New technology means new gear! As more and more of people stray into the realm of home studio recording via DAW software, music tech manufacturers have been keeping up with a slew of computer centric gear that was once strictly in the realm of pure analog. One such device is the microphone. Sure, computer microphones – the kind that hook up through a 1/8 inch aux port much like headphones – have been around since before the days of Windows 95 but those models were simply meant as a means of chatting and definitely lacked the fidelity for even decent quality recordings. But all that’s changed now that we have the USB microphone!

These types of mics have become quite popular recently with more and more manufacturers now offering at least one USB model. Sure, you can always hook up a regular mic through an external audio interface or compatible preamp but for those of us who don’t have or don’t want to connect that extra gear, USB microphones simply plug and record. Today, we’re going to be taking a look at the Audio Technica AT2020 USB – a mic that may lack the features of some of its competitors but more than makes up for in audio quality. Not to mention it comes in at only $149.00!

The Features of the AT2020 USB

For those of you a bit unfamiliar with Audio Technica’s line of microphones, the company’s collection already includes a cardio-pattern studio condenser known as the At2020 (available at $99.00). And as you can probably already guess, the model we’re looking at today is simply its USB counterpart. Besides its ability to directly connect to a computer, the AT2020 USB also differs from its corresponding studio version with the addition of a desk-based tripod – a great addition for not just home studio recording but for podcasting and voice over for movie projects as well. Still, you can always detach it from its tripod clip if you would rather use a traditional mic stand. The tripod lightly tilts the mic upwards which is useful as this is a side-address design and quality drops considerably if you don't record directly into the microphone at the right angle. 

Once connected to a computer, the AT2020 USB dons a blue LED but unlike some of its competitors, this mic is purely an ‘input’ unit with no means for headphone monitoring the output on the mic’s body itself. Instead, you’ll have to go a more traditional route and use an audio interface or your computers headphone port. Not a deal breaker but a slight disappointment seeing as how this feature is becoming more and more common on USB mics. The AT2020 USB also lacks gain control so you’ll have to rely on your computer’s input controls to adjust recording levels.

Seeing as how this is a USB mic, I first tried a little bit of home made spoken-word ‘podcasting’ – without the ‘casting’ part anyway – and was pleasantly surprised with the up-front sound of the recording. It also retained a good amount of depth. Like many other mics, there’s a certain sweet-spot on the AT2020 which enhances the upper mids and lower treble frequencies without any of that unpleasant lift, giving it a nice ‘studio gloss’ feel. And with a frequency response of 20Hz to 16kHz, this mic definitely has more than enough range. Next up were some traditional vocals which came out equally inspiring, making great use of the microphone’s tonal consistency across a wide dynamic range – easily one of the AT2020 USB’s best qualities. I then tried out some acoustic guitar recording and was happy with the amount of body sound in particular.

Since the side-address design of the AT2020 lends itself toward a directional approach, you can place the microphone pretty close when recording larger sounds. While it won’t give you a wide sonic picture, this mic yields a pleasantly low amount of noise and is focused and accurate. When it comes to its intended purpose of providing an easy to use means of high-quality home audio recording for musicians and podcasters alike, the AT2020 USB is a success.

Check out the rest our USB Microphones right here!

Final Impression

Whaterver features the AT2020 USB may lack, it makes up for in performance and audio quality. It might not have a mute switch or a headphone output for live playback, but it does have a permanently polarized condenser fixed to the back plate which allows for a thinner diaphragm in the front, meaning ultra-responsiveness that can even pick up overtones. All in all, if outstanding audio quality is your main requirement in a USB microphone, the AT2020 fits the bill nicely.

Related Articles:

Audio-Technica AT4040 and AT4050 Microphone Review

Ever wonder how your favorite guitarist achieves their trademark sound, or simply wanted to try out a more customized setup for your own tone? Some might be thinking such versatile sounds must be a product of the studio or some sort of expensive rig of pedals and footswitches combined with specific amp effects -- not so! For the majority of people, something as easy as buying a specific type of effect pedal can satisfy their need want for a particular sound (such as heavy distortion used in metal), but for those of us in the hunt for that perfect sound, variations in pickups can offer subtleties in tone and quality that can definitely make the difference between being close to what one may want and being dead on.  With so many options to choose from, deciding on what type of pickups are better suited for the sounds you’re trying to create can seem like a daunting task of trial and error, but as you’ll soon find out, the answer you’re looking for might be as simple as deciding between flat-pole pickups and staggered-pole pickups, or even a combination of the two.

The Basics: Types, Tones and Technical Aspects of Flat and Staggered Pickups

On most electric guitars, the pickups are usually located at the center of the body beneath the free part of the strings between the bridge and fret board, although they can be attached to the bridge, neck or even the pickguard, such as on several acoustic electric basses and guitars.  All pickups work essentially the same way, with certain traits specific to the kind of instrument it will be used for or the traits of a certain sound that is trying to be achieved. They work by picking up the vibrations of a plucked string via a magnetic field created by magnets and the coils around the poles, translating the input into an electrical signal that is sent to recording equipment or amps.

