EFFECTIONATELY YOURS

HSS (a division of Hohner) has introduced the Hohner HFX acoustic-electric guitar ($849), which has the equivalent of an entire pedalboard's worth of digital effects built in. You can simultaneously use the eight effects in the Shadow Megatech 8 EQ Effects System; they include reverb, delay, tremolo, chorus/flange, compressor, and noise gate, with a 6-band EQ and a tuner thrown in for good measure. The HFX also has 20 factory settings and 20 user memory slots.

The guitar itself has a single cutaway, an Englemen solid spruce top, mahogany back and sides, a 20-fret rosewood fingerboard, and binding all around. Tuning machines are constructed of die-cast chrome with mushroom buttons, and the dot position markers and sound-hole inlay are made of abalone. The HFX comes with a plush gig bag. Hohner; tel. (804) 515-1900; Web www.hohnerusa.com.

WEDGE ISSUED

The MicroWedge RMW-1152($2,249) by Radian Audio Engineering is a 2-way stage monitor that can switch between passive and biamplified operation. The RMW-1152's coaxially mounted 15-inch woofer and 2-inch compression driver — the tweeter is positioned just in front of the woofer's cone — disperse the sound from a single, phase-coherent source, so the enclosure does not have to be as large. The unit's compact size and angled sides allow several units to be arrayed in a tight arc.

The RMW-1152 is rated at 500W RMS (1,000W continuous program), has a wide frequency response (55 Hz to 18 kHz), 97 dB input sensitivity, and 124 dB continuous maximum SPL. Speaker impedance is 8Ω passive and 8Ω low frequencies, or 16Ω high frequencies biamped. Input is via dual Neutrik NL4 Speakon connectors wired in parallel.

The RMW-1152's enclosure is constructed of ¾-inch 13-ply Baltic birch, finished in waterproof Duradian. The speaker weighs 73 pounds and measures 20.5 by 14.25 by 24.25 inches. Radian Audio Engineering; tel. (714) 288-8900; e-mail radian@radianaudio.com; Web www.radianaudio.com.

ROLL ’N’ ROCK

SoundTech Pro Audio's new AL1R ($549.90) carries on the carry-on tradition of the original AL1 portable P.A.: it's an everything-in-one box with a handle, designed for bands (or individual musicians) on the run. The AL1R has all of the same features as its predecessor, but adds reverb — with a Master Reverb Level control and on/off switches for individual mic channels. The 21-by-13-by-13-inch AL1R weighs 36 pounds and can sit upright, or at 45 degrees as a floor monitor. Packed within its petite exterior are a 100W amp, a 10-inch woofer, a Piezo tweeter, a 5-band graphic EQ, and a 4-channel PivotMix mixer with mic (combination ¼ inch and XLR), line (¼ inch and RCA), and instrument (¼ inch) inputs. If you need more coverage, you can add the matching XL1R extension cabinet ($199.90), and if you need more bottom end, there's the AL6R ($599.90) with a 15-inch woofer and a larger cabinet. Want to go wireless? The AL1RW ($699.90) features a built-in Shure wireless microphone receiver. SoundTech; tel. (800) 877-6863 or (847) 949-0444; Web www.washburn.com/SoundTech.

HEADROOM WITH A VU

British manufacturer Ashdown is best known for its bass and acoustic instrument amplifiers. The company's first foray into the power amp market is led by the very sporty-looking (dig those cool VU meters!) PM600 ($1,599) and PM1000 ($1,999) Power Magnifier amplifiers. The amps are rated at 320+320W and 500+500W RMS (into 4Ω), respectively, and employ individual toroidal transformers for each channel as well as MOSFET output devices. Ashdown claims a frequency response of 20 Hz to 20 kHz (-3 dB) with 0.05 percent THD+Noise.

