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Recording direct to Tape/disc


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This topic is not part of the debate of recording direct vs. using real amps. This topic is for us that actually prefers to work this way for different reasons. In my case the reason is that I record at home. Usually late in the evening when the kids are asleep and my wife is doing other things and she doesn't need to hear take 31 of a song she may not even like.

 

I would like to see peoples' suggestions of setting up a direct recording rig, reviews of products, specialt tips on using a specific piece of equipment, arguments to convince your significant other that this product will really make a difference in her/his life and therefore you should buy it :-), etc.

 

All in the name of shared learning, and fun.

 

I would then like to contribute my 2 kronor. I guess that should be cents but in Sweden we use kronor ;-)

 

I use a Yamaha DG-1000 into a t.c. electronic G-Force. I consider the DG-1000 being the most responsive direct recordning unit on the market today. It's now being phased out of production by Yamaha and in Europe they have reduced the price substantially and now may be bargain time. This set-up worked fine for a long time. Then I realized I needed some more vinage sounds. First I tried to get the old Roland GP-8 as the signal path is mainly analog but the unit itself being programmable. It was too noisy even when not using any of the effects. This may have been a fault of that particular unit and I haven't had the chance to try another. Since then I have augmented my rig with a Boss CS-3 compressor for the compressor sounds that sounds a bit "uglier" i a positive way (for studio like compression I use the G-Force), a reissue Tube Screamer and my old Cry Baby.

 

I will definitely try the new VHT tube buffer/pedel power supply when it becomes available over here as I think it will make my rig sound even better.

 

I have found out that I will always be on the journey looking for the ultimate direct recording sound. So fellow travellers, let's make this topic long lived and fun topic to read. Full of information, respect for difference of opinion and optimism of someday reaching our destinaton.

 

Best regards,

 

Mats Nermark

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Topic members,

 

This may seem off topic but it really isn't. Please read on.

 

I love playing all kinds of guitars but in my home studio I have had a hard time using Stratocasters because of the hum and noise problem. This is as I'm sure you're all aware of, due to the way the single coil pick-ups are constructed.

 

I just made a fairly comprehensive test of some relatively new pick ups where the manufacturer states that they now have a pick up having the sound of a genuine single coil but not the hum/noise problem.

 

The pick ups are Fender Vintage Noiseless (US), Kinman AVn (Authentic Vintage noiseless)(Australia) and DiMarzio Virtual Vintage.

 

If you're interested in my findings, just keep reading.

 

What did I test?

Three Strats.

One is a japanese Fender Reissue 60's Strat with a set of Kinman AVn-T where T means Traditional. Then there's a Fender American Deluxe Stratocaster with Vintage Noiseless. Third and last is a guitar looking exectly like a Stratocaster built using parts from Allparts equipped with DiMarzio Virtual Vintage.

 

There are factors you need to take into account while reading this test as I did while testing. The japanese Strat has a basswood body while the American Deluxe has a body of alder. Both these guitars have rosewood fretboards. The Allparts guitar also has a alder body but a maple fretboard. The American Deluxe and the Allparts has modern tremolos using two posts while the japanese has a vintage trem.

As a benchmark I borrowed an American Vintage '62 (abbreviated as AmV62) with rosewood board. This was a great sounding Strat that I wouldn't mind owning. Kudos to Mike Lewis at Fender for getting Fender guitar up where they belong.

 

KINMAN AVN-T

The AVn-T set has two AVn-56 in neck and meddle position and an AVn-62 with somewhat hotter output in the bridge. They have more treble than the AmV62 which is probably due to the fact that the AmV62 is designed to sound like a 60's single coil and they sounded a tad fatter and less bright than those made in the 50's. The clean sound of the Kinmans were very nice. I had no problem getting the shimmering 80-chorus pads in position 4 and funk in position 2. Hank Marvin was easily emulated using positions 1 and 3. The elusive in between helf distorted sounds was supplied by the neck pick up even though it didn't have the same dynamic and fullness as the AmV62.

