http://www.gearwire.com/fender-groovetubes.html
Analog Planet is a Groove Tubes dealer. I don't know what impact, if any, this will have on us. I hope they get behind the pro audio line, which is great, but has been very under-represented/under-marketed. Hopefully Fender won't dumb it down to a pure MI line, because the GT Pro Audio stuff has sort of been teetering on that ledge for a few years. Studio guys don't take it seriously because they think it's an MI line. All they'd have to do is listen to a ViPre or a SuPre or a Glory comp to realize that this stuff holds its own against, and often beats, venerated studio brands like Tube-Tech and Summit and DW Fearn and the like.
Aspen Pittman, GT's founder and designer, is a master tube circuit-rician.
The mics are excellent for the money too, a cut above the typical Chinese condensers out there.
PS: I live my new Fender American Standard Telecaster. Best guitar I've acquired in years!
Friday, June 20, 2008
Monday, June 9, 2008
Hello folks! Well I have some big news! I have started my own company - a web-boutique called Drew Townson's Analog Planet. Yazoo! The Planet sells high-end analog recording gear, including lots of tube stuff. I call it "The Audio Hardware Store...in space!" Great idea, starting a high-end business in this economy, right?
What am I thinking?
Well, I'm thinking I want to start a a genuine high-end thing, based on my own deication to quality, as well as creating a legacy for my family and son. Plus, I was getting sick of the guys I was working for driving in to work at 11 am in their Beemers and Benzes and coming up to me with, "Sold anything today Drew?" "What have you done for me lately Drew?"
What I had done for them is a lot. Made happy customers. Brought in a lot of money...which was not trickling enough back down to me. So I said, "screw it!" and started my own business.
The site's young and buggy and still in development, but hey, go check out Analog Planet!
Tuesday, May 27, 2008
Cool New Ribbon Mic, er, I Mean Warm!
The Telefunken RM-5C Cardioid Ribbon Mic
This is the first gear review in a while...
RM-5C, Muy Cremosa!
We shot this baby out verses the Royer R121 on both clean and crunchy electric guitar, and male voice. In all cases, the Telefunken sounded more old-school; more vintage. The cardioid pattern, which few ribbons have (the Royer is Fig 8 of course) is an asset when you need tight-in micing and a focused sound. You could use the RM-5C on-stage. Sonically it is midzy with a smooth, rolled-off top and a bottom which is not boomy or overly fluffy. Telefunken's literature on this claims it's NOT your Daddy's RCA and has modern updates. I'm sure this is true, but it still sounded quite vintage to my ears. The 121, by comparison, sounds more modern, having an extended top and bottom.
I loved the Telefunken on country-style Telecaster (Tele on Tele!) through a Fender Deluxe Reverb with an API 312 pre. Sounded like a classic Merle Haggard recording from the ‘60s. However, the T-Funk was not a good match for loud, heavily distorted rhythm guitar (API pre again). Obviously, this is where the Royer is money. he 121 shone in front of a Marshall 4X12 with Diesel head, while the RM-5C fell apart in to a splattery mess. We then went to a gooey “woman-tone” lead solo, ala Santana or the Allman Brothers. The RM KILLED on that singing, sustainy lead sound. Loved it there! And it CAN take far more SPL than an old RCA.
On male vocal, matched to a Groove Tubes SuPre set to 300ohms, the RCA, er, I mean Telefunken, proved the clear winner. It was velvety, not too fat, and had a little mid/upper-mid bump that would make a vocal sit nice and cozy in a mix. The Royer does not claim to be a vocal mic (although it has been used that way my studio once or twice) and its fig-8 pattern makes it less conducive for vocal than is the RM-5C.
Like the 121, the RM-5C takes to EQ very well. You can boost highs without harshing anybody’s buzz. The Telefunken isn’t going to be a mic you can use on everything, but it is very good on certain sounds, indeed. In a word, I'll call it "creamy". With the resurgence in Americana and vintage-style recordings, ribbons and good dynamics are having a nice revival. The RM-5C makes a special contribution to that cause. I’d not hesitate to try it on any singer, or even use it at a live gig.
My “Sound With a Soul”® soulfulness rating: 144 proof.
