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5 Tone Bones - Gear has stellar performance, value, and quality. This is definitely top of the class, best of breed, and it's a no-brainer to add this to your gear lineup!

IK Multimedia Stealth Pedal

IK Multimedia Stealth Pedal

Summary: It’s official, IK Multimedia’s StealthPedal has just been released! The new StealthPedal is a lesson in packaging up familiar components to produce something totally unique. This is the first of its kind: A USB-powered guitar audio interface/software controller that you can use for recording or playing live as well as controlling any “Powered By Amplitube” software (or any MIDI-controllable software). With the StealthPedal, IK Multimedia completes the picture in providing an end-to-end computer-based guitar performance and recording solution.

Pros: Truly plug and play, it is automatically recognized by “Powered By Amplitube” software, and requires very little configuration.

Cons: None

Price: $199 Standard Bundle / $399 Deluxe Bundle

Specs:

• USB powered audio interface and pedal controller
• 2 balanced / unbalanced audio inputs (hi-Z or line level)
• 24 bit A/D and D/A conversion
• 44.1/48 kHz operation
• 2 balanced audio outputs
• Headphones output
• Volume control
• Built-in expression pedal and MIDI foot-switch
• Multiple LEDs can operate as Tuner or Level indicators with AmpliTube
• External double switch and expression pedal inputs
• Classic, rugged metal Wah-style construction
• High-quality, low-noise input stage (109dBA /104dB RMS S/N ratio)
• Control all “Powered by AmpliTube” software/plug-ins

• Control any MIDI controllable software/plug-ins

• Standard Bundle includes AmpliTube 2 Live standalone and plug-in, AmpliTube X-GEAR, Ampeg® SVX UNO standalone and plug-in, Sonoma WireWorks Riffworks™ T4, and AmpliGrooves Loops by Sonic Reality
• Deluxe Bundle: AmpliTube 2, Ampeg SVX, AmpliTube X-GEAR, Sonoma WireWorks RiffWorks t4, AmpliGrooves
• Compatible with all the most popular DAW software supporting ASIO and Core Audio drivers on PC and Mac
• Endless software expandability with AmpliTube modules

Tone Bone Score: 5.0 – I love enabling technologies that make anything that I do easier, but also add a ton of value. That can definitely be said of the new StealthPedal from IK Multimedia. A quick glance at picture of the unit, and you may think: Okay, just another pedal-style software controller. It is that, but it is also so very much more!

The StealthPedal is also an extremely easy-to-use, full-functioning analog-digital audio interface that you can use for recording or running modeling software live through your computer. And with 24-bit analog-digital, digital-analog conversion, and 44.1/48 kHz operation, you can count on the SteathPedal to produce high-fidelity sound in the studio an on the stage.

The StealthPedal looks just like a mere expression pedal from the top view. But look at the sides and the input and output jacks belie its humble appearance. On the left side of the pedal are ¼” jacks for right and left output, an 1/8” for headphones, another ¼” jack for a dual-switch external switching unit (extra), and the USB jack. On the right side of the pedal are ¼” jacks for inputs, a volume control knob, and a ¼” jack for plugging in another expression pedal. In other words, this “pedal” packs a punch and is so much more than what it appears!

Wah, wah, wah

It took me awhile to figure out that I had too early versions of X-Gear / Amplitube Fender to be automatically recognized the StealthPedal. My bad entirely. But once I had the right versions installed, adding software stomp effects and controlling them via the StealthPedal was a total breeze! The software automatically assigns the StealthPedal to control the first effect with some default behavior. For instance, with a wah effect plugin, the foot pedal is assigned to the wah effect and the switch is assigned to bypass. But you can change behavior simply by clicking the “setup” button at the top-right of the application window. It can’t get much simpler than that!

In the Studio

But before I even tried using it to control the included Amplitube software, I wanted to see how it performed as an audio interface. In this usage, I was totally blown away! Whereas other audio units such as those from DigiDesign require a software driver to operate (yes, even on the Mac), at least on the Mac, the StealthPedal follows Apple’s lead in design: Plug it in and it just works! So in a very real way the StealthPedal is aptly named as it just does what it does without you knowing how – or having to know how it works! Note that you do need a driver for Windows. But on my Mac, the process to be up and running took less than 5 minutes! That’s incredible!

Launching GarageBand, I just went into the preferences, and selected the StealthPedal as my input and output devices. I ran an unbalanced line from my mic pre-amp into the first input jack of the StealthPedal, added and setup a new track, hit record and started jamming on my guitar that was plugged into my amp. The StealthPedal worked as expected – actually a lot better than I expected because I was expecting only “okay” signal quality, considering the price point of this unit. Boy, was I wrong. The recorded signal was just as clean as my MBox 2, with no apparent shading of any kind. That put a smile on my face. And another thing that really blew me away was that lag was virtually non-existent. There was tiny bit, but nowhere in the realm of the lag that I normally get with my MBox 2. Amazing!

