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Showing posts with label Reviews. Show all posts

Wednesday

Introducing : SYMPHONY SERIES - PERCUSSION

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                                                   SYMPHONY SERIES - PERCUSSION


About the SYMPHONY SERIES of Products SYMPHONY SERIES PERCUSSION is part of the SYMPHONY SERIES of KONTAKT Instruments. This series supplies composers with a comprehensive tool set for creating highly realistic orchestral productions with an expansive sound full of character. PERCUSSION allows you to use a production-ready STEREO mix or create your own mix from CLOSE, MID, FAR and SPOT microphone positions. On the dedicated Mixer page, a parametric EQ, convolution REVERB, COMPRESSION and FILTER effects let you adjust the sound to suit any project you're working on. Five performance controls are pre-assigned to MACHINE controllers and the KOMPLETE CONTROL S-series of keyboards.


Choosing the Right KONTAKT Instrument

PERCUSSION ships with a total of 66 KONTAKT Instruments (.nki files). To help you select the right one for your specific task, here is an overview of the included Instruments. Single Instruments Single Instruments are KONTAKT Instruments that only contain articulations from a single percussion instrument. Single Instruments can be found in the following folders: ▪ Cymbals: a collection of cymbals and gongs ▪ Drums: percussion instruments with membranes, like Bass Drums, Snares, and Toms ▪ Metal: metallic percussion that are not part of the Cymbals selection, for example: Triangles and Bells ▪ Wood: percussion for which wood is the main sound source, for example: Castanets and Guiro Tuned Percussion Like the Single Instruments, the Tuned Percussion contain only one percussion instrument in an nki. However, these instruments are tonal and can be played chromatically. Examples include: Glockenspiel and Marimba. Kits Kits contain a number of different percussion instruments in one nki. In some cases, these are an easier way of getting all of the percussion you need into your track, but with less flexibility in the mix options. 

Performance Controls

When you load a PERCUSSION Instrument, the Performance Controls are the most prominent feature of the Instrument's user interface. These controls are used to refine the response and sound.

The Dynamics control is assigned to the Mod Wheel (MIDI CC 1) by default. It allows you to control the loudness and intensity of the Tremolo articulations (rolls) in real-time. That way, you can easily automate intensity changes to e.g. transition from leading to supporting passages. If the Dynamics control is not available, because there are no Tremolo articulations in the loaded Instrument, it is still present and displays an intensity meter for the incoming MIDI notes.

The Attack control allows you to increase the fade-in time per note, which can change the hardness of the initial transient. By setting the Attack time to higher values, you can cause the notes to fade in slightly, giving the notes a soft and gentle character. 3.1.3 Release The Release control applies an additional envelope to the fade-out phase of the notes. Reducing the Release setting to 0% shortens the naturally recorded reverb tails to a minimum, producing a very “dry” sounding result, which can sometimes make the result sound artificial. However, this can be very useful when adding internal or external reverb effects, as this allows the additional reverb to avoid conflicting with the natural sampled ambience. 3.1.4 Tuning The Tuning control sets the overall pitch of the instrument(s). Even if the instrument is not tuned percussion, matching the tone of a drum to the key of your track can help fit it into your mix. 3.1.5 Velocity The Velocity slider controls the dynamic range of the MIDI notes. The dynamic range is unaffected when the slider is in the central position. Turing the slider down will make the incoming notes softer and turning it up will make them louder. 3.2 Mapping All of the Single Instruments have a Mapping page which displays the articulation mapping for the Instrument.

Drum Head Resonance Simulation

As well as Round Robin samples, some Instruments have Drum Head Resonance Simulation (DHRS). This system takes previous notes into account and triggers a sample with the appropriate “drum head ringing” level. Instruments with DHRS can be identified in the Performance view showing 10 Round Robin states with different dot sizes.

