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Hands-On Product Review:
Yamaha New EMX Series Mixers
Superior portable powered mixers
By Stacy Winsor
 With their innovative features, superior sound quality, plentiful power, and bulletproof reliability, Yamaha powered mixers are the leaders in portable PAs. Their rock-solid EMX Series Mixers  have proven themselves to be superior sound reinforcement solutions, and the engineers at Yamaha recently added two more to the family. The compact and portable EMX5016CF  and EMX5014C offer versatile input capabilities, SPX digital effects, upgraded ergonomics, and improved power amps with an output of 500W per channel.
Weighing in at less than 25 lbs., the EMX5016CF and EMX5014C mixers are compact, making them ideal for small stages?especially with their optional rackmounting kits?yet their console configuration works well for use by a sound engineer. The linear faders provide precise level control as well as a graphic representation of relative channel levels.
Serious sound
The EMX5016CF is Yamaha?s first powered mixer with automatic digital EQ and a Maximizer function that adds one-button punch to your performance. With a total of 16 input channels including eight mono microphone/line inputs and four stereo pairs that can function as mono microphone or stereo line inputs, 500 watts per channel to handle smaller venues, and easy expandability, this mixer can handle many situations. I decided to bring it along to a bar gig with my funk band to test it out.
It was easy to dial in the sound with 3-band EQ on all input channels while the mid-frequency sweep controls on the eight mono channels let me precisely pinpoint frequencies in the critical midrange. The mono channels also have single-knob compressors, which helped me tame the singer?s unruly vocals, tighten the bass guitar, and get that smooth compressed guitar sound. There is no attack, threshold, makeup gain, or other controls?the engineers at Yamaha took care of all that with their brilliant one-knob design.
The 9-band digital graphic EQ features vocal, dance, and speech presets and three user memories to store your own EQ curves for instant recall. I don?t have the time or the experience to get out the noise generator, calibrated microphone, and real-time analyzer to set my system?s output equalizer to optimally match the room response. With Yamaha?s Frequency Response Correction system, all I had to do was play a CD, connect a mic to channel 1, and press Measure/Correct once to take the measurement, and a second time to automatically set the graphic EQ for optimized response. There?s also an internal pink noise generator for even more precise calibration. When I had it just right, I saved the EQ curve for the next time we play this venue.
I really appreciate the Automatic Feedback Suppression system with precise notch filters. It has a sensitive manual mode so you can pinpoint and attenuate feedback points one by one, but I found the automatic mode effectively squelched feedback all on its own.
I was anxious to hear the effects of the Maximizer?an advanced 3-band compressor you can apply to the stereo bus. When I pressed the Maximizer button, the sound was instantly punchier and the mix had more presence and impact, yet none of the musical subtlety was lost.
Next it was time to take the dual SPX effects processors for a spin. Each processor has 16 topnotch digital effects including reverb, echo, chorus, flanger, phaser, and distortion. They were all musical and useful and you can apply two simultaneous effects without muddying the mix. You can use a footswitch to mute the effects between tunes as well.
I was really impressed with the easy expandability the EMX5016CF offered. Dual aux sends allow flexibility for effect and monitor routing and insert patch points on mono input channels let you add outboard signal processing to individual input channels. Stereo out, stereo sub out, and record outputs let you easily expand your PA and capture performances.
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Yamaha New EMX Series Mixers |
A powerful family
The next night I tried out the EMX5014C ?a simplified version of the EMX5016CF ?and was equally impressed. The EMX5014C offers 500W, 200W, or 75W per channel selectable power; 14 input channels (up to eight mics); 3-band mid-sweep channel EQ; 9-band graphic EQ on the main stereo output and a separate graphic for the monitor output; a Feedback Channel Locator on each channel; SPX digital effects; single knob compressors on channels 1-6; PFL switches on each channel; dual aux sends; and onboard YSP processing to tailor the signal for optimum use with Yamaha?s Club Series speakers.
