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Archive for the ‘GAS’ Category

If you read this blog with regularity, you know that I love NOS tubes. Who knows? Maybe I’m being a cork-sniffer, but the significant impact NOS tubes have had on my amps has led me to preferring them over new production tubes. Unfortunately, NOS tubes are getting scarcer and scarcer, so I suppose that eventually I’ll  have to get new production tubes.

Now a company that I’ve tended to steer away from is Groove Tubes, mainly because they’re just re-labeler of various OEM tubes. They just measure voltage, match ’em up, relabel them and sell them as their brand. Nothing wrong with that, but I haven’t met a Groove Tubes tube that I’ve liked, until I discovered the Groove Tubes GT-6L6GE Re-issues.

Before I go on, I should clarify that I’m not talking about the current production 6L6GE’s, which are assembled overseas. The tubes I’m talking about were made in the USA up until about 2003, as far as I can tell.

What makes these tubes special is that they’re constructed of NOS materials (except the glass), and to the same specs as the original GE 6L6’s of old. Plus they were constructed in Southern California, so the quality is incredible. These tubes rock! To be honest, I’m not sure of all the details of their production, but I got the information from Brent Jesse @ audiotubes.com who recommended them to me.

I bought two sets so I could have a spare set, and have been in tonal heaven with my Hot Rod Deluxe! The cleans are lush and deep, and the overdrive is creamy smooth. I have other GE power tubes, and I’ve gotten used to their smooth distortion. These GT-6L6GE’s are no exception! In addition to their smooth breakup, they also don’t compress much, which is another thing I just dig. I prefer a more open distortion.

I compared these to both JJ’s and regular Groove Tube 6L6GT’s, and these just blow them away. The JJ’s and GT’s have nice, clear cleans, but forget about their tone when cranked up. The tone is harsh and gritty, even if I bias them a little hotter than spec; whereas the 6L6GE’s remind me of the breakup I get from my Plexi clone – without hot biasing! Amazing!

As these are no longer in production (don’t confuse these with the new 6L6GE’s), they’re a bit more expensive than the new production 6L6GE’s; $80 per pair as opposed to $55-$58 a pair. And because they have the same labeling as the new ones, it’s hard to tell them apart. So I recommend that if you want to get a pair, get them from a source you trust. As I mentioned, I get them from Brent Jesse Recording and Audio, and having purchased several tubes from him, I trust him implicitly.

All that said, I will be getting a set of the new production tubes to make a comparison, as they are also made with NOS materials, though assembled overseas. Who knows? They may just sound killer as well!

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Click to enlarge

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Fishman SA220 Solo Amp

Summary: Compact and weighing in at just 25 lbs., the SA220 Solo Amp is an ideal PA solution for the solo acoustic guitarist/vocalist, but it’s versatile and loud enough to be used as a PA for a band (if you have a couple of them).

Pros: It may not have the Bose name, but I’d put this up against the L1 Compact system any day. With built-in, independent, 3-way EQ, and a variety of other features, if you’re a solo acoustic artist, you owe it to yourself to check this unit out! I got it set up in less than a minute!

Cons: None

Features:

  • Drivers
  • – Six 4″ mid-woofers, patented dual gap, high excursion design, neodymium magnets (200W)
    – One 1″ neodymium soft dome tweeter with level control (20W)

  • Auxiliary Stereo Input with Level control
  • Four Digital Reverb effects with master level
  • Balanced XLR D.I. outputs for both channels and main mix
  • Independent effect loops for Channel 1 and Channel 2 (OMG!!!)
  • Unique Monitor I/O for improved on-stage ensemble monitoring
  • Mute with remote footswitch input
  • Tuner Output
  • Ships with Stand and padded Carry Bag (w/ wheels)
  • Dimensions: 41.5″ H x 5.6″ W x 6.6″ D
  • *Weight: 25 lbs without Stand, 35lbs with Bag and Stand

Price: $999 Street

Tone Bone Score: 5.0 ~ Talk about ease of use! As I mentioned above, I got the SA220 set up in less than a minute! And my Yamaha APX900 sounds absolutely killer through this, not to mention the great clarity of the vocals. This is a winner, folks!

