stickster's Reviews

Steep learning curve but SO WORTH IT.

Falcon is basically every possible synth instrument you could want, with literally unlimited flexibility and programmability, a smorgasbord of incredible effects, and an incredible assortment of routing and mixing options... all packed into a not particularly friendly user interface.

Wait, don't run away. First, understand that UVI Falcon is more than just a "load a preset and play" synth plugin. Of course you can do that. And the quality of sounds is absolutely top rate. Second, be aware you can also buy dozens (hundreds?) of expansion packs for it, to have easily tweakable, well-known sounds at your fingerprints.

But Falcon is really at its heart a truly complete sound designer's palette.

Of course it does all the things you'd expect, like analog oscillators, noise generators, additive and wavetable synthesis, and provides a burly sampler to boot. But it also includes drum and pluck generators, granular and multi-granular synthesis, slice, stretch, and scrub modules as well. It's absolutely awesome to have all of this power in one tool. Of course, it can be scary to beginners (trust me, I feel like I still am one!) to get used to the tree model that Falcon works with.

You can stack and map any number or variety of oscillators onto any keygroup mapped to your keyboard.

Each keygroup can be adjusted for splits or layers of course, and you can have an unlimited number of them in a layer.

You can have as many layers as you want in a part.

Then you can combine as many parts as you want in what's called a Multi.

At all these levels, you can also choose to have LFOs (including parametric), multi or step envelopes, envelope generators, AD/ADSR/DAHDSR... It's mind boggling. Oh, did I mention there are close to 100 effects you can stack to your heart's content -- including truly epic reverbs and delays, tape and tube saturation, crunch and distortion, bass and wave shaping, diode clipping, and killer EQs, compressors, and limiting? Did I further mention that you can rig up macros with unlimited control potential across as many parameters as you like, at any level you like? IT'S INSANE.

Again, the one drawback is the interface is very... well, nerdy. Probably because it's designed by people who are huge sound nerds. And $deity love 'em for it. Yes, it looks (and probably sounds) complex, but once you see some YouTube videos, it starts to make sense. UVI have created the absolute ultimate tool for making sounds, BAR NONE. You are literally only bounded by your imagination and CPU power. They'll get my UVI Falcon when they pry it from my cold, dead, MIDI controlling hands.

The best money you can spend on your home studio.

Steven Slate has a reputation for strong media game, hyping his plugins and recording products as game changers. And with good reason -- you'll find them used in plenty of world-class studios for ITB work on some of today's biggest hit records. But in this case, "game changer" is the only fair way to describe these headphones.

By combining IR and other modeling techniques with psychoacoustic effects, and then hand-tuning the results carefully, Slate and his crew have created the sonic equivalent of the Magic Eye poster. With these headphones, unless you're one of the unlucky few who can't experience binaural effects properly, you can experience recording, mixing, and mastering in world class environments with rooms and speakers that most of us will never be able to afford to set foot in, much less own or work in daily.

Imagine not having to run your mix back and forth onto different platforms like your car, home stereo, or phone to figure out where you have to go back to correct for room idiosyncracies. (All rooms have them, even some of the best.) Imagine nailing the mix on the first revision and knocking your client's socks off. Imagine recording in the world's best studios whenever you want. Imagine taking that capability with you wherever you are -- to another room, on the road, in hotels, outside. That dream is a reality with these headphones.

You can be forgiven for thinking this sounds like hyperbole -- this is a case where you really do have to experience the product before you can understand the hype is well deserved. I've now worked on several mixes and start-to-finish recordings with these headphones, and although I'll continue to use my studio room, I'll likely never do another mix without Slate VSX.

Gorgeous short-scale with killer tone

This bass is a superb example of how a short-scaler can be so much more than the ubiquitous Fender Mustang. Not only more pleasing to the eye, but it's a tone monster as well. The variety of sounds that can be coaxed from this instrument, with separate volume/tone for each pickup and a three way selector, guarantee something to please everyone. There's even a master volume for ultimate flexibility -- such as not having a mute switch in your rig, or leaving a little room for a clean solo. With flats, the Starfire II oozes vintage cool. With rounds, you can get close to (though not quite, sorry!) a semi-Rickenbacker level of bite and growl. Like many semi-hollowbody basses, it ends up a little neck heavy, but nothing worse than expected. It's a huge step up from the Starfire IV Bass, which shares its looks but nowhere near the versatility.