Most electric guitars use magnetic pickups which can either be active or passive. Pickups are inherently passive by design and are the standard in most guitars while active pickups are essentially “boosted” versions, using electrical circuitry to modify the signal, but require an extra power source to function, such as a battery. Other pickups such as piezoelectric pickups are also common, but are generally used in acoustic electric guitars (usually in combination with traditional magnetic pickups) and classical instruments such as an electric cello or violin, which gives the instrument the advantage of avoiding picking up any excess magnetic noise that can distort the output of the sound, especially important if you want to retain the clean natural sound of an acoustic instrument, only amplified.

Check out our Staggered-Pole pickups right here!    Or maybe flat is more of your taste?

The Differences Between Flat-Pole and Staggered-Pole Pickups and Why It Matters

A typical flat-pole pickup

On a staggered-pole pickup, you can notice some of the pole pieces sticking out slightly, with different poles having different variations on the amount of stagger. Flat-pole pickups, like their namesake, have the poles all flat, with no stagger beyond their plastic encasing. Essentially, deciding between flat-pole pickups and staggered-pole pickups comes down to what you want and what you’re willing to compensate for.

Guitar manufacturers such as fender usually ship their guitars with staggered-pole pickups, citing their tone balance and ease of use as a recommendation for most guitarists. The problem often cited with these types of pickups is differences in volume for each individual string, creating smeared and muddy tones caused by the inconsistency in volume, although some do enjoy the effect. Although this may sound like an unreliable setup, staggered-pole pickups rarely overpower the amp since certain strings such as the high E or the lower two strings are underutilized, resulting in a consistent and balanced overall sound (although the G string does tend to be heard above the rest) and work better out of the box for newer guitarists still not ready to delve into the extremely deep world of a fully customized guitar. 

Flat-pole pickups on the other hand do retain string volume balance. No hidden high E string sound or muddled low notes, which might create problems for inexperienced players not aware of their inherent nature or knowing how to compensate through other means such as amps and effects. The first thing most people notice when changing from staggered-pole pickups to flat-pole pickups is an increase in bass tone since there is no longer a need to compensate for weak lower strings. This gives the entire sound a much deeper presence, which is why bass guitars are usually shipped with flat-pole pickups.

Flat-Pole Versus Staggered-Pole, It All Depends on Style

Depending on what type of music you’d like to rock out to, either choice might be right for you. Purists and classic rock tribute band members tend to stick with staggered-pole pickups. It’s what worked for their heroes, although the rock gods of yesteryear didn’t have the same options that we modern day music mortals have the advantage of. Even so, staggered-pole pickups have a rich balanced tone familiar to most and require much less know-how as far as the ins and outs of guitar tones. If metal mania is more your style, then take advantage of the superior resonance of a flat-pole. Deeper, fuller low notes will not only give that dropped D tuning of yours a much welcomed kick in the rear, but the more vibrant and piercing high E string will definitely help those solos melt some faces!

Check out some of these popular choices for both flat and staggered!

Flat-Pole:

VAN ZANDT True Vintage Telecaster Flat Pole Bridge Pickup @ $75.00

SEYMOUR DUNCAN Vintage Flat Strat @ $48.30

Staggered:

VAN ZANDT True Vintage Telecaster Staggered Pole Bridge Pickup @ $75.00

SEYMOUR DUNCAN Quarter Pound Staggered @ $52.95

Don't forget!~

All pickups are either flat or staggered even if the product description doesn't have either listed. If you are interested in any of our pickups and would like to know whether they are staggered or flat, don't hesistate to contact one of our knowledgeable sales associates via email or chat!

Musician Ray Manzarek, who is best remembered as keyboardist and founding member of the Doors, died on Monday at the RoMed Clinic inRosenheim,Germany, after succumbing to complications due to bile duct cancer according to the band’s Facebook page. He was 74.

According to the post, he was surrounded by his wife Dorothy Manzarek along with his brothers, Rick and James Manzarek.

Both drummer John Densmore and guitarist Robby Krieger have spoken up about the loss, and while doing so, remembered Doors frontman Jim Morrison, who died in 1971. 

“I was deeply saddened to hear about the passing of my friend and bandmate Ray Manzarek today,” said Krieger in the post. “I’m just glad to have been able to have played Doors songs with him for the last decade. Ray was a huge part of my life and I will always miss him. Ray Manzarek and Jim Morrison were the two most unusual people I have ever known. It didn't take long to realize this about Jim. He was obviously a genius, and he worked hard at being different. Did a good job of it too. Ray on the other hand, was a late bloomer. I guess it took all of his [and our ] energies to keep Jim in line. The real Ray didn't appear until after Jim was gone. He was constantly doing projects with different people, producing, playing with different poets. He always saw the good side of people, and that was his genius. He was the only guy at UCLA that saw something good about Jim. Everyone else thought of Jim as a phony or worse. He saw the genius of Jim's words and the rest is history. Ray sure did influence my life, and I hope yours to. I'll always be grateful to John for introducing me to Ray and Jim, and I'll never forget them." Krieger and Manzarek performed together under a variety of names over the past few years. 

