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Updated: 7 weeks 5 days ago

2017 Gear in Review: A Few of Our Top Picks

Wed, 12/27/2017 - 14:03

To say that 2017 was an incredible year for cool new music gear is a definite understatement! In my gig as Editorial Director and content creator here at Sweetwater, I come into contact with a huge array of new products, many of which I or the other members of our Content Team get to check out for Sweetwater’s videos and articles. Each year, I put together a list of the standout products introduced during the past 12 months. It’s a difficult task choosing the best products each year, but 2017 was especially tough. I could make a list a mile long — though a list that long would certainly be a challenge to read! Instead, I’ve hunkered down and assembled the following list — in no particular order — of some of the products that really jumped out at me from 2017, because they were innovative, useful, category-defining, or just plain fun and cool! To keep this from becoming my personal wish list, I also consulted with members of the Sweetwater Content Team: Daniel Fisher, Nick Bowcott, Don Carr, Erskine Hawkins, Lynn Fuston, and Nick D’Virgilio. (Note: I admit it; I just couldn’t choose among the myriad stompbox and software releases in 2017, so I created special categories for them at the end of the list.)

iZotope Spire Studio

When iZotope first showed me the Spire Studio and asked me to test it for them, I was blown away. It’s a portable iOS audio interface, with two built-in Grace Design preamps, headphone output, built-in effects, and a 4-hour rechargeable battery, that communicates via Wi-Fi with your iPhone. You can record eight tracks (two simultaneously) with simple one-click operation, then edit and mix down using a cool graphic app. Export to your DAW, share and collaborate with bandmates, even upload directly to social media. Best of all, it sounds incredible and is truly a fun solution for capturing ideas, songwriting, and even full-on productions.

Friedman Tour Pro Pedalboards

With two tiers, super-rugged design, movable wah/volume platforms, optional power supplies, and buffer-I/O models, Friedman put years of experience to work to design the ultimate pedalboards. Both of my personalTour Pro ‘boards are Platinum Packs, which include Friedman’s awesome Buffer Bay 6 and Power Grid 10 power supply.

Yamaha MX88

The MX88 88-key synth/controller synth/controller includes full-size Graded Hammer Standard keys, 1,000 MOTIF XS sounds, Yamaha’s VCM effects engine, bundled software, USB, 128-note polyphony, real-time DAW control, and so much more.

Line 6 Helix LT

The same sound-processing and modeling engine as the super-popular and super-powerful Line 6 Helix, just with fewer ins and outs, all at 2/3 the price! More than just a multi-effects processor and amp modeler, the Helix LT can serve as the hub for your guitar or bass rig onstage, in the studio, at rehearsal, and in the practice room.

Sensory Percussion Drum Sensors and Software

The Sensory Percussion drum sensors and software are simple-to-mount-and-use drum triggers that connect right into your audio interface to drive an incredible virtual instrument. The sensor turns each drum into a 10-zone multi-pad, and it works with regular or mesh heads. The companion software includes a super-powerful sampler for unlimited sonic possibilities as well as onboard effects. For the best deal, choose one of our ready-to-go packages, which include an audio interface and even cables!

sE Electronics X1 S

If you’re looking for a versatile large-diaphragm condenser microphone that can hang with the “big boys” in terms of quality, but that comes in at a ridiculously low price, the sE Electronics X1 S should be at the top of your list.

Chandler Limited REDD Mic

Chandler worked with Abbey Road Studios for years to create this high-end microphone masterpiece. The REDD mic features the REDD.47 preamp that re-creates the original tube line amps developed by EMI for Abbey Road’s custom REDD.51 console. (As used in Studio 2 by the Beatles and many others.) Vintage tone and styling with modern features and reliability.