* Field Drum 
▪ Field Drum Off 
▪ Rototom 1 
▪ Rototom 2 
▪ Rototom 3 
▪ Snare 1 
▪ Snare 1 Off 
▪ Snare 2 
▪ Snare 2 Off 
▪ Snare 3 
▪ Snare 3 Off 
▪ Timpani 
▪ Tom 1 
▪ Tom 2 
▪ Tom 3
* Tom 4 

If any of these instruments are part of a Kit, they will still include their DHRS feature

              SYMPHONY SERIES – PERCUSSION


The full-sized set of professional scoring tools. SYMPHONY SERIES – PERCUSSION offers flexibility, versatility, and a creative workflow. With 55 individual percussion instruments, five separate mic mixes, on-board effects, and ergonomic controls, it’s the precision set of tools needed to cover any scoring task, from film to games to studio.
  • 29 GB (compressed)
  • 55 recorded instruments
  • 66 NKIs, including 7 Kits
  • Tremolo, Crescendo Roll, Flam, Edge variations and FX articulations
  • Drum Head Resonance Simulation
  • 5 microphone mixes including spot microphone, with Mixer page
  • Effects page with EQ, Reverb, Compression, and Filter

            SYMPHONY ESSENTIALS – PERCUSSION


SYMPHONY ESSENTIALS – PERCUSSION offers the same professional sound in a compact library of the 18 most important percussion instruments. A wide range of articulations, powerful performance features, on-board effects, and a unified workflow make this an essential tool for composers and producers of all genres.
  • 4 GB (compressed)
  • 18 recorded instruments
  • 21 NKIs, including 1 Kit
  • Tremolo, Crescendo Roll, Flam, Edge variations and FX articulations
  • Drum Head Resonance Simulation
  • 1 stereo microphone mix, no Mixer page
  • Effects page with EQ, Reverb, Compression, and Filter

AT A GLANCE: SYMPHONY SERIES - PERCUSSION

Product type:Sampled orchestral percussion instruments
Number of libraries:Available in two versions as SYMPHONY SERIES or SYMPHONY ESSENTIALS
For use with:Free KONTAKT 5 PLAYER, or KONTAKT 5
Download size:29GB - SYMPHONY SERIES / 4GB - SYMPHONY ESSENTIALS
System Requirements:FREE KONTAKT 5 PLAYER or KONTAKT 5 (version 5.6.8 or higher)
Please also see the KONTAKT 5 PLAYER system requirements and the KONTAKT 5 PLAYER FAQ - Intel i5 processor recommended.
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Friday

