Musik Indonesia

Penganugerahan Reform Award yang salah satunya diberikan kepada grup musik Slank, merupakan bentuk pengakuan masyarakat pada grup musik itu atas eksistensinya selama ini. Hal ini setidaknya yang tergambar dari Bimbim, ketika dimintai komentarnya.

"Ini artinya kesuksesan, karena suara kita didengar semua orang, dengan begitu kita tidak merasa percuma, selama ini bikin lagu," terang Bimbim, yang juga drummer Slank itu.

Slank bersama sejumlah tokoh mendapat anugerah Reform Award dari Badan Eksekutif Mahasiswa (BEM) se-Jabotabek atas perannya ikut terlibat mensosialisasikan penghapusan korupsi di Indonesia.

Bimbim yang ditemui usai acara penganugerahan di Jakarta Media Center, Jl. Kebon Sirih Raya, Jakarta Pusat, Kamis (8/1) itu, mengungkapkan keinginannya untuk mengubah pola pikir masyarakat terhadap korupsi, yang selama ini sudah mengakar. Khususnya kepada kawula muda, yang bakal meneruskan perjalanan bangsa ini.

"Kita mau mengubah mainset kepada generasi di bawahnya Slank, agar mereka itu anti korupsi, cinta sama lingkungan hidup, ya pokoknya yang bersifat positif lah, karena kita punya prinsip kalau yang tua-tua dikasih tahu susah, dan kita takut kualat," terang Bimbim, yang bersama Slank nyaris dituntut oleh Badan Kehormatan DPR, karena syair kritisnya itu.

Mungkin tak ada yang menyangka bahwa gitaris Rage Against The Machine Tom Morello ternyata punya hubungan spesial dengan kuda nila. Ia dikabarkan telah mengadopsi seekor kuda nil bernama Hansel di Kebun Binatang Brookfield di Chicago.

Gitaris yang sempat bergabung dengan grup Audioslave ini memang punya 'hubungan spesial' dengan kuda nil ini. Tom bahkan menyimpan foto dari Hansel untuk sekedar mengingatkannya pada binatang yang telah diadopsinya selama 35 tahun ini.

"Aku menyumbangkan US$5 per tahun untuk mengadopsi kuda nil ini... dan 35 tahun kemudian, aku kembali ke kebun binatang itu dan ternyata kuda nil itu masih ada di sana." papar gitaris yang juga menjadi aktivis politik ini. Dan selama delapan tahun terakhir, Tom secara rutin mengunjungi kuda nil ini.

Gitaris yang sempat bergabung dengan grup Audioslave ini memang punya 'hubungan spesial' dengan kuda nil ini. Tom bahkan menyimpan foto dari Hansel untuk sekedar mengingatkannya pada binatang yang telah diadopsinya selama 35 tahun ini.

"Aku menyumbangkan US$5 per tahun untuk mengadopsi kuda nil ini... dan 35 tahun kemudian, aku kembali ke kebun binatang itu dan ternyata kuda nil itu masih ada di sana." papar gitaris yang juga menjadi aktivis politik ini. Dan selama delapan tahun terakhir, Tom secara rutin mengunjungi kuda nil ini.

Is it possible to unite the virtual analogue modular with the real thing?
I tried it out and the short answer is: Yes!
To get a longer answer, keep reading

I did a lot of modular patching in the early 80ies, mainly on Buchla and Roland 100 systems, with old school tape loops and 4-channel tape recorders. I quit the whole thing after some years, but started again in the late 90ies with the virtual alternative: The Clavia Nord Modular. When the Clavia G2 virtual modular hit the market some years ago I started an intense period of patching.

I consider myself a semi pro in the music area. I have produced a lot of music for a series of scientific documentaries for Swedish Television. My musical interest goes from soundscapes and noodles to electronica jazz and dance music. But it has in common that I use a lot of monophonic voices I a rhythmic texture, rather than chord progressions and complex melodic and harmonic structures.

But using the G2, with Korg Electribe as rhythmical backup, I missed something. The creation and modification of gates and control voltages is great in the Clavia G2 but the filter didn’t have that magnificent “omph” or sharp self-oscillation. I also felt that the digital emulations of VCO´s lacked personality and bite. And with some experience, it was too easy to predict what different modules did to each other.

Concerning complex gate and CV structures, the Clavia system is unlimited, and a magnificent tool. But sonicly, I felt I was hitting the ceiling. Maybe a more talented patcher then I would pass that barrier, but I didn’t.

So I decided to try to combine the Clavia G2 with a real analogue to get a combined virtual/real modular. It was a fun, but expensive trip to boutique electronic devices.

The Clavia G2 has a lot of midi in and out modules. The Doepfer MCV 24 midi-CV converter seemed to be the right tool. It can deliver 12 channels of CV and gate signals, or 24 channels of CV to use at any purpose.

And to choose Doepfer for the modular was a simple choice. Vintage modulars are rare, and all the other contemporary modular synths are more expensive, or DIY kit for a more experienced synth builder than me. There are competitors, like Blacet and Analogue Solutions. But AS was a bit higher priced, and had fever (but more versatile) modules for sale. Blacet has no agent in Sweden, and also has a limited number of modules.

The first thing was to plan the system. I don’t know how many sketches I made, and all seemed to suffer from compromises.

One good thing with the Clavia G2 is the high number of modules available. In complex patches and performances (several patches that are connected internally), it is possible to use maybe 30 or more of VCOs, and dozens of S/Hs filters and so on. But as I didn’t has unlimited funding, I had to reduce my demand.

My first plan was simple: One 3 HU rack of VCOs, one for VCFs, one rack for VCAs and one for Envelope Generators and LFOs. Besides that, I ordered a 6 HU rack with CV-processing modules. After have used the system for some time, I bought some more modules, and ended up with a fairly big system. It´s main components are:8 VCOs, 8 different VCFs, 9 VCAs and 10 Envelope Generators. Together it is just over 70 modules, including some from Analogue Systems that I bought second hand. It is now about the size of 4 x 6 HU racks and 1 x 3 HU rack.

