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Being In Your Elements

COMMUNITY MANILA’S HIDDEN TREASURE

URBAN BIG H SKATE CO.

TECHNIQUE THE HAND OF GADD

Being In Your Elements

CEO Clarence Anthony [email protected]

Music Editor Andrew G. Contreras

Editor Ria Bautista [email protected]

Gear Editor Cholo Isungga

Disclaimer: All rights reserved. No part of this publication or content may be reproduced or used without the written permission of the publisher: C.A. Editorial Consultants. All information contained in this magazine is for information only, and is, as far as we are aware, correct at the time of going to press. The views, ideas, comments, and opinions expressed in this publication are solely of the writers, interviewees, press agencies, and manufacturers and do not represent the views of the editors or the publisher. Whilst every care is taken to ensure the accuracy and honesty in both editorial and advertising content at press time, the publisher will not be liable for any inaccuracies or losses incurred. Readers are advised to contact manufacturers and retailers directly with regard to the price of products/services referred to in this publication. If you submit material to us, you auto-matically grant C.A. Editorial Consultants a license to publish your submission in whole or in part in all editions of the magazine, including licensed editions worldwide and in any physical or digital format throughout the world.

This Issue

RedRum

Rakrakan Festival

Itchyworms

Community

Elemental: The 2015 Elements

Music Camp

Manila’s Hidden Musical Treasure

Technique

Touched by the Hand of Gadd

Guitar Cables

Features

BPM

Urban

Gear

Contents

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The Panel

Writers:

Aimax Macoy Alfie Vera Mella Andrew G. Contreras Bombee Dueme Edelynne Mae Escartin Herb Cabral Isabelle Romualdez Jica Lapena Kat Castro Mark Verzo Wina Puangco Yogi Pajarillo Advertising Sales: For the Philippines contact: [email protected]

International enquiries contact: [email protected]

Brought to you by

DJ Editor May Cedilla-Villacorta

This year, the rock festival was met with bad weather conditions but like what they say in showbusiness: the show must go on... or the rock show, in this case. Originally scheduled for December 19 last year, the event date pushed through last January 16, 2016.

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Rakista Radio’s Rakrakan Festival is one of those rock events that started small but suddenly turned into a monster of a show and one of local rock scene’s most anticipated multi-band concerts.


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MUST GO ON

THE SHOW

Continuing the tradition of multiple stages for different genres, here are some of the bands that performed on each of the festival's 3 stages: Groove Stage had acts like The Chongkeys, Peacepipe, Jeepney Joyride, Coffee Break Island, Paranoid City, BP Valenzuela, The Techy Romantics, Brownman Revival, Calebral, Tricia Garcia, Taken By Cars, Kartel at Lion and the Scouts, Jeck Pilpil and the country's premiere reggae outfit, Tropical Depression.

Move stage featured lively sets from 6 Cycle Mind, Jurassic Pards, Now You Make Angry, Tanya Markova, Banda ni Klegg, Moonstar 88, Gracenote, False Apart, Absolute Play, Cables and Space, Barbie Almalbis, Drive Me to Juliet, Maryzark, Typecast, Manila Under Fire, Hoodlum, and newcomer May.

The much crowded of the three, the Mosh Stage, was given life by Galaw Tao, and then came The Morphine Kings, A Message Made by Knife, Runbynine, Oblivion, Subculture, Switch! Kjwan, Valley of Chrome, Slapshock, Queso, Chicosci, Hilera, Sandwich, Philia, and Wilabaliw all got the already pumped up crowd going. Something to take note of is the Razorback jam with Jamir Garcia featuring Black Sabbath’s “War Pigs”. The Youth gave the attendees a good dose of 90's alt-rock. The stage also featured Skychurch, Even, Saydie, Intolerant, and Godzilla Vs Tokyo.

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Till next Rakrakan!

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Man of the night Jugs Jugueta celebrated his birthday by playing with his band Itchyworms at The Brewery.


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About Itchyworms The Itchyworms is a Filipino rock band whose music is primarily guitar-driven rock with pronounced 1960s and 1980s pop sensibilities and embellished with two or three-part vocal harmonies. The group made their name in the OPM (Original Pilipino Music) scene in 2006 with their sophomore effort Noontime Show with songs such as "Akin Ka Na Lang" and "Beer".

