The 2010 NAMM Show

Mic check one two, one two. Yo turn my headphones up! Each year, the National Association of Music Merchants throws an industry-wide trade show located at the massive Anaheim Convention Center. If you’ve never had the chance to visit the NAMM Show, it’s a musician’s (and engineers) paradise, with thousands of exhibitors, live product demos, super fresh jam sessions, and celebrity appearances galore!

Themed “Get Ready,” the trade show offered attendees the opportunity to reunite with industry peers, learn the latest business and marketing tactics and trends at daily NAMM University sessions, and ultimately make their biggest business deals for the year ahead. The trade show is only open to industry members and their invited guests, and draws the convention center’s highest annual attendance.  Last year, NAMM reported a total of 85,799 of registrants, including 1,505 exhibitors. This year, NAMM reported 87,569 registrants, a 2 percent increase from last year.

This year I was part of that 2% increase thanks to my good friends at Odyssey and this is my tasty NAMM experience all wrapped up like a spicy scallop hand roll.

“The 2010 NAMM Show is the go-to event of the year for serious music and sound product professionals from around the globe,” said NAMM President and CEO Joe Lamond. “They will benefit from their NAMM Show experience by networking with their peers, getting the first look at the best new products for the year ahead, and by experiencing the music, concerts and parties that set NAMM apart from every other show in the world.”

The trade-only event features more than 1,500 manufacturers’ exhibits with many product launches that gather crowds to see the newest, most innovative products from all musical categories.

“This year’s NAMM Show marks a critical turning point for the international music products industry,” said NAMM President and CEO Joe Lamond. “A strong NAMM Show signals the beginning of a comeback with buyers returning to their hometowns with renewed energy, passion and hope for a strong 2010, and exhibitors enjoying strong floor traffic and sales as they introduced hundreds of new and innovative products to the market.”

There were high-energy events featuring Quincy Jones and Yoko Ono, who spoke on behalf of the importance of music education for children.

The 2010 NAMM Show will draw nearly 1,500 exhibiting companies, and is expected to generate more than $70 million for the Orange County business community.  Speaking of 1,500 exhibiting companies, let’s get to the good stuff.  So this was my first year attending the NAMM Show in person and for an audio gear fanatic like myself it was (at first)  a little overwhelming. It was like the feeling I had when I was a little kid at Toy’s ‘R’ Us. There is so much good stuff that your brain is being pulled in 20 different directions. Here are a few pieces of kit that really caught my attention.

Access Virus OS 4 Announced
Access announced the next operating system for the entire Virus TI series of synthesizers.

Six meticulously modeled overdrive stomp boxes greatly complement with the existing arsenal of distortion algorithms in the effect section.

The new speaker cabinet emulation is a fantastic and easy-to-use toolkit to add further character; especially to roaring acid lead and sync sounds. You like retro style? Our new Vowel filter will be your best friend, offering a sonic pallet from Talk Box to WahWah sounds.
The Comb filter puts the metallic shine on your patches known from many glitch and progressive tracks. And The new arpeggiator allows you to modulate any of the parameters available to the modulation matrix.

OS4 will become available shorty and is a free update for all Virus TI users.

Overdrive Stomp Boxes

OS4 for the entire Virus TI line of synthesizers brings 6 more distortion flavors to the table, modeled on vintage guitar distortion pedals. Every one of these classic pedals is famous for its distinctive character and has been exploited by some of the greatest guitar heroes of all time. The virtual stomp boxes feature carefully modeled distortion curves and tonal characteristics and include tone controls where appropriate.

Mint Overdrive – The sound of this one just screams tubes – a very special kind of overdrive which results in a wonderful smokey tone. Good for achieving a subtle distortion effect whilst still retaining headroom for dynamics.
Curry Overdrive – A more extreme distortion, like in the original, this does not feature a Tone control.
Saffron Overdrive - The ʻorangeʼ one. A very harsh distortion, popular with the grunge movement.
Onion Overdrive – A big distortion effect famous for its fuzzy character.
Pepper Overdrive - A clear, powerful distortion thatʼs perfect for making leads cut right through the mix. Tone control to soften sound with a lowpass filter.
Chili Overdrive - A classic “fuzzbox” overdrive. No tone control, just in-your-face fuzz.

In this video Ben Crosland explains some of the new features!

The SSL X-Patch
Next on the list is this nice little invention from Solid State Logic. The SSL X-Patch

ACHIEVE PLUG-IN STYLE FLEXIBILITY USING ANALOGUE PROCESSORS WITH NEW SSL X-PATCH

LOS ANGELES — Solid State Logic, the world’s leading manufacturer of professional digital and analogue consoles, is proud to announce the release of X-Patch at the 2010 Winter NAMM Convention, Booth 6907 at the Anaheim Convention Center from January 14th to 17th.

Rupert Neve Designs Portico 5017
This little beauty is the new Rupert Neve Designs Portico 5017. Teh mini hotness!
Features :
• DI box / Mic Pre / Compressor
• Variphase, Silk, Blend and two channel operation
• desktop unit

It’s looks so cute and tidy I just might have to add this to my studio!

ok moving on, we have the super dope Korg Kaossilator Pro ! Slide ya fizzle for the shizzle!




I think we can all agree that KaossPads in any shape or form are hella tight!

Now for those of you who have an audio interface with an open ADAT port this next unit is a surefire way to expand your I/O capabilities. The Focusrite OctoPre MkII DYNAMIC features eight channels of Focusrite’s legendary mic preamplification, with new, single-dial, VCA-based compressors derived from the classic Focusrite Red 3 on every channel.

On-board digital converters, with state-of-the-art clocking and jitter-elimination technology, enable you to stream eight channels of 24-bit/96kHz digital audio to and from an ADAT-equipped computer workstation or hard disk recorder. This makes it the perfect addition to your project studio setup or live recording rig, including those running Pro Tools M-Powered, LE and HD, as well as the likes of Logic, Cubase, Sonar and Digital Performer.

Those are a few of the goodies that really caught my attention. My first NAMM experience was amazing to say the least. I’m always amazed at the new technology that comes out every year. Music production and recording technology has come a long way and I can wait to see what the future holds.

Keep it Icy!