Year over year, I play between 100 to 150 gigs a year, with about half of them as a solo acoustic act. My solo gigs have consisted mainly of my weekly restaurant gig, but I do lots of weddings and special events throughout the year as well. Of late, the restaurant I gig at moved my act outside in a public patio area as the weather is gorgeous.

To make a long story short, even though the restaurant has a decent PA system, I ended up bringing my own PA last week, which was the first week we did the outdoor show. That worked pretty well, and my PA has a great sound. But it also made me realize that the old mixing board, and big 300 Watt speakers was just too much gear to haul around. Even if I ended up using the restaurant’s PA, which is a nice one, I’d still have to lug the board and speakers and stands down from the office upstairs. Enter the Fishman SA220 Solo Amp.

Plug It In and Go!

I finally received my SA220 today after having to wait for a couple of weeks for it to arrive (had to be ordered). So when I got home, I knew I had to try it out to see how it sets up, and of course, to work out kinks before I gig with it. There’s nothing worse than fighting your rig or sound DURING a gig – especially when you’re solo.

The guys at the shop assured me that Fishman’s claims of easy setup were true. I am now a believer! I had the SA220 set up in exactly 42 seconds!!! That didn’t include hooking up my pedal board, guitar, and microphone, but I had the system on its tripod stand and plugged into power, ready to go, in that short amount of time. That just blew me away! Plus, everything you need to get up and running fits into a single carrying unit that consists of two bags: One for the array/PA, and one for the tripod that buckles to the main bag. Talk about convenience! Fishman really had the solo artist in mind when they built this!

How It Sounds

For my audition, I just plugged my guitar into the SA220 directly, and hooked up my microphone. All I can say is that the sound is spectacular! I was actually concerned about the bass response of the unit, but apparently Fishman distributes the bass response among the six main mid-woofers. It may not get boomy with the bass, but the sound is absolutely rich, and vocals are clear and full. Normally, I use a DI to go into a board – and will probably do the same with this unit, but my guitar sounded clear and natural and full plugged in directly without those annoying high-end transients and flattened tone that is so annoying with plugged in acoustics. Admittedly, the ART system in my Yamaha APX900 has quite a bit to do with that, but Fishman really knows how to condition sound.

At first, I had a bit of a problem with feedback, but setting the phase switch and tweaking the anti-feedback knob (it’s a variable frequency notch filter designed to subdue a resonant peak – just turn it to where the feedback gets reduced or eliminated – very cool), and attaching the rubber sound hole cover on my guitar took care of the feedback problem.

Luckily no one was home when I tested the SA220. I set it up outside so I could see how it performed. Damn! Even with just 220 Watts, the SA220 is LOUD!!! I had the Master volume set at around 10 am, and that will be enough to fill the large patio space I’ll be playing in tomorrow! It’s not a stretch to say that the SA220 can cover a lot of venues.

As far as listening angle is concerned, the SA220 disperses the sound incredibly well! Even at extreme angles, where I was almost even with the array, the sound was clear with good volume. Of course, narrower angles are better, but this unit will have no problem playing in the open space I’ll be playing.

Talk About Bang for the Buck!

The sound is great, but I have to tell you, I was ready to get the Bose L1 Compact, which is a great unit, but the mere fact that if I wanted more EQ control and other features, I’d have to spend another $499 really soured my taste for the unit. On the other hand, Fishman has packed all sorts of features into the SA220 that make it hands-down the better value. Independent 3-band EQ for each channel, phase and anti-feedback control, 4 types of digital reverb, a mute switch (that is REALLY handy!), independent balanced XLR outs to go into a board, and my favorite feature: independent effects loop for each channel! You just can’t argue about with what comes built-in on this unit!

Overall Impression

It’s hopefully obvious that I love this unit! For me as a solo artist, it’s a true game changer! It’s light and versatile, and the sound is spectacular. What more could I ask for?

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Why? Because every time I satisfy my GAS, they come out with new stuff that gets me GAS-ing all over again, dammit! 🙂 Here I was innocently reading my e-mail this morning when I got Prestige’s latest newsletter that said they were about to release a line of acoustic guitars! Knowing the fantastic stuff they produce, and given that they didn’t release anything more than announcement that they were releasing a new line, I had to give them a call to get more information. I shouldn’t’ve done that. I’m now GAS-ing so damn bad that it’s killing me!

