Numark NS7 DJ Turntable Controller with Serato ITCH Software Review

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(More customer reviews)Coming from a turntable and vinyl background, I was and still am excited about this product. I purchased it and have been very content. The unit is about 35lbs. and VERY solid. I have to get use to scratching on it compared to turntables. The platter should have been made 9" but I'm taking it in stride. All crossfaders have a quality feel, no static and the scratch curves feel as good or better than my Rane TTM57sl.
My only complaint is that Numark did not future-proof this unit with effect buttons. I find the software (Serato iTch) and mixing is (CURRENTLY) a little more boring than Serato Scratchlive and my 57 mixer. Serato is supposedly working on effects and making iTch's software closer in features to Scratchlive.
I purchased the Numark case with the unit and REALLY love doing mobile gigs now. No more individual TT cases and mixer cases. No more RCA and ground wires and at least 15 minutes less setup time. I'm saving close to 70 lbs. in travel weight too. One bit of advice is to be wary of using PCs with this unit. I have a Unibody Macbook Pro 2.66Ghz but struggled making a Core2-Duo 2.2Ghz 4GB ram PC work "glitch-free" with the NS7 and iTch. It had quirky behavior while tracks were playing, random stops and various audio dropouts. Many PCs will (by default) have IRQ sharing which can hose up USB connectivity (the main source of NS7 communication to your laptop) if there are conflicts.
In troubleshooting, I had to insure bluetooth, anti-virus, firewalls, NIC cards, screen savers, wireless Network cards, on-board video and all sorts of services were disabled on the PC (a TOTAL administrative nightmare!) and still ended up having to run the latency at 5ms or greater for decent performance. My mic had major echo delay with this setting so enough was enough.
I purchased the MBPro and have not had a SINGLE glitch since. My latency is at 1ms AND I can run apps in the background while DJ'ing without problems. I highly recommend the NS7 (with adequately powered MAC) for any mobile DJ.

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Designed in collaboration with Serato, the Numark NS7 DJ Turntable Controller combines an all-metal chassis with adjustable torque, motorized, aluminum-turntable platters, vinyl, and a professional audio interface to deliver a complete performance solution that will satisfy even the most hardcore turntablist.
It offers a full complement of premium faders, knobs, buttons and the new Strip Search virtual-needle-drop control, which integrates seamlessly with the included Serato ITCH software. The NS7 delivers hands-on control of every aspect of Serato ITCH and sends data to the software more than ten times faster than standard MIDI resolution. And because it was designed for ITCH, NS7 setup time is the bare minimum--no tweaking, no mapping; just plug and perform.
The NS7's dual decks flank the mixer section. Its recognizable, professional appearance is supported by clean design in matte and glossy black. The entire unit is housed in a heavy-gauge, industrial-strength metal casing that is ready for the torture of travel.
Key Features
High-resolution controller built for Serato ITCH and compatible with Scratch LIVE libraries
Direct-drive, motorized turntable platters with classic and modern feel settings
Includes Serato ITCH DJ software, fully pre-mapped
Audiophile-grade audio circuitry with mic and line inputs, system and cue outs
Extensive loop, cue, and track-access controls
Strip Search (patent pending) virtual-needle-drop control
Controls most MIDI applications without requiring a mouse or keyboard
Rugged, all-metal construction
High quality, replaceable, customizable CP-PRO crossfader and D-TYPE line faders
Support for Whitelabel.net files in ITCH
Mix using either 33 RPM or 45 RPM speeds

