<p><img src="http://img.audiofanzine.com/image.php?lang=en&identifier=id&size=thumb1&module=product&product_id=119537" alt="" title="DigiTech Whammy DT - Killing but the rules of art" /></p>Ok
<p><img src="http://img.audiofanzine.com/image.php?lang=en&identifier=id&size=thumb1&module=product&product_id=34289" alt="" title="Electro-Voice EVM-12L - The Photos Are of Various EV Speaker Models" /></p>I do not believe that the 16th photo on Page 1 of Images, and the 8th and 9th Photos on Page 2 of Images portray EVM 12L speakers. Instead, they are the generic, OEM versions of the “Force 12” speaker.
The “Force” series of Electro-Voice speakers (offered in 10-, 12-, and 15-inch versions) used the same rugged (cast-aluminum) frames, but have smaller magnet assemblies and were lighter in weight than their more powerful EVM speaker counterparts (10M, 12L, and 15L). The Force speakers handled only up to 150 watts (still powerful), and had somewhat different acoustic properties. In retail form the Force speakers had fancy identifying front dust caps and rear emblems. In OEM form they were unadorned. Both versions usually had the distinctive black cast metal fins on the rear plate.
The original SRO and/or EVM 12L speaker may have been a 300 watt speaker (like the original EVM 10M speaker). The EVM 12L Series II speakers, pictured in most (but not all) of the remaining photos are 200 watt speakers, and usually had either (a) a flat rear plate with an EV factory label (retail version), (b) an aftermarket speaker- (e.g., SLM Electronics) or amp- (e.g., Fender; Mesa Boogie) manufacturer’s label (OEM version), or (c) no label, with or without EV factory stamped information and model/date codes (OEM version). These variations are nicely illustrated among the two pages of Images on this site.
The Force, EVM 12L (in original form), and later EVM 12L Series II speakers are no longer manufactured. Photo 2 on Page 1 of Images is of a current 12L Classic still offered by Electro-Voice.
While I am not an expert, I believe that all these various types of EV speakers are excellent upgrades, when properly matched to appropriate guitar amplifiers. EV speakers are powerful and very rugged. They are, however, heavy and acoustically accurate ("unforgiving," as someone has said).
I can personally vouch for the (OEM) Force 10 and the EVM 12L Series II (called a "12F" on the Fender label) speakers, which were offered as upgrades in certain 1980's Fender Series II tube amplifiers (e.g., the small Super Champ and larger Concert amps; see 3 photos).
by James Lenahan
<p><img src="http://img.audiofanzine.com/image.php?lang=en&identifier=id&size=thumb1&module=product&product_id=7519" alt="" title="Peavey Rock Master Tube Preamp - This Has Nothing To Do With The 5150." /></p>Lately, I've been reading where people are making claims that the Rockmaster preamp was the "inspiration" for the Peavey 5150 amplifier. It was not. I worked for Soldano back in the 1980's. Ed Van Halen came in and bought three SLO-100 heads. He took one and showed it to Peavey. That's where the inspiration for the 5150 came from. The preamp of a Soldano SLO-100 and the preamp of the 5150 are identical. I remember Mike Soldano being a little miffed about it at the time. Eddie also took the Music Man guitar they made for him and showed that to Peavey, too. This is where the Wolfgang came from. Sterling Ball was not too happy about that, either. A person who I considered a good friend took one of my own amplifiers that I had built for him that contained a unique overdrive circuit and showed it to Fender. Later, a few of Fender's amps implemented that same overdrive circuit. Coincidence? I think not. In any case, the Rockmaster preamp has nothing to do with the 5150, no matter how badly you wish it did.
<p><img src="http://img.audiofanzine.com/image.php?lang=en&identifier=id&size=thumb1&module=product&product_id=195687" alt="" title="Ovation AE35-4 - Love this guitar!" /></p>Made in China
Has Ovation OP4B pickup/pre-amp.
<p><img src="http://img.audiofanzine.com/image.php?lang=en&identifier=id&size=thumb1&module=product&product_id=191929" alt="" title="Peavey Backstage II - Buy it" /></p>This is 10-15W Peavey backstage 2 amp it s made for beginers or practicing.Usualy it comes with Peavey Raptor guitar in starter pack.
