Looking for a certain functionality in someone else’s code could prove to be a tough challenge. This is increased by the size of the given project. Many systems exist today facilitating easy search in a project. For Java, eclipse is best used for that task, as it contains a strong in java class indexing, classification, and searching.

Some projects provide for you a portal to search their code base. Famous examples of these are LXR for the Linux kernel, and it’s customized version MXR used for Mozilla projects.

When all the above options are not available, the alternative exists natively in most linux systems. This is namely “grep”. Grep is a strong command for regular expression matching. On if it’s features is that it can also match to the content within files. Putting that in mind, the following command could be very useful:

grep -R "search query" .

This looks recursively for all mentions of search query in all files under the current directory. This prints output in the console the file name where this query was found, and the line that included it.

To be able to store this search result in a file, the output could be piped as follows:

grep -R "search query" . > log.txt

Photographed by billaday

My guitar and its pedalboard:
Guitar > tuner, DS-1 distortion, MXR phase 90, Danelectro Back Talk reverse delay, Line 6 delay > amp.
In each corner is my amp pedal and a spare A/B pedal.
(Strangly enough, every pedal of mine seems to be orange or green.)

– License

E-Films have some great new toys for PMW-EX1/3 owners that update and enhance the successful SDHC adaptors and add a couple of new products that tick a lot of wishlist boxes.

Ross and friends over at E-Films make adaptors so you can put SDHC cards into your PMW-EX1 for cost effective bulk-shooting. They’re wonderful little things, but as we shooters got used to the things, many realised it was a lot easier to let the SDHC cards ‘live’ in the adaptors – one per card – rather than swap them out. Some of the more hamfisted amongst us could occasionally and accidentally pop-out the SDHC card whilst pressing the adaptor into either the camera or the computer. Nothing bad happens, beyond having to unplug, reseat, replug, rinse and repeat. But…

Ross has responded by making an adaptor with no pop-in-pop-out mechanism. Plug a card in, and it’s not coming out without a ‘determined effort’.

In addition, the adaptor has been designed and tested with the newer 32 GB cards (with a view to future high capacity cards). 32 GB cards get you almost two hours of high quality shooting per card. Switch to HDV quality, and you can fit nearly 3 hours of material on a 32 GB card. With one in each slot, you’re good for almost 4 hours of XDCAM or 5 hours 45 minutes of HDV.

But wait, as Steve Jobs would say, “one more thing”. Here’s the Steve Jobs moment. The redesign of the adaptor has left room for (wait for it) a sticky label! Yay! You can write out a label and stick it on the adaptor and it won’t scrape off in the camera or jam up your computer. It sounds a simple thing, but ye gods – I miss my labels. If you’re new to MxR, go for the new adaptors, even if you’re going for 16GB cards, as the non-popup, futureproof capacity and writable labels are must-have features. Remember to get your boxes too!

With lots of cards, and maybe many hours worth of material (event capture, multi-camera) to ingest, with the slower transfer speed of USB, one could be in for some long evenings. I’m writing this whilst I ingest. So imagine the ability to ingest 4 cards at the same time. Boggle!

The E-MCR (Multi Card Reader) comes in a little zip-up soft case which will also store up to 6 MxR adaptors with the cards inside. It will work with ShotPut Pro from Imagine Software which can back up each card to up to three different locations with a range of data integrity checks ranging from a quick copy to bit-for-bit checking.

I’m a bit leery of recommending ShotPut as they’ve not given me particularly good customer service in the past, (the English way of saying ‘it sucks’). But hopefully there’s somebody out there who can give ShotPut the thumbs up.

Their store will point you in the direction of a local supplier or from their own store if applicable.

Am I buying any of these products? Well, right now, no – I’ve invested too heavily in the first round and am getting more than satisfactory (an English way of saying profanely brilliant) performance from my kit. But if I were to be heavily into multicam, or invested in a second camera which needed its own setup, yes: I would. Like a shot.

And if I found that Imagine Products’ customer service stopped sucking, I might look into giving it another go. Word on the wire is that keeping with the original file structure may be a wise thing to do, that we should back up our BPAV folders rather than the QuickTime movies that XDCAM Transfer creates. Right now, I’m not sure why my workflow would enjoy this, but I could be convinced.

i just had a conversation with joe about being the “guitar guy“, and it has since mutated into what is sure to be another unhealthy night in which stomp box pedals conquer my studies/sleep.  here go my christmas turrets:

mxr m-133 micro amp (clean boost)

keeley modded pro co rat

maxon ad-999 delay pedal, if anyone knows a dealer, please get at me.

keeley cry baby mello wah

zvex super hard-on

zvex super duper 2 in 1

oh, also, the gibson j-45.

one of the things i said during our conversation was that i’m more interested in shaping a sound than writing a song, at least at the moment.  i just wish shaping sounds didn’t cost so much moolah, young money.