Odyssey :: Leading Through Innovation

Odyssey Innovative Designs is an industry-leading design and manufacturer of professional mobile accessory solutions for the DJ, musical instruments, and pro audio markets. Founded in 1995, Odyssey has brought to market hundreds of unique solutions and continues to lead the industry with innovative patents. With numerous technology and design awards, Odyssey has established a worldwide reputation for innovation, quality and design. The Odyssey group of companies includes Show Solutions and BC Cases.

Visit the Odyssey website >      http://www.odysseygear.com/

download the online PDF catalog http://www.odysseygear.com/catalog.php

Chopping It Up With Legendary Engineer Bruce Swedien at Westviking

Sit back and imagine a young aspiring baseball player getting the chance to play a game with Babe Ruth or Joe DiMaggio. You know what I’m talking about? I’m talking about a once in a lifetime experience. In my story Bruce Swedien was my Joe DiMaggio. A while back when I began to get serious about studio engineering I started looking for influential people to follow. After reading about the recording industry and studying older recordings I found one engineer who really caught my attention. Here is the story on how I was able to meet my recording studio hero.

There was a moment in my life when I realized it was time to get serious about both my education and love for studio engineering. Soon after I perused a degree in Recording Arts from Full Sail University. Due to my professionalism and outstanding academic performance I quickly became known by the staff. Before I knew it I was being invited to some very special private meetings called “Green Rooms” where I had the opportunity to speak one on one with some of the best in the audio world. Lo and behold my second Green room event was with Bruce Swedien! During the meeting Bruce talked about his start in the recording business, working with Bill Putnam, Quincy Jones and Michael Jackson.  He instilled a sort of pride and understanding for our roll as recording engineers.

I ended up graduating top of my class with various awards for my outstanding performance in both the classroom and professional studio environments. After receiving my degree I decided this would be a good time to hang around Orlando and do a little site seeing.  This would turn out to be a very wise decision indeed.  A month later I get a call from an associate at Full Sail asking me if I would like to take a trip and visit Bruce in his newly built custom recording studio in Ocalla Florida.  I didn’t even let the nice lady finish her sentence before blurting out YES!

We arrive at his Westviking Estate early around 9am and are greeted warmly at the door by Bruce and Bea Swedien. We make our way to the studio behind their house and proceed into the live room. Bruce walked us around and showed us the custom details of the live room and machine room. He went into great detail about the importance of proper studio acoustics and design. Yes, I was soaking it all in like a sponge… no wait… a Shamwow. We then proceded into the control room where we are greeted by a beautiful vintage Harrison 32c console nestled into his custom designed ASC Attack Wall.

Bruce sits down at the console and we all sit around him and he starts telling us stories about his recording adventures. Just when I thought it couldn’t get any better, Bruce breaks out a bunch of  DAT tapes and we critically listen to various historical recordings. I can’t even begin to explain the kind of wonderful feeling these recordings have.

After listening to a few DAT’s we than focused on his console and outboard goodies. If I had to use one word to describe Bruce in the studio it would be…  precise.  He has only what he needs and he knows how to use it.  A few quotes I remember are…

“Pro Tools is a glorified tape machine”.

“The eq on the 32c will make you cry”.

Open Labs DBeat | Open Minds And Move Crowds, Anytime, Anywhere.

Open minds and move crowds, anytime, anywhere.

DBeat is the first professional studio you can play live onstage, yet it’s small enough to stow away in your carry-on luggage. You can also stream a live-quality set online to fully conquer studio, stage and screen.

Run away with your creativity – literally – with DBeat.

DBeat is…

A revolution. DBeat is the first professional studio that you can play as a musical instrument. Compose, record, mix and master, all “in-the-box,” then use it to perform any way you like. Weighing less than 20 lbs, DBeat can be carried onto most airplanes.

A studio powerhouse. DBeat is where power and portability meet. Capable of running virtually any Windows XP-based music application or Digital Audio Workstation software (DAW), DBeat is your computer, mixer, MPC, virtual instrument (VST) host and mastering station. It will even burn your CDs or DVDs and distribute your music online.

A VST hardware brain. DBeat is the perfect companion for traditional electronic keyboard players, and a simple solution for playing your favorite VSTs on stage with rock solid stability. Run more than 200 standard VSTs at once using Open Labs’ critically acclaimed RiFF virtual instrument host, which is integrated into each DBeat.

Revolutionary features – such as a 12.1″ touch screen that allows you to create on-the-fly set lists comprised of songs and virtual controls – bring your virtual instrument to life. Physical controls, such as nine assignable faders, are perfectly matched for those that require drawbar controls for organ instruments.

And let’s not forget that DBeat comes standard with a plethora of sounds, making it the world’s most well-stocked hardware sound module. If that’s not enough, every DBeat is capable of cloning your favorite virtual instruments. By using Open Labs’ MimiK keyboard cloning software (included in DBeat Pro), you can even clone any hardware keyboard workstation, synthesizer or sound module.

A producer’s dream. DBeat is the ultimate tool for any producer, regardless of genre. Massive processing power, instant multi-track recording, integrated MPC functionality, a multi-card reader/writer and DVD burner, Internet connectivity, plug-and-play ability with third party keyboard controllers and the opportunity to produce more than 4 billion sounds are just a few features we’ve perfected with producers in mind. DBeat allows you to compose more music, produce better songs, be more creative, and make more money.

The first real DJ instrument. DBeat lets you elevate yourself to the next level as a DJ. Produce, remix and perform in ways you’ve only dreamed about. Consolidate your laptop computer, controllers, audio I/O, and cabling into a single portable instrument that you can literally set up in 30 seconds.

DBeat lets you plug in your turntables via Serato Scratch or other time-code vinyl solutions to beat, mix and scratch. But that’s only the start. The audio chain can then be routed into Ableton LIVE, allowing you to use the built-in effects or any other VSTs in real-time, on the fly. Cue points, single hits or drops can be assigned to the Bump MP drum pad controller, allowing you to play along with the track you’re spinning. You can even plug in microphones, run Auto-Tune and vocoder vocal effects, and mix them right into the tracks.