Then plugging my guitar directly into the StealthPedal, I fired up the Amplitube Fender plug-in, selected an amp, and started playing. This was truly the first time I could switch on track monitoring and not get thrown off from the lag!

What’s Not Obvious Is Usually Where the True Power Lays

Think about this carefully because it’s important: The real impact of the StealthPedal is not necessarily in its features, but in what it provides as a solution. As I mentioned above, the StealthPedal completes the picture for IK Multimedia to provide an end-to-end computer-based guitar performance and recording solution. I don’t say this lightly. Not only do they have totally kickass amp and effects modeling, with the StealthPedal, they now have a high-quality, high-fidelity guitar audio interface and software controller! Add to the fact that the StealthPedal requires ZERO setup to use (Mac only, sorry folks), and you’ve got a complete solution for all your computer-based guitar audio. And because the StealthPedal was built to work specifically for “Powered By Amplitube” products, you never have to worry about compatibility problems! I don’t know about you, but that’s just incredible to me. But wait there’s more!

Because it is a MIDI controller, the StealthPedal can also be used with other amp sim software via MIDI. So this just isn’t a solution for the AmpliTube user, it can be used by virtually all recording guitarists, and other musicians as well!

Overall Impressions

What can I say? I dig the StealthPedal! In the next couple of weeks, I’m going on a trip. Guess what’s coming with me? A guitar, the StealthPedal, a mic pre-amp, a mic, and a couple of cords. That’ll be enough to record any song, and besides the guitar, all that will fit into my computer bag!

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Wyres Strings

5 Tone Bones - Gear has stellar performance, value, and quality. This is definitely top of the class, best of breed, and it's a no-brainer to add this to your gear lineup!Up until recently, I had never heard of Wyres Strings until I was in a nostaligic mood, and looked up the great French acoustic guitarist, Pierre Bensusan, went to his site, and saw this page, where he was endorsing Wyres Strings. Intrigued, I looked up the Wyres string company on the web, and looked at the various pros who are using them to get an idea of what kind of musicians have used these strings. What I discovered is that the range of musical styles where these strings are used is very wide, ranging from acoustic to hard rock. That was a good sign. I’ve found other “specialized” string companies who only have appeal in a specific genre of music. Not so with Wyres.

Emboldened with this knowledge (and my incessant curiosity), I contacted Nick Walton, owner of Wyres strings to get his story and to see if I could review some strings. I already believed them to be great strings if the great Pierre Bensusan was endorsing them (and according to Nick, this wasn’t due to some “pay me and I’ll endorse your strings” type of deal. Here’s Pierre’s testimony:

Dealing with strings has generally been for me a source of compromise and often frustration. For more than 30 years, I have been waiting for the right medium, embracing top quality but also longevity, fluidity, touch and beauty of-sound. I came across Wyres Strings and found the answers to all my concerns. These strings are just phenomenal, they are handmade, sound extremely well, feel great under the fingers, allow for an extensive use of their sustain to “work” the touch, the tone and the history of the note, they do not break and, icing on the cake, thanks to a very subtle coating which doesn’t not take any harmonics away, they last for ever ! I feel completely relieved and will always remain really impressed with this performance.

Wyres Strings surpass any other brand on the market today! I am proud and honored to collaborate to a Signature set with Nick Walton and his company. A dream came true.

Note that Pierre wasn’t prompted or coached to say what he said. Coming from a master composer and guitarist such as Bensusan, that is quite and endorsement! Okay, let’s get into details, but first, let me say this:

These are hands-down the best guitar strings I have ever played!!! The sound, feel, and playability are amazing! Like Bensusan, I will never use another string manufacturer. I love these! I know, people swear by pure nickel, and admittedly, they are fine strings, but they are also expensive. As a gigging musician with a family to feed, pure nickels are a luxury I can’t afford, but I can afford to spend a few bucks more on high performance strings. And the fact that they’re coated and will last longer than a normal string makes them even more economical. But that’s not my main motivation. These strings sustain for days, and they have tons of tone – but I’m getting ahead of myself.

Handmade and Coated, And They Feel FANTASTIC!!!

All Wyres strings are handmade and hand-wound by skilled craftsmen. They come in both coated and uncoated versions, but the coated are by far their best sellers. Coating is done with a special process that actually lubricates the string as you play, which apparently results in a longer lasting string from both a mechanical and tonal perspective.