Perfect Feel The NS7 has two seven-inch, motorized, high-torque aluminum turntable platters, and the turntable controls feature modern and classic settings that alter the feel to model the feel you prefer. Seven-inch, legit vinyl records with 45 RPM adapters sit on real slipmats--no simulation.
Solid, rugged, rubberized buttons and knobs compliment a high precision, replaceable CP-PRO crossfader and D-TYPE line faders for an unquestionably high-quality feel. The CP-PRO digital-VCA crossfader has a solid feel that is smooth and rigid. Like the crossfader, the D-TYPE digital-VCA line faders are replaceable. The crossfader offers contour adjust and reverse adjustment, enabling you to customize its operation.
System Simplicity Forget the mouse and the keyboard. The NS7 renders ITCH software perfectly simple to operate, with its click knob and large, backlit buttons navigating though your music library. You'll spend less time looking at the screen and more time enjoying performing thanks to the visual feedback you get from NS7's more-than 100 LEDs and more-than 100 hands-on controls.
A single USB cable between NS7 and your Mac or PC is all you need to send audio and data back and forth. The NS7 has onboard audio outputs so it's the only piece of gear you need to connect to the PA system or powered speakers. It outputs 24-bit, 44.1 kHz digital audio to the sound system on XLRs and RCAs. The front panel contains mic input, RCA line input, and both 1/4" and 1/8" headphone outputs with volume control.
The NS7 comes with an integrated laptop stand that supplies safe, secure mounting for your laptop. You can use an ultra-small space because NS7 elevates your laptop off the table.
Precision Control The NS7 sends control information over USB at more than ten times the standard MIDI rate. This innovative communication technique yields extremely high-precision, low-latency control.
There's nothing like dropping the needle on a record for quickly locating a point in the track, and with Strip Search--the unique virtual-needle-drop touch strip--you can locate a point instantly within the track using the on-screen waveform
Five hot-cue-assign buttons on each deck digitally mark your cues on the track. These marker points are recallable in ITCH and Scratch LIVE, and you can load Scratch LIVE cue points in ITCH.
Each deck offers an extensive Serato-style loop section, and you can choose between manual and auto-loop functions and an automatic BPM analyzer further assists loop makers. Creating automatic smart loops of any measure length is a breeze, and you can mutilate and modify to heart's content with a variety of controls such as Doubling, Halving, Shift, and manual controls.
Audio Quality The NS7 contains a host of professional audio connectors and a multichannel, 24-bit USB digital-audio interface. The high-definition post-mix analog audio output features a minimized circuit path with containing only one audiophile-grade bipolar capacitor. This optimized design maximizes phase coherence, ensuring that audio is tight and punchy.
Serato ITCH Software IF you use Scratch LIVE, you'll become quickly familiar with Serato ITCH. Because ITCH doesn't require a timecode interface, your system can be as simple as, say, NS7 and your computer. Since ITCH makes timecode a thing of the past, you won't need to worry about needles skipping or vinyl wearing out. You can load your Scratch LIVE crates, loops, presets, and cue points seamlessly in ITCH. The NS7 also works with most other MIDI DJ software and supports iTunes.
ITCH handles audio processing and mixing including channel fading, EQ, crossfading and track trim are processed for outstanding control and management of your tracks, ease of recording your set, clip-proof gain management, and BPM calculation using the power of your computer's processor.
The History function in ITCH keeps a comprehensive record of every track played and exports sessions from your history to 'txt', 'csv', or 'm3u'. ITCH also has a Loop Roll function that provides a looping effect where the playhead jumps back to normal time when you release the loop. Built-in key support ensures that ITCH reads key tags from MP3 files and displays them in the 'key' column in your library.

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Tascam DP01FX 8 Track with Effects Digital Multitrack Recorder Review

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(More customer reviews)My first multitrack recorder was a Fostex cassette based recorder back in the early 90's. I loved it - used it nearly daily to work out arrangements or learn new songs. When it finally quit working, I was a little heartbroken.
At that time, someone had turned me on to PC multitracking software - which was a suitable solution, until I started upgrading. I found that certain programs wouldn't work with certain operating systems, conflicts with various attached devices would cause recording errors. I felt like I spent more time troubleshooting my system than actually recording.
After much research, I settled on this unit. As a solo artist this is an excellent machine - I mostly record acoustic arrangements, with some electric guitar and drums. Although I've used this for a week, I couldn't be happier with the results...far superior to my old cassette unit, and much easier to use than software. The sound is much better than I hoped for...and the menus are easy to navigate.
The guitar effects are OK, but not great. I don't expect I'd use them at all...the sound I get when I mic my amp is far better. The vocal and drum effects, on the other hand are more useful. Overall, I expect I should be able to make very high quality demos.
You can only record two tracks at a time, but as a solo artist, that's not such a big deal. For bigger arrangements, such as with my band, I have a 14 channel Mackie mixer that I run into the unit that allows me greater flexibility.
The unit is easy to learn how to use, and the user's guide is written so that my 11 year old can figure it out. I had no trouble recording, mixing and mastering...following the instructions in the guide, I was able to successfully transfer the final mixdown of my music to the computer without any hangups.
Overall, I'm very satisfied with this unit.


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QSC GX5 Stereo Power Amplifier Review

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(More customer reviews)I bought the QSC GX5 stereo amplifier for use in my band's practice studio. We previously used a Mackie mixer/amp setup and we recently bought an Allen & Heath mixer along with the QSC Amp. We've gone from a little noisy system to an absolutely silent (no hiss, no noise) system even when turned all the way up. It's nice! We A/B'd the amps and while the Mackie is rated to have more power, the QSC is clearly punchier and so much cleaner. I can't say enough about how nice this amp is. I've owned Crown, Crest and Yamaha amps as well and none of them were cleaner than this one.
As for durability, it's still new BUT QSC is offering a 6 year warranty for free on this model (until March 09) so I can't imagine they would do this if these amps were a service problem.
Oh and it looks great in my rack. I read somewhere that the amp is noisy when the cooling fans get going. Knowing this, I cranked the amp full and ran a punchy CD through the mixer full blast (no distortion!) and waited while the amp warmed up. After it reached operating temperature, the fan(s) indeed came on but by no means were they "loud." If I had this amp in a recording studio, I would have the amp in a soundproof room or enclosure as I suppose the fan could be audible during very quiet recording sessions. On the other hand, it is reassuring that I know the fans are indeed working, keeping the rails cool. For live sound, it just isn't a real issue.
Now I'm considering getting another QSC for a monitor amp. I heartily recommend this amplifier.