CPU
3.0 GHz Intel® Core2 Duo ®

Control Surfaces
Trackball with 2 buttons
Mix/Edit Controls
BumpMP
DJ Panel with Penny & Giles^TM Crossfader

Memory
4 GB

Audio I/O
Comprehensive I/O capable of up to 24bit / 96KHz audio with 4 in / 6 out including 2 phantom-powered mic-pres with instrument inputs, S/PDIF I/O and MIDI I/O;

Storage
320 Gigabyte

Drive
High Speed Dual-Layer 8.5GB/disc CD/DVD Burner

Display
12″ resistive touch screen

Connection
Midi In/Out
1) 4 USB 2.0 ports
2) (1) FireWire 400 port
3) (1) Gigabit (10/100/1000) Ethernet port
4) (1) DVI-I Video Port

Included Software
Open Labs Riff^TM
Ableton^TM Live 7 (available only on DBeat PRO)
REAPER^TM
GURU^TM
Deckadance^TM

PREMIUM Factory Sound Library
Thousands of high-quality sounds. DBeat PRO includes an additional 14 GB from the full-feature version of Ableton^TM Live 7. (Check our Software Bundle webpage for more information)

Dimensions:
26”(W) X 14”(D) X 5”(H), Weight (base configuration) 20 lbs. (Actual)
33”(W) X 19”(D) X 9”(H), Weight (base configuration) 33 lbs. (Shipping)

DBeat is serious enough for the pros – be they scratch or electronic – but simple enough for the aspriring DJ.

Digidesign Eleven™ Rack | Revolutionary Guitar Recording/Effects System

Eleven™ Rack is a revolutionary new guitar recording and effects processing system designed to eliminate the challenges guitarists have faced in the studio and on stage. Say goodbye to the lackluster guitar amp “models” of yesteryear: Eleven Rack utilizes a unique tone cloning design and one-of-a-kind, custom-designed True-Z input to re-create the experience of playing through a full guitar rig. By combining studio-standard Pro Tools® software with a DSP-accelerated high-resolution interface, Eleven Rack puts professional recording into the hands of every guitar player. Whether you’re tracking in the studio or playing on stage, Eleven Rack delivers fresh, mind-blowing, hyper-realistic guitar amp and effects tones that will inspire your best performances.

Eleven Rack in the Studio
Eleven Rack combines studio-standard Pro Tools software with a high-resolution, dual DSP-powered audio interface so you’ll never have to worry about latency when recording with its built-in amp/effects tones — nor will your computer have to carry the processing burden. Eleven Rack also takes re-amping to the next level by recording both dry and processed guitar signals simultaneously, allowing you to re-amplify later without patching a single cable. We even found a way to embed the Eleven Rack amp and effects settings into the audio tracks you record, enabling you to automatically recall those settings from your audio files on any Pro Tools system with Eleven Rack.  THAT IS HOTNESS!

Eleven Rack On Stage
Eleven Rack also rocks onstage as a standalone amp tone and effects signal processor — we pulled out all the stops to make sure it sounds and feels just like playing through the real deal. We also included a classic collection of effects, from must-have stompboxes to world-class rackmount studio processors. Eleven Rack has all the I/O flexibility you need to integrate it into your existing rig, and easily incorporate the tones you’ve recorded with into your live setup — closing the gap between studio and stage. Eleven Rack also offers incredibly powerful control options using affordable MIDI controllers and expression pedals, giving you full foot control over everything from vintage wah effects to tempo-driven delays and more.

Eleven Rack combines hyper-realistic guitar amp and effects tones with a dual-DSP-powered interface and studio-standard Pro Tools LE® software to create the ultimate recording solution for guitar players.

Introducing True-Z
Among guitar tonehounds, it’s a well-known fact that input impedance — the electronic resistance found in the input circuit of the amp or effect you’re plugged in to — has a huge impact on your guitar tone. We realized that re-creating this electronic relationship was critical in nailing the sound and feel of our emulations. Others have tried to fake this with signal processing but we weren’t satisfied with a one-size-fits-all-approach. Each guitar reacts uniquely with each amp or effect — so we had to come up with a true analog solution that allows your guitar to interact realistically with our amp and effect re-creations.

That’s why we developed True-Z — a unique analog input circuit that replicates the input impedance of classic stompbox pedals and guitar amps, resulting in amazingly realistic sounds. It’s almost as if the True-Z input on Eleven Rack morphs into the 1/4″ input jack of whatever classic stompbox or amplifier you are using. When you plug into Eleven Rack, you get the same response — and same great tone — as when plugging in to a vintage stompbox or guitar amp. You can also manually control the impedance of the True-Z input and set it to a value that suits your playing best.

Eleven Rack Hardware

• Unique True-Z auto-impedance matching guitar input

• Incredible emulations of classic guitar amp tones inspired by Fender®, Vox®, Marshall®, Soldano, and Mesa/Boogie® amps*
• Refined collection of sought-after classic stompbox tones inspired by effects from MXR®, Electro-Harmonix®, Ibanez®, ProCo, Univox®, and more*
• Powerful collection of studio-quality rackmount effects processors
• Convolution-based cabinet emulations deliver unprecedented realism in cabinet tones
• Convolution-based microphone emulations inspired by classic dynamic, condenser, and ribbon mic designs
• Integrated FX loop switchable to incorporate existing mono or stereo rack and stompbox effects
• Controllable via MIDI controllers and expression pedals

• Built-in tuner

• Tap-tempo control of time-based effects
• High-speed USB 2.0 connection
• Supports up to 8 simultaneous channels of high-resolution recording up to 24-bit/96 kHz
• Stereo balanced XLR outputs and dedicated 1/4” outputs
• XLR mic input with 48V phantom power and pad switch
• 2 x 1/4” line-level inputs
• AES/EBU and S/PDIF digital I/O
• Stereo 1/4” headphone jack
• 1 x 1 MIDI I/O

Up until now, amp modeling solutions haven’t really delivered the full depth, dimension, and response of a mic’d up rig. We decided to take this challenge head on to ensure Eleven Rack truly re-creates the experience of playing through the most coveted guitar amps in the world. Check it out:

• We spent years scouting a connoisseur’s collection of vintage and modern amps and cabinets, paying special attention to choosing amps that represented the best of their generation and remained unmodified from their original design. We then painstakingly inspected every component, took detailed measurements, and captured every stage of the signal path — point to point.
• We incorporated nuances like power amp sag, ghost notes, and cabinet resonance that other amp modeling developers overlooked, giving our clones the truly multi-dimensional tone and hyper-realistic response previously only achievable by mic’ing a real amp.
• We set out to invent an input circuit that re-creates the electronic relationship between your guitar and an actual amp or effect. This can’t be done digitally — so we developed a unique True-Z direct input that automatically adjusts the input impedance to match that of the particular amp/effects rig signal chain. Thanks to the True-Z input, plugging into Eleven Rack sounds and feels just like plugging into a real amp or effect.
• Using convolution processing, we captured the exact sound of the cabinets and mics used to create the tone of a mic’d combo — instead of using EQ filters to “fake” this sound the way other amp modeling solutions have done.
• We enlisted guitar recording expert John Cuniberti (Platinum and Gold recording engineer/producer and inventor of the Reamp® box) to ensure the mic’ing techniques used during development were absolutely top notch.
• We also emulated an assortment of vintage and classic effects processors — from must-have stompbox effects to high-end studio processors culled from our coveted Pro Tools|HD® TDM plug-ins used in pro studios around the world.