But I got the scoop on these guitars, and before you start thinking, “Yeah, here we go, another import guitar… How good could it be?” Well, let me just say that a major publication already reviewed it and gave their top-of-the-line model a very – excuse the pun – prestigious award. And after I heard the details of these guitars, it’s not a surprise that even before their official release, they already won an award. So here’s at least some preliminary information that I found out…

They will have three guitars in various price ranges. I didn’t get model names, but I did get the makes of each model:

  • The top-of-the-line model has a koa body and koa top
  • The intermediate features a rosewood body and Adirondack spruce top
  • The lowest tier (and only by materials) features a mahogany body and Adirondack spruce top

Though not set, the guitars will range in price from about $1000 to $2100 street, so even the lowest-tier model isn’t anything to shake a stick at; and before you balk at the price, there’s a good reason for the pricing. Prestige didn’t skimp on the features that all three models share:

  • Adirondack spruce X-bracing designed in partnership with Balaz Prohaszka, a well-known European luthier
  • 12″ radius
  • 25.35″ scale length
  • 1 3/4″ nut width
  • D-shape neck
  • Split Bridge Saddles
  • Bone nut, Bone Saddles
  • Ebony Fingerboard, Ebony Bridge, Ebony Bridge Pins, Ebony Strap Pin.
  • Ebony Headstock face
  • Satin Mahogany Neck, Laser Etched Logo and Serial Number behind the headstock.
  • Beveled Cutaway with Paduck inlay, Mother of Pearl Logo, Mother of
  • Pearl Eclipse Fingerboard Inlay, Abalone Rosette
  • Gotoh 501 21:1 Tuners with Ebony Buttons.
  • Paduck/Abalone Body Binding, Paduck/Maple fingerboard binding.

An option for each guitar is the Fishman Ellipse Matrix Blend pickup system. This is a very non-invasive soundhole pickup system that combines an undersaddle pickup with a gooseneck condenser mic. I’ve heard one of these installed in a Taylor acoustic, and it sounds marvelous!

So the pricing is really a reflection in the difference in tone woods used; otherwise, they’re all the same. That is incredibly COOL!

I’d be remiss if I didn’t have pictures, so here are a couple of the Koa/Koa model. These aren’t the pro pics as you can see the reflections of background objects – that’s how glossy the bodies are! Freakin’ awesome!!!

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These are serious guitars, folks. Can’t you just DIG that beveled cutaway? Damn! I dig little things like that, and the outer bracing is absolutely superb! And another nice touch is the satin finish on the neck. I always prefer that because it allows me to polish it with my own body oils after time. For me, the ebony fretboard is a HUGE selling item! There is absolutely nothing like the feel of ebony; it’s smooth as silk and feels so nice to the touch!

I can’t wait to get a demo into my studio to give it a whirl! I TOTALLY DIG the Koa/Koa! Now do you see why I hate Prestige Guitars?!!! 🙂

For more information, please go to the Prestige Guitar web site!

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Dynamics. It’s what separates a mechanical  and boring piece from something that can move an audience to tears. In this episode, Doug talks about the incredible dynamics of the Dumble Overdrive Special.

This is the last video in the series of Doug Doppler on the Dumble Overdrive Special, but it’s not the last. I’ve got many more “Doppler on…” videos to come, so stay tuned!!!

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That’s right! As I mentioned in episode 1 of the series, the Dumble can shred, and it sound unbelievable. In this part, Doug talks in-depth of the tonal capabilities of the Dumble amp and demonstrates it versatility by shredding on it!

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Wow! I didn’t realize how fun doing videos would be! Expect to see more video reviews in the future! In any case, here are some key points:

Tone Bone Rating 5.0
Notes I LOVE this stand! I’m going to get a couple more! Very well built and lightweight, it’s a perfect stand not just for the stage, but also in the studio where its small footprint won’t take up much space!
Price $34.95
Pros Very easy to fold up and lug around
Cons May not work for bass – it works for mine, but fat basses may not fit (this is not really a negative, just a warning)

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This is a hotly debated topic, and there are great arguments for or against using one. I’m of the former group and have used attenuators to great success over the years. To demonstrate how useful an attenuator can be, I put together a quick video. Here you go:

I wanted to be as non-technical about the usage of an attenuator because there are so many attenuator designs on the market. So I kept this video at a fairly high level. I’ll get into more detail in the next video when I discuss the Aracom PRX150-Pro.