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By stating so, I’m risking awakening to an angry mob breaking into my house – pitch-forks, torches and clubs, in hand, and get-ting forcefully dragged out of bed, beaten, and burned alive. A great percentage of this mob will be friends and peers from the Philippine music industry. I am part of that scene, too. Let’s face it: the golden years of OPM have been long gone. Once upon a time, you could really follow your favorite band because that band probably had a venue they could call home. Gone are the days when songs like The Dawn’s “Salamat,” the Eraserheads’ “Pare

Ko,” were the anthems of every high school kid in the country. We also could hum down to the last note every line of the guitar solo of Rivermaya’s 214. But then, everything changed when the Fire Nation attacked. Well, the Fire Nation didn’t actually attack – the greed of record labels did. Thanks in no small part to these bloodsuck-ers, the scene nowadays is such that it is infested with cover albums by artistas who can’t sing for shit. Only they get the right backing because only their records will eventually be “certified platinum” on an afternoon variety show.

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THE 2015 ELEMENTS MUSIC CAMP


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ELEMENTAL OPM, or what was formerly known as “Original” “Pinoy” Music is dead. It is no longer playing; it has passed on. It is deceased – ceased to de. It has expired and met its maker. It is bereft of life. It rests in peace. It has kicked the bucket. It has shuffled off its mortal coil, run down the curtain and joined the choir invisible.

Even the so-called “real musicians” them-selves got lazy. It’s become more about the fame and fortune – more about “being cool” than the music. As a result of a lot of funda-mentals - dynamics, for example, being neglected, you can expect 90% of bands to be playing at open-air stadium volume at small-scale “prods” staged at tiny bars. Still, if you’re in a band nowadays and you’re not a Parokya ni Edgar, whom, with the absence of a real hit of late thrives mostly on large scale out-of-town gigs, be prepared to go hungry. But they have it good. Bands like Kamikaze and Urbandub recently had to call it quits. It’s gotten so bad that bar owners, events companies and the likes feel that “exposure” is actually a legitimate bargaining tool. Dead. Right? IS OPM REALLY DEAD? Then again, perhaps, OPM is just resting. Enter the Elements Songwriting Camp – a 6-year old endeavor under the 7101 Music Nation formed by “Wannabe Music Honcho”, Julio “Jun” Sy, “Mad Maestro”, Ryan Cayabyab

and “One Woman Band” Twinky Lagdameo. Truth be told, apart from that a group of 60 singer-songwriters would be mentored for five days by household names like Jay Durias, Noel Cabangon, Chito Miranda, Ebe Dancel and Raimund Marasigan, I was clueless about Elements. Really, I couldn’t care any less. Every band in the contemporary scene sounds the same, anyway. Albeit sans pitchforks, torches and clubs, it was Up Karma Down in the form of a videographer friend covering Batch 2015, who would rudely awaken me. He needed a substitute. The Camp, which is normally held in Dumaguete was, thanks to the chaos created by the APEC Summit, moved to Hacienda Isabella (owned none other than the timeless Kuh Ledesma) in the part of Cavite that is practically Tagaytay. That being very much drivable, I braced myself for noise, out-of-tune instruments,

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monotonous singing, and an abundance of rants by either bitter old musicians or kids with delusions of grandeur, both of whom have yet to come to terms with the fact that the industry today is such that one can no longer live like a rockstar. Okay. While I understand that I’ve probably talked so much smack that you’re thinking happy thoughts involving inflicting grievous bodily harm upon me on social media, I beg your indulgence. Time to choke on my words. ELEMENTARY : Turns out, not everybody can get into the camp. Participants of Elements are not selected on a first come, first serve basis: they are screened thor-oughly not just once, but numerous times and by none other than Mr. C (Cayabyab) and his peers who facilitate the camp along with him, namely Jungee Marcelo, Jim Paredes, Ebe Dancel, and so on. Therefore, in order to make the crucial cut you have to be really damn good. Jireh Calo, a camper from batch 2014, for example, is now taking up further studies at the Berkelee College of Music and boasts even being able to sing while playing the keyboard using a slipper.

