The Roger Linn & Dave Smith LinnDrum II, formerly the BoomChick, appears to be officially on hold.

Here the official statement from Roger Linn:

We’re still hard at work but regrettably won’t be able to meet our earlier estimate of a 3rd-quarter 2009 ship date. The recent changes in the economy have caused us to rethink our design, which had become too expensive. One problem is that Dave’s customers and my customers had different views of what the product should be, so we had been working on a more elaborate design that we thought would please them both. Then the economy tanked. Oops. The other issue is that Dave and his team have been having such success with their analog synths that they’ve been spreading themselves pretty thin trying to work on both projects.

So given these circumstances, we’d prefer not to state another release date estimate at this time, but when we do we promise to post it here along with any other information we’re able to release. Also, given that Dave and his team have their hands pretty full and that a beat-oriented product is more of a Roger product anyway, we’ll probably be selling it through Roger Linn Design instead of from both companies as we had previously considered.

I’d personally love to tell everybody all the details of the product design, features and price as we did with our initial designs of the product, but there’s that pesky problem of keeping the information from our competitors. So we need to keep tight-lipped for now and regrettably can’t answer any questions. Thanks also to those who have kindly asked to place advance orders. However, we don’t feel it’s right to accept orders until we are able to release the price or more information about the product.

And now I must get back to work.

- Roger

This is sad to see.

The LinnDrum, especially in its early BoomChick incarnation, which we called the 2007 NAMM Show’s sexiest vaporware, looked like it was going to follow the example of Dave Smith’s current gear, combining the best of vintage instruments with modern technology.

Compatible with all Hot Hand systems, the Hot Hand Wireless Adapter can be used as a alternative to the wired sensor and consists of a wireless motion sensor ring unit and a small receiver that plugs directly into the back of the Hot Hand effects console in the “Sensor In” port.

The RF transmitter is capable of transmitting over 100 feet and up to four units can be used on stage at a time without interfering with each other. In addition, the transmitter utilizes state of the art frequency-hopping technology to constantly seek out free radio spectrum even in the noisiest environments. Licensed for worldwide wireless use, the wireless motion sensor ring features a rechargeable Lithium Ion battery that provides up to 8 hours of battery life and recharges in one hour.

Hot Hand is the only effects system allowing musicians to use hand and body motion to control key functions such as Speed and Depth in tandem with the company’s two proprietary motion-controlled Hot Hand products: the Wah Filters and the Phaser/Flanger effects consoles. Both products offer an expression output port, which allows the Hot Hand to control effects with expression input ports.

The Hot Hand Motion-Controlled Wah Filters offers musicians 11 “wah” type filter effects with 56-bit DSP co-developed with Analog Devices, Inc. and crystal clear 24 bit converters for truly exceptional sound quality. The elegant, high quality user interface allows players to easily control the frequency of the wah and the sensitivity of the effects by using different hand and body motions so they can create signature sounds all their own.

The Hot Hand Motion-Controlled Phaser/Flanger system features 7 Phasing effects, 7 Flanging effects and 4 Modulation Sources that can be used in combination for a total of 56 different sounds. These can be further modified using the Hot Hand motion sensor, which allows the player to modify each effect with hand and body motions, an LFO, Envelope Follower and on-board 81-pattern Sequencer.

Hot Hand Wah Filters and Phaser/Flanger were created so that guitarists can manipulate effects tailored to their particular playing style and also create new sounds without being limited by traditional floor-mounted pedal effects. This new approach to controlling effects also opens up the possibility for a whole new level of physical expression and showmanship in live performances. The movement of the hand or body when playing becomes the expression pedal.

Currently being adopted by artists such as guitarist Vernon Reid of Living Colour, Money Mark of The Beastie Boys and BT, electronic music pioneer and composer, the Hot Hand Motion-Controlled effects system marks a significant evolution in the art of audio signal processing.

MSRP for Hot Hand Wireless Adapter is $150.00, Wireless Motion Controlled Wah Filters System is $434.00 ($299 Wired) and the Wireless Motion Controlled Phaser/Flanger System $434.00 ($299 Wired).

Moog Etherwave Pro Theremin demo at the 2007 NAMM Show.

via ooo6:

On Saturday morning of the NAMM show, Mike from Moog Music was gracious enough to let me try out the Etherwave Pro on the stage of the Moog booth before attendees started pouring in.

