General Interest

What’s Your Approach To Effects?

I Heart Guitar - Tue, 08/29/2017 - 17:03

What kind of a player are you: straight into the amp, or do you build your sound through stompboxes or effects units? I’ve been thinking about this a lot lately because the maturity of digital modelling means there’s a third alternative: “It’s all in my Kemper/Helix/Axe-Fx/etc” so sometimes it’s just an amp, sometimes it’s a bunch of effects, and sometimes it changes from verse to chorus.”

Me, I’m typically a straight-into-the-amp player. Generally I follow the EVH approach of using the guitar’s volume pot to adjust the amp gain, and most of the time I’m on the dirty channel whether I’m playing distorted or clean. I still love my pedals though and I’ve been collecting them since I was 13 years old so I’ve amassed a few favourites in that time. The Z.Vex Fuzz Factory, the Jim Dunlop Q Zone and Buddy Guy Cry Baby, the DOD FX25 Envelope Filter, the BOSS OC-2 Octave. And then there are my beloved Seymour Duncan pedals (As many of you no doubt know, I’m SD’s social media guy and I’m pretty loyal): the Forza and 805 Overdrive are my go-to drives even though I have …way too damn many overdriven to choose from. The Catalina Dynamic Chorus is the only chorus I’ll ever use now. And the Pickup Booster is so simple yet so classic. Can’t wait to get my hands and feet on an Andromeda Dynamic Delay too.

I guess the dream setup for me personally would be something like, say, a BOSS ES-8 so I can dip effects in and out while still effectively getting my main tone from the guitar and amp. The way I approach effects is very similar to what I recall Chris DeGarmo saying in a Guitar World interview back in the 90s: I see my tone as a beam of light, and effects as a prism to shine it through. I always want to keep the spirit of the sound intact, and I know that Marshall so well in terms of how it responds to my playing, what it can do, and what it needs a bit of extra help with.

One of the things that excites me about the Andromeda is that it’s MIDI-capable, and so is the ES-8, so if I get the two I’ll be able to build Andromeda preset changes into my patches. Kick in a Pickup Booster or 805 with some ducking delay for a hotter lead sound, switch on a nice atmospheric reverse delay for my rolled-back-volume cleanish rhythms, hit the OC-2 and a fat analog delay sound for big riffs of doom …actually I’m thinking of using a Seymour Duncan PowerStage 700 power amp to power a pair of wet speakers so I can have a wet/dry/wet setup for delays, chorus, reverb and pitch shifting, still taking advantage of my ‘straight-into-the-amp’ approach on the gain side of things while also getting the most out of my pedals for the ambient and really ear-catching stuff.

What about you? How do you approach your use of effects?

The post What’s Your Approach To Effects? appeared first on I Heart Guitar.

Categories: General Interest

Jinho JN-07 SP Locking Tuners – review

Lone Phantom - Sun, 08/27/2017 - 04:32

As talked about in my posts about my Squier Bullet Strat project, I wanted to find some decent budget locking tuners that functioned favourably  when compared to the major players. After a bit of research I decided to try some Jinho Locking Tuners. Jinho are used as OEM suppliers for several guitar manufacturers, and the general consensus was that they were solid units. I found some for sale on eBay and got to installing them on the Bullet Strat.

On first inspection, the Jinho locking tuners look very similar to Gotoh or other similar modern design tuner. The turning ratio is 19:1, which is better than some of the established players. The Jinho locking tuner uses a standard locking thumb wheel design, which is also found on many other locking tuners. The tuning post diameter is 10mm, consistent with most other modern designs too.

The Bullet Strat has been upgraded with a Graphtech Black TUSQ XL nut, roller string trees, and a Wilkinson vintage style Strat bridge, loaded with Hantug Custom Guitars brass modern strat style saddles.

Stringing up the guitar, the locking thumb wheels were nice and smooth to operate, and the 19:1 turning ratio made fine tuning each string a breeze. Once the strings were stretched I started testing out how well the guitar stayed in tune. Non-locking strat style bridges aren’t always the greatest with regards to tuning stability, and with the stock tuners, the Bullet Strat didn’t always hold it’s tune too well. With the Jinho locking tuners the tuning held up well with some heavy string bending, and things were still pretty solid after some dive-bombs and heavy vibrato with the whammy bar. I also tested the guitar on stage with my band, and I barely had to adjust tuning throughout the half-hour set of combined rhythm and lead playing.