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Yup, you guessed it… yet another overdrive pedal. I came across this pedal while perusing the forums over at Mark Wein Guitar Lessons. Mark occasionally posts “Pedal of the Day” entries, and this was his latest. I know, lots of people complain about “yet another OD pedal.” But if you stop to think about it, there’s probably a great reason why there are so many OD’s on the market. What comes to mind for me is that no one overdrive can cover everything. Let’s face it, a Tube Screamer or TS-like OD can only take you so far tonally.

Don’t get me wrong: Not all OD’s are created equally. Admittedly, there’s lots of crap out there, which is a fallout of the boutique gear movement. I’ve suspected several boutique gear “manufacturers” of simply building gear based on kits, putting a nice paint job on them, then selling the pedal for hundreds of dollars; which is why I’ve always stressed to folks – try before you buy!

The LovePedal Kalamazoo is no exception to this rule. While it has some very cool features (I’ll list them below), you really never know how a pedal will work with your rig until you put it in your chain. But despite that, I’m really intrigued by LovePedal’s twist on the overdrive with the Kalamazoo.

So what’s to like? As you can see, there are two little knobs called Tone and Glass under the common Level and Drive knobs. I believe this is where the magic of the pedal lies. Tone is a treble content roll-off, while glass is a treble booster that doesn’t affect the lows. These are wired in series, so they interact with each other. From what I could gather from the demo from ProGuitarShops I’ve seen, these two knobs offer up a world of tonal possibilities.

Another thing that appeals to me is that I prefer a more “open” kind of overdrive to let my power tubes do the compression. To me, it sounds more natural that way. The Kalamazoo was designed to create an “open” type overdrive tone. With it, you can slam the front-end of your amp, and make that gain push the power tubes into compression.

And from what I could gather, the Kalamazoo is VERY responsive to input gain, which is demonstrated in the ProGuitarShops video.

Here are the pedal’s features (from the Love Pedal site):

9VDC Input
True Bypass LED Status
Compact Die cast Aluminum Case 4.37″ X 2.37″ X 1.07″

Controls:
DRIVE – Sets the amount of overdrive
LEVEL – Master volume control
TONE – Softens the treble content
GLASS – Increases treble without cutting bass response
STOMPSWITCH – Turns effect ON or OFF

Cost: $199

To top it off, the pedal has a mirror finish! I really dig that! My Creation Audio Labs Mk.4.23 booster has a mirror finish as well. Sweet! And at $199, this is a pedal that will not break the bank!

Here’s LovePedal’s Intro Video:

And here’s ProGuitarShop’s Demo:

For more information, visit the LovePedal site!

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Click on the picture to see an enlarged view.

Wicked Woody “Original” Pedal Board

Summary: Handmade with carpentry-grade wood, this is one gorgeous pedal board. Nothing like making something so utilitarian a virtual work of art!

Pros: Completely handmade with high-grade wood that doesn’t only look great, it’s lightweight as well! Platform is reversible so you can configure the board to have your volume or wah pedal on either right or left sides. Lots of space under the platform to fit a power brick and stow your plug, and the routing on the top makes it easy to run your cables.

Cons: Could use some rubber or silicon feet to protect the bottom from scratching and elevate it above possible spills (think bar gig).

Features:

  • Elevated pedal platform. With an elevated platform, it is both easier to see, and easier to reach all of your pedals.
  • Handmade, of the highest quality certified hardwood plywood. Durable finish that will protect your woody for life.
  • Easy cable management, with the cable chanels routed into the platform it is a cinch to place your pedals in any configuration you desire, and wire them however you would like.
  • Alternative storage, under the platform for your power supply or other storage needs.
  • Measurement: 24″ X 15″

Price: $80 direct

Tone Bone Score: 4.75 ~ I’ve never seen a pedal board that looked so nice. Despite its looks though, I really would’ve liked to see some “feet” on the bottom for some extra protection. Something that looks this good should be really protected. That said, it’s easy to get some hardware that’ll do the job with minimal effort. But if it had that right off the bat, I’d give this puppy a 5.0!