Rivera Modified ’68 Deluxe

The amps Paul Rivera modded back in the day are the stuff of legend. You’ve heard them a bazillion times, from players such as studio cats Larry Carlton, Steve Lukather, Dean Parks, Paul Jackson Jr.; rockers such as Rick Nielsen of Cheap Trick and Kerry Livgren of Kansas; and even Mister Guitar, Chet Atkins, plus many more. Now Paul’s “Stage 2” modded amps are available once again, exclusively from Sweetwater! I’ve been gigging and recording with a Rivera Modified ’68 Deluxe since they came out, and I can tell you it’s a to-die-for amplifier.

Darkglass Microtubes 500

The Darkglass Microtubes 500 is a 500-watt bass head that fits in the palm of your hand, offers onboard Microtubes Engine-based overdrive, versatile 4-band active EQ, an effects loop, and more? Yes, please!

Epiphone Masterbilt De Luxe Classic 

Not just a fun alternative to solidbody basses, but a new voice for bass players. These acoustic-electric instruments feature a hollowbody design, under-saddle pickup, rounded “C” neck profile, vintage looks, nylon tapewound strings, and a thick, rich, resonant tone.

QSC K.2 Family

My band has been using K10 and K12 powered speakers as mains and monitors for gigs for several years for their power, coverage, portability, ruggedness, and awesome sound. Now the K family is even better with the upgraded K.2-series speakers. Increased power, increased SPL, lower bass extension, improved DSP, and other improvements. In a word, “more.”

Yamaha EAD10 Drum Module 

Yamaha’s Electronic Acoustic Drums module may just be the easiest way yet to mic up your drums to feed them to a PA system or to record them — or to trigger new sounds. You get 250 scenes with 757 sounds and 36 effects. Record to USB or your iOS device, share to YouTube, and much more.

Boss MS-3

Not just a killer multi-effects processor for guitar and bass with 112 onboard effects, but also a loop switcher for up to three external pedals, an amp controller, and more. The MS-3 even has a built-in tuner, making it a one-stop solution for gigging guitarists. I love mine.

Fender Brad Paisley Telecaster and Ed O’Brien Stratocaster

This is a two-for-one pick! They couldn’t be different players (or guitars), but both Brad and Ed have created signature models that push the boundaries of tone, capability, and playability at great prices. What I love is that each artist truly wanted to put these out there to see what other players would do with the guitars.

Grace Design m900

Grace’s m900 can be USB bus powered, which means you can upgrade the built-in output from your Mac or PC with a killer studio-grade DAC/headphone amp/monitor controller at home, in the studio, at the gig, and on the go. Supports up to 24-bit/384kHz PCM as well as up to 256x DSD.

Novation Peak

Three versatile state-of-the-art oscillators; massive modulation capabilities; onboard distortion and effects; 8-voice polyphony; MIDI and CV; hands-on, real-time control; “Animate” function; and much more — Peak is the modern keyboardist’s/electronic musician’s dream.

Behringer X-Live

Behringer’s X32 digital mixer family is one of the most popular out there, and now you can take your mixer to the next level with the X-Live expansion card, which adds 32 channels of recording and playback via USB 2.0 or SD/SDHC cards, along with remote control over mixer functions from computer/Android/iPad and X-Touch remote control over your computer-based DAW.

Sonor Vintage Series Drums 

Based on Sonor’s own Teardrop drums from the 1950s and ’60s, but incorporating modern shell and tuning technologies, the Vintage Series looks, feels, and sounds old school, but delivers up-to-date performance for today’s players.