Ross Hereweni has done it again. His company, E-Films, produce the MxR adaptor designed to enable the use of inexpensive SDHC cards inside the Sony PMW-EX line of cameras. With a couple of relatively inexpensive 32GB SDHC cards, you’re good for almost 3 hours of shooting without swapping cards.

But there’s times when some need more than this, or need to start editing straight away – which is a problem if your rushes straddle two cards.

So here’s the scoop: his newest product is the HDR. This ingenious device allows you to connect a hard disk – any hard disk – to your EX camera and shoot directly to that. If you shoot conferences and presentation material, or even the ‘waiting for it to happen’ shoots when you have to keep rolling, the HDR is yet another ‘enabling’ technology.

It even comes with an enclosure with – get this – a power supply. So you’re not tethered to a power outlet.

Okay, so Sony makes the PHU-60K – so what gives? Well, if you have 4 days of conference to record, you’ll need two if not three units per camera, plus their batteries. They’re only 60GB. With the HDR, I can get any size I want, at street price, not ‘Sony Price’.

But lets go one stage beyond that. You can elect to fit a Solid State Disk – vibration proof, high performance and so on.

Combined with CalibratedQ software I reported on a few days ago, at last we have a system which enables shooters to capture long-form to disk, stop recording and IMMEDIATELY start editing – and in my little niche, that’s a big deal.

I’d been doing this trick with humble Z1s and recording DV directly to Final Cut Pro via FireWire. This worked well – no loss of content due to tape changes, quick turnaround and so on – but of course requires a laptop and a copy of FCP per camera.

With the HDR, maybe the time has finally come when I can retire my Z1s and invest in PMW-EX throughout, shooting 720p direct to disk (any hard disk) and then multi-cam the edits when done.

And you don’t need a PCIexpress bus on your MacBook Pro – Apple, thank these guys.

There’s been a definite meme at work this week. I’ve heard it at training sessions, I’ve had emails, I’ve read posts, and had phone calls all about people having trouble with getting EX1 footage into their system.

Of course, XDCAM Transfer does a great job – check out my tutorial in the How-to section above. But some people have been, well, ‘playing’ – doing things that perhaps they shouldn’t. And suddenly there’s an EX1 card with stuff they can’t view, can’t edit, and haven’t backed up.

So here’s an interesting utility that I’ll be investigating soon:

http://www.calibratedsoftware.com/

Essentially, it promises that you can edit the native EX1 files, even if the magic structure of your SxS or P2 card has been mangled out of shape. It promises you can rescue your ‘orphan’ video clips – no bad thing, but hopefully people accept that SxS (or equivalent) cards are like your negatives, your original film. Best not muck around with them too much. But I digress.

Whether this is a codec or a way of generating QuickTime wrappers on the fly remains to be seen, but basically the idea is you can shove the mp4s directly into Final Cut and start editing – straight off the SxS card if necessary.

News cutters: rejoice!

i have quite some beef with vintage/boutique pedals.  i’ve owned two vintage electro-harmonix non-deluxe electric mistresses (the green ones) and both were unreliable and noisy.  i’ve also owned/i also own pedals made by so-called booteek pedal builders who charge USD400 a pop for their handmade novelties.  i don’t know what kinda market these booteek-ers are targeting, but hell, i’m sure not every one of us are in investment banking, are we?

that said, we’ve all been guilty of wanting a mint condition tycobrahe octavia, or a vintage univox uni-vibe from the 60s.  i guess it’s just human nature to want things that are rare and, under normal circumstances, out of reach.

having left electronics since the day i graduated university, it’s more than fair to say that i’ve forgotten most of what i knew about it.  despite this, i’m a firm believer that if you copy a pedal 1:1, down to the type of components used, you will come within a hair or two from the sound of the effect you’re copying.  failing that, i’m also a believer that someone with enough smarts in electronics, along with a bit of luck, can convincingly emulate the sound of the effect (s)he’s going for even if it requires workarounds thru alternative designs, which may be far removed from the original circuit.

a point in case would be the need for increasingly scarce components which have been discontinued, like the Reticon SAD1024 chips, or Newmarket NKT-275 transistors, to cop specific types of sounds in a pedal build.  as supplies of these vintage/discontinued components dwindled, pedal builders have had to work their way around the original design to incorporate the use of readily available components without sacrificing too much tone or deviating too far away from what the original intended to sound like.