The amps feature Ashdown's proprietary “quad” intelligent cooling system, which switches on four fans when a threshold temperature is reached and adjusts their speed as the temperature varies, resulting in quieter overall operation. Both amps have XLR and ¼-inch inputs as well as Speakon and ¼-inch outputs, and each one is a dual-rackspace unit (17 inches deep), with the PM600 weighing in at 35 pounds and the PM1000 at 75 pounds. HHB Communications USA (distributor); tel. (310) 319-1111; e-mail sales@hhbusa.com; Web www.hhbusa.com.

MIXED LOGIC

Studiomaster's Logic Twelve ($359.95) is an 8-channel multipurpose mixer with a useful variety of input options, impressive specs, and a regulated internal power supply. All of the Logic Twelve's controls, its I/O connectors, and its stereo bar-graph level meters are located on the face of the mixer.

The unit has four mono channels with balanced XLR and balanced/unbalanced ¼-inch TRS inputs and four stereo channels with stereo pairs of balanced/unbalanced ¼-inch TRS inputs. Input sensitivity for all inputs is adjustable over a wide range, accommodating everything from low-impedance microphones to the highest-impedance guitars; 48V phantom power is available on the XLR inputs.

The mono channels feature 3-band EQ, the stereo channels have 2-band EQ, and all channels have two aux sends and PFL (solo) switches. Stereo (RCA) tape and aux inputs are also included, for a total of 16 inputs. Stereo output (at +4 dBu) is via two balanced ¼-inch jacks.

The Logic Twelve weighs 10.6 pounds and is rack-mountable using the rack ears supplied with the unit. Studiomaster; tel. (800) 878-7883 or (714) 998-2102; e-mail stmstr@earthlink.net; Web www.studiomaster.com.

MINI MUTANT

Now here is a little something that has caused quite a hush among its users. TheSilenzer ($8.95) by Sensonics is an “electronic safety pin” that mutes the unpleasant and potentially harmful sound produced when you unplug a cable from an instrument while it's still plugged into an amp or mixer. Constructed of Nitanium, a lightweight yet extremely durable metal used in aeronautical and medical applications, TheSilenzer is electronic in that it pulls the signal to ground, but it is actually mechanical in its operation. The device attaches to the instrument end of a ¼-inch cable either by gripping it or via the double-sided adhesive strips provided. With the cable plugged in, the mechanism folds up and out of the way, but it springs out and bridges the tip and the sleeve as soon as you unplug the cable. Whoa! Just remember — never use it on speaker cables, as that will lead to the very loud sound of your amp exploding. Sensonics; tel. (719) 845-9820; e-mail info@thesilenzer.com; Web www.thesilenzer.com.

HEAVY SOUNDS FROM LITEBOX

The SE-53L ($1,195) is the debut product in the new Sona Elan series of active sound systems manufactured by Barbetta Electronics. Constructed using new patent-pending methods and materials collectively referred to by the maker as Litebox — said to be up to 40 percent lighter than wood or molded plastic — the full-range SE-53L is designed for use with keyboards, MIDI and modeled guitars, percussion, and bass, as well as in P.A. and DJ applications.

The SE-53L employs two 12-inch woofers (with 2.5-inch voice coils) and a 5-inch constant-directivity horn tweeter, with an active crossover filter positioned at 2.33 kHz. Fan-cooled Linear MOSFET power amplifiers, located on the rear panel, provide 700W and 150W peak RMS power to the low and high frequencies, respectively. Frequency response is 29 Hz to 22 kHz.

The single input channel has balanced XLR and unbalanced ¼-inch connectors. The sensitivity of the ¼-inch connector is 12 dB higher than the XLR's, making it compatible with a wide range of sources. The SE-53L's enclosure is covered in charcoal-colored polypropylene carpet and weighs 54 pounds. Barbetta Electronics; tel. (805) 529-3607; e-mail barbetta@earthlink.net; Web www.barbetta.com.