Velveteen Units, 12
drew@analogplanet.com
Telefunken USA
This is the first gear review in a while...
RM-5C, Muy Cremosa!
We shot this baby out verses the Royer R121 on both clean and crunchy electric guitar, and male voice. In all cases, the Telefunken sounded more old-school; more vintage. The cardioid pattern, which few ribbons have (the Royer is Fig 8 of course) is an asset when you need tight-in micing and a focused sound. You could use the RM-5C on-stage. Sonically it is midzy with a smooth, rolled-off top and a bottom which is not boomy or overly fluffy. Telefunken's literature on this claims it's NOT your Daddy's RCA and has modern updates. I'm sure this is true, but it still sounded quite vintage to my ears. The 121, by comparison, sounds more modern, having an extended top and bottom.
I loved the Telefunken on country-style Telecaster (Tele on Tele!) through a Fender Deluxe Reverb with an API 312 pre. Sounded like a classic Merle Haggard recording from the ‘60s. However, the T-Funk was not a good match for loud, heavily distorted rhythm guitar (API pre again). Obviously, this is where the Royer is money. he 121 shone in front of a Marshall 4X12 with Diesel head, while the RM-5C fell apart in to a splattery mess. We then went to a gooey “woman-tone” lead solo, ala Santana or the Allman Brothers. The RM KILLED on that singing, sustainy lead sound. Loved it there! And it CAN take far more SPL than an old RCA.
On male vocal, matched to a Groove Tubes SuPre set to 300ohms, the RCA, er, I mean Telefunken, proved the clear winner. It was velvety, not too fat, and had a little mid/upper-mid bump that would make a vocal sit nice and cozy in a mix. The Royer does not claim to be a vocal mic (although it has been used that way my studio once or twice) and its fig-8 pattern makes it less conducive for vocal than is the RM-5C.
Like the 121, the RM-5C takes to EQ very well. You can boost highs without harshing anybody’s buzz. The Telefunken isn’t going to be a mic you can use on everything, but it is very good on certain sounds, indeed. In a word, I'll call it "creamy". With the resurgence in Americana and vintage-style recordings, ribbons and good dynamics are having a nice revival. The RM-5C makes a special contribution to that cause. I’d not hesitate to try it on any singer, or even use it at a live gig.
My “Sound With a Soul”® soulfulness rating: 144 proof.
Velveteen Units, 12
drew@analogplanet.com
Telefunken USA
Monday, May 5, 2008
Cinco de Mayo, ¡Vámanos de fiesta!
OK, in this year's installment of Cinco de Mayo, we'll pose the question, ¿Que tequila es el mejór?
For what it's worth, here are Drewcifer's top five:
1) Penca Azul Anejo Reserva -- the most superb I've had the privilege to taste. To me it is to Tequila what Johnny Walker Blue is to Scotch. It almost tastes like a fine whisky or brandy; starting smoky and oaky, but finishing strong with the essence of blue agave. Because it was a gift, I have no idea what the price would be, if it was even available in the US, which it's not. Muy suave.
2) Patron Reposado -- Now I think in-general Patron is over-hyped and over-priced. It's good, mind you, but there are others that are also really good that are not as well-known or pricey. The silver they have in most bars I don't particularly go out of my way for. However, the Reposado is superlative.
3) Espolon Reposado -- You take one sip of this Tequila and say wow. Near perfection. Smoky, woody, spicy, smooth and flavorful with little or no alcohol burn. Has that warming effect that great whisky and wine have.
4) Corralejo Reposado -- The oldest Tequileria in Mexico still makes great stuff. It's light for a reposado, with a pale tint the color of olive oil. Probably not aged more than the minimum. But it's a great every day reposado, tastes nice on ice and is pretty darn smooth. It's not too fancy to use in a Margarita, either.
