Shure BLX24/SM58 Wireless Microphone System Review

Howdy!

There comes a time for many bands or DJs when they decide that their set-up would be better off without wires and they are willing to pony up for a wireless system. Unfortunately, often times they start out with entry-level equipment that just does not get the mail delivered. Surely you have run into this before, or seen it in This is Spinal Tap: radio interference, cutting out, and intermittent bursts of shrieking and static.

That is why I spent a little extra time researching and trying different systems before I ended up getting the Shure BLX24/SM58 wireless handheld microphone system. This system includes a BLX4 receiver, a BLX2/SM58 microphone, and a transmitter. This is delivered in a nice cordura case that looks like it should have a gun in it.

The BLX4 receiver is a nice looking unit, with an LED channel indicator display on the front, and ¼-inch and XLR connector output terminals on the back. This assembly is capable of receiving signals from 90 selectable frequencies across 24MHz bandwidth which provides plenty of opportunities to find some clear radio waves to use.

The BLX2/SM58 is bigger than a conventional SM58 microphone, and this is no surprise as the batteries and the transmitter have to go somewhere. It has a mute switch as well as a multi-function LED that lets the user know if the mute is ON, the power is ON, the power is low, or if the mute is locked out. The lock out feature is handy if you want to keep the user from accidentally turning off the microphone. Just press and hold the switch for 10 seconds while the power is on and it will lock the switch out.

System set-up is easy: I just plugged in in, connected a cable from the XLR output to my mixer (just like a regular microphone) and turned it on. I installed two AA batteries in the transmitter (they are supposed to last up to 14hours) and turned it ON. Before putting the battery cover back on I synced the transmitter to the receiver and that was it. The automatic transmitter set-up and automatic frequency selection paired the system lickety-split and it was ready to use with no hassles.

The sound performance of the BLX2/SM58 wireless microphone is identical to my conventional wired SM58 microphones. I have not had any wireless problems, such as static or cutting out, and there has not really been any downside to using this system.

Of course I install new batteries before each use, so I have not had any problems with battery failure. I find that Shure’s claim of 14 hours of battery is credible, though I have never had need to use them for more than 10 hours at a time.

I would have a hard time with letting some drunken karaoke performer loose with one of these, though as they do not come cheaply. The list price for a complete Shure BLX24/SM58 system is $436, and the street price is $350. So, you might be tempted to shop around and buy a dirt-cheap one from a shady seller, but be very careful when buying Shure wireless systems online or from Craigslist ads, as they are now being counterfeited like there is no tomorrow. I have seen a few of these systems being offered on eBay from foreign sellers for half the price without OEM packaging. Caveat emptor, amigos…

Mahalo!

Brothers Brown – Dusty Road | Album Review (Release Date: March 28)

Brothers Brown – Dusty Road

335 Records

www.335records.com

12 tracks / 46:49

When people talk about musical supergroups, it often conjures images of shredding guitar heroes and metal band members who are trying to figure out what to do with their lives now that the 1980s are over. This is not what we got with the Brothers Brown, a group of four supremely talented musicians who got together and recorded Dusty Road, an album of very tight and original American music.

It is better to get to the confusing part right away – the band is led by two guys names Paul Brown. The first Paul Brown is a Grammy winning Los Angeles-based producer, guitarist, singer, and songwriter. And Brother Paul Brown is a Grammy nominated Nashville-based producer, keyboardist, and songwriter. The backline is also from Nashville, and they are David Santos on bass (Billy Joel, Elton John, etc.) and Pete Young behind the drum kit (Loretta Lynn, Burrito Brother, and more). All four members get production and writing credit for the dozen tracks on their debut album, Dusty Road, which is scheduled for release on March 28, 2016.

Brothers Brown’s Facebook page says this is a blues band, but when they kick off their set with “Cup of Tea,” you will hear that it is not possible to shoehorn their sound into a single genre. With trick rhythms on the drums, classic organs sounds, jazzy piano, countrified lead vocals, and R&B backing vocals, there is a lot going on here. But there are a few things that are easy to define: these guys can write a slick song, and they are really good musicians. Things do not let up from here, as every other song on this disc as just as good.

There seems to be an equal partnership in this group. The Browns get frontman duty (of course) but we also get to hear how well Santos sings on the country-rocker, “The River,” and Young gets his turn behind the mic on the bluesy ballad, “Drink You off My Mind.” When trying to find a group to compare these guys to, I am at a little bit of a loss, but am going to go with Steely Dan. Why? Not because they sound like them, but because there is a bit of jazz in their sound, their lyrics are clever and cover a wide range of subjects, and they seem to have tried really hard to achieve perfection.