- 3.5mm input jack
-Turn off-on drive button
-High and Low EQ pots for tone
-3.5 Headphones input
-Power on button
<p><img src="http://img.audiofanzine.com/image.php?lang=en&identifier=id&size=thumb1&module=product&product_id=40522" alt="" title="Behringer Ultra Shifter/Harmonist US600 - good" /></p>na analog, not rackable.
<p><img src="http://img.audiofanzine.com/image.php?lang=en&identifier=id&size=thumb1&module=product&product_id=26370" alt="" title="Akai Head Rush E2 - Wonderful" /></p>I use both the tape analog mostly but the digital delay works very well too. I use a TC Electronics Ditto for my loop. Both of these pedals are awesome; together, I doubt that there is a better combo for an on stage pedal board.
<p><img src="http://img.audiofanzine.com/image.php?lang=en&identifier=id&size=thumb1&module=product&product_id=11712" alt="" title="Hughes & Kettner Edition Blue 60 - i love it" /></p>transistor
<p><img src="http://img.audiofanzine.com/image.php?lang=en&identifier=id&size=thumb1&module=product&product_id=45794" alt="" title="Fender Custom Shop Fat '50s Stratocaster Pickups - Can you deal with the hum?" /></p>See if you guys can help me out, what would be the best noiseless alternative for the CS fat 50s middle pick up? I say this because I LOVE EVERYTHING ABOUT IT, but I am too conscious of the hum, which I should not, since it is only used in clean tones when I play, but if I wanted to replace it with either a Fender or Seymour Duncan alternative, can anyone, if you have tried and compared yourself, let me know if you found a good substitute, that preserves the chime and warm bass response? I know about the silent backplates, but they dont work on the middle pick up since it is RWRP. I would pull it out of my guitar if and only if I can find a very close sub.
Hope to hear from you soon.
<p><img src="http://img.audiofanzine.com/image.php?lang=en&identifier=id&size=thumb1&module=product&product_id=90926" alt="" title="Dell'arte Pigalle DG-P1 - DGP1" /></p>Italy 2013
great guitar 10/10 you can hear
<p><img src="http://img.audiofanzine.com/image.php?lang=en&identifier=id&size=thumb1&module=product&product_id=176272" alt="" title="Luker Chameleon - A Amp to die for." /></p>2 X6V6 X 2X12Ax7s X 1 rectifier X 1 12AT7 X 2 12AU7 reverb. 2 gain controls X 1 Volume-treble-middle- bass- Presence- reverb.+ treble cut + 4way treble select.20Wats with 4-8-16 ohm output-1 input.
<p><img src="http://img.audiofanzine.com/image.php?lang=en&identifier=id&size=thumb1&module=product&product_id=38405" alt="" title="Tung Sol 12AX7 - powerful preamp tube" /></p> I had been waiting for some time to try these particular 12ax7 tubes out. I had read a great deal of good things about this model of tube and had very high expectations going into the purchase. I ordered these to go into the third high gain channel of my VL503. I had been very happy using the Sovtek 12ax7lps across the board in that amp for years. This is an early nineties model amp designed by Lee Jackson for those not familiar with the model the third channel is his custom modification design from when he used to modify Marshall JCM 800s for many name player back in the 1980s. Very loud, huge roar and growl with a lot less of the bad part of the upper registers. The Sovtek tubes had a very full and rich quality but I had to know how these tubes would perform given all the hype I had read on them.
At first I was a bit disappointed with the Tung Sol tubes, they had a harsh quality I was not accustomed to and honestly did not appreciate in that amp. I however gave them a good chance to break in and I am fortunate that I had the patience to do so. After about 8 hours of time they started to sound much better. I can say they have a very high tolerance to gain and sound very good when pushed hard. They do not seem to compress in a bad way but stay open sounding as you throttle them. They cover the full sonic range of the channel with ease and authority. They however are not a smooth sounding tube. They have a higher level of clarity to them. They are not brittle or harsh but simply clearer than I am used to with the LPSs. The bass is a bit more well defined as a result and that is a bonus because that channel of the amp has a tendency to get boomy and now the low tone control has a bit more functionality than with the Sovteks in there. I would not however say they are superior or worse than the Sovteks but simply different in a good way. Where the Sovteks add a smoother compressed fell these have a more open and airy feel. These will not replace any of the tubes I use on a regular basis but instead simply offer an additional soundscape that I find pleasurable and useable.