Compared to my number one Strat, which is loaded with Gotoh Magnum-lock tuners, and is similarly equipped with a Graphtech Black TUSQ XL nut, and Hantug Custom Guitars vintage style strat bridge, the Jinho locking tuners performed just as well in it’s  duties, which is admirable for a set of tuners that cost around half the price of the established brand. The only real downside to the Jinho tuners is that the plating doesn’t appear to be quite as robust as the Gotoh’s, for example. The thumb wheels were bumped a couple of times during installation, and the finish was chipped. Not a major issue, and considering how well the actual performance of the tuners were, it’s definitely not a show-stopper.

Overall, the Jinho JN-07SP Locking Tuners proved to be an excellent upgrade for the budget conscious player. In fact, they were an excellent upgrade even without budget restrictions in place. The excellent turning ratio and solid locking mechanism make them the perfect choice for a guitar with a non-locking tremolo equipped guitar, whether you want to go nuts with the whammy bar or just apply some subtle vibrato. It understandable why a number of manufacturers are using these as OEM parts on their mid-range guitars. If you have a guitar that requires some help on the tuning front, and have a limited budget, then definitely have a look at these tuners.

Categories: General Interest

Glen Campbell - Some History and a Retrospective of His Guitars.

The Unique Guitar Blog - Sat, 08/26/2017 - 17:26
I'm dedicating this one to our own Glenn, my son-in-law. We nearly lost him in a tragic automobile accident on the very weekend I started writing this article. I am so glad you are still with us. You are a terrific father and husband. It will get better. Hang in there buddy.

Glen Campell on TV in 1965

The first time I saw Glen Campbell play was on a television show called Shindig It aired from 1964 to 1966, and it featured some top musical acts of that era.


Some of the Shindogs

The “house” band on the show were called The Shindogs and comprised of some of Los Angeles’ best session players, whose players alternated from time to time.




The band members included Glen Campbell, Joey Cooper, Chuck Blackwell (drums), Billy Preston, James Burton, Delaney Bramlett, Larry Knechtel (on bass), Leon Russell (on piano) Glen D. Hardin and bass player Ray Pohlman.

Glen Campbell rehearsing on Shindig!
Campbell was featured as a solo act on this show, singing and playing an unusual guitar that he seemed to favor. The guitar was a 1960 Teisco model T-60, that featured a set neck, and a hand carved body that had an unusual cut-out on the guitar lower bout and the headstock.

1960 Teisco T-60
It was equipped with 3 pickups that were made by the company, and a three-piece bridge/saddle unit that resembled the one found on early Fender Telecasters.

The metal pickguard covered much of the body. On it was mounted a volume and tone control and a 3 position rotary switch that chose the pickup. It would be a few years before Teisco (the Tokyo Electric Instrument Company) began flooding the US and European market with cheap electric guitars.

Campbell with The Wrecking Crew
Glen seemed to favor this guitar and used it during his days as a LA studio musician, with The Wrecking Crew. When he first made television appearances, he played this same guitar.


Glen was born into a family of 12 children, His father was a sharecropper. He grew up and lived in a town near Delight, Arkansas. He received his first guitar at age 4 and took to it immediately. Since the neck was not adjustable and the strings were high, his father fashioned a capo out of an old inner tube. His extended family included several musicians. He was fond of reminding people that he was the seventh son of a seventh son.

Glen on a Tele with his uncles band

At age 16 Glen dropped out of high school to pursue a career as a guitar player. His first job was with his uncle Eugene aka Boo, at a nightclub gig in Casper, Wyoming.




In 1956 they traveled to Albuquerque, New Mexico in a group called The Sandia Mountain Boys, which was led by another Uncle named Dick Bills.

Within a couple of years, Glen Campbell had formed his own band called The Western Wranglers. By 1960 he moved to Los Angeles California and had a daytime job working for the American Music publishing company, writing songs and performing demo recordings. Word got out about this talented singer/guitar player and he was in demand.