There are some small nuggets of a few memorable tunes in there. perhaps one or two that any person could identify.

• the TC XII Phaser
• the Booster+Distortion; and
• the Sustain+Parametric Equalizer

The TC XII Phaser is a reproduction true to the sought after sound of the original. It is a clean-sounding and versatile phaser, featuring lots of tweaking possibilities with low-frequency oscillation speed controls, width and function controls and a 4-8-12 kHz filter selector, just like the original. The TC XII Phaser can be used in numerous ways – from clean funky chords or overdriven riffs to heavily saturated leads.

The Booster+Distortion is both a signal booster and a distortion pedal that recreates the classic sound of the original in every nuance. It features the original Bass- and Treble EQ, as well as output level and distortion level knobs. In addition to that, the Classic reissue features a built-in Noise Gate control, enabling you to control your distortion. The Booster+Distortion can be used as an “always on” boost pedal to increase the signal of the guitar, making the tubes work harder and thus generating more overdrive. Or it can be used as a boost pedal used to occasionally highlight a specific solo, lick or passage.

The Sustain+Parametric Equalizer is a studio quality compressor in pedal format. Like the original it features full controls for Frequency, Sustain and Function. A modern touch is found in the highly effective parametric EQ, making it suitable for anything from subtle compression to extreme sustaining effects. The Sustain+Parametric Equalizer can either be used to simply increase and decrease the output signal when the signal falls above or below a certain level. Extreme compression can also be used as an effect used for funk or country playing giving the sound a special percussive “thud”. Last but not least compression will increase sustain of the notes played because the output volume will gradually be increased as the input volume guitar drops.

TC Electronic Classic Pedals will ship late January 2007 at EUR 245 excl. VAT and GBP 165 excl. VAT respectively.

Ministry of Rock was created with one goal in mind: to create a virtual instrument capable of producing sounds that can actually produce a hit record or film score without any live drum, bass or guitar overdubs. Articulations and programming were all reverse engineered from actual performances.

• Drum kits sampled for Ministry of Rock include Octaplus (nine toms), Ayotte, Ludwig and Gretsch, the latter the actual kit used to make Metallica’s “Black” album. Drum kits are also optimized for use with Roland V-Drums.
• Basses include Fender P-Bass Custom, Fender 5-string, Specter and Kubiki basses. All were recorded through an Ampeg SVT and an Ashdown rig.
• Guitars recorded for Ministry of Rock include Fender Telecaster and Stratocaster, Gibson Les Paul, Ibanez Universe 7 and various PRS guitars, all recorded through Marshall, Fender, Bogner, Vox and Budda amplifiers.

Special features of Ministry of Rock include:

• Legato bass and guitar samples
• Legato and staccato repetitions
• Truly playable rhythm guitars and leads, clean and distorted release samples
• Guitars and basses recorded in dual amp configurations
• Software allows the user to choose amplifier, or mix the sound from both amps
• Dynamic bass that can play everything from ballads to the most hardcore music imaginable
• Round robin bass drums, snares, toms and hats
• Performance drum hits extracted from live playing
• Approximately 18 gigabytes of rock drums, basses and guitars recorded in the world-famous EASTWEST Studio 2
• Superior reverb impulses recorded by Prof. Keith O. Johnson and Nick Phoenix

Ministry of Rock carries a $495 MSRP.

Yamaha Corporation of America introduced a new lineup of small format analog MG Mixers at the Winter NAMM 2007.

These four redesigned models, offer a number of feature additions, including single-knob compression on two inputs, switch-able monitor mix routing, upgraded components and enhanced cosmetics.

“Recently, we added single-knob compression into our popular EMX powered mixers with great results,” said John Schauer, product manager, Live Sound, Yamaha Pro Audio & Combo Division. “Adding it to the new MG mixers to provide improved sound quality only made sense.”

Existing MG10/2, MG8/2FX, MG12/4, and MG12/4FX models are being replaced by the MG102C, MG82CX, MG124C, and MG124CX, respectively. Carrying over from the former generation, the two “CX” models continue to offer SPX-quality digital effects and the MG102C and MG82CX remain mic stand mountable.

