WIDER SPIDER

Arachnophobes, beware! Line 6's Spiders have been spawning, and their latest offspring are large and lethal. The new Spider 212 guitar combo ($949.99) — a direct descendant of the 1×12 50W Spider — has twice the wattage and speakers of the original; its stereo 100W power amp gives it more than enough muscle to compete in most performance situations. If you need to go direct, the 212 (like all Line 6 amplifiers) has a direct out as well as a headphone out for late-night woodshedding or shredding.

Like the 1×12 and the 2×10 versions, the Spider 212 has four user-programmable channels; six amp models that range from clean to insane; and seven effects, including flanger, chorus, tremolo, reverb, and three delays. Adding a Line 6 Floor Board ($369.99) allows the Spider to weave a wider sonic web, giving guitarists a wah and volume pedal, six more user channels, stompbox-style on-off switches for effects, and a chromatic tuner. Line 6; tel. (805) 379-8900; e-mail info@line6.com; Web www.line6.com.

UP-FRONT SOUNDS

Sound-reinforcement engineers have long dreamed of having a microphone that would really reject all the sound not coming from directly in front of it so that they could pump up the volume without producing monitor feedback. Earthworks has risen to the challenge with its SR68 hypercardioid stage microphone ($450) and boasts that the sound “just goes away” behind 90 degrees. The SR68 builds on the design of the popular SR69 cardioid stage mic — they even look identical except for the SR68's red logo ring. Other than having a slightly enhanced bass reach, the SR68 sounds just like the SR69 on axis.

The SR68 is available in red, black, and silver anodized finishes, has a stated frequency response of 50 Hz to beyond 20 kHz (±2 dB at 6 inches), measures 9 by 0.86 inches, and weighs 0.3 lbs. Earthworks; tel. (603) 654-6427; e-mail earthwks@jlc.net; Web www.earthwks.com.

ORGAN TRANSPLANT

For those keyboardists who never got over the demise of the classic tone-wheel organ, Korg has reached into the past to resurrect one of the classics, the Korg CX-3. Twenty-two years after its introduction, members of the original design team and Korg's current DSP engineers joined forces to create the new CX-3 Combo Organ ($2,600). Using the latest modeling technology, they developed an instrument that captures all of the characteristics of a classic tone-wheel organ and incorporates many new features.

The CX-3 has two sets of nine draw bars that you can assign to upper or lower manual sounds using the Split mode, and you can create an actual double manual setup by connecting a second MIDI keyboard. The unit provides both Vintage and Clean tone wheels along with programmable percussion, key-click (which simulates the sound made by dirty key contacts), and sound-leakage effects. It also has 128 programs (64 regular and 64 EX mode, which gangs the two sets of draw bars together into a single voicing engine), including the signature sounds of several leading organists.

Korg's modeling technology also creates realistic rotary-speaker effects and a classic tube-amp sound — and there's a preamp-only signal for connecting the CX-3 to a genuine rotary speaker. The organ's physical layout is consistent with that of the old CX-3, and it's housed in a classic wooden case. Korg USA; tel. (516) 333-9100; Web www.korg.com.

TONE FOR YOUR THRONE

Already found in military flight simulators, home-theater systems, and even pools rigged for synchronized swimming, Clark Synthesis's literally bone-shaking Tactile Sound Monitors (TSMs) are becoming increasingly popular with musicians performing live. Drummers in particular get a kick out of these monitors — powerful compression drivers that essentially turn drum seats or stage risers into massive speaker cones only they can hear — and will be pleased to know the monitors are now easier to install, thanks to Clark's new Drum Throne Mount ($99.95). The unit includes XLR and ¼-inch speaker cable jacks in addition to a universal bracket that attaches to drum thrones from any manufacturer. Discounts are available when you purchase the Drum Throne Mount with a Tactile Sound Monitor from Clark (packages range from $269.95 to $749.95).

