Yamaha EMX512SC Powered Mixer Review

Greetings!

I mostly use powered speakers for gigs, as I my QSC K10s and K12s are loud and bulletproof, but for smaller gigs (i.e. karaoke parties) sometimes it is easier to not have to run extension cords to the speakers, so there is still a place in my world for an powered mixer with passive loudspeakers. This is why I am hanging on to my Yamaha EMX512SC mixer. You have certainly seen this same mixer being used by bar bands all over the world.

The EMX512SC is a 12-channel mixer, even though it only has 8 faders. In Yamaha math they count inputs with stereo channels twice, but either way, that is enough for whatever I am going to do with this thing. This mixer has dual 500 watt amps (max at 4 ohms), so it is plenty loud for most small to medium sized shows. It is a nice looking piece with a nubbly plastic case with built in handles, and it measures 18x12x11 inches, and weighs in at under 20 pounds. It is kind of a big box with a beveled edge on the back so it can be tilted up, or there are a couple of included plugs that keep it from tilting back if that is what you prefer. Those plugs always get lost.

The back of the mixer has an IEC power cable socket and a pair of output jacks, which include both ¼-inch and Speakon jacks.

The front side of the EMX512SC is a lot more complicated, but that is because it is chock full of features. The input channels each have a 3-band EQ, and there are 4 for monaural microphone (with phantom power and one-knob compression) or line input, and 4 pairs that can function either as monaural microphone inputs or stereo line inputs (2 with ¼-inch jacks and 2 with RCA jacks). There are also separate 7-band graphic EQs for both the main and monitor power channels.

Another neat feature is the power mode switch which allows the two amps to function in stereo, or as separate mono channels for mains and monitor. And one of my favorite features is the surprisingly useful knob that controls 16 SPX digital effects including reverb, echo, chorus, flanger, and phaser. The effects knob has its own level control and ON/OFF switch.

I run the EMX512SC with my low-tech Yamaha A12 loudspeakers, and this combo is definitely up to the task. This set-up has a warm sound that I never have found with the QSCs, and there are surprisingly good bass and mids for 12-inch speakers. This whole thing gets plenty loud without distorting - I consider Yamaha to be a solid brand, and these speakers meet my expectations every time. BTW, all I use are Yamaha mixers, and they have never let me down.

I believe this model has been discontinued, but if you vcan find one the Yamaha EMX512SC powered mixer sells for around $599 new each from most online sellers, and around $400 used. It sounds good, has good power output and features, and is plenty durable. What more could you ask for?

Mahalo!

Review: Yamaha A12 2-Way Passive Loudspeakers

Howdy!

I mostly use powered speakers for gigs, as I really love my QSC K10s and K12s, but for smaller gigs sometimes it is easier to not have to run extension cords to the speakers, so there is still a place in my world for passive loudspeakers. This is where the Yamaha A12 PA speakers come into my story.

The Yamaha A12s are 2-way passive speakers with a 12-inch woofer and a 1-inch diaphragm titanium high-frequency horn. I have no idea what the cabinets are made of as they are covered with fuzzy black carpet, but at this price point I suspect they are made of MDF. They are relatively light at 35 pounds each, and thy measure 16 x 23 x 13 inches. There is only one handle on these, a recessed unit on the top, so they are not entirely easy to wrestle onto speaker stands.

Spec-wise, they are 8 ohm speakers that are rated at 300W continuous / 500W peak, with a frequency range of 65Hz-20kHz, and a maximum of 125dB. Around back you will find ¼-ich and Speakon jacks, and not much of anything else.

I run the A12s with my old-school 500-watt Yamaha EMX512SC mixer, and they are certainly up to the task. They have a warm sound that I cannot really get with the QSCs, and they provide surprisingly good bass and mids for 12-inch speakers. And, of course they get plenty loud without distorting - I consider Yamaha to be a solid brand, and these speakers meet my expectations every time.

The Yamaha A12 loudspeakers sell for around $230 each from most online sellers, and they are a great deal. They sound good, have good power output, are durable, and will get the job done. Why kick a winner?

