/16 channels out)
• MIDI Time Stamping (MTS) support for superior timing and accuracy
• BNC Word Clock I/O
• Low-latency monitoring
• Dedicated studio monitor outputs with volume control
• 2 stereo headphone outputs with independent volume controls
• 48V phantom power for condenser microphones
• Mbox 2 Pro list price: $799 US | Mbox 2 Pro Factory list price: $899 US

* Requires 6-pin connection for power via FireWire.
** Mbox 2 Pro does not support external sync at 88.2 and 96 kHz sample rates.

Ok, so here’s my dillema….
I want to get a tube guitar amp to take my tone to the next level as any guitar player does.  However, the majority of where I’ll be playing will require a low to medium volume level.  As any quitar player can attest you’ll get your best tube tone when the tubes are breaking up at high levels which is where the dillema comes in.

FIND AN AMPIFIER THAT HAS GREAT 100% TUBE TONE WITHOUT MODELING OR SIMULATION.

Here’s what I’ve come up with so far…

1. A friend of mine turned me on to a botique company in VT called Maven Peal (http://www.mavenpeal.com) that created circutry to not only control output wattage but also a “sag control” that…  Well you’ll just have to read about it to fully grasp the concept.  I think if money were’nt an option this is what I’d do based on the reviews I’ve read alone.  Great tone at as little as one watt but a lot of money..
2.  Fender just released a new “recording” amp called the Princeton Recording Amp.  This amp is also 100% tube and uses their patented circut to cut output volme…“The trans-impedance power attenuator lets you crank up the amp for full output tube overdrive and set the speaker volume as low as you want (even silent for headphone use)!” - Fender WebsiteThis may be an option but I have some initial doubts before even hearing it…  1) It’s a 10″ speaker so I’m not sure if you’d be sacrificing tone as compared to a 12″ setup.  2) The combo is $999 so we’re not talking chump change here. 3) And finally, they toss around the dreaded term “speaker emulated” in the description so I’m wary.  Not sure if this is just for the recording aspect of things or what.
3. One of Mesa Boogie’s newest additions is the Lone Star Special.  Other than the fact that output wattage can be toggled between 5,15 and 30 watts this is your typical amp.  Concerns here are… 1) That at it’s lowest output of 5 watts we may still be looking at a pretty loud amp.  2) It’s a boogie so is it going to have a very signature sound? 3) Price?I guess I’ll just have to track one of these puppys down and play it to find out.
4. Zvex Nano Head…  Uhhh Yeeeaaaa  You’ll just have to see this to believe it.  There’s a demo video but the long and short of it is that it’s a half watt amp that will fit in the palm of your hand AND power a 4×12 cabinet.  From what I’ve read this is a great little amp for getting a screaming marshall sound at low levels but isn’t that great at a clean sound.  Not to mention the fact that it’s over $400.  Once again I’d have to play one to see if it’s even an option

So this is my current quest…  Find an amp that will produce the tone I desire at tollerable volume levels on small stages and at home.  Add a comment if you have any suggestions otherwise I’ll keep you all posted.

When I picked up the Shure PSM 400, I also picked up Westone’s UM2 earphones. The reviews spoke of an alternative to the Shure E5’s and they weren’t kidding. I heard the E5’s a while back but wasn’t impressed enough to shell out the big bucks ($499 last I knew). I picked up the Westones for $275 and was blown away. The dual-driver phones have all the volume and range you can ask for and for a lot less than the E5’s. For a hundred dollars more than the E3’s that come with most of the PSM systems this is an upgrade worth doing in my opinion.

I’ve been using the Shure PSM 400 in-ear monitor system for a few months now and love it compared with the traditional floor wedge system.

The Pros:

• No more destructive levels chipping away at your hearing. Comfortable monitor levels are fed directly into your ear while the surrounding noise is isolated.
• When using MixMode you can send a main mix AND your own level to the body pack. Then by using the pan knob you can adjust your level in relation to the mix for accurate monitoring the way YOU want it
• While playing out with the band setup is effortless compared with traditional monitors. Simply plug the transmitter into the appropriate sends (and/or direct out depending on config) and you’re ready to go!

The Cons:

• The only real complaint I have is that every now and then you’ll get a real quick cut in the audio feed. It has never affected my playing because it happens so quickly but it can be distracting