by amandine.hurier on 09-22-2014 07:49 AM
The installation is done it without problems?
none. installing the software, it is recorded and recovered the regkey on the IL website
Have you experienced any incompatibilities?
for me the biggest problem is the mix of FL which is not a suitable external gear. it's 99 tracks, and I already scorched 28 between in and out!
The general configuration is easy?
yes ... no problem either! I even find the audio options section, a bit feeble level settings. but it is sufficient to complete the main settings (Asio sampling ...)
The manual is clear and sufficient?
Yes! otherwise there F1, or otherwise are the forums (here or FC :)) ...
by granpetitom on 09-22-2014 05:11 AM
by granpetitom on 09-22-2014 04:49 AM
by D.B.Jacky on 09-22-2014 03:11 AM
This is a 6 octave, with 5 different sound (Grand piano, electric piano, strings, organ, clavichord) with reverb and chorus effects of good quality, 2 on / off buttons. Nothing is editable! Good connectivity (2 headphone outputs, out l / mono and right, midi in and out in 5 pol "din" standard, released pedal with extra tain furni) .The transformer is outside, but with a long and rugged! A "magneto" four track groin 30 seconds, maybe one minute .. to record a phrase to learn, for example! Useful for a student! -
7 - Good
by kyzcawon on 09-22-2014 02:38 AM
An input jack with integrated loop effect. Ability to connect HP 8ohmns or 16.
25 watt lamp with a good reverb amp.
The amp brand versatility blues to rock aggresif
by jarvis_steven on 09-22-2014 02:25 AM
The Ensemble is a sleek firewire interface that was tailored specifically for Logic Pro users. It has four built in microphone preamps that have channels for sends and returns. After that, it has four coinciding HI-Z line ins. Aside from the Firewire output, it also has eight Hi-Z line outs that are labeled as analog outputs. On the front of the interface it has two 1/4" headphone outputs and an additional couple of HI-Z inputs.
I personally use it for it's conversion.
I use one of two separate preamps with the ensemble (the pre's on the Mackie Onyx 1620 or a Peavey PV 2.6C poweramp). The sound seems relatively warm in comparison to a lot of other interfaces on the market. This can be for better or for worse if the built in mic pre's are the only amps being used.
by RobTheMob on 09-22-2014 02:25 AM
In big fan of indie rock broke I wanted to pay me a Jazzmaster not too expensive so I took this nice Squier. But I do not know if we can talk about Jazzmaster with this model: key bridge, electronics, there is not much to do with the original model.
The alder body, maple neck one piece, no key reported. The first thing that heckled me when I grip the radius is the key: it is virtually non-existent, the button is almost flat it is a little surprising at first but got used to it pretty quickly.
The electronics allows a lot of possibilities, only small inconvenience adjusting rings tones have the tendency to cause those volumes when one drives by and large volumes have to go back every time we fall tones since the concentric knobs are on this guitar.
Nothing wrong issue finishes, not screw around, not the least spilled varnish also that of the handle is to my taste particularly good. The icing on the cake is quartersawn maple on mine, at a price like this is pretty neat.
Let the sound now, it's mostly where the difference with the original model arises because this guitar sounds, to my ears at least, a sort of cross between a risky Les Paul and a Telecaster. She achieved the feat of having a thick sound and dry at the time, it sounds a little weird all that I own but it's hard to put into words and sounds to me it's really the image that best sums up that of the craft.
I wanted a beautiful clear the Fender sound when I bought it, I realized that I never would have: there is an acute glut really sharp, especially on the bridge pickup is almost strident. Even the neck pickup alone does not work miracles, still these unwanted treble.
I still wanted to see what she gave in saturated and there it was the slap, the famous mix of Les Paul and Tele I mentioned a little above. She has a sound that is unique to her, I may be wrong but I completely think it's the width of coils pickups that brings the thickness and the slamming of the maple key tempers everything. We keep the definition and one side a little dry while having at the same time its really consists. For the garage or crunch sounds a bit grimey this is madness.
Finally I find the value of this guitar properly indecent, provided they satisfy the clear sound that to me is his only fault.
by Vince de Borderouge on 09-22-2014 02:04 AM
Tube amp 15 watts into 8 ohms Blackface type manufactured in Asia.