Mahalo!

NAMM 2018: Shure SM48 Microphone Field Test

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This is the final day of the 2018 Winter NAMM show; this year I shot a lot of video with my Zoom Q8, and I chose a Shure SM48-LC to record my dialogue. This microphone is similar in appearance to the venerable Shure SM58, but comes in at about half the price. Considering that I was going to be stuffing it into my bag repeatedly (and possibly dropping it a few times), I chose not to bring its more expensive sibling.

The SM48-LC looks almost identical to the SM58, with a nicely solid heft, and the instantly recognizable profile of the chromed steel mesh grill (that is maybe a touch bigger). It is available both with or without an ON/OFF switch, and mine is not equipped with one. The 48 is a dynamic mic with a different cartridge than the 58, and a frequency response of 55 to 14,000 Hz.

If you purchase one, you will get the mic, a nice vinyl carry bag, and a mic stand clip. These are made in Mexico, and you can expect to pay around $55 from online sellers. It is a good value, for sure.

It worked out very well for field recording, with no issues at all. To my ears, it is noticeably tinnier with less mids than an SM58, but the recordings were all clear, and its cardioid pattern did a fine job of isolating my voice from the terribly chaotic NAMM environment. Though I would not hesitate to buy another for this kind of use (or karaoke), I think that the reduced fidelity is not worth the cost savings to vocalists and bands, so I would advise them the save up another 50 bucks and buy the real thing, an SM58.

Mahalo!

NAMM 2018: Cable Porter Product Preview

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I had the opportunity to speak with Carlo from Cable Porter about their innovative cable management system that keeps organizes and prevents your leads from tangling. They provided me with a sample and I am hooked – I will need to purchase some more of these!

Please see the attached video to hear more about the Amp Hook, and for more information, please go to cableporter.com .

Mahalo!

IK Multimedia iRig Acoustic Stage Review

Howdy!

I recently had the chance to try out the IK Multimedia’s iRig Acoustic Stage, and found out that it is a painless interface for recording my acoustic instruments, such as my guitars and ukulele. It also comes in at a reasonable price point, so it will not break the bank, either.

IK Multimedia is an Italian company that has been around for 20 years, and they have found a niche of catering to musicians that are looking for digital solutions that have an analog sound. They make a lot of cool products, including killer amp and bass emulation software, tons of plug ins, and some handy hardware for recording. I reviewed their MODO BASS software last year, found that it was a good product, and had a blast trying it out.

iRig Acoustic Stage is one of the company's newest products, and it is a complete package that builds on their popular iRig Acoustic system. The hallmarks of the original system are all there, and set-up on the instrument is still super-easy -- all that needs to be done is clipping the microphone onto the soundhole (or f-hole). This non-permanent installation makes it easy to switch the mic to different axes. This is a MEMS (MicroElectrical-Mechanical System) microphone, similar to what you find in you smart phone; it is a durable unit with a flat frequency response. It has a built-in lead with a 1/8-inch jack on the end and a 1/8-inch splitter in the middle so you can send the signal to a pair of earbuds or a line out. This interface is the heart of the iRig Acoustic System, and it can be plugged directly into and iPhone or an iPad.

The microphone cable can also be plugged into the brand new IK Multimedia preamp and signal processing module, which is what differentiates the iRig Acoustic from the iRig Acoustic Stage. Two AA batteries power this unit, and it can be clipped to your belt or strap. Features include a preset tone button, a feedback kill button, a volume knob, a phase switch, and a mix knob so you can mix the iRig output with the guitar’s onboard pickup (if equipped). There is also a 1/4-inch output and a mini USB out for recording purposes.

And lastly, the remaining part of the equation is the free app that can be used with the microphone, AmpliTube Acoustic. This app has a calibration process that measures the instrument’s frequency response and optimizes the setup. AmpliTube Acoustic also has emulations of two solid state amps and one tube amp, each with built-in effects, such as compression, graphic and Parametric EQs, a 12-String emulator, and an octave pedal. Also, there is a “Body Modeler” that converts the sound of your guitar into another style of guitar. Recording features include a 4-track looper, an 8-track recorder/DAW, a speed trainer, and a digital tuner. There is also the option of routing the audio to a GarageBand track using the Inter-App feature.