Positions 2 and 4 were enjoyable but I had to be careful with the treble as it had a tendency to sound brittle with a lot of treble on the amp. As all pick-ups used the same tone control it was easy to tame the treble. The same treble was nice to have when going for the more out-and-out gain situations. I think that this treble may be less obvious in an alder bodied Strat.

 

Hum and noise were admirably absent from this instrument without any extra shielding compared to an original vintage Strat. I sat close to my computer monitor and heard nothing at all. It was even more quiet than my humbucker equipped guitar. The only noise and hum I ever heard from this instrument was what I got from high gain settings on my amp.

 

 

FENDER VINTAGE NOISELESS

Fenders Vintage Noiseless also sond very good. They had a bit sweeter treble but felt somehow less potent in their entirety.

I also had the feeling that the attack of the sound wasn't as fast as the Kinmans. This may be explained by the difference of trems. It is my, non empirical, experience that trems using six points of contact (like a vintage trem) has a faster attack that a two point trem. This was not noticable playing clean chords and doing that I found the Vintage Noiseless warmer and more three dimensional sounding than the Kinmans.

While trying my blues licks I found these pick up somewhat lacking in dynamics compared to the real single coils of the AmV62. No holds barred distortion was no problem for these babies at all. They handled the chore with honor and put out a good, defined and well balanced sound. It remainded me a lot of the ideal that was the norm (and still is for some) in the Los Angeles studios in the early 90's. Despite their name the Vintage Noiseless sounds more modern than the Kinman AVn-Ts. If this is good or not is for you to decide.

 

Regarding hum and noise the Vintage Noiseless are even a notch better than the Kinmans which may account for the slight comparative loss of dynamics mentioned earlier.

 

 

DIMARZIO VIRTUAL VINTAGE

These pick ups definitely differ from the others in this comparison.

Their output were substantially hotter. So much that I had a hard time to to get really clean sounds. The supplier assured me that these were the vintage sounding units. That may or may not be correct. The sound also had relatively little in common with what I have come to know as the Strat sound. These pick ups sounds more like humbuckers and as there are already a lot of viable humbucker on the market a fail to see the purpose of these units.

When it came to suppressing hum and noise however they were excellent. At least as good as anything else.

Finally I would once again point out that I doubt if these were really the vintage units my supplier told me so you must read this with a huge pinch of salt.

 

Which did I get?

Yes I actually did buy a set of pickups. I found myself best supported by the Kinman AVn-Ts. I still have a Strat with "real" single coils which still do the major contributions for my recordings. The Kinmans do get more and more work every week so this balance may change. Especially if a get to try the slightly fatter Kinmans I know he makes.

To play a Strat live on stage or in a theatre pit there is no longer an option. My Kinman equipped Strat would be the only choise. You can not over estimate the impact of this new technology in those situations.

 

You can visit the following web sites for more info: http://www.kinman.com http://www.fender.com http://www.dimarzio.com

 

Thanks for reading.

 

Mats Nermark

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Mats,

Great Idea for a subject. I personally dwell in an apartment where volume is an issue, so I have taken four sections of 1/4 inch fiber board and adhered acoustic foam to them.

Then I have attached them in pairs with hinges so that I can stand them up (the two pairs forming a cube)

I then put my 1x12 speaker cab inside and cover this with heavy blankets. Additionally I have a mic holder/SM57 inside the cube as well and this works well.

Im planning to build a more solid cube in the future and perhaps tile the interior as the current setup if quite muffled and difficult to EQ.

[These panels where originally intended for dampening of a friends drums, but out of necesity they have become quite useful]

There are also isolation boxes commecially available for guitar rigs but I am unaware who makes them.

Regards,

D Makai

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Indeed, great topic.

