Musik Indonesia

Kurt Cobain’s smashed Fender Mustang guitar was sold at auction for $100,000, making it the second-highest selling Cobain item ever. “It’s a really cool-looking guitar because it’s smashed and held together with duct tape and Kurt Cobain wrote on it,” a curator at Seattle’s Experience Music Project said. The ax dates back to Nirvana’s first U.S. tour, where Cobain it onstage in New Jersey. Staying with a musician named Sluggo at the time, Cobain traded the destroyed guitar for a working one for his next gig. Sluggo, who was in bands like the Grannies and Hullabaloo, held on to the guitar through the decades, eventually lending it to the Experience Music Project for display.

Despite the sale, Sluggo hopes the new owner will allow the guitar return to Seattle in 2010 for a planned Cobain exhibit. “There’s not a huge amount of broken Nirvana guitars out there,” the curator added, saying most of Cobain’s destroyed guitars were “little slivers and fragments.” In 2006, a Mosrite Gospel Mark IV guitar — which was probably still in working condition — owned by Cobain sold for $131,000. Cobain has been a popular auction block attraction in recent years, with Courtney Love also selling everything from Kurt’s cardigans to his bass guitar to handwritten lyrics for “Smells Like Teen Spirit” to the highest bidder, which she hoped would be in the $40 million range. For more on that auction and many more of rock’s most-prized items on the block, check out our Rock’s Rarest Artifacts gallery.

Providing total freedom, superior tone, and refreshing simplicity, Line 6 Digital Wireless systems are the superior new breed of guitar and instrument digital wireless systems.

A new dawn of digital wireless

Line 6 Digital Wireless systems are immune to the issues that force traditional analog wireless systems to grind to a halt. Analog wireless systems, notorious for rolling off crucial high-end and low-end frequencies, compressing the signal, and picking up gig-destroying static, demand that players make destructive compromises in tone and performance. Line 6 Digital Wireless systems relegate these issues to the history books.

Introducing X2 XDS95, X2 XDS-PLUS, and X2 XDR95 digital wireless systems from Line 6 Digital Wireless.

NO Compression, no concessions

Eyes closed, Line 6 Digital Wireless systems sound as good as any direct cable connection. Guitar solos sound full and vibrant and bass notes sound rich and punchy. Line 6 Digital Wireless systems boast 24-bit converters that capture audio signals with outstanding frequency response and wide dynamic range. Plus, they are free of compression and the high-end and low-end roll off typical of analog wireless systems.

Family style

Each system in the Line 6 Digital Wireless family provides breakthrough technology but also presents its own unique benefits.

Guitarists seeking an incredibly powerful and mega-tour-worthy digital wireless system will be retrieving their jaws from the floor after experiencing X2 XDR95 rackmountable wireless system. Featuring an extended range of 300 feet, the length of an entire football field, and a frequency response of 10Hz-20kHz for thunderous lows and crystal-clear highs matching those of high-quality audio cables, X2 XDR95 provides a blazing signal; brilliant, uncompressed tone; and plenty of freedom to roam. Interact with the crowd at the foot of the stage or virtually anywhere else without any loss in sound quality or signal.

X2 XDS-PLUS is the ideal choice for guitarists seeking a heavy-duty but compact digital wireless system. Featuring a range of 200 feet, the length of an entire hockey rink, X2 XDS-PLUS will provide an extended frequency response of 10Hz-20kHz matching that of high-quality audio cables. Built with a polycarbonate housing impact-tested to 300 lb., X2 XDS-PLUS will withstand the rigors of the road and help deliver flawless performances, night after night.

From its stompbox-sized receiver, X2 XDS95 delivers a range of 100 feet, the length of a basketball court, and a wide frequency response of 10Hz-12kHz. Compact, battery-powered, and designed to fit perfectly on any pedalboard, X2 XDS95 utilizes four antennas mounted internally to protect against breakage. The low-profile X2 XDS95 can be tossed into a gig bag to bring convenience and brilliant tone to every gig, rehearsal, and recording session.

Using exclusive Line 6 dual-RF technology, X2 XDS-PLUS and X2 XDR95 deliver dual broadcasts to ensure a strong and constant signal immune to static, interference, and dropouts caused by cell phones, wireless networks, and other sources of RF energy found in today’s venues and studios.

