LANEY CELEBRATES 50 YEARS

Laney Amplification is to celebrate its 50th Anniversary of business in September 2017.

Lyndon Laney began making amplifiers for friends and fellow musicians in the mid-1960s. As a bass player on the scene in the UK’s Birmingham & Black Country area, it was a vibrant time for music. Sometime member of “The Band of Joy” with John Bonham on drums and Robert Plant on vocals, Lyndon Laney decided his own true talents lay in amp construction. Using his father’s garden shed, Lyndon sought to design and build amplifiers with key “tonal” characteristics that were unheard of at the time.

The Company was officially incorporated in September 1967 and popularity for the products began to grow. Laney’s signature tone, performance and value helped set Laney apart from competitors. The products were highly sought after and used by numerous local musicians, most notably Tony Iommi of Black Sabbath, who first used Laney for the recording of their seminal first release “Black Sabbath” launched on Feb 13th, 1970. This album defined the new sound of Heavy Metal and Tony remains with Laney to this day.

Since 1967, Laney Amplification has gone from strength to strength, working with a great many globally renowned musicians and with a sales network in over 80 countries. Laney also remains a family business with music-making at its heart: Whilst retired from day to day duties, Lyndon stays on as Chairman and to his immense pride, his son James Laney is CEO for the Group.

In celebration of this milestone, Laney is holding an exclusive party in Birmingham for its endorsers, distributors, dealers and other special guests.

EBS Introduces the Reidmar 500

THE EBS REIDMAR 500 IS BASED ON AN AWARDED LIGHT-WEIGHT BASS AMP DESIGN FROM EBS THAT CHALLENGES ANY HEAVY-WEIGHT BOUTIQUE AMP IN TONAL QUALITIES. THE REIDMAR TAKE FULL ADVANTAGE OF EBS FAMED ANALOG PREAMP TECHNIQUE COMBINED WITH A CLASS-D POWER AMP THAT BENEFIT FROM A CLEVER 'SOFT-CLIP' TECHNIQUE TO MAKE OPTIMAL USE OF ALL OF ITS POWER WITH PRESERVED DEFINITION. THE "500" REPLACES THE FORMER "470"-MODEL WITH A 10% REDUCTION IN SIZE, AS WELL AS LOWER WEIGHT. 

Natural sound. The EBS philosophy is to amplify the character of the instrument and the personality of the musician, to offer a natural sound. The physical aspects of a class-D power amp makes that mission a real challenge. However, the EBS Reidmar shows that anything is possible with clever engineering!

Due to advanced soft-clip technology, the Reidmar does not suffer any loss of definition in the low register when the volume is turned up. It  takes maximum advantage of the power at hand. That makes it a powerful, great sounding bass amp that is fully comparable with other heads with larger and more expensive power amps.

The Nature of the Beast. While offering a powerful and defined sound at most levels, when pushed to the limit it provides a natural and useful amp distortion, like the Drive on a solid state amp. This further extends the possibilities to use the EBS Reidmar in different musical contexts.

Technically Speaking. The analog preamp sporting EBS renowned built-in compressor and the 4-band EQ-section are really intuitive and feature the (for EBS) characteristic Bright and Notch filters. It reminds a lot of the layouts of HD360 and TD660.

The amp also features an Effects loop (send and return), Balanced XLR-out for live and studio use (with pre/post EQ switch and Ground Lift), Line outHeadphones out and Speakon speaker output.

The Reidmar use a D-class power amp providing 470 W Dynamic Output @ 4 ohms load (250 W RMS). Weight is 3.1 kg (7.0 lbs).

Laney Announces Tony Iommi Boost Pedal from Black Country Customs

Black Country Customs is excited to announce availability of the TI-BOOST pedal! The only pedal endorsed by the legendary Tony Iommi of Black Sabbath.

When the TI-BOOST was announced in January 2017 as part of the Laney 50th Anniversary Rig, we experiened unprecedented demand for the individual pedal. as such we are now open for orders on this special item to be sold separately.