but let’s say we were at the dawn of the new millenium all over again.  everyone was still basking in the relief that the Y2K bug wasn’t such a pest after all.  you, kind sir, were well on your way to becoming the next SRV.  some say you had better chops than him, almost.  your passion was unrivalled.  each note rang out as an extension of your troubled, blue soul.  every guitarist who had been foolish enough to ever share a stage with you hung up their guitars for good almost as soon as the first song was over.  and even though you slayed the minds of every single person who’s ever heard you play, you were adamant in conveying to them your hope that, maybe one day, u will be able to righteously translate the sounds in your head through your guitar.  you were good, no doubt about that.

all this under your belt and i would probably imagine that you still had sucky tone because you, and everyone else for that matter, were lugging around a Line6 POD of some sort.  no one was making serious gear.  tales of musicians trading in their ‘59 plexis for the sterility of a Line6 Spider were commonplace.  those were dark times.  they were.

then the booteek-ers came along with their promise of nailing that vintage tone today.  the ones that got off early in the booteek game secured truckloads of vintage components and started building clones of pedals from the glorious 60s and 70s.  not long after, their supply started to dry up as more and more people wanted to get in on the hype (okay, maybe it’s not 100% hype, some of them were, and still are, really good).  demand outpaced supply, prices started to rise, and long before you knew it, anyone with a soldering iron and the ability to copy vintage pedal circuits started charging ridiculously high prices for designs utilising less than a handful of electronic components.  as long as they kept their operation small, they can call themselves ‘booteek‘, and although owning a GV will still remain a dream for most of them for many years to come, i’m sure they made a healthy killing on a per unit basis.  interestingly, prices continued to rise.

people started listening with their eyes.  and, sadly, i was one of ‘em.

having obtained all the effects i wanted, i started listening with my ears again.  it’s a whole new landscape now.  the big boys have started to crash the party, albeit being a few years too late.  DIY-ers, pissed off by the astronomical prices of booteek pedals, started to sell kits.  heck, some booteek-ers have even resorted to making stripped down/cookie cut versions of their high-end handmade pedals just to compete.

you know what makes me smile?  when i’m on youtube and find a production pedal holding its own against (and at less than half the cost of) its vintage/boutique counterpart in a head-to-head, side-by-side comparison.  that makes me smile.  so what if it’s only 95% there at 25% of the cost?  in hindsight, i wish i had the courage to say ‘fcuk it.  it ain’t exactly the same, but at least i don’t have to eat out of the dumpster again this month.’

so i’ve shortlisted a few of these comparisons for those about to embark  on their exciting quest for tone.  you’d probably still go the same route i did, and that mistake(?) is rightfully yours to make.  of course a Clay Jones OD will get you some good tones while you brag to your friends about how touch-sensitive it is.  but for USD1,200, i expect it to also make me a sandwich and tell me i’m a guitar God everytime i stomp on it.

i’ll stick to my tubescreamer, thankyouverymuch.

- – - – - – - – - -

i have the analogman NKT-275, and without doubt it’s the best Ge fuzz ever!  he makes some reaaally quality stuff.  but if you’re skint, i can assure you that, Rick, your best mate of 20 years, will be more interested in the big-boobed chick at the bar than the subtle shades of fuzzy goodness either pedal was putting out at the local gig.

comfortable with a soldering iron?  get yourself one of these kits from BYOC and cop that vintage Big Muff tone at a price that won’t break your bank.

some people have gone to jail for less than the almost 1:1 copying of these two booteek circuits by Danelectro.  and for the price they’re charging for each, i’m thinking they should do life.  grab one quick as they will probably revise the circuits soon to pacify the outrage within the booteek community for this outright theft.

this is brilliant.  the Aqua Puss is considered by many in the booteek community as THE clone of the legendary Boss DM-2, only better.  see if you can justify the difference in price (USD800 used vs. USD150 new) in tandem with the difference in tone.  owh, did i mention the Deeelay is digital? 

i will qualify that there is nothing like the electro-harmonix DMM.  it’s the most unique analogue delay i’ve ever heard and that’s why i own one myself.  if you have to have it, then that’s the only way to go.  but if you use delays scarcely, and don’t have USD300 plus some change to get it modded to rectify its certain shortcomings, go with the Carbon Copy.

- – - – - – - – - -

there are a few more of these types of comparisons and it’s easily search-able on youtube or any video host site.  in no way am i knocking the booteek-ers.  almost all my pedals are booteek.  but hopefully to the uninitiated, it’ll provide a different perspective.  and a reminder to yours truly to start listening with his ears, not his eyes.  good night.

Características : 9/10

Pedal que permite añadir una octava a tu sonido de MXR.

El octavador utilizado por el bajista de Limp Bizkit. Entonces es a priori un buen pedal.