Guitar amp emulations based on*:
’59 Fender® Bassman® ’59 Fender® Tweed Deluxe ’64 Fender® Black Face Deluxe Reverb® Normal Channel ’64 Fender® Black Face Deluxe Reverb® Vibrato Channel ’66 VOX® AC30 Top Boost ’67 Fender® Black Face Twin Reverb® ’69 Marshall® 1959 100 Watt Super Lead Plexiglas Head ’82 Marshall® JCM800 2203 100-Watt Head ’85 Mesa/Boogie® Mark IIc+ Drive Channel	’89 Soldano SLO100 Super Lead Overdrive Head Clean Channel ’89 Soldano SLO100 Super Lead Overdrive Head Crunch Channel ’89 Soldano SLO100 Super Lead Overdrive Head Overdrive Channel ’92 Mesa/Boogie® Dual Rectifier® Head Vintage Channel ’92 Mesa/Boogie® Dual Rectifier® Head Modern Channel Digidesign Custom Vintage Crunch Digidesign Custom Modern Overdrive
Speaker cabinet emulations based on*:
’59 Fender® Bassman® 4×10” with Jensen P10Qs ’59 Fender® Tweed Deluxe 1×12” with Jensen P12Q ’64 Fender® Black Face Deluxe Reverb® 1×12” with Jensen P12N ’66 VOX® AC30 2×12” with Celestion Alnico Blues	’67 Fender® Black Face Twin Reverb® 2×12” with Jensen C12Ns ’68 Marshall® 1960A with Celestion G12H “Greenbacks” ’06 Marshall® 1960AV 4×12” with Celestion Vintage 30s
Microphone emulations based on*:
Shure SM7 Dynamic Microphone Shure SM57 Unidyne III Dynamic Microphone Sennheiser MD 409 Dynamic Microphone Sennheiser MD 421 Dynamic Microphone	Neumann U67 Condenser Microphone Neumann U87 Condenser Microphone AKG C 414 EB Condenser Microphone Royer 121 Ribbon Microphone
Effects emulations based on*:
Spring Reverb (based on the Fender® Deluxe Reverb*) Green JRC Overdrive (based on the Ibanez TS-808*) Tri-Knob Fuzz (based on the Electro Harmonix Big Muff Pi*) Black Op Distortion (based on the ProCo Rat*) Shine Wah (based on the VOX® V-846*) C1 Chorus/Vibrato (based on the Boss CE-1*) Orange Phaser (based on the MXR® Phase 90*) EP Tape Echo (based on the Maestro Echoplex EP-3*)	BBD Delay (based on the Electro Harmonix Deluxe Memory Man*) Grey Compressor (based on the Ross Compressor*) Vibe Phaser (based on the Univox Uni-Vibe*) Black Wah (based on the Thomas Organ CB-95 Crybaby*) Flanger Roto Speaker Volume Pedal Eleven SR (Stereo Reverb) Graphic EQ Tuner

Mi11 | Amplify The Music Inside

Basic Apes Productions | The Industry’s Next Production Superpower

Micah Otano and Mike Barkulis (aka Mike B), collectively known as Basic Apes Productions, are on the verge to being the music industry’s next big songwriting-production team. Based out of their Canyon Country, Calif. studio, the pair is signed through Hot City Music Group, part of Steve Rifkind’s SRC Universal.

Micah and Mike, both in their early twenties, met in 2003 while attending Full Sail Recording Arts College in Orlando, Florida. Micah (from Lacey, Washington), an accomplished jazz and classical pianist, has a musical background that hails from the smooth jazz world, and has worked with artists like Brian Culbertson and Dave Koz. Mike B (Bloomington, Illinois), is proficient at engineering, drum programming and string arrangements, and worked with a number of up and coming R&B/Hip-Hop artists.

Together their chemistry is electric. Their Pop songs consist of big melodies and climactic arrangements, while their smooth jazz tracks, like the ones they’ve done for saxophone Eric Darius, have a funkdafied R&B/Hip-Hop edge, certain to enlist a lot of younger fans. Their overall versatile sound and vibe defies category, allowing Basic Apes to effectively craft good music for any genre.

Currently, the guys are racking up numerous placements, writing and producing with such accomplished melody/lyricists like former Underdogs writers Steve Russell and James Fauntleroy; with Luke of singer-songwriting duo Luke & Q; and Lonnie Breaux (who wrote the recent John Legend/Brandy duet, “Quickly”).

Basic Apes has also been working with SRC-Universal artist Shire’ (with a track by the name of “Rewind,”) veteran rapper Twista, Pop/R&B songstress Shanice, actor Malik Yoba (who has a new album coming), and American Idol powerhouse Fantasia Barino. The guys have also spent a great deal of time circling the globe, accompanying artists such as Twista while playing for our troops in Iraq, and as band-members for singer-songwriter Solange Knowles on her most recent tour.

“It’s been a busy time for us, but what we’re really focused on is building a great catalog of songs,” says Mike B. “We don’t set out to simply make a song specifically for something. We set out to make great songs, period, in hopes that it will be a perfect fit for the right artist.”
His partner Micah agrees saying, “The goal is to continue to get with the best writers that are out there. It’s been great working with guys who’ve written with the Underdogs, a production team who really inspired us. We’d love to get the opportunity to work with writers like Sean Garrett, Makeba Riddick or Adonis. But I believe that this is going to be the year that changes everything forever for us”

Via Seasac Magazine Spring 2009

Avalon VT-747SP | TWIN SIGNAL PATH OPTO-COMPRESSOR-EQUALIZER

The Avalon VT-747SP combines a creative STEREO tube-discrete Class A spectral-opto-compressor with a musical six band program equalizer, L-R output level and gain reduction metering and internal regulated power supplies in a 2U space. Ideal for high performance DAW input signal conditioning, stereo buss compression-EQ, stereo keyboards and analog mastering applications.