“The MG line of analog mixers has been successful beyond our most optimistic expectations,” said Wayne Hrabak, marketing manager, Live Sound, Yamaha Pro Audio & Combo Division. “This new generation of models is designed to build on this already strong level of acceptance.”

The MG124CX (MSRP: $379), MG124C (MSRP: $299), MG82CX (MSRP: $219) and MG102C (MSRP: $149) are scheduled to ship in January 2007.

Automap Universal lets users instantly control absolutely any automatable plug-in, in any sequencer, automatically without ever having to refer to a manual or worry about MIDI data and assigning. Parameters can be ‘learned’ and saved at the touch of a button. What’s more, any ReMOTE SL owner can upgrade their unit to Automap Universal for free, by downloading the installer on the Novation website.

Automap Universal is a completely independent system that works in all applications. With Automap Universal, any plug-in (VST, AU or RTAS), effects, instruments or otherwise, can be opened on any audio platform and be instantly controlled. The ‘Automapped’ plug-in appears as normal, only it now displays an Automap Universal logo, which glows when actively controlled. As soon as any plug-in is selected on the SL, parameters appear on the screens, laid out logically across all 64 assignable controls and displayed on the screens above.

In addition to instantaneous and comprehensive control of all plug-ins, Automap Universal provides a simple ‘Learn’ facility, allowing any active plug-in to be ‘Automapped’ in any way the user chooses; simply move a parameter on the plug-in and then move a control on the SL to auto-assign. Parameters can be easily renamed on the ‘Automap-wrapped’ plug-in GUI and the unique customised Automap template then saved for later use. As such the SL series of MIDI controllers has undeniably become the best controller solution for every sequencer platform, from Garageband and Reason, to Logic, Cubase, Pro Tools and beyond.

As well as seamless plug-in control, Automap Universal delivers a number of features requested since the launch of Automap, including enhanced Mixer and session control, as well as far more comprehensive control over Logic instruments and effects.

NAMM: TC-Helicon announces that a plug-in version of its realistic multi-voice doubling and detuning processor, VoiceDoubler, will soon be available for the PowerCore and Pro Tools|HD platforms.

A direct port of TC-Helicon’s respected rackmount front of house effects processor, the plug-in’s algorithms create up to four humanized overdubs in real time as well as classic doubling effects. VoiceDoubler will ship in Spring 2007 and will retail at EUR 599 excl. VAT for PowerCore and Eur 799 excl. VAT for Pro Tools|HD.

VoiceDoubler can recreate natural overdubs and pristine emulations of classic detune, microshift and chorus effects. Using humanization technology straight from TC-Helicon’s flagship processor, VoicePro, “tight and intimate” or “loose and lively” multitracked overdubbed sounds can be created live. VoiceDoubler for TDM and PowerCore features automatic latency compensation, and the humanization of timing in the doubling voices makes for realistic real-time overdubs.

According to Kevin Alexander, CEO of TC-Helicon,”If you survey the music industry’s popular music charts you realize over half the music uses doubling, overdub and detune effects on vocals. The process of creating these sounds is very time consuming. That’s why we created VoiceDoubler — to allow a producer or engineer to create those sounds in real time after the singer has left the studio.”

VoiceDoubler PowerCore/TDM from TC-Helicon can be used for a wide range of vocal work. Doubling a chorus hook, an important lyric, or any other song section can now be done instantly without the tedium of matching performances and multitracking a human singer. VoiceDoubler transcends mere detuned and delayed track copies by manipulating time and pitch in your choice of fine or large increments so that everything from a mono lead + double to huge stereo lead + four doubles sounds natural and professional.

The new electronic drum sets incorporate the same technology that powers Yamaha’s Motif synthesizers and as with their predecessors, they also come with an easy-to-use module. Both kits feature round cymbal pads and three- zone snare drum pads.

“We have combined the passion of our acoustic drums and the technology of Yamaha to come up with two very cool electronic kits that sound and feel great,” said Dave Jewell, marketing manager, Yamaha Drums.

The DTXPRESS IV Special includes sounds sampled from top-quality acoustic drum sets, with 427 drum and percussion voices and 22 keyboard voices. It features a TP100 tunable snare drum pad and three round cymbal pads. The hi-hat controller uses a real hi-hat stand for a better feel and the drums are mounted on a strong curved rack that improves ergonomic efficiency.