Densmore, meanwhile, wrote: "There was no keyboard player on the planet more appropriate to support Jim Morrison's words. Ray, I felt totally in sync with you musically. It was like we were of one mind, holding down the foundation for Robby and Jim to float on top of. I will miss my musical brother."

Manzarek is survived by his wife Dorothy, brothers Rick and James Manczarek, son Pablo Manzarek, Pablo’s wife Sharmin and their three children Noah, Apollo and Camille. Funeral arrangements are pending. The post says “The family asks that their privacy be respected at this difficult time. In lieu of flowers, please make a memoriam donation in Ray Manzarek’s name at www.standup2cancer.org.”

Being in the business of pro audio, we here at PAL believe that supplying our customers with the best possible value and equipment is only half the goal. The other half is making sure that they are given the best possible resources to get the most out of their gear by providing a number of guides, reviews and tips. Last week, we took an in depth look at the studio microphone along with several key facets as they relate to recording such as the most common variations, their frequency charts, inherent problems and their solutions along with plenty of more integral info. To check out part one of our Microphones 101 series, hit the link right here. Now yesterday, we brought our readers the first half of our bass recording guide. We discussed the basic principles of recording a low end frequency instrument along with the two different methods of recording – through DI (direct input or direct injection) or with a traditional mic and amp setup. We touched on the different pros and cons of each, the variations of the DI box, selecting a perfect mic to record an electric bass along with a few tips on mic placement and their effects.

Yesterday, we left off on the two different methods of bass recording and each of their pros and cons in order to help out our readers decide what would work best for them. Recording through DI – that is, directly into the mixer or computer – will give you a clean, consistent and unadulterated bass signal that is easy to work with in DAW programs and can be compressed and equalized much clearer as well. The problem with a DI is that it might sound too clean for some. Also, unless your bass pickups are of the active variety, you will need the help of a DI box in order to get things properly going. The other method is the much more traditional mic and amp setup. This method is a bit harder to work out as it requires a loud enough bass amp, a suitable low-end retaining microphone, proper mic placement and a better ear for using compression and EQ, although the natural colorations and tone added by the amplifier (which is usually the main reason people take this route) is pretty much impossible to attain through purely DI. Yes, you can use amp models to give that DI signal some natural amp coloration but it will still sound a slightly off from the real deal at best or completely unnatural and way too digital at worst. So which one should you choose? Well, if you’re feeling up for something slightly more challenging that will give you a truly amazing track (when done right), how about going with both? In fact, this is the route taken by many of today’s top producers for bass recording. By using these two recording approaches simultaneously you can truly get the best of both worlds – but it’s not without its difficulties. The main problem is phase matching; pretty much making sure both tracks are in sync with each other. Essentially, there are two ways you can go about fixing this problem; fixing it beforehand so that you can record live with both signals already in phase or waiting until the tracks have already been recorded to fix it. Let’s take a look at the tougher one first.

Live Phase Matching

The main problem with doing simultaneous DI and mic recording is that the miked signal is always delayed a bit after the DI’ed signal. The reason for this is simply physics; it takes approximately one millisecond per foot traveled for sound to go from the speakers to the microphone, causing the DI’ed signal and the miked signal to be slightly out of phase with each other. When two more or less identical tracks are mixed out of phase it results in comb filtering – a pattern of peaks and dips in the frequency response which almost always results in a weaker overall sound. Instead of giving you a solid, sharp track, you get something that ends up being – for lack of a better word – fuzzy. Well, all of this info will do you no good unless we know how to remedy this problem. The good news is that one of the main methods of fixing phasing issues for simultaneous recording is actually pretty easy – delay! By using an outboard delay line (such as a pedal or preamp) you can artificially delay the DI signal until it matches the miked one. Easy, right? Well, the problem with this method is that it probably won’t work for you depending on several reasons. First thing is you will have to have a unit capable of very high resolution delay times which already rules out analog delays since they usually can’t give you anything below a millisecond or so. To make things worse, digital delays typically need at least half a millisecond of processing time, even if the delay is set to its very minimum. This means that in order for this method to work, the mic can’t be placed anywhere closer than six inches away from the speakers – a real problem considering sometimes a mic will have to be placed as close as an inch from the speaker. But don’t toss that outboard delay line off to the side just yet as they can make other phasing processes much easier, (which we will touch on later).