The TI-Boost has a place of honor in Tony Iommi's signal path, but it is not limited to the rig of the orginal man in Black! Far from it -- the TI-BOOST is a very flexible boost pedal and is already sitting in pride of place in numbers player's rigs around the world because of its varied tonal palette.

To hear more visit www.blackcountrycustoms.com

MusicPlayers.com Reviews the New EBS Overdrive Pedals

EBS The Drive, Black Haze, and Drive Me Crazy Overdrive Pedals
Review by:Bruce Sokolovic and Kel Pilshaw

First introduced to the world in 1988, EBS is today renowned the world over for their premium line of bass amps and bass effects. So what on Earth is a bass company doing with a review in the guitars section of MusicPlayers.com? The answer to that excellent question can be found directly under foot: EBS has just introduced three drive pedals optimized for guitar—though each is also useable for bass.

Now, if you raised your eyebrow and asked yourself, "What does a bass company know about guitar overdrive?" you are certainly not alone. We hear about guitar amp companies moving into bass products all the time, but going from bass to guitar? Is that even allowed? We put these three pedals to the test in order to answer these important questions. Oh, and we let our bass guys play with it, too. Here's what we discovered.


Features

EBS laid out its new line in a familiar, tried and true format, with all three sharply-designed pedals featuring the same controls. Simple 1/4" mono In and Out, True Bypass, Tone, Drive and Volume knobs, a 9v barrel-type power supply jack, and battery compartment.

The Drive pedal is the simplest of the three, while Black Haze and Drive Me Crazy feature an additional three-way toggle serving up Thin/Regular and Deep tonal options. A Carling-style single button switch toggles the pedals from bypass to active.

At 2.6" wide and 1.9" deep, these pedals are sure to please guitarists with already cramped pedalboards, or those designing a new one. At 0.66 lbs, weight is also not a concern. A very thoughtful and innovative, flat patch cable came with each pedal, too!


Usability

The three EBS pedals were plug-and-play and simple to set up. After checking polarity and voltage requirements (9v-12v DC, 30mA), we plugged each pedal into our pedalboard's Eventide Powerfactor 2. After patching them into the front-of-amp audio loops in our TC Electronic G-System, we were up and running.
If you're not using a pedalboard power supply, you'll need to remove four screws on the base of the pedals to access the battery compartment rather than having more direct access. More and more pedal manufacturers are going this route lately, presumably because it's cheaper to make, but also because pedalboard power supplies are so common.

There is a delicate balance to setting proper levels when it comes to dialing in the Gain and Level, and we found it easy to go from just right to what the hell happened? if we weren't careful. Volume works in tandem with the gain, so although not terribly complicated, you'll need to use your ears because there is no clip indicator, and these three pedals can be driven into squished clipping if your settings are extreme. These classy pedals like peppering; not diming.

 

The Drive

OVERALL RATING = 3.5 Stars.

Black Haze

OVERALL RATING = 3.7 Stars, which earns it a WIHO Award!

Drive Me Crazy

OVERALL RATING = 3.6 Stars, which earns it a WIHO Award! 

3.6 stars or better: Outstanding, WIHO Award
3 stars or better: Worth considering
2 stars or better: Suited to specific needs
1 star or less: Not recommended

SOUND

Electric Guitar

Owning a host of drive pedals already, we had a lot to draw comparisons to and already had baseline expectations of the EBS line. We want our drive pedals to both sing and cook, when necessary. In selecting an amp/guitar combination, we gave thought to the most versatile combination that would likely benefit from drive pedals to enhance the sound. We played our Knaggs Severn X with two humbuckers and a five-way switch into our Metropoulos Metroplex, an amp renown for copping great '60s Plexi tones. We kept the gain on the amp set to about 2:00, in order to give these drive pedals plenty of room to breathe. There was good width to the sound, with the faintest hint of amp gain just starting to develop. This was a fantastic tone on its own, which we felt was perfect for our sound testing.