The DTXPRESS IV Standard features two round stereo cymbal pads and a 3-zone snare drum pad. The 427 drum and percussion voices and 22 keyboard voices offer superior sound quality.

“The quality, not quantity of sound is what counts on the DTXPRESS IV Standard and DTXPRESS IV Special,” said Jewell. “We have taken some of the best sounding Yamaha acoustic drum sets, sampled them, and put them in these drum sets.”

The DTXPRESS IV Special (MSRP: $2,099.99) and the DTXPRESS IV Standard (MSRP: $1,549.99) are currently shipping.

Solid State Logic introduced Drumstrip, a drum processing plug-in for Duende, at the Winter NAMM Show, January 18 to 21.

Drumstrip is designed to take drum sounds from ordinary and average to vibrant and exhilarating in a few quick, easy steps. Plug in, switch on and experiment. Drumstrip handles the hard part, putting the right selection of fantastic sounding processing tools in your hands in an instant.

With Drumstrip, DAW users can attain increased presence, clarity and detail in their drum tracks; reduce spill in individual tracks; restore natural brightness; achieve greater perceived loudness; shorten or lengthen the attack and sustain of percussive signals; tighten up booming toms; make kicks and snares stand out in a mix; and parallel compress room mics.

Key features:

• Carefully selected collection of five audio processing tools
• Transient shaper with Transient Invert to bring the attack phase of your drums to life
• Transient Shaper Audition enables you to isolate and monitor the effect of the Transient Shaper
• Dedicated drum Gate with range and independent open and close threshold controls
• High Frequency Enhancer to invigorate top end
• Low Frequency Enhancer to improve bass frequencies
• The classic SSL Listen Mic Compressor with additional bypass function to alter the legendary band-limited compression to full range compression
• Adjustable processor order—because a different processing order is required for different types of drums
• Input & Output Level metering with additional RMS meters

Drumpstrip is the first in a series of plug-ins for Duende. Based on the powerful DSP technology behind SSL’s C-Series digital consoles, Duende is a sleek, 19″ rack-mount unit that seamlessly integrates console-grade SSL Channel and Dynamics processing with a digital audio workstation. On-board DSP runs SSL processing, relieving the burden on the host computer’s CPU.

Duende allows for up to 32 channels of processing at sample rates up to 96khz. The EQ and Dynamics Channel provides a single plug-in slot EQ & Dynamics processing solution with all the power and processing flexibility of an SSL console channel.

The Duende Bus Compressor delivers the punch and drive of the classic SSL Master Bus Compressor, a key element of many legendary recordings. Widely regarded as ‘audio glue’ for a mix, its sound is an essential component in creating a great mix.

With the release of V1.5, Duende is available to the huge community of PC-based producers and new-generation Intel processor-based Mac users.

Drumstrip for Duende will be available for sale online only at www.solid-state-logic.com.

Winter NAMM Show: Numark announced their DJ-io audio output interface.

The DJ-io is a Windows and Mac-compatible USB 2.0 (or USB 1.1 single channel operation) audio output interface which features 24-bit audio and sample rates of 44.1 and 88.2 kHz. The DJ-io is compact and rugged enough to live in your gig bag, but powerful enough to provide solutions for a wide range of audio I/O needs.

The DJ-io gives software-based DJs, performers and producers a range of options for outputting their final audio, whether in the form of a live mix or a just-completed new track. DJs and producers pass audio from their software-based application of choice through a traditional mixer (for multi-channel mixing) and output to a pair of stereo RCA connections, via a forward-thinking USB 2.0 connection.

The DJ-io features ultra low latency audio (via ASIO drivers), with 2 independent RCA stereo outputs, a mic input with adjustable gain on stereo pair #1 and a 1/4″ stereo headphone output on stereo pair #2. The DJ-io is USB bus powered and also operates with 9V DC external power supply (sold separately).

Yamaha debuted its DD-65 Digital Drum Kit at Winter NAMM 2007. The kit can be used as a practice set of as a percussion MIDI controller.
The compact digital drums feature eight touch-sensitive pads, two drum pedals and AUX IN capability for playing along with an MP3 player. The unit also fits any snare stand and offers built in ported speakers, Flash Memory for importing songs and USB connectivity.