Two channels. A channel all-tube that is the great strength of this amp.
a second channel modeling with 16 amp models (Tweed, Blackface, Vox, Hot Rod, Mesa Boogie, Metal, Jazz, acoustic).
5 effects via DSP, good quality (Delay, Reverb, Chorus, Tremolo, Vibratone).
HP 10-inch specially produced by this amp.
1 line out
1 HP external output
1 output for the optional footswitch amp.
by anthony.lë on 09-21-2014 10:39 PM
I have a standard strat us but I did not like the sound it made it minporte sr amp !!
I contacted marc by email on his website and I asked him he could do for me knowing that I wanted a very blues rock sound that most closely matches the Sound SRV.
so he immediately advised me his 60s strat pickups.
two days later here I am at home with my guitar, I therefore command luis micro strat 60s mounted on new black plate.
two weeks she was prète !!! I went to get her and when I plugged into his amp vibroreverb tornado ms also, this is not a slap but a punch in the face that I took !! wwouuaaaouuu !!! exactly the sound I was looking !!! I feel like the one in the hands mumber !!!
On the way home she asked her j me I would have my little amp 5 watt lamps after the test on the vibroreverb ???
well not disappointed at all far from the !! change is radical, I like playing with a new guitar !!! I love !!
All this to say do not hesitate to contact MARC because it is very good advice, his work is remarkable and very good price !!! Full plate with micro STRAT 60 s including installation 340euros
Again thank you MARC
by skyman21 on 09-21-2014 10:23 PM
No setup or compatibility concerns
Mac OS 10.9
Lengthy installation ... Forcing with Maschine 2.0 and Komplete ...
But patience is rewarded !!!
by V old man on the hill on 09-21-2014 09:04 PM
It is about a distortion unit / overdrive in the British character.
Analog pedal 9V, three knobs, Level, Tone and Drive as standard on the TS9.
Robust housing chrome and true bypass switch.
by obiwan76 on 09-21-2014 08:04 PM
We find the Big Muff Pi NYC with Volume Control, Tone and Sustain and the Bypass.
And more: 1 switch Bass Boost / Normal, 1 control for the attack, 1 "Noise Gate", one parametric midrange EQ consists of two control buttons, one Hi Switch Mids / Lo Mids and an on / off footswitch .
by pouk64 on 09-21-2014 06:51 PM
Desert Dust, guitar brand of French manufacture (designed to Pau), run by three enthusiasts. It is in their "small" workshop that I've tested several of their models. I would focus my mind on it that caught my attention the most, the Dinah Mojo "rusty copper", which is now in my possession.
The handle is of type Stratocaster US 22 frets, mounted on a body of European ash. Mechanical oil bath keep in tune, and tailpiece Wilkinson is good. I can assure you that it vibrates when it is played !! And the sustain is present.
The pickguard is lined with three single-coil pickups from home CreI (handcrafted in Pau too). And there, it's happiness. Beautiful harmonic overtones, a high output level, it's hot, it's round and sometimes creamy ... I rediscovered the pleasure of playing on Strat!
It has a 50/60 switch (explained below), a 5-way switch, volume and tone push / pull.
by jaymes.moore on 09-21-2014 05:42 PM
"I hear you're buying a synthesizer and an arpeggiator and are throwing your computer out the window because you want to make something real!"
So goes the line in James Murphy's disco rant on LCD Soundsystem's first album. Ironically in an age where so much technology is literally at our fingertips, in the form of iPads and smartphones alike, there is an ever-mounting interest in what it means to be analogue. For the general music consumer, the rebirth of vinyl records is an obvious example. For the recording musician, the renewed enthusiasm for 80s era synths since the turn of the century has mounted to a frenzy of musicians scouring garage sales, pawn shops and online auctions all trying to find that one forgotten, unique, but synthetic, yet analog tone.
As a result, a few classics of the era have become studio mainstays and are preserved much in the same way fabled compressors and rack-mounted gear are preserved. But much like rack-mounted gear, the size, weight and maintenance of such equipment is a major constraint for the project studio owner or the mobile music professional. With this is in mind, developers have done much in the way of creating virtual instruments as plugins, much in the same way they developed plugins for emulating rack-mounted signal processors. In both instances, the hands-on tactility of the original components is what is ultimately lost. However, virtual instruments for the iPad is a whole new ball game, offering an interesting mix of both the plugin and the hardware.