Starting with The Drive, we had both the Gain and the Volume knobs set to high noon with the tone at about 1:00. At this setting we achieved decent grit well above what our amp was set at, and it was a great lead tone for a bluesy setting. Bringing the volume up from this setting achieved a little more aggressiveness, but not much more gain. Backing the volume down achieved a bit more gain. Pushing both the gain and volume past 2:00 resulted in a smashed, undesirable sound. This pedal was best played in a more subtle, delicate manner.

Next up in our guitar testing was Black Haze, our favorite of the three. Using the same settings, we found the sound to be very well suited to our guitar/amp combination. This sound was somewhere in between '60s Hendrix type fuzz and a good overdrive sound. After pushing the gain, things sounded fuzzier, albeit in a good way. The Thin switch thinned the sound out too much for our particular setup, but the Deep switch added a more pronounced low mid enhancement to the tone. We really liked this setting.

Our last guitar sound test involved the Drive Me Crazy pedal. Marketed as the high-gain distortion pedal of the bunch, we certainly agree with that assessment. This one gave us an '80s rhythm tone and searing lead voice. We noticed the same clipped sound at extreme settings, but set with reasonable volume and gain settings, this pedal gave the sound good air and retained the width and breath of the baseline tone. The pedal sounded great right in the middle, set to Normal.

 

 

 

First introduced to the world in 1988, EBS is today renowned the world over for their premium line of bass amps and bass effects. So what on Earth is a bass company doing with a review in the guitars section of Musicplayers.com? The answer to that excellent question can be found directly under foot: EBS has just introduced three drive pedals optimized for guitar—though each is also useable for bass.

Now, if you raised your eyebrow and asked yourself, "What does a bass company know about guitar overdrive?" you are certainly not alone. We hear about guitar amp companies moving into bass products all the time, but going from bass to guitar? Is that even allowed? We put these three pedals to the test in order to answer these important questions. Oh, and we let our bass guys play with it, too. Here's what we discovered.


Features

EBS laid out its new line in a familiar, tried and true format, with all three sharply-designed pedals featuring the same controls. Simple 1/4" mono In and Out, True Bypass, Tone, Drive and Volume knobs, a 9v barrel-type power supply jack, and battery compartment.

The Drive pedal is the simplest of the three, while Black Haze and Drive Me Crazy feature an additional three-way toggle serving up Thin/Regular and Deep tonal options. A Carling-style single button switch toggles the pedals from bypass to active.

At 2.6" wide and 1.9" deep, these pedals are sure to please guitarists with already cramped pedalboards, or those designing a new one. At 0.66 lbs, weight is also not a concern. A very thoughtful and innovative, flat patch cable came with each pedal, too!


Usability

The three EBS pedals were plug-and-play and simple to set up. After checking polarity and voltage requirements (9v-12v DC, 30mA), we plugged each pedal into our pedalboard's Eventide Powerfactor 2. After patching them into the front-of-amp audio loops in our TC Electronic G-System, we were up and running.
If you're not using a pedalboard power supply, you'll need to remove four screws on the base of the pedals to access the battery compartment rather than having more direct access. More and more pedal manufacturers are going this route lately, presumably because it's cheaper to make, but also because pedalboard power supplies are so common.

There is a delicate balance to setting proper levels when it comes to dialing in the Gain and Level, and we found it easy to go from just right to what the hell happened? if we weren't careful. Volume works in tandem with the gain, so although not terribly complicated, you'll need to use your ears because there is no clip indicator, and these three pedals can be driven into squished clipping if your settings are extreme. These classy pedals like peppering; not diming.

The Drive
OVERALL RATING = 3.5 Stars.

Black Haze
OVERALL RATING = 3.7 Stars, which earns it a WIHO Award!

Drive Me Crazy
OVERALL RATING = 3.6 Stars, which earns it a WIHO Award! 