A good number of digital mixers already include a short high resolution delay line on every channel specifically made for dealing with these very slight time-alignment problems. Some mixers will also allow you to set individual channel delays with single sample accuracy while other mixers include built-in insert effects processors which can give you a high enough timing resolution. If your mixer does happen to have access to an inboard delay line with enough resolution, the first thing you will need to do is to connect both the mic and DI lines into separate channels on the mixer. Once you have each line on individual channels, you will need to record a consistent bass track using both channels simultaneously in order to help you find the appropriate delay time needed. Try to make the recording long, clear and consistent without too many shifts as this recording will simply be used as a guide to figure out the appropriate delay needed. Don’t make it harder on yourself by doing anything other than playing one consistent and clear note for about two minutes or so. Now that you have your test tracks recorded, make sure you pan both channels to the center in order to make it easier to detect certain comb filtering problems.  Also, set them both at the same approximate audible level (which may be different than the actual volume setting of each). The next thing you need to do is reverse the polarity of the DI track by hitting that channel’s phase invert switch. Now you can begin experimenting with the DI channel’s delay time setting.

Start off by selecting the minimum amount of delay possible. Keep on upping the delay with the smallest increments possible until you suddenly hear a drop in volume. Move the delay up and down around this point until you find the delay setting that causes the greatest drop in volume. If you don’t happen to hear any sort of drop in volume, you probably don’t have a high enough resolution delay, which means you will have to skip down to the post recording method described below in order to fix phasing. Alright, once you have found this delay setting, try to find an even lower point in volume by moving the in very small increments either closer or away from the speakers. Moving about a quarter inch or so at a time should be small enough to detect this lowest volume point. Alright, now that you found this minimum volume point, simply hit the phase invert switch once again to undo it, and you should have both tracks perfectly in phase, ready to simultaneously live record and DI’ed and miked bass line! Just don’t forget to balance your channels appropriately before you record.

Post Recording Phase Matching

Certain DAW software such as Logic Pro can make phase matching a much simpler task

But what if you don’t have a mixer capable of creating the appropriate amount of delay resolution? You still have options and this one is actually a bit easier than the one mentioned above but you won’t have the benefit of being able to fix the problem before recording.  All you have to do is set it up so that you can record the DI and mic signals onto individual tracks so that you can align them later on while mixing. Sure, it will take an extra step during the mixing phase as opposed to the delay method mentioned above (which takes care of track phasing before recording), but it will still sounds much better than simply doing nothing. If you’re using an analog or digital tape multi-track recorder, you can fix the phasing issue by using a delay line in a way similar to tracking (read: manually). Some digital multi-track tape recorders also provide the option for delaying individual tracks which can make fixing phasing issues that much easier since it won’t require the use of any outside delay processor.

For those of you equipped with digital recorders that use a hard disk, memory cards or other digital storage media, you can either start by displaying the waveform (if your recorder has this option) or send both tracks to your DAW software. If you don’t happen to own any DAW software (but somehow own a DI box, a recorder, amps and mics), you can use certain free audio editing software such as Audacity (which, unlike DAW, only feature simple editing tools such as cut, paste, etc). Anyways, regardless of the method, once you have both waveforms in front of you try zooming in until you can clearly see the initial timing of the attack for each track. You should notice that the mic track starts slightly after the DI. Now, all you have to do is use your particular program or device’s editing features in order to line up the mic track with the DI track. And just in case you’re wondering why not just simply use a delay plug-in to fix the problem, plug-ins introduce latency which will pretty much only add to the problem instead of fixing it.

While this may seem like a huge investment in time, it’s actually a lot easier once you get the hang of it and completely worth it when you start noticing how much stronger a properly phased track will sound.

It's not just a pickup, it's a weapon of tonal Armageddon. The Nazgûl was designed with a single purpose; for intense high output chug heavy punch you in the chest ruthless distortion. The tone is heavy and aggressive but also retains articulation and provides a precise pick attack that is necessary for high-output metal. The Nazgûl gives chords heavy saturation and produces a lightning fast response to your amp. Perfect for all high output metal needs in which sonic obliteration needs to be accomplished.

The Nazgûl is available for 7 and 8 string players and also comes in an active mount (soapbar) sizing for those who own a guitar that originally came with active pickups but prefer the tone of passive pickups.

PRICING

7 string:

Passive Mount: SRP: $89.95

Active Mount & Metal Covers: SRP: $119.95

8 string:

Passive Mount: SRP: $119.95

Active Mount & Metal Covers: SRP: $139.9

When you think about pickup companies that built their reputation around giving players classic tones with contemporary sensibility, Lindy Fralin, Fender and Dunlop quickly come to mind. You don’t usually think EMG. Instead, that particular company is better known for focusing their products on the much more modern sounds of the last forty years with an emphasis on crisp, hot, detailed tones especially suited for heavy music. This has not only helped EMG solidify themselves as one of the more dominant PU manufacturers today, but has made the brand synonymous with several players and genres – simply do a quick search on their wildly popular 81 and 85 combination and you’ll get a sense of their typical loyal fanbase. And with that said, it came as a slight surprise when the company announced a couple of brand new pickups – the 57 Bridge and the 66 Neck – which are essentially trying to recreate the vintage PAF humbucker, albeit with an active system onboard. Today, we’re going to be checking out what this new combination can bring to the table. Let’s get started.