Glen Campbell in The Champs
By October of that year he landed a job as a guitarist for The Champs who had recorded the 1958 hit,Tequila. Interestingly, the other Champs members at the time were Jimmy Seals and Dash Crofts.

Around this same time, Glen Campbell was hired by several session producers to play guitar with other anonymous back up musicians that later were came to be known as The Wrecking Crew.

Glen Campbell in the Wrecking Crew
Campbell played on recordings for such well-known acts as Bobby Darin, Ricky Nelson (Travelin’ Man), Dean Martin (he played on the hit Everybody Loves Somebody), Nat King Cole, The Monkees, Nancy Sinatra (These Boots are Made for Walking).

He aslo backed up Merle Haggard, Jan and Dean (Surf City), The Beach Boys (he played acoustic guitar on Be True to Your School, Pet Sounds and other recordings), Ronnie Dove, and Frank Sinatra. Phil Spector sought him out to play on some of his hits recorded by the Righteous Brothers.

Elvis, Priscilla, Campbell


Glen Campbell played on recordings for Elvis, striking up a friendship with The King. Both men came from the same humble Southern roots. Glen played guitar on many demo recordings for Elvis and on the album Viva Las Vega.





Campbell goes solo
By 1961, Campbell had left The Champs to pursue a solo career and was signed by Crest Record, which was a subsidiary of the music publishing company where he worked. His first recording, “Turn Around, Look at Me” peaked at #62 on the Billboard Hot 100 that same year. It later became a hit for The Vogues.

That same year Campbell formed another band called the Gee Cees with some of the members of The Champs and played at local clubs.

By 1962 he inked a deal with Capitol Records and had a minor hit with the song “Too Late to Worry, Too Blue to Cry”.

He continued to record and write music. However his forte at the time was the session work. He was featured on an incredible 586 recorded songs, despite the fact that he could not read music. He would have someone at the session sing or hum the part and he immediately played it “by ear”.

Not only did he play guitar, but doubled on banjo, mandolin, and bass guitar.

It was in 1964 that Campbell got into television, as a regular on several shows including a California series called Star Route, and the Shindig!, and another California series called Hollywood Jamboree.

Glen Campbell as a Beach Boy
Around this same time, Beach Boys founder and song writer Brian Wilson had succumb to a mental breakdown and quit touring with the band. The Beach Boys hired Glen Campbell to tour with them. For a year, Glen Campbell played bass guitar and sang harmony with the act.

In 1965 Glen Campbell finally had a a solo hit record with a song called Universal Soldier. This anti-war song (the US and allies were in the midst of the Vietnam War) was written by Buffy Sainte-Marie.

The following year, Campbell was hired again by The Beach Boys as a session player for their Pet Sounds album.

Rick Nelson and Glen Campbell 



Later that year he was hired to play bass guitar by Ricky Nelson on a tour of the Far East.




Campbell with Epiphone Zephyr
During his time as a session player, Glen played his Teisco guitar and an Epiphone Zephyr Deluxe.

It was in 1966 Glen finally struck gold when he was paired with songwriters Jimmy Webb and John Hartford.

He shared a friendship with both men throughout his life time.

Glen Campbell & John Hartford
John Hartford wrote and recorded Gentle on My Mind and Glen had heard Hartford's version. Campbell hired fellow session players to come into the Capitol Record studio and make a demo of him singing this song so he could pitch it to producer Al De Lory.

During the session, Campbell shouted directions to the players. He left the rough cut for De Lory to hear.

The next day De Lory listened to it and fell in love with the song and Glen's recording. De Lory immediately went to work on it, removing Glens directions to the musicians, but keeping Glens vocal and the music. Without telling Campbell, De Lory went ahead and released the song. It went on to become a mega hit for Campbell and won a Grammy for John Hartford.

In 1968 Campbell followed up with the song Wichita Lineman, which was penned and orchestrated by Jimmy Webb. Webb says he wrote the song as he drove through Washita County in southern Oklahoma.