While nobody was able to mimic such a feet, er… feat, come dinner, over which each of the participants must eventually perform throughout the camp, I was nevertheless pretty impressed and pleasantly surprised by the talent that this country has to offer. “This country,” by the way, because Luzon, Visayas and Mindanao are equally repre-sented. I’d actually seen some of these guys prior to Elements at gigs here and there, but never stripped down to the bare essentials, mean-ing just an acoustic guitar, piano or both. Again, we go back to my having pointed out earlier that local productions are more often than not just unbearably noisy. I stand by this as, upon having been able to see veter-ans like Josh Villena (Autotelic), Bea Fabros (The Jeffrey Zulueta Expermiment), and Fairwell Fair Weather’s Mic Manalo perform solo, I could for a change clearly understand their lyrics. The rhythm hand being the core of a melody, I could see as well how techni-cally sound they were as instrumentalists.

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Guitar virtuosos LJ Manzano and Yan Abelardo, for their part, were amazing with their uniquely percussive styles that could fool one whose eyes are closed into assum-ing that a full band was onstage. Prior to having seen the performances of the two, I was clueless that guitarists like youtube staples, John Gomm and Luca Stricagnoli actually existed in this country. While there was an abundance of raw skill, the simplicity and wittiness of songs such as Yoyie Soriano’s “Chubby” were not to be outdone. Lines like “Ako lang talaga ang iibigin mo/ Lumaki ‘man ang timbang at waistline ko/ “Wag mag-aalala,” yun ang pangako mo/ Kung tataba ako gagayahin mo ako’t/ Mag-eexercise tayo,” had the crowd buckling in their seats from too much laughter. (I’ll be the only one you love/ “Don’t worry,” you promised/ If I get fat you’ll get fat, too and we’ll exercise) Music in no small part equally a group effort, campers were assembled into groups/teams by and by and made under the guidance of their mentors to compose and perform various jingles and themed numbers. The performance of Audie Gemora’s group, “Trapped sa Trapik”, for example, had each camper playing/singing the part of different stereotypes from all walks of life who are caught in the every day chaos that is Manila traffic. Despite having been created under very tight time constraints, it was so bril-liantly executed that it could’ve passed as a key scene for a stage play.

EGO HAS LEFT THE BUILDING : Thanks to the performances, it was clear to me that there is apparently no shortage of talent in the local scene. In this day and age, however, having the talent does not mean instant success. That’s where the modules by resource speakers such as Youtube’s James Koo, Billboard’s Jonathan Serbin and Orchard’s Mike Baldo, which gave the campers a basic idea of how the international business works and how to penetrate it, came in. As a voracious music listener and passionate drummer, myself though, it was the stories of rapper, Gloc-9, and Parokya ni Edgar’s Chito Miranda that really stood out. To sum up his career to those of you who are not familiar with “Gloc” (as he is commonly called), let’s just say that, after Francis M., the father of local hip-hop passed away in 2009, it was he who inherited the title. Apparently, even though already more or less having made a name for himself and already having cut two albums early in his career, his drive to succeed was such that he still kept his day job waiting tables at the long departed local fastfood joint, Bun-on-the-Run. Despite already having won numerous awards and achieved significant commercial success with hits like “Hari ng Tondo” and “Lando,” such was his desire to provide for his family that he took up nursing in 2009 so as to have a fallback.

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Chito Miranda, for his part, could not have been more adamant in stressing to the campers that making music must reign above all. “When Parokya began we never really had any delusions of fame and for-tune,” he narrated, “We were just friends whose way of hanging out was to be in a band and jam.” “Truthfully, thinking about the business just stresses me out. All I really want to do is record and gig,” he added. As far as he sees it, rather than count the profit that can be made word for word written in a song, it is more important to build and sustain good working relationships. Forging good relationships. Behind all the modules on music theories, marketing and mixing, exercises on collaboration, and all the bonding shared over a 7/8 tinikling, Kopiko 78 degrees, and so on, this I guess is what Elements is all about. The Elements community now 300 strong though, it is simply much more than a network – it is a family. OPM may be dead for now. What better way to resurrect it though than through having a basic unit of musicians fathered by Mr. Sy and Mr. C., the household literally lit by a mother with a Twinkle in her name, all who worked tirelessly with no financial remuneration ‘til the wee small hours of