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Tascam DP-02CF Portastudio Compact Flash Multitrack Recorder Review

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(More customer reviews)I purchased the DP-02CF expecting a Multi-Track Recorder, much like the 10 or so Recorders I've owned over the past 25 years past from Tascam. However, even though the new Digital technology is wonderful, things here are not quite what they appear to be in this case...
First, even though you are using a CF Card and you can use up to an 8 gig card [which is great] you are limited to .wav format in FAT 32 which burns 1/2 a gig of space off the top, and limits the length/size of your files per song. Plus the usual FAT 32 file corruption issues which can sneak up on you in a hurry, trust me. Also, be careful, very very careful when buying a card for this deck. The approved media list has a big list of cards that made me cringe, several of the 8 gig options cost lest than $30 on Amazon, Gasp! I mean, you get what you pay for and if you're using ANYTHING less than a Sandisk Extreme 3, you're going to end up cussing out the unit and tascam within 2 weeks! Trust me on this one...
Second, where do I begin?
When you setup a recording and start adding tracks, each time you playback and listen to what you recorded, you are required to go back and reassign everything from scratch, including track sends! Nice huh... This doesn't sound like much at first, but after you use the unit for a while it becomes a time consuming adventure in frustration.
Next, the Deal Killer...
This unit should be described as a very limited Mixer, with a 2 track recorder with bounce down capabilities slapped on the top. This is not a multi-track recorder like any I've ever owned before or even a decent mixer, since NO EFFECT SEND is available during recording! You heard me right, you can't even add compression to a vocal as you record, but more on this later.
So, I was expecting PRE and POST eq [as almost every other deck I've owned from Tascam in the past] but alas even though there is nice eq, effect sends and controls, they are all POST. In fact in Record mode you only have 2 tracks, dry to the card that's it. Only in POST final mix-down to a DVD, or whatever you make your master on [No bounce-down eq/effect capabilities either since EVERYTHING IS POST HERE!] Like I said, this makes this unit a mixer with a recorder slapped on, not a full featured recorder as it appears to be. I mean if your 15 and this is your first recorder for band demos, great! Otherwise you will be sadly disappointed.
This means if you plan on using the eq, and effecting your signals during bouncing down, NONE of the adjustments you make during mixdown will record to the track, it's just a mixer kids! So, if your vocal stack of 4 tracks needs a little hi end added during bounce, or if the bass guitar/guitar/keyboard mixdown needs a little extra push, or you need to do anything during the mix-down process getting to your final 8 tracks, tough luck! Only in the final mixdown to another device, can you use any of the eq/effects. This is why the unit is so inexpensive, and why it's useless for anything other than live 2 track demos and practicing bounce down, so that later when you buy a real recorder you'll know what to do.
This is the reason why I was in shock when my unit arrived. Just remember when looking for a multi-track, always ask up front if your deck has PRE and POST options for eq/effects. I should have asked, oh well...
Here's another example of the frustration.... Let's say your recording live and you want to add in some compression to the vocal track as it's live going into the deck. Tough luck! You can't use the effect send to add your $1000 compresser/limiter and Exciter. How about adding a little eq to the bass guitar from the line in, same deal tough luck! NOTHING can be added to the instruments as they go in, or as they are bounced down, it is ONLY during final mix-down TO ANOTHER DEVICE that you can you add anything!
One last time, everything on this mixer [aka multi-track] is post. You might as well buy a nice mixer, and a zoom, you'll have more options and a better final mix. Plus, you won't have to worry about your CF card corrupting from the Fat32 formatting after spending 3 days recording and bouncing down tracks.
If they had only been honest in the description of this unit [and it's NOT Amazon's fault, they just list the factory description which is totally misleading] then I could have avoided wasting a week trying to find out why I couldn't save any of my mixdown settings.

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Bose T1 ToneMatch Audio Engine Mixer Review

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(More customer reviews)I've had over a dozen mixers in my life and the Bose T1 is by far the best I've ever owned.
The Pros:
It has the best Pre Amps I've ever heard! Same quality you would find in many high end studios.
It replaces a rack full of processors I no longer need including a guitar tuner.
It's extremely compact, light weight and almost fits into the palm of your hand.
It can hang on a Mic stand which I believe is the only mixer to do that.
It's user friendly and a novice can run it.
You can record with the built in USB straight into a computer without an interface.
It can be used with ANY brand of speakers and not just Bose.
It can save your settings, removing the need to "re-EQ" everything when you play the same room twice. This is a HUGE time saver.
Bose has software on their web site that lets you "back up" all your settings in case your T1 gets broken or stolen. This is an invaluable feature.
It's reasonably priced considering everything you would have to buy separately for the same set up.
The Cons:
It doesn't come with a power supply. Bose makes you buy it separately.
It doesn't have FireWire.
It needs more Mic inputs.
It runs in Stereo but there's NO Panning.
Running a monitor mix through the AUX is not user friendly.
I give it 4 out of 5 stars because of the Cons. Otherwise, it's light years ahead of the competition and there's nothing else out there like it. It's in a class of it's own.