Gibson: Les Paul Studio 60s Satin

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Price paid: £ 500
Purchased from: Thomann
Features: *This is not the "Les Paul Studio Satin"*
My Uncle got me this guitar as a joint "Birthday/Christmas/Doing Well in exams" present a few weeks ago. From the information on the back of the headstock it was made in the USA in 2012. It has the standard Les Paul body shape. The body is made of Mahogany and has a solid maple cap. It isn't flamed or anything but the guitar is covered in a satin ebony finish so I really couldn't see the point in using flamed or book-matched maple. The neck is also made of mahogany, a wood I have never had on a guitar neck before but I already love it. It feels a lot smoother than maple, in my opinion of course. The fretboard is baked maple. I know a lot of purists seem to dislike the baked maple but honestly it looks like rosewood and I had to check the specs online because I honestly couldn't tell the difference. It also has 22 frets, they feel like medium jumbo. The neck has a satin finish so that makes it incredibly smooth to play. The bridge is the standard Gibson Tune-o-Matic with the stopbar and it comes with the Kluson Deluxe Vintage style machineheads, which stay in tune remarkably well. It also has a pair of Gibson passive pickups, the 490R in the neck and the 498T in the bridge. They sound great. But I'll get onto the sound later. The controls are fairly standard. A volume and a tone for each pickup and a three way pickup selector switch. It also came with a very high quality padded gig bag, but I ordered a Gator case for it so the gigbag won't get much use. // 8
Sound: Right, quick note here. I'm not such a fan of active pickups. However, I have no problem with others using them, I just prefer the dynamics and warmth of good set of passives. So if I say anything bad about actives, don't take it personally. Anyway, the bridge pickup provides a nice bright clean sound and rolling off the tone control provides it with a bit more warmth. However the neck pickup is where you really get your warm clean tones. I play a lot of cleans when I'm writing so I don't have to borrow an acoustic so this should suffice.
Now, my style of music varies, I play a lot of classic rock (AC/DC, Led Zeppelin, Cream, Thin Lizzy), some modern metal (BFMV, A7X, Black Veil Brides, Slipknot), Modern Rock (Alter Bridge, Theory Of A Deadman) and then technical stuff like Muse and InMe. I use a Fender Mustang II amp so depending on what I'm playing I will use a different amp model. So for the classic rock it sounds perfect. I mean, a lot of that stuff was played on Les Pauls so go figure. It can do the bluesy overdriven feedback tone perfectly. The first thing I played on it was "Whole Lotta Love" and it soudned brilliant. For the modern metal stuff it also works, I haven't put it in anything lower than Drop C# So I have no idea if the pickups will get muddier as I go lower. I just change amp models and adjust my Effects pedals accordingly. The modern stuff also sounds great. The passive pickups really make every note as clear as the last, and they really respond to your picking, for example, I was using a very HOT Marshall-esque preset on my amp, and all I had to do was pick lighter and lower the guitar's volume slightly and it cleaned up just like that.
The neck pickup isn't so great for dirty sounds, but you don't really ever expect that. // 8
Action, Fit & Finish: Right, now here's where I have a few issues. As far as playability goes, the guitar is great. The 60s slim taper neck is perfect for me. I have a double jointed thumb so I can't play on really thin necks, but this is thin enough to play and thick enough to keep my thumb in place. The neck joint is solid and well done. The action is fine and the finish on the body, headstock and back of the neck is perfect. But it is very obvious they have stained the fretboard darker. When I looked a lot of the frets were a strange orange/brown colour on the sides. I was ready to send it back as I thought they were rusty. However I scratched some off and it was just like varnish, they also got some on the side of the nut. So I cleaned up all the frets and they're fine now. The only other issue I have is that a few of the frets are slightly yellower than the rest. So those few cosmetic blips aside, the guitar is still great. // 6
Reliability & Durability: Right, the hardware seems solid. The tuners hold tune perfectly and unless I want to change tuning, once a day seems okay. The bridge hasn't given me any troubles and the frets are nice and even. It's one heavy beast of a guitar, and it's weight relieved! I can't imagine if it was 100% solid. I'd assume it would withstand gigging, I put Schaller Straplocks on it so I would gig with it. I could rely on it without a backup. The finish seems like it will last but age tastefully over time. I'd give it more but there really isn't anything else to say. It's just a solid, heavy, roadworthy workhorse. // 8
Impression: This guitar compliments my style of music very well. It's my 4th guitar but my first one that I would call "high quality", the last one being a Dean Baby V and then 2 knock off Strats. If it was stolen I would kill the guy that did it. Or failing that buy it again. I love almost everything about it. The weight is a slight issue but I'm not exactly a small guy so I'll manage. The visual blemishes are also a bit of a letdown, but for ?500 I got a made in the USA Gibson Les Paul. And owning one of them has been my dream since I started playing. // 7
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Tuesday

Chris Ross: The Steady Stumble

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                                       Chris Ross: The Steady Stumble 