“The DD-65 has been faithfully designed from a drummer’s point of view, with pads placed where drummers expect them to be, making it easier for experienced drummers to play the product and for beginners to make the transition to an acoustic kit,” said Mark Anderson, marketing manager, Portable Keyboards, Yamaha Pro Audio & Combo Division.

This digital drum kit is packed with over 200 General MIDI compatible sounds, 100 songs and riffs to play along with and 50 drum kits, along with three user-defined kits, a sequencer to record your own songs, digital effects like Reverb and Master EQ, hand percussion mode and built-in ported speakers — amazing features at an attractive price point.

The DD-65 (MSRP $299.99) is scheduled to ship in July 2007 and can be used in conjunction with an optional Survival Kit containing a power adaptor, 2-year extended warranty, DVD with software, headphones and discount coupons for other Yamaha products.

One of the more interesting new technologies shown at NAMM this year was the Hot Hand Motion-Controlled effects system.

Hot Hand lets you use hand gestures to control key functions such as Speed and Depth in tandem with the company’s proprietary motion-controlled Hot Hand Wah Filters and Phaser/Flanger effects consoles. While targeted towards guitarists, the effects systems could be equally effective with synths and dj setups.

Compatible with all Hot Hand systems, the Hot Hand Wireless Adapter can be used in addition to the wired sensor and consists of a wireless motion sensor ring unit and a small receiver that plugs directly into the back of the Hot Hand effects console in the Sensor In port. The RF transmitter is capable of transmitting over 100 feet and up to four units can be used on stage at a time without interference. Licensed for worldwide wireless use, the wireless motion sensor ring features a rechargeable Lithium Ion battery that provides up to 8 hours of battery life and recharges in one hour.

Hot Hand Wah Filters offers musicians 11 “wah” type filter effects with 56-bit DSP co-developed with Analog Devices, Inc. and crystal clear 24 bit converters for truly exceptional sound quality. The elegant, high quality user interface allows players to easily control the frequency of the wah and the sensitivity of the effects by using different hand and body motions so they can create signature sounds all their own.

The motion-controlled Phaser/Flanger system features 7 Phasing effects, 7 Flanging effects and 4 Modulation Sources that can be used in combination for a total of 56 different sounds. These can be further modified using the Hot Hand motion sensor, which allows the player to modify each effect with hand and body motions, an LFO, Envelope Follower and on-board 81-pattern Sequencer.

Hot Hand Wah Filters and Phaser/Flanger were created so that guitarists can manipulate effects tailored to their particular playing style and also create new sounds without being limited by traditional floor-mounted pedal effects. This new approach to controlling effects also opens up the possibility for a whole new level of physical expression and showmanship in live performances. The movement of the hand or body when playing becomes the expression pedal.

Line 6 announced at Winter NAMM the Floor POD Plus, the latest addition to their POD line. Floor POD Plus offers all the features of the studio-standard POD 2.0, along with additional premium effects in a road-ready floor pedal with real time foot controls.

Floor POD Plus can be used as a multi-effect unit in front of any guitar amp or PA, a complete direct to the board recording tone solution, or the ultimate headphone practice partner.

“Since 1998, POD has appeared on countless platinum-selling records,” explained Mike Murphy, Associate Product Manager, Line 6. “With Floor POD Plus, the guitarist can have all of those proven tones right at their feet in a package that’s ideal for the stage.” Floor POD Plus comes loaded with 32 amp models and 16 cab models that can be mixed and matched for ultimate tonal versatility.
In addition, the guitarist now has access to 6 delay models, full-time compressor, and 20 other effects including choruses, flangers, reverbs, sub-octave, and synth. Floor POD Plus also features 120 custom-crafted presets, onboard tuner, CD/MP3 input, MIDI in/out, and much more.

Floor POD Plus MSRP: $419.99

The PZ-Pre is a unique two channel pedal that is equipped with piezo acoustic input signal boosters to allow both ‘add-on’ instrument pickups and built-in, integral active preamps to be combined for a more natural rendering.

“Before we set out to build the PZ-Pre we invested a year discussing options with all types of musicians including Nashville acoustic slingers, Tennessee blue grass pickers, violinists, contra-bass players and then the many guitar technicians and sound engineers that have to deal with problems such as feedback on stage,” said Radial president Peter Janis. “Critical issues that came up time and time again were sound quality, ability to use more than one instrument at a time, quiet tuning on stage, the problems with piezo pickups, noise, feedback and robust signal distribution to the various audio points. Finally, the end product had to be small enough to fit in a gig bag so that the musician could take it on an airplane.”

