Pignose Legendary 7-100 Guitar Amplifier Review

Howdy!

The world is chock full of useless little guitar practice amps, and the genesis for all of them is the Pignose 7-100. This model has been around since before I started playing guitar, and I have never taken the time to play one until now. Hmmm.

Pignose has been around since the early 1970s, and they introduced their first amplifier, the 7-100, at the 1973 Summer NAMM show. This amplifier was a hit, and continues to sell steadily to this day with very few changes. Since then they have gone on to make bigger amplifiers, guitars, stomp boxes, megaphones and some amazingly cheap wireless microphones.

But we will focus on the Legendary 7-100 today. For starters, it is truly tiny and portable, measuring about 6 x 5 x 9 inches, and weighing around 6 pounds with 6 AA batteries on board. It is a nifty looking box, covered with brown tolex and hinged on one side so that you can pop the latch and open it up to access the batteries or a cavity where you can store the optional AC adaptor. In keeping with the portability theme, they included to strap buttons on the amp so you can hook up a guitar strap and sling it over your shoulder. A wandering minstrel sort of thing, I guess – but don’t trip on your cord.

The mechanics of this unit are dead simple. There is a ¼-inch input, a single volume knob (shaped like a pig’s snout), an 1/8-inch jack for the power supply and a ¼-inch output. The amplifier is capable of putting out 5-watts into its 5-inch onboard speaker or providing a pre-amp signal so you can run the preamp through something bigger and better.

When I opened my factory-fresh unit, there were no surprises. It is made overseas, but the quality was very good, with clean cabinet joints and wiring. I ponied up $15 for the genuine Pignose AC adaptor, as I will mostly be using this thing in my studio and in hotel rooms, and I hate buying batteries. If you choose to run it unplugged, it will run through those 6 AA batteries in somewhere around 5 hours, which is not too bad, really.

With only one knob and one input I got the Pignose up and running in a hurry. I cranked my Strat and Les Paul through it and I really like the way it works. It puts out a fairly decent amount of volume – certainly enough for practicing at home or hanging around the campfire. It is not ear-splitting or anything like that, but it gets by. At its highest levels the sound breaks up a bit, and not in a pleasant way, so I do not take it much above 8/10ths.

The sound is not exactly as advertised by the Pignose folks, though. Their promotional materials state that the 7-100 “…features a full array of tones from clean to crunchy.” Nuh uh. There is no clean to be found here. This amp has one sound, and it is a nice dirty crunch that is marvelous for rock or blues. If you are looking for super-clean sounds, this is not the amplifier for you. In my case, I love its tone, so I have no gripes about the sound. By the way, I used the ¼-inch out to send the preamp signal to my mixing board, and I got the same tone.

If I could add one thing to the amp it would be an auxiliary input so I could plug in an iPod to practice along with, but I am cool with it the way it is. They have stuck true to their design over the years, and for the money I think it is a great deal.

If you like the way the PIgnose 7-100 sounds, it is not going to cost you an arm and a leg to pick one up. The brown tolex ones sell for around $75 online and the tweed print models sell for around $90, and those prices include a 6-month warranty. At this price point I would stick with buying a new one to avoid the headaches of buying somebody else’s abused old junk. Check one out for yourself!

Mahalo!

Review of Evita at the Pantages Theater in Hollywood California

Hello!

Somehow I have managed to make it this far through life without ever seeing Evita, one of the more popular modern musicals. Well, I remedied this oversight last weekend at the Pantages Theatre in Hollywood, California.