First off, both the 57 and 66 feature alnico 5 magnets which mean these pickups should offer a smoother, stronger midrange than the ceramic magnets used in most EMGs. The pole pieces on the 66 are still ceramic although the 57 comes equipped with steel pieces instead. Both come in a brushed chrome casing which retain EMG’s classic look with a bit of a vintage flair. Each also comes with an EMG solder-less kit consisting of a pair of 25k volume and tone pots, a 9V battery clip, wiring, mounting hardware, a small circuit board with slots for snapping components into place and of course an output jack. If you are particularly well versed in soldering, you can always solder the wiring from the pickup switch onto the tummy pads on the board if you don’t simply want to clamp them down with the included set of screws. Loading the set onto any humbucker compatible guitar should be a piece of cake. Seriously – you probably won’t find a set of pickups that install as easily as these!

One of the first things you’ll notice about this pickup combination is just how well it reacts to picking dynamics as well as the sensitivity of the volume knob, specifically in its eerily biting and PAF-like response. Sure, the 57 and 66 aren’t as ubiquitously smooth as some other PAF reproductions but what you lose in smoothness you get back in its excellent dynamics.

Not looking forward to soldering? Not a problem with
EMG's solder-free installation kit (included)! 

I decided to install the set on a Fender Pawnshop Telecaster HH and play it through a ’65 Fender Twin Reverb Reissue just to see just how much vintage and how much modern comprised its sound. I played a couple of riffs on the blues scale which quickly yielded a robust and extremely clean sound with tons of detail, sustain and output – most likely thanks to the active system. Some of the best PAFs out there will give you a huge, warm tone that’s clear and crisp despite their low signal output, a signature sound of this pickup variety. The 66 in particular nails this almost exactly while smoothing out the low end when you roll back the guitar’s volume. And better still, it also has that high-end crispness and detail that a lot of neck PAFs lose when you cut the output.

Throwing in some distortion into the mix beefed up the tone on the 66 even more, though the dynamics did take a small hit. Even then, I was able to churn out some very nice vintage Clapton “woman” tones (think Cream-era) with extremely smooth mids that rolled in slow and subtly under lead settings.

In comparison, the 57 is a much more leveled, even-sounding pickup. The mids and highs were just as present although the lows were tighter and sharper than the thick and booming 66. Some ‘70s rock inspired riffs and heavy attack showcased a twangy midrange that softened nicely as you eased up. The highs were smooth while the lows stayed focused and punchy as I piled on the gain. Clarity was excellent and complex mids remained clean and uncluttered even under heavy distortion. Dynamics suffered a bit from the added gain, and decreased sensitivity and range was even more pronounced with hard-rock and metal tones—though it was still impressive for a PAF-style pickup. The lows were tight—not unlike an EMG 81—and the highs and mids flattened out in a way that complemented driving rhythms.

All in all, the mix of vintage inspired sound and EMG’s uncanny knowledge of modern active pickups makes the 57 Bridge and 66 Neck a very unique set of pups. Although this combo’s slight loss of fidelity and dynamics when played under medium to heavy gain might be a drawback for some of EMG’s typical fanbase, guitarists looking for a whole new refresh on what a modern PAF tone can be will absolutely love the detail and clarity. Under the right players, the 66 and 57 can certainly carve themselves out a place on top of EMG’s pickup pedestal along with the 85 and 81.

Like a lizard on a window pane… Earlier this year, the guys over at BBE released a slew of brand new and redesigned pedals. We’ve already taken a look at two of these new pedals in the last couple of weeks – the Blacksmith Distortion and G Screamer – and now we’re ready to take the BBE Windowpane Fuzz pedal for a spin! First off, the this pedal is essentially a tweaked version of the BBE Free Fuzz that features hand biased silicon transistors along with a new name and paintjob. If you’re a fan of Jimi Hendrix, you’re most likely a fan of one of his most used effects – fuzz. The fuzz effect is essentially a slightly meatier, muddier form of overdrive and sounds, well, fuzzy. Fuzzes were among the first of the transistorized guitar effects being built back in the early 1960s—which is no surprise when you discover the simplicity of most of them, or why many of them sound a bit too similar, not helped by the fact that most are going after Jimi’s sound. In a world with no shortage of effects pedals, does BBE’s Windowpane have what it takes to supplement the offspring of the famed Dallas Arbiter Fuzz (e.g.: Dunlop’s Jimi Hendrix Fuzz Face) as the reigning king of the fuzzy overdrive – or at the very least – worthy of your pedalboard?
 