As someone who has tested Korg's iMS-20 app and Moog's Animoog app, I have become quite fond of their new iPolysix, the virtual reincarnation of their fabled Polysix synthesizer from the early 80s. This is primarily because of its simplicity. It is a lot less like owning an "all-in-one" synth emulation app and more like owning a singular analog instrument. In essence, the extent of this app's features are no more than those physically available on the original instrument itself. Given it's hearty $40 price tag in terms of the app market, this may be a turn-off for the feature-obsessed consumer, but for the purist looking for a singular, competent analog piece, this is its greatest point of attraction. Because the development of this app was dedicated to the faithful recreation of one singular, sought after piece of equipment, its authenticity can rival that of its original, analogue counterpart. That means in the hands of an artist, all of it's original constraints and idiosyncrasies work together with the creative process to make sounds using the app the same way one would with the analog piece.
This also means that if the sound the artist was after couldn't be accomplished with the instrument on its own, that it could be integrated with other studio equipment to achieve the desired effect. This is where I most love this app. I fire it up and my iPad transforms into an analog synth. I can then use it's interface just as I would the original unit and integrate directly into my studio as another instrument. In the example composition I have provided, I recorded two tracks into pro tools, routing from the headphone output of the iPad through a Palmer DAACAPO impedence converter and through a chain of guitar effects pedals. The results is a composite tone that has resulted not from the iPolysix on it's own, but as an integrated, physical piece of hardware in my studio.
The beauty of the iPolysix being a virtual synth outside of the box is that you get all of the ease of presets, zero-maintenance and minuscule physical footprint with all of the creative possibilities of integrating it physically with the other elements of your studio. If you're already an iPad owner and you consider the use of this app more like an outboard piece of gear, then the $40 price tag for a classic analogue synth is pretty incredible.
+out of the box integration
+authentic recreation of the original hardware
+authentic, analog tone
+ease of use, maintenance and portability
+midi in/out wirelessly via Wifi, for direct integration into Pro Tools or Ableton
-most purists will still want to use a high-end midi controller in place of the touch-screen keys, which defeats the small footprint
-more of an iPad con, but the headphone output has low stereo output
-perhaps the lack of features and varying synth tones will be a turn-off for those in search of a more flexible app
by jaymes.moore on 09-21-2014 04:58 PM
Visual Sound's Route 66 American Overdrive is a modern interpretation of the classic Ibanez TubeScreamer design with the added dual-functionality of a stomp compressor. It is entirely powered by a single 9V input and features True Bypass switching. It is also built ruggedly for repeated stage abuse. Despite it essentially featuring two pedals in one, the combined chassis is somewhat conservative in regards to the amount of pedalboard real estate it occupies. Because the compressor shares the same box, there is no need for extra patch cables, which would not only take up space but could potentially be a source of noise or signal loss in your effects chain. The two sides can also be used individually, so this is truly a dual-purpose pedal.
by Kiou on 09-21-2014 04:14 PM
I have an American Standard Strat US 2004 that serves as my second guitar. The violin is of excellent quality, easy to adjust, comfortable undeniable game, good sound vacuum in short, a good number (which is not always the case in the USA). But nothing to do, once plugged in, hard to make a mix out through the middle pickups and / or neck, it sounds muffled, it lacks dynamic roundness. The bridge pickup, on the contrary was too garish. Decided to sell it, I put an ad online and stumbled a few hours later, on the site of Mark!
8 mails later, I learned a lot of interesting stuff in an area that was unknown to me, I withdraw my ad and places an order for Pickups 60s mounted on a full plate wired. The package arrived two weeks later, perfectly protected. Two welds to the base jack, another to connect the vibrato to the ground, mounting childish (though I dreaded!).