The Pantages has been a mainstay of Hollywood culture since it opened in 1930. It started as a vaudeville theatre, but it has hosted all manner of shows, operated as a movie theatre, and was even the home of the Academy Award Ceremonies for 10 years. Rumor has it that when Howard Hughes owned the theatre he had his offices on the second floor. Creepy. Anyway, the theatre had a $10 million renovation in 2000, and it is still in marvelous condition. For this show we had seats near the back of the orchestra section, and were able to see and hear everything well. It is a lovely place to see a show, with the added bonus of easy parking (for $10) and plentiful places to dine before or after the show. It is certainly worth the drive…

The plot of Evita is fairly simple. It is the story of Eva, a young woman from the country that used everything she had (in every way possible) to claw her way to the top. This culminated in her marriage to Juan Peron (who would become president), and she became the spiritual leader of Argentina. She died of cancer at the age of 33, and reached a level of sainthood amongst a portion of the populace. This musical provides a decidedly one-sided view of these events, so I would encourage you to do some research on her, as it is quite an amazing story.

This is a wonderfully written show, with music by Andrew Lloyd Webber, and book by Tim Rice, and it holds up well from when it was first produced in 1978. There is very little dialogue that is not sung, but the story still comes across loud and clear. Overall, the musical is very well-regarded, and it has won a trunkload of awards over the years.

The 2013 version of Evita is a touring production, and it is making stops throughout the United States. The creative staff have done a wonderful job, with Michael Grandage taking the directorial role, Rob Ashford as choreographer, Christopher Oram with scenic and costume design and Neil Austin with the lighting. They took all of these elements and created a very tight show.

Caroline Bowman took the lead, and Eva has to be one of the most difficult musical theatre roles ever. There is a metric ton of stage time, and most of it is spent singing complicated lyrics. She played the role well, as she had the chops to pull off the singing, dancing and acting. Che (the narrator) was played by Josh Young, and though this character is like tape that covers over significant holes in the story, he did a very nice job with it. And lastly, Sean MacLaughlin played Juan Peron, which was a surprisingly small role for the president to take.

Over 20 cast members were in the ensemble, and they helped make the show for me. They were great singers and dancers, and a good chorus is the essential glue that holds a show together.

William Waldrop conducted the 17-piece orchestra that was mostly staffed with local musicians. Keyboards were used extensively to help make the mood in many of the scenes, and overall the orchestra did a fabulous job. There were no miscues or odd dynamics that drew away from the onstage action, which is just as it should be.

Evita’s sets are first-rate, and in current style are relatively simple and are repurposed to achieve different effects and scenes. I especially liked the building façade that could be made into an indoor or outdoor scene simply by moving it, rearranging the chandeliers and re-lighting it. Also, the conversion of Eva’s steamer trunks into a dais and her hospital bed into a coffin were quite clever. They were able to provide historical newsreel footage concurrently with some of the scenes, which could have been confusing, but actually worked out very well.

The lighting was well-done and cemented the mood for many of the scenes. And for a change I have nothing to complain about in the sound department. It was well-mixed, and I had no trouble focusing on and differentiating the music or vocals.

I heartily recommend that you get out and see Evita while it is still in Los Angeles, so you had better hurry before the show closes on November 10. And if you live out of the area, this is just the start of their tour, and they will be travelling all over the country before they finish up in June 2014 in South Carolina.

Mahalo!

Epiphone Jack Casady Signature Bass Review

Hi there!

I am not sure if younger musicians even realize who Jack Casady is, so the Jefferson Airplane / Hot Tuna bassist may be best known for his signature series Epiphone semi-hollowbody electric bass. Though his unique tone and feel are plenty to be proud of, it turns out that this instrument is a pretty nice legacy too.

This bass came about from Casady’s experience with a semi-hollow short scale bass that he played very early on. He spent decades trying to match that feel and got close when he picked up a rare semi-hollow 1972 Les Paul bass back in the 1980s, but the pickup was not quite where he needed it to be. Eventually he took his ideas to Gibson, and they assigned the folks at Epiphone to make his dreams a reality. After two years of experimentation they hit the mark, coming up with a bass that played and sounded the way he intended.

With its classic Gibson semi-hollowbody profile, this signature bass is certainly a nice looking instrument. It is available in three smart colors: ebony, metallic gold and a limited edition silverburst. The one we are looking at here is silverburst (one of my favorite finishes) and this color combined with the bound top and back is quite striking. There is a single-ply black pickguard with a shiny Epiphone E, which is certainly functional if you play with a pick. The whole thing is not terribly heavy, coming in at around 7 pounds, 15 ounces according to my digital scale.