When I first heard about BBE’s Windowpane Fuzz, I immediately thought of the Beatles – more specifically – a certain song’s lyric from which I believe the pedal takes its name, so naturally, I fired this baby up and went headlong into the breakdown guitar lead for Happiness Is A Warm Gun. Sure enough, I was able to dial in a very similar tone once I cranked the Fuzz knob to a healthy10 o’clock– and boy, was it warm. I’m not a huge fan of fuzz pedals as I tend to much prefer classic tube-like overdrive (such as BBE’s Green Screamer or the venerable Ibanez TubeScreamer) but I have to say, I liked what I was hearing. Much like the Fuzz face or numerous other fuzz pedals, there are only two knobs on the Windowpane -- Fuzz and Volume. Volume is self explanitory and Fuzz is, well, also self explanatory; you simply dial in the amount of fuzz and there you go. 
 

Sure, it can do slight pieces of a George Harrison lead, but more importantly, can it do Jimi? Definitely, Hendrix is there alright, albeit a slight bit harsher than the original, with a brighter tone and more gain, most likely due to the Windowpane’s silicon transistors as opposed to the Fuzz Face’s germanium ones. It has that almost ripping speaker sound, yet is still somehow musical in its own way. In fact, the Windowpane sounds much more like MXR’s Classic 108 Fuzz – which is essentially a silicon transistor based clone of the Arbiter Fuzz. And therein lies the problem; almost every fuzz pedal out on the market seems to be based off the Dallas Arbiter Fuzz Face, down to the sparse two knob control scheme. Well, problem is probably a strong word for it as I wouldn’t automatically see these similarities as an inherantly bad thing. Fuzz is limited in its sounds compared to other effects and if you happen to be looking for a fuzz pedal, chances are that Hendrix sound is probably the one you’re looking for. And if you so happen to be someone who is looking for that Hendrix fuzz, the Windowpane easily delivers. Conversely, if you’re looking for a pedal that packs tones with a lot of dynamic varieties – this pedal is not for you.
 

Inside the Windowpane you’ll find two sequentially-wired silicon transistors that BBE touts are able to dial in a tone with a carefully selectable treble roll-off on the second transistor in order to imitate the slightly mellow top end of early germanium fuzz pedals (i.e.: the Fuzz Face). You’re probably thinking if the original germanium models are so prized, why not just use the original type of transistors? The reason for the move to silicon based transistors over the originals had to do with one thing: consistency. Those old germanium fuzz boxes were notorious for sounding great in one location and completely off the next. Not only that, two identical make and models might sound slightly different as well! According to Roger Mayer, Jimi’s guitar tech, Hendrix would buy half a dozen Fuzz Faces and mark the one he liked best only to find out that he didn't like in a different environment. Silicon on the other hand is remarkably consistent, as is the Windowpane. Also included are high-voltage poly caps to make sure that circuit board stays reliable after prolonged use. And yes, the Windowpane features true hard-wired bypass with no noticeable lag when switched off.

Final Impression

If you’re looking for a pedal that can dial in a huge variety of tones for a great deal of situations – the Windowpane (or most other fuzz pedals) is not for you. But if you’re looking for a consistent and reliable pedal that can easily call out the well known Hendrix fuzz tone with a simple turn of a knob, the Windowpane can easily deliver. It might have just one job on a pedalboard, but what it does, it does excellently. 

Getting a little tired of the sound of those stock pickups on your Strat? In the need of a replacement set that’s a little more fine-tuned to your personal tastes? Or maybe you just want to check out a list of the best replacement pickups for the Strat! No problem! Us Pros here at PAL have stepped away from the confines of our inevitable tombs lofty cubicles and have gotten together to compile a list of what we feel are the top five replacement pickups for the Fender Stratocaster. While there are plenty of great sets to choose from – not to mention conflicting preferences among different players – the following five pickups are what we feel stand out above the rest. 

Lindy Fralin Vintage Hot Set

The company’s best selling set to date, these pickups are wound with 42 gauge Heavy Formvar wire and have beveled magnets and cloth leads. The neck and middle pickups are average 50s specs, while the bridge is as hot as possible with this wire. Slightly hotter than stock Fenders but not as aggressive as the Texas Specials, Fralin’s Vintage Hot pickups allow for more chimey harmonics that highlight the upper frequencies. When paired with a classic tube amp, these babies produce a very lovely growl and it’s pretty clear that the company didn’t mind sacrificing output for top-end and clarity. These hand-wound pickups are definitely for tone connoisseurs!