Sound: Still fairly unknown outside of New England, Chris Ross has become quite a hometown hero in Ellsworth, ME. His debut album, "The Steady Stumble" was recorded in Nashville in "three 11 hour days". One day was spent recording his vocals and guitar. A second was consumed with recording the backing musicians whom Ross described as "Amazing, freakishly talented, completely professional, super efficient and wicked cool on top of that." The final day was spent mixing and mastering.
Ross, 26, is a Hancock County native with a scruffy beard, and a voice very reminiscent of Ray LaMontagne. He's not just another acoustic singer/songwriter, a couple songs on this album, and quite a bit of his second album ("Halfway To Wonderland") have a very country sound to them.
1. "Singin' To Find You" - The opener on this album starts things off wonderfully. His acoustic guitar tuned to EACGCE with a capo on the 2nd fret (I think), Chris plays a fairly mid tempo guitar riff a couple times before his voice is first heard. The lyrics to this song are basically listing off places he's been or places he's willing to go to find "the one" - "From the sunny shores of Georgia to the cold New Hampshire rain, to the red tailights of Brooklyn, the prairies and the plains I'm singin' to find you" - The chorus explains how he's been writing songs since he was a kid sitting on his bed: "Strummin' along, scribblin' lead and tryin' to find you". The guitar part doesn't change a whole lot, the acoustic riff from the beginning is played almost throughout the entire 4 minute long track. Great song with well written lyrics.
2. "No More" - Another song starting out with Chris just playing a riff on his acoustic, before drums and bass come in before Chris begins to sing. No More is a more upbeat track about a woman leaving him. This isn't one of my favorites from the album, but it's still pretty well written. A few great lyrical lines in this tune: "I used to be a king now I'm just a jack", "I rode in regal high upon my steed, I ruled this ground beneath my feet but no more". Again, not my favorite, but still pretty good.
3. "Might Be" - The first Chris Ross song I ever heard, and still one of my favorites. For the most part, the song is just Chris singing with his guitar, but there is a lap steel part in the background to fill the track out. This is a song about a man (Chris) thinking about an ex: "I'm smart enough to know that a woman so free, ain't lyin' awake at night thinkin' of me... Oh no but she might be". During the chorus, he's singing about how she's telling him he's got a brand new start, and she's acting like she never did anything wrong. This song is pretty simple, but easy to play and easy to sing. Whenever I recommend Chris Ross' music to someone, I definitely point this song out first.
4. "Runnin' Man" - "Runnin' Man" is another song I don't care for. Another guitar acoustic guitar riff starts the song out, before the lap steel makes it's second appearance. Lyrically, this song is sort of about being on the move (as the title may suggest), and this time being the one who leaves in a relationship never to return: "Like only a runnin' man can". I don't have a whole lot else to say about this song, again, not one of my favorites.
5. "The Right Thing" - Starting with another acoustic chord progression, before an electric guitar plays a slow country sort of guitar solo over the top of it. The progression begins to repeat as Chris starts singing about regretting things he's done, wishing he could have done the right thing: "I shoulda done the right thing babe I tried to do the right thing but it takes, a stronger man, to know what's the right thing I didn't, know what the right thing was". The country sounding electric guitar is still present throughout the entire song, just to fill out the sound a bit. This is another favorite of mine.
6. "New Years" - This song is probably the slowest and saddest track on the album. The lyrics are very personal sounding and brilliantly written. The song is (again) about a woman leaving, and Chris not bothering to put on a smile and pretend not to be hurt: "A little white lie between the blood and dirt", and coming to terms with the fact that the woman isn't coming back. The bridge of the song is definitely the most compelling part though:
"But there's always something left to stumble onto
A secret darkness unconfessed
The miracle of understanding
The tragedy of old regret
The politics of love and war
All bullet holes and barricades
Almost always counts for something
In horseshoes, love, and hand grenades
I wanna climb up on that tower
Look down on the hearts below
Delicate and half devoured
Lost and looking for a home
Cause memories they turn to shadows
A part of you forever more
You'll throw yourself upon the gallows
For one moment free from keeping score"