Epiphone uses quality woods to build these basses, with laminated maple top, sides and neck, a mahogany set neck and an unbound rosewood fretboard. The 34-inch scale neck has a comfy rounded profile with a 1.635-inch wide nut and a 12-inch fretboard radius. They did not cheap out on the ornamentation, so this bass got trapezoidal fretboard inlays instead of dots and nickel hardware instead of chrome. Oh yeah, and Casady’s signature is on the headstock…

The electronics include the single JCB-1 (Jack Casady Bass) low impedance alnico humbucker pickup, with volume and tone knobs and a three position Varigain switch (50, 250 and 500 ohms). The hardware consists of vintage-style diecast 19:1 clover tuners and a 3-point bridge, which is one of the coolest looking bridges I have ever seen.

The craftsmanship is very good on all levels. The finish is even and the fretwork and nut are both very well done. It has very level frets with good edges, which is something that Epiphone’s overseas factories is able to do, even as Gibson domestic factories continue to churn out poo. Go figure.

Playing this bass unplugged, it has a very nice resonance which is probably due to its construction. It is not a true semi-hollowbody, as the mahogany block does not quite extend all the way up to the top. This gap allows the top to vibrate freely and the difference is noticeable. When plugging it in on the 50 ohm Varigain setting it has a gloriously woody acoustic tone. Though not quite a double bass sound, it is certainly useful in studio or jazz settings.

Cranking the Varigain over to 500 results in a lot fatter tone, making this thing a beast for rock, blues or rockabilly. It can get surprisingly growly and aggressive for a passive set-up. I think this bass lives up to Casady’s name. He is a tone freak that obsesses over his sound (see his website if you don’t believe me), and this instrument sounds perfect when picked or played with the fingers, and it is truly amazing when doubling up notes or playing chords.

The only downside to this bass is its ergonomics. It has a ton of neck dive, and coming from a Fender background it just does not feel “right.” My right wrist is at a very uncomfortable angle unless I play it really low on the body, and then it is quite a stretch for my left wrist, which is also at an uncomfortable angle. Maybe it is just me.

The list price of the Jack Casady signature edition bass is $1332 with a street price of $699. This includes Epiphone’s limited lifetime warranty, but keep in mind that this price does not include a case. This seems reasonable to me, and if you can adjust your playing style to fit the instrument, the tone of this thing will make it worth every penny. Try one and see what you think!

Mahalo!

Lou Reed: March 2, 1942 to October 27, 2013

Rest in peace, Mr. Reed.

Sennheiser HD 650 Headphones Review

Howdy!

Over the past few years I have spent a lot more time listening to music through headphones, and have tried many different combinations of headphones and have not found any yet that compare to the ones I borrowed from my boss, the Sennheiser HD 650. My current go-to headphones are their HD 250 Pro, and if you know anything about their products, the higher the model number the better (and more expensive) they are.

The HD 250 Pro are very good cans, and if you are going to spend five times the price for a new set, there had better be a noticeable improvement in sound. The HD 650 phones deliver this is spades. These are open-back headphones, so these are not the ones you are going to use at the office or gym or on the airplane. A lot of ambient sound will make their way in, and you will disturb your neighbors.

Physically, these phones are open back (as I just said), and they fit comfortably around the ears (circumaural) with cozy replaceable ear pads. They weigh in at around 9 ounces (a bit heavier than normal), but they are nicely adjustable and they are some of the most comfortable ones I have ever stuck on my head. The coiled cord is about 10 feet long, with a ¼-inch jack and a 1/8-inch mini jack adapter is included. The cord is replaceable should it happen to be damaged. Overall they are very smart-looking with a slick titanium finish and an imposing size.

The specification sheet provided by Sennheiser for the HD 650 contain no surprises for headphones in this price range. They are equipped with neodymium magnets and frequency response is supposed to be 10 to 49,500 Hz, with a total harmonic distortion of less than 0.05%. With 300 ohms of resistance, these things will take a lot of power to drive. They will not work well with an iPod or laptop unless a headphone amplifier is used.