Get what you deserve

Each Line 6 Digital Wireless system includes a digital receiver and bodypack transmitter, a locking instrument cable, and all the antennas and batteries you’ll need to hit the ground running. Free of complicated setup, just fire it up and go unimpeded by constraints or compromises. That’s what making music is all about.

Order your X2 wireless system from Musician’s Friend and we will include our Dual 45-Day Guarantees that assure your total satisfaction and the lowest possible price.

Features & Specs

X2™ XDS95 Instrument Wireless System

• Compact, battery-powered, fits perfectly on pedalboard
• 4 internal antennas prevent breakage, static, jamming, and dropouts
• 100' range
• 10Hz-12kHz frequency response
• Brilliant, uncompressed tone
• Rugged polycarbonate housings impact-tested to 300 lb.
• Includes XDR1 digital receiver and X2 XDT1 digital transmitter

X2™ XDS-PLUS Heavy-Duty Guitar Wireless System

• Built for heavy-duty touring use
• Extended 200' range
• Extended 10Hz-20kHz frequency response
• Dual RF technology prevents static, jamming, and dropouts
• Brilliant, uncompressed tone
• Rugged metal receiver housing; tough polycarbonate transmitter
• Includes XDR2 digital receiver and XDT4 digital transmitter

X2™ XDR95 Pro Rackmount Instrument Wireless System

• Tour-worthy reliability
• Extended 300' range
• Extended 10Hz-20kHz frequency response
• Dual RF technology prevents static, jamming, and dropouts
• Brilliant, uncompressed tone
• Rugged polycarbonate housings impact-tested to 300 lb.
• Includes XDR4 digital rackmount receiver and XDT4 digital transmitter

You have to take only one look at DigiTech’s new HardWire Pedals to tell they are pedals of a higher caliber. They just look especially well built with all-metal construction and precision machining. And when you try them out, you quickly find your first impression is confirmed. DigiTech has always been known for creating effective effects, and the HardWire pedals will only add luster to their good reputation. These are pedals that are designed for high-level performance, sport innovative features and well-thought-out details, and are built to withstand the rough life on the rock tour.

There are seven pedals in the HardWire Series: the HT-2 Chromatic Tuner, CM-2 Tube Overdrive, SC-2 Valve Distortion, TL-2 Metal Distortion, CR-7 Stereo Chorus, DL-8 Delay/Looper, and RV-7 Stereo Reverb. As a group, they share a number of special characteristics. First, they each benefit from all-metal construction with precision machining and high-grade components. They are built to last and have a number of basic features that deal with the realities of performance, such as antiskid bottom pads, glow-in-the-dark labels, and Stomplock, a cap that fits over the knobs so no accidental changes in settings occur during performance.

Thinking inside the box

Internally, these pedals are distinguished by a number of special features. One is true bypass. When the pedal is turned off, it has no coloring effect on your signal whatsoever. The pedals are also designed so that if you lose power to them during a performance, they automatically go into bypass mode. You may lose the pedal, but not your tone.

Another special HardWire feature is high-voltage operation. Each HardWire Pedal contains special circuitry that boosts the voltage supplied by its nine-volt battery to an operating voltage of 15 volts. This means more headroom so that guitars that have high-output pickups won’t overdrive the pedal and clip. This same circuitry also keeps voltage constant so that performance doesn’t degrade as the battery runs down. There’s none of the grittiness and distortion indicating a weakening battery found in other pedals.

The HT-2 Chromatic Tuner

The HT-2 fulfills all the usual requirements demanded of a tuner and more. It’s accurate, visible, and durable. It is also especially stable, which many tuners simply are not. It has both a note display window and LEDs that show pitch level, multiple tuning references, and normal and strobe tuning modes. Its outstanding quality is stability. You don’t have to hit a moving target as you tune, as with many tuners. This makes tuning faster and more certain.

Three stereo pedals

First is the RV-7 Stereo Reverb. This is a great reverb pedal. It features mono or stereo operation, and it contains seven studio-quality Lexicon reverbs from Audio DNA2: Room, Plate, Reverse, Modulated, Gated, Hall, and Spring. What is new and different about this pedal is a “Liveliness” control that adds sparkle as you dial it up.