 

I actually prefer recording direct rather than using an amp. My keyboards, bass, and drums go direct, so having a miked amp doesn't mesh as well with most of my tracks because of its different character. I like an in-your-face sound, and I'm hardly using any reverb, chorus, or other "swirl" effects (although synched echoes work well for me).

 

So, I'm not trying for an "authentic" amp sound, but rather, just something I like. Modelling boxes like the POD are perfect for me, because they can get some really good sounds, yet are tweakable enough for me to add some elements that make them less "traditional"-sounding.

 

This is also why I've used the TubeFex for so long (I know you hate it, Mats, bear with me). Although the distortion isn't particularly great, the EQ is exceptionally flexible. I can wrap EQ around the input and output of the distortion, which can result in just the sound I want. There are also multiple distortion algorithms, which are fun to put in parallel, and also use EQ. Again, the sound is not traditional; it's more synth-like. But I'd never be able to get these sounds out of an amp, which is one of the reasons I like going direct so much.

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Originally posted by Anderton:

Indeed, great topic.

 

 

This is also why I've used the TubeFex for so long (I know you hate it, Mats, bear with me). Although the distortion isn't particularly great, the EQ is exceptionally flexible. I can wrap EQ around the input and output of the distortion, which can result in just the sound I want. There are also multiple distortion algorithms, which are fun to put in parallel, and also use EQ. Again, the sound is not traditional; it's more synth-like. But I'd never be able to get these sounds out of an amp, which is one of the reasons I like going direct so much.

 

Dear Guru Craig,

 

Thanks for topic approval!

 

Regarding sounds you are just so far ahead of me. Lately I have been getting more and more into non traditional instrument sounds and have found that even if you mess up your guitar sound beyond recognition it will still feel and sound more organic than any synth patch I have heard. It is also my experience that those crazed guitars also sit very different in the mix.

 

Thus I may now be ready for a TubeFex (if I can find one).

 

Along those lines I can truly recommend the Rocktron GDP half rack distortion unit (out of production) for going direct. It has something called AGX (automatic gain expansion) that allows you to go heavy on the gain and and still not cover the track with noise. One special thing about the GDP is that, for some reason, it's very easy to eq to get both nice sounds and really good nasty ugly sounds as well.

 

Unfortunately I sold mine some years ago to finance some other new item (you know how it is) but I sorely miss it and will buy one as soon as I can find a used one in good condition.

 

Stay well!

 

Mats N

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Lately I have been getting more and more into non traditional instrument sounds and have found that even if you mess up your guitar sound beyond recognition it will still feel and sound more organic than any synth patch I have heard. It is also my experience that those crazed guitars also sit very different in the mix.

 

Bingo. A guitar is a very expressive instrument, and it seems almost impossible to cover that up, no matter how hard one tries!!

 

Check out the audio examples that go along with the POD 2.0 review on this site. They're in context with the music, and the Ethereal Lead patch is (I think) the kind of sound characteristic you're talking about. It seems pretty comfortable in the track, which is mostly weird electronic loops courtesy of the Cologne underground.

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  • 2 weeks later...

So if you're recording direct...

 

Do you use headphones? Near-fields? Small bookshelf speakers? Just what are using to monitor with?

 

I think headphones sound great, but are extremely deceptive in terms of presenting what you really sound like. I prefere near-fields at low level, with headphones to check for glitches, crackles, etc. What do you guys do?

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Originally posted by Anderton:

Do you use headphones? Near-fields? Small bookshelf speakers? Just what are using to monitor with?

 

I think headphones sound great, but are extremely deceptive in terms of presenting what you really sound like. I prefere near-fields at low level, with headphones to check for glitches, crackles, etc. What do you guys do?

 

Great questions! I have always used headphones while recording because I've always had a hard time hearing the clean guitar (I dig into the strings really hard) while recording a distorted part. Then it doesn't quite sound like it should when listening thru the monitors. Does anyone have a favourite headphone that really work? Today I use AKG K240M.