Cleverly taking advantage of the fact that we hear not just with our ears but also with our bones (which easily transmit lower frequencies to the inner ear), a TSM bolted beneath your stage riser or drum seat tricks you into thinking your bass rig is wide-open loud or your kick drum is pumping through a massive subwoofer under the stage. That gives back the low-end seismic rumble you lost when they told you to turn down your bass amp or replaced your drum or keyboard wedge with in-ear monitors. TSMs achieve that at a fraction of normal stage volume, which keeps your ears — not to mention your microphones — from bleeding. Clark Synthesis; tel. (800) 898-1945 or (303) 797-7500; e-mail info@clarksynthesis.com; Web www.clarksynthesis.com.

AUXILIARY MIXER

Shure's AuxPander ($990) falls squarely into the why-didn't-anyone-think-of-this-before category. The AuxPander was designed for performing musicians and sound-reinforcement engineers who need more auxiliary mixes than their current mixers can muster. The AuxPander effectively adds an 8-bus line-mixing matrix to any mixing console.

The 4-rackspace AuxPander has eight input channels with individual level and pan controls, and four stereo or eight mono aux outputs. You can use the additional aux outs for creating custom personal-monitor mixes or for any other busing or routing application.

The AuxPander's I/O jack connects to a mixer's insert point by a single ¼-inch TRS connection. You can use multiple units to expand the system vertically or horizontally. For example, you can connect two AuxPanders to form an 8×16 or a 16×8 matrix. Shure; tel. (800) 25-SHURE or (847) 866-2200; e-mail info@shure.com; Web www.shure.com.

WEDGE POWER

With the release of Tech 21's Bass Power Wedge 60 ($445), it just got easier for bassists to bring their favorite studio tones to the stage. By plugging your favorite rack or floor-dwelling preamp into the Power Wedge, you can utilize all your studio presets live with the same simplicity you enjoy when going directly into a recording console. The direct signal goes straight to the house P.A. through the Wedge's balanced XLR output while an internal transparent 60W power amp allows you to monitor your tone through the 10-inch speaker. An active 3-band EQ shapes the sound, and the wedge-shaped cabinet ensures it doesn't miss your head.

Daisy chaining Power Wedge 60s is easy, allowing you to double, triple, or quadruple your sound — in fact, you can link as many Wedges as the available stage space (and your credit limit) allows. Use two as a 120W stereo rig and send a third back to the drummer, who can use it to monitor your signal and regulate the level with the Wedge's volume control. Tech 21; tel. (212) 315-1116; e-mail info@tech21nyc.com; Web www.tech21nyc.com.

PRO FISHMAN

Fishman's Pro-EQ Platinum ($249.95) is a combination preamplifier and DI box, with a 4-band graphic equalizer modeled after the one on the company's popular Prefix Plus onboard preamp. Although you can use it with any acoustic instrument, the Pro-EQ Platinum has many features custom tailored for the acoustic guitar, such as a notch filter and phase switch for fighting feedback in the lower and upper fretboard ranges, respectively.

The equalizer is voiced especially for acoustic instruments — with controls for Bass, Treble, Mid (sweepable between 250 Hz and 5 kHz), and Brilliance — and also offers a built-in Smooth compression circuit. The ¼-inch input accepts magnetic and piezo pickups, and there are ¼-inch main and tuner outputs as well as a balanced XLR direct output that facilitates the use of 48V phantom power for powering the unit. Fishman Transducers; tel. (978) 988-9199; e-mail sales@fishman.com; Web www.fishman.com.

THE EARS HAVE IT

In-ear monitor systems have particular processing needs, and dbx has addressed them with its IEM processor ($1,499). The IEM features a 48-bit internal signal path and a dbx Type IV A/D conversion system, and packs numerous functions that would normally require dedicated processors into a single unit.

Custom Lexicon reverb algorithms add much-needed ambience to in-ear mixes, and the onboard dynamics processor combines a 4-band stereo compressor with dbx's proprietary PeakStop limiter. The IEM's 5-band EQ section offers three fully parametric bands, along with high and low shelving filters. There's also a Stereo adjust feature for controlling the stereo image in the mix. You can update the onboard software from the Internet or with the built-in RS 232 port. dbx; tel. (801) 568-7660; e-mail customer@dbxpro.com; Web www.dbxpro.com.