So, I gave the iRig Acoustic Stage quite the workout. First, I loaded the software onto my iPhone SE and my iPad Air, and tried out the microphone on a Martin D-18, a Takamine EF341SC, and my Kala SMHT soprano ukulele. I set the preamp aside for a bit and ran the microphone straight into my iPad and iPhone, and was impressed with the simplicity of the set-up; I was up and running in no time. The tone was clear on all of these instruments, and it was handy to have a non-powered microphone set-up for quickly laying down a few tracks. The free app software worked seamlessly, and I was able to get a good tone fairly quickly with minimal changes in settings. If this is all you need to accomplish, you do not really need much more than the $50 original iRig Acoustic set-up, but I believe this will only work on IOS devices.

With the preamp and signal processing module added into the equation, you can use this system for most any application, as long as you have the cables to make it work. I tried a few different set-ups, mostly with the Takamine, which has an onboard pickup. Running the iRig signal only into an amplifier, the sound was clean and perhaps a bit more crisp than what I am used to with the factory pickup. When plugging the guitar’s output into the preamp, I was able to select a mix that was slightly heavier on the Piezo and was able to get a sound that was pleasantly woody, but still able to cut through very effectively. Throughout all of my tests, I did not run into any problems with feedback with any of my guitars or the ukulele. By the way, the ukulele was a lot of fun, and the system did a great job of recording it!

One advantage of using the preamp and signal processing module is that it was a lot nicer to be able to use my MacBook Pro instead of my phone or tablet, as it was easier for me to dial in the controls on the app. I really dig the looper feature, and they have a lot of tempting upgrades that are available. There is a lot more that I would like to do with the iRig Acoustic Stage, and I will continue to experiment with it. At this time, I do not really have any gripes with the components or software, though I am being very careful with the microphone lead, as the cable is thin and I am worried about pinching it and screwing things up.

So, right out of the box, I am going to say that the IK Multimedia iRig Acoustic Stage is a winner, and it is well worth the $99 that it is selling for. All of the major online retailers are carrying it, so it should not be too hard to track one down if you want to give it a try!

Mahalo!

QSC Introduces Their New K.2 Series Loudspeakers

Aloha!

I have been using QSC K Series powered loudspeakers for years, and my K12 and K10 speakers have never let me down. Yesterday, QSC announced their new K.2 Series speakers, and they have twice the power output with no weight gain. I imagine the old versions of the speakers will be on clearance, and there might be some killer bargains out there.

Here is the QSC press release:

Costa Mesa, CA (April 17, 2017) – QSC, LLC is pleased to introduce the K.2 Series, the highly anticipated next generation of the company’s global best-selling K Family line of powered loudspeakers. The new K.2 Series, which is comprised of the 8-inch K8.2, 10-inch K10.2 and 12-inch K12.2 full-range loudspeakers, offers a number of significant feature upgrades, establishing an entirely new standard in powered loudspeaker technology. QSC is also announcing the introduction of the KS212C, a first-in-class, single-box powered cardioid subwoofer.

Each loudspeaker model in the K.2 Series is equipped with a 2000-watt power module carefully matched to high-performance woofers and compression drivers. DMT™ (Directivity-Matched Transition) ensures smooth coverage across the entire listening area. On-board DSP provides Intrinsic Correction™ voicing and advanced system management to further optimize performance.

Superbly flexible, K.2 Series models additionally provide operators with a library of preset contours for common applications such as Stage Monitor, Dance Music, Musical Instrument Amplification, Hand-held Microphone and more, while also offering storable Scenes to recall user-configurable settings such as input type, delay, EQ, cross-over and selected contour via the loudspeakers’ LCD screen and control panel. All three models can be operated as either main PA or as a floor monitor. Each model can also be flown, wall- or truss-mounted, or placed on a speaker pole, either straight-firing or with 7.5-degree down-tilt utilizing the new dual pole cup. “The phenomenal success of the K Series is unprecedented in the pro audio industry and a testament to the values of great design, high performance, steadfast quality and long-term reliability,” says Ray van Straten, Sr. Director of Marketing, QSC Professional. “This next-generation product raises the bar yet again for the category and will most certainly further reinforce the reputation of the K Family brand for many years to come.”