Incredibly well written, heartfelt song, also very easy to play.
7. "Just Like The Ocean" - A song about not caring a whole lot if the relationship ends or continues, because either way life will go on: "It rolls just like the ocean". This song is as usual, mostly just Chris with his guitar, only this time in the background, a violin can be heard, which is a nice change from either solely acoustic, or acoustic with a lap steel. Pretty good song, not really a favorite though.
8. "All The Way Down" - A song inspired by true events, a shooting in Hancock County, Maine a year or two ago. Two young adults desperate for money to buy drugs with: "He looks at her now all ragged and sick, pulls her in close says we'll get rich quick". The lovers end up going on a spree of armed robbery. Until going to a "house at the end of a long dirt road", home of "A man who's hands have never been slow." The girl goes to the door alone and lies saying she's "Broke down and needs a lift, Nick's around the corner with a gun on his hip". The man in the house shoots and kills the young man, Nick. And the girl gets arrested. This song really showcases Chris' storytelling ability, how he can take such a tragic story and turn it into such a well written 5 and a half minute long song. A fiddle and (I believe) bongo's are played in the background of this song, along with Chris and his guitar.
9. "Grew Up Young" - Definitely the most country sounding track on the CD. Country sounding electric riff with a quick, sort of boogie'ing acoustic part. Lyrics about Chris growing up young and fast: "Grew up drinkin' from a whiskey glass, grew up dreamin' of that rock 'n roll, smokin' that dope when I was 12 years old". The chorus reminding everyone that they're never too young to die, and never too old to try again. Not really a favorite, but this song is a fun one.
10. "My Time" - "My Time" starts out with a simple acoustic riff, that is played throughout almost the entire song. The song is about wondering when the singer will find "their time" to fall in love and stay that way. This is another song that is just nothing but Chris singing with his guitar.
11. "Stay A Little Longer" - The perfect closing song for the album. "Stay A Little Longer" is about driving through Northern Maine, seeing nothing but "logging trucks every once in a while", reminiscing on past loves. A line that is repeated in every verse is "I knew a girl there once..." then the verse goes on to explain how: "Didn't catch her name, just gave her a ride up to Sugarloaf Lane". The chorus is: "Stay a little longer, maybe I ain't had enough of you yet, gimme just one more minute, just one more minute and I won't ask you again, I know it's a slow ride, I know you really gotta go home, stay a little longer, before you go", regretting the fact that he just let each one go. There's a harmonica in this song after every chorus, again just rounding out the sound. // 9
Lyrics and Singing: Chris Ross is an amazing lyricist, and a hell of a story teller. His lyrics also fit the music very well, a sad song such as "New Years" has a slowly guitar part comprised of just a G and a D played over and over again. But a fun song like "Grew Up Young", has electric guitar played over an energetic acoustic riff, and it's way more upbeat and makes you wanna get up and move. // 10
Impression: As stated in the beginning of the review, Ray LaMontagne is a big influence on Chris Ross, along with Bruce Springsteen. The most impressive songs from the album would have to be "Might Be", "All The Way Down", and "The Right Thing". I really don't hate anything about this album, but I love the sound of Chris' voice, and his lyrics. I'd definitely find this album again if it were lost or stolen. // 9
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DeArmond: S-67 7-String

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                                                         DeArmond: S-67 7-String 


Features: First made in Indonesia around 2000, this guitar is considered pretty rare to find ever since DeArmond was bought out by Fender and discontinued. The DeArmond S-67 was generally made for beginner to intermediate guitarists who wanted an entry level seven string. It features an SG-style, solid Agathis body with a crimson red transparent finish, a bolt-on Nato neck with rosewood fingerboard, 22 jumbo frets with pearl block inlays, and a 25-1/2 scale, giving it a kind of loose, comfortable feel on the strings and the smaller frets. It has 2 passive DeArmond 7-String Humbuckers with 2 tones, 2 volumes and a 3-way toggle. The bridge is a Tune-o-matic style with a Guild style tailpiece. The tuning machines are covered chrome. Essentially, its a copy of the Guild S-100. They also made a six string model the exact same way. // 7
Sound: I use this guitar to play mostly metal and screamo (mostly bands like Unearth). The humbuckers are naturally suited for metal, but can also have a bluesy sound to it, so they suit me well. It plays smoothly and delivers a warm, gushing-like tone to it. The sustain is excellent and the cleans are good to average, but mostly has a heavy, thicker sound to it. I'm currently playing it through my Fender FM 212R with an RP90 custom setting. The tone it gives when soloing is perfectly matched for this style of playing. The thicker tone doesn't overwhelm the highs, but mixes just right with the rhythm tone it gives to keep a perfectly balanced sound. In terms of feedback and noise, I've read it is known to give some buzzing and feedback, but when I'm playing it, I personally don't hear any of it. I don't have any problems with it staying in tune and it can play well in louder volumes. // 9
Action, Fit & Finish: The workmanship is certainly not the best. The pickguard is kind of sloppily cut, the nut is inexpertly worked, the wiring looks amateurish, and the gap between the neck and body make it look kind of bulky. I had to raise the pickups a bit because I felt I wasn't getting enough sustain on the higher strings. It sounded much better once I did. The bridge, however, was well adjusted for me. I got this guitar as a Christmas present, so I wasn't there to buy it. I could tell it was used. There were some small scratches on it and the plastic around one of the knobs was sticking out. It was just easier to pull it out than to glue it back on. It's not really noticeable anymore. For a $200.00 seven string guitar, the material may not be the best, but generally, its not bad enough to the point where it won't hold up and it shouldn't affect your general playing. // 6
Reliability & Durability: I'm not exactly one to go out to gigs at the moment, but I believe this guitar would definitely withstand live playing. Though the hardware might be a bit heavy, I believe it is quite reliable and was built to withstand long periods of playing. The strap buttons are definitely quite solid, and, if anything, a tiny bit more bulkier than they really need to be. Even though I feel this guitar is quite dependable, if I were to use it on a gig, I would feel much more comfortable knowing I had some sort of backup. As for the finish, well, I've been playing this guitar somewhat frequently since 2008 and it has no signs of wear to it, so I imagine it is definitely good enough to last. // 7
Impression: As I previously stated, I use this guitar to play metal, and this makes a great match with the DeArmond Humbuckers. Though the material may not be the best, I say it's a fair price for the sound you get. Especially considering this particular line was meant for seven string starters to get their hands on one for a reasonably cheaper price. I've been playing for 4 years now, and if I had to compare it to anything, I'd say it sounds almost similar to my B.C. Rich Avenge, only with an extra string and a slightly heavier tone. Considering the price and how rare they are to find now, I say I would try to find another one if it were lost or stolen. I personally love the retro look it has to it, the low price, and, of course, the tones it gives off. The seemingly sloppy workmanship is about the only thing I do not like about it. But, in my opinion, it is worth tolerating for the DeArmond Humbuckers. Overall, I say it is very satisfying for those who are looking for their first seven string guitar. // 8
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Monday