Utilización : 9/10

La configuración global es sencilla, muy sencilla.

Y para este tipo de efecto, digo que no se requiere más.

2 potenciómetros :

• un dry que permite ajustar la cantidad de sonido de origen no tratado
• un “octave” que ajusta la cantidad de octava que se va a añadir al sonido

Así se pueden mezclar los 2 a su manera, y privilegiar por ejemplo el sonido octavado al sonido directo, o el contrario.

La caja es muy robusta, da confianza. Más robusto que los nuevos MXR como El Grande Bass Fuzz o el octavador Deluxe que están hechos de aluminio ligero.

La alimentación es muy clásica : una Ibanez o Boss 9V 200mA.

Calidad Sonora : 9/10

En eso me sorprendió este pedal. El sonido es realmente enorme. Tienes que saber que es un octavador bastante caracterizado.

El sonido se espesa, muy infra, y se mezcla muy bien a la señal Dry.

Toco mucho en los agudos, y tendía a perder las frecuencias graves. Con este pedal, logro conservar mi juego sin perder frecuencias bajas.

He probado el octavador de Boss, que no me había convencido en aquella época, me parecía frío y sintético.

Con el MXR, he encontrado la calidez y la profundidad de sonido que buscaba, sin perder precisión.

Cuidado, este pedal de octavador no es poliarmónico, es decir que no entiende acordes como el OC3, algunas notas dobles pueden pasar pero los acordes complejos no.

Además, las notas muy infra no siguen después de algunos segundos, pero no molesta porque no veo cuál es el interés de un octavador cuando uno toca notas ya muy graves.

Dentro de poco saldrá el nuevo MXR Deluxe Octave, pero reconozco que, después de haber visto los primeros vídeos de este pedal, no me ha convencido.

Opinión Global : 10/10

Lo uso desde algunos meses y no lamento esta opción.

Me gusta su sonido y su uso fácil. Lo prefiero a los modelos Boss, cuyo grano no me gusta, pero tal vez sea una cuestión de gusto, de grano y de sonido que busca uno.

Ahora es muy difícil de encontrar porque no se fabrica más, y estará reemplazado por el MXR Deluxe Octave. De segunda mano, este pedal es un muy buen negocio, lo elegiría de nuevo sin duda.

Traducido de la opinión de Rhadamanthis en AudioFanzine en Francés

The MXR Carbon Copy is now the best selling analog delay pedal in the world! Check it out here.

We’ve got a new bass octave pedal in the works that we’re looking to release soon. For now, check out this video demo of the M288 Bass Octave Deluxe by Uriah Duffy (Whitesnake, Lyrics Born).

We’ve already got a list of artist that are already digging the sound.

• Marcus Miller
• Will Lee
• Justin Meldal-Johnsen – Beck
• Chris Chaney – Alanis Morrisette, Jane’s Addiction
• Rhonda Smith – Prince
• Bobby Vega – KVHW, Sly & the Family Stone
• Dave Edwardson – Neurosis
• Josh Paul – Chris Daughtry
• Benny Rietveld – Santana
• Troy Sanders – Mastodon
• Troy Van Leeuwen – Queens of the Stoneage, SWEETHEAD
• Uriah Duffy – Whitesnake, Lyrics Born
• Eric Smith – Rhianna, Jay-Z

Un mois avant Metallica… YOUPI!! Vais voir Kirkeuhhhh !! Puis les autres aussi! ( Quand même ). Merci Aurélien! Pis au fait, on y va comment? Et puis, samedi 4 Avril, beauf bière du pauvre + live! Youpiyé!

Demain on va voir si les cours reprennent… trop coool… M’enfin vivement qu’on me laisse suivre des cours sympas aux horaires que je veux… ça me casse les couilles de pas savoir… Puis si ça rends bien, je vais bosser, avoir des sous, et me payer au choix, un nouvel ampli ( ~ 200€ ), une superbe disto signature Dimebag Darrell ( ~150€ ), un ordinateur portable ( ~ 700€ ). Ou pourquoi pas tout d’un coup? Non Gabriel ne rêve pas… contrat étudiant… SI tu en trouves un, c’est payé la misère…

Pour finir ce minuscule blabla… je vais dire qu’elles me grattent.

Das M-288 Bass Octave Deluxe ist ein zweistimmiges Octave-Pedal von MXR Bass Innovations. Es wurde entwickelt um einen organischen, analogen Klang, einen True Bypass und eine grosse Anzahl an Möglichkeiten zur Klangbearbeitung zu bieten.

Das Pedal wird über eine 9-Volt Batterie gespiesen. Die 18-Volt Constant Headroom Technologie (CHT) von MXR bietet einen studiotauglichen Headroom und Klangqualität.