The perfect complement to both the new K.2 loudspeaker line as well as legacy K Series full-range models, the new KS212C Cardioid Subwoofer represents a breakthrough in innovation and design, uniquely providing all the benefits of a cardioid subwoofer array in a single, compact enclosure. “Keeping bass in its place” for mobile entertainers, AV production and rental professionals, as well as modestly-sized performance venues, the KS212C cardioid subwoofer is unparalleled in its ability to manage low frequencies on the stage, or any application where undesirable low frequency energy needs to be minimized. Dual 12-inch long-excursion drivers, each arranged in a 6th order bandpass chamber, are powered by a 3,600 Watt amplifier and controlled by the system’s DSP to produce a staggering 15 dB more output at the front of the cabinet than at the rear. Like the K.2 Series, the KS212C provides advanced DSP with on-board user-controllable and recallable Scenes via the LCD screen and control panel. Highly portable, the cabinet features comfortable, aluminum handles and four, rear-mounted casters. Two M20 sockets are provided to accept a 35mm speaker pole in either vertical or horizontal deployment of the sub.

Additionally, QSC is also proud to announce that K.2 Series models as well as the KS212C Cardioid Subwoofer feature a global 6-Year Warranty with product registration.

The K.2 Series will be available in select markets in mid-May 2017. Estimated (U.S) street prices are: $649.99 for the K8.2; $699.99 for the K10.2 and $799.99 for the K12.2. The KS212C cardioid subwoofer is expected to ship in late Summer 2017. Estimated US street price is $1,399.99.

Mahalo!

NAMM 2017: Etymotic Music Pro 9-15 Earplugs Review

Aloha!

Smart people in the music business understand that their hearing is a blessing (and their livelihood), and that prolonged exposure to loud sounds will degrade or destroy this finite resource. But, many earplugs wreck the tonal qualities of music, leaving a dead mess that is pretty much unlistenable. So, some musicians and concertgoers eschew earplugs and kill their hearing, replacing it with tinnitus -- which is a really crummy trade-off. Trust me on this. There is a viable solution to this problem, and it is the Music Pro 9-15 Earplugs from Etymotic Research Inc.

Etymotic is located in Elk Grove Village, Illinois, which is near Chicago’s O’Hare Airport. They have been around since 1983, making earphones, earplugs, in-ear monitors, and hearing protection for musicians, firearms enthusiasts, and tradesmen; there is even a line of products designed for children. I met up with Etymotic’s National Sales Manager, Andrew, at NAMM 2017 and he patiently went through the features of the Music Pro 9-15 earplugs. I came away very impressed!

The Music Pro plugs are a huge step beyond whatever silicone or foam rubber things you are cramming into your ears right now. These are adaptive noise-reduction units that automatically adjust to changing sound levels. They have an amazingly natural sound, and only provide protection when needed. And they adapt to sounds incredibly quickly, so that a cymbal crash or pyrotechnic discharge will be muffled right away.

There are two levels of protection that are available at the flip of a switch: 9-dB or 15-dB. At lower sound pressure levels it almost seems like the plugs are not doing much, but as sound approaches unsafe levels, the earplugs will gradually provide 9- or 15-dB sound reduction. As an added bonus, on the 9-dB setting, there is actually a 6-dB gain for soft sounds, which might make eavesdropping on whispered office conversations a little easier. This boost begins to taper off above 70dB, which is where sound levels begin to be attenuated in either mode.

The Music Pro earplugs are lightweight and after selecting eartips that fit my gigantic ear canals, they fit very comfortably. The NAMM environment is fairly terrible from a sound standpoint, which made it an awesome environment to try them out. Indeed, they let in enough sound so that I did not feel like I was missing out on anything, while cutting out painful sounds from the nearby drums and cymbals. And, I was able to converse with Andrew without any difficulty. Etymotic passed the test!