For Goodness’ Sake! It’s Just a Pedal Board!

I would venture to guess that most players don’t really put to much thought into the “look” of their pedal board other than if the cables are nicely arranged and out of the way. But lots of players obsess over the look of everything in their rig; even down to their pedals’ paint jobs. So why not put them on a platform that really shows them off, as well as being useful? Aesthetics are a good thing. Myself, I tend to be far more practical to even consider something like this, but hey! Cool is cool in my book, and although I may not normally consider having a board like this, that doesn’t take away from the fact that this is one gorgeous piece of functional hardware!

From my point of view the Wicked Woody pedal board is like a nicely shined pair of shoes. Most people wouldn’t normally notice them, but they do notice that there’s something “nicer” when you wear them. Such is the case with the Wicked Woody. It’s not a showy and sparkly, but it just looks well, nice. Besides, there’s nothing sweeter-looking to me than nicely grained wood, and all Wicked Woody pedal boards are made of high-grade woods, with a nice, smooth finish. In other words, the provide a sweet presentation platform for your pedals!

Setting Up the Board

When I received my evaluation board today, I was amazed by how lightweight it was, but it was absolutely solid. The plywood used would not bend or give at all! But in addition, it looked fantastic! I know, it’s kind of hard to be excited by something so utilitarian, but this board looks so good – it kicks ass!

Luckily, my evaluation board also included some velcro strips, so it was a simple matter of attaching them to the board. I got a fairly long length, so I just cut it in two and laid the strips straight across the board. If I were to actually keep the board, I’d be a lot more meticulous and place strips so the they don’t show at all. But for my evaluation, I just wanted to be able to easily arrange my pedals.

I have to say that I’ve never seen my pedals look so good. 🙂 Here’s a picture:

A very cool thing that I liked immediately was that the platform fits my back line of pedal risers perfectly! Four pedal risers fit exactly flush to the edges of the platform. The folks at Wicked Woody say you might not need pedal risers, and based upon the space between the front and back lines and the nice angle of the platform, I’d tend to agree with that. But with my clumsy, double-E feet, I need every advantage I can get, so it’s very convenient that the platform fits the pedal risers so perfectly.

You can clearly see the route in the center. There are actually two routes, but the upper one is obscured by my pedal risers. But both are very conveniently placed. The platform has a round hole on each side to run cables through as well. That is very convenient as I was able to run the power and connector cables underneath the wah. Then to connect the wah to my next pedal, I ran the connector through one side hole, then out the other side hole to connect to my CE-2. When all was said and done, I was impressed by the arrangement. Plus, the big base board really creates a nice spacious effect.

Now I know there’s a lot of debate with the placement of a wah pedal. Should it be before or after the drive pedals? I happen to prefer mine to be placed after my drive pedals, so the default arrangement, with the wah pedal on the left was perfect for me. However, for those who prefer it to be on the other side, the platform is reversible. You just have to unscrew the platform from the bottom of the board, turn it around, and you can place your wah (or volume or expression pedal) on the right side.

I didn’t take a picture of the back of the platform, but there’s plenty of room underneath. I placed a fuzzy strip underneath the platform, and put my Dunlop DC Brick there then ran the power connectors to the pedals through the routes. Having those routes is a real nice feature because it keeps your power cable runs nice and neat – and hidden from view. There’s also plenty of room underneath to place a spare pedal or two (as long as they have a low profile), and of course, you can stow your plug underneath during transport.

The eval board didn’t come with a case, so I’m not sure if there is one available. Hopefully there is one available because I’d definitely want one to transport the board to and from gigs if I owned one of these beauties.

So… overall impression? I dig this board. It looks fantastic, but it has some very nice features that make setting up your pedals a breeze. It literally took me less than 10 minutes to get everything hooked up. Granted, if I owned one of these, I’d take a bit more time to make everything perfect, but one could do a lot worse.

Update: April 1, 2010

Just got a message from the folks at Wicked Woody. They don’t have a case for their boards yet, but should have one as an option within the next couple of weeks. This is great news!