 

When I mix I listen to my monitors (Tannoy 10" version of the "Little Reds"). They do not work well in my small room so I'm on the look-out for smaller near fields. Suggestions appreciated?

 

Mats Nermark

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I have a tip for those mixing in small rooms. This may work with large rooms as well but I only have experience from small rooms.

 

Checking the balance between instruments while doing final mixdowns can be very difficult. Especially if you have been recording all day. Many people leave the mixdown for the next day when they have rested and have "fresh" ears. If you have a deadline to catch or (like me) don't have the patience to wait, here's what I do.

 

Set the mix as you would normally do and set the volume to what most spouses would call normal. The go outside the room and listen to the music. Don't close the door :-)

That way the balance gets clearer to me and it's much easier to make decisions about balance.

 

One additional benefit is that the quality of the bass get really evident in this scenario. Too thin? Too low? I get it right away.

 

Another thing I've noticed about checking my mixes this way is that they usually translates better to other listening environments. Especially to smaller sound systems like computer sound systems. As most of the music I write ends up as multi media content this is an obvious boon for me.

 

Onorthodox? Yep! But sometimes that's my middle name.

 

Have fun!

 

Mats Nermark

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Originally posted by mats.nermark@swipnet.se:

Onorthodox? Yep! But sometimes that's my middle name.

 

It seems I'm so unorthodox that I can't even spell my middle name right.

 

Mats "U" Nermark

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At home I have the monitor ones w/ a subwoofer. I spent as much on headphones as I did on the monitors, but I'm not really happy with them - The AKG K270s - They are fully sealed with dual drivers on each side. They are heavy, the rubbery plasic cups make your face sweat, and while they sound a lot less hyped than the Sony 7506, they still sound unnatural somehow. They also require a 1200w amp to drive them, so when you split the feed to drive your friend's sonys you'll surely blow them up, along with their ears...

 

Am I right in thinking that open ear will be more accurate for monitoring? How are the mid-range ($100-$150) Sennheisers? They are comfy enough. I flipped over a friends pair of expensive Beyer cans - they were the most comfortable headphones I've ever tried. At the studio we chose the Sony MD7506, mostly because parts are so easy to replace. We also had K240s, but they distort easilly. What do y'all recommend?

 

------------------

Demian Norvell

AppleSeed Studios

Ruch, OR

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  • 3 weeks later...

Hi people,

 

As my former posts have stated I'm very much into recording direct. I like many different units to record with (my favourites are the Yamaha DG-1000 and the POD v2.0) but my main beef with most units is that they lack dynamics. This also goes for a lot of transistor combo amps as well.

 

VHT's Steve Fryette who has designed a load of great sounding products have now released the Valvulator. It's two things in one box.

1. It's a tube in the box catching (and keeping) the dynamics of your playing sending them thru the rest of your pedals to your amp or direct recording device thus keeping the musical and sonic integrity of your playing. It's also a regulated power supply for your pedals that eleminates pedal hum.

 

According to the distributor I will receive one soon for review and I will post my findings here.

 

I know VHT have a web site but I can't remember the URL.

 

Stay well!

 

Mats Nermark

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>>Am I right in thinking that open ear will be more accurate for monitoring? <<

 

I'm somewhat out of my league when it comes to transducers, but I don't think open air types give as good bass response. Hold earcups tight against your ear, and bass comes through well. Besides, if you use headphones while overdubbing vocals, they must be closed ear types or you'll get leakthrough and worse case, feedback.

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>>It's a tube in the box catching (and keeping) the dynamics of your playing sending them thru the rest of your pedals to your amp or direct recording device thus keeping the musical and sonic integrity of your playing.>>

 

"Catching" dynamics...hmmmm...wonder what they mean by that. Well, I guess we'll all find out when you post your review.

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Originally posted by Anderton:

>>"Catching" dynamics...hmmmm...wonder what they mean by that. Well, I guess we'll all find out when you post your review.

