Robin Buckingham

Have a bunch of Music Man guitars, but i always reach for this model,. I do have a bunch of different finishes from the 1990's. glitter, champagne, cools stuff. But I like ti for the ease of play as I don't have long fingers.

If its good enough for my uncle, then its good enough for me. Chambered, it is still a little heavy, about 13 pounds? For the same price, if I didn't mind waiting, I had the usual bulky neck custom made as thin as one of those Ibanez super thin necks. I just sent the neck I wanted it to be like. 3 months later, these treasures appeared at my door. Or if I wanted to have a few thousand as I bought in bulk. I had them shipped to Vegas, no sales tax, and went and picked them up. ...I guess that would work only if you can even get this luthier to do this for you, and you are getting a dozen guitars... otherwise it guess it makes no sense. If you live outside of CA, then you are clear on the sales tax anyway. They are made near Santa Cruz, CA. Between his and the music man guitars, everything i could need in tones. I must have 20+ Music Man & 12 Turner guitars, but only 1 of the other types, like Fender start with a hum-bucker, Les Paul & SG. And I never ever use them. This can give you a semi-hollow or piezo sound without an extra guitar, its a real "all in this one" guitar...if you can afford it. I was fortunate to order many of these at once and was able to get them to my own exact specs for less than 4 grand each which is crazy cheap for a custom guitar hand-built. (my last order , in fear he would retire or worse, about 8 years ago? this was the price back then but I understand even a used one can cost more now).

I know, this is like a 6 string version of a low tuned 7-string. But it is more than that. If you love the sound of mandolins, or even plucked violins in your music... and don't forget the iconic James Bond's guitar sound - this is it! You get the tone for the little known song "illuminate" from Imperial Drag. With a little drive, this guitar fill everything between a guitar and a bass, without mucking either of them up. Think of accentuation: like a clean guitar, or acoustic strum, use this in the same context. Not as a lead instrument, rather to embellish the primary parts. ...though I do use it as a lead part. Some of the coolest orchestral pats have that rare french horn or oboe part we love. This can be that instrument in a song. If I were starting a band today, I would chose to be the baritone guitar player vs rhythm. It opens up an entirely uncharted palate of sounds and possible songs. I can not believe there is not some huge new rock band using this. We have a guy playing bass with an octave to do both guitar & bass? Why has no one thought " we need a baritone guitarist". It is like playing darts and never hitting the bull's eye. To me, this would be it. Invaluable when used correctly.

In an age of modeling and processors...I almost forgot about new amps. There are a tone of new pedals always coming out, for some reason in 2017 there are far too many to even review. What are these pedals for? Well this amp is a really good starting point. I love it. I prefer a 2x12 and I can handle that size. This is a good head. It is simple and to the point and sounds great - for a Marshall type sound - or basically whatever overdrive you choose, though I comes with a sweet one built in. It is worth a look anyway, There is a 22 version lunchbox style which would make a nice writing / practice amp I imagine (I Haven't tried it) but I am assuming it is the same thing, half the power. It is really worth the look.

Sure I use cabs. The biggest complaint is the digital overdrives built into these new sound boxes. So I use a shitload of drive pedals, problem solved, best of both. I have a choice between internal & enteral drive pedals fro pennies. I have not used the "modeling feature" once, not once. If I want an amp I have a couple dozen, so I don't need to model. I do have the other guitar units, but this is my top dog.

I don't think there is anything I can add to this. I use all sorts of things and I like the top end option. I can always dial it down. Plus I do a lot of stereo imaging and it is to easy to use a pair of these. For some reason I actually like the open back as I am not a metal player and know my role. Let the bassist play the bass parts. I have noticed guitars trying to go way too low with their tones. Which is cool. I am not a metal guy but I love Dream Theater. However, I haven't actually heard the bass parts on an album "clearly" in over 17 years. 6 string 7 string. The guy is a beast on the bass, I can guess he is playing what the guitar is. I might like the 3 pieces, Rush or the Police. But Why? Interesting bass tones. Sting with the fretless thing. Geddy with the aggression. Imagine how much cooler a band like Dream Theater might me if they gave the attention to tone as they do all of the other sounds. I am not complaining, merely posing a question for the universe. There are 5 virtuosos in that band, but I can only clearly hear 4. No one had every complimented him on his tone, that's all i am saying. My point is this amp is great if you are a guitar player who want to be in a rock band with a 6 string guitar and not try and cover the entire 20 to 20k spectrum. If your bands is loud, you will probably ned a Marshall or equivalent, think 100w, go from there.