After hearing how tight the band is and how well this album is put together, it is hard to believe that each member recorded their own parts in their own studios, and shared their files for the final product. These guys sound like they have been playing together for years, which is a testimony to their talent and professionalism.

So, the Brothers Brown’s Dusty Road is a very good album, but where does the band go from here? As with many other supergroups, these guys already have active careers, and I have not heard of plans for shows or a tour. So, check out the album when it comes out on March 28, and like their Facebook page so you can keep up with what is going on with the band. Let’s hope they keep this gig going for a bit longer!

2011 MusicMan Stingray 4H Bass Review

Greetings!

I have long been a big fan of the MusicMan Stingray bass and it seems like I always have one around the house because I think they are the best bolt-neck production basses on the market. So, this seems like a good opportunity to look over the 2011 Stingray that I recently picked up.

The Stingray bass was designed by Leo Fender and Tom Walker, and it was introduced in 1976. It was originally available only as a 4-string with a single humbucker pickup, a two band equalizer, and active electronics. This was one of the earliest productions basses with an active pre-amplifier, if not the first. This gave it more output and a more aggressive sound than the competition.

Ever since Ernie Ball Strings bought the MusicMan brand in the 1980s, there has been a constant improvement in features and options available for the Stingray, including: contoured bodies, improved neck joints, better truss rod ergonomics, and more than enough electronics and pickup configurations. But I am a simple man, and I still prefer a plain-old Stingray with a single humbucker pickup and the 2-band or 3-band (like this one) equalizer. And that is why this bass appeals to me so much - because it is pretty close to the way it was originally intended to be.

As I said before, this Stingray was built in 2011, and it is finished in a glossy black, like a lot of these are. This one has a contoured hardwood body with a six-bolt neck joint (for extra special sturdiness and sustain). It has has had a gentle life, so it is still in terrific shape.

The neck is a peach. It is true, and the truss rod works freely (you have to love the easy to adjust trussrod wheel). It has a nice-looking rosewood fretboard, and the 21 high-profile frets are still in good shape. The back of the neck is finished in gunstock oil and wax, which always feels as smooth as silk, though it does show dirt more. This one has a compensated nut, which I am unable to hear any intonation difference from, but someone with a good ear might…

The original hardware is all there, which includes the Schaller BM tapered post tuners and the high-mass bridge. I love the way the bridge bolts so solidly to the body on these basses. It is not a Classic model, so it does not have the string mutes, but I am not sure how many people actually use those things anyway.

The electronics are also unmolested, with the original single humbucker pickup and 3-band preamp. Stingrays have punch to spare, making them fabulous funk or rock basses. This is a well-made bass. The finish is perfect and the frets are simply gorgeous. I strung it up with some new regular gauge Slinkies, dropped the action a little, and It plays well and sounds magnificent, just like every other Stingray I have ever owned. As a bonus, it is relatively light (for a Stingray, that is), coming it at a little under 9 1/2 pounds. All bass players should own one of these at least once in their career.

Mahalo!

Review of West Side Story from Musical Theatre West

Hello!

I have been a season subscriber to Musical Theatre West for a few years, and have almost always been pleased with their offerings. So, I was thrilled when I saw that the classic West Side Story was on the schedule for the 2015-2016 season. I saw it this past weekend and it was pretty good!

Musical Theatre West has been around since 1952, when it started out as the Whittier Civic Light Opera. Their productions evolved over time, and they went from being an all-volunteer operation to producing full seasons, currently under the capable leadership and vision of Executive Director/produce Paul Garman. Their big shows are hosted by the Carpenter Performing Arts Center at Cal State Long Beach, which is a lovely venue with plenty of conveniently located parking. And only two bathrooms...

West Side Story is one of the heavy hitters in the musical world, and the original 1957 Broadway show was inspired by William Shakespeare’s Romeo and Juliet. The original show was nominated for six Tony Awards and spawned the incredible successful 1961 movie of the same name (which won ten Academy Awards) starring Natalie Wood, Rita Moreno, Richard Beymer, and Russ Tamblyn (the latter two of Twin Peaks fame). This musical was so popular due to the music of Leonard Bernstein and lyrics from Stephen Sondheim, not to mention the groundbreaking choreography by Jerome Robbins.

