robert_redman

As a small studio/home recorder the built in power soak/DI is a massive plus and sounds great. I love that this amp does sparkly cleans and full on saturated drive tones. The crunches are less impressive but still good. Amp sounds a little more hifi than others out there and that is a good thing. Tube health indicator is useful too. I love this small head and use it in conjunction with one of my own lower output 'clean' amps. Only really downside is the metal top can get pretty hot.

I've been through many tuners over the years from rack mounted and software based to floorboard units. This one is the best I've tried by a long way. It's accurate but most are. What sets this apart is that the display is visible at any angle and in even the brightest of lights. The polythene element of it is useful. A gentle strum across open strings will show you which need adjusting if any. If you want to dive in a single out a string then one more pluck on that single string will do it. Useful setting for the popular drop d tuning and can be set to other tunings too. I'm also a fan of the fact that it has a power output too. Makes it sit on a board more easily, taking up less ports on your supply. Feels solid as any other pedal and also uses the lovely soft touch button.

I'm ken on this pedal for a few reasons. It doesn't really have so many bells and whistles as others (like a timeline) but covers a lot of bases as well as having an excellent looper. The options this does have are all very nicely implemented, if limited in some cases. The tape delays/echoes are rich sounding, full and with a little modulation sound pretty authentic. The others are similarly good, each sounding pretty true to the inspiration they are based on. Even when the flashback doesn't offer all the frills of the original (like the memory man) the sound is very close and will please most of the people most of the time. Considering a memory man is about the same size for one single delay I think this is a fair trade off. The TC studio style delay is a favourite. It has lots of clarity and feels both vintage and modern at the same time. The unit is solidly built, as are most tc pedals, with quality buttons and rotary controls. No gigging issues here. The blue case is maybe a little lacklustre and doesn't feel special but it's well labelled and easy to use. The tap tempo button is included as it should be and the other pedals allow access to three presets of your choice, easily stored by creating a delay setup up and pressing/holding the button you want to assign it to. Easy, reliable and functional. I'd give it a 5 if had just a touch more mojo.

I won't go into all the details of what this pedal can do, as it's actually a very well rounded device. I will say though, that it is one of my favourite piece of gear. It has a kind of magic that is rare to find. 30 seconds twiddling knobs will find you a great sound, no matter what you are looking for. It does sparkly, crisp tremolo, smoothly modulated moody swirls, short twangy 50s sounding sloppy reverbs to hugely, majestically sweeping ambient sounds that will have you hanging off your fretboard. The three voicings for each side mean you can dial in any sound you can think of, with ease. One of my favourite amps is a late 60s fender vibroverb and this pedal nails that sound perfectly. And it's digital so you don't need to have the worries of tubes and tanks. Almost maintenance free and so versatile. Use the colour dial to make it work with any amp and rig. The case is maybe a little dull and if I had to be picky I'd say the buttons could be a touch closer, to activate both sides with one click (really picky - it's doable) but otherwise a fantastic pedal and expandable with a secondary switch for preset recollection. Will always be on my board.

Not too much to say about this pedal. It's orange, it has one big, foot adjustable control, it sounds everything from subtle to immense. What's not to love. So many uses, from a little extra dynamic movement to full on screaming movement for lead work. Sounds very different depending on where in the chain you put it, or if it goes in the loop, so experiment to see what you like. Can be more dramatic in front of the preamp, or less so in the loop after your delay.

It is what it is. A heritage burst les paul. I rewired it with vintage cloth wire, custom wound pickups for a more vintage low output, different caps and so on but otherwise is as it left the factory. It's got a big thick neck which is just what I want in this kind of guitar. Also from the time when fret ends sat over the binding which I prefer. Not keen on nibs! I have a lot of guitars and this is one that will stay with me. It doesn't get a whole lot of studio use but always feels like home. Good if I want to sit around pretending I'm gary moore (without the talent).

I first got one of these in the mid 90s and fell in love immediately. Yes, the L500 XL in the bridge can be a bit shrill but that's easy to deal with. The rawness is sublime, the neck is comfortable and fast, the trem is perfect (scholar floyd on this one) and the body is raging beautifully. This is a paddock model so is now looking a little darker and more purple/brown. If I'm feeling writers block all I need to is this and the H&K amp and 20 minutes to let rip. It's my home. My happy place. Its what I use as my benchmark when carving necks on my own instruments.

I love this guitar. The neck is sublime and the wear and tear all look and feel very authentic. Until you turn up to a gig where somebody else has one. At that point you see that the wear is identical. This shouldn't be surprising but after that happens some of the magic is lost. That raise, the guitar is still great. It's essentially a relic at a fraction of the cost (although not overly cheap) and th playability is great. The 50s maple board ones sound very thin. Not in a wimpy way but definitely not rounded like some of the other strat models. It finds it's place in a mix well. The fit and finish is good. Really exemplifies what the mexican factory are capable of.

If you want biting bridge tones, glassy smooth neck tones and all the twang and quack in between then this is the model to get. The neck is a nice comfortable C shape, the rosewood board is warms things up and the electronics all come together to make the most of things. This is a joy to play and analog with the vibroverb will also be on my favourites list.