I use a Vox, Marshall, and a few occasional other goodies. But when I need something awesome to rock with, this is the ticket. But everyone already knows well about this amp's parents. The question is, does it sound like the other amps in the lower price range? Answer, yes, absolutely. For a little over a thousand bucks you can have this in your studio. I have a Dual and triple Rectifier already. But those are a "whole lotta amp" - this gets me that break-up at lower volumes. Also, if you listen to the 2003 Fleetwood mac album, or any subsequent touring. Uncle Lindsey uses this amp strictly. He does use it primarily for the very clean power stage, relying mostly on his effect pedals for sonic treatment,. But it does to show you, if the "lighter toned guitarist" are using this in the studio, its a great clean power amp. On tour, it is as rugged as they get - as he has a wee temper, (j/k, unless you know him). So this amp, and all in this line, including the Mark V or whatever that amp is called, which I was against for years (because it looked stupid). All of these amps are of the highest order. It will do you good, not just for Nickelback cover bands.

I have a LOT of drive pedals, most of them. Pedals are a guilt pleasure of mine. I only use a few, but I have most of them. Most of the time I will use a Kemper. But I still want an overdrive pedal. This is really all I need for any type of pop & rock I can thing of. Where this pedal ends... the TC distortion picks up right where this leaves off. So between 2 pedals, $100 for 90% of the tones a job will require? It is a no-brainer.

This picks up right where the MojoMojo leaves of, so I use them together. I often mix a little bit from this, with more tone from the Mojo. There are endless things you can do with the 2 pedals without introducing a lot of noise into the signal path.

Is says boost. But you can actually get some overdrive out of this as well. It has a couple of settings. I personally use it to anger the input of my tube amps. A little hotter, a little fatter sound. Live it would be a great boost. And in conjunction with the other TC drive pedals this rounds out the family without adding unwanted noice. That is my thing with TC, they are not noisy pedals. When I need a specific tone, I have pedals just for that, Tube Screamer, Rat, DOD OD from the early 80s, etc. But when you just need a good rick sound that is not the #1 identifying sound, and you are there to give the best tones for the song & mostly the singer, all of these basic TC pedals are a good call.

I had this in the early 80's. This and 2 other pedals were my sounds then and are my occasional sounds now. It is criminal to now have these pedals in consideration of their price. Why people deliberate over a few dollars, then rave about tone is a little odd to me. Get what you love and play!

I had this in the early 80's. This and 2 other pedals were my sounds then and are my occasional sounds now. It is criminal to now have these pedals in consideration of their price. Why people deliberate over a few dollars, then rave about tone is a little odd to me. Get what you love and play!

I had this in the early 80's. This and 2 other pedals were my sounds then and are my occasional sounds now. It is criminal to now have these pedals in consideration of their price. Why people deliberate over a few dollars, then rave about tone is a little odd to me. Get what you love and play!

I am simply used to this speaker. I can jump from head to cabs, whatever. I know the difference a head makes because I am always using the same speaker. If I change the speaker as well then I really have no reference. I do like the other Celestions and a couple of other brands, but again, I gotta keep it simple. If someone prefers another speaker, you can call one up on your tone module or they will have it in their cab already. If you love another speaker, use it. But if you need the AKG-414 of speakers, this is a good starting point.

I like it as I can have it right on my desk and pick my tones. Use an expression pedal if needed. I still will always use my overdrive pedals, as the chief complaint is the built-in overdrives are not the best. Again, problem solved. I love this unit, but I love the Kemper slightly more. I don't play live, and when I do I just use an amp and a couple of pedals.

This unit has a few settings. One of them is a weird one. But go to youtube and you'll see, its almost worth it for the one cool sound.