Fender Custom Shop ‘54s

These babies are an amplified set of vintage-style Stratocaster electric guitar pickups that feature staggered, hand-beveled Alnico 5 magnets and Forvar magnet wires wound for classic bell tones and clear harmonic enhancement, but those aren’t the only reasons they made our list. The bridge pickup is calibrated for increased, balanced output. Overall, there’s more emphasis on the lower-end compared to the standard plastic bobbin variety found in today’s Strats. There is enough bite on the treble without losing its mellow flavoring that really make the CS ‘54s shine. Those looking for a more modern sound might find the tone a bit thin but if that vintage sparkle and glassy voice of a ’54 Strat is what you crave, you will find these pickups can certainly sing! Just make sure to remember one thing; these are NOT hum canceling – real Strat fans only

Van Zandt Rock Model set

Although Van Zandt Pickups was started in the late ‘80s, founder W.L. Van Zandt had been repairing and rewinding pickups around theDallas/Ft. Worth area since the early ‘60s in his garage. He began by rewinding the magnets on pickups for friends and other players and pretty soon he had a small business going as his reputation grew by word of mouth. Today, they are among the best hand-wound pickups around and the Rock Model set itself is one of the company’s most popular brands. Built for rock, heavy metal, and alternative rock, the Rock Model has a lot of top end and growl to allow for overdrive of amp or distortion box. Boasting a stronger output than stock for better lead work while still allowing the Strat’s signature chime and quack to shine, these pickups might not be as well known as some of the others on this list but they definitely deserve much praise!

Fender Custom Shop ’69s

Long story short – these pickups are brimming with that classic ‘60s tone that made the Stratocaster a legend in the rock world! Fender’s Custom Shop ’69 Stratocaster pickups were designed to produce one of the most signature and sought after sounds in popular music history – the thick, punchy late ‘60s blues rock tone that ruled the era and can still be heard in today’s modern records as well. Because of the transparency and clarity created by unique coil wind and magnet stricter, the Custom Shop ’69 pickup design works extremely well with pedals, allowing the end frequencies to stand our without degrading the high end one bit. Think Eric Clapton, Jimi Hendrix or even David Gilmour. These pickups have a typical scooped mid tone with very clear top along with a well-balanced lower end. The transparency of the tone in particular along with the fairly low output makes these pickups ideal for keeping your sound clean when called for. It’s no surprise that Fender remains firm in their support of the Strat’s classic sound as the search for the tones that defined an era are still as popular as ever!

Seymour Duncan California ‘50s SSL-1

Matched and calibrated, these vintage staggered Strat pickups have that signature biting tone perfect for surf, country, blues and classic rock. If you want incredible, full lows, smooth yet not overpowering mids, pristine highs and an overall sound that is not too harsh (much less than the Texas Specials for one), these California ‘50s make an excellent replacement for the stock set. They are also very responsive to pick attack and finger picking. If you’re looking for a set of hot pickups for increased signal strength, don’t buy these; buy theCalifornia‘50s for the love of that pure, vintage Strat bell tone.

Honorable Mentions:

EMG S Set

Van Zandt Vintage Plus  

Fender Custom Shop Fat ‘50s

Lindy Fralin Blues Specials

Fender Tex-Mex Set

Fender Custom Shop Texas Specials

Although Judas Priest had a bit of a snag which slightly delayed  the release of their new live DVD, “Epitaph” – due out later this month by the way – the band has done a great job of keeping fans in the loop, and not just regarding their DVD either.

In a recent Q&A with Rolling Stone, the band shared a few updates on their next studio album.

“It's coming along really well,” guitarist Richie Faulkner tells Rolling Stone. “We're not saying too much about it at the moment –it's kind of early to say. But it's shaping up really well. The great thing from a writing point of view is that Priest's brand of music is so broad, there's a lot to take from. One extreme from the other. You can put stuff on the table and nothing is discounted. You might get some bands that are like, ‘Oh, we can't do that, it sounds a bit like this or that.’ With Priest, you can put anything on the table and you've got the flexibility from the scope of the sound, creatively. And then you've got people like Halford and Glenn, they put their stamp on it. Songs like ‘Green Manalishi’ and ‘Diamonds And Rust’ – when a band like Priest, with that sort of musical voice gets on something, it becomes a whole different monster. And the same thing with the new stuff. So it's exciting. And from my point of view, to be a part of that is ridiculous. It's fantastic.” 

Vocalist Rob Halford was asked about the timeline for the new record.

“Ready when it's ready. No rush,” he says. “We don't want to drop the ball – we've never dropped the ball, anyway. We're certainly not in a ‘luxury moment.’ When you think about it, any band that was in the Eighties that was having success, you were literally making a record a year. The demand was so strong . . . I mean, in those days, you were popping out platinum albums all the time. To get remotely close to gold in today's world is a massive achievement. It's a different world altogether. We've never slacked off – we've always enjoyed writing, we've always enjoyed being in the studio. There's never been like, ‘Oh, God, we've got to make another record.’ There's always been this genuine desire. The hunger has never left us. When you wake up, it's like, ‘Another heavy metal day. What are we going to do today?’ It's great. As a 62-year-old man, I'm just really pleased that I'm still feeling that way about my metal. I'm a metal head – I'm sixty-fucking-two, it's incredible. That side of Priest is just solid as ever. We're eager to keep going down the metal coalmine and seeing if we can hack up some diamonds.”