The road was straight and seemed to go past endless lines of telephone poles. He saw a solitary lineman that was strapped at the top of one of these poles, doing repair work, causing Webb to think about the loneliness of this job. The phrase “singing in the wires” came from the vibrations induced by the electric current flowing through the lines.

Jimmy Webb and Glen Campbell
In his arrangement he tried to mimic this through the droning of the string parts and the sort of Morse code at the end of the verse. Webb had made a decision that Wichita Lineman had a better ring to it than "Washita" Lineman, so the songs working title was changed.

Campbell's recording was also produced by Al De Lory and charted for 15 weeks in 1968. It is listed among Rolling Stone Magazine’s list of 500 greatest songs of all time.

By The Time I Get To Phoenix
Campbell followed this up with two other Jimmy Webb songs; By the Time I Get to Phoenix, and Galveston. By the Time I Get to Phoenix was inspired by Webb’s break up with his girl friend. This song was originally recorded in 1965 by Johnny Rivers but failed to chart. Glen added it to his album in 1967.



Galveston
The song Galveston was Campbell’s follow up hit, released in 1969. Webb had written it as a war protest song during the Vietnam War years. During the Civil War the Battle of Galveston took place in 1863. I do not know if this battle influenced Webb. What I do know is that Webb imagined a soldier who had come to the realization that he was fighting for a cause that he felt was disingenuous.

Webb imagined the soldier thoughts and put them into these lyrics; "Wonder if she could forget me, I'd go home if they would let me, Put down this gun, and go to Galveston.

In 1968 Glen Campbell won 10 Grammys, three Hall of Fame Awards, a lifetime acheivement award, and the Country Music Association's Entertainer of the Year award.

Galveston - 45 rpm single
Hawaiian singer Don Ho introduced Glen Campbell to the song. However that profound verse was deleted and changed to; “I still hear your sea waves crashing, While I watch the cannons flashing, I clean my gun, and dream of Galveston.” This made it less of a protest song, more of a love song, and a number one Billboard hit for Campbell. This song came out in 1969.

Glen Campbell Goodtime Hour
Due to his popularity 1968 Glen Campbell was asked by CBS to be the summer time replacement host of the successful Smothers Brothers Comedy Hour variety show. The audience loved him and the following year he was invited to host The Glen Campbell Goodtime Hour.

This show debuted in 1969 and ran through 1972.

Jerry Reed and Campbell
Campbell introduced a lot of wonderful musicians on this show, including his friends Jerry Reed, John Hartford, Doug Dillard (the banjo player for the Dillards), and Mason Williams. Toward the end of the show, they would all sit together and play a few songs in the “Pickin’ Pit.


This show introduced a lot of people to Country Music that would not have listened to it otherwise.

Campbell also turned his talent to the movies, making appearances in one flick called Norwood, and the John Wayne movie, True Grit.

Rhinestone Cowboy
While touring Australia Campbell heard a tune by Country Music writer/singer Larry Weiss, called Rhinestone Cowboy. Campbell related to the song and upon returning to the United States took it to Capitol Record and recorded his version. It charted at number one on the Billboard Hot 100. (For those not familiar with Nashville, Tennessee, Broadway is the street where you can find all the music clubs.)



Allen Toussaint Southern Nights
New Orleans pianist and song writer Allen Toussaint has left us with some incredible music. In 1975 he wrote a song based on the childhood memories of the evenings he spent with his Creole grandparents on the porch of their home.

He called the song, "Southern Nights".

Toussaint’s version was down tempo, thoughtful, and the lyrics are just plain beautiful. Songwriter Jimmy Webb loved the song and brought it to Glens attention. With the help of his friend, Jerry Reed, they came up with the guitar introduction that featured the treble strings playing a descending two bar passage, while at the same the bass strings played an ascending passage. Glen’s version was uptempo, and cheerful, and was another hit for him.

Later in his career Campbell continued to tour, had three failed marriages, a fling with Country Music singer Tonya Tucker and had battled substance abuse. Most of this occurred during the mid 1970’s,

Glen and Kim Campbell


Glen finally got the help, discipline, and understanding he needed when, in 1982, he remarried for the last time to his wife Kim.