Cool Pedals

There were simply way too many outstanding stompbox introductions during 2017. The field of pedals continues to explode! Here are just a few of the pedals that caught my ears last year:

MXR Carbon Copy Deluxe

Wampler Tumnus Deluxe

TC Electronic Hall of Fame 2

Flashback 2

Pipeline

Quintessence

Electro-Harmonix SuperEgo +

Canyon

Green Russian Big Muff Pi

Supro Tremolo

Friedman Motor City Drive

Friedman Fuzz Fiend

Pigtronix Mothership 2

Horizon Devices Precision Drive

Keeley Compressor Plus

Keeley Omni Reverb

Keeley Caverns

JHS Pink Panther

JHS Double Barrel

Earthquaker Devices Erupter

Catalinbread Belle Epoch Deluxe

Seymour Duncan Andromeda

Boss MD-500

Boss RV-500

Digitech FreqOut

 Digitech SDRUM

Strymon Sunset

T-Rex Replicator Junior

Software

And 2017 was a particularly good year for updates to and new versions of DAW, plug-in, virtual instrument, and music creation software. There were just too many great releases for me to choose among. It was a bountiful year for computer-based engineers, producers, and musicians! A few important releases from 2017:

Propellerhead Software Reason 10

Line 6 Helix Native

Ableton Live 10

Avid Pro Tools 12.8

Steinberg Cubase 9.5, Wavelab 9.5, and Dorico 1.1

Native Instruments Komplete 11

PreSonus Studio One 3.5

Image Line FL Studio 12.5

Slate Digital FG-Stress

Bitwig Studio 2

iK Multimedia Syntronic

Universal Audio UAD 9.4 (love the new Distressor plug-in!)

Toontrack Superior Drummer 3

Eventide Fission, Elevate, and UltraTap

iZotope Neutron 2, Ozone 8, and RX 6

Arturia Vintage Collection 6

Waves Bass Slapper, Torque, Smack Attack, and Brauer Motion

The post 2017 Gear in Review: A Few of Our Top Picks appeared first on inSync.

JHS Sweet Tea V3 2-in-1 Dual Overdrive Pedal Review

Tue, 12/26/2017 - 04:02

Get the JHS Sweet Tea V3 here: https://www.sweetwater.com/store/detail/SweetTeaV3

Fusing JHS’s Moonshine V2 and Angry Charlie V3 into a single stompbox, the Sweet Tea V3 does it all — from screaming tube-like overdrive to British high-gain distortion. The Moonshine takes classic mid-heavy drive into new territory with enhanced gain, volume, and flexibility. The Angry Charlie turbocharges your amp with a JCM800-style tone stack, conjuring up the famous Marshall-cranked-to-the-max “Brown Sound.” Having two pedals in one is awesome, but JHS didn’t stop there. The “order toggle” lets you pick the order of the Sweet Tea V3’s signal path, making an already flexible pedal even more of a tonal Swiss army knife.

The post JHS Sweet Tea V3 2-in-1 Dual Overdrive Pedal Review appeared first on inSync.

Pearl Tongue Drums Review

Fri, 12/22/2017 - 04:05

See all these Pearl Tongue Drums here: https://www.sweetwater.com/store/search.php?s=pearl+tongue+drum&Go=Search

The hang, the handpan, and similar idiophone instruments have taken the world by storm — but as any hang enthusiast will tell you, it can be tough to find a hang builder who’s not back-ordered for years — and the prices can be extremely high. But now drummers can get much of the same mystical tones and timbre from a well-priced Pearl Awakening Series tongue drum. They’re tuned to various scales in several different keys, with either eight or nine notes per drum, and each is made of a durable 10″ hardened steel shell with precisely lasered tongues for perfect tuning. Pearl’s Awakening Series tongue drums can be played with the included mallets or with your fingers.

The post Pearl Tongue Drums Review appeared first on inSync.

Black Lion Audio Interview

Fri, 12/22/2017 - 01:04

Shop Black Lion at Sweetwater here: https://www.sweetwater.com/store/manufacturer/Black_Lion_Audio

Mitch Gallagher is joined by Nate Bierdeman and Daniel Larson from Black Lion Audio. Founded in Chicago in 2006, Black Lion Audio has made their mark on the audio industry by hot rodding audio equipment and upgrading the sound quality of popular music-production gear, elevating industry-standard products to new levels of sonic quality. Though they started off modding gear from other manufacturers, they’ve utilized their cumulative expertise to design their own line of boutique mic preamps and word clocks.