The CR-7 Stereo Chorus is another pedal built around an Audio DNA2 chip. It gives you a choice of seven chorus types: Modern, Multi, Analog, Studio, Boutique, Jazz, and Vintage. It offers stereo operation as well as mono, so you can connect two amplifiers for especially fat and spatially rich effects.

The DL-8 Delay/Looper is a third pedal based on Audio DNA2. It is a really easy-to-use looper—you just hold down the pedal and play to set up a loop—and it's capable of loops up to 20 seconds. It is also a versatile delay with delay times ranging from 150 milliseconds to eight seconds, and has six delay types: Reverse, Modulated, Analog, Slapback, Lo Fi, and Tape. It sounds fantastic in all modes.

Three distortion effects

All three distortion pedals are fully analog in design and together give you a wide range of distortions. The pedal any guitar player will love is the CM-2 Tube Overdrive, especially those players who stay closer to the clean end of the spectrum. It has a Classic/Modified switch that lets you toggle between a warm, smooth, very creamy overdriven tube sound and a fatter, hot-rodded overdrive with more gain. High and low EQ controls let you substantially tweak these basic modes, and your real tone shines through it all. This is not a tone murderer.

The SC-2 Valve Distortion takes distortion to a deeper zone, delivering an amp-like sound as if the front-end of the amp is cranked significantly. This pedal, like the Tube Overdrive, sets you up with a choice of modes: Crunch or Saturated. Level, Gain, High, and Low tone knobs can be tweaked to give you a range from classic crunch to modern high gain.

For over-the-top distortion, the Hardwire Series offers the TL-2 Metal Distortion. I like the fact it isn’t one-dimensional as many metal pedals are. It is a fat, heavy distortion but gives you a lot of dialing potential within that range. A Tight/Loose voicing switch mainly alters the bottom end, making it tight and punchy or loose and fluffy. Low, Mid, and High tone controls with sweepable midrange let you scoop to your heart’s content.

Surefire hits

The HardWire pedals are sure to find many admirers. They sound great, are built like little tanks, and each one is versatile and easy to dial. Features such as true bypass and high-voltage operation only make them that much easier to appreciate. Above all else, it’s the quality of their sounds that will win the hearts of even the most jaded guitarists.

Features & Specs

• Rugged all-metal construction
• Precision machining
• True bypass
• High-voltage operation
• Automatically goes to bypass with power loss
• Constant voltage, even as battery declines
• Nonskid bottoms and switch surfaces
• Lexicon reverbs, delays, and choruses
• Mono or stereo operation in the DL-8, CR-7, and RV-7
• Includes Stomplock knob covers, gaffer tape for visibility labeling, Velcro for mounting
• 9V battery power
• Easy battery access

You can’t go wrong with a HardWire Pedal or two or seven in your kit. They’re the real deal. Give us a call and we’ll set you up. The lowest price and your complete satisfaction are guaranteed.

When Electro-Voice created the world’s first public address system for legendary Notre Dame football coach Knute Rockne, he unknowingly named the firm when he dubbed the system his “electronic voice.”

Tour X PA cabinets and monitors are the most recent Electro-Voice innovations to emerge from their decades of tour experience. They have a simple elegance, eschewing the built-in amps, elaborate biamping, and effects found in other cabs. Electro-Voice opted instead for a classic passive design that puts the focus on high-quality sound with low distortion and touring functionality.

Tour X brings together features from EV’s long experience creating large-array touring systems, adds a host of advanced technological features, and delivers them at a very reasonable price. I put a couple of members of the Tour X system to work in my own band’s PA rig, and my impressions follow.

Showing some backbone

First up for testing was the TX1152 15" cab. Easing the trapezoidal form out of its box, I was taken with its modern sculptural look, due in large part to the new “Backbone” grille design that’s used on all of the Tour X Series boxes. The grille has an indentation running vertically down the middle, offering a sleek yet strong appearance—a perception that turns out to be accurate. The grille design draws upon the same principle as bridges that rely on the curvature of an arc for their strength, and it resists dents and dings much better than standard designs.

Weighing in at just over 60 pounds, the TX1152 is fairly hefty yet manageable. The construction is wood, and is finished with a smooth synthetic-coated surface Electro-Voice calls “EV Coat.” The handles are a big help when hauling these cabs. They are comfortable and have an ergonomic four-way design, making it easy to get a good grip on the boxes from any angle. The cabs are also ultrasonically welded and impervious to air and water leaks that can quickly degrade your loudspeaker’s performance.