Mit dem Dry Regler kann das direkte Bass Signal mit dem Octave Effect gemischt werden. Der Mid+ hebt die tiefen Mitten um bis zu 15dB an (von 400Hz bis 850 Hz). Es stehen zwei unterschiedlich arbeitende Tone Regler zur Verfügung: Growl und Girth.

Das Bass Octave Deluxe Pedal ist in einem leichten Gehäuse aus Aluminium untergebracht worden und verfügt über die gleichen Stecker und Schalter die bei MXR schon seit über 30 Jahren zur Anwendung kommen.

Weitere Informationen unter www.jimdunlop.com.
Sagt uns Eure Meinung zu diesem Produkt auf unseren Audiofanzine Foren.

Características : 10/10

Es un booster, permite entonces levantar un sonido un poco débil al final de una cadena de efectos, re-equilibrar volúmenes entre dos guitarras diferentes en concierto, pero hace un poco más que eso y es lo que es genial, embellece el sonido, simplemente. Para más precisión, más dinámica, más amplitud y más agudos.

Utilización : 10/10

Se debe colocar después de la cadena de efectos para volver a dinamizar el sonido ante el amplificador porque mejor hacer reaccionar el preampli que la distorsión con esta herramienta, pero si lo colocas en primera posición, algo pasa con la impedancia baja del sistema (mucha más baja que la salida de la guitarra), resulta que los agudos resaltan mejor, hay más presencia, aguanta mejor la cadena de efectos. Por eso uno está tentado de siempre activarlo, y el efecto booster no se puede activar más. Bueno sí porque el cambio de pastilla en una Strat con un sonido ligeramente crunch es más pertinente y caracterizado.

En modo boost, uno pasa de un sonido bueno a un sonido extra para los chorus, es fabuloso. Pero desde que lo tengo, lo conecto sistemáticamente y mi configuración Strat Japan o vieja copia japonesa vintage + Marshall 8080 es una maravilla, es como una carrocería un poco apagada después de una buena limpieza y un abrillantador…

Con el Classic30 y mi Strat, no importa los parámetros de la configuración, los agudos y la suavidad de la Strat destacan más con el pedal, se nota más con un ampli todo de tubos, el sonido tiene más presencia, ¡fantástico! Así que lo dejo activado todo el tiempo y cambia muchas cosas.

Calidad Sonora : 10/10

Muy transparente, no altera el sonido pero lo embellece. Excelente dinámica, los matices resaltan mejor. Más débiles las pastillas de la guitarra (Strat, Vintage con bobinas simples), mejor es. Con una guitarra potente no se nota tanto.

Opinión Global : 10/10

Lo he comprado de segunda mano recientemente, mi modelo es antiguo (alimentación en jack) y suena de maravilla. Aparentemente no consume mucho, es una herramienta genial. Cuidado, si la guitarra zumba, el booster aumentará el fenómeno.

Parece caro cuando es nuevo, pero vale la pena, hasta con una Les Paul ya muy presente, valdría la pena comprar uno para desarmarlo y embarcarlo en cada guitarra… me provoca…

Traducido de la opinión de barvador en Audiofanzine en Francés

I’m just back from a weeks trip to the USA where I first came across E-FILMS who are producing an exciting and cheaper alternative to Sony’s grossly overpriced SXS Cards for the EX1/EX3 cameras.

EX Owners have been exploring other options for quite some time now but the best of them have always looked like too much hard work for me… and one can’t close the SXS door of the camera at the end of the process.  Not only that but Kensington have “run out” of adaptors… I doubt Sony have anything to do with that

Not to worry, this looks like a solution!

E-FILMS have built a SDHC adaptor specially designed for EX1/EX3 owners that are compatible and operate with the door closed. This clever and cost effective invention is called MxR.

Ken Cassidy – a former FAS student – contacted us about these cards but we were and still are in the process of researching them – however, I have spoken to Peter Mee, an Irish video producer who has been using an MxR/SanDisk Ultra II 16GB on his EX1 for several weeks now.

“The SCHD card slips tightly into the adaptor and after that, treat the entire unit as an SxS card,” says Peter. “It slots in to the camera easily and my EX1 the door closes. On first use, the camera prompts to format the card. Thereafter, it records fine. No problems switching slots etc. I imagine if you treat it like an SxS and don’t power down while it’s writing etc., all should be well.  I’ve taken the entire unit out of the camera and slotted it in to the express card slot on my MacBookPro. The Mac sees the card just like an SxS and Sony Clip Browser sees the files and can copy them just fine. I can also extract the SDHC card from the MxR adaptor and read it in a desktop mac via a USB card adaptor (an advantage over SxS where a special Sony unit is required)”

Peter does warn that there’s a few things to be careful of:

1. You can’t overcrank very much using the cards. They are USB based and have a lower data throughput than SxS. If you overcrank, you apparently get data errors.