In the Music Pro earplugs box, you will receive a pair of MP•9-15 earplugs, a selection of ACCU•Fit eartips, a flexible neck cord, a filter tool and ACCU•filters, a cleaning tool, batteries (#10), a user’s manual, and a case. Always use the case, as these things are kind of expensive and you do not want to lose or damage them.

Now, these earplugs are electronic, so they run on #10 hearing aid batteries, which you can find at pretty much any drugstore or supermarket. If you are ready to complain about the price of batteries, try buying these same batteries for your really expensive hearing aids for the rest of your life. This can be your future if you do not take care of you hearing…

Etymotic Music Pro 9-15 earplugs cost $299, so they are not cheap, but they are worth every penny as they are an amazing product that could allow you to enjoy your favorite live music at levels are more enjoyable and less destructive. How much is your hearing worth? For more details or to order a set of your own, head on over to www.etymotic.com

Mahalo!

NAMM 2017: Radial Engineering Key-Largo Keyboard Mixer Preview

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I pretty much like everything I have purchased from Radial Engineering, and their Firefly, JDI and J48 are all amongst the best DIs I have ever used. Overall, Radial Engineering builds an impressive collection of professional audio, and one of their stuff is cheap, as they use quality components and their boxes are built with workers earning first-world wages in Canada.

I had the pleasure of meeting with Jay from Radial at NAMM 2017, and he walked me through all of their new products, including splitter boxes, stereo attenuators, a backing track switcher, and all kinds of other cool stuff, but my favorite piece was the new Key-Largo keyboard mixer and DI. This is a useful product that is unlike anything else on the market, which puts Radial Engineering in a good position to sell a metric ton of these things.

Keyboard players often use more than one keyboard, which can get tricky when tying their sound into the mixing board. Some will source a small mixer and cobble things together with the end results that are not always great. Radial took this into account and developed the Key-Largo for this crowd, integrating a dedicated mixer with a DAC, an effects loop, and remote controls, all of this in a relatively small pedal format. Let’s look at what you will have to work with on this unit:

There are plenty of inputs and outputs to work with on the Key Largo. You have four inputs: three stereo ¼-inch jacks and a USB input, as well as stereo effect inputs. Outputs include balanced ¼ TRS stereo monitor jacks and a pair of XLR stereo outs. Also included are a MIDI IN/OUT, and a jack for a volume pedal.

The controls are simple, so that the user will not get bogged down when trying to use this unit live. Each of the four channels has a level control and an effect send knob. There is also and effects receive knob, and level controls for the monitor and main outs (each with a ground lift switch). The two footswitches control sustain and effects send / receive.

The functionality of the Radial Engineering Key-Largo goes beyond what you would get if you bought a small mixer to use with your synths. The USB connection lets you tap into audio files on your laptop and add them into the live keyboard mix. The mixer allows the addition of a stereo rackmount effect to the mix, with the footswitch turning on the effects loop, and the MIDI connectors allow pass-through data to other devices. And of course, it is cool that the keyboardist can set up his own output to the mains and monitors.

I think that Radial Engineering’s Key-Largo is a product that keyboardists will really dig, and it should sell itself, especially with its surprisingly low price of around $379.00. It goes on sale in February, 2017; for more details head on over to radialeng.com

Mahalo!

NAMM 2017: Selling Your Music Gear On Reverb.com

Aloha!

I have been selling music gear on the biggest online auction website for almost 20 years now, and as the years have gone by my satisfaction has waned as costs and regulations have ballooned, while finding buyers has become more difficult. Don't even get me started on Craigslist, which is a cesspool of humanity and scam artists.

I have been using Reverb.com for online purchases for a year now, but never even thought of using it to unload gear that I am no longer using. And I have a lot of gear that is not doing much of anything right now! After speaking with Rachel from Reverb.com at the 2017 NAMM show, I am going to have to give it a shot and get some of my guitars, basses, speakers, and live sound equipment up for sale pronto.