These two mixers?in addition to the EMX212S, EMX312SC, and EMX512SC mixers introduced in 2005?make the Yamaha EMX Series Mixers a live sound force to be reckoned with. Their low prices, professional features, compact size, and reliability make them a sure bet.
Features & Specs:
EMX5016CF
- 16 input channels (up to 12 mics)
- 500W per channel
- 3-band mid-sweep channel EQ
- 9-band digital graphic EQ
- Frequency Response Correction system
- Automatic Feedback Suppression system
- Maximizer function
- Dual effects processors with 16 SPX effects each
- Single-knob compressors
- PFL and AFL monitoring
- Dual aux sends
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EMX5014C
- 14 input channels (up to 8 mics)
- 500W per channel
- 3-band mid-sweep channel EQ
- 9-band graphic EQ
- Feedback Channel Locating system
- 16 SPX digital effects
- Single-knob compressors
- PFL and AFL monitoring
- Dual aux sends
- YSP processing for Club Series speakers
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MATON EML ?MINI MATON ACOUSTIC GUITAR
   
REVIEWER: Shannon Bourne
DISTRIBUTOR: Maton 03 9896 9500
Howdy all! Shannon Bourne here again. It has been a month for all things acoustic! Check out my other review on page 61. Anyway, my other guitar for this month is the new Maton EML, or, as it is known, in certain closed pockets of society (nudge, nudge, wink, wink) MINI MATON.
I received a call from Maton Guitars asking if I would be interested in reviewing their new Mini Maton. Now who would I be to turn down an offer like this! So, the guitar was dropped off by a rather nice chap by the name of Anthony. Anthony took the time to explain to me that this guitar was not really designed to be a mic up studio acoustic, but rather a plug in and play affair.
I immediately opened up the case and was knocked out by the smell of glue. This guitar was a fresh one. Serial No 5 to be exact. This guitar features a solid A grade spruce top, Queensland Maple back, sides and neck, a rosewood fingerboard and bridge, chrome Grover machine heads and an AP-4 pickup system. All of this finished off in satin.
When I picked up this instrument I was impressed by its sturdy feel. This feels like the kind of instrument you could belt the hell out of and still have it be your friend. The neck profile is superb and a delight to grip! Now, even though these guitars are designed for plug in and play applications, acoustically, I was impressed by the tones that jump out of this little frame. You could really find a place in the mix for a guitar like this. In the studio that is.
I found that guitar buzzed a little, but that could be rectified with a higher action. Also another niggle is the rosewood fingerboard was much lighter in colour as opposed to the bridge. The bridge was a beautiful dark chocolate and the fingerboard more like milk chocolate. Pure aesthetics though. This instrument has that great midrange honk that I associate with Appalachian hill music?in short, hillbilly music.
Upon plugging this little wonder in, I was immediately taken by sound of the AP4 pickup system. I have never been a fan of the AP systems, and have found it hard to get along with the plastic like tone. But this system works a treat for this little guit! All of the depth and richness that the guitar doesn?t possess acoustically becomes quite abundant when electrified. Plugged in through a PA this guitar has a great solid tone and really handles aggressive playing with ease, even though I think that heavier strings could improve tuning stability and further increase acoustic applications. Chords sounded rich and punchy just like Mohammed Ali! Single string lines were a little anaemic though.
Another thing that Maton suggested to do was to try the guitar through an electric guitar amp. As is the trend with many ?nu-roots? players, I embarked on this journey with much apprehension. II was happily surprised with the way that it handled being pumped through a steamy, growling valve amp. Very warm in tone! Acoustic guitars should not be able to do this. I tried to play some slide as well, but the action was just too low.
I must stress how sturdy this instrument feels. I am quite a physical player with only a size 9 foot. This guitar took my repeated beatings and still rose to the occasion.
The guitar felt a little delicate in open tunings but reacted well to drop D quite favourably. The Grover machine heads are a great choice as they have excellent gearing and reaction time.