From the beginning, it was things that I underestimated: The need for full quality VCAs (the Doepfer has “low cost vcas” that are best for CV processing) and multiple jacks, as well as the never ending need for more cables. But after completing with some more VCAs, multiples and VCOs, I think it is pretty balanced now. Or, at least, it has to be, my synth funding are reaching its limit.

I have put a lot of money in this project, but lesser than people spend on a motorcycle or a boat. But to me, it is worth it. I hope I will use it and be happy with it for the rest of my life. Software gets outdated, but real hardware just get old. And the Doepfer modules have that sonic power and organic life I wanted, and it surprises me all the time. To use the sequencers, random generators and note scaling modules of the G2 is an intuitive and quick way of creating musical structures that can be realized in the Doepfer. Combining patching on the computer screen and in real life on the same time was also easier then I thought. In fact, it is as intuitive as working with the G2 or the real analogue itself.

The same midi out that feed the 12 channels of CV and gate in the Doepfer MCV24 interface can also control other gear. So I use my older Clavia Nord Modular and Micro Modular as six extra VCOs, as well as an old sampler and a Roland XV 2020 sound module. The possibilities of sound creation become very big.

I could have built the system simply on sound modules, just to get the true analogue sound, but wanted to have some analogue CV processing in the modular also. I had the feeling that it would limit the creativity to use the Clavia G2 for all CV processing. And as and old Buchla fan I could not resist the Doepfer A-149, a clone of the Buchla “Source of Uncertainty”, a module a use a lot.

Of the total rack space, about 40 percent is for creating or processing of CV and gate signals. For making a cheaper system, I could have avoided those modules. But I use them frequently, especially for patterns and rhythmic structures. and don’t want to be without them.

I also have some low budget solutions. I have three different reverb springs that I connect to the Spring Reverb module, and gives totally different sound. One is the original, the second is a long Accutronics spring, “The Hammond-reverb” and one is a folded single spring I picked from an old Traynor mixer. And I frequently use an ordinary radio as source for noise or random sounds.

There are modules that I don’t really use at all. For example A-192, the CV-MIDI converter was a part of my concept, to send sound as well as MIDI/CV in both directions between the virtual and real analogue. But the need has been limited. Of course, it can be fun to use Theremin antennas or a joystick to create hands on midi signals, but it make no real use of it. I had found that module for sale now and then, so I guess I am not the only one that have overestimated the need of that module

Another surprise was the high volume of a filter in feedback. The Doepfer filters are unpredictable in a nice way, but in the same time, they can distort many inputs. To import the analogue sounds into the Clavia G2 is not always easy. The 5 V peak to peak that are an internal level in the Doepfer is too wild for the G2. The levels can be attenuated, but that eats valuable mixers or VCAs.

There are other things that are different in the real world. In virtual patches, I am used to have a flow of CV from a sequencer or random source, and use several S/H to pick up CVs at different timing from that source. A disappointment was that it doesn’t work on the Doepfer. There is a loss in voltage currency in the S/H, and the VCO get out of tune. The solution was to put more of the CV processing in the Clavia machine, but it shows how some of the patching process of the G2 not can be converted to the Doepfer universe.

But the main reason to be happy is the mighty filters, VCOs and sound processors of the Doepfer. They can create really fat sounds that are unmistakable analogue, and has life and power. Among my favourite modules are the A-107 Multitype Morphing Filter, the A-101-2 Vactrol Lowpass Filter and the A-101-3 Modular 12 stage Vactrol Phaser.

Patching in G2 and the Doepfer is equal in some aspects. The time consumption for example, it takes me normally one day or two long evenings to create a patch, no matter if it is virtual analogue, real analogue or a mix of booth.

When used together, the G2 sounds like the weak little brother of a bold warrior, the sonic difference become obvious. But they can do different things in the overall soundscape, and the fatness of the Doepfer makes it impossible to add unlimited number of voices of the same strength. So the relative weakness of the G2 doesn´t has to be a disadvantage, and it is sharp enough do bite through the analogue mist.

I normally use the Doepfer for lead, rhythmic parts and for FX. For the bass, I use the Doepfer, or and old analogue Roland SH 09. Sometimes use the G2 as a sketch book: I make the melodic structure, and use a simple vco/envelope just to get it right. Then I change it to a midi out module, and form the sound it the real analogue.

The G2 is mainly a CV and gate generator, and the emulated CVs are stable and reliable. I also do FM and PM sound on the G2, and some polyphonic chord structures, and use it as a FX unit with delay, chorus and such things.

To me, a G2 or rack version, G2 Engine, is the perfect partner to any analogue modular. With the versatile MCV24 it can be the brain to the muscles of real analogue modular. It can also be used for supporting patches, like virtual VCO banks or patches to simplify tuning of the Doepfer.

To get the same possibilities of voices and audio treatment in hardware that the virtual world of G2 offers is extremely expensive. Happily, the fatness of the Doepfer fills the soundscape pretty well. I have no need for more voices than the seven to eleven ( or something like that, depending on configuration) that I get right now. Around four or five different voices from the Doepfer is about the limit in the kind of music I make, otherwise the analogue sounds flood the whole sound spectra.

It is true, that a special sound or a complex structure in real analogue is very hard to recreate. I fact, when fully patched, it is hard to even know what sounds come from each VCA… But to me the patching process now is more like an event. The patching in the G2 can be preserved, but the rest is more like realizing the project. When finished, I record it, and then the moment is over.