Reverb.com is pretty much an online service that puts buyers in touch with retailers and everyday people who are selling new and used gear. The company is based in Chicago and was founded in 2013 by David Kalt, who you might also know as the head honcho for Chicago Music Exchange. This website is a completely separate entity that was founded to be “An online community created and run by musicians where buying and selling music gear is easy and affordable.”

In my dealings with Reverb.com, I think that they have achieved this goal. When I buy something through them my interactions are with musicians who are knowledgeable about their products. Many online auction site sellers know nothing about the gear they are peddling, and I have been disappointed many times with products I have received. This is not the case with Reverb, as my very few less than great experiences were solved quickly after contacting the sellers, who were more than happy to make things right.

Rachel went through the whole process of signing up for a Reverb.com account, which is free, and explained the fee structure to me. It is simple, really. There is no fee to list items, and Reverb.com collects a 3.5% fee of the final selling price of items ($0.50 minimum and $350 maximum fee) – compare this to what you are paying on other sites. She also showed me how to list items (also easy - only one page to fill out) and let me know that listings can go until the items sell, with no charge if you need to cancel the listing for any reason.

It seems like a no-brainer, so I am going to have to give Reverb.com a shot. I will document how everything goes, and provide updates on Rex and the Bass. In the meantime, head over to reverb.com to check things out for yourself!

Mahalo!

NAMM 2017: Mighty Bright NuFlex LED Music Stand Light Review

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There are plenty of clip-on lights out there to choose from, so how does the discerning consumer decide which product to clip onto their music stand or mixing desk? For me, the answer is to choose the most reliable product, and lights from Santa Barbara based Mighty Bright have a stellar reputation, not to mention a staggering number of models to choose from. Today we are looking at the NuFlex, which was introduced at the 2016 Winter NAMM show, where it was selected by Music Inc. magazine for an Editor’s Choice Award.

The NuFlex is a tidy clip-on lamp that sports 3 LEDs on the end of a flexible neck. The clamp is beefy and has a nice rubberized jaws, and the whole thing is about 8 inches long and weighs a tad over 5 ounces. Also in the package you will find a nylon carry sack and 3 AAA batteries. You are not stuck with using batteries, though, as there is a micro USB port on the battery compartment which would be handy for more permanent installations The micro USB cable and power source are not included, but everybody and their brother has this kind of stuff lying around.

Moving on to the actual performance of the NuFlex, I was very impressed with the fit and finish, as well as the ability of the clip to hold onto surfaces as varied as a Hamilton music stand, the edge of my kitchen table, a hardcover book, and the top of a laptop screen. This thing would have been a godsend when I was changing my kid’s timing belt a few weeks ago! The flexible neck feels sturdy and stays put wherever I angle it. Mighty Bright has first-class customer service, but with products of this quality I cannot imagine that they have a lot of returns.

The light itself is not the ghoulish blue glow that you find on cheaper products. Instead, the light is a warm, and puts out up to 35 lumens (Whatever that means, I am not a scientist). When I say “up to” that means that the light is dimmable, and by holding the power switch down it will transition from brighter to dimmer, and then back again. Apparently 35 lumens are enough to illuminate up sheet music, computer keyboards, and shop projects, as I never felt like I needed more light when using the NuFlex.

Best of all, the Mighty Bright NuFlex will not break the bank, as it comes in under 25 bucks. And if you want something besides black, there are four other colors to choose from. This thing is a winner, and I do not miss the plug-in incandescent lamps that we used to stick on our stands in the old days.

For more information or to purchase, head over to www.mightybright.com

Mahalo!

NAMM 2017: Clear Tune Monitors Vintage Series In-Ear Monitors Review

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I am a big fan of in-ear monitors and was recently able to check out Clear Tune Monitors' new Vintage Series products, and they seem like a very good value.

Clear Tune Monitors (CTM) is based out of Orlando, Florida, and they have been in the business of selling custom-fit in-ear monitors for a while. But, the custom market is not for everybody as they are expensive, there is a certain amount of hassle involved in getting the molds made, and they take a awhile to be made.