<p><img src="http://img.audiofanzine.com/image.php?lang=en&identifier=id&size=thumb1&module=product&product_id=154369" alt="" title="Randall RD50H - Fortin magic" /></p> The Randall RD50 Diavlo may have been a so-so amp to begin with but this was the amp that Fortin made his modifications to at the start of his collaboration with Randall. For those of you not familiar with his work suffice it to say Mike Fortin has a great take on todays modern high gain sounds. This is a 50 watt head with to variable impedance speaker outs. It is powered by two output tubes of your choice. You can put any pair of octal based output tubes in it and it will self bias. There are four 12ax7 tubes in the preamp section also. The amp shipped with JJ tubes in the pre and power section, the power section came loaded with EL34s. There is a single quarter inch input on the front, an effects loop on the back, and a 1/4" footswitch jack available on the back (footswitch not included).
This is a 2 channel amp with a clean and overdrive channel each with a boost feature. The two channels share a 3 band, low mid high, tone stack and a presence control. There is also a rear control knob for a small real spring reverb. Channel switching and boost are activated my 2 small buttons located on the front panel. Of course there are also two switches for power and standby rounding out the control scheme.
by parker killertone
<p><img src="http://img.audiofanzine.com/image.php?lang=en&identifier=id&size=thumb1&module=product&product_id=27819" alt="" title="Rivera Chubster 55 combo - Never the same amp twice" /></p>55 watts lots of killer tone available if you can find it?
<p><img src="http://img.audiofanzine.com/image.php?lang=en&identifier=id&size=thumb1&module=product&product_id=3784" alt="" title="Roland Cube-30 - Cube 30 Great Practice Amp" /></p>Solid state 30 watt with input, footswitch, headphone and output jack.
<p><img src="http://img.audiofanzine.com/image.php?lang=en&identifier=id&size=thumb1&module=product&product_id=6232" alt="" title="Marshall VS15R [1996-2000] - Very good --god sent amp !" /></p> Its solid state amp,, 15watts power, 2gain knobs, treble, contour (better than just middle), bas, spring reverb, main out, headphones out, master volume.
<p><img src="http://img.audiofanzine.com/image.php?lang=en&identifier=id&size=thumb1&module=product&product_id=173766" alt="" title="Hufschmid Guitars PHD Standard (jazz type) - Cannot play without it!" /></p>For the last couple of years of my playing, i've been using the Dunlop Ultex Sharps. I got hooked onto those picks, but i noticed they would wear out very quickly and easily. I realised that i was going through at least 5-6 picks a month even with not much playtime. I started looking around for a new plectrum to try out when i came across Hufschmid Picks. I've seen Patrick's work (guitars) on a few forums over the last 5-6 years, and I was quite impressed. But i had no idea he was making plectrums now. I decided to go ahead and order a few.
As soon as I received it, I realised that these things were durable. They're crafted out of excellent material, and in a few hours I got used to it, and I haven't been able to switch to another pick since then. In all honesty, I did try a few others after the PHD, like the John Petrucci Signature Jazz pick, because I couldn't really afford to keep a bunch of these around, but nothing came close to how good the PHD felt.
A friend of mine had a bunch of extra PHDs that he offered to send me. I accepted them gladly, and i've only been using these since December last year. I've gone through 2 picks so far, which I think is amazing, and I look forward to trying out other picks from Patrick's arsenal and not to forget, he has been a pleasure to deal with. He's been very generous so far, and extremely quick in his responses to my queries. He's very dedicated to his work and I'm looking forward to what else he has in store!