Not as reliable and stable as the virtual modular, but a great fun. The only real downside of the real analogue business is the fact that there always some more modules to long for. It is make it a habit, and I am already looking at the stuff from Metasonix: Real vacuum tube synth modules that can make exotic noise…

The Rat Studio Modular System:

VCO Bank

5 x A-110 VCO
2 x A-111 H-VCO
1 x A- 117 Digital Noise/808Sounds
1 x A-118 Noise/Random
1 x RS 95 VCO
1 x A-112 Sampler
1 x A-114 Ring Modulator
1 x A-138 Mixer

VCF Bank

1 x A-101-2 Low Pass Gate
1 x A-107 Morphing Filter
1 x A-108 VC-LPF slopes 6/12/18/24 dB
1 x A-127 VC Resonance Filter
1 x A-121 Mulimode Filter
1 x A-124 Wasp Filter
1 x RS 110 Multimode filter

VCA Bank

4 x A-131 VCA
2 x A-132 Dual Low Cost VCA
1 x A-135 VC Mixer
1 x A 144 Morph Controller
1 x A-180 Multiple
1 x RS 100 VCA
1 x A-138 Mixer

ENV Bank

1 x A-143-1 Complex Envelope Generator
1 x A-143-2 Quad Envelope Generator
1 x A-142 VC Decay/Gate
1 x RS 60 VC Envelope
1 x A-143-3 Quad LFO
1 x A-147 VC LFO
1 x RS 80 VC LFO
1 x A-119 Extern in/Envelope follower

Treatment Bank

1 x A-136 Distortion/Waveshaper
1 x A-196 Phase Locked Loop
1 x A-101-3 Modular 12 stage Vactrol Phaser
1 x A-126 VC Frequency Shifter
1 x A-199 Spring Reverb
1 x A-138 Mixer
1 x A-163 VC Frequency Divider
1 x RS 210 Fixed Filter Module
1 x A-115 Audio Divider

CV Bank

2 x A-178 Theremine CV Source
3 x A-180 Multiple
2 x A-148 Dual S/H
1 x A-174 Joy Stick
1 x A-175 Dual Voltage Inverter
1 x A-172 Maximum/Minimum Selector
1 x A-170 Dual Slew Limiter
1 x A-166 Dual Logic Module
1 x A-162 Dual Trigger Delay
1 x A-160 Clock Divider
1 x A-161 Clock Sequencer
1 x A-156 Dual Quantizer
1 x A-155 Analogue/Trigger Sequencer
1 x A-150 Dual VC Switch
1 x A-151 Quad Sequential Switch
1 x A-149-1 Stored Random Voltages
1 x A-149-2 Digital Random Voltage
1 x A-138 Polarizing Mixer
1 x MAQ 16/3 Sequencer

Interface

1 x Doepfer MCV24 MIDI/CV
1 x A-192 CV/MIDI

Friday, 06 March 2009

Saturday, 07 March 2009
Sunday, 08 March 2009

Jakarta Convention Center, Senayan, Jakarta

*Ticket Prices:**

Early Birds (Available until 8 Feb 2009):
Daily Pass: Rp. 250.000
3-day Pass: Rp. 600.000

Normal Price (Start 9 Feb 2009):
Daily Pass: Rp. 350.000
3-day Pass: Rp. 850.000

*Special shows will announce later
**There's no refundable ticket

Artists Final Confirmation:
Bobby Lyle, Boney James, Brian McKnight, Chieli Minucci & Special EFX, Chuck Loeb, Dave Weckl, David Garfield, Dianne Reeves, Eliane Elias, Everette Harp, Isao Suzuki,
Ivan Lins, Jason Mraz, Jeff Lorber, Kamal Musallam, Ledisi,
Matt Bianco, Michael Paulo, Mike Stern, Oleta Adams, Peabo Bryson, Ron King Big Band, Roy Ayers, Royce Campbell, Simon Phillips, Soil & "Pimp" Sessions, Steve Oliver,
Swing Out Sister, The New York Voices, Toku

Wish List:
Alan Hewitt, Brian Bromberg, Claudia Acuna, Ed Motta, Kirk Whalum, Musiq Soulchild,Reggie Hamilton

Senin, 09 March 2009
Tennis Out Door, Senayan, Jakarta
20:00 WIB

Lamb Of God terbentuk pada 1990 melalui keisengan Mark Morton, Chris Adler,dan John Campbell dalam mengisi waktu luang semasa kuliah di Virginia ommonwealth University. Setelah lulus, mereka sepakat untuk membangun band ini, dengan anggota baru bernama Randi Blythe sebagai Vokalis dengan merilis demo pertama pada 1995, hingga lahirlah ”The New Wave of American Heavy Metal”.

Album pertama Lamb Of God "New American Gospel" dan diikuti "As The Palaces burns" laris di minggu pertama sejak dirilis bahkan menempati posisi chart Billboard selama beberapa pekan.

Apalagi setelah dirilisnya album "Ashes the Wake" semakin mengangkat Lamb of God di scene musik metal dunia. Setelah itu masih ada album-album lainnya yang membawa Lamb Of God semakin mendunia.

Makanya, biar tak ketinggalan, segera saja beli tiketnya di sini!

Tiket :
Tribun : Rp 360.000 (samping & tengah)
Festival : Rp 390.000

After months of fan speculation bolstered by an October 2008 performance at the Change Rocks concert/rally for Barack Obama in State College, PA, and three recent viral internet videos with band interviews and performance footage, the DEAD have officially announced tour dates for 2009. This marks their first trek since 2004’s Wave That Flag tour.

Kicking off April 12 in Greensboro, NC, and wrapping May 10 near San Francisco, the tour will encompass 19 shows--all to be performed as "An Evening With"--in 16 cities. Pre-sale tickets go on sale Tuesday, January 13, and nationwide beginning Friday, January 23. All the concerts are set for indoor arenas except for the final show at Shoreline Amphitheatre in Mountain View, CA.

Original Dead members Bob Weir, Phil Lesh, Bill Kreutzmann and Mickey Hart will be joined by keyboardist Jeff Chimenti and Allman Brothers Band/Gov't Mule guitarist Warren Haynes, both of whom played with the band at the Change Rocks concert. The group first formed with lead guitarist Jerry Garcia as the Grateful Dead in 1965 and are legendary for their live performances. The Grammy-winning Rock & Roll Hall of Fame group always toured relentlessly, allowing their Dead Head fans to tape and trade their exploratory, free-flowing concerts.