The post Black Lion Audio Interview appeared first on inSync.

Casio Privia PX-160 Digital Piano Review

Wed, 12/20/2017 - 02:14

Get the Casio Privia PX-160 here: https://www.sweetwater.com/store/detail/PX160CH

The Casio Privia PX-160 digital piano provides you not only with realistic piano feel, thanks to its Tri-sensor Scaled Hammer-action II keyboard, it also delivers remarkable, incredibly rich sounds that lend classiness to whatever you’re playing. In addition to its stunning grand piano sounds, you also get lush string ensembles and electric pianos that were derived from Casio’s award-winning PX-55 stage piano. Throw in a pair of stellar-sounding rear-ported speakers, dual headphone outputs, and dual line outputs, and you can see why the Privia PX-160 has been so eagerly anticipated.

The post Casio Privia PX-160 Digital Piano Review appeared first on inSync.

The Gift of Music: How Music Ended WWI, If Only for a Moment

Tue, 12/19/2017 - 07:00

December 24, 1914. World War 1 had turned into a bitter, slogging slugfest. Both sides were exhausted and demoralized. On that Christmas Eve German soldiers in the Ypres region decorated their trenches with candles and Christmas trees. Then they began to sing. Once the Germans finished singing their carol, a remarkable thing happened. The British sang a carol of their own. Soon, both sides took turns singing carols, and occasionally shouting Christmas greetings across the frozen No Man’s Land.

Graham Williams of the Fifth London Rifle Brigade never forgot that night.

“First the Germans would sing one of their carols and then we would sing one of ours, until we started up ‘O Come, All Ye Faithful’ and the Germans immediately joined in singing the same hymn with the Latin words Adeste Fideles,” remembers Graham. “And I thought, well, this is really a most extraordinary thing ­– two nations both singing the same carol in the middle of a war.”

The festivities continued through the next day, with both sides meeting in the middle of No Man’s Land to exchange small gifts and food, sing and even play soccer. At its peak, the “Christmas Truce” involved more than 100,000 people, almost two-thirds of the fighting forces on the Western Front.

Bruce Bairnsfather, a machine gunner with the Royal Warwickshire Regiment exchanged souvenirs with a German officer. “I spotted a German officer, some sort of lieutenant I should think, and being a bit of a collector, I intimated to him that I had taken a fancy to some of his buttons,” said Bruce. “I brought out my wire clippers and, with a few deft snips, removed a couple of his buttons and put them in my pocket. I then gave him two of mine in exchange.”

British and German troops meeting in no man’s land during the unofficial truce (British troops from the Northumberland Hussars, 7th Division, Bridoux-Rouge Banc Sector). Credit: Public domain.

The 1914 Christmas Truce became one of the most significant events of World War 1,  overshadowing ugliness and hostility. If you go to the Comines-Warneton in Belgium today, you can find a humble monument, standing at the very spot where many believe the Christmas Truce began.

Who would think that a few simple verses, sung by cold, tired soldiers had the power to bring the light of peace to the darkness of war? We think that is worth celebrating. During this season of Peace on Earth, round up a few loved ones and your favorite instrument. Share a few of your seasonal favorites. Celebrate peace. Celebrate music. Most importantly, celebrate together.

From all of us at Sweetwater, Merry Christmas and Happy Holidays.

The post The Gift of Music: How Music Ended WWI, If Only for a Moment appeared first on inSync.

Maroon 5’s James Valentine: Minimalist Funk, a Love of Improv, and His Signature Music Man

Tue, 12/19/2017 - 05:21

Countless people all around the world know James Valentine as the long-haired lead guitarist for pop mega stars Maroon 5. His clean tones and ability to weave just the right amount of funky rhythms and memorable melodies into the band’s hits have ushered in an era of guitar minimalism that has tamed the formerly aggressive sound of radio rock guitar. But what many don’t know is that Valentine is an incredibly accomplished guitarist in a wide variety of styles. His love of ’90s rock is balanced by a healthy dose of Satriani and years of jazz studies.