I tested these headphones with a variety of audio sources, including my home stereo, my iPod and iPad, as well as my laptop. I used them with and without headphone amplifiers (solid state and tube-type) and with my usual assortment of music and movies. This includes mostly rock and blues, with a little country, classical and show tunes to round things out.

And they perform magnificently. The magnets are matched so that they have virtually even output (+/- 1 dB). They lightweight aluminum voice coils are very sensitive and crisp with no distortion at any normal volume levels. The highs are clear and do not have any unnatural elements to them. The mid ranges seem slightly boosted, mostly in the upper mids. This is not distracting to me, and I like the effect for most music. The bass is the best I ever heard, very crisp and powerful, but still well-balanced with the mids and highs. I found that they sounded best with classical and jazz music, and using them with a home theatre system is mind-blowing. They are maybe a little lacking for hard-rocking music. Of course, these are subjective observations, and depending on what kind of music you are listening to you might find other headphoens that you prefer (but I doubt it).

In the real world, due to their design there is not much isolation, so if there is any background noise it will makes its way in too. This means that they are really not the best headphones for me, as I am never anywhere that it is quiet enough to get the full benefit from these headphones. But, if you are an audiophile that has a quiet place to enjoy these, they should be close to the top of your shopping list.

But, when you go shopping, make sure that you have plenty of cash in your pockets. The Sennheiser HD 650 headphones sell for around $600, which makes these a serious purchase. But they are worth it, and if you ever get a chance to try a pair out, you will be amazed!

Mahalo!

Hal Leonard Guitar Method Complete Edition Review

Hello!

I run into people all the time that say that they have always wanted to learn how to play the guitar. If it is something that you have always wanted to do, then make the time and get down to it. And, if you are self-motivated, the Hal Leonard Guitar Method is a great place to start. I have bought many copies over the years as I usually end up giving mine to a fledgling guitarist that is in need of direction.

Hal Leonard is the world’s biggest music print publisher, and they have been around for over 60 years. Whether you are looking for sheet music, orchestral arrangements or instructional materials, they have all of the basses covered. The Hal Leonard Guitar Method has been around for over 30 years, and the Will Schmid / Greg Koch second edition has become an industry standard, and a top seller in their catalog.

The Complete Edition that we are looking at here today is all three books combined into one, and it includes play-along CDs for each of the volumes. It is a 144 page full-size (12 x 9 inch) book with a plastic comb binding, which allows it to lie flat on a music stand. This is a great format as staple or glue bound books have trouble staying open, and once you break the spine to flatten it the pages start to fall out. Comb or spiral binding are the only ways to go.

This book is great for the novice as it starts at the very beginning. By the beginning, I mean it talks about the different types of guitars, the names of the guitar parts, and even how to properly hold the guitar and tune it. By the way, this method works well with either acoustic or electric guitars. Anyway, from there, they dive into how to play, and I like the way they go about it, though I could see how some might have a problem with it.

A lot of young players want to learn to play songs right away, and I can understand their motivation, but this book focuses on the fundamentals, which includes learning how to read music. The authors go one string at a time in the first position, showing where the notes fall on the staff, and working in simple melodies with ¾ and 4/4 time signatures. I think this is a very effective teaching technique, and the ability to read music will only help in the future to help sort out melodies from sheet music or if the guitarist actually gets a paying gig that requires the ability to read sheet music.

Another cool thing is that chords are held off for a few weeks, which helps the budding player develop some callouses, which makes fretting chords a lot more satisfying. New chords and theory are introduced a bit at a time, so the student does not get overwhelmed.

Some of the songs and melodies can be hokey (e.g. “When the Saints Go Marching In”), but this is a beginner book and these simpler melodies are ones that most people can remember. In all cases, there are chords listed on top of the staff so the instructor (if there is one) can play along, and there also duets so that the learner can play some neat harmonic parts.