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Fender Vintage Reissue '59 Bassman LTD Review

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(More customer reviews)This amp sounds incredible. Sparkling cleans and it can get downright dirty. The Tweed is a great touch. 4x10 inch speakers=plenty of volume.
I was also surprised by how light the amp was, it's not as heavy as other tube amps that I own so that is a major plus. This pedal also sounds great with any pedals you put in in front of it. I highly recommend this amp.

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QSC K12 Powered PA Speaker Review

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(More customer reviews)Honestly, it's difficult for me to being a thought process on the sheer godliness of this speaker.
Well, heres a start. My bluegrass band recently bought two of these bad larrys, and they are unmatched in quality by anything (except this one stage setup that was all analog and hand made by a sound-man at Podunk Bluegrass Festival). These speakers put out 1000 watts each, and thats the truth. This power gives you the most head room to eq all you need to without compromising clarity at high output levels. We run a banjo, guitar, mandolin, fiddle, and upright bass through them and its as if there are 16 constant directivity horns absolutely putting an arena in its place.
The 12's have a very very solid amount of bass, we were deciding on whether or not to get these or the 10's and get the KSUB one day. The 12's are more then enough (but maybe one day the icing on the cake will be one of those KSUBS). I would recommend these speakers from the bottom of my heart. Their build quality is rock solid. Their sound quality is ridiculously precise and clear. Their output is higher than 4 or 5 average pa speakers. Yes they are pricy, but if you actually want to get something that you will /not/ need to upgrade, bingo.

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DENON DN-HC4500 DJ Mixer USB Controller Review

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(More customer reviews)Although the controls, buttons and display make for a "busy" looking layout, it performs to perfection! Easily configurable to PCDJ-Red Mobile (my software of choice at the present) and VERY responsive! For me, this was an upgrade from the PCDJ DAC-3 and I'm glad I made the switch as I have restored confidence in my mixing/transitions: when I press PLAY, it plays!! Worth every penny.

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Akai MPC1000 Music Production Center Review

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(More customer reviews)My first impressions on the newest and smallest MPC in Akais great lineup of sampler/beat machine was thatit just HAD to be a lesser equiped version of those higher numbered MPC. WRONG!!!. I've used all MPCs and can say that I am pretty skilled with the MPC-60, 60 II, 2000, 200xl, and 3000 and just begining to peak at what the MPC4000 can truly do (it is in a whole different level and not at all for the novice).
The MPC1000, in my opinion is the best of the lot (not including the MPC4000). It doesn't have the warm sound that the MPC-60/60 II has but overall it can do anything that you want it to do. It does everything that a 2000/2000xl can do. It may have a smaller number of outputs but that is not that big of a deal if you know what you are doing.
Armed with a computer (as most of us are) the MPC1000 is extremely capable of accomplising any task that its big brothers can. In fact it handles many things better than those costing much more.
The MPC1000 is set up more like an MPC4000 and will aid those who hope to step up to using the big boy. Starting with a 2000 or 3000 will hinder you, in that some of those things you will do on those machines you will have to re-learn how to do those same things on the 4000 (once you pay the big bucks to make that move).
Don't be put off by it's tiny size. Max out it's memory, get a big compact flash card (it canhandle up to a 2 gig card, WOW) and this little box will STOMP the 2000 and 3000, even the 60 (remember those aren't made anymore and are quit old).
This thing KICKS.

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Inheriting all the essential MPC series features, the Akai MPC1000 complements its larger siblings while also providing a powerful Music Production Center on its own. It features 32-voice stereo sampling, 64-track sequencing, and 16 velocity, and pressure-sensitive MPC pads--all in an affordable and compact package that weighs just 7.6 pounds. The MPC1000 is small, rugged and incredibly portable for an easy fit into a backpack or laptop bag for the traveling producer.
It comes with 16 MB of onboard memory (expandable up to 128 MB), and you can further enhance your storage with optional standard Compact Flash memory cards (up to 2 GB in size). A preloaded CF card with popular Akai Pro samples is included to get you going. When connected to a Mac or PC via its built-in USB port, you can simply drag and drop data between the computer and MPC1000's CF card.
Key Features
Pattern-based and linear 64-track sequencer with 32 MIDI channels
32-voice drum/phrase sampler with up to 128 MB RAM
Velocity and pressure-sensitive pads for expressive programming
16-level pad function maps one sound to all pads with varied level, tuning, attack, decay or filter per pad
Two Q-link sliders for real-time performance control
Built-in Compact Flash drive and USB port (Mass Storage Class)
Standard WAV files samples and MIDI-file sequences
Analog and digital I/Os, headphone output and two MIDI In/Out
Internal sounds in flash
Four-way sample layering and velocity switching per pad
Four-pole filters (two two-pole filters) filtering for each of the 32 voices
Two on-board effects processors plus main-output effect processor, all which can be used simultaneously
Outputs can be re-sampled