Yet what truly makes Valentine unique is his ability to mold all of that into a style of playing that is the definition of selflessness. According to Valentine, “The band itself and the songs are more important than any individual.” And that sentiment is backed up by the sound of Valentine’s incredibly popular signature Music Man Valentine electric guitar, singing throughout his band’s most recent album, Red Pill Blues.

With a new album hitting the charts and the success of his signature guitar, Sweetwater reached out to Valentine in an effort to learn more about the guitarist who’s sitting firmly on top of the pop world. Speaking from his home in Southern California, Valentine took the time to discuss his guitar, his band, and how Nile Rodgers helped set him on the path he’s on today.

What got you into music? Did you grow up in a musical household?

My older brother was seven years older than me, and he had a band. I used to sit at the top of the stairs to the basement and listen to them rehearse. And I was also really influenced by his collection of cassette tapes. He exposed me, early on, to all kinds of stuff. He was really into Rush, and he played me Joe Satriani for the first time. And he was into really cool art house sort of stuff, like Bauhaus. That was a good education for me.

And my parents made us all take piano lessons when I was eight years old. But I just always had the idea that I wanted to play guitar. It took me a lot of time to convince my parents to actually get me a guitar. But once I did, I was just obsessed and playing all the time.

Who were the guitarists that first inspired you?

As soon as I got a guitar it was the early ’90s, right when grunge hit. Nirvana obviously was huge, Soundgarden, and then Pearl Jam was huge for me. Especially that record Ten. That’s where I really learned how to play.

Mike McCready’s blues solos got me into playing leads. And I remember seeing Mike McCready wearing a Stevie Ray Vaughan T-shirt. So I was like, “Who’s that?” Which of course sent me on a whole other path.

And eventually the blues led me into jazz. I became fascinated by how these guys improvise these amazing solos. I just wanted to get inside of that and figure out how they did it. And I’m still doing that. That stuff just really inspires me.

You’re very open with your appreciation of jazz players such as Pat Metheny, Bill Frisell, and John Scofield. What is it about that style that inspires your playing?

I was listening to a podcast the other day, and I heard Dan Wilson [songwriter] say that studying jazz is like secret songwriting training. And it’s true. If you learn the basics of jazz improvisation and the basics of jazz harmony, writing pop songs is no different. You’re playing some chords and fumbling around to see what works melodically. I think the jazz training really helps with that songwriting process. If you can play jazz, there are ways to apply it in pop music and in rock.

Are you able to inject your passion for jazz into your playing within Maroon 5?

When we were touring Songs About Jane, we didn’t have enough material for a headlining set. So you bet there was some jazz explorations going on! [laughs] But now, as we have more of a canon of hit songs, which we’re very lucky to have, there’s a little less time for jazz odysseys. But we still get those moments in there.

You have a very funky and minimalistic approach in Maroon 5. I hear a lot of single-note melodies and Nile Rodgers-esque rhythms.

Once I discovered Nile Rodgers, it was like, “This is perfect!” In fact, we met with Nile Rodgers to produce our first album, but we couldn’t afford him at the time. We were at SIR studios in New York City, and Nile walked in with his guitar on his back. We were already sort of playing. He didn’t even say anything. He just plugged into an amp that we had set up for him and started jamming. And in the 30 or 40 minutes, Nile kind of wrote the blueprint for how we would approach guitars in Maroon 5 for the rest of our career.

Maroon 5’s sound can be very dense, and your guitar isn’t always the focal point. Was that difficult to adjust to?

It was an adjustment for me, because in my previous band, my guitar was front and center and it was about my leads and solos.