So with all of that, I would suggest that you go out and give one a go! This is a really great option for people who want more than just a regular travel guitar. This one straddles the line a bit. It is small enough to be compact but with the added bonus of being traditional in looks, but contemporary in possibilities. The MINI MATON also comes with case and also in a 12 string version; I can?t wait to try that one!
Have a fun time maxing out your credit cards and hiding your new toy from the ?sensible half? of your relationship.
Zoom Q3 Review
Product summary
The good: The Zoom Q3 is a portable video recorder with uncompromising audio quality. Its small size, removable SDHC storage, built-in USB cable, and replaceable batteries, make it ideal for on-the-go musicians and journalists.
The bad: Video quality is mediocre-looking and uses a standard-definition resolution that feels mismatched with its high-definition audio capabilities.
The bottom line: The Zoom Q3 is long on audio features, but short on video quality, but it fills a niche for musicians and avid concertgoers who may prize sound above all other considerations.
The advent of dedicated, pocket-size video cameras, popularized by Flip, Kodak, and Creative, brought a welcome change from the bulky tape recorders of the past. Most users praise the simple operation and basic features of this new breed of video cameras, but in some cases, the limitations can be frustrating.
Audio quality is one such limitation in the pocket camcorder market. In many cases, outdoor recordings made on a camcorder are plagued by wind noise and audio is typically captured using low bit rates and inexpensive internal microphones. Recognizing the need for a consumer pocket video camera with high-performance audio features, the Zoom Q3 ($249) gives audiophiles something to shout about.
Design
The Zoom Q3 will certainly get you noticed. Looking like a blue-hued Flip Mino with a space heater sticking out of its top, the Q3 comes across a bit like a Star Trek prop. Unfortunately, as futuristic as it seems at first glance, the overall size and construction is a little dated compared with the competition.
Measuring 5.25 inches tall by 2.25 inches wide my 1.25 inch think, and weighing about 6 ounces (batteries included), the Q3 is taller and bulkier than most conventional pocket cams. To be fair, the top inch of the Q3 is literally dedicated to its crowning feature--a pair of high quality stereo condenser microphones wrapped in a protective metal grille and wind screen.
Aside from the obligatory SDHC card slot, tripod mount, and built-in USB cable, the sides of the Q3 look as though they were torn off of one of Zoom's popular H2 audio recorders. For example, the left edge includes a headphone jack that lets you directly monitor audio recording quality. You also get a three-position switch for adjusting the microphone gain between low, high, and automatic settings. There's a power button, of course, but there's also a switch that lets you specifically shut off the video capabilities, turning the Q3 into an audio-only recorder.
The Zoom Q3 (left) takes a lot of its design cues from the Flip, including the navigation pad. That big microphone sitting on the top is unmistakable, though.
Features
In true pocket camera fashion, the Zoom Q3 offers absolutely no video features to meddle with. You just turn it on, hit the record button, and you're guaranteed a 640x480 -pixel resolution MOV video file recorded at 30 frames per second-- compressed using the MPEG4-SP codec. Just like the Flip Ultra HD we tested it against, the Q3 includes dedicated buttons for play, record, skip, and trash.
Its audio features are abundant. Beyond the gain setting switch, the Q3's menu button offers an onscreen menu filled with options for sound quality and lo-cut filtering. For discriminating audio purists, the Q3 lets you elect to record at audio resolutions far exceeding CD-quality, up to 48kHz (24-bit) WAV in video mode, or 96kHz (24-bit) WAV for audio-only recording. For mere mortals, CD-quality 44kHz (16-bit) still offers a welcome improvement over the competition, and a long list of MP3 encoding options (ranging from 320Kbps to 48Kbps) still benefit from Q3's superior microphones and gain control.
Other features worth noting include a composite video output (cable included) that can format for both NTSC and PAL TVs; a power adapter input for extended recordings; support for rechargeable batteries; and a built-in speaker for hearing recordings without an attached set of headphones.