The oversized, angled input panels provide plenty of room for connecting and disconnecting the Neutrik NL4 connectors. Even though I had to use 1/4" Neutrik adapters (my amplifier only has 1/4" outputs), the connectors still didn’t extend beyond the back of the cab. This allows versatile placement of the cab, even flush against a wall, while keeping the connectors away from potential harm.

The strong, sensitive type

Some pro audio specialists contend that loudspeaker design has peaked and can advance no further. Apparently, nobody told Electro-Voice, because their Tour X line refutes that contention with many new, enlightened design features. Of course, the sound is the bottom line, and on that score I’m pleased to report the Tour X models were up to the task.

The two Tour X models I tried (the TX1152 15" cabinet and the smaller floor monitor of the series, the 12" TX1122FM provided a good kick in the pants to my PA system. The sound was crisp, lively, and present. The all-new SMX woofers turned out to be extremely effective in anchoring the low end with punchy, distortion-free bass response and sensitivity that reveals all the details in the music with startling lucidity, even at block-rocking volume levels.

A passive crossover network uses elliptical filters with up to 36dB per octave slopes at the crossover frequency, which means it is extremely efficient in parsing the highs and lows. The DH3 high-frequency transducer and large, 60° by 40° horn reproduced the highs with exceptional clarity. Even at higher volumes, the sound stayed utterly coherent and well defined.

That seems to be the Tour X signature sound: strikingly detailed and sensitive sound even at high volume levels. That Electro-Voice achieved this sonic balance with Tour X is remarkable—that it does it at such a low price is good news for budget-minded musicians.

A monitor that will floor you

The Tour X TX1122FM 12" monitor produced a dynamic, robust sound that belied its compact size. It has a split baffle construction—meaning there is an offset in the cabinet design that moves the acoustic origins of the compression driver and woofer closer together, creating a synchronized signal that arrives at your ears all at once. EV refers to this technology as SST (Signal Synchronized Transducers), and it helps to create a sound that’s very tight and dynamically balanced.

The Tour X Series features a range of cabs and floor monitors suitable for everything from performances at the corner club to concert hall-sized gigs. The Tour X family includes the TX1122 (12" two-way), TX1152 (15" two-way), TX1181 (18" sub), TX2152 (dual 15" two-way), TX2181 (dual 18" sub), TX1122FM (12" dedicated monitor), and TX1152FM (15" dedicated monitor). The PA cabs are excellent for either main or side-fill monitor use. Each model in the Tour X line features a distinctive aesthetic form backed up by Electro-Voice’s proven functionality and road-tough durability.

The sound speaks for itself

Electro-Voice has proven itself time and time again to be up to the increasingly complex demands of concert touring acts. With Tour X, EV has demonstrated that sometimes the best answer to complex problems lies in a simple response. The Tour X cabinets and monitors leave off the bells and whistles you don’t really need and focus squarely on reproducing sound in great detail and depth. You could spend a whole lot more on PA gear and fall miles short of the Tour X’s impressive sound.

Features & Specs

• All-new ultralow-distortion 500W continuous rated SMX woofers
• Road-tested DH3 and ND2 compression drivers
• Unique Backbone grille design for superior strength and distinct aesthetics
• Passive crossover designs with up to 36dB per octave slopes
• Super-comfortable, ultrasonically welded handles that are air and watertight
• Dedicated vertical wedge monitors with patent pending SST Technology
• 3/8" threaded suspension points (on top boxes) for simple installations

Let Electro-Voice’s celebrated Tour X cabs and monitors project YOUR “electronic voice.” Order them today, your audience will thank you!

I was going to start this review with a clever comment about being able to use the XLS 5000 as an anchor to stop your equipment truck on the highway if the brakes fail, and then have it go on to perform flawlessly for the rest of the tour. I decided against that, however, because the XLS 5000 is a serious bit of kit, and as such, shouldn’t be taken lightly. Then again, considering that it’s built like an M1 army tank and weighs in at 62 pounds, being taken lightly is somewhat unlikely. This amp is for serious folk. Actually, it’s best for touring rock bands playing the larger venues or fixed installation. But don’t rule yourself out of owning Crown power if your needs are lesser. There are four other models in the affordable XLS series including the 300W XLS 202, 450W XLS 402, 600W XLS 602, and 800W XLS 802.