Ibanez: RG350DXZ

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                                                        Ibanez: RG350DXZ 

Price paid: $ 370
Purchased from: Guitar Center
Features: My Ibanez RG350DXZ (white model) was made in Indonesia 2010.
- 24 jumbo frets
- Ibanez Wizard Neck (very thin and fast)
- Basswood Body with a super-strat shape
- Equipped with a floyd rose trem and locking tuners. It is tedious to tune, string and intonate, but the strings can stay win tune for a week or two, and will not go out when bending or dive bombing. One thing to keep in mine is you have to tune through each string a few times because the floating bridge needs to adjust to the new string tension.
- The pickups are configured HSH with a 5 way pickup selector,
- Neck
- Bottom coil neck, single coil
- Single coil
- Single coil, top coil bridge
- Bridge. // 9

Sound: I play music from blues to metal, and occasionally dabble in jazz and classical.
- The neck pickup is quite creamy, and can give a very thick bluesy or distorted sound. It is a bit too bassy imo to play low open chords like Em or G but sounds great with almost anything else.
- The single coil gives a great clean sound but from factory set up it was too low to compare to the volume of the humbuckers. After raising it a bit, it soubnds very good apart from the infamous 60 cycle hum.
- The bridge pickup has some bite but it is very trebly so be careful with your tone knobs on distortion pedals. Imo it is the worst stock pickup on this guitar.
I play through a Jekyll And Hyde (Visual Sound) and a Line 6 Spider IV 30 and it sounds pretty good. I have also played through my friends' Deluxe Reverb and Egnators and there is a huge sound quality difference. This guitar sounds great but make sure you are playing through a decent tube amp. All in all the sound quality is good, but the bridge pickup is too treble oriented with barley any mids or bass. // 8
Action, Fit & Finish: The guitar had a great, low action with no fret buzz, however I was very disappointed with the tuning stability IT was set up with .09s. Through experimentation I found out that divebombing will shake it out of tune unless you use 10s or heavier, so use your discretion. Other than that, as I said the single coil was a bit too low, but it was other ise perfect with no cosmetic flaws. // 8
Reliability & Durability: This guitar is guitar durable, after being dropped many times. The paint is starting to chip after a year but that is to be expected. I would gig without a backup only if I was playing in multiple tuning, because as I said, tuning this thing is very time consuming and I would not want to have to add that pressure while on stage. // 9
Impression: This guitar has a very easy to play neck, which is a great appeal, and a stable locking nut, making it a cheap platform to upgrade if you are dissatisfied with only one or two of the pickup's tone. If this guitar was stolen, I would probably get a different one, only because tuning is tedious. // 8
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Wednesday

TC Electronic: Trinity Reverb

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                                                            TC Electronic: Trinity Reverb


Guitar Effects: You can get massive volume swells depending how high the decay is and how fast you pick. On the e1 and e2 the longer decays tend to get a little muddied, and if you have a decent vibe pedal you can use that with e1 instead of e2 and be able to switch back and forth between the two.
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