Campbell recording with
The Stone Temple Pilots

During the 1990’s he became a successful performer, owning his own Goodtime Theater In Branson, Missouri. He still toured the world giving concerts, sometimes with symphony orchestras.

In 2008 Glen decided to record a project called Meet Glen Campbell. This featured some songs by Green Day, The Foo Fighters, Dave Grohl, Tom Petty, Jackson Browne, John Lennon, Lou Reed and others. Backing him on this recording were Wendy Melvoin, who played keyboards for Prince, Tom Petty, Rick Neilsen, and Danzig guitarist Todd Youth. In addition to others that sang background, were Campbell's own children.

Glen and Ashley Campbell
The Last Tour
In 2010 his doctor gave him the dreadful diagnosis that Campbell was in the early stages of Alzheimer disease. The following year, 2011, Glenn, his wife, and the three children from his marriage to her, embarked on his farewell tour. His three children comprised most of his back up band.

The tour was filmed and the results showed his regression as the disease ravaged his brain. Though he could no longer remember lyrics to songs, he did not forget how to play guitar.

Sadly, he went into the studio and recorded one last song called I’m Not Going To Miss You. The recording was backed by several of his friends that played in The Wrecking Crew.

Campbell passed away last week on August 8th when the disease robbed his brain of the ability to control his central nervous system. Throughout his career Glen Campbell used a vast collection of guitars. One of the first guitar companies to have a relationship with Campbell was The Ovation guitar.

Ovations similar to those that Glen played

Ovation guitars were a fairly new comer to the guitar market, having its start around 1965, with the development of an acoustic guitar with a round fiberglass back. Glen Campbell like the rugged concept of the guitar.



He encouraged the company to produce a model with an acoustic pick up, since he did not like to have a microphone stand in front of him.

He also did not think the guitar was loud enough. CEO Charles Kaman took his advice and obliged by having his engineers develop one of the best under-saddle acoustic transducer/pickups that was ever designed.

In a meeting with Campbell, Mr. Kaman gave him one of the first Ovation acoustic-electric Balladeer guitars. Campbell used this guitar, and many other Ovation guitars on his Goodtime Hour televsion show.

Campbell with
Ovation Glen Campbell model
Among those guitars were the Ovation Balladeer (this one was redesigned especially for Glen and designated The Glen Campbell model 1627), an Ovation classical acoustic electric model 1613, an Ovation acoustic electric 12 string model 1615.


Campbell playing an Ovation Toronado


He also several Ovation electric models, including a Tornado electric guitar.





Ovation Viper models



Campbell played an Ovation six and 12 string Viper models in a blue-burst finish that were referred to as Bluebirds.







Ovation Toronado
The Tornado guitar that Glen can be seen playing on his TV show is an interesting guitar. Ovation did not build the bodies. They were manufactured in Germany by the same company that made bodies for some Framus guitars. The pickups were made by Schaller, another Germany manufacturer. The bodies and parts were sent to the Kaman factory in Connecticut for assembly and bolt-on Ovation necks were added. Even after the TV series ran its course, and late into his career.

Campbell with Ovation Breadwinner
Glen also played an Ovation Breadwinner. This was a uniquely shaped guitar that essentially looked like a battle-ax. The body was made of mahogany, the neck was bolt on, and the electronics were active.

Campbell continued to play Ovation guitars at his concerts throughout his career.

Campbell with Mosrite
12 sting
I do not know how much of a relationship Glen had with Semie Moseley, the creator/builder of Mosrite Guitars. I know that Glen played several Mosrite guitars, including a 12 string electric, a Mosrite hollow body Ventures 12 string model, and a custom Mosrite Californian resonator guitar that had 2 pickups.

Semie Moseley of Mosrite took over the Dobro operation from the Dopyera brothers in 1966. Their factory was based in Gardena California.

The first instruments that Mosrite made were assembled from original Dopyera parts in the Gardena factory.

Campbell with Mosrite Californian Dobro
Later on Semi phased in his own components and concepts. This guitar was made with Dobro parts and a Mosrite neck and pickups. Glen's name is inlaid on the fretboard.

He owned two other Mosrite electric guitars and one rare Mosrite acoustic guitar.