Personally, I’ve never been a fan of coated strings. I’ve always found them to be very brittle feeling and over-bright. I tried Elixirs a few times, and couldn’t stand the sound, plus, I felt as if they were cutting into my fingertips because they feel sticky. Wyres feel that way at first, but after a just a short while, the coating starts working into the pores of the strings, and your fingers just glide.

I gigged with these strings last night for the first time, actually playing a bit of roulette by stringing up with these never-before-played strings right before I left for my gig. As expected, when I first put them on, they were as bright-sounding as any new string. But the thing I immediately noticed was that they were very full-sounding as well. I knew that these were very special strings. I was very excited to play with them.

I strung the strings tighter than standard tuning so they’d be stretched by the time I started my gig. By the way, the strings I played are the 12 – 54 version, hence the model TP1254 – they’re equivalent to “lights”). And once I got to my gig and tuned up, and struck my first chord, a huge smile just formed on my face. They sounded absolutely incredible (which I’ll get into), but almost more importantly, they had a great feel, despite the fact that I could still feel the coating. After a few numbers – I set up my opening set list so that I’d play songs that ensured I’d play up and down the fretboard, either with a capo or barre chords – the strings started to settle, and feel really good. I found that I didn’t have to dig in hardly at all to get notes to resound, and doing little runs with subtle microtonal bends was a breeze! The strings felt almost like electric guitar strings. They were pliable and incredibly resonant – the feel of these strings really got me into a groove!

How They Sound

I guess the proof is in the pudding. I’ve played great feeling strings that just sounded dead. But these strings produce gorgeous tones, and as I mentioned they’re incredibly resonant. The sustain from these strings is like nothing I’ve experienced, short of really expensive sets I’ve tried in the past that cost an arm and a leg. In my solo gig, I play a variety of styles from jazz standards to claw-and-hammer fingerstyle songs. No matter what style I played, these Wyres were the best sounding guitar strings I’ve ever played. It’s no small wonder why Pierre Bensusan endorses these strings (though he plays with a set of 13’s, which I’ll review once I wear this current set of 12’s out).

Overall Impression

Obviously, the 5 Tone Bones I assigned to these strings speaks to how much I love them! For me, I won’t be using any other strings from now on. Like Bensusan, I’ve found my string of choice. Now get this: These strings go for $14.95 to $17.95; about the same as what you can get a set of Elixirs for. But these strings kick the shit out of Elixirs, hands down – at least for me. And considering that these strings are nowhere near the brittleness of Elixirs, and they’re handmade, I’ll go with these, thank you. No more machined strings for me!

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IK Multimedia Stealth Pedal

For those computer-based DAW jockeys, you know about IK Multimedia’s Amplitube software. I recently wrote a review of Amplitube Fender Edition, and loved it. Now I have an even bigger reason to love it, and that’s IK Multimedia’s StealthPedal which looks like an expression pedal but is actually a fully-functional, USB-powered audio interface WITH a built-in expression pedal. How friggin’ cool is that?

Folks, this thing works, and it works well, as my full review, which will be released in a few days will bear out. As an audio interface, it may not have a lot of bells and whistles, but for the home recording studio buff, this is a great, affordable, high-res audio device that can take a direct in from your guitar or pedal board, or a line out from a pre-amp to use for layering tracks.

But because the pedal has the ability to act as a controller for any “Powered by Amplitube” software or plug-in, you may not even need an amp to record your guitar parts! There are enough fantastic-sounding amp models packed into the various Amplitube packages that you’ll be sure to find a model that works for you. Plus the software effect plug-ins that the StealthPedal can control give you added tone shaping abilities.

In my impending review, I’ll have more clips to share, but here’s a “torch song” that I’ve been working on that features the StealthPedal in action as an audio interface:

Except for the drum loop, all the instruments were recorded using the StealthPedal as the audio interface. I did a line-in directly for the electric piano. For the guitar parts, the amps are both software amps! For the rhythm part I used a Fender Champ 600 with a virtual compressor rack plug-in and my Strat plugged directly into the StealthPedal. For the lead part, I plugged into my pedal board and used my Tone Freak Effects Abunai 2 overdrive, and a Hardwire RV-7 Reverb. For the amp, I used a ’59 Bassman model. Imagine that! Software that sounds this good!

I know, nothing sounds like or feels like a real amp, but the convenience and the general sound quality of these models, plus the high-fidelity of the StealthPedal isn’t lost on me. It’s a nice, compact audio solution that combined with the software, will definitely make a difference in how you approach recording guitars.

Stay tuned for my full review!