Once connected, it is the slap. I totally rediscovered my instrument. The dynamics are simply excellent (microphones are lacquered and unwaxed, tone knob no lead). In the bridge position, a lot of biting, it is crystalline, without ever becoming garish. In the neck, it is much more rounded, very friendly and always so dynamic. In central position it is a good mix of both, very defined. It is organic in overdrive. Any micro-nuance is transcribed, prompting frankly to improve her game.
I will come to perfect my mind after a few weeks of intensive use. Anyway, Marc seeks to know well the tastes and needs of its customers. This personalized approach is reflected in the final result, for a very reasonable price.
by Herve95 on 09-21-2014 03:51 PM
I use this fantastic tool for my laptop sound, but I hear an annoying background noise loud enough when I do not send music on the speakers, I do not have that noise when I go to the DJ console to speakers directly ..quelqu'un t has an idea? a setting?
Thank you to all
by Thomas_HMD on 09-21-2014 03:13 PM
Swamp Ash body
Handle ovangkol 5 rooms with 2 threads Ekanga
Scale: 34 "(Long Scale)
24 frets bronze jumbo profile
Nut Just-A-Nut III (height adjustable with an allen wrench)
2 active pickups MEC Jazz style bass
Active Electronics MCE Thomann 2 bands: high and low, with detents at mid race. Accurate and efficient + active / passive switch in the volume knob
Bridge 2 pieces Warwick
Warwick Strap Locks
Color: Honey Violin (close to the natural color of the wood, but more "yellowed", it's pretty nice)
Made in Korea
by rw on 09-21-2014 02:40 PM
Superb Dark Crash 1707gr.
Fairly flat curve with a relatively small dome frequencies well with a nice coppery sheen. Good balance between fundamental notes and harmonics in the background. A multilayered character with the dark side of Traditionals when the caress and brightness of Signatures if you take in more in it. Lots of character and depth.
Affected side, the response is immediate. Beautiful vibration with a reasonable sustain. Can be used in wrinkle. This is a very versatile cymbal able to smoothly but also explosive lorsqu''elle opens. Generally the crash Dark Energy are very versatile and adapt to considerable volume of play.
You can test the crash Traditionals (17 ") pitch level very close ... with a little less sustain and volume.
Beautiful hammering "leopard". Quality choice.
by yamddrum on 09-21-2014 11:14 AM
Since 2006 I play this configuration Pearl 20 "10" 12 "14" always happy with the sound.
Too bad I could not improve my kit by tom 16 "brand did not follow this.
by bfrete on 09-21-2014 04:55 AM
60w very powerful, I just cube 30w and it's not at all the same lemonade!
simillaires effects cube 30x but no tuner and works only bright clear sound
by Bidibuleable on 09-21-2014 03:49 AM
They equip my Les Paul for 6 months and they did not shake one bit! Installation is very simple and fast (I remember a pose Dunlop strap lock, hell ... ^^). Moreover, they have the very strong air and do not move at all. I removed a few times without problem (no problem of rust in the system, unlike the Dunlop) and once they are recovering, they remain in place. Not a single time did they cranked out, staggered, blocked or else ...
Still no trace of wear or oxidation, they are still new! I equipped my first Stratocaster with Dunlop and the difference is more than obvious: they rapidly oxidized, the mechanism locks every time I take them off, it also happens to uncouple their own, etc. In short, the galley. While there, that hey, it does not move, it is sound and effective. Thank you Loxx !!
I think each of my guitars equipped with them anyway.
by Bidibuleable on 09-21-2014 03:33 AM
It is now several months since I played with this strap: frankly, for the price, I was expecting worse than that! The strap is like good and very pleasant to use: it does not catch too much, it does not slip too much either, just enough! I used to carry my Les Paul and frankly it does, especially for the price ^^.
by Bidibuleable on 09-21-2014 03:28 AM
I use these cables for about 2 years: at the moment, they have not shown a sign of weakness or otherwise. Well, it's true that it costs a little more expensive than some entry-level (Yellow Cable etc.) cable, but it is not at all the same (for both signal transmission for the duration in time ).