The Tonebone PZ-Pre™ instrument preamp begins with two inputs for two instruments. These can be toggled using the toggle footswitch. Each input is then equipped with a separate piezo buffer with a proper 5megOhm input so that we get the maximum frequency response from the element. For those wishing to use two pickups on a single guitar, a unique Mix function is provided that converts the two channels from ‘either-or’ to both. There are separate level controls for each input.

The tone shaping on the PZ-Pre is simple yet extremely musical. It features powerful bass and high controls with a semi-parametric mid. This is supported with a feedback eliminating notch filter with variable frequency sweep control and choice of normal and extra deep notch filtering. To help eliminate troublesome resonance, a dual slope low cut (high pass filter) is also provided. An internal polarity reverse can also be engaged to help eliminate run-away feedback.

To augment on-stage performance, the PZ-Pre is equipped with a combination power booster and effects loop buss. This allows the user to introduce an effect such as a chorus or boost the signal for soloing with a simple foot stomp. A separate tuner out has also been provided along with a mute footswitch for on-the-fly tuning.

To facilitate all kinds of monitoring, the PZ-Pre offers the most comprehensive output array ever: A standard instrument amp output sends the instrument signal to the musician’s personal amplifier. A pre-EQ balanced lo-Z balanced output is used to route the flat, pre-equalized signal the signal to the front of house mix position, while a second XLR out is post-EQ for on-stage monitoring and in-ear systems so that the musician can get the sound he wants. XLR outputs are equipped with polarity reverse and ground lift.

Like all radial products, the PZ-Pre features heavy-duty 14 gauge construction and is supported with a 3-year transferable warranty. Comes equipped with an external 15VDC power supply.

Tonebone PZ-Pre suggested list price: $375 USD

Teddy Riley, who is as influential as the artists he works with (Michael Jackson, Blackstreet, Dr. Dre, the Neptunes, Jay-Z, Guy, Foxy Brown and many others), will be compiling his extensive collection of sounds into an audio encyclopedia of R&B and hip-hop production. Riley’s library will give access to his legendary sounds and a look at where he plans to take the future of pop music.

Like other Fixed Noise libraries, it will utilize the Kontakt 2 Player from Native Instruments. The library will be released in the third quarter of 2007.

Joe Vitale Sr. is a renowned musician whose career has spanned over thirty years of touring, recording, and song writing and production with legendary and Rock ‘N Roll Hall of Fame artists such as The Eagles, Joe Walsh, Crosby, Stills, Nash & Young, John Lennon and Keith Richards. Vitale’s son, Joe Vitale Jr., engineered the sounds for this loop library.

The Vitale Sound Series Loop Library is designed for songwriters and producers of rock and pop music who want the best possible performance and recording quality on their tracks.

“The Sony Sound Series collection now boasts the addition of rock drumming legend Joe Vitale at the Premium Collection level,” said Dave Chaimson, vice president of marketing for Sony Media Software. “The Vitale father-and-son team deserves nothing less than a Premium Collection presentation, with 24-bit sound engineered by Joe Vitale Jr., performances by both artists, extensive liner notes, and bonus video content. Now, music producers working on every platform at every tier of the industry can enjoy the Vitale sound on their tracks, and gain instant access to the kinds of rock music foundations that lead to smash hits.”

The Vitale Premium Collection tier includes 862 files comprising more than one gigabyte of material, extensive liner notes and a behind-the-scenes video that explains how the library was produced. The Vitale Premium Collection library is a 2 disc, highly specialized collection that includes sophisticated, royalty-free Premium Projects composed with ACIDized .wav file loops.

Price and Availability

The Vitale Sound Series Loop Library Collection is the only Joe Vitale kit drum library in existence and it is now available for $99.95 (MSRP).

According to Radial President, Peter Janis: “It is common practice for guitarists to place a microphone right in front of their guitar amp to capture the guitar sound and send it to the PA or recording system. The problem is that when the mic is so close to the speaker cone, a slight change in mic position will significantly alter the sound. This is further exacerbated by the room acoustics which will vary considerably from stage to stage. By providing a second, more dependable signal source, the sound engineer is better equipped to get up and running quickly. This reduces the variables and results in a better, more consistent tone for the audience.”