"We've got some unfinished business," says guitarist/singer Bob Weir. "Everybody has a whole new bag of tricks; we have the body of material we worked up over the years and we have a mind meld going on here and it would be a sin to let that just wither and die." Drummer Mickey Hart adds, "A mind meld is a terrible thing to waste." Bassist Phil Lesh says, "For me, it's the question mark that's really pulling me in...what's gonna happen? When you walk out on the stage the possibilities are infinite every time. The musical possibilities are infinite: there is no end to it, there's no back wall and there's no ceiling, there's no floor. It's infinite and therefore you can still explore it till the day that you die." Drummer Bill Kreutzmann says, "I get goose bumps just thinking about the possibilities."

Seeds of the idea of touring again were first planted in February of this year when Hart, Lesh and Weir played a“Dead Heads for Obama show at the Warfield in their native San Francisco, and last year Weir, Kreutzmann and Hart performed at a post-inauguration for Speaker of the House Nancy Pelosi.

Always sonic and technological adventurers, the Grateful Dead formed in San Francisco's electric Haight-Ashbury neighborhood in the mid-'60s, combining their love of bluegrass, country, electric rock and jazz to create one of the most iconic repertoires in rock music. By touring continuously and never relying on radio hits or latest trends, the Dead and Dead Heads created an unparalleled bond. Fans were turned on to the group by live bootlegs and word of mouth, with many following the band on the road for whole tours.

For more information, go to Dead.net or Dead.net/Dead09

Tour Dates:

Sun 4/12 Greensboro, NC Greensboro Coliseum
Tue 4/14 Washington, DC Verizon Center
Wed 4/15 Charlottesville, VA John Paul Jones Arena
Fri 4/17 Albany, NY Times Union Center
Sat 4/18 Worcester, MA DCU Center
Sun 4/19 Worcester, MA DCU Center
Tue 4/21 Buffalo, NY HSBC Arena
Wed 4/22 Wilkes-Barre, PA Wachovia Arena @ Casey Plaza
Fri 4/24 Uniondale, NY Nassau Coliseum
Sat 4/25 New York, NY Madison Square Garden
Sun 4/26 Hartford, CT XL Center
Tue 4/28 E. Rutherford, NJ IZOD Center
Wed 4/29 E. Rutherford, NJ IZOD Center
Fri 5/1 Philadelphia, PA Wachovia Spectrum
Sat 5/2 Philadelphia, PA Wachovia Spectrum
Tue 5/5 Chicago, IL All State Arena
Thu 5/7 Denver, CO Pepsi Center
Sat 5/9 Los Angeles, CA The Forum
Sun 5/10 Mountain View, CA Shoreline Amphitheater

If you're feeling lazy, let me save you some reading: The Eventide ModFactor is among the best-sounding modulation-based stomp boxes I’ve ever tested. It’s also easily the most versatile modulation pedal I’ve used. I say this upfront because, with its roots in the professional studio world, the ModFactor may seem intimidating to guitarists that are more comfortable with bread-and-butter, three-knob stomp boxes. And while it is certainly more intricate than your average chorus or phaser pedal, the ModFactor is far from difficult to use, and it rewards with a sonic payoff unlike any other modulation pedal I know of.

FEATURES

Now that you know it sounds good, let’s take a look at its impressive feature set. The ModFactor has 10 modulation effects culled from the Eventide rack stable. These include chorus, phaser, Q-Wah (auto-wah), flanger, ModFilter (stereo modulated filtering), rotary (rotating speaker emulation), TremoloPan, vibrato, a complex delay/frequency modulation effect called Undulator, and RingMod (ring modulator).

Each effect can be modified using a bank of 10 control knobs (an 11th knob selects among the effect categories) and the results saved in the location of your choice. The knobs are context sensitive, which is a fancy way of saying that their operation changes depending on the active effect. There are “big-picture” knobs like Intensity/Mix, which controls the blend of affected and dry signal, and Type, which selects the variation of the effects within a particular category—for example, with the phaser, you can choose among Negative, Positive, Feedback and Biphase modes. Unfortunately, for all the ModFactor’s deep functions, you can’t use more than one effect at a time.

The ModFactor uses a pair of low-frequency oscillators (LFOs) to modulate the signal. The primary LFO governs the overall sound in much the same way as a basic stomp-box effect. The secondary LFO modifies the operation of the primary LFO, allowing for very complex sounds.

Three knobs govern the primary LFO: depth, speed and shape, which selects the waveform or pattern of the modulation effect. These are pretty easy to use and should feel familiar to anyone who has used a chorus or flanger pedal. The secondary LFO adds to the complexity of both ModFactor’s tone and the operation. Its controls include D-Mod (which is mated to Depth), S-Mod (mated to Speed), Mod Rate and Mod Source. Using these, you can dial up sounds that range from classic to bizarre.

The X-Knob is sort of a wild card that changes with every effect. With chorus, it controls feedback; with phaser, it controls the number of stages; with rotary, it controls tone, and so on. In addition, there’s a 1/4-inch expression pedal input so you can control parameters in real time.

The front panel has three switches. One activates or bypasses the effect; the second selects between fast and slow modulation times, and the third lets you tap in tempo. (If you want to rack-mount the ModFactor, you can plug a three-button auxiliary footswitch into a 1/4-inch jack on the back and use it to duplicate the functionality of the main switches.) ModFactor also operates in Bank mode, and here, the switches can also be used to select among 40 user presets.

The ModFactor works in stereo or mono with both instrument and line-level signals, so you can use it with a guitar amp or with a mixer. Other connections include USB (for software updates) and a power supply input.

PERFORMANCE

The ModFactor's sheer complexity can be intimidating, so in some ways, ignorance is bliss. Because it has real knobs, you can dial up a sound you like without necessarily knowing what you’re doing. I don’t recommend ignoring the manual, but you don’t have to memorize the details to get great sounds.