<p><img src="http://img.audiofanzine.com/image.php?lang=en&identifier=id&size=thumb1&module=product&product_id=72501" alt="" title="Vintage Les Paul V100 MR Peter Green model - Lemon drop" /></p>Ok so this guitar is a vintage lemon drop, all wilkinson hardware and it has a mahogany neck and body.
<p><img src="http://img.audiofanzine.com/image.php?lang=en&identifier=id&size=thumb1&module=product&product_id=125672" alt="" title="Lâg Tramontane T66D12 - Lag t66 d12" /></p>Beautiful honey mahogany neck
Finger board is Indonesian rosewood
Head stuck is stunning
High gloss finish
<p><img src="http://img.audiofanzine.com/image.php?lang=en&identifier=id&size=thumb1&module=product&product_id=2518" alt="" title="Zoom GFX-8" /></p>The available fx are for the most part amazing and sound great.
<p><img src="http://img.audiofanzine.com/image.php?lang=en&identifier=id&size=thumb1&module=product&product_id=99781" alt="" title="Bugera V55HD - V55HD Great Classic 50s-60s tone" /></p>Let me say I never dis anything unless it is bad... so that being said I will not Dis this amp either... First let me get the basics out of the way. It really looks vintage...It cleans up well. The back cabinet is a dust magnet. (back to easily cleaned) The stock tubes do the job. I imagine better tubes could never hurt though the only tube I have ever changed is the v1 to a tung-sol .. it really makes the clean channel shimmer. as far as the od channel goes ( I really don't use it.. I strictly go through a rp1000 and the built in stomp box loop.... But to just plug in directly and play it will give you black sabbath/ac-dc not anything more than that... But using any distortion device (which this amp handles well, you can push it into metalesque like tone) I have used a digitech distortion station and it handles every setting including Muff Pii. As far as Gigging with it I do not see why not .. Ive seen others gigging with the v55hd so I guess they are either confident or fool hardy. The only downside to this amp is the size and weight.. I do not believe it needs to be so big (taller than need be.. and at about 40 lbs weighs as much as most 100 watt valve amps..
So running it down pluses: 1:sounds great clean.. 2:takes stomp boxes well.3:easily cleans up. and 4: (in my experience) very reliable
Minuses: 1:Distortion channel is good for 50-60s rock..distortion rating would be about a 5.5/10. (needs a stomp box boost) 2: size and weight not in line with other amps its class.. 3: the design makes the back a dust magnet..
I'd rate the value of this amp a 9/10 for what it was designed for 10/10 but like everyone else, we want an amp to cross over to the dark side a bit and this one can't. Rating 6/10 with help from a stomp box 8.5/10
There are those who don't like bugeras, those who don't trust bugeras, those who have never tried a bugera, and then there are the rest of the bugera faithful who like/love em...
(One thing abut the bugera line.. for better or worse.. It has inspired a lot of manufactures to
engineer, build, and sell budget valve amps.. that for the working class stiff can afford to buy out of pocket)
<p><img src="http://img.audiofanzine.com/image.php?lang=en&identifier=id&size=thumb1&module=product&product_id=184486" alt="" title="Hufschmid Guitars H6E - This is the second guitar I bought from Patrick Hufschmid." /></p>This is the second guitar I bought from Patrick Hufschmid. The specifications on it are a little bit different compared to the first one. Patrick built this guitar as a prototype to try a nut made of Techtron HPV© and his new headstock design which is I think is one of the best I have ever seen on a guitar. The guitar is based on his economy model H6E. As such it does not have a fancy top but still all the great specifications that make Patrick's guitars world-class.
A guitar is more than just the sum of its parts. The way everything is put together and the knowledge of the luthier make the difference. Patrick really surprised me with this guitar because although the specifications of it are rather different to my first one you can find a lot of similar core characteristics between both instruments. That alone speaks for his level of quality and attention.