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T-52-AMy good friend Jeff recently lent me his Nash Tele – a T-52. He’s one of those guys who’s totally into that relic look. Me on the other hand? Give me a nice shiny guitar any day! And even if I found an old guitar at an estate sale, I’d have it cleaned and brightened – though to retain its value, I wouldn’t do anything other than to freshen it up). But as you can’t judge a book by its cover, so it goes with guitars. Just because a guitar looks beat up and old, in the end, it’s how it sounds and plays that really matters, and the Nash Tele I just got done playing with is a total joy to play, with very nice tones to boot!

One thing that really impresses me about the guitar is how fast the neck is. It is so easy to move around on the neck that I was making tons of mistakes at first because I was able to play with a lot of speed. A lot of that has to do with how easy it is to play a note. Just lightly press, and the guitar starts to sing! Of course, there’s not much sustain, but that’s to be expected out of a Tele or tele-like guitar.

Just in case you missed all the excitement, I had written an article about the Fender Roadworn series awhile back. I basically said in the article that I just really don’t get the relic thing, and that I’d rather to the “relicing” myself. If that’s your thing, more power to you – what inspires us is what makes us great. But cosmetics aside, it’s also how a guitar feels and it enables you to express yourself. So even though I don’t get the relic thing, just based on playability and sound, I could easily own one of these. They are very nice guitars!

4.75 Tone Bones - Almost perfect but not quite

Rating Summary:Surprisingly enough, my little ding didn’t come from my not “getting it” with the relic look. The guitar I tested had a weird buzz in the second string, and it wasn’t due to fret buzzing either. It didn’t really show up when the guitar was plugged into an amp, but it was really evident. Otherwise, the guitar played and sounded great!

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4 Tone Bones - Excellent gear, that exceeds expectations of its performance, value, and quality. Strongly consider purchasing this.

Hamer XT Sunburst

Hamer XT Sunburst

Hamer XT Sunburst Flametop

Summary: Modeled after the Hamer USA Studio, this Chinese-made axe is an affordable alternative to its American cousin. Featuring a solid mohagany body and neck with flame maple top and rosewood neck, the XT Sunburst has a naturally bright voice that’s both versatile and expressive. Very nice build quality.

Pros: Sweet, gorgeous voice at mild breakup levels, but is quite comfortable doing high-gain, which is probably where it’s best applied. This would be a great starter electric guitar!

Cons: Not much inherent sustain, especially in the upper registers where the guitar seems to lose gas. Hamer headstock is huge (that’s just a personal nit)!

Price: $349-$399 street

Specs: See web site

Tone Bone Score: 4.0 – This is not a bad guitar, and it would definitely be something I’d consider as a starter instrument for one of my kids. It’s a nice-looking and with a little work, a nice playing guitar that would be perfect for which to start out a new guitarist.

In addition to being an incredible amp builder, Jeff Aragaki of Aracom Amps is as much a gear slut as I am, probably more so with guitars. Recently, he made the purchase of a Hamer XT Sunburst that he let me test. I had only played USA Hamer’s in the past, so this was to be my first experience with one of Hamer’s Chinese-made guitars.

Fit and Finish

Taking the XT Sunburst out of its gig bag, I was struck by its looks. It is a very beautiful guitar, and the burst finish really accentuates the flame maple top. It is also extremely light in weight, which is a huge point in its favor. Hamer calls it an “archtop,” but it’s more of a carved top, with gorgeous lines. The body wood is made of two pieces mahogany that look like they came from different parts of the tree. It’s not bad, it’s just kind of funky looking. Overall though, the finish is quite nice.

The neck is an extremely shallow C-shape neck. It felt pretty good in my fretting hand, and made it easy to get around the neck with ease. I love the short neck butt of this guitar, which allows you to reach real high notes without first having to do hand-stretching exercises.

Playability

Here’s where the poor setup that I mentioned above came into play. The action was set pretty high, and lowering the action just a fraction immediately caused some string buzz which means that there’s a bit of a bow in the neck. I confirmed this with a quick spot check. It’s not my guitar so I didn’t want to adjust the truss rod. The high action made it difficult to move with speed across the strings. But mind you, it’s not so bad that the guitar is unplayable. I would suspect that with a good setup, this guitar has the potential to play very nicely.

Sound

Tonally, this is a very nice-sounding guitar. I just wish there was more of it. The thin body and neck don’t provide enough resonance to hold notes for very long, so if you’re looking for a guitar that will sustain for a long time, this ain’t it. The saving grace is the very beautiful voice it does have. Here’s a clip I quickly recorded:

The guitar was plugged straight into the drive channel of my Aracom VRX22. Volume was set at just the edge of breakup. The guitar was recorded dry, and I added just a touch of reverb after the fact.

Like I said, the XT Sunburst has a sweet, bright voice.