But that was one of the things that I was aware of. I was stepping into this band where it was a very different thing. The first time I saw them play, they already had a lot of the songs written that would wind up going on Songs About Jane. I realized that this is on a whole other level. The songs were just so far ahead of what anyone else in that scene at the time was writing. This is something that’s bigger than any individual. It’s certainly more important than my ego as a guitar player.

The band has just released your sixth album, Red Pill Blues. Did you get to branch out as a player in any new ways on this new record?

I had a great time working with Ricky Reed, who is an amazing producer. He’s a guitar player himself, so we got out some weird pedals. He had some ideas of some sounds that he wanted, and we were down on the floor putting pedals together to try and come up with stuff. I loved it! We may come up with a sound that you hear for like a measure, barely in the background, but it’s a labor of love [Laughs].

What were some of your favorite pedals that made it to the record, and what other gear are you using these days?

So many effects are in-the-box. But something happens when you hit the amp with these things, you know? So we like to keep a ton of pedals around to experiment with. That’s just a fun part of it. All the JHS stuff is great. I got some EarthQuaker stuff too. And the Strymon stuff makes appearances a lot. In the studio, I don’t generally have my board. I have my tried-and-true effects like my Fulltone OCD or the Full-Drive, and I still really like the Line 6 DL4. And my Valentine guitar is all over the records, of course.

Speaking of your Music Man signature Valentine, what inspired that guitar, and how did your relationship with Ernie Ball begin?

That’s a funny story. I go way back with those guys. I basically owe them everything. My band from Nebraska won the 1999 Ernie Ball Battle of the Bands competition. That year, the grand prize was $25,000. We used that money to move out to LA. So really, they started the sequence of events that would lead to me joining Maroon 5.

Then I kept on running into Brian Ball, and he was always like, “You should do a signature guitar.” I initially took the meeting with them to just be polite, not thinking that I was going to actually do it. But when I went in, they said, “What are your favorite guitars?” I said, “Telecaster and the ES-335,” which have nothing to do with each other. Then we actually laid a Telecaster-style body right on top of a 335. They sort of connected the balance points, pulled some angles here and there, and we ended up with the shape that would ultimately become the Valentine body. It looked classic and something new.

And at first it was a little heavy because we were going for a straight slab body. So Sterling [Ball – Ernie Ball CEO] came up with the idea of the wedge body. It took some weight off and added an ergonomic feel where it’s a little thinner at the top than it is on the bottom. It makes it cradle against the body a little better.

Then after we came up with that body shape, I played one of their hand-rubbed oil necks and was like, “This is awesome! How have I not been playing necks like this forever?” And that’s one of the things people are drawn to right away when they play it.

The guitar’s electronics are really unique as well.

We designed the guitar to be a workhorse for my set in Maroon 5. The idea was that I should be able to play the guitar throughout the entire Maroon 5 set without switching. We knew we wanted the Tele-style bridge [pickup] for sure. We brought in a few of my favorite Teles to try and capture that “spank.” And I think we achieved that. But aesthetically, I just like the look of the two humbuckers. And we were doing these custom-wound Ernie Ball pickups anyway, so we thought, “Why can’t they be in a humbucker-style casing?”

And it has a noise-canceling circuit too. Because when we’re playing around in different venues every night or in TV studios, a lot of that interference can really [mess] up the sound. These pickups are really spanky, but they’re still quiet because of that circuit.

The guitar has an active clean boost function, doesn’t it?

Yeah. It’s great because it’s an adjustable boost. So if you want, it can be a nice, clean, transparent boost. Or you crank it up all the way to 20dB, and it’ll send your amp into overdrive territory. That’s really useful for me when I’m away from my pedals. If I’m wandering down the “ego ramp,” I can kick on that boost. It’s basically the “It goes to 11” on the guitar.

And it’s also got the coil tap on the humbucker in the neck position, which is really cool too. I’ll put it in the middle position and throw that on for a real spanky, Stratty type of funk sound.