 

I haven't had a chance to try it out yet but your question had me intrigued and I called the distributor to get the correct english wording.

 

What happens is that the dynamics of your original signal is received and preserved by the Valvulator (not a common occurrence with most solid state gear in my experience). The Valvulator is a valve buffer circuit that then changes your signal from high impedance to low impedance. This, they believe, gives the original signal a better chance to survive the trip to the preamp (including all customary detours on the way). They also say that the circuitry will give you the same dynamic feel from your instrument as if you were plugged straight into your amp.

 

Let's hope for the best!

 

Regards,

 

Mats Nermark

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Mats:

 

About your Roland GP-8.

 

MOST people would record that unit direct, no matter WHAT their situation was (Home, Commercial Studio, etc.).

 

So, if you find it's too noisy, then it probably is the unit, or you're not matching up the impedance, or another signal flow problem is involved in it's recording.

 

Although the "Walk out of the room" approach seems to be favored by a lot of people, it is more misleading than having inaccurate monitors. The acoustics of, not only the room the speakers are in, but whatever other room you go into, and any hallways or rooms that are in between also then affect the sound.

 

If it works for you, great, but I DON'T recommend it for most people to "Check the accuracy " of their bass response.

 

Try to find a little time for yourself, and your music, to mix over your main speakers, with maybe a subwoofer, if you need it, or feel the bottom is wrong, and, more importantly, do what you can do get your room sounding as "flat" as possible.

 

If your Wife REALLY supports you in your musical endeavors, she can throw the kids in the Volvo, and take them to a Movie or something, for a few hours while you mix.

 

Headphones are okay for tracking, but being in the "Sweet Spot" of the monitors, NOT in another room, is the ONLY way to really mix.

 

------------------

Bob.

Bob Buontempo.

 

AKA: - THE MIX FIX

 

Also Hanging at: http://recpit.prosoundweb.com

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OK Folks,

 

It's now official!

 

Yamaha relesed it's DG STomp at the NAshville NAMM Show. If it's as good as the DG-1000 it will be tough competition for POD. Check it out at http://www.yamaha.co.jp. Click "english". It helped me a lot ;-)

 

Best regards,

 

Mats Nermark

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Hello all. I use a fender Strat, so I know all about the hum and noise (I feel your pain, mat). I record using a Sansamp GT-2 which is great (when turned off, it brightens up any signal passed thru it) and a recently purchased KORG PX-3 which is excellent! It's got 50 user presets plus 50 factory presets, all the effects sound great. Plus, it's pocket sized so you can bring it anywhere. All you need are headphones and 4 AAA batteries. I track everything thru the inputs of one of my cassette 4-tracks. The stereo out runs to the stereo in of my Sound card. It works well (2 Aux effect send & returns), but I'm looking to buy a small mixer. I thinking of getting an old tube mixer or something. Any suggestions on this? I monitor everything thru my regular stereo. I can get a proper/pricey monitor set up, but I've been listening to all my favorite music thru this stereo for years. I figure if my mixes sound good on this stereo, they sound good anywhere. As for the noise issue, the noise reduction & de-hisser features in the software I use take care of the problem at mixing, but not the irritation while laying in.
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Originally posted by elrobusto@yahoo.com:

It works well (2 Aux effect send & returns), but I'm looking to buy a small mixer. I thinking of getting an old tube mixer or something. Any suggestions on this?

 

Hi El Robusto,

 

I have no experience with tube mixers whatsoever but me and several of my friends use Mackie mixers with great result. Some schools where I hold seminars and classes also use Mackie. Try it out.

 

Happy hunting!