-Handmade by Patrick Hufschmid from switzerland
-One piece very old premium Sapelli Mahogany body
-One piece very old premium Sapelli Mahogany neck
-Pauo Ferro fingerboard, 12" radius, 24 frets
-West African Ebony control knobs
-Sperzel locking tuning machines
-Handmade Kent Armstrong pickups
-Tru-Oil finish on the neck and body
-1 volume pot, 1 tone pot, 3 way pickup switch
-Techtron HPV© nut
<p><img src="http://img.audiofanzine.com/image.php?lang=en&identifier=id&size=thumb1&module=product&product_id=184472" alt="" title="Hufschmid Guitars H8 Salvaged Old Growth Western Maple Top - Certainly the best playing and looking 8-string guitar available on the market today!" /></p>This high end 8 string superbly crafted combines all the familiar Hufschmid features and characteristics for quitar players who need to reach for more than the usual six strings. The old growth western big leaf maple guitar top finely crafted was salvaged from the forests of SW Oregon. The neck and body are made of premium sapelli mahogany wood. Hip shots hardware.
<p><img src="http://img.audiofanzine.com/image.php?lang=en&identifier=id&size=thumb1&module=product&product_id=79399" alt="" title="Schecter C-1 Exotic Star - Great axe, if it were lost, I'd definetly find another." /></p>Made in S. Korea, Schecter high rock II humbuckers, 24 fret, ebony fret board, 2 volume 1 tone pull up split for single coil sound, 3 way selector switch, 6 strings thru body, Schecters adjustable bridge, exotic star centered at 12th fret. Dots are on upper edge of fret board very distinguished none on face, neck solid thru.
<p><img src="http://img.audiofanzine.com/image.php?lang=en&identifier=id&size=thumb1&module=product&product_id=5611" alt="" title="Fender Princeton 65 - Nice Amp & Portable Amp Player" /></p>The transistor Princeton 65 is 65 watts with 2-Clean Inputs; Vol, Treble and Bass the Drive Input (#2 with drive button engaged) makes it dirty with Drive, Vol, Treble, Mid, Bass, REVB and there also are PRE-OUT, PWR-IN and Foot switch for add-on options.
<p><img src="http://img.audiofanzine.com/image.php?lang=en&identifier=id&size=thumb1&module=product&product_id=182600" alt="" title="Hufschmid Guitars Headless - Hufschmid Headless: A Masterful Creation" /></p>(My original review had to be divided into sections for the purposes of this website, but It overall remains unaltered.)
I am one of the lucky few that can claim to be the owner of a Hufschmid Headless six string. I have had the pleasure of looking at, picking it up, and playing it whenever my schedule permits. Each encounter with this guitar is a new adventure, and that does not come as a surprise. I have little experience in writing reviews, but every once in a while I feel extremely compelled to share my thoughts. I have a lot to say, so bear with me on this journey, and I shall introduce you to my experience with the art that is a Hufschmid guitar, as well as the artist behind it. I am very pleased to have the opportunity and the privilege to do this write up.
First, a quick thought about the concept of “product” versus “craft”:
Today we live in an age of big companies, big brand names, and mass production. Factory-line products have become the norm. These days, the title “Hand Made” holds great meaning, especially to those who pay attention to such things. This applies to the music industry as well. Many guitars are cranked out of factories, put together by machines with pre-determined specifications and the company’s bottom line as a priority. For those who want more options there are the custom shops, which surely do a fine job and will give a paying customer exactly what the customer specifies (for better or worse).
Some musicians, however, want something a little different. They want something unique, something that is truly ‘their’ instrument. They want something that is more than just the sum of its parts, something that may itself transcend the purpose for which it is used. For these individuals, there are the luthiers.
Who are the luthiers? From my perspective, these are the artisans. These are the craftsmen who create those one-of-a-kind instruments that you won’t see in the catalogues or magazine ads (at least, not likely). These are the masters that have dedicated years to acquiring knowledge and honing their skills. They know their craft, and they know how to do it right. This is whom you are working with when you choose Patrick Hufschmid. He is the real deal.
When you agree to work with Patrick and the process begins, there is a constant line of communication, which is crucial in an endeavor such as this. I received daily updates from Patrick with pictures and information about what approach he was taking. We would often spend long periods of time emailing back and forth about his process in general. Communication is an important quality that Patrick brings to the table, and it should not be taken for granted.