In case you have been hidden under a rock for the past 60 years, the plot is nearly a direct lift from Romeo and Juliet, with a cast of anxious punk kids, hot women, harried cops, and an old fat guy. There are themes of love, racial tension, and death, and they all come together in a wonderful fashion. The musical was a head of its time, and the racial themes must have been controversial at the time, though they are no less pertinent today.

West Side Story has such a long history that nearly everybody is familiar with it, so effectively producing it is no small chore. Musical Theatre West rose to the challenge, and put all of the pieces together in a convincing manner thanks to the decision to use the Robbins’ original choreography. I have a few problems with the lyrics and the story in general (Maria sure jumps in the sack with Tony pretty quick after he kills her brother), but that is the way it was written…

Visually, the sets were good, with cool central piece that served as the drug store, front stoop, and Maria’s house, and Jean Yves Tessier’s lighting was fantastic. The costumes were mostly period correct and the women’s hair looked great, but the guys’ hair did not even come close. Need to break out the Brylcreem, fellas.

The sound was very good. There was a 30-piece orchestra (very big for a MTW production) under the supervision of musical director David Lamoureaux. Unfortunately the musicians were uncredited in the program, and I have no idea if they were union or not. The sound engineering was pretty good, thought the vocals were sometimes drowned out by the orchestra.

So, the basic foundation was solid, and its success depends on the cast, and the performers (mostly non-equity) mostly delivered solid performances. Ashley Marie earned the role of Maria, her voice was beautiful, and she had good timing and could dance very well. Her love interest, Tony, was played by Michael Spaziani who is a wonderful dancer and looks good with his shirt off, but had a little too much trouble staying in tune when singing.

The other main characters, Riff and Bernardo, were portrayed by Tyler Matthew Burk and Cooper Howell. They both did well, and honestly I think either one of them would have done a better job than Spaziani did with the role of Tony. Lauren Boyd stole the show as Anita, as her acting, singing, and dancing skills gave her marvelous stage presence.

The ensemble turned in a solid performance, and they were very good dancers, and they made good use of Robbin’s choreography. Though I have seen this show a few times, I had not noticed before what an important role they play, as they do quite a bit of singing and dancing.

All of this came together well for solid (though not brilliant), performance. Musical Theatre West did well and West Side Story is a classic show with fine production values and a good cast. If you have the chance you should get out and see it before it is gone, but leave the little kids at home with a sitter. This is a long show and they will be squirming in their seats a long time before the final curtain falls (it clocks in at 2 ½ hours), not to mention a few decidedly mature scenes that you will have to awkwardly explain to them on the drive home.

If you want to see it at The Carpenter Center you had better hurry as West Side Story is closing on February. There are not many tickets left (this has been MTW’s all-time best seller), so grab them while you can. And, be sure to check out tickets for the last two shows of this season: Sister Act and Dirty Rotten Scoundrels. Also, now is the time to start thinking about next year’s season, which will include Memphis, Evita, Carousel, and Mary Poppins. You can’t beat the value!

Mahalo!

Blues Blast Magazine Album Review: John Frick Band – Urban Crossroads

Good day!

This CD review was originally published in the October 16, 2014 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

John Frick Band – Urban Crossroads

Blueshine Records

www.johnfrickband.com

www.blueshinerecords.com

12 tracks / 37:16

The Hague often conjures up memories of murky high school civics lessons about international politics and possibly fond remembrances of the awesome Dutch band Golden Earring. But there is a lot more to this beautiful city in the Netherlands: it is still a major player in international affairs and it has a rich cultural history that goes back nearly 800 years. Also, it is home to a red-hot blues quintet, the John Frick Band!

The John Frick Band is relatively new on the scene, having formed in 2011 as an evolution of John Frick and the Blues Hombres. John Frick is originally from Cape Town, South Africa, but he has traveled all around Europe putting together his distinctive blues chops. He handles the vocals and guitar work for this project, and is joined by Michel de Man on drums, Leo Birza on keyboards and backing vocals, and Tom Moerenhout on horns. Rob Nagel provided the bass parts remotely from his home in South Africa, which is definitely a benefit of living in such a connected society.