This is the best chorus pedal out there, period. I am not the only one who thinks this. It has some cool features, plus one I am very much on love with... the stereo ins & outs! I can use this with a stereo delay for full imagine. Eric Johnson to David Gilmour, Andy Summers to heavier players. If you occasionally like to fire up 2 AC30s and want a pure stereo delay + a pure stereo chorus all of the way, this is a huge bonus!

Why not a noice Gate? A gate opens and closes. A filter will actually start to filter the highs of sooner, like an automated knob and addition to the gating. So it is never simply open or closed. Ir rolls the noise off too, which is cool. Now about the dual filters. You really never want to use this after a time based effect like delay or reverb. You might want to use it after your compressor and distortions... but what about those other pedals before your delay? You can use this at the top of your chain, set the threshold to gate based on your attack, but then use the second section of the pedal after the last in your chain before the delay, eliminating all of the noise. That is one use Another use it one somewhere in your chain. The second can be used to turn a regular delay with not tape emulation. And it after that and you can set it so let less highs through on each repeat. You can also use it with a stereo signal, it is 2 channels, you can figure it out. I used to use the rack version of this. But there are 2 cautionary tales with these unit and the other brand that makes a similar product: 1.) It has circuits, It will add some level of noise to your signal. I used to use is sending drum samples to adat. Why? I was an idiot. No need to filter out noise that is either not there, or filter out noise with a higher noise level. So use this with instruments. 2.) It does not always play nice with other pedals. Some people have seen an increase of 20db of noice when the whole chain is open. usually this pedal will add less that a Db of noice. But sometimes it will not like another pedal and you will get this excess of noise. Simply isolate which pedal is fight with. Decide if you want the pedal, send it back, keep it and use it with a pedal it fights. Take a few moments and experiment. If it works for you, awesome,. If not, simply send it back.

Maybe not quite exactly. But it is pretty awesome. Maybe just buy a 12 string? It does accurately track your 6 strings an octave higher. So it does what it says. I say forget about trying to make it a 12 string. Use is as a cool sound tool in your toolbox or color palate. It has just enough controls to do a whole lot of cool things, similar to the TC Electronic Vibrato (in a different way). Look into it. Maybe you will find this as cool as I do. ...update: two weeks later. I realized this does as a 12 string does more than I thought. Octaves on 4 of the strings, doubling on the 2 highest strings - as a 12 string would. If you keep the treble down (unlike all of the videos on youtube, you will get that old Rickenbacker guitar through a Vox. ...Ok, no one wants to sound like "the Byrds" or however they spelled it... but a little Tom Petty down in the mix, could be very cool. It is NOT a 12 string and never will be, but I will move the previous 4 stars to 5 stars as it is the best thing for what it is intended to do. If you want 12 string, get a 12 string. If you want to add some cool lush shit to your sound, this is the best of the crop of boxes out their purely for that attention to the highest 2 strings, which is important. No one needs an octave up on the 2 treble strings, so a straight octave pedal is not the same thing... if you like super high on your treble strings, simply use the octave pedal best one for that is the TC Electronic one),

If you can't afford the 5150 head, or already have an amp you love but just want to toss in a little old VH, then this is a really good choice. EHV has not always had the "cleanest tones" MXR pedals are not known for their quiet operation, but they do effect sound strongly.... fortunately it has a handy noise filter right on the box! I often use a Kemper or other direct recording device... but always use a real overdrive pedal, always. It seems to eliminate the argument about "digital sounding overdrives & distortions". Problem solved. ...If you rely on this newer direct to disc recording. It couldn't hurt to have a good dozen tried & true overdrive pedals in your treasure chest.

It has everything you could want int a 2 channel interface. The this and your outboard drive and laptop and go on a vacation. You might just opt to use this instead of your zillion dollar apogees or whatever you have. I have noticed no difference, expect the 1/2k rate. I use PT HD and I rarely even use 192k. For 149. Really. I can find nothing even close for 500. Sure, but only 1 input. For guitar processing, keyboards? You need 2 unless you go n directly.. but some of us like to run though some old fashion pre's and I use an actual Fairchild 667 compressor - so for me, I need a very light stereo interface after lugging that bis ass compressor everywhere. I could use my smaller compressor, but that an the UA-710, not much lighter, and one setting for compression.