Don’t let the affordability of the XLS series fool you. These aren’t your basic no-frills power amps. There are plenty of advanced features to be found under the hood, but first, let’s start with the front panel.

The face of power

Amid generous cooling vents on the front panel, you’ll find two precision-detented volume controls for accurate setting and recall. If you’re new to the power amp game, the ability to recall settings is a big deal, should wandering hands mess with your XLS. (It happens in clubs more than you think.) I used to record a television show filmed in a real comedy club, and every week, I’d have to readjust the power amp settings. Luckily, this club had two Crown power amps (for front and rear house speakers), so going back to my original settings was easy (just count the clicks). Other front-panel inhabitants include an on/off switch with a blue power LED; two red LEDs (one for each channel) that light up when the amplifier is in protect mode; two green LEDs that tell you when signal is present in either channel; and two red LED clip-indicators that caution you when a channel’s output is being overdriven.

On the rear panel are two electronically balanced XLR inputs, touch-proof five-way binding posts, and Speakon output connectors. The top Speakon connector is wired for both channels so it can be used for bridged-mono wiring or for stereo wiring of two speakers to a single Speakon connector. It’s important to mention that the XLS 5000 is set up for 20-amp operation, so you’ll need to plan your AC receptacles accordingly.

A quiet power and authority

As with people, when it comes to power amps, it’s watts inside that counts. And the XLS 5000 cranks out an amazing 1800 watts per channel in four-ohm stereo mode and a staggering 5000 watts in four-ohm bridged-mono mode, which pretty much outstrips anything in its class. And with so much power comes the responsibility of keeping it cool and under control. That’s where you’ll find the advanced features Crown is famous for, including front-to-rear forced-air cooling and extensive protection and diagnostics capabilities, including output current limiting, DC protection, circuit breaker, and thermal protection circuits.

Jack bent down and cranked up his Crown

You’re probably wondering how one would go about testing a power amp for a hands-on review; I plugged it in, connected the speakers, turned it on, and what do you know—power. Then, to test reliability, I waited 10 years to see if it was still working. Luckily for me, I have a friend who handles tour sound for a national act that’s getting ready to go on the road. While the band prefers to rehearse in the studio they built, my friend forces them to have at least one rehearsal in a local outdoor arena to set up his mixes under more realistic circumstances. I asked him if he wouldn’t mind swapping out one of his power amps for the XLS 5000 for a quickie road test with his JBL VRX line arrays. He’s been using Crown for years, and in fact, powers his system with 24 Crown Macro-Tech I series MA5000i power amps. After a bit of heavy lifting (mostly on my part), we ran the XLS 5000 in stereo mode, where it pumped out 1800 watts of crystalline sound, and in four-ohm bridged mono to sample how its 5000 watts pumped stage-rattling bass through the subs. I was pretty impressed with the sound (Crown and JBL VRX make a killer combination), but my friend, a veteran of touring with the big boys for over 20 years said simply, "Yup, that’s what Crowns do."

To put the test in terms that make sense for a band with a smaller setup, in four-ohm stereo mode, the XLS 5000 powered four JBL MRX515s without breaking a sweat, and still had plenty of power left over to handle a monitor system. (Great news if you don’t want to pop for a dedicated monitor amp.)

King me!

Crown has always been an easy sell. Every band coming up since the ’60s has wanted Crown powering their PA system, the only question was whether they could afford one. Crown’s XLS series has answered that question with a resounding "yes." The only thing I can do is to tell you whom the XLS 5000 is for. Here’s my take: If you’re a band that tours with its own equipment and plays the mid-size to larger venues, select an XLS 5000. If you’re starting your own live sound reinforcement company and want a sound system that could compete with the pros but don’t have the big budget (Crown XLS combined with JBL VRX, MRX, or SRX will give you an economical yet highly professional solution), again, it’s the XLS 5000. If you’re a DJ who wants to be able to move people on the dance floor like those old hockey games where the board vibrated and the pieces moved by themselves, the XLS 5000 or other members of the XLS series, depending on your power needs, are a no-brainer.