And great sound is the ModFactor’s main appeal. The chorus is lush, but it can also deliver subtle depth without reducing clarity. The phaser is rich, creamy and flexible enough to fit a range of styles. The Q-Wah actually sounds like a wah pedal, but you can also use it for some truly strange textures. The flanger can do the “jetengine” thing but also delivers more moderate tones. The other effects are each as good in their own ways.

The ability to tap tempo and select both fast and slow versions of each sound is great for live performance. There are many situations within a song where switching speeds in the middle of a solo, for example, adds drama. The display shows you the tempo in metronome style as well as in beats-per-minute.

THE BOTTOM LINE

I could double the length of this review by detailing all the variations within just one or two presets, and indeed, the sheer number of sonic choices might scare off some players. Suffice to say the ModFactor is the holy grail of modulation pedals. It has the fidelity of rack gear with the soul of a guitar pedal, delivering pro-quality sounds and hands-on control.

One of the most versatile guitars ever made, the Fender Telecaster is a great choice for playing blues, country, classic rock, punk, reggae, jazz…pretty much any style of music—except metal. The traditional Tele, with its twangy single-coil pickups and distinctly curved fretboard radius, may be fine for chicken-pickin’, bluesy bends and jangly roots rock, but trying to conquer the fire and fury of shred with a Tele can be like driving an AMC Pacer in the Daytona 500.

Recently, several hard rock and metal guitarists have helped develop customized versions of the Tele, making it a viable choice for a new generation of players. Fender’s two John5 signature models and the Custom Telecaster HH offer humbucking pickups, a flatter fretboard radius and other features that are geared toward heavy high-gain tones, jackhammer rhythms and precision soloing. But the ultimate Tele for metal players may be the new Jim Root Telecaster, a stripped-down, hot-rodded shred machine that’s built for comfort and speed.

FEATURES

The Jim Root Telecaster may have the same curvy single-cutaway body shape, one-ply pickguard and slim six-on-a-side headstock as the classic version, but the similarities pretty much stop there. The biggest difference is the slab mahogany body, which replaces the Tele’s traditional ash or alder tone woods. Mahogany delivers warmer, darker tone with pronounced midrange that’s better suited to distorted, high-gain sounds than the brighter, snappier tones of alder and ash. The upper bout is contoured Strat-style to make the guitar more comfortable to play, and the neck heel is contoured as well to provide better access to the upper frets.

Instead of wimpy single-coil pickups, the Jim Root Telecaster is equipped with a pair of EMG active humbuckers: a 60 in the neck position and an 81 at the bridge. With its 12-inch radius, flat modern C profile and 22 Dunlop 6100 jumbo frets, the rock-solid maple neck feels more like what you’d find on an Eighties Charvel superstrat. The scale is Fender’s traditional 25 1/2–inch length, which is perfect for maintaining string tension when you slap on heavier strings and tune way down.

Controls are stripped down to a single volume control and a three-position pickup selector switch. The volume control is mounted near the bridge ’bucker, where you can easily reach it to perform volume swells, while the pickup selector is positioned below, just out of the way but still within easy reach, at a Strat-style angle. All the metal hardware, including the locking Schaller Deluxe tuners, strap buttons and the six-saddle stringthrough hardtail bridge, are finished in flat black. Finish options include flat white with a contrasting black pickguard and ebony fretboard, and flat black with a contrasting white pickguard and maple fretboard. The guitar ships in a cool black-and-white tweed case with a blood-red velvet-plush interior.

PERFORMANCE

The EMG humbuckers provide the first clue that this guitar won’t sound like a typical Tele. The EMG-60 in the neck position pumps out fat midrange and sparkling treble that’s like a cross between a P90 and a hot Strat neck pickup, but with the tight, beefy bass that only an active humbucker can deliver. With a clean setting on the amp, the neck pickup sounds punchy and assertive, almost like an ES-335, and when you switch to the distortion channel it begins to sing with thick sustain and excellent definition that solo shredders will love. The EMG-81 bridge humbucker, in conjunction with the mahogany body, delivers bonecrunching rhythm tones, with plenty of satisfying chunk when you palm mute, and its high output will drive even the meekest amp into overdrive.

If you’ve ever found a Tele’s neck too clunky and chunky, the Jim Root Telecaster’s neck will surprise you with its sleek, streamlined feel. The tall-and-wide jumbo frets give the fretboard a scalloped feel, but without that awkward “floating” sensation. The flat, rounded profile of the C-shaped neck provides exceptional comfort for players who often shift from anchoring their thumb on the center of the neck and at the top of the fretboard.

THE BOTTOM LINE

The Jim Root Telecaster combines the best features of several instruments across the ages: the shape of the Telecaster, the body material of the Les Paul Special and SG, and the neck and electronics of a Charvel. As a result, it’s the perfect Telecaster for any metal or hard rock player who has always loved the look of a Tele but never jived with its tones or playability.

Over the past few years, Epiphone has reinvented its image by taking on the role of a rebellious young upstart, challenging even its own status quo by introducing the upscale Elitist line and Slash and Zakk Wylde signature Les Pauls. These models seriously upped the ante in terms of materials and features, but they remained competitively priced, a combination that fits right in with Epiphone’s philosophy of offering exceptional value for your hard-earned dollar.

In the process, Epiphone’s guitar line has expanded rapidly with models that offer uncompromising workmanship, playability and tone—qualities that make the company’s guitars attractive choices for discriminating players ranging from beginners to experienced pros.

With the introduction of its new Prophecy Series solidbody electrics, Epiphone has shattered the price/quality barrier. Featuring hand-stained quilted maple tops, 24-fret necks with jumbo frets, and pro-quality options like EMG-81 and -85 active pickups and original Floyd Rose tremolos, the Prophecy models offer the features and craftsmanship of custom guitars, yet they’re priced to compete with most companies’ entry-level models.