I will be honest. I really cant tell the difference between the tube setting and the solid state one. I just set it half way and use a bank of 3 of these (12) and something else for overheads if aI have a particular client who want a 1073. But what is a 1073. A very small amount of circuits. Basically very little going on there. I use the lunchbox Neves a lot though. It is easy, and it says "Neve". But honestly, it all sounds pretty good to me. I have had some of the biggest audio snobs and dudes with scopes will me if it was a Never, a UA or an ART mic pre and no one could tell me the difference. At some point we need to get past "the gear" and make some music. A lot of cats spend 90% on gear thoughts. There is a "cost to benefit ratio'. How much you spend vs how much benefit you get from the extra cost. I think once you cross the thousand dollar mark, you are in safe territory. A 414? a U87? At that point just get to work and make some magic. I have a daughter. he is brilliant in so many ways I can't even begin to start. But her very best trait is: her resourcefulness. She seems to make the best from whatever she has available. If the end of the world arrives, I don't want to run to the dude who has planned his shelter, I want to run to her - though she has no knowledge of survivalism (nor do it). But the survivalist will have forgotten something... she will be able to improvise. Maybe we should not treat gear as survivalist, and start being resourceful. Make music today, not "once I get a better piece of gear". I have some of these mic pres, love them. I also have some Neves, and a couple of other ones. They are all good. but at a certain point we are all just smelling each other's farts and saying its roses aren't we. Let make some magic today, with what we have, and with who we have.

This is cool, but not that cool. A free plugin does the same thing.

It takes a particular level of arrogance to spend this amount of money on a basic compressor with a slight image widener. Use 2 plugins you already have and by your girl a new pair of _____ (shoes, tits, whatever she wants). Or get yourself another Les Paul, go to Vegas on your Harley, or Paris. Of the top thousand things to spend 4,000 on, this does not make the list. Take it from a someone who doesn't actually have to pay for their own gear, the company I work for does...and I don't even think it' s worth it.

Of course you will want more. But then get those ala carte. Spending 5,000 on a bundle doesn't even make sense to me and I have plenty of cash. I use even the Renaissance ones, but usually the CLA compressors and the H-Series. And of course the Aphex Exciter. everything else to taste, plus there are a lot of good stand alone & free plug ins... though I need to modify them to work with HD. I have a guy for that. I have Final Cut Pro for simple editing. I thought it would be cool to add 1000 fonts to my Mac Font Book. They all appear in my Video editor now. Problem: it will only load about 300 fonts, so it only goes to the letter G now, So I really screwed myself adding those fonts. Plus it takes an extra 15 minuted to load fonts I can not even see now. -- My point, you CAN have too many plugins and scroll right past the ones that might best help you and not even know it. Get a reasonable bundle for 6-700 and learn them well. Make presets. Whoever said "less is more" failed at kindergarten math. But sometimes "more" can be too much.

I have been messing around with exciters. AS we get older those highs aren't quite as high anymore. I notice the mistakes - aside from horrible source tone or excessive scoops and boosts is: Really detailing the low end and top. The Low end takes a bit of experience, but with drum samples, keyboards and idiot=proof bass recording we are left with the top end. I have tries exciters. Even boosting 20k on things that don't even go to 20k. First, never boost frequencies that aren't even there. Never cut anything you don't want to lose. Now the top end...the very top end. This is a cool EQ. Forget all of the other EQ possibilities and view this simply as a 28k "kiss to the top of your tone". Set it to "mastering mode" with 'keep gain" so your level doesn't increase - there is a trim know next to it if you need make-up gain. Mastering Mode made the increments less drastic, for fine tuning. The High dial lets you select 5 extra settings for that knob. Choose 40k. Take any stereo mix you are familiar with and boost 3db Do this for a song you loved on CD but are stuck with a compressed mp3 and watch it get CPR and spring back to life. Perhaps 3bd is too much for you, but it will show you the difference. Clearly. Now Exciters are great for clearing up muddy upper mids, like a bunch of guitar tracks. However, guitar goes maybe to 16k? Now the effects will go to 20k, so this will clean that up. It helps on anything that goes to 20l, Overheads, full bandwidth effects. keyboards, etc. And of course your stereo buss. I toss this in right before the compresses so i can press the top into the mix. That is just me. I am a mastering engineer, so i am gong to compress last. I would say for any pass you might record where attention over 16l might need a little kiss, add a db of this. Try it on your stereo bussing, and especially on your stereo buss out. Use the "top down method" - set your buss plugins first, then tweak your channels as everything will go through this buss anyway so have it on. Just do this. If you don't like it, hit bypass, but now you have a choice. Its completely free, no ads or email needed. So really, if you don't get this you only have yourself to blame.