Overall Impressions

For a sub-$500 guitar, it’s not bad at all, and as a start guitar, it would be perfect. And as long as you keep your expectations aligned with what this guitar has to offer, it’ll serve you well. I did get a chance to plug it into my pedal board, and playing it through a compressor/sustainer or an overdrive pedal that adds some sustain will work wonders with this guitar. It does play nice with pedals, which is a saving grace.

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Tone Freak Effects Abunai 2I’ve been playing my Prestige Heritage Elite so much lately that I forgot how fun it was to get funky with my Strat. So this morning, I plugged my Strat into my board, switched on the Abunai 2, and found a sweet spot that would give me just a bit of grind when I played single notes with nice grit when I dug in or played chords. Then I started playing this little funky riff that I just laid down.

I just can’t get over how good this pedal sounds with any guitar! With my Strat, I’ve always tended to play it much more clean than my other guitars. The ’57 Tex Mex pickups – at least to my ears – have never sounded very good with overdrive. I’ve always felt the drive was harsh. But the Abunai 2 really smoothens out the drive, and now I’m diggin’ playing with some real grit on my Strat.

By the way, if you missed the first clip I recorded using my Heritage Elite, here it is below:

My Aracom VRX22 just loves this pedal as well. Some might argue that with such a great amp that has a fantastic overdriven sound that I should be using the natural overdrive of the amp. In answer to that, sometimes I want a completely different overdrive character than what my amp has to offer, and an overdrive pedal through the clean channel of an amp has a totally different character than the drive channel.

Also, in a home studio environment where I have to keep the volume down, an overdrive pedal allows me to get some snarling-dog overdrive without having to crank my amp. And with a pedal like the Abunai 2 that simulates voltage sag and tube compression so well, I can get that cranked amp tone at bedroom levels!

Anyway, I hope you enjoy the clips!

For more information on the Abunai 2, and for other Tone Freak Effects pedals, please visit the Tone Freak Effects web site!

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5 Tone Bones - Gear has stellar performance, value, and quality. This is definitely top of the class, best of breed, and it's a no-brainer to add this to your gear lineup!

Tone Freak Effects Abunai 2

Tone Freak Effects Abunai 2 Overdrive Pedal

Summary: In Japanese, “abunai” means dangerous, and this pedal’s overdrive tones are indeed dangerous – at least to your other overdrive pedals. With three switchable clipping configurations, you can dial in a myriad of overdrive characteristics that’ll suit any situation, be it live or in the studio.

Pros: The magic’s in the three-way clipping configuration switch. Super simple to use, and very easy to dial in the kind of overdrive character you want.

Cons: None

Price: $199 (through dealers – check out the Tone Freak Effect Contact Page)

Specs:

  • Controls: Drive, Tone, Level
  • 3 clipping configurations
  • True Bypass
  • Neutrik jacks
  • Teflon coated, silver stranded wire
  • Mil-spec PCB
  • Metal film resistors
  • Metal film capacitors
  • Hand assembled

Tone Bone Score: 5.0 – As I shared with Dereck Tabata (maker of Tone Freak pedals), with the amount of gear that I run across, I’m rarely blown away by pedals. But I was completely blown away by the Abunai 2. Step aside Tube Screamer, there’s a new sherriff in town.

One rainy friday night several months ago, I was sitting in an Armadillo Willy’s eating my dinner and surfing the web, while waiting for my son’s hockey practice at the rink across the parking lot to end. I was doing what Internet geeks like myself occasionally do: Search for available domain names, and reserve them, just in case I want to build a site or point them to this blog. In this case, I did a google search on “tone freak.” The first listing was for Tone Freak Effects; an effects manufacturer I had not even heard of at that point.

Being the gear slut that I am, I just had to mosey on over to the Tone Freak site, and check out what they had to offer. And much to my extreme pleasure, they had a bunch of overdrive pedals, my favorite kind of effect! I immediately reached over to my laptop bag and pulled out my ear buds so I could listen to clips. The first set of clips I listened to were recorded with the Abunai 2. From the very first clip, I felt that this pedal was something special. It wasn’t a Tube Screamer tone – it was something altogether different. It had a much “ballsier” sound than a Tube Screamer, but seemed to clip very similarly – at least in the middle position.

Well I got one in for review just yesterday, and from the moment I hooked it up to my board and started noodling, I was in love!!! And by 2am this morning, I was spent, which accounts for why I’m doing a review of the Abunai 2 the very next day. I just couldn’t stop playing (though after the first hour I did stop to take a break and write a First Impressions article)! So today I’m a bit fuzzy and a little worse for wear, but grinning from ear-to-ear because I just spent the previous evening in absolute overdrive bliss! I know some gear is good when it can consume my attention for hours on end. This is the perfect overdrive pedal!