Urban Crossroads is the John Frick Band’s sophomore effort, and it is a solid piece of work consisting of 12 tracks, all of them written by John. Frick and Peter Strujik produced this release, and Strujik did a wonderful job of mixing and mastering this material so that everything is clear and nothing is lost in the mix. When the first track starts there is no doubt where this album is going, as “Blinded” is a mid-tempo straight-up blues tune. There is everything you would expect: a 12-bar blues pattern, Hammond organ, thumping bass, tight lead guitar fills and a story of broken love and deception. Rob Nagel also brings his harp to this track, and his parts are tasteful and well integrated.

In fact, there is little in the music to suggest that these guys are not from Chicago or Memphis. Frick’s smooth voice has an almost Midwest accent, and the lyrics do not have the awkward phrases or misplaced words that are fairly common with discs from overseas. This crew has figured out the blues and can serve it up just as well as anyone from either side of the Atlantic.

The John Frick Band switches things up throughout while staying under the blues and rock umbrella. “Get a Load” is a country-rocker that makes good use of Moerenhout’s saxes and Birza’s backing vocals, while “Say What You Want” throws out some high-paced jump blues. “On the Radio” strays dangerously close to smooth jazz with its electric piano and subdued drums, but then the pace kicks back up again on the next track with the funky blues rock of “Recession Blues,” which tells the familiar story of how hard it is to make ends meet these days. There is a little something for everyone on this disc!

“Same Way Too” is the standout track from the album. This slow-paced blues song builds dramatically, almost like an early Led Zeppelin ballad. It is quite beautiful, with heavy organ parts from Birza and restrained guitar work from Frick combining to set the mood. Morenhout’s saxophones (and the more hopeful lyrics) put together a pretty love story that diverges from the classic Plant/Page writing template.

“Gotta be Worth It” closes out the set, and it is a neat uptempo piece with Jerry Lee Lewis-like piano accompanied with biting guitar riffs from Frick. Coming in at a mere 1-½ minutes, this song leaves the listener wanting more, which is a common theme with this album -- if there is one thing to want from this Urban Crossroads, it would be more music. More than half of the tracks come in under three minutes, so this is not a terribly long release (around 37 minutes). It is better that they did not fluff up the record with substandard material, but another 15 minutes would have been fantastic. As it is, it is still a good buy and it would be a good addition to any blues fan’s library.

The John Frick band has headed back to the studio to cut a new album that will be released in 2015, and if they can keep this momentum going, it will certainly be worth checking out too.

Mahalo!

BOSS Waza Craft Line of Products

Aloha!

In 2014 Roland’s BOSS brand introduced the Waza Craft line of products, which included refined versions of three of their more popular pedals: the SD-1W Super Overdrive, BD-2W Blues Driver, and DM-2W Delay. “Waza” is a Japanese term for art and technique, and these special edition pedals use analog components used Kaizen (the philosophy of continuous improvement) on the circuitry to deliver their classic sound signatures plus switchable modes for customized tones. I love each of these pedals, and Waza gives everything I expect from them and more.

The Waza Craft SD-1W Super Overdrive and BD-2W Blues Driver pedals can attain the tones of the originals, but also feature switchable Standard and Custom sound modes. But the most magical of the three is the DM-2W Delay. BOSS stopped production of this pedal in 1084, and it developed a cult following who loved the organic bucket brigade” analog delay tone. Its standard mode achieves the lush sound and 20-300 ms delay range of the first generation DM-2, and the custom mode instantly changes the sound to a cleaner analog and doubles the delay time. A win-win situation, if I have ever heard of one.

Of course, all of this neat stuff comes at a price, and these pedals are a bit more dear than what you would expect from the BOSS line. The SD-1W Super Overdrive and BD-2W Blues Driver each have a list price of $207.20 (street $149), and the DM-2W Delay has a list price of $248.80 (street $149). If you can only get one, go for the delay pedal. Trust me.

Well, BOSS went one further this year, and at the Winter NAMM show they debuted the Waza Craft guitar amplifier head. I have not had the opportunity to try this one out yet, but am looking forward to it (they are still in the pre-order phase). This solid state 150-watt amp appears to be versatile, with 1-watt, 50-watt, and 100-watt settings. There are four foot-switchable channels, and a 3-positin character switch, and it is touted as having the “ultimate brown sound.” It had better be perfect, with a list price of $3499 and a street price of $2499. It is hard to imagine any non-tube amp that comes in at this price point, so it had better be perfect.

