New FX gear - Digitech GSP-1101 + Control 2 - initial impressions

Mid-way through last year I'd just about sworn off all-in-one digital effects units... everything on the market seemed to suck too much tone (e.g., Boss GT-8), be too flexibile and therefore overly complicated (e.g., Lexicon MPX-G2), or be a bit too simplistic (e.g., Vox Tonelab SE). So I ended up getting out of the rack business altogether, building a pedalboard with a handful of relatively high-end pedals. But it wasn't long before I got tired of the tap-dancing game, which thankfully was about the same time the Digitech GSP1101 was announced. Looked extremely cool on paper (esp. with its promise to "not suck tone"), and the price-point seemed to indicate a happy medium between complexity and simplicity. At Winter NAMM '08 Digitech released the corresponding Control 2 footcontroller, and then I knew I'd have to give the GSP1101 a shot.

The GSP1101 marks the return to rack-mounted guitar processors for Digitech. I was a bit nostalgic, perhaps, because my first effects box was the original Digitech GSP21 Legend, which after several years I upgraded to the GSP2101 Artist. I sold that when I got a Johnson JM150, which was basically a GSP2112 mated to a power amp and speakers. I think I even had a GSP2120 at some point in time. Needless to say, I've had my fair share of Digitech rack gear over the years and thus had pretty high hopes/expectations for the GSP1101.

From a features standpoint, the GSP1101 is pretty loaded... 30+ amp, 20+ cabinet, 20+ stompbox, and 40+ effects models; XLR and headphone outs for direct recording; USB interface and X-Edit software for recording and modifying patches; and full MIDI implementation. The most cool feature, IMO, is implementation for 4-cable method, which allows certain effects (compressor, wah, overdrive) to be placed in front of the preamp and time-based effects (delay, reverb) to be placed post-preamp (or in the effects loop). This was the best feature of the Lexicon MPX-G2, but the GSP1101 has a simpler (easier to configure) implementation. And compared to the Boss GT-8's four-cable method implementation, much less prone to tone suckage. After wiring the GSP1101 into the rack (signal flow: guitar -> Axess BS2 -> GSP1101 input -> Egnater M4 -> GSP1101 return -> VHT 2/50/2) I walked through the "setup wizard"... it asked half a dozen questions to help configure the correct routing and levels. It worked perfectly the first time, and I was almost immediately up & running with the M4 in the GSP1101's loop. Very cool! Here's a pic of the GSP1101 installed in the rack...



The Control 2 has some cool tricks, too... it uses a proprietary communication protocol over CAT5 cable, which allows for 2-way communication between the rack & floor (so preset names and the tuner are accessible from the floor display). Granted, this isn't new to Digitech gear, but it's nice to use a readily available CAT5 cable instead of the GSP2101's non-MIDI-over-MIDI-cable implementation or the GSP21's completely proprietary cable. The built-in expression pedal has a toe-switch, so it engages like a real wah pedal. Plus there is support for a second expression pedal--I plugged in an EB volume pedal (using the EB's OUT jack) and it was recognized and functioning immediately. Of all the controllers I've owned over the years, the Control 2 feels the most durable... the switches and expression pedal have a very solid feel that inspires confidence. Short of spilling a beer into it at rehearsal, I doubt there's anything I could do to seriously damage it. Here's a pic of the Control 2 with the attached EB volume pedal...



At this point, I haven't had a lot of time to explore the tones, although I did check out several of the built-in models and the first impression was positive... the amp models sounded more realistic than the Boss GT-8 and Behringer V-AMP models, on par with the quality of the Vox Tonelab models. But in all honesty, I didn't buy this for amp & cab models (though I may use it for the occasional scratch or demo track in the studio). My goal is to use the GSP1101 primarily as an effects box with the M4 as a tone generator. Again, initial impressions here are positive.. the GSP1101 doesn't seem to mess with the tone or dynamics of the M4, but time will tell... I'm spending the afternoon today creating some patches and will get a chance to try them out at Necessary Distraction practice tomorrow. By then I'll have a much better understanding of both feel and tone quality.

So overall, at this point at least, I'm extremely impressed with the GSP1101 from a bang-for-the-buck perspective... It's all good when it comes to routing flexibility, transparency, model/effect quality, ease-of-use, and perceived durability. Almost too good to be true?!? We'll see... stay tuned for more updates as I start building patches for the M4 rig.

--B

Another truly new guitar - PRS Mira

When it rains, it pours... seems like every time I buy or sell something, it turns into a buying/selling spree where no less than 15 pieces of gear change hands (actually, it's closer to 25 this month, but who's counting?). Months like this, I swear I keep ebay/Paypal and Fedex in business!

So the latest guitar acquisition (another legitimately new axe) is a Paul Reed Smith Mira in Vintage Cherry with bird inlays. The Mira was introduced late 2007 at the PRS Experience event and was formally released for 2008 at Winter NAMM. It, like the recently-acquired 513, is considerably different than most of the PRS Custom models I've got around here: For starters, it's got an all mahogany body with a different body shape (kinda like a Les Paul DC) and pickguard mounted controls. Electronics include two Mira humbuckers (supposedly similar to the new PRS SC245 humbuckers without covers), volume, tone, 3-way blade, and mini-switch for coil splitting (vs. the typical PRS push-pull tone pot). This particular Mira has the wide-fat neck profile and PRS adjustable bridge (atypical for the Mira model). Unlike the 513, however, this is the least expensive American-made guitar that PRS manufactures. As such, it sports a much simpler (cleaner) design and feature set, with the same top-notch tone, playability, and attention to detail that the more expensive PRSi offer.