3.6 stars or better: Outstanding, WIHO Award
3 stars or better: Worth considering
2 stars or better: Suited to specific needs
1 star or less: Not recommended

Sound

Electric Guitar
Owning a host of drive pedals already, we had a lot to draw comparisons to and already had baseline expectations of the EBS line. We want our drive pedals to both sing and cook, when necessary. In selecting an amp/guitar combination, we gave thought to the most versatile combination that would likely benefit from drive pedals to enhance the sound. We played our Knaggs Severn X with two humbuckers and a five-way switch into our Metropoulos Metroplex, an amp renown for copping great '60s Plexi tones. We kept the gain on the amp set to about 2:00, in order to give these drive pedals plenty of room to breathe. There was good width to the sound, with the faintest hint of amp gain just starting to develop. This was a fantastic tone on its own, which we felt was perfect for our sound testing.

Starting with The Drive, we had both the Gain and the Volume knobs set to high noon with the tone at about 1:00. At this setting we achieved decent grit well above what our amp was set at, and it was a great lead tone for a bluesy setting. Bringing the volume up from this setting achieved a little more aggressiveness, but not much more gain. Backing the volume down achieved a bit more gain. Pushing both the gain and volume past 2:00 resulted in a smashed, undesirable sound. This pedal was best played in a more subtle, delicate manner.

Next up in our guitar testing was Black Haze, our favorite of the three. Using the same settings, we found the sound to be very well suited to our guitar/amp combination. This sound was somewhere in between '60s Hendrix type fuzz and a good overdrive sound. After pushing the gain, things sounded fuzzier, albeit in a good way. The Thin switch thinned the sound out too much for our particular setup, but the Deep switch added a more pronounced low mid enhancement to the tone. We really liked this setting.

Our last guitar sound test involved the Drive Me Crazy pedal. Marketed as the high-gain distortion pedal of the bunch, we certainly agree with that assessment. This one gave us an '80s rhythm tone and searing lead voice. We noticed the same clipped sound at extreme settings, but set with reasonable volume and gain settings, this pedal gave the sound good air and retained the width and breath of the baseline tone. The pedal sounded great right in the middle, set to Normal.

 
EBS Black Haze Video courtesy of EBS Sweden.

Bass Guitar
The basses we used in our testing were the recently reviewed Fender American Professional Series Jazz Bass V and Precision Bass 4, and an NS Design WAV4 RADIUS for our active bass. The bass rigs we played through were a Mesa/Boogie Carbine stack (4x10 and 2x12) and the Eden Metro (2x10). We set each of the amps to a relatively flat tone and played at a pretty loud volume. We used numerous pickup configurations with the basses, and countless tone settings on the pedals themselves. We played multiple styles including slapping, finger style, and picking. 

First up was The Drive. With the tone knob all the way up on our passive Fender Precision bass, we were able to get a nice overdrive, tube-like, growl and bite. Besides the volume boost, the green drive pedal added some warmth and character to our basses. Adjusting the Drive and tone knobs provides many tones, but we think this pedal has a vintage style voice overall.

The NS Design bass needed a level fine-tuning, but this modern, active bass really warmed up with this pedal. With the Jazz bass, we were able to dial in that classic prog rock '70s bass sound. The Drive pedal works well as a clean boost, too.

The Black Haze pedal feature similar controls as The Drive but also adds a switch for Thin, Normal or Deep character. The overdriven bass tones we could dial in here ranged from subtle to massive. One setting in particular, Tone at 10:00, Drive at 10:00, and the switch on Deep, was great. We would play any two harmonics and this massive analog synthesizer-like sound was just a pulsing sound through space and time.  We liked the character switch, as sometimes it would add just enough bottom end for the tone we were chasing. This is a serious distortion pedal when paired with bass.

Finally, we plugged into the Drive Me Crazy pedal. This one covers a wide range of overdrive, from smooth, bright grind to deep, straight-up distortion. With the same knob configuration as the Black Haze, this pedal seemed to have a little more drive when pushed.  Whether you want just a touch of tone "dirtification" or full blown distortion, this dynamic pedal gives your bass all the drive it will ever need.