So I appreciate their reliability: one has ever released yet. For cons, I think I will not repeat the same choice today: I will opt for the "Homemade" solution. By buying the cable to the meter (Sommer Cable, etc.) with good plugs (Neutrik Hicon or otherwise), you can get a good result (or better) for less.
by S2D on 09-21-2014 02:49 AM
Hendrix, Clapton, Stevie Ray Vaughn, Edge, Mark Knopfler, Hank Marvin, Buddy Holly, Ritchie Blackmore and every guitarist who's been in Iron Maiden. So what do they all have in common? The Fender Stratocaster. Originally built in the 1950's the Stratocaster has seen and done it all, the most popular and best selling guitar of all time apparently and one which has been copied by thousands of companies around the globe looking to cash in on it's legendary status and widespread appeal, but the Daddy of them all is still the American Standard Strat.
It comes equipped with 22 frets, 3 single coil pickups, a pickup selector switch with a choice of 5 pickup positions, 1 volume knob and 2 tone knobs. The neck is made from maple wood and also comes with a tremolo bar or whammy bar as i prefer to call it. The bridge is a stock Stratocaster bridge but from what i hear it can be upgraded to a floyd rose or similar locking bridge system (sold seperately) if you feel like doing a bit of Van Halen-esque divebombs and still want to stay in tune afterwards.
by Road370 on 09-21-2014 02:29 AM
What to say about this item other than the fact that he keeps the agreement and allow whatever happens to make very nice effects is a beautiful m.rde and I weigh my words indeed change the strings am even relatively complicated and very annoying in the long run I expect the 3 sets of strings 5 hours of your time is the minimum required after that you need a good dose of cold blood as much as a month cobra desert.
I regret this purchase because often changing tuning and string pulling it requires going to a luthier every time that takes at least 25 € and one week of delays. Speaking of tuning if I submitted myself to buy this ugly thing called pink floyd is because I voilais to switch from E to D with the D Tuna which is also one of the worst scams in recent years but I'll leave it to you to have haha!
FYI I did riding a jackson DK2M beautiful today rots in a centennial yes because the waste has the force of trying to change the strings even'm the handle suffers voltage change that subjected him FL result handle screwed.
Invented in 1977 and almost 35 years of existence they have not deigned to find a less farts system testicle and certainly less fart guitar.
Small summary of the costs generated by the invention of Satan:
- Jackson DK2M purchased 500 € a team of licensed floyd.
- Purchase Special FL 120 €
- Purchase of D Tuna € 50
- 2 passing in the luthier for adjustment after adjustment attempt missed by me: 2 x € 25
total € 200 charge for my guitar today is unusable.
by bodytwist on 09-21-2014 01:00 AM
- This is a delay pedal (s) digital (s).
- Different algorithms (12) can be edited in the front and more depth via the button "value".
- Comprehensive Connectivity: Stereo or mono in and out, midi in and out, input for expression pedal.
- Note the presence of a switch on the back that allow you to use one input and one output as a send-return, well done!
by coolpix on 09-20-2014 11:19 PM
Bought last year, I use it to add sound small events.
Its strong point is undoubtedly its ease of use, it is nearly plug'n'play!
There are 2 XLR inputs, 2 XLR / Jack 6.35mm (one with a Hi-Z button) and Line In 2 inputs, one with an RCA input and one with a Jack 3,65mm entry. So you could connect a group, if we exclude the batsman. Otherwise there is still a return (stereo) and inputs for footswitches (not included) and a digital reverb.
Sound, whether low or high volume, is very good and remains accurate. Equalization is very "strong", it must be subtle, like reverb (was quick to put too much). I love the Master EQ, which allows either boost the bass for listening to music or dig to better hear a voice.
At the low point, I do not see yet. It should of course not expect to be sound with large rooms, but for a bar / small scene that's enough.
Yamaha is a brand where we are in for something of quality. Whether for a speech or a band, I think it is a good quality / price ratio. It just remains to be seen how long the table will last.
by profx on 09-20-2014 10:37 PM
You copy the dir in your vst dir. And vla, it's good.
by SlapKid on 09-20-2014 08:48 PM
I love this series, it's my third after the purple wind and thunder, it starts to tax ...
Transistors course, smaller than a pedal bebert-boss, complete connectivity and settings ditto.
Alim lightweight, so switching ungrounded, it is true that it carries more noise than usual, too bad.
5watts but wicked accepts everything 4à16ohms (power drop in the charge amount, normal to the transistor).