The Radial JDX employs 100% discreet class-A circuitry with an active differential drive to ensure the best possible audio is transferred from the amp to the audio system. Connections are straight ahead with ‘from amp’ and ‘to speaker’ cable connections. A balanced, mic level XLR output connects to the mixing console and is equipped with a ground lift to eliminate ground loops and 180° polarity reverse to help correct absolute phasing issues.

Janis continues: “We have also just announced the Radial Phazer™ which I believe truly completes the whole ‘guitar amp, microphone and direct feed’ picture. When combining a mic’d signal with a direct feed, the direct feed will arrive slightly ahead of the mic due to the time it takes for the guitar amp signal to pas through the speaker and the air to reach the microphone element. By time aligning the fundamental frequency of these two sources using the Phazer, you can really fatten up the sound. Once you find the sweet spot; the guitar tone gets huge! I believe this will be very well accepted by the more demanding musicians on tour, especially since the advent of digital mixing consoles and in-ear monitors. Today, many bands do not even do sound checks anymore because their sound is in their earphones! The JDX will bring yet another level of consistency to the sound and make it easier and faster to be up and running every night.”

As with all Radial direct boxes, the JDX features welded 14 gauge steel construction and a unique I-beam internal frame to ensure years of trouble free performance, even when subjected to the harsh reality of concert touring. A full bottom no-slip rubber pad is provided that at once reduces the chance for the JDX from falling off a double stack Marshall, but also provides electrical insulation from those nasty high-voltage tube amp chassis screws. The JDX comes with an external 15VDC power supply and is supported with a 3-year transferable warranty.

Available Feb 07 (estimated)
JDX Reactor suggested list price: $249 USD

Both units ship flat for easy handling plus cost effective freight and then can be easily assembled and mounted in corners or on walls in minutes. They feature an attractive black wood-composite outer shell, fiberglass absorptive panel, inner resonating membrane and easy mount wall adaptors.

According to company president Peter Janis: “The challenge with bass traps is that for them to be effective, they must be large, deep and incorporate an air cavity where the bass can be absorbed. Because of the size, they become expensive to ship. For this reason, most acousticians tend to suggest a built-in bass traps as part of the room design which of course makes them somewhat expensive.”

“We looked at the huge success Ikea is enjoying by providing easy to assemble kits that the average person can put together with only a screwdriver, stapler and hammer. We then applied this concept to creating a bass trap and the result is our new Primacoustic Fulltrap.”

Two models are offered: The Fulltrap which is approximately 24″ wide x 48″ high and 8 inches deep and the Halftrap which is approximately 12″ wide x 48″ high and 6″ deep.

Both traps are made from high-density wood composite with a black, easy to clean melamine finish. The front absorptive panel is made from 6lb per cubic foot high-density encapsulated fiberglass. Behind the panel is a stretched membrane that acts as a low frequency resonator. The science is based on thermo-dynamic energy transfer, whereby sound penetrating the Fulltrap causes the glass fibers and membrane to vibrate which in turn, convert the acoustic energy into heat. Estimated low frequency absorption will be between 65Hz and 100Hz depending the final outcome from tests.

Each kit contains the absorptive panel, resonant membrane, the sides and top, easy-build hardware and wall mounting bracket and building a Fulltrap takes about 15 minutes from start to finish.

Available Mar 07 (est)

Fulltrap list price: $250 USD
Halftrap list price: $150 USD

Bass Floor POD can be used as a front-end multi-effects/tone pedal for any bass amp, a complete direct to PA and recording tone solution, or simply to create the ultimate headphone practice experience.

“For the bass player, having professional bass tone usually requires a lot of extremely heavy, and often very expensive gear,” explained Rich Renken, Product Manager, Line 6. “With Bass Floor POD, a legacy of pro sounds are built into an extremely portable pedalboard that can be taken anywhere.”
Line 6’s Smart Control Effects include Envelope Filter, Octaver, and Chorus — all effects can be easily tweaked with the twist of a knob. Bass Floor POD also features a studio quality compressor model, an onboard tuner, CD/MP3 input for jamming, a deep switch for even more bass, and a volume/wah pedal.

Bass Floor POD MSRP: $279.99