Specifications
Storage: Compact Flash: Type-II, support up to 2 GB card
Hard Drive (optional - req. HDM-10): any standard IDE 2.5-inch hard drive
Memory: 16 MB installed (Can be expanded to 128 MB with EXM-128)
Analog Input/Output:
(2) Balanced 1/4-inch Inputs
(6) Unbalanced 1/4-inch Outputs [Stereo L/R + 4 Assignable Outs]
(1) Headphone Output

Digital Input/Output:
(1) Coaxial S/PDIF Input [RCA]
(1) Coaxial S/PDIF Output [RCA]

MIDI Input/Output:
(2) MIDI Input [5-pin DIN]
(2) MIDI Output [5-pin DIN]

Other Input/Output:
(2) 1/4-inch Footswitch
(1) USB [Slave only]

Levels:
Analog Input = +10dBu
Analog Output = +17dBu [Stereo & Assignable Outs]

Sampler Resolution: 16bit/44.1kHz
Sampler Recording Time:
136 seconds [16 MB/MONO]
24 minutes 28 seconds [128 MB/MONO]

Sequencer Details:
100,000 notes resolving at 96ppq
99 Sequences with total 64 tracks per seq
20 Songs with total 250 steps per song

Pad Details:
16 (velocity and pressure sensitive)
4 Pad Banks [A, B, C, D]

Synchronization: MIDI Clock only
Power Options:
100v - 240v
50/60Hz
19W

Dimensions: 13 x 2.97 x 8.98 inches (WxHxD)
Weight (net): 7.6 pounds
Data Compatibility:
MPC1000 -- SEQ, WAV, PGM
MPC2000/2000XL -- SEQ (saved as MID file only), WAV, SND, PGM (Most parameters of PGM file can be loaded.)
MPC2500 -- SEQ, WAV, PGM
MPC4000 -- SEQ (saved as MID file only), WAV, AKP (DRUM program only...No Keygroups. Only note assign and tune are loaded.)
MPC3000 -- SND (THRU Computer)
Z4/Z8 -- WAV, PGM (DRUM program only. Only note assign and tune are loaded.)
S5000/6000 -- WAV only (THRU Computer)
S1000/3000 -- No compatibility

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Digidesign Command 8 Control Surface for Pro Tools Review

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(More customer reviews)My son is a sound recording technology student at college. I'm a computer expert. To help my son in his studies, I upgraded his Apple/Sonar DAW to a ProTools environment. We spent many thousands of dollars doing so, and it was a painful experience.
The Command|8 proved to be the most frustrating element in the entire digital sound chain, and a lack of good documentation and support from Avid (or whatever it is called today - the company appears to merge and change its name weekly) does not help.
It took weeks to get the device configured and working reliably with ProTools 8. Even after that it would constantly require recalibration or would go offline arbitrarily, requiring reinstallation of protools to bring it back. I have no idea how pro-am studios manage to survive using ProTools.
A few weeks out of warranty, the display failed and the unit refused to come online. The faders go crazy for a few minutes then park at the bottom although you can hear the fader motors still clicking wildly. This problem is posted several times on the Avid user forums, and appears to be a common defect. Repair costs might run to several hundred dollars.
Unlike most users, we read the user manuals "avidly" and followerd all user directions. As a former sound engineer myself, I insisted that all equipment in the sound chain was covered with dustcloths when not in use. This device was probably used less than 100 hours in its lifetime.
Do not buy this product.

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Eagletone 615T Tube Amp Review

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(More customer reviews)I just got one of these, which was the first production run, the prices have gone up slightly but in my opinion still great value.
Ok so I'm sure you want to know about this thing. First of all it's made in China but so are most other tube amps below 400 bucks. So don't let that sway you. It is built solid. I mean this thing is heavy and although the speaker is 10 inches it's size is closer to a 12 combo. You will not have to change the speaker the stock speaker is really good. First of all this sucker is loud, I mean loud. If you want to play it as a tube practice amp you'll have to set the volume on one. I use it for gigs with a mic and it's only set on two to three. If you have a band that doesn't PA the amp than this will do the trick. This is also meant to be used as a clean amp, it does not have a drive feature. That's perfect for me since I set my amp clean anyway and use overdrive pedals. The tremelo works really well, I don't use term much but it sounds good. The built in reverb is stunning. I set it at about 3 which is a good overall setting. There are two channels you can chose from, but no switch. The normal channel is more warm, and the other is clearer and bright, more of a modern clean. The tone control really changes to dynamics of the amps highs and lows. The tubes are Ruby EL84s and 12ax7s which are worth 40-50 bucks if you were going to just buy the tubes. Overall this has a really warm bright clean, great tube dynamics, very powerful. Probably the most comparable to a Vox amp. Definitely worth a look. If you want a small practice tube amp I have a Bugera V5 which is really nice size and voice, this Eagletone is foe live gigs. I f you want a more high end amp with two channel drive and effects loop I'd go for the Bugera V22 for about 399. But for the money, this thing is great for what it was designed for.