Do you also use Ernie Ball strings?

I sure do! I’ve been using the Power Slinkys forever. Once I get in front of people, I play pretty hard. So anything less than 11s, I can’t keep in tune. I need the snap-back from the heavier strings. But yeah, I’ve always been an Ernie Ball guy as far as strings are considered.

Through all of your success, you continue to be a valuable customer of Sweetwater.

I sure am! I’m sitting in my studio right now, and I have a bunch of stuff from Sweetwater. I think most recently I ordered a Korg MS-20 when they came out with the reissue. I did the pre-order way ahead of time. The guy that I talked to was really good. He was really helpful. And he followed up with me to make sure everything was cool. So yeah, I dig Sweetwater.

The post Maroon 5’s James Valentine: Minimalist Funk, a Love of Improv, and His Signature Music Man appeared first on inSync.

#HappyNewGear

Tue, 12/19/2017 - 03:15

The day is finally here. Trust us, we know just how awesome it feels to get that new instrument or piece of gear. So, share it with us by uploading your photos with the hashtag #HappyNewGear or #SweetwaterSound and we’ll share it on our site: http://www.sweetwater.com/happynewgear/

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Warm Audio WA-47 & WA-47Jr Condenser Microphones Review

Mon, 12/18/2017 - 06:45

Get the Warm Audio WA-47 here: Sweetwater.com/store/detail/WA47.

Get the Warm Audio WA-47Jr here: Sweetwater.com/store/detail/WA47Jr.

Both the WA-47 and the WA-47Jr are based on a re-creation of the legendary k47 mic capsule found in vintage U 47 microphones — but that’s where the similarities end.

The WA-47 is based around a 5751 vacuum tube and an AMI transformer — it also features 9 different polar patterns and an external power supply. The WA-47Jr is a solid-state mic with FET electronics and no transformer. Both are studio workhorses that will serve you well in any session.

The post Warm Audio WA-47 & WA-47Jr Condenser Microphones Review appeared first on inSync.

Traveler Guitar CL-3EQ Acoustic-electric Guitar Review

Mon, 12/18/2017 - 06:30

Get the Traveler Guitar CL-3EQ here: https://www.sweetwater.com/store/detail/CL3EQ

Traveler Guitar’s CL-3EQ acoustic-electric guitar takes the company’s drive to create travel-friendly and professional-quality instruments to a whole new level. Not only is the guitar crafted from traditional tonewoods, such as a solid spruce top and mahogany back and sides, but this Traveler Guitar even boasts a traditional headstock and tuners, a well-thought-out cutaway, and a Shadow Electronics pickup system. And they put it all into an acoustic-electric guitar that fits beautifully into cramped spaces, making it your new favorite travel companion.

The post Traveler Guitar CL-3EQ Acoustic-electric Guitar Review appeared first on inSync.

Sensory Percussion Drum Sensors Review

Fri, 12/15/2017 - 02:28

Get the Sensory Percussion Drum Sensor Kit here: https://www.sweetwater.com/store/detail/SensoryDuo

Get the bundle with Focusrite Scarlett 2i2 interface here: https://www.sweetwater.com/store/detail/SensoryPackDuo

See all Sensory Percussion products and bundles here: https://www.sweetwater.com/store/manufacturer/Sensory_Percussion

Forget anything you know about conventional MIDI drum triggers — the Sensory Percussion drum sensor system absolutely takes drum triggering to a whole new level. This sensor system lets you capture the vibrations of any drum and turn it into a 10-zone multipad. But even that’s an understatement since this 10-zone pad offers a range of dynamic expression — including the capability to blend between zones — that sets a new standard in multipad capability. What’s more, Sensory Percussion software includes an amazing onboard sampler and stunning effects, all of which respond naturally to the way you play.

The post Sensory Percussion Drum Sensors Review appeared first on inSync.

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