One feature surprisingly missing from this audio-friendly camcorder is an external microphone or line input. Granted, the Q3's built-in mics are great, but the audio fanatics looking at the Q3 probably wouldn't mind the added flexibility to plug in a clip-on lavalier microphone or the mix from a soundboard. We're even seeing some consumer cameras such as the Kodak Zi8 include a microphone jack.
Performance
Right off the bat, let's make it clear that the audio recording quality of the Zoom Q3 is without peer in the pocket camcorder market. If you're looking for fantastic and flexible sound from a handheld video recorder, the Q3 delivers on its audio fidelity hype.
Now here's where we'd love to say that the Q3's video quality is equally matched by its aptitude for audio--but it's simply not true. In fact, compared with the glut of smaller, cheaper, HD-capable camcorders competing in this space, the Q3's video quality is downright disappointing.
The problem is more than just a pixel count. Many of our recordings demonstrated poor white balance, hazy contrast, washed-out colors, and an odd grainy quality. Similar to the video camera found on the fifth-generation Apple iPod Nano, we did appreciate the accommodating wide-angle lens (0.8mm to infinity focal length), which allowed us to capture subjects and scenes from shorter distances than the Flip.
Image samples can be found in our slideshow and First Look video. To fully understand the unique audio capabilities of the Q3, be sure to listen to the selection of audio samples at the end of this review, as well.
The Q3's battery life is rated at 2 hours of video recording, or 4 hours of audio-only recording.
Final thoughts
We can think of several examples where the microphones on our camcorder or digital camera have let us down: windy recordings of childrens' soccer games; interviews imbued with a nagging mechanical whine hovering in the background; or concerts where the sheer volume overloads the audio into an unlistenable wall of noise. The Zoom Q3 is an admirable attempt to remedy the problem of bad sounding videos, and it may find an audience with musicians and journalists who value sound quality over all other considerations.
That said, we now live in a world where expectations for digital video quality have dramatically increased. Our TVs are HD, our portable media players are HD, and even YouTube recently announced 1080p HD video streams. No matter how great it sounds, we have a hard time justifying an investment in a standard definition video camera at a time when the world is going HD.
GIBSON 2008 LES PAUL STANDARD
    
GIBSON 2008 LES PAUL STANDARD
REVIEWER: Powderfinger's Ian Haug
DISTRIBUTOR: www.gibsonami.com
I don?t know what it is about this guitar. It just has a certain growl to it. It seems to be ?weight relieved? or cavitied, but it does not seem to suffer for it. It will certainly make me suffer a little less from the weight, as Les Pauls are generally ridiculously heavy. All worth it though I think!
This thing looks great. I have always wanted a gold top?and as much as I would like a 1958 one, it probably isn?t a sensible choice for touring with. The price on this one is much more acceptable, and it is NEW! That means nobody's bad songs have been played on it. No-one has stolen the vast array of songs that this guitar has within itself. They are all for me! I look forward to writing on, and playing this for ever. It feels so solid it will be here till the end of time ... Unless some drunken fool knocks it off a stand, because as we all know Les Paul headstocks don?t take too kindly to that.
Anyhow? not much has really changed in LP?s since 1957 or so, but there are some good changes on this one, and some changes that
I am less keen on, but they don?t really sway my opinion against the thing.
The locking Grover tuners are really good, and this holds its tune very well. The clear rear switch cover is clear. I don?t know why, but I don?t want to see in there. That stuff is meant to be secret. Also the neutrik jack to stop your lead unplugging is pretty annoying. If I ever forget to tuck my lead in behind the strap, and I pull the lead out by accident live, then I deserve to be embarrassed. The linear tone pots and volume pots do the trick. I like them a lot.
I love the finish on the back of the neck, and the taper on it, and the frets are lovely, although it arrived with a chunk out of one on the 15th fret.
I will fix it. It's fine. I am not here to complain. The thing in general is tops. One day I look forwards to a/b?ing it with a 58 gold top ... so if anyone has one that they want to send me, I will put aside some time, and
I will check it out.
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