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B600 1x12" Bass Combo Amplifier Review

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(More customer reviews)I'm a guitar player, first and foremost, but I do a lot of recording in my basement where I play all the instruments, so I also have a Fender jazz bass for laying down bass tracks. Recently, I started playing bass for a small band. I had a Peavy Microbass that sounded, well, OK, but it turned out not to be loud enough with live drums, piano and a couple of guitars. I didn't want a giant, heavy bass amp to give me hernia just to play in my local synagogue, and I didn't want to spend a lot of money. After some internet searching, I went and played the Hartke B600. I found it at a local merchant who was having a 15% off sale and grabbed it for $169.00.
It has tons of power and a 12" driver, plus an effects loop, line out and headphone out. It stands upright or tilts back. Great tone control circuits. All under 40 lbs. I need to play more with the tone settings but even straight out of the box and with random twiddling it sounds great. It is truly an amazing, lightweight but powerful 12" 60 watt bass amp for an unbelievably low price (even at retail).
JMT

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Epiphone Blues Custom Combo Amplifier, 15/30W, Tube 2x12" Speaker Review

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(More customer reviews)I have owned and gigged with this amp for nearly 2 years. I play thru it exclusively, if I am even using an amp. I have a custom made guitar, so I can't help anyone achieve a well known tone. Sorry. But I can say that it is fairly easy to find your very own sound with this amp. It has alot of tone shaping choices in the form of the eq, and a switch that also acts as a frequency boost in a way. It is a switch that can make the 3 different bands of the eq act independently of each other, or not. For example, on windows media player, you can set the eq sliders where if u move one of them, the other frequencies are going to pull up a little all around that slider. Same highly generalized theory. Kinda. This amplifier has a great tube tone, and you can get a "pop" to some bass notes. Kinda funky. It is solid. Absolutely. And will get very loud. I've never gigged anywhere where I could even think of turning this up past halfway, on the 15w class A setting.
It is a trebly amp. And I play a trebly maple guitar. But I just turn the highs down a good bit on the amp, and roll a little tone off my pickups, i have an even sounding tone. The overdrive channel is fairly good, but it has always been way too trebly, even while playing a Black Beauty in the rythm position. Soooo, I would suggest either changing all the tubes, (they had to cut cost somewhere), or use your own overdrive. If u turn this amp up on the clean channel, it will have a very nice, very silky smooth breakup. It is a classic rock sound that is so much fun to play with. Or you can get really good blues tones out of it. The entire amp is tube powered, down to a tube rectifier and tube reverb.
This amp is better than most other amps I've ever tried. It is durable, reliable, looks and sounds great. If you are on a budget and want to get more than you pay for, at least try this amp. you won't be sorry. If you just take your time with it, you can find a lot of the tones you are looking for. I use a processor in front of it most of the time now, due to the style of playing i have, i need tons of effects. I run that signal into a tube preamp, then into the amp. It sounds wonderful, not at all digital sounding, and is really responsive to nuance. a worthwhile buy for sure.
Pros: sensitive response to playing, great tube sound, built like a tank, enough options for extra cab outputs, and really sweet breakup on the clean channel when turned up allowing for some serious tone.
Cons: no effects loop, trebly (but can be easily remedied by the amps own electronics), heavy as lead to tote (get casters), and cheap stock tubes.
All in all, i don't ever want to be without this amp. I'm sure there are better, but with all the options I have for finding the right sound for a song, i am not even interested in finding one. It does all I need, and what it does not do, I use 3rd party gear to accomplish.

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Vox VT100 Valvetronix 100-watt 2 X 12in. Modeling Combo Amplifier Review

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(More customer reviews)While I am still in the process of learning all that this amp can do I still feel compelled to sing it's praises because, brother/sister, this amp can do a lot. The valvetronix system in which the sound is treated ALMOST gets that amp singing like a true valve amp. It has 22 amp models each with 3 presets apiece, the presets are very well done- usually with modeling amps the presets are a bit over the top with more than a little too much treble- not here- the presets are tastefully done and each is eminently useful in finding great tones. On top of the 66 presets (you see what I mean by a lot) you can bank and save 8 of your own custom tones using the 22 amp models plus a bevy of effects (Tape Echo and Rotary Speaker are my favorites, so far)- small quibble- the foot-switch is sold separately. It has a power knob that lets you adjust the wattage so you can actually play this monster in your bedroom or use it effectively for recording but it's at the higher volumes where this baby really sings- because the valves are NOT used just in the pre-amp stage you can really activate them at the higher volumes and that is where you get closer to the sound of a real valve amp but at a fraction of the cost.
If you are looking for a versatile amp the Vox VT100 is not just the best bang for your buck but just a flat out great choice at any price. Seriously, now that I own one I would pay twice the price.