Welcome to the ray caster, a modern take on a classic. This is a production model that I offer and is the pinnacle of what I think this kind of guitar can be. The solid alder body, mated with a wenge neck and ebony board form the best trio of woods for clarity, bite, sustain and warmth. They work perfectly with the select hardware, including seymour duncan pickups, gotoh locking staggered tuners and big steel block trems. This sounds like a classic and can be warm, mellow and jazzy, or bright, tight and driving. The in between positions have twang and funk galore. The slim d/c neck profile feels super comfortable and oh so fast with the wenge being finished with oil and was, so no sticky paint. The body on the other hand has an ultra thin nitro finish. Enough to give personality but not so much that it chokes the wood. These are available as a standard model (seen here in seaspray) but can be specced up as needed via our custom options. Anything form timber choices, finishes and electronics or fret decisions are up for grabs.

It's a cable. Not exciting but after trying many types and brands I've come to rely on these most. They are thick but pliable and huge ground well, something that can't be said for others that can leave loops to trip you or snag on gear. They offer good resistance to interference and the connections are solid and long lasting. Good quality. Good price.

The Rat is one of those items that has been around for a long time. Many use it as a drive pedal but I prefer to use it slightly differently. For me it lives in front of the amp, with little to no drive. This just adds some hair and pushes the preamp tubes a little. I find it too fizzy as a drive pedal but as a dirty boost it's great.

This is a fantastic small bodies guitar from one of the kings of acoustic makers. Ideal as a smaller bodied instrument, for travel, the living room, or just for players of a smaller stature, it has great resonance and is surprisingly loud and touch sensative. Dynamic playing is rewarding and the string spacing should suit most players. However, the setup from he factory was lacking. The action was very high, making for poor intonation. I'm hoping this slipped through the QC net but shouldn't happen on any guitar let alone a Martin. It only took a little work to get it playing perfectly but it shouldn't have need needed in the first place. I love the multi-laminate neck, which has been stable through many travels and climate changes, a true testemant to good design.

This has been a workhouse for driven sounds and has loads of power for any venue. The driven tones range from a little broken up to saturated, compressed and mean. The cleans let it down though. They aren't bad but they lack character and definition. The head is as solidly built as any marshall and will handle being on the road it's whole life, without any complaints at all. The controls are typical marshall. Easy channel switching with buttons or pedal and all the pots feel sturdy and have a good level of resistance. No sloppy pots here. A big plus for the gigging musician. Solid amp and come at very reasonable prices.

Previous modelling type devices have left me cold but not the Helix. It feels and sounds incredible and does exactly what I ask of it. Even the presets aren't unbearable but delve a bit deeper or create your own patches and you'll be in sonic heaven. This does everything from crystal clear cleans, through some pretty convincing klon type ODs to blistering drives. The ability to load up custom 3rd party IRs is a massive plus too. The effects on release were all of a very high standard, although a little limited but now there's a bunch more and they all do what they say. SOmeo f the vintaged voice effects like optical tremolo or spring reverbs sound very authentic indeed and I can easily replicate my live rig for recording purposes using the helix. Which brings me to the next point. Don't go for power soaks or complex and messy recording setups. The Helix does it all for you and control of things like mic type and placement are all included, including elements such as sag, pre delay and so much more. What with the massive bunch of IOs you have a really versatile machine. I realise this is sounding like a bit of a fanboy, rave review, paid ad but it isn't. Until now I've had a poor impression of line6 gear, with the exception of a couple of items most have lacked. The Helix though, is leaps and bounds ahead of anything else they've done and I'd choose this over the AxeFX 2. It just 'feels' like an amp and pedal board. Plus you could output a modelled signal to the desk and a separate signal without the speaker IRs to an amp on stage for monitoring. Endless options.

The interface on this little thing is just bad. It makes deep sound design feel like a chore. But, it sounds good and once you do dial in a sound it's pretty playable, specially considering the mini keys. Feels pretty solidly built too.

If you have a soft spot for 8ps synth sounds, or just sumptious, warm and rich tones then you wont go far wrong with this. The 's' version is better than the previous, as it has physical buttons, not the membrane buttons which wear out. I wont rant about the sound design experience which is dreadful but will happily sing the praises of the sound. This thing is just beautiful. Everybody knows the e piano sound and it is true. I could happily leave it on that one patch and forget it. It's that good.

A fantastic Moog synth at a very good price. Even if you ignore the integration with a eurorack system (which is simplicity itself) this is still a versatile machine. The patch bay makes for easy sound design and the controls themselves are solidly built and intuitive. Sound wise it's not as limited as a single VCO synth might be, in part down to the patch bay but also the base design, which lets you dial in a tone very easily. The built in sequencer isn't bad. A little bit of button tapping is needed to do v=certain things but it's not too bad and you can always plug in a midi controller to do this. I love this little thing and it lives paired with a dfam in a custom case.

You've probably seen the many youtube videos showcasing the default patches. Yes, they are a bit cliched but for good reason. They all sound amazing! Personally I don't use synths to replicate acoustic instruments, so ignore those (even the good ones) but if you want something that can handle a range of timbres then you wont go wrong. It excels at breathy, open, sounds, as well as chiming glassy ones, so I often combine these. It's easier to program than a DX7 but still isn't easy, so keep that in mind!

The TR8 is more versatile but this thing sounds great at what it does. If you want massive sounds, that range from the hardcore to almost industrial you wont be disappointed. The kicks definetly love a bit of compression and the high hats can be a little harsh but what drum machine doesn't love a bit of reverb. The snare is the weakest point and doesn't compare to an 808 or the TR8 version of it. However put some plate reverb on it and it comes alive. I love that it has separate outputs for each instrument. That and the combined out make for some cool ways to process easily. Worth noting is the build. This thing is a brute in name and nature. It's like a tank and will last for years.