the Luftikus I have on my l=page does the same basic ting for free. Through this is a full on EQ, and it can be doubled - so here is where is gets interesting. You can use the "full version" of this plugin for essentially 6 band parametric, which is unique and worth the price of admission... but I believer you get a 2 week free trail. They are fairly confident you will buy this. I have the free Luftikus, and still required no arm-twisting to pay the $149 or $199, whatever it was for this plugin after one day's session.

I am referring to the tones in here as well as the Chris Lord Alge sounds. I strictly comment on items I frequently use. Not just my opinion, but feedback from who I work with. I am used to the ToonTrack sequencing already, but it is easy to access these sounds. They are already "produced" so if you are running session this is a very valuable addition. ...or if you don't want to get balls deep in tweaking drum sound like I do.

These are so great you might even be tempted to actually mix using these. There is bit too much low end for that. They do require quite a bit of power to really crank up high though. If you have a device with a little battery, like a cute pink ipod, expect to neither crank it up nor to have your battery last as long. But het sound great, so I don't use them with everyone in the studio. We all say we want a flat response but most of us want that already overly mastered disco curve". This will give you to most forgiving sound. These are not like a pair of Yamaha Ns10, Hs8s, great for someone working with program material or treating yourself to something really nice.

I admit I have never been a Sennheiser guy. Even the trusted 421 mic, I would still find any excuse to not use that big ugly thing that I could never place well. I preferred even some AKG tiny clip on condensers, etc. I was "gifted a thousand dollars for 5 or 6 sets of headphones - that day. The only full sized closed back headphone were these. It was free, and I could use these for gospel choir etc, I got them. I really liked them. This was the point that "brands"really didn't matter. Pick what you like and go with it. The only thing that I had a brain fart on was the cord going into the phones. When something does not work during a session is going into "the box of things that might work later". These things don't work, but you put them in a box with everything else and are surprised that they still do not work later?" These would up ion that box. Never ever "do your own repairs during another person's session". I needed an extra pair and grabbed these expecting them to work, they didn't until I wiggled the cord into the headphones. A tech actually put these together so I had no idea the cables were replaceable (though I can never find replacements). This was the fix, these were great...just buy your replacement cables the same day or you will someday regret it. Great over the ears, light, full sounding phones. ...once more, it has a replacements cord.

This is for ME, my own songs. When I was younger I tried to extend the frequencies of each instrument. Pushing frequencies beyond what they were really made for. Th is might have worked in the late 1980's. But not I focus on the primary fundamentals of the frequencies captured. Guitar should not play bass, and Bass should not rattle like a hi hat. I use flat wounds (I am a guitarist so I go easy on my fingers - though the Music Man Sting Ray is the best bass for tone. I have flat wounds, and even roll of the high right on the bass tone knob about half way. Then I can run it into a simple Ampeg, add a little "Sheehan Grit". Now I am a product of "glorious production" and love the sizzle of over produced things...but I also like garage & low fi (ala QOTSA). I can get both Fleetwood Mac & QOTSA with this... and yes, even mimic the bass tones on Sting. So lets stick to the frequencies each instrument is designed for, play to their strengths and thus make much cleaner recordings. I have a philosophy. If you have lousy sounding drums, you have a demo. Good sounding drums, you have an album. With bass, this is the most overlooked part. Bands bum rush through bass parts, use a simple direct box. Cut corners, always on bass. Your entire band will elevate if you put a little focus on bass tone, like Sting, and have you ever heard a bad Queensryche bass tone? If Queensryche uses a sterile tone, you would not have "Jet City Woman" or literally ANY song of theirs. So cool bass tones are not reserved for Rush or Yes or the Who. Please don't neglect the bass. 1/3 of your melodic register is counting on it.