5) This is a tough one because there could be so many I like here in the cinco position; Don Julio, Corazon, Cielo, Cazadores, Sauze Tres Generaciones...But I'm going to go with my old every day fave, Herradura Blanco (Silver). Makes Margaritas muy buenas. I discovered it years ago at The Rodeo bar in NYC, which is known for it's great 'ritas. We were playing there and I noticed their "house" 'rita was made using Herradura blanco, poured from a big 1-litre bar-bottle. To this day that's what I use in my Margaritas, and I've tried many, but the Herradure just works the best. (I am lucky as hell that my local liquor store sells the litre bottle --typically impossible to find at any price -- for $40!). It blends well, while at the same time revealing a fresh, citrusy agave flavor. I like to taste the booze in my 'ritas, so the booze has to taste good. When you go to a typical bar, they're using bad-tasting mixto tequila (not 100% agave) like Cuervo Gold, so they bury it to where you can't taste it. If you're going to use Cuervo, at least use the Tradicional, which is 100% agave and makes a decent Margarita. Which reminds me, I just tried this highly-touted new Cuervo called Platino, which is $50 per bottle. Didn't like it. Freakin' greasy! Metallic after-taste, alcohol burn and an oily mouth feel.
As always I digress.
And just look at the clock!
It's Tequila-thirty!
Salud!
(PS: Just had a sip of Espolon...BUTTERY!)
For what it's worth, here are Drewcifer's top five:
1) Penca Azul Anejo Reserva -- the most superb I've had the privilege to taste. To me it is to Tequila what Johnny Walker Blue is to Scotch. It almost tastes like a fine whisky or brandy; starting smoky and oaky, but finishing strong with the essence of blue agave. Because it was a gift, I have no idea what the price would be, if it was even available in the US, which it's not. Muy suave.
2) Patron Reposado -- Now I think in-general Patron is over-hyped and over-priced. It's good, mind you, but there are others that are also really good that are not as well-known or pricey. The silver they have in most bars I don't particularly go out of my way for. However, the Reposado is superlative.
3) Espolon Reposado -- You take one sip of this Tequila and say wow. Near perfection. Smoky, woody, spicy, smooth and flavorful with little or no alcohol burn. Has that warming effect that great whisky and wine have.
4) Corralejo Reposado -- The oldest Tequileria in Mexico still makes great stuff. It's light for a reposado, with a pale tint the color of olive oil. Probably not aged more than the minimum. But it's a great every day reposado, tastes nice on ice and is pretty darn smooth. It's not too fancy to use in a Margarita, either.
5) This is a tough one because there could be so many I like here in the cinco position; Don Julio, Corazon, Cielo, Cazadores, Sauze Tres Generaciones...But I'm going to go with my old every day fave, Herradura Blanco (Silver). Makes Margaritas muy buenas. I discovered it years ago at The Rodeo bar in NYC, which is known for it's great 'ritas. We were playing there and I noticed their "house" 'rita was made using Herradura blanco, poured from a big 1-litre bar-bottle. To this day that's what I use in my Margaritas, and I've tried many, but the Herradure just works the best. (I am lucky as hell that my local liquor store sells the litre bottle --typically impossible to find at any price -- for $40!). It blends well, while at the same time revealing a fresh, citrusy agave flavor. I like to taste the booze in my 'ritas, so the booze has to taste good. When you go to a typical bar, they're using bad-tasting mixto tequila (not 100% agave) like Cuervo Gold, so they bury it to where you can't taste it. If you're going to use Cuervo, at least use the Tradicional, which is 100% agave and makes a decent Margarita. Which reminds me, I just tried this highly-touted new Cuervo called Platino, which is $50 per bottle. Didn't like it. Freakin' greasy! Metallic after-taste, alcohol burn and an oily mouth feel.
As always I digress.
And just look at the clock!
It's Tequila-thirty!
Salud!
(PS: Just had a sip of Espolon...BUTTERY!)
Saturday, April 19, 2008
Monday, March 31, 2008
Nowhere Man: How Christopher Moore went from the Boston Scene, to Stuck-in-Between
While I was working at that Hellhole whose name shall not be uttered (go back 1-year on this blog), I became acquainted with one Mr. Chris Moore, a part-time helper there who was, well there's no better word for it, Chris was cool. We're talkin' wrap-around shades, the latest in hair-spikage, mod clothes, and a rave-club pallor. Young Chris had an air about him, that is for sure. Didn't take long for me to find out that the kid was funny, too, in a dry, ascerbic way. Smart kid, Chris Moore.