2. You should not remove the SDHC card from the MxR adapter while it is in the camera.

3. Data transfer from the cards to the computer can be a little slower than from SxS (Pter has not tested this yet but so far has not noticed a significant difference).

Ele lo rescató de un Cash Converters en el año 99, estaba tan hecho polvo que se lo regalaron.

Suena así:

Tema: The winter sun, del disco Each day a lie (Winslow Lab 05).

Ele grabó su guitarra con la “Coroneich”, el Vox AC30, el trémolo Schaller y el MXR Distortion + (que suena en el instrumental final) en el Estudio Brazil (febrero 05).

El M-288 Bass Octave Deluxe de MXR Bass Innovations es un pedal de octava de dos voces diseñado para ofrecer “tonalidades orgánicas analógicas, un true bypass, y una gran variedad de opciones de modelado de la tonalidad”.

Funciona con una batería de 9V, y su tecnología Constant Headroom Technology™(CHT) de 18V proporciona un headroom de estudio y un tracking superior, según el fabricante.

Con el dial Dry mezcla tu señal directa con el efecto de octava, o pulsa el switch Mid+ para añadir hasta +15dB de punch mid-low ajustable internamente (400Hz) o de pop midrange (850Hz). El pedal embarca dos controles de octava con procesamiento separado en voces individuales : Growl (para la tonalidad midrange de una octava inferior), y Girth (para una octava inferior profunda y suave).

El Bass Octave Deluxe está hecho de una caja de aluminio y alberga los mismos jacks y switches que han equipado los pedales MXR desde 30 años.

Más información disponible en www.jimdunlop.com. 

Eigenschaften 

Das GT-OD ist ein kompaktes Overdrive Pedal mit einem grünen Metallgehäuse. Drei Regler: Gain, Output und Tone. Analoges Pedal aus dem MXR Custom Shop. Das Gerät ist sehr einfach zu benutzen, transportieren und verbinden (mit Ausnahme der Stromversorgung) und verfügt über einen True Bypass. Sogar ohne Batterie geht der direkt durch.

Rutscht nicht auf dem Boden. Scheint robust.

Anwendung 
Batterie installieren (man braucht einen Schraubenzieher), zwei Kabel einstecken, Fussschalter drücken (LED leuchtet auf) und lost gehts!!

Klang 
Was für ein Overdrive! Es hat alle Qualitäten des mystischen grünen Pedals: Wärme, Charakter und das gewisse etwas was es so besonders macht: Klasse. Der Sound strahlt geradezu aus dem Verstärker.

Die Bassfrequenz hat mehr Dynamik als eine Ibanez Pedal. Die Tone und Gain Regler arbeiten präzise. Mit einem Clean Kanal ist man sofort im Blues. Das Pedal erzeugt einen druckvollen Output und man erhält einen Mörder Sound im Lead Kanal – auch wenn nur wenig Gain eingestellt ist hat man ein hohes Volumen. Und es funktioniert mit jedem Verstärker – von den schlechtesten zu den besten. Das Pedal gibt das ursprüngliche Signal sehr getreu wieder und hat ein grossartiges Sustain.
Dies ist ein professionelles Werkzeug.

Es ist grossartig um zwischen Rhythmus und Lead zu schalten ohne den Kanal des Verstärkers zu benutzen. Man erhält endloses Sustain. Ich habe das Pedal mit einem Fulltone OCD verglichen (welches ein grossartiges Overdrive Pedal ist). Im Vergleich zum MXR Pedal verfügt es über mehr Klarheit und mehr Vintage Sound aber auch über weniger Ausgangspegel. Ich habe beide Pedale miteinander verbunden – GT OD zuerst (hoher Ausgangspegel, wenig Drive) und dann den OCD…Der Sound war umwerfend für Fat Blues, Rock und Hard Rock. Als wir das Fulltone Pedal zuerst in die Kette hängten war der Sound eher enttäuschend!!!

Gesamteindruck 

Ich benutze es seit etwa einem Jahr und nehme es überall mit hin. SRV, AC-DC, Santana, Gary Moore…es gibt nichts was dieses Pedal nicht liefern könnte.

Es ist ein bisschen teuer aber ich habe seitdem meinen Ibanez TS verkauft…es ist eine Bombe!!!

Sagt uns Eure Meinung zu diesem Produkt auf unseren Audiofanzine Foren.