 

Mats Nermark

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Great topic mats!

since I work a lot in the late nights, I mix more with my Sony Headphones. Like monitors, you get to know the sound your producing as you get used to your monitors whether speakers or hdphones. Try out Steinberg Quadrafuzz in parallel with C4 overdrive with your direct sounds. For me amps excel if you want a particular sound that you can only only get by playing TO an amp especially with wah pedals, but recording an amp sound usually has to be related someway to room ambience you record the amp in otherwise it can pretty much be simulated. I'd rather record direct then play around later than record another take I can't do anything with what I might not like in the amp sound later.

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Thanks Mats. I've thought of using the new mixers out there, but it's just that there are small audiophile stores in my area that sell a lot of old gear at inexpensive prices. There are loads of 4 & 8 channel tube mixers (with massive faders or dials!), amps, preamps, etc. I don't recognize a lot of the brands though. I'm just curious to try one out. Just to keep things sounding interesting. It might give my stuff that special spice ya know? Though combining 2nd hand gear and my inexperience could prove disasterous. I'd like to know if there are certain things to look for when buying vintage recording gear. Anyone?
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ELro,

Man you can find gems in them second-hand stores!!, It's just a matter of identifying the stuff, If you find something interesting , ask the guys here but be sure to give them the make and model. The only brand new stuff I bought was an LM32, KRK, GR-1 and the MOTU, the rest are all second-hand including my reassembled PIII 500 aka. 386. Vintage synths, rack effects, processors, all of them second hand with a lot of them people didn't know how good they are, like these two senheiser condenser mics I got dirt cheap (less than $25) from a karaoke joint.

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Thanks Man! I know what you mean about the finds. "Seeing the potholes before I hit them" is what I'm working on. Thats what makes the EQ board so cool. I might also be able to score some gear off some old AM radio stations. Tubes, tubes tubes!

 

Mucho thanks again!

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  • 4 weeks later...

Dear Topic Readers,

 

This evening I will get my hands on the Yamaha DG Stomp. If you are interested in reading about it, please let me know.

 

Mats Nermark

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Here goes with first impressions about Yamaha's new DG Stomp.

 

BASIC SOUND

Very good. While most companies specify what their amp models are modeled from Yamaha just tells us what kind of sound we can expect from each of the eight models. These are Clean 1, Clean 2, Crunch 1, Crunch 2, Drive 1, Drive 2, Lead 1 and Lead 2. No prizes for guessing that these models have increasingly higher gain structures to accomplish heavier duties.

 

Not stating what amps these sounds have been modeled from is a good move on Yamaha's part. With other similar products (like POD and J-Station) I have many times been annoyed by the fact that the sound has very little resemblance to the "original". I have also heard this complaint from many other people. With the DG Stomp you don't have to think rationally about things like that. You only have to use your ears and judge from that.

 

Now according to my (admittedly subjective) ears I find that the DG Stomp gives me all the sounds I need except maybe the over the top distorted sounds (like the new POD "Insane" model). All others from pristine chrystal clean via Twin shimmer, soft jazz, Country snap, Deluxe edge, Bassman bark, blues break-up, Plexi growl, hardwwod boutique lead to metal lead.

 

FEEL

In my book this factor is of equal importance as that of sound as this decides the way I play. A better response to my pick attack give me a better feeling and I play with more inspiration.

 

Of all direct recording preamps I've tried this (and the Yamaha DG-1000) are my favourites. No other product of this kind responds as well to my pick force as this. The amp models in general also responds really well when I change the volume och tone control on the guitar. Especially Drive 2 (a mix of the best characteristics of a Blackface Deluxe, a plexi Marshall and a Custom Audio Electronics 3+ preamp). This can take you from almost clean to really raunchy distorsion with the guitars volume pot alone. The Clean 2 yielded loads of usable tones (from country to faux archtop) from turning the tone pot on a PRS McCarty.

 

EFFECTS

You get compressor, modulation (chorus, flanger, phaser, rotary, tremolo), delay (digital and tape simulation) and reverb. All these are controllable from the front panel. If you connect an expression pedal to the DG Stomp you can access the wah-wah module.