FEATURES

At present, Epiphone offers eight Prophecy models—essentially four different body styles (Les Paul, SG, Futura and EM-2), each with two finish and hardware or pickup options. All eight models share a D-profile satin-finished neck with “blade” fretboard inlays, knurled metal knobs with pearl inlays, Epiphone’s patent-applied-for straplocks and binding surrounding the body, headstock and fretboard. The Les Paul and SG Prophecy guitars are available in two varieties: EX, with EMG-81 and -85 pickups, black hardware and a transparent Midnight Ebony finish; and GX, with Gibson Dirty Fingers humbuckers, gold hardware and a transparent Black Cherry Finish. All Les Paul and SG models have ebony fingerboards.

The Futura models, which have the distinctive, angular body shape of Gibson’s original Fifties predecessor to the Explorer, offer a different feature set. Both models include EMG 81/85 pickups and rosewood fingerboards, but the FX version has a Midnight Ebony finish and a locking Floyd Rose tremolo system while the EX has a Black Cherry finish and a LockTone Tune-O-Matic stop tailpiece.

The EM-2 models resemble Gibson’s short-lived M-III and M-IV models from the early Nineties but without the reverse headstocks. Deviating from the design features of the other six models, the EM-2s have 25 1/2–inch scales, maple bolt-on necks, poplar bodies and EpiActive pickups. The EM-2 EX has a blue Midnight Sapphire finish, Tune-O-Matic bridge and string-through-body design, while the EM-2 FX boasts a Floyd Rose trem and Midnight Ebony finish.

The Les Paul and SG GX models feature a push/pull volume control that lets you split the Dirty Fingers pickups’ coils to produce single-coil tones. The EpiActive pickups on both EM-2 models operate in either active or passive modes by engaging the push/pull volume control. The EM-2, Les Paul and SG models have master volume and master tone controls, while the Futura offers individual volume controls for each pickup plus master tone.

PERFORMANCE

No matter which Prophecy model you choose, you get the same smooth-playing fast action on every guitar. The jumbo frets are expertly filed down to a low, almost flat profile that creates a “fretless wonder” feel, while it provides plenty of metal to keep your tone true as you bend notes. The neck’s D-shaped profile is wide, flat and shaped to deliver the ideal balance of speed, comfort and tone. The satin finish feels smooth, but not slick, and helps you keep your fretting hand anchored where you want it. If you’re considering a Floyd Rose-equipped model, note that the tremolo is flush mounted Van Halen-style (i.e. nonfloating), so while you can dive bomb, you can’t pull up on the bar.

In my testing, the weight of each model varied rather significantly, so I suggest you try before you buy. Even with the quilted maple tops, the SG models had the comfortable, light feel of a vintage Sixties SG, and the Les Paul models had the “just right” weight you’d expect for a new Les Paul. However, the Floyd-equipped Futura FX felt significantly heavier than my almost featherweight stop-tailpiece Futura EX example. I noticed a similar but not as drastic weight difference between the EM-2 FX and EM-2 EX.

When it comes to killer pickup tone, the Prophecy models offer players a buyer’s market. The EMG-81 bridge and -85 neck pickups deliver exceptional definition and dynamic range that’s perfect for most modern metal styles. The Dirty Fingers humbuckers deliver classic Gibson humbucking tone with fat midrange and hotter output that overdrives amps at lower volume levels. The EpiActive pickups sound remarkably clear with distortion and put out smooth, glassy clean tones. The passive setting produces similar tone with slightly mellower output, but it’s a godsend that will let you finish your set should your batteries die in the middle of a gig.

THE BOTTOM LINE

Epiphone's Prophecy guitars compare favorably with guitars costing two, three and even four times as much. They offer such incredible value that they’ll make you forget the recession. In fact, most of these models sell for street prices that will leave you with change from your economic-stimulus check.

Bruce Egnater is a patriarch of modern amplifier design and performance, with more than 30 years of amp building to his credit. His famous Eighties-era achievment of balanced and intense high-gain tone undoubtedly inspires countless modern amplifier engineers and remains a primary reference for contemporary boutique distortion. Chief among Egnater’s talents is the design of complicated multichannel affairs, aptly evidenced by his massive contribution to Rocktron’s TOL series amps and Randall’s revered Modular Tube System (MTS) amplifiers.

Egnater’s new Tourmaster head blends his gifts into a 75-pound behemoth packed with features, sounds and gain levels. Its four preamp channels, contour circuit and voicing options create enough tonal variety to satisfy most players, but Egnater’s Power Grid wattage control feature increases the amp’s versatility exponentially, allowing players to assign one of five power levels—10, 20, 25, 50 or 100 watts—to any of the four channels. It takes a lot of tubes to run an amp like this, and Groove Tubes supplies them all: four 5881s and eight 12AX7s.

FEATURES

The Tourmaster's features aren’t only numerous, they’re also useful. For a start, the amp has high- and low-gain inputs and four preamp channels: Clean/Vintage 1 and 2 and Overdrive 1 and 2. Each channel has an identical set of controls for volume, contour, treble, middle, bass and gain, with an additional switch that sets the channel’s overall voice to either classic or modern. The contour circuit is a switchable voicing tool that shifts the midrange curve from focused and forward to scooped and wide. There are also master controls for global output volume, reverb, presence and density. Remote activation of all four channels, the effect loop and reverb come via the supplied six-button footswitch.

Egnater took full advantage of the back panel’s real estate as well, offering a channel-assignable and switchable tube-driven series/parallel effect loop with send and return level controls, a speaker-simulated recording output with a level control, a tube-biasing test point and dual-speaker outputs with four-, eight- and 16-ohm settings.

A custom-designed transformer lets the Tourmaster offer assignable power options as well, which are selected through the back panel’s Power Grid. Using slider switches, the operator can set each channel’s output power as 100, 50 or 20 watts, while a half-power switch reduces those settings to 50, 25 and 10 watts. For this review, I ran the amp through one of Egnater’s rugged Tourmaster 4x12s, which feature Celestion 30 speakers and removable, locking track-style casters. The cab’s jacks automatically sense impedance, making connection to any amp a no-brainer.