SPECTRAL-OPTO-COMPRESSION
The opto-compressor features a minimum signal path design utilizing sealed silver relays for all signal routing and by pass functions. The optical attenuator acts as a passive level controller with a Class A, variable gain make-up amplifier. Full dynamic control from soft compression to hard-knee limiting can be achieved with master threshold, ratio-compression, attack and release controls. Gain reduction indication is a large analog VU meter. Low frequency and high frequency contour parametric spectral controls can be routed into the side-chain path for enhanced frequency dependent compression with variable frequency and threshold levels. SC listen provides side-chain listen mode for monitoring.

SIX BAND PROGRAM EQUALIZER
The VT-747SP equalizer utilizes 100% discrete, Class A high-voltage transistors for optimum sonic performance. The six band STEREO program EQ incorporates the smooth characteristics of an all passive design. The frequency turnover, Q and amplitude ranges have been carefully chosen for each band to provide the most natural harmonic balance and lowest phase change while offering simple and effective tone control. The EQ can be placed pre or post the opto-compressor for enhanced effects.

TSP – TWIN SIGNAL PATH
The VT-747SP features TSP which gives you the choice of either tube tone or the classic, Class A discrete transistor sound by exchanging, three (3) high-voltage dual triode tubes with discrete amplifiers in the opto-compressor and primary output stages.

INPUT-OUTPUT and METERING
Fully balanced DC coupled, Class A discrete amplifiers are utilized for the input and output drive interface with+36dB input headroom. A high quality analog VU meter indicates accurate gain reduction. Twin 60dB range LED meters provide fast L-R output status of all levels.

CLICK TO SEE ENLARGED VERSION

VT-747 SP CLASS A, VACUUM TUBE-DISCRETE TWIN SIGNAL PATH OPTO-COMPRESSOR-EQUALIZER
VT-747SP FEATURES
Stereo Class A opto-compressor with spectral control Stereo Class A six band discrete passive program EQ TSP twin signal path, vacuum tube bypass Low noise -92dB Fully balanced Class A input and DC coupled outputs Stereo dynamic 60dB high resolution output meters High quality analog VU meter for gain reduction High headroom+36dB input before overload Spectral side-chain monitor for pre listen EQ pre-post selection for opto-compressor Sealed silver relays for all signal routing Internal discrete regulated power supplies Military spec vacuum tubes for long life and low noise

The Guitar Legend Les Paul Dies At Age 94

The Revolutionary Guitar Designer Les Paul Dies at Age 94. There is no doubt his technical achievements changed the way we hear music today.  His technical prowess and curiosity led to some of the most widely used recording techniques including  multi-tracking, overdubs, reverb, and studio methodology.  He will undoubtedly be missed. May his voice continue to be heard through the wonderful instruments he designed and shared with the world.

Les Paul (born Lester William Polfuss on June 9, 1915) is an American jazz guitarist and inventor. He is a pioneer in the development of the solid-body electric guitar which “made the sound of rock and roll possible.”^[1] His many recording innovations include overdubbing, delay effects such as “sound on sound” and tape delay, phasing effects, and multitrack recording.

Contents [hide] 1 Biography 1.1 “The Log” 1.2 The Les Paul Trio 1.3 Les Paul and “the Les Paul” 1.4 Multitrack recording innovations 1.5 Top 40 with Mary Ford 1.6 Radio and television programs 1.7 The “Les Paulverizer” 1.8 Later career 2 Honors 2.1 Documentary and museum exhibit 2.2 Tribute concerts 3 Playing style 4 Family 5 Compositions 6 Discography 6.1 Hit singles 6.2 Albums 7 See also 8 References 9 External links

Biography

He was born in Waukesha, Wisconsin to George and Evelyn Polsfuss.^[2] The family name was first simplified by his mother to Polfuss before he took his stage name of Les Paul. He also used the nickname “Red Hot Red”.

Paul first became interested in music at the age of eight, when he began playing the harmonica. After an attempt at learning to play the banjo, he began to play the guitar. By 13, Paul was performing semi-professionally as a country-music guitarist. At the age of 17, Paul played with Rube Tronson’s Texas Cowboys, and soon after he dropped out of high school to join Wolverton’s Radio Band in St. Louis, Missouri on KMOX.

In the 1930s, Paul worked in Chicago in radio, where he performed jazz music. Paul’s first two records were released in 1936. One was credited to Rhubarb Red, Paul’s hillbilly alter ego, and the other was as an accompanist for blues artist Georgia White.

In January 1948, Paul was injured in a near-fatal automobile accident in Oklahoma, which shattered his right arm and elbow. Doctors told Paul that there was no way for them to rebuild his elbow in a way that would let him regain movement, and that his arm would remain in whatever position they placed it in permanently. Paul then instructed the surgeons to set his arm at an angle that would allow him to cradle and pick the guitar. It took him a year and a half to recover.

“The Log”

Paul was dissatisfied with the acoustic guitars that were sold in the mid 1930s and began experimenting with a few designs for an electric model on his own. Famously, he created “The Log,” which was nothing more than a length of common 4″ x 4″ lumber with bridge, guitar neck, and pickup attached. For the sake of appearance, he attached the body of an Epiphone hollow-body guitar, sawn lengthwise with The Log in the middle. This solved his two main problems: feedback, as the acoustic body no longer resonated with the amplified sound, and sustain, as the energy of the strings was not dissipated in generating sound through the guitar body.

The Les Paul Trio

In 1938, Paul moved to New York as part of a trio that included Jim Atkins (older half-brother of guitarist Chet Atkins) and bassist/percussionist Ernie Newton. They landed a featured spot with Fred Waring’s Pennsylvanians radio show. Paul moved to Hollywood in 1943, where he formed a new trio. As a last-minute replacement for Oscar Moore, Paul played with Nat King Cole and other artists in the inaugural Jazz at the Philharmonic concert in Los Angeles on July 2, 1944. Also that year, Paul’s trio appeared on Bing Crosby’s radio show. Crosby went on to sponsor Paul’s recording experiments. The two also recorded together several times, including a 1945 number one hit, “It’s Been A Long, Long Time.” In addition to backing Crosby and artists like The Andrews Sisters, Paul’s trio also recorded a few albums of their own on the Decca label in the late 1940s.