So how does it stack up? Pretty favorably, overall... At first I didn't know quite what to think... the pickups had a definite Gibson-esque voicing, and the setup and intonation (as shipped, at least) left considerable room for improvement. But after spending a bit of time to tweak the setup/intonation, I've been playing the Mira almost non-stop for the past few weeks. Why? It's a killer player... it's very light, very resonant, easy to get around, and sounds unlike anything else I own. Net, exactly what I was hoping for.

Before I forget (ha... not likely), here are a few pics of the Mira...





What's next? I'd still like to get my mitts on a McCarty Korina or Singlecut Satin/Trem. But I've pretty much blown the guitar budget for 2008, so I need to unload a few items first. Looks like I'll be spending tonight posting stuff on e-bay. :)

--B

Truly new guitar - PRS 513 Mahogany

The first guitar acquisition of the new year is in, and--a rare event around here--it's a legitimately new guitar (vs. most of the used ones I pick up on ebay, Craigslist, various forums, etc. And what is it, you ask? Why, it's a new PRS 513 Mahogany in Vintage Natural finish with 10-top and bird inlays! The 513 was originally introduced a couple years ago with a Brazilian rosewood neck... very cool, but expensive for my tastes. With the introduction of the newer 513 model with the mahogany neck, the cost is a little more in-line the other PRSi I've got around here.

So what's the big deal with the 513? There are actually quite a few differences vs. other PRS models... slightly longer scale length, different neck profile & heel, different bird inlays, even different frets. But the biggest difference is in the electronics: At first glance, the 513 appears to have 5 single coil pickups in a 2-1-2 configuration with two blade switches, a 5-way and a 3-way. The 5-way blade does the standard Strat-style switching: neck, neck + middle, middle, middle + bridge, bridge. The 3-way blade switches the neck & bridge pickup pairs between 3 "modes": heavy humbucking, clear humbucking, and single coil. Add it all up... 5 pickups + 13 sounds = 513. Or 18. Depends on how creative you are at math. ;)

Sounds complicated on paper, eh? But how does it sound in real life? Actually, truly unique and extremely versatile sums it up pretty well. The single coil modes deliver sufficient spank & twang for funk and country music, the clear humbucking modes are a bit smoother for jazz and blues, and the heavy humbucking modes deliver straight-ahead rock tones. So far I've used the 513 for a rock band rehearsal and a jazz band rehearsal, and it felt right at home (tonally) at both.

Of course, here are the obligatory pictures... check out that killer flame top and the abstract bird inlays...





--B

New amp gear - Randall RM100C 2x12 combo

So last weekend Bruce Egnater announced that the long-awaited upgrade for Randall RM100(C) amps was about to hit the market... this being the upgrade that allows Egnater dual-channel modules to be used in the RM100, effectively turning it into a 6-channel amp. Within about 15 minutes of the announcement being posted, I listed my RM50B Palomino for sale, picked up a NOS Randall RM100C 2x12 combo, and got on the official waiting list for the upgrade. While I've really liked some features of the RM50B--the switchable volume boost, the spring reverb, and (most of all) the custom tolex/grille cloth--I'm looking forward to having a few more channels at my disposal, even if I don't always need 50 more watts of power when jamming around.

This isn't the first RM100C I've owned... I had one as my "rehearsal" amp a few years ago when I was playing with The Burning Sensations. My tendency was to keep the RM4/RT2-50 rig (usually with Blackface, Brown, Recto, and Ultra Lead modules) home for recording, then use the RM100C (generally with the JTM, SL+, and XTC modules) for practices. I even had an RM20B around which almost always had the Top Boost module installed. But that's old news...

The new RM100C arrived Friday afternoon... I had a few minutes to unpack it and move it into the studio then; Saturday I had only a few minutes to power it up to make sure it was working. Yesterday, however, I had some quality time to jam around with it, and I'm digging it so far. Of course, it wasn't long before I got out the screwdriver and multimeter to start switching things up...

First I swapped out one of the stock Celestion G12T75's for a Classic Lead 80 I installed in the RM50B last year. (By the end of the week, I'll have a second CL80 here to install in the RM100C.)

Then I did a power tube swap... pulled the stock JJ EL34's (pretty nice for stock tubes, actually) and replaced them with a pair of Tung Sol 5881's and a pair of SED/Winged C 6L6's.

Last thing I did was load up some Egnater modules... while I currently can't take advantage of both channels on the dual modules, I can at least access one channel (the "A" channel). So I installed the B'MAN, COD, and MHG modules, which collectively remind me a bit of my old Mesa Mark IV (especially when paired with 6L6 power tubes and a CL80 speaker).

While I don't really need it yet (since the Randall ships with a 3-button MIDI controller), I also dusted off the Rocktron MidiMate... it'll be a great controller for the upgraded 6-channel amp, especially since it will run on the phantom power generated by the RM100C.

So it'll probably be a couple weeks before Egnater's ready to start doing the upgrades, at which point I'll have to remove the chassis and send it up to Michigan for a week or two. But it'll be worth it when all is said & done to have a Randall that can take advantage of all the dual channel modules I've got around here.



Looks pretty good with black modules, eh? Now I need to hunt down some matching creme knobs for the B'MAN module and the RM100 controls. And I need to resist the urge to change the grill cloth to the Marshall salt & pepper style. But after all, it's more important to look good than to sound good, right? :)

--B