Features and Ease-of-Use

The features are listed in the summary section above, but the most special feature of this pedal is the three-way mini-toggle set between the drive and volume knobs. This controls the variable clipping section which gives you symmetrical, asymmetrical, and no clipping to open up lots of different overdrive tones. As far as ease-of-use is concerned, this pedal’s easy to use. Select the clipping configuration you want, adjust level, gain, and tone, and you’re off to the races!

Interestingly enough, I wanted to get some background information on the pedal before I received it, so I had a nice conversation with Rob at Tone Merchants about the Abunai 2. He indicated that I’d have to spend a lot of time dialing in just the right overdrive tone I wanted, but once I got it, I’d be totally happy. Call me lucky, but I set everything in the middle position to start with, spent maybe 20 seconds twiddling the knobs, and found a sweet spot. I suppose it also all depends on how discerning or nit-picky you are… I’ll just call it luck for my experience. 🙂

How It Sounds

Many words come to mind with respect to how the Abunai 2 sounds: Killer, Inspirational, Ballsy, F-in’ Incredible! All of the above. To date, this is the best-sounding overdrive pedal I’ve ever played, and I’ve played a lot. You know how taken I was with the OCD, but even that lost out to the Holy Fire, which is yet another killer overdrive/distortion that will never leave my board – actually I shouldn’t say “never” because that’s exactly what I said about my Tube Screamer. It’s not transparent – at least not nearly as transparent as the Holy Fire – but the tone it produces is so damn sweet, who the hell cares about transparency? But that said, the tone of your amp doesn’t really change a lot. It just takes on a slightly different character, and that difference is simply wonderful

No matter what toggle position you go with, the Abunai 2 serves up lots of sustain that gives the resultant tone a very 3-dimensional quality. It’s in your face, but at the same time it’s very spacious – even when it’s simulating tube compression!

In case  you missed the previous article where I described how each position sounds, let me rehash it here. Note that I’m not going to try to identify which position refers to symmetrical, asymmetrical or no-clipping; only what it sounds like to my ears.

Middle

The middle position sounds much like a classic overdrive tone. It’s an open type of distortion tone with a nice grind that’s never harsh. This could be the closest you get to a Tube Screamer tone, but it’s significantly different from that tone. This is a great toggle position for playing dirty rhythm parts.

Left

To my ears, this position sounds much like the tone you get as your power tubes start to saturate. You get a bit more voltage sag, resulting in more sustain and compression, but the overdrive tone still remains fairly open. And like an amp whose power tubes are starting to saturate, you get a slight volume drop. So far, this has been my favorite toggle position for leads.

Right

This position simulates fully saturated power tubes adding tons of compression, tons of sustain, and the expected drop in volume as a result -it’s spongy. I compensated for this by adding some clean boost to get the volume back to unity gain. But despite that, notes are clear, and the dynamics are still incredible.

Here’s a sound clip I recorded at around 1am this morning. I played both parts using my Prestige Heritage Elite. For the rhythm part, I set the toggle in the middle position, rolled off the drive to about 10 am, set the gain to unity, and placed the tone dead-center. I had both my ‘buckers engaged for this part. For the lead, I used the left toggle position, upped volume to about 2pm, set the Tone wide open, and set the Drive to about 1pm. The lead was played through my bridge pickup.

I tracked the rhythm part in a single take, and then loop recorded the lead so I could just jam. I’m not sure what iteration the loop was in when I finally stopped. All I know was that it was about 2am, and I took the last “take” and exported the clip to an MP3.

Overall Impressions

As I mentioned above, my head’s fuzzy, I’m a little worse for wear, plus my fingertips hurt from playing so long last night. But what the hell! I was in complete tonal bliss! The Abunai 2 is an absolute dream come true in overdrive tone! This is a pedal that you just have to check out if you’re in the market!

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Tone Freak Effects Abunai 2 In my ever-constant search for new gear, I accidentally stumbled upon Tone Freak Effects, a little boutique effects shop in Southern California. And you know me, I DIG OVERDRIVE pedals!!! I know, I say that a lot, but I really do. When I listened to sound clips of the Abunai 2, I knew it was a pedal that I had to check out, so I contacted Tone Freak, and asked to do a review on one of their pedals. Dereck Tabata, maker of the effects, emailed me back and offered to have me review the Abunai 2. That was exactly the pedal I wanted to try out because based upon the sound clips of the Abunai 2 Dereck had on his site, it sounded absolutely killer.

Well after a moderate wait for Dereck to set up his new company and for him to create enough stock to send one out, I finally got my review pedal. I just got done playing with it for the last hour, and was so excited by its tone, that I had to release a first impressions article.