PERFORMANCE

Creating stimulating tones couldn’t be easier, thanks to Egnater’s signature compression, which doesn’t limit dynamics so much as it enhances the tonal strength and helps to focus the amp at high stage volumes. The classic voicing is more open and airy, while the modern setting tightens the response and increases punch. Clean/Vintage 1 has no trouble creating tones from the beautifully dark and spongy Blackface era and does a pretty convincing late-Sixties Deluxe impersonation at low power settings. There’s a little more brightness and gain in Clean/Vintage 2, making it ideal for blues soloing and adding hair to clean rhythm tones.

Where most British-style overdrive channels are sharp and jagged, Egnater’s distortion is rounder, more granulated and equally detailed throughout the frequency spectrum. The Overdrive 1 channel exemplifies these characteristics well, generating enough distortion to cover most of the classic rock bases and can even venture into metal realms. Overdrive 2 unleashes all of the Tourmaster’s gain through an aural sandstorm of musical particles, and it still manages to track and define each note with maximum punch. The reverb is subtle, but it won’t overwhelm overdriven tones.

THE BOTTOM LINE

Bruce Egnater's all-tube Tourmaster 4100 is a welcome addition to the growing population of do-it all superamps. Players will appreciate the Power Grid’s five power options for each of the four channels and the unique way that this amp’s easily controlled response rewards. Best of all, the Tourmaster’s tonal variety supports any style of music at about half the price of similarly appointed amplifiers.

The innovation of the bucket-brigade delay circuit in 1969 made compact, stageworthy analog delay pedals a reality and allowed guitarists to retire their bulky and unreliable magnetic tape echo units. Although bucket brigades were eventually replaced by digital signal processors, suffice to say that—like skinny ties and Donnie and Marie Osmond—the analog delay has made a comeback. Nearly every music manufacturer is currently releasing its own take on the analog delay, and for good reason: most guitar players cherish the soft, lo-fi sound quality produced from these units.

Fortunately, MXR, who have been making some of the most popular and innovative stomp boxes, has jumped on the bandwagon. The company’s Carbon Copy Analog Delay pedal is the brainchild of MXR senior engineer Bob Cedro, and its design is noteworthy for the company: it’s MXR’s first delay pedal in nearly 20 years. What’s more, it offers 600ms of analog delay time in a compact unit the size of MXR’s Phase 90 pedal.

FEATURES

Ironically, given its name, the Carbon Copy is not an exact copy, or even an update, of MXR’s vintage AC-powered stomp box from the Seventies. For starters, the unit can be powered by a single nine-volt battery or AC adapter and features true-bypass switching, two bright-blue LEDs that indicate when the delay or mod effect is engaged, and a glitzy green sparkle paint job. There are the standard controls for Regen (number of repeats), Mix (wet-to-dry ratio) and Delay (delay time). The twist is the tiny mod on/off switch, which adds a subtle vibrato to the delay signal for some understated dimension. The mod effect is preset from the factory, but its width and speed can be adjusted via internal controls, which are accessible by unscrewing the back of the unit.

PERFORMANCE

The Carbon Copy is simple to use: plug in, tweak the knobs and you’re rewarded with a glorious, organic delay tone. No doubt, the Carbon Copy summons a darker quality in its delay repeats, but hey, that’s why we like analog delays: they tame the brightness from most amps. Triggering the Mod switch will also add a lush background to your overall guitar sound without overwhelming it. Granted, 600ms is not a lot of delay by modern standards, but it’s more than most analog delays offer. If anything, the Carbon Copy excels at short bursts of delay, along with washed out and slap back sounds. If you need more delay than that, you’re just showing off.

THE BOTTOM LINE

If you've never experimented with an analog delay before, the Carbon Copy would be a worthy place to start exploring. I’ve heard many analog delays, and this one performs as well as units twice its price. Besides, once you’ve tried it, you’ll want more than one.

Fender's years of costconscious ownership under CBS ended in 1985, when the company was purchased by its employees. In the years just prior to the sale, CBS had initiated several money-saving measures in an effort to shore up its finances. For example, in 1983 the Standard Stratocaster had been relieved of one of its tone knobs, the right-angle output was swapped for a flush-mounting jack, and the traditional tremolo unit was replaced by the Freeflyte trem, whose surface-mounted design eliminated the need for a trem cavity.

Fender’s new owners were anxious to restore the luster lost during these years. The American Standard Series was part of that effort. Introduced in 1986, the designation was a reminder of the company’s roots at a time when high-quality Japanese imports were putting some U.S. guitar makers to shame. It was also a guarantee of a solid product built with the level of craftsmanship for which Fender had once been known.

Fender’s renaissance came swiftly, and today the company’s American Standard Stratocaster and Telecaster guitars endure as a symbol of assured excellence. Their specs have changed over the years, but the American Standards recently received an overhaul that restores much of their original tones and design elements. I just had to have a look for myself.

NEW FEATURES

In addition to new finish colors, these alder-bodied guitars are now offered with an optional ash body with transparent finish for $100. A thinner undercoat improves body resonance, and the bright white maple necks are tinted with a subtle antique hue. Matte finishes are still used on the back of the necks, and the acid-resistant fretboards are buffed to a glossy sheen.

Major changes become apparent as soon as you put one of these guitars in your hands. The handrolled fretboard edges are smooth and snag-free. They look new but feel like they’ve been played on for decades. Bent-steel saddles replace the cast saddles and have no sharp set screws to annoy your palm. More significantly, these saddles are key to the classic jangly Fender spank and sparkle. A copper-infused high-mass block improves the Strat’s bridge performance, and the Tele similarly benefits from a low-profile stamped brass bridge plate.

Many Strat players enjoy the smooth feel and easy adjustability afforded by the Strat’s modern two-point bridge fulcrum, so Fender worked to enhance the system’s tone through sharper knife-edges and properly seated brass pivot anchors. Tuning stability and string tension is aided on both guitars by specially designed graduated-height tuning keys.