The first book finishes off with eighth notes and basic strumming techniques, and books two and three move into faster work, plenty of new chords (including barre chords), different picking techniques and more intricate and useful sheet music and melodies. If the player completes all three books of this method, they will be a solid intermediate player that can actually read music, which puts them a step ahead in my book.

This edition came with three CDs (one for each book), and they are neat play along pieces for many of the lessons within the books. They mostly have complete full band arrangements with other guitar lines, bass, drums and synthesizers. Often times they are presented in different tempos or formats, so the listener can hear the different ways that the same line can be played. The arrangements border on bizarre at times (like muzak you might hear in a Japanese department store), but I think they are fun. It is certainly a nice bonus for learners that might not know the melodies or are having trouble working out the rhythms and time signatures.

The best part about the Hal Leonard Guitar Method Complete Edition with CDs is the price. It has a list price of $24.99, but I see them online for as low as $14.99 from major retailers like Walmart. That is way cheaper than a single guitar lesson, so you might want to get a copy if you are thinking of taking up the instrument.

Mahalo!

2004 Musicman SUB 4 Bass Guitar Review

Aloha!

There are some super nice American-made basses out that are still ridiculously good bargains and today we are looking at one of these, a 2006 Musicman SUB 4.

Back in 2003, the Ernie Ball company wanted to provide a lower-cost alternative to their admittedly expensive guitars and basses; the Musicman SUB line of instruments came from this idea. These instruments were built in the same San Luis Obispo factory as their other wares, but with features that made them more affordable. This included cheaper body woods and hardware, as well as textured finishes that required less labor and no polishing to complete. You will notice that it does not say “Ernie Ball” anywhere on this bass...

The SUB 4 was their take on the Stingray 4 bass, their most popular model. This one has a non-contoured poplar body that is finished in black, which was their most common color. Many of the SUB instruments came with a lame faux diamond plate pickguard, but the later ones came with a black plastic guard. I replaced the diamond plate pickguard on this one as I could not stand the way it looked. By the way, they are the same pattern as the Stingray, so you can use any Ray pickguard on the SUB 4 basses.

The neck is maple (painted matte black) with a 11-inch radius rosewood fretboard and 22 high-profile, wide frets sunk into the fretboard. This is a 34-inch scale instrument, and the neck is 1 5/8-inches wide at the compensated plastic nut (early SUB basses did not get the compensated nut). Just like their Ernie Ball brethren, the neck on SUB basses is attached to the body with six bolts and they get the usual truss rod wheel for easy adjustments.

The hardware is a bit cheaper than what is found on the Ernie Ball basses. The chrome-plated open gear tuners are not Schaller units, and though the bridge is similar it seems a bit cheaper. They had to get the price down somehow, you know.

The electronics package is very Stingray-like, which is a good thing. These basses came with a single Musicman humbucker that had a volume control and a 2-band EQ. One cool thing about these basses was that they were offered in either active or passive configurations, which is not an option that the company has provided for the Stingray either before or since the SUB series was in production. This one is active, but I have played the passive basses and they have a pleasant sound that is not so aggressive.

And this is really a great bass, regardless of how much it cost (which wasn’t very much, really). The pickup is mighty, and it has that distinctive thick Stingray growl that is perfect for rock. Though the hardware is not quite as good as their higher-priced models, I never noticed any problems with sustain or tuner slippage.

The craftsmanship was what I expected to see coming out of San Luis Obispo – the neck pocket was tight and the frets were very well done, with nicely finished edges and a level fretboard. It weighed a touch under 10 pounds, and it balanced nicely on a strap. The non-contoured body bugged me a bit as I was used to contoured Stingrays by the time I got my grubby mitts on of one of these.

Overall this was a great playing bass, but I have enough nice playing basses so this one just did not make the cut.

The MusicMan SUB 4 basses were made from 2003 to 2006, and they were quite a bargain, with a list price of $1013.99 and a street price of $700 or so, if I remember correctly. On today’s used market they sell for about $300 or $400, which is a heck of a deal for a solid bass.

Mahalo!