Features & Specs

• 1100W per channel at 8 ohms
• 1800W per channel at 4 ohms
• 3600W at 8 ohms bridged
• 5000W per channel at 4 ohms bridged
• Precision detented level controls
• Extensive protection and diagnostic capabilities
• Output current limiting
• DC protection
• Circuit breaker
• Thermal protection circuit
• Electronically balanced XLR inputs
• 4-pole Speakon connector
• Touch-free 5-way binding posts
• 6 LEDs indicate signal, clip, and fault
• Forced-air fan prevents excessive heat
• Power switch, power LED
• 3-year, no-fault, fully transferable warranty

Crown sound and reliability made affordable? What could be better? Order your XLS 5000 from Musician’s Friend and get the added benefit of our Lowest Price and Total Satisfaction guarantees.

Normally when I write a hands-on review, I try to come up with some clever and engaging introduction. With Acoustimax, I think it’s more clever to simply come to the point, since there’s a lot to talk about and limited space to do so. Just as the name implies, Acoustimax is a preamp designed to help you make the very most of the sound of your acoustic-electric guitar—and the name BBE is synonymous with getting the most out of sound.

Accoutrements to the max

Looking at the Acoustimax, it’s pretty clear that its design is born of real-world studio and stage experience, and is equally suited to both. The ground-lift and phase-reverse switches alone are indicators, but so are the -12dB pad and the Pre/Post switch that lets you bypass the master volume control. (More about that later.)

As long as we’re talking about back-panel residents, you’ll also find a dedicated 1/4" tuner output, 1/4" line out, and 1/4" TRS EFX loop (you’ll need a TRS-TS/TS cable for EFX). There’s also a balanced XLR DI out, which is where the Pre/Post switch comes in. When using the DI out, “Pre” lets you bypass the main volume control and “Post” lets you use master volume as a level controller if your output signal is too hot. The pad also can be used to tame hot signals from the DI output.

On the top panel, starting from left to right, there’s Gain, EQ with high- and low-shelving and sweepable mids, a notch filter with -12dB cut from 70-250Hz (to prevent feedback), BBE’s Sonic Maximizer with Process and Lo Contour controls, a master volume control, and two LED clip indicators for input and output overload. The Acoustimax also has a 1/4" TS input on the right side panel and a 1/4" TS output on the left, so it can sit nicely in your pedal array. Footswitches include mute (which really came in handy during my tests) and on/off for the Sonic Maximizer.

Maxing it out

I first tested sound quality, putting it up against three other preamps ranging in price from $650 to $2,250. Did the BBE hold its own? Yes. It didn’t sound better than the boutique pre, but considering the under-$200 price tag, coming in second behind a $2,000 preamp and ahead of a $1,000 one is pretty impressive. Of course, what really put it over the top was the Sonic Maximizer. You can’t get that out of any pre except this one. I also used another of my personal analog favorites with the Acoustimax, a BBE Mind Bender chorus/vibrato pedal in the EFX loop, which gave me a beautiful, larger-than-life sound that was further enhanced by a shimmering high register, courtesy of the built-in Sonic Maximizer.

Mixing to the Max

Since the Acoustimax has three outputs, I was curious if you could send signal simultaneously out of all three. Short answer—you can. If you’re a solo acoustic player that wants to fill the club with sound, you can send signal to two amps onstage plus the house PA system. The balanced DI allows long cable runs without noise or signal degradation, and the ground-lift switch should solve any noise or hums from ground loops.

In the studio, I sent the DI into my favorite tube DI, the line out to the aforementioned boutique preamp, and the normal output direct into my audio interface. Using the phase switch to make sure that all three systems were in phase, I recorded the three inputs to one track. Did I get a 10' acoustic guitar? Oh yeah. Now imagine that accompanying a singer-guitarist, or double-tracked and blended with heavy distorted guitars for a positively huge chorus.

Speaking of blending the acoustic with distorted guitars, here’s where the Sonic Maximizer comes in handy. Since the acoustic guitar has such a full-bodied sound, which will fight the distorted guitars for space, we need to find ways to make it fit in the mix. Some engineers filter out the low mids of the guitar, often brutally chopping everything below 350Hz, where the body of the guitar lives. By itself, the guitar sounds awful; however, it does fit better in the mix. Then there’s another way to go. Use an enhancer, which makes more room in a mix than EQ. Enhancers bring out highs without the harshness of EQ; but overused, they can sound awful. The best solution I’ve come across is the AcousticMax’s Sonic Maximizer. The Process control lets you dial in sparkling, phase-aligned highs, and its Lo Contour control can tame those nasty lows without using drastic EQ—perfect for blending an acoustic guitar in a busy mix.