Best for Guitar

Overall, we found these pedals better suited to guitar use. Something that would make these more useful on bass would be the inclusion of a blend circuit, where we could dial in some amount of our dry signal. In the bass context, we prefer (and love) the EBS Billy Sheehan Signature Drive, which is a versatile and great sounding, bass-centric, overdrive pedal, and would make that our first choice for bass distortion and overdrive. However, a multi-instrumentalist working in the studio will be able to find plenty of double-duty for this new range of EBS pedals.


Documentation and Product Support

Online manuals and a well-designed website make use of EBS products a pleasure (not to mention the straightforward design of the hardware in the first place). All controls were explained, along with full product specs for things like power, etc.


Price

The Drive, Black Haze, and Drive Me Crazy pedals (MSRP $199.95) sell for $99.95 MAP. These are very competitively priced, and we could easily see adding one or two of them to our pedalboard. It's all about flavor when it comes to overdrive pedals, so definitely check these out if your tone is in need of a hot new flavor.

Great Success at InfoComm for LD Systems

InfoComm in Orlando came to a close this year with a new record. From June 14th to 16th, North America’s largest audio-visual trade fair welcomed more than 40,000 visitors to the U.S. state of Florida. This is an increase of 14 percent over the previous year in Las Vegas. The Adam Hall Group was also delighted with the turnout at InfoComm. The trade fair stand of the German company – which focuses on event technology solutions for the four professional customer segments of rental, installation, music trade and industry – was a popular meeting place for numerous customers.

LD Systems at InfoComm 2.png

“Due to the particular focus of InfoComm, there was much high-level discussion”, reported Robin Henlich, Product Manager for Pro Audio, Stands and Accessories at the Adam Hall Group.

The LD Systems booth at the trade show proved to be a technical highlight, with products from its patented portable array series CURV 500, providing a wide variety of application options. The design concept of the MAUI P900, created in collaboration with the Porsche Design Studio, and the improved application options of the new MAUI 11 G2 and MAUI 28 G2 column systems with their new two-part columns and optional wall brackets once again received an enthusiastic response.

Positive Grid At Summer NAMM – Watch The Recap!

What a blast! This year’s Summer Namm couldn’t have been better: we introduced two brand new BIAS Mini amplifiers, three BIAS Twin pedals, as well as the BIAS Footswitch. We’re incredibly humbled to see the level of excitement that these new products generated across the entire industry: artists, media, partners, and fans.

Watch the video below and you’ll get a big surprise or two!

Cameo's ZENIT B60 Spotlight is Now Available

The Cameo ZENIT® B60 battery-powered PAR spotlight is on its way. The first production run of the two models is already completely sold out. Boasting IP65 classification and W-DMX™ control, this highly professional spotlight is perfect for demanding lighting tasks, both indoors and outdoors. The ZENIT® B60 is available in black (CLZB60BLSD) and chrome (CLZB60CLSD) versions.

This spotlight is equipped exclusively with only high-quality components to guarantee safe operation, long life, and the highest efficiency. When fully charged, the powerful lithium-ion battery from LG Chem delivers a reliable operating time of up to 24 hours in RGBW mode. In single color mode, the run-time can be up to four whole days, i.e. 96 hours. An intelligent battery management system protects against overcharging and deep discharging, ensuring long life.  

4 ZENIT_B60_CHR_1.jpg

With a service life of 50,000 hours, four 15-watt RGBW Cree LEDs deliver an extremely bright 1,900 lumens, facilitating the creation of brilliant, consistent colors with a precise beam angle of 11°.  Two specially developed diffusers are supplied with the ZENIT® B60 to extend the beam angle to 25° or 40°, without compromising light output. 

The unit can be controlled via DMX (seven modes), RDM, the included infrared remote control, or the display on the spotlight itself. The ZENIT® B60 is also equipped with a 2.4 GHz W-DMX™ receiver for wireless control. With the iDMX® CORE WiFi and W-DMX™ converter (available as accessory) and the free controller app, Cameo® provides the optimal control unit for convenient use.  

If a specific beam angle is required, the Cameo® ZENIT® LSD 6010 diffuser can create a round beam of light with an elliptical beam area of 60° x 10°.

