COOL GEAR ALERT: Ernie Ball Music Man LIII

Steve Lukather recently unveiled the LIII, a new signature model which takes his established Luke model and updates it with a few tweaks – most notably new custom-voiced passive DiMarzio pickups in place of the active EMGs on the Luke model. And the new, larger body shape was a response to requests from players who felt that the standard version made them look too big. Luke is currently touring Australia with G3 and for Bluesfest, and this guitar sounded incredible in the hands of both Luke and Mike Keneally. And man, I want one. And I have a huge – huge – interview with him to post when I’ve finished typing it up, but here’s a teaser:

“I’m loving mine. I wanted to do a different take on it. Non-active DiMarzios, a little bigger body. It’s a simplification. But we’ve had such fantastic success with the guitar over the years, why not see where this goes? I listen to what people say. Constructive criticism, I’m all about. But if someone’s going to go on the internet and beat the shit out of me for a laugh, there’s not much I can do about that. But I listen to these things. They (Ernie Ball) were a little bit opposed to this at first, but we found a happy medium and so far the reactions are really positive.”

And here are some pics from NAMM:

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GUEST POST: Roger Mayer on digital modelling and plug-ins

I recently interviewed a famous producer who said they love to use Roger Mayer’s RM58 limiter, and they mentioned that they wished it came in plug-in form so everyone could enjoy it. But as Roger is one of the pioneers of analog music technology and is dedicated to preserving the full sonic glory of the analog audio signal, somehow I don’t see that happening. Roger has supplied the following application note explaining his discoveries on digital and its deficiencies compared to analog.

DIGITAL MODELLING AND PLUG-INS

By Roger Mayer

The claims and performance of digital modelling and plug-ins have several basic flaws, which are conveniently forgotten in the hype and description of their use.

Information in the original sound source:

The fact is that you are trying to simulate or emulate a sound using a sound source that differs in one or more ways from that which you wish to emulate. Your starting source of information might or probably does not contain within itself the necessary information you are trying to simulate. It is not possible to accurately extrapolate information from any sources that do not contain it.

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