A whole lot of time and deliberation is spent on matters of "splitting hairs". Sure, get what you like, its your money. If you only record YOU. But if you have even one client, the industry standards are never a bad choice. Make 90% of my income (from recording) with voice overs. I I have the basic vocal mics, 414s 87s, etc, the Neve pres, SSL console and the closest to NS10s I can get. I really have no choice as the film studios expect continuity on their films. I just use the same principle being "it is NOT about me" when recording others. These will do all you need. Why even deliberate this? The choice should be the size and color. I use the middle size though I can accommodate the larger ones. The full sized model is just a "whole lot of speaker".

I even use these throughout the house where full range is needed. These are really the only 3 way speakers. Yes, that "one speaker looking thing" is a mid with a tweeter above it...but I honestly can't tell the difference. If you are expecting to have some Joe Perry guitar sounds pop out, forget it. U=I was. These are full range, low end heavy speakers - not really monitors. Speakers. I have the EQ on the rear with the bass almost off, the mids at 1/2 and the highs all of the way up... and it still has too much low end. his is great for the family, parties, watching DVDs, or NFL. Rapped probably would love this shit. But as a recordist who does music, ala, before autotune, and a mediocre guitarist (not a great lead player), these are just cool to party with. No critical listening will be done on these. I just use what everyone else uses, the Yamaha, and for checking the low, add the matching sub woofer. That is my basic theme. Same shit everyone else has used. 414s, U87s, 1073s, I have an SSL for mixing and a much of Neve Pres. Too much time is spent splitting hairs with this item a vs item b. Just shut up and play.

When you need to check the lows. Use in an apt, get evicted. If you don't have a home, then you probably aren't thinking subs anyway.

I must have no less than 10 of these. I even use it on snare with a beta 56 (tighter patters w-1k more added on the freq response). That is all I ever need, but you can add a snare bottom of that is your thing. I have never had a drummer hit one. I have even used 120 mic, an entire kit. It came out sweet. Loved it. But aside from the obvious. My technique is for a guitar cab is: a 57 on the speaker, a 414 a few inches off (another 414 on the back if it is open back cab, and a royer ribbin (one of those $400 ribbons is cool too) a couple of feet off. My trick, is a kick mic, usually a D112 used exactly as the 57 is. I bring the 57 & D112 (type) to unison, sun them, then sum the two room based mics on a second track. I have never needed "more than this". If I have needed more, I knew before hand and used a different mic-ing approach. This technique works very well with 2 cans facing 180 degrees apart, mic then the same way. Guitarists are used to stereo tones at home, but want their "unicorn tone" in the studio. I have found this is the shortest distance between two points.

Honestly. It is as cool as my U87. It just depends on your vocalist. Let us make one thing clear about "tube mics" and the illusion that tube mics sound warmer or better. Tube mics use the EC883 Or AT7 tube. These are low drive tubes, use as a function stage for your electronics. You are not loading this down with tone galore. Now you are when you use an AX7, your are driving things, but an AT7 is low gain stage tube. I want a mic with an AX7! But really for the cost, the Telefunken AK-47, AR-51 (tube stage), even the less costly CU-29 Copperhead (tube stage) are all really good choices. Perhaps consider your use, and future uses, maybe you might want a second in the future. for a choir, or even overheads! Why not? There really are not rules, do your thing!

I need sounds. This has a ton to choose from. Weighted keys. But as with anything, it is to taste. If you have a keyboardist, they are going to like what they like. If not, and you need something to have as a staple in your place, this was an obvious choice for me. I have even made scores for indie film using mostly this unit, and I am not a keyboardist, so its rather easy. Mostly, it has all of the "go to" rock sounds you could ever need, plus great pad sounds and enough pop candy to please any singer...but if you are working with a writer & singer, they are going to have their own key rig anyway. Perfect for the main sound, or what I use it for and accentuations for rock.

This is literally indispensable. You could run your pedals in sequence. But in this case, if you are not actually using your pedal it is OUT of the chain completely. Power your pedals with the onboard power supply, leave your pedals on, use this switcher. Get down with your bad self.