 

The compressor has a sweet but still distinct cluck for funk friends while it gives a more sophisticated attack at lesser values suitable for controlled single string jazz runs or LA studio clean chord pads from the late 80's. The chorus is almost up to Roland and tc electronics standard and that's good indeed. Flanger is pleasantly whooshy. Phaser is nasty enough for me. The rotary is the best for guitar I've heard in any product save the real thing. The tremolo is organically pumping away. Delays are good and the Hall reverb is way better than you have the right to expect at this price point. The possible exception in quality is the wah. I think both the J-Station and (especially) the POD has a better sounding wah.

 

EDITING

Here is the real advantage of the DG Stomp vs. the competition. All important parameters (except a very few) have their own knob or switch. Yippee!! This is the way it should be.

 

The preamp parameters (Gain, Master, Treble, Mid, Bass, Presence) are controlled by chicken head knobs. Turn the knob until you are happy with your sound. Sounds familiar :-)

 

SOFTWARE SUPPORT

There is none because you don't need it. Simple as that. It does however have a MIDI dump facility for back-up to sequencers.

 

LIVE USE

It is sheet metal and looks sturdy enogh to handle most gigs. Run thru the power amp of a cheezy 1x12" transistor combo it did wonders to the sound. Thru a good rack mount stereo power it was great and the stereo effects got a nice spread too. I have a feeling that the Stomp will sound great thru a pair of Tech 21 Power Engine 60's which is also a very practical solution.

The buttons are substatial and feel very robust and reliable.

 

 

LOOKS

Not quite the looker as the POD but much better then the others.

 

PERSONAL RECOMMENDATION:

Note that the operative word here is personal.

 

I recommend the DG Stomp to all guitarists that are not into super heavy duty gain styles. The sounds are there and the effects are there in quality. The dynamic response makes me sound better and more individual. It's easier to use than anything else out there today (and yesterday). It's designed to be used for live use and it shows. This could be your one stop sound generator for live and studio gigs.

 

This is the comressed review based on first impressions. If you read swedish you can read the full review on my home page: http://home.swipnet.se/Nermarks_hemstudio

(Please note capital letter N and underscore)

Click on the button "Artiklar" on the left. Then click on the picture of the DG Stomp.

 

If you can't read swedish you may still want to listen to the upcoming audio files I have planned.

 

The review will be posted sometime within the next two weeks.

 

Thanks for your time!

 

Mats Nermark

 

 

[This message has been edited by mats.nermark@swipnet.se (edited 08-25-2000).]

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As I don't read Swedish, I have a few questions...

 

Can you control any parameter from a footpedal? How does it handle that kind of MIDI response option?

 

Also, how many programs can you store, and can you select them with MIDI program changes?

 

Finally...do the parameters "stair-step" or are they pretty smooth?

 

Thanks!!

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Hi Craig,

 

"As I don't read Swedish, I have a few questions..."

Glad to be of service.

 

"Can you control any parameter from a footpedal? How does it handle that kind of MIDI response option?"

Regarding foot pedal you have two choises. You can connect an expression pedal to the expression pedal input and you can control the Stomp via MIDI. A maximum of eight parameters can be controlled at any one time and you can specify which parameters per program. You also have the choise to let a global controller assignment override the programmed sets.

 

"Also, how many programs can you store, and can you select them with MIDI program changes?"

You can store 90 of your own programs. There are also 90 factory presets. You can change programs with MIDI program change commands. The DG Stomp provides you with a facility to create a program change map.

You can, by the way, use the DG Stomp's switches to send MIDI program change commands.

 

"Finally...do the parameters "stair-step" or are they pretty smooth?"

In isolation I think I can detect sort of a faint zipper noise. I'm not sure if it's there or if I think it's there because I'm listening for it. I know that I didn't even think of it before you asked the question so I guess it can't be too bad.

 

"Thanks!!"

You're quite welcome!!

 

Best regards,

 

Mats Nermark

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