1966 Mosrite Celebrity

One was a Mosrite Celebrity model. The body was made by Framus, the neck, pickups, and electronics were by Moseley. The vibrato was made by Framus.



Plainsman Dobro 



The other was a 1966 Mosrite Plainsman Dobro electric guitar. This one was made by Dobro. Semie Moseley added the pickup, electronics, and added a Mosrite neck.






Campbell with Mosrite Seranader
The acoustic model is a 1965 Mosrite Serenader. The body is solid spruce, the back and sides are solid mahogany. The dove tailed neck has the Mosrite headstock. The unique pickguard has a tortoise-shell appearance. Glenn owned two of these guitars.

Campbell with a Fender Bass VI


Campbell played a Fender Bass VI on Wichita Lineman, and Galveston.







Campbell with a Stratocaster
Much later in his career he routinely played a dark blue Fender Stratocaster. On one of the forums that I used to visit, a guitar tech said that one of Glen's guitar techs brought it into his shop for some quick repairs and adjustments. He commented on the forum that it was a great guitar. Glen also owned a Lake Placid Blue stratocaster, a black stratocaster, and a red strat with twin humbuckers.


Campbell 1956


You can see from one picture towards the top of the page, Glen started out playing a Telecaster that was equipped with a Bigsby B5.

This Tele had the Bigbsy as an add-on, longer before Fender offered this option in 1967. The photo is from around 1956. He is playing at a store that sells house paint.



Glen with a G&L Comanche


Glenn also owned and played a G&L Comanche, which was a strat-style guitar that had split pickups.



Campbell with his guitars
Glen owned and played so many guitars, it is difficult to mention all of them.

Glen owned several Martin guitars, one was a Martin N-20 classical model.



Campbell with Martin




The other was probably a Martin D-28, since the sides appear to be rosewood.







Campbell's Ovation Vipers
(Blue Birds)



Glen loved 12 string guitars. He played his is can be often seen playing his Ovation Viper 12 string.








Campbell with Hamer 12 string

Later played a beautiful Hamer 12 string electric guitar that he used in concert when he played Southern Nights.


Glen was an amazing guitarist and vocalist. In fact he is one of the most versatile guitarists ever.

As a session player he played on many of the Beach Boys songs, and also played on Frank Sinatra's classic recording of Strangers In The Night. He loved his family, and made a life with his music that many of us can only dream about.

He remained an incredibly talented man right up to the end. He will be missed.

Click on the links under the photos for sources. Click on the links in the text for more information.
©UniqueGuitar Blog (text only)

Glen plays an incredible solo on a vintage late 1950's Stratocaster in this video










Categories: General Interest

IK Multimedia announces iRig Keys I/O

I Heart Guitar - Thu, 08/24/2017 - 02:37
 
IK Multimedia has just announced iRig Keys I/O, a keyboard controller with a built-in audio interface. I love this! Personally I find that one of the biggest impediments to my recording projects is having to set everything up and deal with cramped spaces while trying to feel free and creative. With iRig Keys I/O, IK Multimedia has packed together a keyboard controller with 25 or 49 full-sized keys, line/instrument/mic input with phantom power, eight MIDI-assignable drum/sample pads, assignable control knobs (actually they’re in two banks so there are effectively eight plus a volume/data one. Assign them to your AmpliTube 4 amp knobs!), balanced stereo and headphone outputs, transport controls for your DAW, two assignable touch strips and more. Imagine the possibilities: with just an iRig Keys I/O and an iPad or laptop you can take care of all your keyboard, drum pad, instrument and mic inputs in a single device when you’re out and about. At home, just plug the outputs into some powered monitors and you’re ready to rock. I have to get one!
 
Here’s the press release…

 
August 24, 2017 – IK Multimedia is proud to introduce iRig Keys I/O, the new breakthrough keyboard controller range featuring a built-in audio interface. It will be available in October 2017 and is now open for pre-order. The only keyboard controllers with 25 or 49 full-size keys to integrate a professional high-definition audio interface, iRig Keys I/O features 24-bit audio up to 96kHz sampling rate, a combo input jack for line, instrument or mic input with phantom power, balanced stereo output and high quality 1/8″ headphone output ideal for use with the latest Apple® devices like the iPhone® 7. iRig Keys I/O also includes all the controls users would expect from a premium keyboard, including velocity sensitive multicoloured pads and programmable touch-sensitive sliders, buttons and knobs in an ultra-portable package that includes everything needed to create complete music productions and is unmatched for speed and simplicity to connect and set up.
 