The Vintage Series of monitors is a solid attempt by CTM to reach a few new demographics – musicians who are looking for universal fit monitors, and people who are looking for high-end earbuds. To meet these folks’ needs there are three different models in this series:

- VS2. These are 2 driver, 2-way monitors designed more for audiophiles. They have a fairly flat sound curve and a clear tone. Specs are 110dB @ 1mw input sensitivity, frequency response of 20 Hz to 15.5 kHz, and impedance of 20ohm @ 1 kHz. The list price of the VS2 monitors is $399.99.

- VS3. These are 3 driver, 3-way monitors that are designed more for on-stage musicians. They have a very sharp tone with incredible bass and mids – the kick drum really pops with these, making them my favorite of the bunch. Specs are 124dB @ 1mw input sensitivity, frequency response of 20 Hz to 16 kHz, and impedance of 20ohm @ 1 kHz. The list price of the VS3 monitors is $499.99.

- VS4. These are 4-driver, 3-way monitors that have a very warm sound with terrific mids. They sound great, and would be my choice for general music listening. Specs are 119dB @ 1mw input sensitivity, frequency response of 20 Hz to 16.5 kHz, and impedance of 28ohm @ 1 kHz. The list price of the VS4 is $599.99.

All of these monitor systems provide -26dB of noise isolation, and they All of have a 1-year warranty, with cables that are replaceable separately. They come in cool packaging, and include an assortment of different foam and silicone tips, a ¼-inch adapter, a tool to clean the ear goo out of them, and a nice zippered case.

It should also be mentioned that the Vintage Series monitors have cool chrome accents (sort of a 50s vibe), and come in four attractive colors: Darth Black (seriously), Intense Red, Dusty Blue, and Passion Pink. In my book, the pink is the coolest. Your mileage may vary…

As I said, the VS3 are my favorites, but you are not going to go wrong with any of these Clear Tune Monitors products. Of course, keep in min that the way we hear sounds is subjective, so it is always nice to try before you buy. I tried, and came impressed! For more details or to order, go to www.cleartunemonitors.com

Mahalo!

DR Pro DJ Laptop Stand Review

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When I take a laptop to a gig I like to have it closer to eye height, so a laptop stand comes in pretty handy. I recently picked up a DR Pro model DRDJLS1 DJ laptop stand, and I thought I would let you know how it is working out.

The DRDJLS1 is billed as being easily adjustable, and I am not going to argue with this very much. The way that is constructed allows the height to be adjusted from 8 inches to 12 inches, and the width from 9 inches to 11 inches. There is also flexibility in mounting this unit, as it can be set on a table, or mounted to a case with sturdy clamps that are included in the kit. An added bonus is a removable shelf that is a handy place to put accessories, like effect pedals, hard drives, and whatnot. Whatnot.

Assembling this laptop stand was pretty straightforward, as all of the parts were well-organized in the box and the instructions were pretty clear. The only tool that was needed for assembly was a Philips-head screwdriver, and may of the pieced screwed together with plastic knobs. Everything lines up ok, and a lot of extra screws were included. This is obviously a quality piece of equipment, made of heavier steel than other stands I have seen on the market. Of course this means it is heavy, and it comes in at around 5 ½ pounds, which makes it not very fun to cart around.

This bulk makes the DR Pro laptop stand really solid, and I am not worried about it falling apart. I am annoyed by the lack of adjustment for the angles of the laptop stand and the shelf. Also, it does not easily break down. It actually has to be disassembled if you want it easier to stow for your gigs. Although it is well made, there are only a certain number of times you can unscrew things before the threads start to wear out and the plastic knobs start to crack.

So, this stand is not exactly portable, and it is pretty much delegated to my office, where it does a wonderful job of getting my laptop and docking station off of my desk. What I use it for

The DR Pro DJ laptop stand is a pretty good piece of equipment, but its weight, the lack of angle adjustment, and the inability to quickly break it down will relegate this to home use only for me. The marketing of this stand exacerbates this situation, as none of the sellers I found online mention any useful details about the unit, such as its actual dimensions or its weight.