I am excited by the Waza Craft line of products from BOSS, and though they are not breaking new ground, how much new stuff is left to develop in the guitar effect world? They have refined classic products and given working musicians tools that will help them do their jobs better. Check them out for yourself and see what you think.

Mahalo!

Blues Blast Magazine Album Review: Slim Bawb and the Fabulous Stumpgrinders – Gristle and Guts

Hello!

This CD review was originally published in the October 9, 2014 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Slim Bawb and the Fabulous Stumpgrinders – Gristle and Guts

Self release through Swampgrass Records

www.slimbawb.com

11 tracks / 46:30

When thinking of Sacramento, California, high-test swamp music might not be the first thing that comes to mind, but this is where Slim Bawb cut his teeth with the Beer Dawgs, playing five nights a week for 20 years. Their take on swamp rock and blues was a powerful force, enough to gain them entry into the Sacramento Area Music Hall of Fame. But all things change over time, and Slim Bawb (also known as Bob Pearce) moved to Austin, Texas eight years ago, where he founded Swamp Studios and his latest band, Slim Bawb and the Fabulous Stumpgrinders.

Slim Bawb has released six albums, the latest of which is Gristle and Guts. The new Fabulous Stumpgrinders line-up for this CD includes Jay Warren on drums and “Lil” Howard Yeargan on accordion, keyboards, and harmonica. Pearce takes care of the vocals, guitar, banjo, mandolin, mandola, and the boot bass. The latter is a custom foot-operated bass pedal assembly that Slim Bawb uses to bang out the low end. It might seem weird on paper but it works very well in the real world (and on this disc).

Gristle and Guts includes 11 original tracks, all of them penned by Pearce and Yeargan. This is not unusual, as Slim Bawb has been playing his own music professionally for the last 35 years, which is an impressive feat in this era of used-up cover tunes. And when the first track “Job Job” starts, it is hard to believe that Pearce is a California native, as this song is straight-up Cajun country. Piano and accordion are used to set the mood over some heavy-sounding slide guitar work. Bawb’s voice has a pleasant whiskey rasp, and the lyrics are clever and use good rhyming techniques. By the way, the song is not referring to the Biblical figure, but rather to the idea that “She wants me to get a Job Job.”

One of the standout tracks is “Down to the River,” a gospel-tinged Cajun tune with some super sweet vocal harmonizing by Pearce and Yeargan. This is a fun song with good interplay between the squeezebox and the resonator guitar, with a kicking snare drum driving the way. Bawb also throws in a well-placed mandolin solo, which lends a little folk feel to the proceedings. This is backed up by “Bottle is Home,” a swamp blues track that provides a grim contrast to the hopeful feel set by the previous song. What album would be complete without a song about the misery of the hard-drinking life?

But the Fabulous Stumpgrinders do not limit themselves to bayou music, as they serve up some hearty funk with “Last Call for this Fool,” which features hard-core syncopated electric guitar from Pearce and terrific harp work from Yeargan. They also put together a beautiful ballad, “Redneck Riviera” which may be the best track on the album with its gorgeous melody and laid-back vibe that paints a vivid mental picture. This band is not a one-trick pony by any stretch of the imagination.

The title track, “Gristle and Guts” was written to honor Slim Bawb’s grandson Jon, who was hit by a drunk driver when he was 15. This swamp blues song tells the story of that night in chilling detail, accompanied for the first half by a somber guitar ostinato and a simple kick drum to hold the beat. After this, synthesizers are used to add to the mood and then all hell breaks loose to end the tune on a positive note. By all accounts it was a terrible accident, but fortunately Jon is recovering and getting stronger every day.

Though the spooky accordion-fest “Bayou Shine” is listed as the final song on Gristle and Guts, there is a hidden reprise of “Job Job” for track 11, and it is a jangly 60-hertz snippet with glorious feedback and hiss. It is not exactly something people would buy all by itself, but it is a fun closer and gives and idea of what a neat spirit Slim Bawb has.

Throughout Gristle and Guts, Slim Bawb and the Fabulous Stumpgrinders keep coming up with new musical approaches for each song so that the album never gets dull and it remains consistently entertaining. These guys have made their own niche of Louisiana-style rock and blues, and it works well for them. They are gigging regularly, and their shows are well-reviewed by critics and well-received by their fans, so check out their website for their schedule if you are anywhere near Austin. Also, if you are in the Sacramento Area, Slim Bawb comes back each year for a Beer Dawgs reunion show, so keep your ear to the ground or you might miss it!

Mahalo!