Finicky, but an undeniable classic must-have

The 4003 may not have the vintage panache of an original 4001 but it is eminently more usable for the modern player. In late 2019 the original bridge design (seriously wanting in many ways) was finally dropped in favor of a more modern, useful version that carries most of the features of the Hipshot drop-in replacement, meaning Ricky fans could finally properly intonate (and palm mute risk-free if desired). The pull-circuit for the vintage capacitance may drop too much low end for today's use, but when you use it and crank up along with some classic Yes tunes you'll know why it's there.

Tremendous upgrade to a great product

As good as Superior Drummer 2 was, version 3 delivers more in almost every respect. It has picked up a few of the ease of use bits in EZDrummer 2, but at the same time retains all the deep editing and tweakability that makes SD a game changer.

Best value single unit on the planet.

The features and flexibility of this unit are unmatched at the price point. I use this to go from studio to rehearsal to stage with absolutely no compromises on sound. I've built out of this world sounds that make a bass sound like an orchestra, and simple patches that let the instrument be itself. (Yes, it works incredibly well for bass players.) Completely editable by hand, but can also be paired with the HX Edit app on the computer for point and click ease. And it fits in a gig bag with plenty of room to spare. What could be better?

Limited, but unbeatable sound

The bridge has a limited range of adjustment. Tuners can be a bit dodgy especially in temperature changing situations. But the sound is absolutely unbeatable, especially with flatwound strings -- a beautiful, round, vintage tone with fantastic range in the tone control. With a pick, you can get pretty close to an early Beatles tone.

Incredible sounding EUB

One of the best sounding electric upright basses you'll find, but comes at a dear price. Incredible sound, with an active preamp and 2-band (bass/treble) boost and cut controls, plus volume. This instrument feels best with the optional extension on the upper bout, since it makes it broader and allows it to lean against you in a more authentic posture. There is nothing about this instrument that feels cheap or as if the designers "settled." It's quality through and through, from the fit and finish through to the sound. An absolute keeper.

Extended bass -- good for short sessions

Fantastic clarity on the top end. These also have a somewhat hyped bass response. That makes them a good match for inexperienced studio visitors who don't bring a pair of their own. Not such a great fit for doing longer sessions or reliable, quality mixes. Very comfortable, and the inclusion of several kinds of cable means they make great travel companions. I find on airplanes they do a decent job of cutting down on cabin and engine noise. These were a gift from my wife because they match my studio decor. Yup, she's a keeper, and so are these.

The Honda Accord of headphones

Affordable but reliable for quality mixes. I've always had an ear for Sony's natural curve, and these headphones are no exception. They lack the overhyped bottom end that's common with a lot of headphones these days, so listeners who are used to consumer aimed models will probably find they lack excitement. But that's exactly what makes them so fantastic for doing decent mixes. I have several sets and, since you can easily replace the earpads (which start to flake and crumble after 4-5 years of heavy use), I always will.

Impressive features for the price

I've been around long enough to remember the days when Behringer was a laughingstock in the gear community. You don't hear people who've put hands on their newer gear laughing as much. It's true, sometimes their pieces are lacking in polish, or they trim a couple key features that make spending 30% more on a competitor a reasonable move. But often they put out pieces that are absolutely great values for the money. The MOTÖR keyboards are an example. The keybed is really very good, which keyboardist friends of mine confirm. Simple controls make it easy to run 32 (4 banks of 8) faders, encoder knobs, and pads, plus a set of transport controls with your software. And at this price point, for those faders plus a 9th main fader to all be motorized is unheard of. Now, there are some drawbacks. The faders are only about 60mm throw, which is a bit too cramped for fine work on a DAW, but just fine for rough mixes or performance. Also, the MOTÖR only supports MIDI and Mackie Control protocols, not HUI or other modern ones. But it works just fine with most modern DAWs (even Pro Tools -- search YouTube and you can find my video on how to enable it to mimic an M-Audio controller). And it feels solid, like a tank, but not overly heavy. Again, a great value for the money if you don't want to drop $500 or more on a competitor.