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KRK Ergo Studio Monitor Room Processor Review

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(More customer reviews)Samples your room well, and gives you two stages of accurate imaging. I could tell that boomy bass freq and others were cleaned up the very first time that I tried the unit.
However, this is one of those items where you really notice when it is later bypassed. Even the best speakers will sound better in ANY room with this unit.
Its only problem is that the Orient copy factory is now turning out almost identical units for about 1/4 the price.

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All About the KRK Ergo Studio Monitor Room ProcessorThe KRK Ergo Studio Monitor Room Processor (ERGO - Enhanced Room Geometry Optimization) automatically tailors the sound in your mixing environment to give you a much more accurate room and better mixes. A great mix starts with a great recording room. But when it comes to achieving the most accurate mix, your room may have the upper hand. Like any room, your studio's acoustics include offending frequencies and room reflections, and none of these are helping your mix. Getting a handle on these problems has traditionally meant the installation of soft foam or fabrics, and that's a great start. But now you can get even closer to a perfect room, and a perfect mix, because the future of studio sound is here, and it's called ERGO. ERGO's high-end sound quality makes it perfect for the discriminating audio professional, while the affordable price puts it within reach of the typical recording hobbyist. Every studio needs an ERGO, because even the most accurate monitor in an imperfect room isn't going to solve mixing problems, but ERGO will. ERGO also makes your mix translate from the studio to different environments. How good is a great track that only sounds great in your room? With ERGO, your mix sounds great everywhere you or your fans want to hear it. Want better sound, and in more places? Put an ERGO in the mix. ERGO is a digital room analysis/correction system and consists of the ERGO unit, a microphone, and control software. These three pieces are used to measure and analyze phase/frequency problems within a listening environment.
KRK ERGO: Smarter than Your Average Gear Room correction products aren't new, but thank goodness ERGO is. While conventional room correction systems utilize simple analysis and limited bands of EQ (often fewer than 8), ERGO uses multiple measurements and proprietary algorithms to create a 3D image of the room, and then applies 1024 dynamic filters to control the audio environment. Our 3D model allows users to preserve the "good" characteristics of the room, while correcting the bad... ERGO doesn't color the sound or produce an artificially sterile environment. ERGO produces the best mix for a given room; a mix that will translate better to other listening environments, since it was mixed in a perfect room.
KRK Ergo Features:
Large Volume Knob: Ultra-smooth response volume control provides simultaneous control of ERGO's A/B/Sub outputs.
A Speakers: Enables or disables the audio being sent to the A speakers.
B Speakers: Enables or disables the audio being sent to the B or subwoofer speakers.
Room Correction: Turns room correction processing on or off.
Focus/Global: The 3D model allows users to preserve the good features of the room, while correcting the bad. This gives you perfectly corrected sound while mixing. In Global mode, the corrected spot is widened so that others (producers, musicians, groupies) can enjoy your mix in a corrected environment.
Headphone Volume (side panel): Adjusts the output level of the headphone jack. The headphones have their own independent audio stream, or can mirror the A stream.
Calibration Switch (back panel): This enables the room calibration microphone and places ERGO into analysis mode.
If the sophisticated room analysis wasn't enough, ERGO can help around your studio in other ways too. Ergo can switch between two sets of full range monitors, or two monitors and a subwoofer via its front panel controls. Switch easily between monitors or monitors and sub systems. Each set of speakers will have their own correction filters. ERGO also provides a choice of selecting between two stereo audio streams through the headphone output. While ERGO's large volume control delivers ultra-smooth response of ERGO's A/B/Sub outputs. ERGO has your connections.

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Aguilar AG 500SC Bass Head Review

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(More customer reviews)I was introduced to AGUILAR brand when I purchased the Tone Hammer, I was so impressed with the quality and versatility of that stomp tank that I had to have more!!!
That's when I started looking for a good amp head and I discovered the Aguilar AG 500SC bass head and it change my bass life for good.
Great response, great clean punchy tone and most important...reliable. I play in a extremely "LOUD" rock band and cutting thru the mix was always a challenge. That changed with the Aguilar Tone Hammer and The AG 500SC. It's powerful and can stand a loud guitar player as the one in my band (he currently uses a Laney 4x10 Tony Iommi half stack) and that thing is loud.
I'm no tech guy to go on and try to explain every button or setting of this amp I'll just say that for me it was a big $$ investment and I choose it to other brands (cheaper). It's a great amp head and so far (12 gigs later of true loud rock) it's still o top of the game.
Many thanks AGUILAR
Cheers!!!

