You regularly visit www.effectsdatabase.com, right? Bart Provoost’s site is one of the most informative on the web for pedal fans like you and I. He was recently on the ground at Musikmesse in Frankfurt and he filed this report. Some incredible stuff here by the likes of Amsterdam Cream, AMT Electronics, Bogner, Carl Martin, Ciocks, Dr. J, Ego Sonoro, Electro-Harmonix, Greenhouse Effects, GWires, JAM Pedals, Mooer Audio, Nux, Palmer Audio, Paul Landes, Roger Mayer, T-Rex, TC Electronics, Two Notes, and Yerasov.
Reinhold Bogner is a tone genius (and a very dapper dresser). He’s also about eight foot tall and impossible to miss if you ever happen to walk past him at a NAMM show. His amps are highly prized, but they’re also pretty pricey (apart from the Alchemist). Now Bogner is introducing his first three pedals, based on the Uberschall and Ecstasy amps (the Ecstasy Red and Ecstasy Blue) and made in the USA. These are going to be huge. They take the basic essence of these classic amps and distill them down into foot-stompable form. I can’t think of a single person I know who won’t want one of these.
USA projected pricing is:
Bogner Ecstasy Red Pedal $249
Bogner Ecstasy Blue Pedal $249
Bogner Uberschall Pedal $229
Whoa! So this is what Blackstar’s been cooking up. For seven years. The same team that designed the Series One, Artisan and HT Venue lines has been quietly beavering away on a programmable line of amps featuring True Valve Power – which they say is ‘LOUD as Valve’ – six selectable classic channels (EL84, 6V6, EL34, KT66, 6L6, KT88), three band EQ with patented ISF control, Resonance and Presence controls, four modulation effects, four delays, four reverbs, 128 user storable patches.
So how’s it work?
And how’s it sound?
I’m way too much of a Bigsby fan. One of these days I’m probably going to get drunk and wind up with a big ‘ol Bigsby vibrato bridge tattooed on my back or something. This year Bigsby expert Adam Seutter is at Musikmesse to detail each step in the vibrato installation process. Guitar models to be included in the demonstrations are a Framus Earl Slick Signature and a Framus Mayfield (you might remember this model from Devin Townsend’s recent custom). Stop by Hall 4.1 booth E12 to check out the process and get your questions answered.
AURALEX INTRODUCES SONOLITE BASS TRAPS TO EUROPEAN MARKET AT MUSIKMESSE 2012
SonoLite Bass Trap Absorbers Provide a Cost-Effective, Easy-to-Install Low-Frequency Sound Solution
Auralex® Acoustics, Inc., the industry leader in innovative sound control solutions, unveils its new SonoLite™ Bass Trap to the European market at Muskimesse 2012 (Hall 5.1, Stand D43).
Auralex’s new SonoLite Bass Trap is a 3″ thick, 2′ x 2′ fabric-wrapped Studiofoam®Pro core absorption panel. SonoLite Bass Traps are the perfect solution for low-frequency sound control. The core of each panel is made of Auralex’s StudiofoamPro acoustical foam; the panel is then covered in a velour fabric to add a stylish appeal to accent the decor of any room.
If you’re at Musikmesse this year, make sure you stop by Hall 4.0 booth B45 to check out Roger Mayer’s new Voodoo TC Series of pedals. The line includes the Axis, Spitfire, Voodoo Boost, Mongoose, Voodoo Bass, Voodoo Bass2, Voodoo-1, Voodoo Vibe TC and my personal favourite, the Octavia. In fact, I’m on a personal mission to make sure everyone realises how great the Octavia is and promptly adds one to their pedalboard.
The large knob on each TC series pedal can be adjusted by your foot while you play, and it also allows you to really, really zero in on the perfect setting for your particular musical situation. The two Soft Touch Small Diameter controls are Tone (with each one optimised for that particular pedal) and Output, which gives you a range from unit to the required level of boost. The colours are Cay Coral, Matador Red, Dusk Pearl, Coranado Yellow, Colonial Cream and Tropical Turquoise, and they – like the general visual design of the pedals themselves – are inspired by classic USA cars of the 1950s.
There’s plenty more info at Roger’s site.
Laney has offered an official Tony Iommi amplifier since 1994, but this year they’ve announced a new tube beastie, the TI100. It’s a 100 Watts RMS head with four 6L6 valves in the output section, twin channels, footswitchable variable Pre Boost on each channel, 3 band EQ, Volume, Enhance, and Presence controls.
The Metal Lord says:
“Almost 40 years ago I embarked on my musical journey with Laney. My first signature Laney amp, the GH100TI came out almost 20 years ago and it served me faithfully on the biggest stages in the world with Black Sabbath as well as recently with Heaven & Hell. Read More …
It’s here! The long-awaited Marshall Joe Satriani amp, the JVM410HJS, was officially unveiled at Musikmesse in Germany and my buddies at Andertons have the scoop and they’re taking orders now! It’s based on Marshall’s flagship JVM series of amplifiers but it replaces the four reverb controls with four noise gates (one for each channel) – after all, Joe has plenty of cool effects such as his Vox Time Machine Delay when he wants some ambience – and they’ve changed the voicing of the channels to Joe’s personal preferences. There’s also a new Mid-Shift control to switch between a more typical JVM sound and Joe’s voicings. The amp is available in standard black, but a limited special edition (only 500 worldwide) blue half stack will be available for a short time.
Here’s some info from Marshall!
Marshall’s R&D engineers set out to work incredibly closely with Satriani, the latter having a very clear idea of how his own Marshall should sound. After various trials and experiments which even involved Satch using prototypes during recording and touring, the final version of the JVM410HJS was signed off and the wheels for UK production put in place.
At a first glance, the JVM410JS may look familiar. Taking a more detailed look (and listen) though, will make you realise just how different this amp is from its stock counterpart. So. how is the JVM41OJS different from the JVM410H-
Firstly, and probably most notable is the fact that the four reverb pots from the original JVM410 have now been replaced with noise gates; four noise gates no less, one for each channel and each with their own threshold. Another visible change to the front panel is the addition of a ‘Mid Shift’ button that can be used for both ODI and OD2 channels, shifting the mid character of the sound to that of Joe’s specification. Tone wise, the amplifier is very different: The Clean channel is based on the aforementioned 6100 when on the green mode, with the orange and red modes being hotter variations of that tone too. The crunch channel takes the original JVM410 crunch and adds some of the popular Marshall AFD’ circuit to it. and the OD channels are now both voiced identically, based on the JVM410 ODI but with the gain scaled back slightly and a smoother transition between modes. The mid shift button determines the difference m mid character between the original JVM410 ODI and OD2 tone, moving the mids from around 650khz (Mid Shift off) to around 500kliz (Mid Shift on).
The rest of the JVM41 OJS plays out in familiar territory: the amp is still powered by EL34 valves, there are two master volumes the supplied footswitch enables you to switch between channels, modes, 2 master. FX loop and now also the Noise Gates and Mid Shift too. There’s also full MIDI implementation on the unit.