The total process was fast and painless. There were no days of waiting and wondering, and no flaky miscommunications. Most importantly Patrick was very professional and available to answer my questions even though an ocean separated us. Before I knew it, the guitar was in my hands. No problems at all.
This is my first venture into the realm of headless guitars. I’ve always been intrigued, and I decided that this was my opportunity to really find out what headless was all about. I am now hooked, thanks to the Hufschmid Headless. There is nothing not to love about this instrument. The components are all expertly matched, and they work together with the precision of a Swiss timepiece.
It looks stunning from every angle. See the pictures on the website if you need a visual. The reds of the Sapelli, and the browns and blacks of the Bastogne Walnut, make for something that I’ve never seen before in a guitar. There is something to be found on every inch of this instrument to remind me that this is real wood from real trees. The natural grain paints it’s own picture, and it is just beautiful. Traveling up the neck to where the head would normally be features a circular medallion in the back with Patrick’s “H” logo imprinted.
The transition from seeing the guitar to actually feeling it is an even better experience. The guitar is remarkably light and thin, yet it feels exceptionally solid. It presents a wealth of different wood textures between the neck and the body. I’ve even found a subtle knot or two, which is a real treat for anyone that appreciates carpentry. I’ve played many different guitars over the years, but this one is the first that actually feels alive.
The pickups are hand wound by Kent Armstrong. I was asked to create a profile, in writing, of the kind of sound that I wanted. I like lots of variety, so I couldn’t give much more than a vague ballpark and the specification that I hate muddy tone. That was enough to get the job done. The pickups sound great, and feature Patrick’s signature “H” logo with a wood texture as the background. The pickups include a three-way toggle switch, a volume knob, and a tone knob. These components also flow well with the color of the guitar and hardware.
A tertiary wooden panel covers the electronics on the back, and the inside is neat and organized. There is a nice foil layer covering the bottom and sidewalls of the electronics compartment, respecting the inside of the guitar as well as the outside.
The fret markers along the rosewood fret board are composed of Luminlay’s magical non-nuclear glowing compound (http://www.luminlay.com/indexen.htm). I could get into the science of it, but I would rather believe that it is made from the blood of dragons and the tears of unicorns. Regardless, it looks awesome. I should note that Patrick has some models on his website that feature square block inlays composed of his own magic “Hufglow” materials… Ok I give on the magic part. Luminlay and “Hufglow” are made possible by a strontium aluminate mixture, which are then combined in an autoclave with dragon’s blood and unicorn tears. True story.
The bridge and nut are the latest and greatest from Hipshot. The string is fed through the retainer at the bottom of the bridge and is locked down at the top of the nut. The retainers also serve as the tuning heads. It’s a great system, and my compliments to Hipshot and Patrick for making it work.
The body itself has a shape that you will not see anywhere else. The initial process featured a ‘strat’ like body, which Patrick then carved away after calculating the proper amount of wood needed to balance the guitar overall. One of my favorite features is that the top area of the body, on which my right arm falls, has an angled section at the corner that begins about half way along the edge and continues around and down to where the bottom strap button resides. This little detail allows for a very comfortable and non-intrusive resting spot for my forearm. The body also allows for optimum access to the 24 frets that are featured on the neck. The neck is bound to the body with four screws and ferrules to reinforce the already snug fit. Put simply, it’s not going anywhere.
As a cherry on top of the dessert, Patrick included Dunlop straplocks already fitted onto the body, so my straps were ready to play right out of the box. Also included was the Allen wrench for the nut, and a flashlight designed to light up the magic fret markers (DO NOT accidentally shine this in your eyes, it hurts).
<p><img src="http://img.audiofanzine.com/image.php?lang=en&identifier=id&size=thumb1&module=product&product_id=182578" alt="" title="Hufschmid Guitars Acrylic Attack II HufGlow Attack II - Amazing, a must buy product" /></p>Huf Pick reviews
A review of 2 new Hufschmid Picks.
a Plug for Patrick, not only is he a nice guy, but he continually strives to make better products,
use non traditional and traditional materials
http://hufschmidguitars.bigcartel.com/ follow the link, and check out some of the options for his picks and plectrums.
i am going to review 2 picks, the NEW Acrylic Attack III made from 'cross-linked cell cast acrylic'
and a HufGlow attack II made from 'HufGlow' material.