So I’ll just say this: After many years, my Tube Screamer is going to get retired for awhile. Mind you, I didn’t say I’d get rid of it. There is something about that Tube Screamer tone that I will always love. But even after just an hour of playing with the Abunai 2 and discovering just a fraction of the plethora of tones it can produce, I think I’ve found an overdrive pedal that I love as much or perhaps even more than the Tube Screamer. I know… I never thought I’d say that.

Let me give you a quick rundown of the Abunai 2…

When you first look at this pedal, you’re totally taken in by the absolutely cool purple, sparkly paint job. The picture here doesn’t do the pedal justice at all. Then you notice that it has a three knob setup, just like most overdrive pedals. Then you plug the pedal in, and that’s where the magic starts. That magic comes from the three-position mini toggle that gives you overdrive tone-shaping possibilities you never thought possible. These three positions give you very different overdrive characteristics. No matter what position you’re in, the tones this diminutive pedal produce are about the most incredible tones I’ve ever heard in an overdrive! Freakin’ awesome! Let me quickly go over each different position.

Middle

I’m starting with the middle position because that position provides that classic overdrive tone. It’s not a mid-range hump like a tube screamer. Like the Creation Audio Labs Holy Fire, the full spectrum of the EQ is represented. The distortion characteristics are pretty open in this position, and the pedal reacts very much like an overdriven tube amp.

Left

This position seems to simulate distortion when the power tubes start saturating and you get just a tiny bit of compression. This lowers the volume just a tad, but it increases the sustain. But the distortion is still open – so far this is my favorite toggle position.

Right

Metal rockers will love this toggle position. This position simulates fully saturated power tubes adding tons of compression, tons of sustain, and the expected drop in volume as a result. I compensated for this by adding some clean boost to get the volume back to unity gain. This is a VERY fun position to play in (that sounds kinda kinky…). Notes just sing and sing and sing in this toggle. But the cool thing is that despite the incredible amount of compression, the pedal maintains a lot of clarity in individually picked notes.

What a great first impression! This pedal totally kicks ass, as I’m sure Dereck’s other pedals do! It’s no small wonder why Greg Howe uses a Tone Freak Buff Puff! When I do my full review, I’ll have sound clips to demonstrate the differences in the tones between the different toggle positions! Rock on!

For more information on this and other Tone Freak Effects pedals, go to their web site!

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Carvin SH575 MIDI Access Guitar

New Rating:

4.75 Tone Bones - Almost perfect but not quite

I’m going to do something that I have never done before and that is to re-rate some gear that I’ve already rated. The SH575 now gets a Tone Bone rating of 4.75 instead of the 4.5 I gave her yesterday.

I should know better than to do a review after only a day of playing some new gear; especially when it’s something that is completely new. Maybe it was my vanity in thinking that since I play all sorts of guitars that I should be able to pick up a new guitar and just start playing – and play it well. So shame on me for not taking more time with the Carvin SH575 to get to know the guitar better before I reviewed it.

It bugged me that I gave it a 4.5, which is not a low score by any means – I was really hoping it would be higher. So this evening, I went back into my home studio, pulled the SH575 out of its case, and just started noodling around to find out where the sweet spot was with the guitar. I originally took off marks for the guitar not really sustaining all that well. For the most part, I was wrong. The SH575 has a lot of sustain – you just have to figure out how to get it.

What I discovered is that this guitar requires an extremely light touch to play. That’s not a bad thing because a lighter touch in general means that you can play faster. Once I lightened up my touch, I was able to get some really stinging sustain out of it, and for that, I decided to give it a higher rating. Here’s a quick clip I made that demonstrates the nice sustain:

I added some overdrive with my trusty Tube Screamer, but it was pretty light. I wanted the guitar to do most of the work, and I added just a touch of reverb to create a little ambiance in the tone. Excuse my little mistakes in playing… 🙂

So why not a 5.0? There are a couple of reasons. First off, a high B on the 12th fret is actually a little dead. Not sure what that was about, but no matter how lightly I played, the tone of that string was just flat. Secondly, to me, the bridge pickup is just not very inspiring to me. I dind’t like it yesterday, and even though I really tried to look past my opinion of it, I just couldn’t get to liking it. As I mentioned in my original review, if I owned one of these, I’d lower the bridge pickup a tad to bleed off some of the highs.