Clever accessories
The Cameo ZENIT® B60 case is the perfect solution for the safe transport, storage and charging of six ZENIT® B60 spotlights. The battery-powered spotlights can be conveniently charged in this sturdy, 7 mm birch-ply flightcase with pre-installed wiring, ensuring that they are always ready for use.

CLZB60CASE6PC_2.jpg

Daniel Garcia, Product Manager, Light: “We have been overwhelmed by the world-wide demand for a compact and elegant battery-powered PAR spotlight. The first production run of the two models is already completely sold out. With the Cameo ZENIT® B60, we are providing our customers with the perfect solution for creative lighting design, both indoors and outdoors. Particularly noteworthy are the professional features and the extremely long operating time of 96 hours in single colour mode. Clever accessory solutions round off the range of products available for this highly professional spotlight.”

Cameo ZENIT B60@Youtube

Click here to download the Press Package (Press release in Word format in 6 languages + pictures)!

Further information:
www.cameolight.com

EBS Releases Premium Gold Flat Patch Cables

Space is essential when building a pedalboard. With the new Premium Gold Flat Patch Cables, EBS pushes the limits of how much space the choice of patch cables can save.

PCF-PG_inuse-1024x794.jpg

The Premium Gold Flat Patch Cable is an original design by EBS, and the luxury version of the world renowned PCF cable. This might be the most compact patch cable in the world while offering professional quality signal and shielding.

Contact housing made of 24 Carat Gold Plated Die Cast welded Zink. 24 Carat Gold Plated 1/4" Contacts. Ultra Compact and double shielded Flat Patch Cable. Probably the smallest and most compact patch cables available in the World right now. Very low resistance and capacitance keeps your sound uncolored without signal loss. Premium Quality at a very affordable price! The Premium Gold is even more compact than the EBS PCF cable, and also with improved performance.

* Only 21,5 x 10,5 x 5,0 mm / 0.85 x 0.41 x 0.2 inches

The flat angular double shielded cable is super flexible while wrapping the leads safely. The very low resistance and capacitance keeps your sound clean without signal loss.

Available in four lenghts, 10, 18, 28 & 58 cm

EBS Releases New 'Blue Label' Pedals

EBS has introduced three new analog overdrive pedals in the brand new 'Blue Label’ pedal line. the pedals are developed for guitar and support the low frequencies of a bass too.

Black Haze, Drive Me Crazy, and The Drive offers significantly different drive characters and are designed and developed by EBS with the input from several Swedish top session guitarists.


Black Haze
The Black Haze is a beautiful drive with some darkness to it to make it interesting and irresistible. This pedal features a three-level character switch to boost or cut certain frequencies, dual drive engines and low-range compensation for improved performance with bass.

Drive Me Crazy
The Drive Me Crazy turn any nice clean guitar combo amp into a full force high gain stack. This pedal features a three-level character switch to boost or cut certain frequencies, dual drive engines and low-range compensation for improved performance with bass.
 

The Drive
The Drive gives you that extra boost you need to emphasize your tone and make it stand out. The kind of device you might leave on without thinking about it, but miss dearly when you turn it off.


All three pedals features a DriveTone and Volume control.  Drive Me Crazy and Black Haze also features a character switch that can be set to Thin, Normal or Deep.

A new compact housing design include recessed jacks to reduce space between pedals on a pedal board, and a comfortable angle of the pedal that offers smoother switching with your foot.

The new pedals adds more flavors of distortion to the famous EBS pedal portfolio and serves both guitarists’ and bass players’ needs.

MDG at Dallas International Guitar Festival

MDG is exhibiting at the Dallas International Guitar Festival held from May 5th-7th, 2017.

Started in 1978 and billed as one of the biggest and oldest guitar shows in the country, the DIGF hosts hundreds of exhibitors and attendees at this 3 day event.

MDG will be displaying custom made and classic "Hofner" Instruments, as well as, the ingenious "Lock-it Guitar Straps" brand.