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The AG 500SC is a high powered, lightweight head that combines an easy to use yet versatile EQ with 500 watts of power to create the perfect amp for the gigging bassist. Four bands of active EQ with bright and deep switches provide a variety of tones that can go from funk to rock to jazz. A flexible FX Loop and pure sounding D.I. are easily accessible on the front of this amp. Great features, tons of power and an affordable price make this amp a classic. *Optional: Headcase or Carry bag

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Behringer EurOlive F1220A High-Performance, Active 125-Watt Monitor Speaker System with 12 Woofer, 1 Compression Driver And Feedback Filter Review

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(More customer reviews)I've been a fan of Behringer products since 2004. My first experience with them was when I'd ordered a UB2222FXPro mixer in April of 2004 despite a dire warning from one of my well-intentioned, musician friends: "You know Behringer stuff is cheap. It's flimsy and won't last long." When pressed as to how he acquired his valuable insight, he paused a moment and said, "Well, that's what I read online." And yes, I've seen similar comments in online reviews of Behringer products; but I suspect that many of these bad reviews might actually be propaganda posted by competitors.
My band plays on the average of 4 to 5 nights a week; and my Behringer mixer has continued to work flawlessly for six years now. In fact in 2008, I purchased a 2nd Behringer mixer (Xenyx 2222FX) for backup. Besides these two mixers, I've acquired a plethora of other Behringer products: Pro-XL MDX 2600 (compressor/gate/expander/peak limiter,) 212A powered PA speaker; U-Control UCA202 USB-audio interface; Minimon Mon800 Stereo Monitor Matrix Mixer; CX2310 Super-X Pro Crossover; DR100 reverb pedal; Powerplay Pro-XL HA4700 (headphone amp;) Truth B2030A Active Studio Monitors; Tube Ultragain MIC200 (mic preamp); Vintager GM110 Combo Amp; DEQ2496 Ultracurve (speaker management/digital EQ) and a ECM8000 reference mic.
All the above units have done exactly what they're supposed to do - always surpassing my expectations and always priced way below their competitors' counterparts. Out of all these items I've only had two problems:
1) I had a "dead" channel on my 2nd mixer (Xenyx 2222FX), and that was quickly resolved by a replacement unit being sent out immediately by Musician's Friend.
2) My first DEQ2496 (digital EQ) suddenly failed after nearly 4 years of almost daily use. (It turned out that it was actually cheaper to simply buy another unit as opposed to repairing the original.)
I've prefaced this review of the Behringer F1220A Active Monitor Speaker with all the above background information to let the readers know of my prior experience with Behringer products - especially in regard to product reliability.
The F1220A is a sleek-looking unit, covered with tough, durable covering. The boxes are constructed to lie on their sides on the stage floor, angled up towards the performer. These enclosures can also be stand-mounted via an integrated 35 mm pole socket. On the front panel there are controls for: level; bass, mid-range and treble EQ; sweepable feedback filter with in/out switch; mic/line input (both XLR and 1/4") and a "link output" (both XLR and 1/4") for cascading additional powered units. This monitor features a 12" driver and a 1" high-frequency driver powered by 125 watts.
So, how does it sound? Incredible! Plenty of volume and quality. We had been using Mackie SRM350s for stage monitors; and now I have noted a fuller, warmer bottom end - much easier on the ears. (And I must admit my band members and I had been very satisfied with the Mackies; but I just had to try these Behringers. And now everybody's even happier!)
Besides the band, I do a solo gig every Wednesday. So out of curiosity, I tried the F1220A as a main. I pole-mounted it (a bit tricky for one person due to the location of the socket,) and it sounded great as a PA speaker! It handled the bass of the split keyboard and the drum unit as well as the vocal and backing tracks with plenty of power and quality. As far volume, this speaker is capable of much more than I would ever use for this mid-sized venue (approx 100 people) for my Wed night gig.
Back to the band, all the guys I work with have been very impressed with these monitors. They especially like being able to adjust the volume to their liking along with tailoring the EQ to their taste. And at least two of them, without prompting, have commented on the full, low end that these monitors provide.
This monitor has a sturdy, strap handle of the top. The unit can be a bit unwieldy when carried by the handle depending which "face" of the speaker is towards your leg. If you find the unit banging against your knee, just rotate it 180 degrees, and you'll be fine.
You'll want to keep your monitor safe while transporting it. Even though it does have a tough exterior, you might consider purchasing the Gator GPA-SCVR450-515 Speaker Covers. They run about $50 and fit these monitors pretty well. They even have a cutout for the monitor's strap handle. Or you can use the bag's own handles. They are a good investment to keep your F1220A in good shape.
My verdict? Another outstanding value from Behringer!

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