For more information, go to the Wicked Woody site!

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Click on the picture to see an enlarged view.

Radial Engineering ProDI Direct Box

Summary: Need to plug your acoustic guitar or bass directly into your mixer or DAW? Don’t do it without one of these units.

Pros: Completely passive DI, requires no internal or external power sources. Super-transparent, the ProDI adds no artifacts to your tone. Used with an acoustic guitar, it makes your guitar come alive!

Cons: None

Features (from the Radial web site):

  • Full range passive direct boxes
  • Isolation transformer eliminates noise
  • Very low harmonic and phase distortion
  • Compact and rugged design
  • Ideal for live sound and studio
  • Mono (ProDI) or stereo (ProD2) models

Price: $99 street

Tone Bone Score: 5.0 ~ Talk about having my acoustic guitar just come alive! If you’re not using a DI when plugging into a board, you need to get this!

For my solo acoustic gigs, I’ve been using my DigiTech Vocalist Live 4 for the last couple of years, and it has been terrific. But back when my Ovation got damaged (which I’ve since fixed with a little wood glue), I’ve been using my Fender Stratacoustic with the Vocalist. Unfortunately, the Vocalist doesn’t like input gain of the Stratacoustic, and driving hard on the strings would cause the Vocalist to overdrive, and cause a pop in the PA system. Not good. Luckily, the Vocalist Live has a Guitar Thru jack, so I could route the signal to another channel on the board.

But that meant that I was going to be plugging direct, and I knew that plugging an acoustic directly into a board doesn’t sound very good at all. Not only is the sound muddy with way too much midrange “goop,” there’s also a huge loss in dynamics, ultimately making the guitar tone flat and lifeless. While I don’t completely understand the electronics, the problem apparently lies in the impedance mismatch between guitar and board; and if I’ve learned anything impedance mismatches from working with attenuators, impedance mismatch is a big culprit for loss of tone and transparency. Enter the DI, or direct input box.

The main purpose of a DI box is to take one type of electronic signal, convert it to a magnetic signal, then convert it back to an electronic signal again. The  device used for this is a transformer. With a DI, the unbalanced, high-impedance signal coming from the guitar goes into the transformer, which “transforms” the signal into a balanced, low-impedance signal on the other end. The net result is that impedances are properly matched on both ends, theoretically retaining your tone. Now, enter the Radial ProDI.

I knew I had to get a DI, but wasn’t sure about which one to get, as there are many to choose from. But a quick call to Jordan at Gelb Music got me on track right away. I’ve been buying gear from him for years, and he knows my rig. So when I explained what I wanted to do, he had an immediate recommendation: The Radial Engineering ProDI.

Jordan told me, “I just recorded some acoustic tracks directly into a board, and used the ProDI. I was blown away by the tone. It totally made my guitar come to life – even plugged in! And at $99, it’s totally worth it.”

That was enough of an endorsement for me. Yeah, you could say it’s just another sales guy trying to make a sale, but I’ve been dealing with Jordan for awhile, and not only is he knowledgeable, everything he recommends, he plays. That’s Gelb’s shtick. They have an unsaid policy that their sales guys can’t make recommendations on anything they haven’t played, so you can be assured that their recommendations are reliable. I’ve been buying gear from them for years, so I’ve experienced that first-hand, AND benefited from that policy!

How It Sounds

I put together a couple of quick audio clips to demonstrate the difference between going direct into my DAW vs going through the ProDI.

Guitar straight into the DAW

Guitar into the ProID then into the DAW

One of the reasons I chose the Stratacoustic was because of the fantastic Fishman pre-amp and dual pickup system it uses. Plugged in, it sounds incredible. But even plugged in, there’s a detectable (at least to my ears) muffling of the tone, whereas with the ProDI, the guitar sounds richer.

I realize that with these recordings the differences are subtle at best. However, the difference was far greater plugged into the board at the restaurant I played at on Friday. I did an A/B test during sound check, and I couldn’t believe the difference in clarity between going direct into the board, and going through the ProDI first.

Overall Impressions

This is yet another piece of gear that I cannot live without for going direct. It’s a simple box for sure, but at $99, what it brings to the table is so much! For more information, check out the Radial Engineering ProDI page!

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