The Acrylic Attack III is rounded and comfy, it slowly tapers to the edges making for a very fast and
very hard attack, it really sits well between finger and thumb and always feels controlled.
The HufGlow Attack II is triangular, pointy with smooth tapered edges, again, due to the thickness
it has a hard attack, it really is quite comfortable, surprisingly so.
The Attack III and the HufGlow Attack II both have a similar feeling attack, the Hufglow being the softer of the two
and plays acoustic lovely without breaking strings, on Electric a more Jazzy tone from the HufGlow Attack II definately
surprised me and it's bright and gives some really good articulation, easy to pull of pinch's and sweeps with ease.
The Attack III really comes into it's own little area of dominance with some gain on an electric, a hard attack,
really pushes a tight controlled sound, few overtones and the brightness of the HufGlow but with an added depth
of warmness, nether sounds harsh against the ears, plugged in or not. if you attack the strings at slight angles
you can get some lovely softer and more mellow attacks, really versatile and good sounding tone from both.
In summary i will attempt to not only conclude these picks, but really the whole Hufschmid Pick collection,
not all players will benefit from these picks, but they are not a gimmick, i've been playing these picks
exclusively for over a year now, and ALL the picks have performed above and beyond, they last longer
than any other pick on the market due to the expensive materials used, they are all made by hand by Patrick himself.
The newest shaped pick being the Attack III proving yet again that Patrick is continually looking
for a better material or shape to give today's demanding players that little extra edge,
i'm not endorsed by Hufschmid Guitars, but i do 100% put my name behind his Picks and Guitar workmanship,
you will not find better attention to detail.
So, if you think the price is steep?, it is, is it worth it?, Most definately, visit Patrick's site,
email him and ask which you should choose for your playing and if your local to me pop in and try them yourself!
Thank you for your time.
<p><img src="http://img.audiofanzine.com/image.php?lang=en&identifier=id&size=thumb1&module=product&product_id=158232" alt="" title="Hufschmid Guitars Various Assorted Picks - The definitive guitar pick." /></p>We guitarists are a strange species indeed. Much like those golfers.
Don't deny it - those of us who have unconditional love for the instrument and practice at an excessively regular rate have had, at one point, a thousand different picks lying around the house. The reason? It affects tone, we say; it makes me play faster, we say; it makes me sweep better; we say.
Regardless, one standard issue remains. They all last for about as long as a small delicious cheeseburger. A couple of bites in, and you find that you gotta get another one to sate that appetite.
Jokes aside, this was a huge problem I encountered during all my years of playing the guitar. Any pick I got just would just bevel immensely and lose its character after a few hours of practicing or spirited gigging, and I started to wonder if that was the ill fate of all potential woodshedders out there.
...until I stumbled upon Patrick Hufschmid's website.
At first, I retained my scepticism. I thought, here is another luthier who showcases such majestic works of glorified wood. I must probably wait till 2053 to be next in line or to even receive a response. Alas, I received a reply in thirty minutes...let that sink in for a moment.
More quickfire e-mails were exchanged and apart from realising what an amazingly nice guy Patrick was, I found myself ordering two picks, a PHD jazz type and a PHD attack, and received them in the mail after a few weeks. Damned airport customs.
The first thing I realised was how big these picks were, 3mm thick and way larger than any typical plectrum. Now, being used to 0.88 to 1.40mm picks, it took a while for me to get used to the thickness, which also led me to think that it would be less mobile than its smaller counterparts. But that's when I started playing, and any doubts of potential clunkiness ended there.
It was a fast pick. Though being that gargantuan 3mm, it has bevelled edges that taper into a sharp point, making for a very gratifying 'release' off the string. Players who are accustomed to playing picks such as the Dunlop Ultex Sharp, Tortex Sharps, or even the Jazz IIIs will feel right at home here. Crossing strings felt easier and due to the pick's material and thickness, it didn't 'give' to the strings, ensuring that no excess motion is required when going into faster passages and runs. Riffing was also smooth and it accommodated alternate and economy/sweep picking equally well. Every picked note sings articulately and depending on your grip, pinch harmonics may come off scream-ier.