Side note: If you’re not convinced that the Maximizer is, in fact, a secret weapon of platinum producers, I recently sat in on a session run by a producer with 80 million albums sold. (Sorry I can’t mention names.) He had at least $20K worth of gear on his stereo bus, but sitting in the chain, right between a classic EMI EQ used at Abbey Road and another “legendary” EQ (whose name is also three initials, starting with A and ending with PI), sat the BBE Sonic Maximizer. We listened to the mix with the unit bypassed and engaged. The difference was astounding.

Max is, well . . . smart

The Acoustimax represents a great leap forward in amplifying the acoustic-electric guitar. Whether you want your acoustic to sit perfectly in a mix or take center stage with authority, the Acoustimax gives you all the tools to make it happen. I’d say the Sonic Maximizer alone is worth the price of admission, but perhaps the most important reason to own an Acoustimax is to get back the sound quality lost by running acoustic guitars through PA systems and amps. A fingerstyle soloist shouldn’t even consider going onstage without one. And its value as a creative recording tool is also quite clear. In fact, “quite clear” is what your acoustic-electric should be—and will be, with an Acoustimax taking point in your signal chain. Beyond that, it can take an ordinary acoustic sound and make it extraordinary.

Features & Specs

• Built-in Sonic Maximizer
• 3-band EQ with sweepable-mids, LF notch filter
• Phase reversal
• Ground lift
• Line level out
• Dedicated tuner out
• TRS effects loop
• Pre/post switchable DI output with -12dB pad
• Hardwire bypass
• Non-slip rubber bottom
• 12V power supply
• Frequency Response: 50Hz-20kHz
• Treble: ±12dB @ 10kHz
• Mid: ±12dB @ 400Hz-2.5kHz
• Bass: ±12dB @ 60Hz
• Notch: 0 to -12dB @ 70Hz-250kHz

Once you hear what the Acoustimax can do for your guitar, you won’t want to play another note without it. Order yours from Musician's Friend and get the benefit of our 45-Day Double Satisfaction and Lowest Price guarantees.

Finally, a DAW front end from T.C.—now my Finalizer can go back to the end of my recording chain on the stereo bus where it was originally intended. You see, a few years ago I bought the T.C. Electronic Finalizer Plus for mastering, but discovered that its converters sounded better than the dedicated ones I had unfortunately purchased for my DAW front end. So, rather than sitting on the stereo master bus, it’s been the front end of my DAW. Now with T.C.’s Konnekt series of audio interfaces, I can have T.C. sound quality at both ends of my signal chain. So can you.

On your 6

Because T.C. makes gear used at the highest levels of the music and film industry, you’re going to find professional touches in their budget-priced, 24-bit/192kHz FireWire Konnekt 6 that you won’t find in most units built for home recording. For example, the Dim switch, which brings down the level of the mains (adjustable via software), is handy for monitoring at low levels or talkback with an artist. Even its metering is more than the usual eye-candy you find on other interfaces. A high-resolution, 12-segment LED meter, it can operate in three modes: input, output, and mastering. It also enables you to set hold time and fall time. Plus, within easy reach, you have a big volume knob with LED level indicators. You’ll really appreciate this one (as will your neighbors) if you’ve ever accidentally blasted unmuted signals through powered monitors.

Another issue that T.C. has admirably addressed, which has proved to be annoying on other interfaces, is the software control panel that provides channel faders, sends, metering, panning, reverb controls, and more. The 6 has a hardware button that hides or brings up the panel, so you can make your adjustments without having to play whack-a-mole with host software edit and mix windows.

Pro sound quality is courtesy of T.C.’s highly respected IMPACT preamp, which offers crystal-clear, transparent, and spacious sound. And phantom power lets you use a high-quality condenser mic. Don’t get me wrong, just because a preamp has phantom power doesn’t mean that you can use any professional mic. For example, I’ve heard people complain that their Shure SM7 (which Bruce Swedien used for vocals on Michael Jackson’s Thriller) couldn’t be heard through their desktop interfaces. That’s to be expected. The SM7 is a low-sensitivity dynamic mic that puts out a very low voltage (phantom power isn’t going to help you here). The type of preamp you find in most desktop interfaces simply won’t have enough muscle to do the required lifting. That’s where the 6’s 12dB boost switch comes in, so no mic is off-limits.