HART HITTER

Hart Dynamics has introduced a new line of electronic cymbals. The ECymbal II series includes the 12HH ECymbal II electronic hi-hat ($189) and the 16 Ride ECymbal II ($189). The 12HH ECymbal II combines a 12-inch ECymbal II top cymbal composed of a special metal alloy with a 12-inch polymer ECymbal bottom. The hi-hats remain closed when played on top and open up for heavy playing. An electronic hi-hat pedal controls the open and closed parameters. The 16 Ride ECymbal II is a 16-inch dual-trigger, big-bell model that looks almost like a regular cymbal but produces no acoustic sound. Both models have gum rubber on one-third of the playing surface, allowing you to play the metal part for feel and the rubber when you need to be extra quiet.

Other ECymbals include 12-inch crashes available in regular ($89) and choke ($109) models, 14-inch crashes available in regular ($99) and choke ($119) models, and a 9-inch splash ($79). The crash and splash models are constructed of a proprietary polymer material covered in Duroplate Gold Mirror finishes and come equipped with Aquarian cymbal springs. Hart Dynamics; tel. (800) 769-5335 or (850) 654-1455; e-mail ph@hartdynamics.com; Web www.hartdynamics.com.

STOMPING GROUND

Although it looks like a pedalboard, the Zoom GFX-4 guitar multi-effects console ($439.99) is actually an integrated multi-effects processor. It offers 44 effects, 8 of which you can use simultaneously. The effects selection includes overdrive, compression, 3-band EQ, chorus, flanger, vibrato, tremolo, delay, reverb, ring modulator, pitch shift, wah, and others.

Many of the effects are modeled on classic effects processors from the ’70s and ’80s, rendered by Zoom's Variable Architecture Modeling System (VAMS). You accomplish parameter editing with Easy Edit knobs located on the front panel, and you can save as many as 60 user patches in addition to the 60 factory patches. A built-in expression pedal offers foot control of many effects, and the Amp Simulator function facilitates direct recording. Samson Technologies Corporation (distributor); tel. (800) 328-2882 or (516) 364-2244; e-mail sales@samsontech.com; Web www.samsontech.com.

HIT SWITCHER

If any person has experience getting stadium-size guitar sounds out of multiple amps, it's Peter Frampton, who has come out with an exciting new release — no, not the reissue of Frampton Comes Alive! (see “Captured Live,” page 58), but the Framptone Amp Switcher ($379). Designed for the serious player who is tired of the Pandora's box of problems an ordinary A-B box can present — unwanted hum, signal degradation, even electric shocks — the Amp Switcher allows players to switch silently between two amps or run through both at once without all those A-B earaches.

The Amp Switcher's custom buffer circuit keeps your instrument's signal to both amps strong and clean; the ground-lift switch eliminates noisy ground loops; and the phase-reversal switch ensures that both amps are in phase. Other pro features include LEDs that indicate whether one or both amps are active or which single amp is active. When you're running both amps at once, the Amp Switcher tells you something you may have forgotten by the time you finish your coliseum-filling guitar solo: which single amp you had active last. Framptone Manufacturing; tel. (718) 934-4196; e-mail framptone@frampton.com; Web www.frampton.com.

FULL ECLIPSE

Eventide's new Eclipse ($2,250) is half the size of its H3000 series Harmonizers, but the company bills it as having twice the features and five times the processing power. The single-rackspace Eclipse sports 24-bit converters, 96 kHz internal sampling, and a signal-to-noise spec better than 104 dB. The unit's dual-engine architecture is configurable in series, parallel, stereo, or dual mono. Its enhanced user interface includes a large data knob, a numeric keypad, and four programmable hotkeys. It also has a powerful search facility for rapid program and preset selection by category or application.

The presets, which you can back up using Compact Flash cards, include Eventide's signature pitch-change, reverb, and special-effects programs. The unit has a full complement of I/O options, including balanced (XLR) and unbalanced (¼-inch) analog, and S/PDIF (RCA, optical) and AES/EBU (XLR) digital. Eventide; tel. (201) 641-1200; e-mail audio@eventide.com; Web www.eventide.com.