Swiss Army knife for guitar

Live or studio, this guitar is worth its weight in platinum. It carries out an almost impossible task -- sounding like an arsenal of unattainable guitar classics -- with ease and competence. The acoustic models are sometimes criticized as being off, but this is usually by people who don't understand how the modeling works. If you string the Variax with, say, 12-52 bronze strings like a real acoustic, I guarantee it will blow your mind. I usually keep mine strung with 10's or 11's nickel, which work well for all the electric models as expected. And if you're a home studio person, these are absolutely a must have. I've put tracks together using a Variax that make friends' jaws drop -- roaring Les Pauls, honking Teles, or twinkling Strats all shine. You'd be crazy not to own one of these.

Smooth, warm tube sound

This unit will give you warm, real tube compression. The full set of parameter controls on this pedal let you dial in everything from a touch of smoothness or taming to a full-on squashdown. It's built well, as you'd expect, but it's not exceptionally heavy. The only issue I had is the AC adapter didn't hold up well to travel, and the cable separated from the transformer. No big deal; I replaced it with a heavier duty universal power supply. I noticed there's a redesigned version (from 2015 on?), but I have the original.

Effects for days, built to last for decades

I've been using one of these since it came out in 2005, and it's an essential part of my stage rig. The effects go from standard stuff like delay and compression (very nice sounding LA-2A model!) to awesome funky gear like a Phase 90 and a Mu-Tron. You can get absolutely any sound you want from a good bass, from smooth and clean to dirty, funky madness. And most importantly, this pedal is built like a Sherman Tank. Heavy duty foot switches and a guard bar (doubles as a nice handle) show the Line 6 guys left nothing to chance on this unit. And I've got hundreds of gigs (and hundreds more rehearsals and jams) over more than a decade to prove it.

Best $150 I spent this year

This little box seems small and limited, but if you're used to using your computer keyboard and mouse for most DAW work, it will give you a ton of extra control and flexibility. And it's small and light enough to tote with your laptop and other gear without trouble.

Amazing, chameleon tone

The one bass in my arsenal that can play a convincing P, a convincing J, and a convincing MM in one package. Mine has some beautiful chrome knobs and a pearloid pickguard from the previous owner. Even if you find yourself unable to pull those tones, there's also an adjustable mid frequency switch set in the preamp box, which you can use to tune to your liking. This bass will stay in my keeping forever!

Solid sound at a reasonable price

For the price, a great instrument for anyone from a student to a professional. My daughter has mine at the moment, but I used it for years on stage. Mine's a 2002 from a pretty good year at the Fender Japan factory. I hear the Killers' bassist has about a half dozen of these for their tours because they're so dependable and consistent.

Solid bass

It may not have the tonal quality of more modern Precision basses, but it has its charm. The neck is more of the vintage "baseball bat" feel, so small handed players may be a bit daunted. Mine has a custom wound Lindy Fralin pickup in place of the notoriously weak stock unit. Its mellow sound is great both on recordings and for use in smaller gigs or those demanding big bottom without the growl.

Incredible bass

The best sounding J I've ever played -- although mine came with a custom-wound set of Lindy Fralin pickups the original owner installed (and he also gave me the stock pickups). I dropped a John East DJ-Retro preamp into mine and it is now my #1 beast for on stage. The sweepable mid in the DJ-Retro makes it tunable for every room so it always sounds amazing. And it feels great to play, too!

Best sounding non-Fender P

I got this for a song ($550) because the idiots at Guitar Center had no idea what kind of instrument this was. Oh, and there was a tiny chip in the headstock paint. Because as we all know, that causes a huge problem with your sound, right? Anyway, the sound on this instrument is a little more growly than a standard Fender P, and it cuts through on stage really nicely. Plus, it has a slim J-style neck like Duck himself preferred in his later years. Wonderful instrument!