Recorded in May of 2012 atLondon’s famed Hammersmith Odeon, the “Epitaph” DVD features the final show of the band's last-ever world tour. So, will Judas Priest support a new album with some live dates?

“I think that's the other reason why we're making sure we get this [album] right. And we will get it right,” says Halford. “But I don't think we're going to go out and do another 18-month/two-year trek, straight through. We'll probably doEurope, and then we'll take not an extensive break, but a longer break than we would normally do. I mean, normally you doEurope, and then two days later you're doing a month in the States. We'll put a buffer in there, for lots of different reasons. But we were being sincere, that there were some places on that last Epitaph tour that we may not be able to get to as quickly and often as we would wish – for lots of different reasons. But if everybody's patient – which we know our metalheads are – then we'll come to you and we'll play. You'll get another dose of Priest.”

If there's one section of the acoustic guitar market that could definitely use a nice dose of bolstering, its most definitely the entry level range. Luckily for all of us out there looking for a solid acoustic that won’t thin out that wallet, Gretsch has now introduced the G9500 Jim Dandy as part of their new Roots Collection. This new line swaps Gretsch’s tried and true sharp, classic ‘50s Americana feel for a more grassroots, home-town country look consisting of acoustics, mandolins, resonators and other folk-minded instruments. And it comes as no surprise that this new line happens to coincide at a time when these roots instruments are enjoying a new resurgence in popular music. Miniature acoustics, like the G9500 Jim Dandy in particular, are attracting players looking for some Delta blues and old-school country tones, but is this $150 guitar worth the scratch?

The G9500 Jim Dandy acoustic specifically pays homage to the long forgotten line of Rex-Branded guitars that were produced by Gretsch during the 20s and 30s. Much like many of the acoustics produced by Stella, Gibson and Martin – not to mention all of those notoriously cheap models sold through Montgomery Ward catalogues along with Sears & Roebuck – Rex instruments helped quell the overwhelming dominance of banjos in popular music at the time.

Unlike the original Rex guitars which were manufactured in Kalamazoo,Michigan, the Jim Dandy is fully built in Indonesia and features an agathis body that measures 13 inches (330mm) across its lower end. The guitar also features its predecessors’ compact feel with its 24-inch scale neck.

The chubby, glued-in nato neck features a 12-inch radius rosewood fingerboard studded with 18 vintage profile frets, 12 of which are free from the body. You’ll be glad to know that the fretwork on the Jim Dandy is pretty much the best I’ve seen on an entry-market acoustic. With that said, the guitar definitely has a distinctive old-school vibe which is expertly emphasized with a semi-gloss Sunburst finish, hugged by a silk- screened body binding and effortless sound-hole rosette. The jumbo pearloid dot fingerboard inlays, white- buttoned nickel-plated open- gear tuners along with the 'Steel Reinforced Neck' legend and 'Gretsch,’ 'Jim Dandy' logos printed on the headstock certainly add extra accent to the vintage feel.

For those of you unfamiliar with old-timey country slang, ‘Jim Dandy’ essentially means something extremely ‘spiffy’ or ‘neat,’ and so far – its definitely living up to its name from the looks alone! But how does it play? To give it to you straight – if you’re looking for an inexpensive acoustic to take with you down to those crossroads that harkens the old-school tone of Robert Johnson, the Jim Dandy is by-far your best bet. It has a nice bright voice with just enough bass to balance it out a bit, although it must be said that I found the guitar better suited for fingerpicking (unsurprisingly) than strumming as fingertips instead of a pick help to simmer down the top-end and show off some of the Jim Dandy’s natural sweetness.

The stock D'Addario EJ16 Phosphor Bronze 0.012 to 0.053 strings help get the instrument's top feel more alive, and work pretty good for slide guitar. Meanwhile, the fat C profile neck is strong enough to support open tunings without the need for truss rod tweaks; the action is low enough to comfortably play chords and licks, yet can still accommodate rattle-free slide work, again showing off the guitar’s particular leanings. 

Final Impression

Sure, no one is ever going to confuse the Jim Dandy for high-tier Martin or Taylor, but that’s not what this guitar was ever meant to be. But with that said, it’s definitely one of the best band-for-your-buck entry-level acoustics that’s a blast to play. And it should definitely be mentioned that the Jim Dandy records very well and actually sounds fuller on ‘tape’ than I initially suspected. This well-built guitar instills some much needed character and variety to the typically stale entry-level acoustic market and is a great indicator that you shouldn’t have to shell out thousands of dollars for a solid instrument. Definitely worth every penny!