Les Paul and “the Les Paul”

Paul’s innovative guitar, “The Log”, built in 1939, was one of the first solid-body electric guitars.^[3] (Leo Fender also independently created his own solid-body electric guitar around the same time and Adolph Rickenbacher had marketed a solid-body guitar in the 30s). Gibson Guitar Corporation designed a guitar incorporating Paul’s suggestions in the early fifties, and presented it to him to try. He was impressed enough to sign a contract for what became the “Les Paul” model (originally only in a “gold top” version), and agreed never to be seen playing in public, or be photographed, with anything other than a Gibson guitar.

The arrangement persisted until 1961, when declining sales prompted Gibson to change the design without Paul’s knowledge, creating a much thinner, lighter, and more aggressive-looking instrument with two cutaway “horns” instead of one. Paul said he first saw the “new” Gibson Les Paul in a music store window, and disliked it. Though his contract required him to pose with the guitar, he said it was not “his” instrument, and asked Gibson to remove his name from the headstock. (Others claimed that Paul ended his endorsement contract with Gibson during his divorce, to avoid having his wife to get his endorsement money.) Gibson renamed the guitar “Gibson SG” (which stands for “Solid Guitar”), and it also became one of the company’s best sellers.

The original Gibson Les Paul guitar design regained popularity when Eric Clapton began playing the instrument a few years later (although he also played an SG and an ES-335). Paul resumed his relationship with Gibson, and has endorsed the original Les Paul guitar design ever since (though his personal Gibson Les Pauls are much modified by him — Paul always uses his own self-wound pickups and customized switching on his guitars). To this day, various models of Gibson Les Paul guitar are used all over the world, by both novice and professional guitarists. A less expensive version of the Les Paul guitar is also manufactured for Gibson’s lower-priced Epiphone brand.

Multitrack recording innovations

In 1947, Capitol Records released a recording that had begun as an experiment in Paul’s garage, entitled “Lover (When You’re Near Me)“, which featured Paul playing eight different parts on electric guitar, some of them recorded at half-speed, hence “double-fast” when played back at normal speed for the master. (“Brazil”, similarly recorded, was the B-side.) This was the first time that multi-tracking had been used in a recording. These recordings were made not with magnetic tape, but with acetate disks. Paul would record a track onto a disk, then record himself playing another part with the first. He built the multi-track recording with overlaid tracks, rather than parallel ones as he did later. There is no record of how many “takes” were needed before he was satisfied with one layer and moved onto the next.

Paul even built his own disc-cutter assembly, based on auto parts. He favored the flywheel from a Cadillac for its weight and flatness. Even in these early days, he used the acetate disk setup to record parts at different speeds and with delay, resulting in his signature sound with echoes and birdsong-like guitar riffs. When he later began using magnetic tape, the major change was that he could take his recording rig on tour with him, even making episodes for his 15-minute radio show in his hotel room.

Top 40 with Mary Ford

Electronics engineer Jack Mullin had been assigned to a US Army Signals unit stationed in France in WWII. On a mission in Germany near the end of the war, he acquired and later shipped home a German Magnetophon (tape recorder) and 50 reels of I.G. Farben plastic recording tape. Mullin rebuilt and developed the machine back in the US with the intention of selling it to the movie industry, and held a series of demonstrations which quickly became the talk of the US audio industry. Mullin’s second demonstration was witnessed by Murdo MacKenzie, technical director for the Bing Crosby radio show.

Within a short time Crosby had hired Mullin to record and produce his radio shows and master his studio recordings on tape, and he invested US$50,000 in local electronics firm Ampex. With Crosby’s backing Mullin and Ampex created the Ampex Model 200, the world’s first commercially-produced reel-to-reel audio tape recorder. Crosby gave Les Paul the second Model 200 to be produced and Les immediately saw its potential both for special effects, like echo, and eventually its suitability for multitrack recording, of which he is considered the father. Using this machine, Paul placed an additional playback head, located before the conventional Erase-Record-Playback heads. This allowed Paul to play along with a previously recorded track, both of which were mixed together on to a new track. Keep in mind that this was a mono tape recorder – just ONE track across the entire width of quarter-inch tape – and so the recording was ‘destructive’ in the sense that the original recording was erased and replaced with the new recording.

One need only listen to any of the early Capitol recordings from the early 1950s to realize how great a challenge this process was. These revolutionary recordings were made with his wife, Mary Ford, who sang. The couple’s hits included “How High the Moon“, “Bye Bye Blues“, “The World Is Waiting for the Sunrise“, and “Vaya Con Dios“. These songs featured Mary harmonizing with herself, giving the vocals a very novel sound.

Les Paul’s need for multiple non-destructive tracks was obvious and his re-invention of the Ampex 200 inspired Ampex to develop two-track and three-track recorders. These machines were the backbone of professional recording, radio and television studios in the 1950s and early 1960s. In 1954, Paul continued to develop this technology by commissioning Ampex to build the first eight track tape recorder, at his expense. The machine took three years to get working properly, and Paul says that by the time it was functional his music was out of favor and so he never had a hit record using it. His design became known as “Sel-Sync,” (Selective Synchronization) in which a specially modified electronics could either record or playback from the Record Head, which was not optimized for playback but was acceptable for the purposes of recording an “overdub” (OD) in sync with the original recording. This is the core technology behind multi-track recording.

Like Crosby, Paul and Ford also used the now-ubiquitous recording technique known as close miking, where the microphone is less than six inches from the singer’s mouth. This produces a more intimate, less reverberant sound than is heard when a singer is a foot or more from the microphone. When implemented using a cardioid-patterned microphone, it emphasizes low-frequency sounds in the voice due to a cardioid microphone’s proximity effect and can give a more relaxed feel because the performer isn’t working so hard. The result is a singing style which diverged strongly from un-amplified theater-style singing, as might be heard in musical comedies of the 1930s and 40s.

Radio and television programs

Paul had hosted a 15-minute radio program, The Les Paul Show, on NBC in 1950, featuring his trio (himself, Ford, and rhythm player Eddie Stapleton) and his electronics, recorded from their home and with gentle humour between Paul and Ford bridging musical selections, some of which had already been successful on records, some of which anticipated the couple’s recordings, and many of which presented dazzling re-interpretations of such jazz and pop selections as “In the Mood,” “Little Rock Getaway,” “Brazil,” and “Tiger Rag.” Several recordings of these shows survive among old-time radio collectors today.