GRAND PRIX GUITAR

Looking for a racy new guitar? The Gibson Custom Shop can put you behind the wheel — or at least behind the neck — of a Dale Earnhardt The Intimidator Les Paul ($3,000). The Intimidator sports an Anniversary Silver finish with red trim highlights and new artwork from Sam Bass, the renowned motor-sports artist. The artwork features the 2000 Chevy Monte Carlo that Earnhardt is currently racing.

The guitar also features an ebony fingerboard with “The Intimidator” inlay, a top-loaded full-face carbon fiber faceplate, custom chrome lug-nut Volume and Tone controls, and hood-pin tie-downs with wires to secure the guitar to the Simpson racing harness guitar strap. Both 490R and 498T pickups power The Intimidator.

Gibson will make only 333 of these custom guitars, and each instrument comes with two Sam Bass prints, three custom picks, and a signed certificate of authenticity. Gibson; tel. (800) 444-2766; (800) 723-5757 ext. 500; Web www.gibsoncustom.com.

ON THE ONE HAND

The Audio-Technica ATW-7373 Handheld Condenser Wireless System ($1,149) consists of the ATW-T73 handheld condenser microphone and transmitter combo and the ATW-R73 receiver. The system employs FM modulation on the UHF band (100 channels), with a frequency response of 100 Hz to 15 kHz and a typical operating range of 300 feet.

The ATW-T73 microphone is, of course, unidirectional and contains the same element found in Audio-Technica's popular AT4033 studio condenser mic, but with enhanced internal shock mounting for rough-and-tumble stage use. It runs for approximately eight hours on a standard 9V battery and weighs slightly more than 12 ounces.

The ATW-R73 receiver is housed in an all-metal shielded casing, and has dual independent “true diversity” receiver sections for reduced dropouts and multipath distortion. Volume and squelch controls and an RF/AF/A-B meter are located on the front panel, and the receiver has balanced XLR (with a ground lift switch) and unbalanced ¼-inch outputs, as well as two flexible UHF antennas on the rear. You can combine two ATW-R73s into a single-rackspace unit using the provided AT8628 mounting adapter. Audio-Technica U.S.; tel. (330) 686-2600; e-mail pro@atus.com; Web www.audio-technica.com.

ON THE OTHER HAND

The MXL 1000 ($99.95) from Marshall Electronics puts condenser microphone technology into the hands of performing musicians — literally. Although you could use the MXL 1000 for studio recording, its 3-stage pop filter and sleek black heavy-duty brass enclosure make it especially suitable for handheld use onstage. You can also use it as an alternative to dynamic mics on instruments such as guitars, piano, brass, and strings.

The MXL 1000 sports a 6-micron, 20 mm gold-sputtered diaphragm capsule, and has a cardioid polar pattern. It uses a phantom-powered (48 ± 4V) FET preamp and has a balanced output. The MXL 1000's frequency response is rated at 30 Hz to 20 kHz, with a maximum SPL of 134 dB (at 0.5 percent THD) and sensitivity rated at 10 mV/Pa. It weighs just under a pound. Marshall Electronics; tel. (310) 390-6608; e-mail sales@mars-cam.com; Web www.mxlmics.com.

RACK OF BAM

Do you like the idea of using a drum rack instead of individual stands but find that the hassle of heavy metal racks outweighs the many benefits — faster setup, more consistent drum placement, and less clutter? Carbonlite Products has created a new line of drum racks constructed from lightweight carbon fiber composite materials — the same ones used in spacecraft and high-tech bike frames. Carbonlite's rack systems weigh about half as much as steel and aluminum racks, and they don't chip, rust, or dent.

Carbonlite racks are available as complete systems, or as components you can use to design a custom setup. The Basic Rack ($284) holds up to three toms and cymbals. The L-Rack ($424) adds a left-side floor-tom extension to the Basic Rack, and the C-Rack ($564) has extensions on both the right and left sides. The carbon fiber tubing, also available separately, fits standard 1.5-inch-diameter rack clamps. Carbonlite Products; tel. (727) 742-2263; e-mail info@carbonlite.com; Web www.carbonlite.com.