Built-in professional audio interface
iRig Keys I/O is the only controller range currently available on the market today featuring a professional 24-bit, 96kHz capable audio interface. This keeps cabling to a minimum and makes setting up as fast and easy as just plug and play. For recording the combination input handles 1/4″ or XLR sources and provides the best possible audio quality with a Class A preamp for dynamic and condenser mics (including 48V phantom power), to line instruments along with guitars and basses. When used in live performances the 1/4″ balanced stereo output allows for long cable runs directly to a PA or mixer which is perfect for keyboard players and DJs. All of this makes iRig Keys I/O the ideal creative tool for studio or live use, in any situation, providing a solution that is more convenient and affordable than having to buy a controller and audio interface separately.Control with touch
Starting with a fast synth-action keybed that improves on all previous IK keyboards, iRig Keys I/O includes all the controls expected from a premium controller and more. Both models feature a volume/data push knob, 4 touch-sensitive knobs on 2 banks (acting as 8 total controls) and 8 multicoloured LED velocity sensitive pads. There are also 2 fully programmable touch control strips acting by default as Pitch and Modulation controls. A complete touch sensitive transport and button section rounds out the controls available. All knobs, sliders and buttons are touch-sensitive using capacitive technology for ultra-fast action and immediate feedback, displaying the related parameter value just with a simple touch.

True plug-and-play
Being certified Apple MFi hardware (Made for iPhone and iPad) and thanks to the on-board audio interface, iRig Keys I/O works out of the box with all iOS devices with a Lightning port, including the latest generation iPhone 7 that does not have an audio output jack. The included Lighting cable allows for easy plug-and-play operation with Apple iOS devices and the USB cable connects Mac and PC computers. iRig Keys I/O also works seamlessly with popular Digital Audio Workstation (DAW) software like GarageBand®, Logic®, Ableton® Live™ and more.
 
Goes anywhere
iRig Keys I/O 25 and 49 key versions are the smallest controllers with full-size keys on the market today. This is a great advantage when working in studios or environments where space is at a premium and ideal for the travelling musician, not only for their ultra-compact size but also because they are 25% lighter than the nearest competitor. Furthermore, iRig Keys I/O can be powered by USB, an optional external power supply (that simultaneously charges an iOS device) or with 4 AA batteries for mobile music production anywhere.
 

Full suite of software included
With over $/€550 (in the 25-key version) and $/€750 (in the 49-key version) worth of IK software and apps, iRig Keys I/O includes an unrivalled selection of software allowing for complete productions when combined with a DAW or free composing and recording software like GarageBand. Included in both 25 and 49 key versions is Ableton® Live 9 Lite™ digital audio workstation, SampleTank 3 sound and groove workstation with over 43GB and 5000 sounds, T-RackS 4 Deluxe mix and mastering suite with 9 EQ and dynamics processors, and the Syntronik Pro-V vintage synthesizer. Plus, iPhone and iPad users receive the full version of SampleTank. Additionally, the 49-key version comes with Miroslav Philharmonik 2 CE orchestral workstation for Mac/PC and the mobile edition for iOS.Pricing and availability
iRig Keys I/O will be available in October 2017 and can be pre-ordered now from the IK Multimedia online store and IK authorised dealers worldwide for the remarkably affordable price of only $/€299.99* for the 49-key version and $/€199.99 for the 25-key version. In addition to the massive bundle of included software, iRig Keys I/O also comes with 4 x AA batteries, Mini-DIN to USB and Mini-DIN to Lightning cables and a device stand for iPhone and iPad.

* All prices excluding taxes

For more information, please visit:
www.irigkeys.io

For a video of iRig Keys I/O, please visit:
www.irigkeys.io/video

The post IK Multimedia announces iRig Keys I/O appeared first on I Heart Guitar.

Categories: General Interest

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