John Hornby Skewes, also known as JHS,  distributes some of the best brands of guitars and FX pedals available, such as Danelectro, Dunlop, MXR, and…Vintage.

Ivan and his TC200…check it out!

Dirtblonde’s guitarist Ivan has been playing Vintage guitars for some time now! The JHS website shows Ivan at a Catch Bar gig in London last year, using a black Vintage TC200 – excellent, cheap Telecaster-style guitar, which was used to record most of the band’s “White Noise, Rubber Heart” mini-album, and then subsequently smashed at a Glasgow gig.

Ivan currently plays an Epiphone Riviera, Epiphone Olympic and Epiphone Les Paul Junior, but also keeps a battered Vintage V100WR exclusively  for the apocalyptic, chaotic ‘Teenage Bride’ song (the guitar always remains tuned to the Velvet Underground’s “the ostrich” tuning!!!)

Like any Jack White fan will know…cheap guitars are COOL!

Ivan is also using the new Danelectro CT1 Cool Cat tremolo and Dunlop CryBaby Wah…but enough of guitar wank talk for now!!!

Visit the JHS Website Now

MXR M-115 Distortion III

Eigenschaften

Analoges Verzerrungspedal.
Drei Regler: Level, Distoriton und Tone

Anwendung

Ultra einfach zu benutzen und es tönt bei jeder Einstsellung gut.

Klang

Hochwertiger Klang und gute Reproduktion des tonalen Charakters der Gitarre (ich habe eine Gibson BFG). Man kann alle Stile von Blues bis Heavy Rock spielen. Man kann damit fast nicht Heavy Metal spielen, da dieses Pedal eine limitierte Gain Intensität hat und das ist wirklich schade. Da es universell einsetzbar ist könnte es ein ‘must-have’ Pedal mit einem grösseren Gain werden (deshalb gebe ich ihm auch nur 8/10). Der Tone Regler ist sehr effektiv.

Gesamteindruck

Ich benutze es noch nicht so lange und habe damit mein altes DS1 ersetzt (und da gibt es gar keinen Vergleich). ich werde es trotz des limitierten Gains behalten da es ein sehr gutes Effektpedal ist. Vielleicht kaufe ich mir einen transparenteren Booster und schalte ihn gerade vor dieses Pedal.
Man kriegt hier für sein Geld wirklich etwas wenn man den Klang betrachtet. Ich habe bereits eine Vielzahl an Pedalen getestet (Maxon, Boss, Proco, Ehx…) und mag dieses am besten.

MXR M151 DoubleShot Distortion

Eigenschaften

Zwei von einandern unabhängige Kanäle mit eigenen Bass und Treble Einstellungen und ein Mid Filter (was selten genug ist um hervorgehoben zu werden – besonders da die Mitten im Gitarrenklang eine zentral Rolle einnehmen).
Zwei Focus Schaltungen erlauben interessante Soundmodulationen (speziell im Hi-Gain Kanal).
1. Strom kann nur über ein Netzteil bezogen werden (kein Batteriebetrieb) und das ist für mobile Gitarristen nicht immer von Vorteil.
2. Die Focus Schalter sind zu klein und können fast nicht mit den Füssen bedient werden.

Anwendung

On/Off und Kanalschalter. Einfach und Effektiv.
Schwierig wird es erst wenn man an den Knöpfen anfängt zu drehen um einen Klang zu suchen. Die Potis scheinen alle miteinander verbunden zu sein – ein wenig wie auf der Fuzz Factory (für diejenigen die es kennen). Etwas das wirklich ein wenig verwirrend ist wenn man diese Gerät besser kennen lernt ist das man durch Anheben der Bässe auch die Höhen anheben kann.
Dieser Fehler ist nicht so schlimm im Hi-Gain/Metal Kanal, tritt aber beim Vintage Kanal schon sehr in den Vordergrund.
Man braucht also ein wenig Zeit um den gewünschten Klang zu erzeugen und ich empfehle die Positionen der Regler auf ein Blatt Papier aufzuschreiben. Sonst müsst ihr bald nochmals viel Zeit investieren um genau wieder diesen krachenden Sound aus dem Verstärker zu holen.