The show also appeared on television a few years later with the same format, but excluding the trio and retitled The Les Paul & Mary Ford Show (aka Les Paul & Mary Ford At Home) with “Vaya Con Dios” as a theme song. Sponsored by Warner Lambert’s Listerine, it was widely syndicated during 1954-’55, and was only five minutes (one or two songs) long on film, therefore used as a brief interlude or fill-in in programming schedules. Since Les created the entire show himself, including audio and video, he has maintained the original recordings and is in the process of restoring them to up-to-date quality.^[4]

The “Les Paulverizer”

During his radio shows, Paul introduced the legendary “Les Paulverizer” device, which multiplies anything fed into it, like a guitar sound or a voice. Paul has stated that the idea was to explain to the audience how his single guitar could be “multipled” into an orchestra. The device even became the subject of comedy, with Ford multiplying herself and her vacuum cleaner with it so she could finish the housework faster. Later Paul claimed to have made the myth real for his stage show. Currently he uses a small box attached to his guitar which is really just a stage prop. He typically pretends to lay down one track after another on stage, in-sync, and then plays over the repeating forms he has recorded. However close inspection of the video footage of Paul using this device clearly shows that whilst he does actually play each track which is intended to be recorded, what he plays is not actually recorded and he is in fact playing over a completely pre-recorded backing track. The sections played on guitar do not match those played back when the tape is played. With newer digital sound technology, such an effect (loop pedal) is available commercially in a stomp box.

Later career

In the late 1960s, Paul went into semi-retirement, although he did return to the studio occasionally. He and Mary Ford (born Iris Colleen Summers) had divorced in December 1964, as she could no longer countenance the itinerant lifestyle their act required of them. Paul’s most recognisable recordings from then through the mid-1970s were an album for London Records, Les Paul Now (1967), on which he updated some of his earlier hits; and, backed by some of Nashville’s celebrated studio musicians, a meld of jazz and country improvisation with fellow guitar virtuoso Chet Atkins, Chester and Lester (1976), for RCA Victor.

By the late 1980s, Paul had returned to active live performance. In 2006, at the age of 90, he won two Grammys at the 48th Annual Grammy Awards for his album Les Paul & Friends: American Made World Played. He also performs every Monday night, accompanied by a trio which includes pianist John Colianni, at the Iridium Jazz Club on Broadway in New York City, despite the arthritis that has stilled all but two of the fingers on his left hand.^[5][6]

Honors

In 1978, Les Paul and Mary Ford were inducted into the Grammy Hall of Fame. Paul received a Grammy Trustees Award for his lifetime achievements in 1983. In 1988, Paul was inducted into the Rock and Roll Hall of Fame by Jeff Beck, who said, “I’ve copied more licks from Les Paul than I’d like to admit.” In 1991, the Mix Foundation established an annual award in his name; the Les Paul Award which honors “individuals or institutions that have set the highest standards of excellence in the creative application of audio technology.”^[7] Les Paul was inducted into the National Inventors Hall of Fame in May 2005 for his development of the solid-body electric guitar. In 2006, Paul was inducted into the National Broadcasters Hall of Fame. He was named an honorary member of the Audio Engineering Society.^[8]

Documentary and museum exhibit

A 1 hour biographical documentary titled The Wizard of Waukesha was shown at the Los Angeles International Film Exposition (FILMEX) March 4-21, 1980 and later on PBS.

A biographical, feature length documentary, titled Chasing Sound: Les Paul at 90, made its world premiere on May 9, 2007 at the Downer Theater in Milwaukee, Wisconsin. Paul appeared at the event and spoke briefly to the enthusiastic crowd. The film is being distributed by Koch Entertainment and was broadcast on PBS on July 11, 2007 as part of its American Masters series^[9][10] and was broadcast on October 17, 2008 on BBC Four as part of its Guitar Night. The premiere coincided with the final part of a three part documentary by the BBC broadcast on BBC ONE entitled The Story of the Guitar.

In June 2008, an exhibit showcasing his legacy and featuring items from his personal collection opened at Discovery World in Milwaukee .^[11] The exhibit was facilitated by a group of local musicians under the name Partnership for the Arts and Creative Excellence (PACE)^[12]. Paul played a concert in Milwaukee to coincide with the opening of the exhibit.^[13]

Paul’s hometown, Waukesha, Wisconsin is planning a permanent exhibit to be called “The Les Paul experience”.^[14]

Tribute concerts

In July 2005, a 90th-birthday tribute concert was held at Carnegie Hall in New York City. After performances by Steve Miller, Peter Frampton, Jose Feliciano and a number of other contemporary guitarists and vocalists, Les was presented with a commemorative guitar from the Gibson Guitar Corporation.^[15]

On November 15, 2008, Les Paul received the American Music Masters award through the Rock and Roll Hall of Fame at a tribute concert in the State Theater in Cleveland. Among more than a dozen guest performers were Duane Eddy, Eric Carmen, Lonnie Mack, Jennifer Batten, Jeff “Skunk” Baxter, Dennis Coffey, James Burton, Billy Gibbons, Lenny Kaye, Steve Lukather, Barbara Lynn, Katy Moffatt, Alannah Myles, Richie Sambora, The Ventures, and Slash.

Playing style

His innovative talents extended into his unique playing style, including licks, trills, chording sequences, fretting techniques and timing which set him apart from his contemporaries and inspired most of the guitarists of the present day.^{[16][17][18] [19]}

Family

Paul is the godfather of rock guitarist Steve Miller of the Steve Miller Band, to whom Paul gave his first guitar lesson.^[20] Paul resides in Mahwah, New Jersey.

Compositions

Les Paul’s compositions include “Walkin’ and Whistlin’ Blues”, “Danger, Men at Work”, “Waitin’ So Long”, “Golden Sands”, “Dance Hall Blues”, “Big Eyed Gal”, “Deep in the Blues”, “Mammy’s Boogie”, “Hip-Billy Boogie”, “Don’cha Hear Them Bells”, “Come Back to Me”, “Cowpokin’”, “Les’s Country Blues”, “Ham ‘N’ Grits”, “Song in Blue”, “Magic Melody”, “Pacific Breeze”, “All I Need is You”, “Hawaiian Charms”, “Take a Warning”, “Mountain Railroad”, “Move Along, Baby (Don’t Waste My Time)”, and “Suspicion”, a song he composed in 1948, which was recorded by Tex Williams, Jo Stafford, and the Ray Noble Orchestra.