But still, it is really nice for home of office use, and if you are looking for one, it will be worth your time to research the best deal. The list price for the DRDJLS1 is $99.99, making it one of the more expensive stands on the market. But, they sell on Amazon for $$67.97, and I have seen them on sale for as low as $30, which is a pretty darned good deal, as long as you don't need to haul it around on a regular basis

Mahalo!

Proline LST2BK Tripod Speaker Stand Review

Aloha!

Today we are looking at one of the workhorse components of my live sound set-up. I have been using a pair of Proline LST2BK tripod speaker stands for over 5 years, and these budget-friendly medium duty stands have been no trouble at all!

I bought these stands at the last minute before a show, and ended up selecting them because they were they were on sale and looked like they would be good enough. They are rated for 150 pounds each (really?), can adjust from heights of 45 to 73 inches, and include an adapter so they can be with speakers that have either 1 3/8” (35mm) or 1 ½” sockets. They are light and pack up small so they are easy to bring along on gigs.

The LST2BK stand has a steel center shaft with an aluminum housing and legs, and everything is connected together by kind of cheap looking plastic joints and hardware. All of the metal is powder-coated black, which goes with everything!

I have used these stands with many different models of powered speakers, including Yamaha DXRs, the ill-fated Mackie Thumps, and my current QSC K12 set-up. All of these speakers have 35mm sockets, and after a few years of moving the unused aluminum 1 ½ inch adapters around my shop, I finally tossed them in the recycling bin. I have not missed them.

Setting up the stands is easy: just extend the legs and lock them down, set the speaker height (preferably using the included locking pins), and crank down the height knob. I lost one of the locking pins a few years back, but the height knob still has sufficient tension to hold the mast in place, even with a 41-pound K12 in place. The stands are more stable than they look, though I usually take it easy on them and adjust the legs so that the mast is setting on the ground, which provides that extra bit of security.

They have worked very well: they have never fallen over, the joints are still tight, and nothing has broken on them; even the black finish has held up well with just a few scratches. I have seen reviews from people that complain that they have lost hardware or broken the plastic pieces, but maybe these are just folks that do not take very good care of their stuff. I would buy more of these in a heartbeat, and indeed, a few years back I ended up getting two more for a really big show I was doing.

The Proline LST2BK speaker stands work well, and they come in at a really decent price of $39.99 from most online sellers. They might not be as heavy-duty as some of the $100 stands on the market, but for most applications they will work just fine. Trust me!

Mahalo!

Lifetime 6 Foot Folding Table Review

Aloha!

I know: “Why are you reviewing a table on a music blog?” Well, when I was setting up for a show last Sunday I realized how much easier packing my car is with this Lifetime 6 foot folding table. This thing is a folding table plus, since it also folds in half!

I have used this table for about 3 years now, and it has been awesome. It has a blow molded HDPE top that does not scratch easily and has not turned weird colors after being used in the bright sun. The legs and frame are 1-inch tubular steel that is powder coated for corrosion resistance.

The size is fairly standard, as it is 72 inches long, 30 inches deep, and 29 inches tall. When folded in half, it is a very manageable 36 inches by 30 inches by 3 inches. It only weighs 26 pounds, yet the manufacturer says it can hold up to 469 pounds. I am a little skeptical, but if you spread the weight over the whole thing it might work. All I know is that I can pile a couple of road cases and 12-inch powered speakers on it with no trouble at all.

Like I said, I have been using this table for years, and over this time I have not had any issues with it. Nothing has broken on it, it folds and unfolds easily, and there is a even a padded handle for carrying it around. Given a choice, I would prefer a smaller overall size, as I never need quite as much real estate as this one takes up. Lifetime has a 5-foot fold in half table that is only 27 inches wide, which would be a better size for me, but nobody local to me seems to be selling them.

Anyway, if you are looking for a highly portable table for gigs, I would highly recommend picking up one of these Lifetime folding table. They are only around $45 each, and you can find them at you local Lowe’s or Home Depot.

Mahalo!