Typical accolades aside, the attributes that sold me into these picks were the durability and toughness of the material used. Patrick himself said that it takes almost an hour to craft a single pick, and you can see why. I was pushing the pick hard - playing through countless runs with a metronome, riffing with vigour, and not withstanding jamming to my favourite tunes from my favourite bands. After all that, I expected for the pick to at least 'scratch' on the bevels from playing so much on the wound strings. But no, nothing, there weren't any signs of wear at all. The pick would always retain its character and precision. Ultimately, this means that the 16th note sextuplet run at 170bpm you pulled off today can also feel the same way in a week, something you'd need to burn through 5 more picks otherwise to ensure the same consistent feel.
This also justifies the price of the pick as the other review here has already stated, being a daunting 16 euros (around $21) a piece. Think about it though, a single PHD pick will more than likely outlast the 20 or so generic picks you buy with that same amount of money, and in that sense it provides a fantastic return for value.
One thing that I have to say though is that this pick may not be suitable for all types of players and playing styles. The more experienced players will know what I'm talking about, as I'm referring to those acoustic guys and girls out there who tend to utilise a lot of strumming in their playing. As aforementioned, this pick does not offer a lot of 'give' and flexibility being as thick as it is, and therefore is not recommended for that hearty strum across all 6 strings of an acoustic guitar less you wish to have strings ricocheting off the guitar body like steel whips. This is UNLESS you absolutely know what touch to apply and/or if it's the desired sound you're after. I say this as more of a disclaimer for the discerning beginner than the seasoned singer-songwriter or shredder, and it may even be common sense for some of you, but I'm just putting it out there for those who do not have much experience with how picks react with certain stylistic approaches on the guitar.
I think I've said all I can about this pick, and I find myself wondering again - corporate greed and profitability aside - why can't all picks be made like this? This is the definitive guitar pick, the one pick that I will compare all others to from now on with respect to their clarity, ease of motion, and durability. As I write this review, I'm already contacting Patrick again to purchase more of his picks and to discuss a potential investment in one of his beautiful guitars (watch this space for a potential review on that). Now if you'll excuse me, I'll be back to playing more gratuitous licks with my new pick.
Definitely better than a delicious cheeseburger.
<p><img src="http://img.audiofanzine.com/image.php?lang=en&identifier=id&size=thumb1&module=product&product_id=39459" alt="" title="Jackson PS6T Kelly - Great rocking guitar ! !" /></p>My Jackson PS6T Kelly is transparent red, made in Japan, bolt on 24 fret neck with dots, a Jackson licenced Floyd Rose, EMG 81/85 set.
IMO the Performer series Kelly's are better than the Professional series Kelly's. These guitars had great quality control in manufacturing. Much better than the new JS series. The finish is beautiful, the Jackson tremolo is one of the better licenced FR out there only second to a gotoh.
One volume knob and a 3 position switch is all I need, no tone knob. The switch gets tempermental now and again but flicking the switch again in a frenzy is a quick fix.
The neck stays straight and feels great, the action can be set very low and harmonics, hammer ons, tapping, etc. is easily achieved.
<p><img src="http://img.audiofanzine.com/image.php?lang=en&identifier=id&size=thumb1&module=product&product_id=180180" alt="" title="Hufschmid Guitars H6 Lefty - Simply The Best Guitar Ever!" /></p>Hufschmid H6 Left Handed Tele style!
-Salvaged Bastogne Walnut Top
-Premium and 'Rift-Sawn' one piece Sapelli Mahogany neck
-Premium and 'Rift-Sawn' one piece Sapelli Mahogany body
-Indian Rosewood fingerboard, 25.5'' scale, 24 frets, 12'' radius
-Custom built Kent Armstrong 12 poles by Kent Armstrong himself
-Luminlay photo-luminescent side dots
-Hipshot tuning machines and bridge
-West African Ebony control buttons
-Excusive Techtron HPV® nut
-Tru-Oil finish 15 coats