Although largely believed to be Les Paul’s composition, “Johnny (Is the Boy for Me)” was in fact composed in 1937 by Romanian Jew Richard Stein under the title “Sanie cu zurgălăi” (Romanian for “Sledge with Bells”). Les Paul was successfully sued for plagiarism by Stein. However, a 2000 “cover version” of “Johnny” by Belgian musical group Vaya Con Dios still credited Les Paul, which resulted an year later in another action by the Romanian Musical Performing and Mechanical Rights Society (UCMR–ADA).^[21]

Discography

Hit singles

• “It’s Been a Long, Long Time” – Bing Crosby & The Les Paul Trio (1945)
• “Rumors Are Flying” – Andrews Sisters & Les Paul (1946)
• “Lover (When You’re Near Me)” (1948)
• “Brazil” (1948)
• “What Is This Thing Called Love?” (1948)
• “Nola” (1950)
• “Goofus” (1950)
• “Little Rock 69 Getaway” (1950/1951)
• “Tennessee Waltz” – Les Paul & Mary Ford (1950/1951)
• “Mockingbird Hill” – Les Paul & Mary Ford (1951)
• “How High The Moon” – Les Paul & Mary Ford (1951)
• “I Wish I Had Never Seen Sunshine” – Les Paul & Mary Ford (1951)
• “The World Is Waiting for the Sunrise” – Les Paul & Mary Ford (1951)
• “Just One More Chance” – Les Paul & Mary Ford (1951)
• “Jazz Me Blues” (1951)
• “Josephine” (1951)
• “Whispering” (1951)
• “Jingle Bells” (1951/1952)
• “Tiger Rag” – Les Paul & Mary Ford (1952)
• “I’m Confessin’ (That I Love You)” – Les Paul & Mary Ford (1952)
• “Carioca” (1952)
• “In the Good Old Summertime” – Les Paul & Mary Ford (1952)
• “Smoke Rings” – Les Paul & Mary Ford (1952)
• “Meet Mister Callaghan” (1952)
• “Take Me In Your Arms And Hold Me” – Les Paul & Mary Ford (1952)
• “Lady of Spain” (1952)
• “My Baby’s Coming Home” – Les Paul & Mary Ford (1952)
• “Bye Bye Blues” – Les Paul & Mary Ford (1953)
• “I’m Sitting On Top Of The World” – Les Paul & Mary Ford (1953)
• “Sleep” (Fred Waring’s theme song) (1953)
• “Vaya Con Dios” – Les Paul & Mary Ford (1953)
• “Johnny (Is The Boy For Me)” – Les Paul & Mary Ford (1953)
• “Don’cha Hear Them Bells” – Les Paul & Mary Ford (1953)
• “The Kangaroo” (1953)
• “I Really Don’t Want To Know – Les Paul & Mary Ford (1954)
• “I’m A Fool To Care – Les Paul & Mary Ford (1954)
• “Whither Thou Goest – Les Paul & Mary Ford (1954)
• “Mandolino – Les Paul & Mary Ford (1954)
• “Hummingbird” – Les Paul & Mary Ford (1955)
• “Amukiriki (The Lord Willing)” – Les Paul & Mary Ford (1955)
• “Magic Melody” – Les Paul & Mary Ford (1955)
• “Texas Lady” – Les Paul & Mary Ford (1956)
• “Moritat” (Theme from “Three Penny Opera”) (1956)
• “Nuevo Laredo” – Les Paul & Mary Ford (1956)
• “Cinco Robles (Five Oaks)” – Les Paul & Mary Ford (1957)
• “Put A Ring On My Finger” – Les Paul & Mary Ford (1958)
• “Jura (I Swear I Love You)” – Les Paul & Mary Ford (1961)

Albums

• Feedback (1944) – compilation
• Les Paul Trio (1946) – compilation
• Hawaiian Paradise (1949)
• The Hit Makers! (1950)
• The New Sound (1950)
• Les Paul’s New Sound, Volume 2 (1951)
• Bye Bye Blues! (1952)
• Gallopin’ Guitars (1952) – compilation
• Les and Mary (1955)
• Time to Dream (1957)
• Lover’s Luau (1959)
• The Hits of Les and Mary (1960) – compilation
• Bouquet of Roses (1962)
• Warm and Wonderful (1962)
• Swingin’ South (1963)
• Fabulous Les Paul and Mary Ford (1965)
• Les Paul Now! (1968)
• Guitar Tapestry
• Lover
• The Guitar Artistry of Les Paul (1971)
• The World is Still Waiting for the Sunrise (1974) – compilation
• The Best of Les Paul with Mary Ford (1974) – compilation
• Chester and Lester (1976) – with Chet Atkins
• Guitar Monsters (1977) – with Chet Atkins
• Les Paul and Mary Ford (1978) – compilation
• Multi Trackin’ (1979)
• All-Time Greatest Hits (1983) – compilation
• The Very Best of Les Paul with Mary Ford (1983) – compilation
• Tiger Rag (1984) – compilation
• Famille Nombreuse (1992) – compilation
• The World Is Waiting (1992) – compilation
• The Best of the Capitol Masters: Selections From “The Legend and the Legacy” Box Set (1992) – compilation
• All-Time Greatest Hits (1992) – compilation
• Their All-Time Greatest Hits (1995) – compilation
• Les Paul: The Legend and the Legacy (1996; a four-CD box set chronicling his years with Capitol Records)
• 16 Most Requested Songs (1996) – compilation
• The Complete Decca Trios—Plus (1936-1947) (1997) – compilation
• California Melodies (2003)
• Les Paul & Friends: American Made World Played (2005)
• Les Paul And Friends: A Tribute To A Legend (2008)

See also

• Gibson Les Paul
• Electric Guitar
• History of multitrack recording

References

External links

• Official Les Paul Site
• Les Paul Receives 2007 National Medal of Arts
• Les Paul, Topics, Wisconsin Historical Society
• NBC radio shows by Les Paul, Mary Ford, and bassist/percussionist Ed Stapleton. At the Internet Archive. Free mp3 files of eleven of their radio shows including their audition show.
• The Wizard of Waukesha, Variety.com
• The Wizard of Waukesha at Allmovie

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