But despite those two nits, this guitar plays like a dream, and in either the neck or the middle pickup selector, the SH575 just sings! That’ll teach me to get a review out too fast. I’m glad I proved myself wrong. 🙂

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4.5 Tone Bones - Very solid performer, and has almost everything but just missing a couple of things

Carvin SH575 MIDI Access Guitar

Carvin SH575 Synth Access Carved Top Guitar

Summary: One of the better synth guitars I’ve played to date. Great response time into the synth. Very well built and gorgeous looks. The one I played was a blue burst (not the one pictured).

Pros: Great looks and incredible acoustic sound, especially when plugged into an acoustic amp. Synth feature is VERY cool and the response is about the best I’ve played. Very light in weight – you could play this for hours and not get tired.

Cons: I was disappointed with the sustain, or lack thereof; especially in the top strings. Notes trailed off pretty quickly, no matter how hard I dug in and shook the strings. The driven sound of this guitar was a bit uninspiring, though the cleans are magnificent.

Price: ~$1900 direct

Specs: Visit site

Tone Bone Score: 4.5 – There’s a lot to like with this guitar, and if it weren’t for the lack of sustain and uninspiring drive sound, this would be a joy to play. In spite of my negatives, this is a very versatile instrument, and the mere fact that you have both guitar and synth going at the same time is simply awesome.

Several weeks ago, my good friend Dave shared with me that he had ordered a Carvin SH575 at the Carvin store while in Southern California on a trip. I had heard of this guitar from the Winter NAMM show, and was pretty excited about it. Dave finally got the guitar a couple of weeks ago, and let me borrow it so I could play around with it and do a review… so here it is! 🙂

Fit and Finish

Carvin makes some very pretty guitars, and this is no exception. A lot of care went into the details in building this instrument, and I have to say that I’m totally impressed with the build quality. The blue burst finish of the guitar I tested was quite magnificent, and everything down to the hardware was perfect.

Playability

Wow! I had never played a Carvin guitar before, and I have to say that I am incredibly impressed by how nice this guitar plays! The medium-jumbo frets are perfect, and moving around the neck is a real dream. Your fingers glide very easily over the strings (though I have to admit, I am NOT a fan of Elixir strings, which I think these come with stock). It’s no small wonder Steve Vai plays a Carvin. The SH575 is simply a dream to play, and this is really the saving grace of this guitar.

How It Sounds

I’m really conflicted in this area. Acoustically, this guitar rules. I love the acoustic sound of this guitar, especially when plugged into a good acoustic amp (Dave uses a Genz-Benz 150). But even plugged into my DAW from the synth unit, the acoustic tones were nothing short of amazing. Here’s an example:

In the clip above, I ran the 1/4″ out on the guitar into my pedalboard, and had the MIDI out go into the synth so I could have a nice background string pad to play over. Very neat! 🙂 In other words, I have two separate signals going into my DAW. As you can tell, the natural acoustic tone of the SH575 is gorgeous – it doesn’t sound like an acoustic plugged into an amp. It sounds like a big-body acoustic with a microphone in front of it! I love it!

In this next clip, I’m running only the MIDI out from the guitar into the synth, then into my DAW. I recorded two separate tracks: One for the guitar, then I overdubbed a “bamboo flute” patch over the guitar.

To play these parts individually, the volume knob is a combination volume knob with one volume “ring” around a central raised knob. The center knob controls the synth volume, while the outer ring controls the guitar volume. With the first clip, I had a mix of both guitar and synth. With this clip, for each individual part, I turned down the synth or the guitar to isolate the signal. Again, very cool.

In this final clip, I feature the guitar alone. I wanted to see how it sounded driven. The end result isn’t a bad sound at all, but I really had to work hard to get some sustain out of the guitar, and instead of just using the natural drive of my amp, I opted to run the guitar through my Tube Screamer and a touch of compression to add some sustain and give the signal some balls. Also, I played this clip with the neck pickup of the guitar, as the bridge pickup pretty much did nothing for me. Mixing the two was nice, but if this were my guitar, I’d lower the bridge pickup to reduce the treble just a tad. In any case, here’s the clip:

Overall Impressions

As I mentioned above, there’s a lot to like about this guitar from the synth access to the acoustic tones. I was thinking that perhaps a function of the lack of sustain might have to do with the Elixir strings that are put on at the factory. I’d probably string this guitar up with either pure nickel or nickel wound to get more resonance out of the strings. That might be the way to go to get a better electric guitar sound out of it. And as I mentioned, the electric guitar sound is not bad at all, and if I were to rate it just on tone, it would get really high marks. But the lack of sustain just kills me; truth be told, my Strat seems to have more inherent sustain than this guitar. Sad but true.

Don’t get me wrong. I like this guitar – a lot! I’d definitely use it for rhythm guitar and for acoustic simulation; and of course, for playing a synth along with it, which it is particularly great for.

For more information, visit the Carvin SH575 site!

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