Klangqualität

Ich stimme der Meinung anderer User Reviews betreff der Klangqualität zu. Es ist ein Mid/Hi-End Produkt. Wenn man dies betrachtet, dann ist der Preis voll in Ordnung.
Anfangs gefiel mir der Hi-Gain Kanal wirklich besser als der Vintage Kanal aber unterdessen habe ich herausgefunden wie man die Einstellungen und den Pre-Boost richtig einstellt um aus diesem Kanal wirklich interessante Klänge zu holen.
Um Euch eine Idee bezüglich des Klangs zu geben würde ich sagen, dass der Hi-Gain Kanal so ein bisschen nach Metallica tönt (ohne den Mesa Charakter). Sehr gut für Thrash Metal, aber nicht so gut für Death Fans (Gain und Low-End sind ein bisschen zu schwach für diesen Musikstil). Der zweite (Vintage) Kanal hat mich sofort an Black Sabbath erinnert. Es ist ganz klar ein Vintage Charakter vorhanden (dreckiger mit weniger Attack) und erzeugt viel Bässe – vielleicht gar ein wenig zu viel.
Manche mögen vielleicht die leicht spitzen Höhen des Pedals bemängeln (es gibt effektiv keinen Vergleich zu diem ultr-nasalen Klang des MT-2) und nicht jeder wird den tpyischen MXR Sound mögen. Dies fällt vor allem im Vintage Kanal auf.

Gesamteindruck

Ich benutze dieses Pedal seit eineinhalb Jahren.
Beide Kanäle ergänzen einander sehr gut was sehr interessant ist. Man kann einfach von einem dicken Vintage Rock Kalng zu einem scharfen modernen Klang wechseln. Die Möglichkeit zwischen den 70ern und 90ern zu wechseln macht wirklich Spass.
Ich habe auch ein Jeckyil and Hyde Pedal gekauft (V2). Für mich gibt es da keinen Vergleich: Das Double Shot tönt definitiv besser (nur der Overdrive Kanal des Jeckyll and Hide ist interessant, der andere Kanal hat überhaupt keinen Charakter).
Sollte dieses Pedal jemals verkauft oder gestolen werden so werde ich mit Sicherheit ein neues kaufen. Ich kenne bezüglich Qualität und Preis kein vergleichbares Produkt (obwohl ich zugeben muss, dass ich das Silver Dragon Pedal noch nicht getestet habe).

Der in 1976 produzierte MXR Dyna Comp wird von manch einem Gitarristen als der ultimative Stomp Box Kompressor bezeichnet.

Es ist irgendwie speziell wie dieser Kompressor das Gitarrensignal dichter macht, leise Noten anhebt und Pegelspitzen absenkt um das Ausklingen zu verlängern. Der MXR Custom Shop bringt diesen vielfach gesuchten Sound mit dem ‘76 Vintage Dyna Comp zurück auf den Markt. Dieses Pedal ist mit denselben Schaltungen seines Originals versehen worden – identisch im Layout, Silkscreen-Druck und Verkabelung. Die wichtigste Komponente ist wohl die ‘old school’ CA3080 Integrated Circuit (IC) Schaltung, welche weniger Grundrauschen, höhere Transparenz und eine höhere Dynamik liefert. Diese Ics werden schon seit den 80er Jahren nicht mehr hergestellt – aber MXR hat sich ein paar davon unter den Nagel reissen können – genug um eine limitierte Anzahl dieser roten Boxen produzieren zu können.

Das MXR ‘76 Vintage Dyna Comp Pedal hat einen Preis von $175.

Weitere Informationen unter www.jimdunlop.com

]]> http://guitargear.org/2008/11/14/new-gear-mxr-releases-the-76-vintage-dyna-comp-pedal/ Sat, 15 Nov 2008 06:02:14 +0000 goofydawg http://guitargear.org/2008/11/14/new-gear-mxr-releases-the-76-vintage-dyna-comp-pedal/ http://dreamguitar.wordpress.com/2008/10/20/mxr-m169-carbon-copy-analog-delay-guitar-effects-pedal-review/ Mon, 20 Oct 2008 04:13:40 +0000 sy2088 http://dreamguitar.wordpress.com/2008/10/20/mxr-m169-carbon-copy-analog-delay-guitar-effects-pedal-review/

The MXR Carbon Copy Analog Delay Pedal features a completely analog audio path for the ultimate in rich, warm delay-made possible only by old-school bucket brigade technology. This design boasts an amazing 600ms of delay time with optional modulation via a top-mounted switch and a simple, three-knob layout that controls Delay time, Mix (dry/wet blend), and Regen (delay repeats)-all in a pedal no bigger than a Phase 90. In addition, the M169 pedal has two internal trim pots that offer user-adjustable width and rate control of the modulation for even more tonal options. The Carbon Copy effect pedal will take you from crisp “bathroom” slap echoes to epic, Gilmour-esque delays with a twist of a knob. True hardwire bypass, single 9-volt operation, and stage-ready blue LEDs round out the package.

Price: $149.99

Features:

• Analog audio path
• Extremely compact
• 600ms delay time
• Controls: Mod switch, Delay time, Mix, Regen
• True hardwire bypass
• 9-volt operation
• Blue LEDs

Rating: 9.5/10