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RSS 2.0 Now Available! Monday, October 13, 2008
 

Today's Top Stories:

  New in Stock at Sweetwater

  • Dave Smith Instruments Mopho - This killer desktop synth represents the most affordable way to tap into the analog magic of Dave Smith Instruments! (Note: Dave is the man who gave the world the original Sequential Circuits instruments.) The monophonic Mopho (MOnoPHOnic, get it?) measures a mere 7.5"x5", but it sounds a whole lot bigger than that! The 100% analog signal path consists of a pair of oscillators, a classic Curtis filter (switchable to either 2- or 4-pole), plus analog VCAs, three envelope generators, and two sub-octave generators, all of which come together to create a streamlined synth reminiscent of the classic Sequential Prophet line. There's even a full-featured sequencer. Looking for classic analog synth sound on a tight budget? If so, we suggest you check out the Mopho today!

  • Marshall Lemmy Signature 4x12 - Now you can get massive Motorhead sound from Lemmy's Signature Bass Cabinet! The Marshall MF280L6 4x12" signature bass extension cabinet is built to handle the massive tone unleashed by Motorhead's frontman and bassist Lemmy Kilmister (it has a staggering 280-watt capacity). Built to provide both beefy tone and tight definition, the MF280L6 cab's four 12" speakers are protected by tough individual grilles, while heavy-duty Tolex covers the ruggedly constructed cabinet. You also get quality inset side handles for easy transport. Perfect for use with the 1992LEM signature bass head, this cabinet gives you Lemmy's signature punch, grit, and vibe!

  • Marshall Lemmy Signature 4x15 - If you thought four 12" speakers moved a lot of air, wait until you pummel yourself - and your audience - with four 15" drivers! The Marshall 1979L6 4x15" signature bass cabinet is built to handle the massive crunchy tone dished out night after night by Motorhead's bassist and frontman Lemmy Kilmister. The beefy 1979L6 cab's four speakers are protected by tough individual grilles, while heavy-duty Tolex covers the ruggedly constructed cabinet. You also get quality inset side handles for easy transport. When a 4x12 just isn't enough, check out the 1979L6!

  • MakeMusic PrintMusic 2009 - Finale's PrintMusic 2009 lets you create printable scores and play back your work, all in an easy-to-use format. There are a variety of ways available for note entry into PrintMusic 2009. Enter notes with your computer keyboard and/or mouse or play your MIDI keyboard - with or without a click track - and watch your music appear on-screen in real time. You can even use the exclusive and innovative MicNotator to play notes into your microphone using a brass or woodwind instrument. Existing sheet music can be scanned, and PrintMusic 2009 supports the importation of MIDI, MusicXML, SmartScore, or Finale family notation files.

  • Roland TDW-20 Expansion - The Roland TDW-20 expansion board adds over 300 new sounds and smooth-sounding ambience types to your TD-20 kit! The TDW-20 makes your premium V-Pro kit even more expressive and realistic. This easy-to-install board also offers wider drum dynamics, smoother control on the hi-hat, and enhanced V-Editing, including virtual mic-size and resonance adjustments for the kick drum. From subtle ambience to explosive new sounds, your TD-20 kit will truly come alive when you add the TDW-20!

  Guitar of the Day
Check out today's Guitar of the Day, the Gibson Reverse Flying V Limited Edition! In the 1950s, competing against the modernistic curves of the early Fender solidbodies, Gibson was perceived by some as the old, stodgy guitar builder. So company president Ted McCarty decided, "If they want radical, let's give them radical!" Gibson proceeded to take everything it knew about building great guitars and used that to create three wildly untraditional designs, one of which was the Flying V of 1958. Not surprisingly, early Flying Vs weren't really taken seriously, but after the discovery of just how good a pair of humbuckers could sound when played through an overdriven amp, both originals and reissues from the late '60s suddenly found favor with players. Now, 50 years later, Gibson has taken that design and literally turned it inside out. What's more, the company has decreed that only 300 of these guitars will ever be built!

Available in Natural, Classic White, and Ebony, the Reverse Flying V sports a solid mahogany body, a solid mahogany neck with a 1950s rounded profile, a 22-fret rosewood fingerboard with classic pearloid dot markers, and a 24-3/4" scale. Just like the original Flying V, this reverse version comes with a pair of hot humbucking pickups, a 3-way toggle switch, and a single master volume control. A Tune-o-matic bridge is standard, but just like the original, there's no stop tailpiece. Rather, there's a special string-through-body "V" tailpiece. The headstock is actually more like the one that first appeared on the '58 Explorer, forming a "V" shape of its own. Green Key machine heads complete the picture, and as befits a limited-edition instrument, all of the hardware is gold-plated. Plus, you're sure to find the recent $600 price drop very attractive! It includes a Custom Shop hardshell case and free FedEx shipping to your door!


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PAIA
In the 1960s and early '70s, a number of companies in the U.S. sold electronic kits for consumers to construct, thus saving them money. For musicians, many of the most popular kits came from a company called PAIA Electronics, the brainchild of a man named John Simonton. From simple wah pedals and rotary speaker effects to modular synthesizers (priced at a whopping $139, or you could add a keyboard for an additional $61), the company had a wide array of instruments and effects that were simple enough to build that most electronic hobbyists able to handle a soldering iron could put them together. Most of the products the company offered went out of production in the mid-1980s.
 View the Complete Glossary


What Fuzz?
Q: Recently, MTV counted down the best rock songs of all time. The Rolling Stones' "Satisfaction" came in at number one, mainly because of that memorable 8-note lick. I've tried to duplicate that sound with my band, using a whole bunch of distortion devices, and can't seem to nail it. Suggestions?

A: To the best of our knowledge, the only fuzz pedal available when that song was recorded was the Maestro Fuzz Tone (which was actually a Gibson product, first made available in 1965). By today's standards, that pedal is somewhat of a dinosaur, but because of its simplicity (it only had two controls, volume and attack), individual notes were still clean enough to be heard without becoming overly mushy, particularly if the attack control was set in its middle ranges, say from 5 to 7.
  View all 1,700+ Tech Tips


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