Because he was sort of the lone hipster among a bunch of long-toothed rockers, he caught more than his share of ribbing from the gang. But he laughed right along with everybody and returned the abuse in-kind. All the while, Chris was learning audio engineering and live sound. Turns out he was a singer and was beginning the process of getting a demo together. Chris was even planning a trip to Cali to track and mix with a very well-known veteran producer/mixologist. Yep, that Chris was on his way up in life. He had big plans. Big dreams. He was on the launchpad. He was ready to ignite. He was on the Road....
...to Nowhere.
Or, more accurately, he was on the Rotary to Nowhere. For those of you who don't live in Massachusetts, a Rotary is a traffic circle. They're all over the place up here, and they're scary as-hell. Where three or four or more roads converge/intersect, instead of a traffic light, there's a rotary. You enter the one-way mixmaster, circling until the road you want comes up and then you exit. And it's not just one lane, either. There can be two, sometimes three cars side-by-side. So all these vehicles are getting on and off and going 'round and 'round. What sometimes happens is, you might be in the outside lane, and the car on the INSIDE lane (to your left) decides to exit (to your right). This was the unlucky position Chris found himself in last summer. He was on the notorious Fresh Pond Rotary in Cambridge, one of the busiest and craziest in the area.
CCRRASSSHHH!
In an instant, Chris's life changed, and not in a good way. He didn't have health insurance and ended up with a bad doctor. The story goes down hill from there. But I'll let Chris tell it himself. Instead of Hollywood, he's out in the middle of Cow-cake Ohio, surrounded by a sea of mud, trying desperately to get back to civilization through his laptop. So, check out his site, TheQuarterProject, watch his video, and maybe flip a couple Washingtons his way...
Because he was sort of the lone hipster among a bunch of long-toothed rockers, he caught more than his share of ribbing from the gang. But he laughed right along with everybody and returned the abuse in-kind. All the while, Chris was learning audio engineering and live sound. Turns out he was a singer and was beginning the process of getting a demo together. Chris was even planning a trip to Cali to track and mix with a very well-known veteran producer/mixologist. Yep, that Chris was on his way up in life. He had big plans. Big dreams. He was on the launchpad. He was ready to ignite. He was on the Road....
...to Nowhere.
Or, more accurately, he was on the Rotary to Nowhere. For those of you who don't live in Massachusetts, a Rotary is a traffic circle. They're all over the place up here, and they're scary as-hell. Where three or four or more roads converge/intersect, instead of a traffic light, there's a rotary. You enter the one-way mixmaster, circling until the road you want comes up and then you exit. And it's not just one lane, either. There can be two, sometimes three cars side-by-side. So all these vehicles are getting on and off and going 'round and 'round. What sometimes happens is, you might be in the outside lane, and the car on the INSIDE lane (to your left) decides to exit (to your right). This was the unlucky position Chris found himself in last summer. He was on the notorious Fresh Pond Rotary in Cambridge, one of the busiest and craziest in the area.
CCRRASSSHHH!
In an instant, Chris's life changed, and not in a good way. He didn't have health insurance and ended up with a bad doctor. The story goes down hill from there. But I'll let Chris tell it himself. Instead of Hollywood, he's out in the middle of Cow-cake Ohio, surrounded by a sea of mud, trying desperately to get back to civilization through his laptop. So, check out his site, TheQuarterProject, watch his video, and maybe flip a couple Washingtons his way...
Tuesday, March 11, 2008
Spellbinding!
Playing the new Mobile Fidelity Soundlab remaster of Santana's legendary Abraxas conjures up a lot of teenage memories for me; 1970's summer nights with the FM radio piping from the car as we lounged by the lake, stargazing. Or wearing those big clunky headphones in my room in the wee hours of the night, spacing out to Carlos' crying guitar, Rolie's swirling B3, and that hypnotic, stereophonic percussion. The future was endless and anything was possible.
Half-speed re-cut from the original studio masters by MoFi --yes the company still exists and is going strong after 30 years-- the vinyl is quieter than the tape-hiss! Stereo width and depth-of field are better than on any CD I've heard.
Abraxas was one of the sountracks to our dreams.
Dream again with this sonically beautiful reissue.
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