Yet another pro bonus is the collection of M40 Studio reverbs. You can use them for a vocal cue mix without printing to disk, or as VST/AU compatible plug-ins for mixing. Keep in mind that T.C.’s reverb algorithms are among the very best, and the reverb found on the Konnekt 6 sounds like high-end hardware reverbs. I tell you that from first-hand experience. I’ve worked in studios that use T.C. gear and I know what it sounds like.

T.C. has also done considerable thinking outside the box. For example, what happens when you outgrow your 6 and need more I/O? Rather than taking a hit on your present interface, T.C. NEAR compatibility lets the 6 work with any other Konnekt series interface. So, you really are adding I/O and not trading off, since T.C. doesn’t cut corners on their preamps and conversion. In fact, the 6 includes the same digital clocking and jitter elimination as their industry-benchmark M 6000 hardware processors.

The right Konnektions

The Konnekt 6 is arranged like a mini mixer/master section of a console. On the rear panel, you have one XLR input and two 1/4" inputs that can function as separate instrument DIs or as a stereo pair. There are also balanced 1/4" stereo outputs. On its rather attractive top panel (okay, not as hot as Cylon Number 6, but attractive nonetheless), you have hands-on control of input gain, reverb level, input monitoring, and three scene buttons, that are of particular interest. Scene 1 selects the mic and an instrument input, Scene 2 selects dual instruments and handles them as individual signals, with separate gain controls. This scene is particularly useful if you want to record guitar and bass simultaneously. And finally, Scene 3 is good for a stereo signal, such as a keyboard. The beauty of this setup is that you don’t have to change instrument routing. You can leave your microphone and instruments connected to the three recording inputs and select among them using the scene buttons.

Normally, I have fear and loathing when it comes to installing software on my computer, especially when it fills my hard drive with useless stuff. Installing the software for the Konnekt 6 was as simple and painless as could be. In fact, during the installation, the professional thinking inherent in the 6 becomes apparent. Rather than loading your hard drive with software for units you won’t be using, the Konnekt’s installation window tells you what is mandatory and lets you select only the Konnekt model you have.

Once set up, I found that Logic Pro had no problem finding the 6. However, I felt that it integrated better with the included Cubase LE software. In fact, having used all the major DAWs professionally, I’ve settled on Cubase 4 as my main platform. That said, the sound quality of the 6 was undeniably stellar. The available controls certainly streamlined the recording process, particularly the panel switch and scene buttons. (If T.C. decides to make a pro-level control surface-interface, they can put me down for one right now.)

I want to 6 you up

If you want top-quality sound but don’t want to pay for inputs you’ll never use, the Konnekt 6 is your answer. Plus, it incorporates features and functionality that has quite frankly been missing from much more expensive interfaces. More to the point, T.C.’s converters are among the best out there, and anytime you can have T.C. as your DAW front end, I suggest you do so. The addition of T.C.’s studio-quality reverbs is certainly icing on the cake (and we’re talking the really good icing, not that buttery-flavored stuff), but even more appealing is the ease with which you can get around on this unit, and how much functionality they’ve packed into its tiny and very attractive form. Think about it: a budget-priced interface with pro features and sound born of world-class studio technology—how can you go wrong with that? Short answer: You can’t.

Features & Specs

• Big volume control knob
• High-resolution meter
• Tracking reverb level control
• Direct monitor control with input/DAW control
• DIM switch for convenient speaker dimming
• Instant scene recall
• IMPACT mic preamp with 48V phantom power
• 24-bit/192kHz sampling rate
• Balanced stereo outputs
• True Hi-Z guitar inputs from T.C.’s high-end guitar processors
• Headphone out with separate level control and source
• Studio-quality reverb
• Reverb available for monitoring or mixing as VST or AU-compatible plug-in
• Hall, Room, and Plate algorithms
• T.C. NEAR compatible: works with all other Konnekt products
• FireWire 1394, bus powered
• DICE digital interface chip
• JetPLL jitter-elimination technology
• Low-latency drivers for Mac and PC, WDM, ASIO, and CoreAudio
• Cubase LE4 included