Fender isn’t reporting any changes to the standard electronics packages. Still in use is the Delta Tone system, which maintains the pickups’ treble response when the volume is rolled back and effectively removes the tone circuit when the tone knob is maxed (active only for bridge and middle pickups on the Strat). Fender didn’t change the Strat’s pickups—to my mild disappointment. I prefer a slightly beefier tone, more akin to the Tele’s punchy output, but obviously the majority of Strat players are satisfied with the Fifties-style clarity that emanates from this Alnico V–based set. Also included for both guitars is an exclusive molded flight-style SKB case, similar to the cases used to protect high-end firearms and photography equipment.

PERFORMANCE

The bent-steel saddles and copper-infused block make a world of difference in the Stratocaster’s acoustic response. My alder-bodied test Strat’s classic flavors were present and accounted for: lows rumbled, mids were scooped and highs jangled. Be aware, however, that the American Standard Strat’s sealed tuners and two-point bridge pivot intentionally keep the American Standard from exhibiting the same loud rattles and airy sound of a vintage-type Strat. While greatly improved, it’s still intended to be a crossover instrument that will sound very solid with high gain and still exhibit the unmistakable Stratocaster attributes. The pickups are fairly low in output to retain maximum clarity, but they can be easily boosted to Texas Blues territory with a Tubescreamer or similar overdrive.

American Standard Telecasters have always been well liked for the particularly thick and punchy tone of their bridge pickup. Placed in front of a fat-laden clean amp like the Fender Vibro-King, they have an aggressive twang that few stock guitars can match. These thumping midrange and level highs are also capable of cranking out a Seventies-style hard rock crunch, making this guitar a favorite among modern country artists. The revamped Tele has all those sounds and a lot of added dimension, courtesy of the bent-steel saddles and musical brass bridge plate. Its improved musicality, volume and dynamics were apparent with both pickups—the neck pickup sounded much clearer—and particularly obvious with snapped string riffs and heavy rakes. If you don’t mind flipping an extra C note, the ash body option really helps to bring out the best of this new Tele’s talents.

THE BOTTOM LINE

Guitarists have waited a long time for Fender’s American Standards to play and sound like the newly updated Stratocaster and Telecaster. Rolled fingerboard edges, bent steel saddles, Alnico V pickups, the Delta Tone system and vibrant finishes create an ideal balance of vintage and high tech. These magnificent instruments help solidify my contention that Fender is presently building some of the finest instruments in the company’s history.

Slash received his first Les Paul at the age of 14. It was a gift from his grandmother, who hoped that encouraging the youngster’s interest in music would keep him off the street. Though it failed at the latter, the guitar did provide young Saul Hudson with a high-voltage outlet during his turbulent younger years. From that, the man who would become Slash created a loose-limbed style of blues-rock riffing that is his signature.

Today, Epiphone’s Custom Shop honors Slash’s lifelong relationship with the Les Paul by offering one of the most highly anticipated signature model guitars of 2008. Even though it’s surprisingly affordable, Slash’s Epiphone-crafted LP is not intended to be a cost-effective alternative to the Slash model built by Gibson’s Custom Shop. This limited-edition Les Paul (just 2,400 will be made) is a bit more simple, and it’s purpose-built for the serious player who wants what Slash achieves in tone and feel. All its features are as specified by Slash, and even its old-school construction methods are focused on achieving his iconic tone.

FEATURES

Those special construction techniques are focused mainly on the neck joint. Just like Slash’s favored Les Paul, the Signature uses a long Fifties-style tenon-and-locking joint that extends under the neck pickup. It’s not the easiest way to build a guitar, but the extra sustain and resonance gained through this method is undeniable.

The mahogany neck itself is just shy of massive, yet it’s shockingly playable. Instead of a deep-hulled boat neck or one of those Fifties-era U-type necks that put all of the wood in the fold of your palm, Slash’s slugger-sized stick builds its volume on muscular shoulders (the area of the neck that meets the fretboard) and a thick C shape.

My medium-sized hands had no problem with speed or movement on this neck. What’s more, its specifically beefy geometry placed my hand in consistently stable positions, which made it easier to achieve Slash’s finger-controlled semitones and nuances. Another pleasant byproduct of the extra neck wood and elongated joint is its balancing effect on the guitar: Slash’s LP feels relatively light and maneuverable at all times.

I doubt that anyone will object to the guitar’s one color option: a dark tobacco burst, with an antique yellow tint on the curly maple top and a transparent brown stain that bleeds into the mahogany body and neck. Like almost all of Slash’s guitars, the Slash Signature has two Seymour Duncan open-coil Alnico II Pro pickups. Other bits of hardware include a sustain-and-clarity-enhancing LockTone stopbar and Tune-O-Matic bridge, and a set of vintage-style tuners with mint-green acrylic tombstone keys.

PERFORMANCE

I tested the Slash Signature with my Dave Bray–modified Marshall. I was particularly curious to see how much closer to Slash’s sound I could get with this guitar as opposed to another Les Paul model with Duncan Alnico IIs. The answer is, quite a lot, in great part because of the size and style of neck. A large neck like this puts more tension on the strings, thereby increasing the guitar’s natural compression and sustain. Extra compression also results in greater punch and attack.

At the same time, the lightweight tuners, select woods and LockTone bridge assembly encourage a mellow and hollow essence to dominate the character. This guitar can be brighter than expected, so I found the tone knobs key to achieving Slash’s legendary balance of brilliant sting and silky ringing sustain.

THE BOTTOM LINE

Epiphone's Custom Slash Signature Les Paul Standard Plus Top lives up to the hype, delivering the Slash sound at a price that average players can afford. There are no frills here, just the Slash essentials: a big resonant mahogany neck, select tone woods, Duncan Alnico II Pro pickups and immaculate construction quality. If you want to experience the performance of a vintage Les Paul at about a tenth of vintage prices, Epiphone’s Slash should be at the top of your list.