the morning even to a point of getting sick just to make sure their children received the proper guidance. These children are also fortunate to have uncles like Jay Durias, Gabby Alipe, Joey Ayala, and so on, who, no matter what make sure that their schedules are cleared to accommodate the camp come that time of the year. Moreover, what could be better a start than by planting new seeds – the campers, and nourishing them with life-giving water, solidifying their foundation with pillars of earth, provoking the fire in their bellies and letting them breathe fresh air. True, OPM may be dead for now. With the existence of Elements, however, described as “life changing” by campers and mentors alike,

I do not doubt for one second that, like a Phoenix, it will one day rise from the ashes – better, stronger, and to a really awesome soundtrack.

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Unknown to many, mysteriously tucked in the side streets of Quezon City, there exists a humble hole- in-the-wall called Tago Jazz Café. Translated to English, the word appropriately means, “hidden.” That it is, indeed. Not long ago it was actually just a food stall or what Filipinos know as a carinderia on the premises of owner, Nelson Gonzales, in which he and five other friends would hang out. Thanks to having been able to pool together a small sum of money, after having clocked in intense manual labor, and courtesy of a whole lot of love for jazz, they were able to convert it into one of the most special – meaning spacially challenged bars in which you would ever set foot. This is not an exaggeration as it was literally a hallway that could seat maybe fifteen people – performers included – hence barely accommodating a live band.

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All that is gold does not glitter. Not all who wander are lost. (J.R.R. Tolkien, The Lord of the Rings)


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Manila’s Hidden Musical Treasure

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Back then we would actually have to wait for the band to finish a song or for a break in-between sets in order to get to the com-fort room because in fear of accidentally bumping into a bassist or guitarist as we squeezed through the cramped space. While pit-stopping one’s pee was not actually the hapee-est way to hangout, the music made everything worth it. The local scene plagued by bands sorely lacking dynamics, Tago was the much sought after relief for, despite the confined quarters, the volume control of the musicians was such that we could still manage to have a deci-pherable conversation while they played. Such was their passion that, despite jazz being the “real alternative music” in an industry dominated by image more than imagination, they brought their amazing talents to the stage night in and night out regardless of the tiny talent fee.

Moreover, given the intimate setting, the bond forged between the regulars – musicians and audience alike – was unique in that there seemed to be no borders separating them. Nelson himself calls it “an immersion in a friendly atmosphere. Not exclusive and not snobbish.” The hangouts at Tago were gold. Unfortu-nately, they would be short-lived. Barely six months into operation, an electrical fire would force its’ doors to indefinitely close, thus prematurely ending what was a magical run. The old that is strong does not whither, deep The old that is strong does not whither, deep roots are not reached by the frost. roots are not reached by the frost. (Ibid) While the fire in the kitchen had been doused – along with it electricity, water, and not to mention the support of those who would become former partners, Nelson’s stalwart desire to continue to “bring people together through the rare art form that is Philippine Jazz” burned ever bright. Eight months later, thanks to a little help from his friends and through the bare hands that also dexterously wield drumsticks, spices, skillets and ladles six nights a week, curator/ accountant/ waiter/ bouncer/ cook/ construction worker/ wholesome GRO, and / drummer, Nelson, was able to re-open its’ doors.

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While the nightly “elation” and “freedom” of bringing jazz to local audiences is a reward in itself, the “100,000,000% stress level” of being the broke ultimate D.I.Y. guy for the much bigger Tago Jazz Café has not gone unnoticed.

Barely a year after its’ resurrection an inter-view with Mika Shino, UNESCO Adviser to Goodwill Ambassador and 14-time Grammy Award Winning pianist and composer, Herbie Hancock, resulted in Tago having become an official partner of the International Jazz Day festivities. Since then, when foreign artists namely drum and percussion guru, Dr. Royal Hartigan, saxophonist, Daniel Guggenheim, pianist, Art Hirahara, and so on are in the Philippines, they make sure to stop over at Tago. None other than Latin Grammy Award Nominee, Edsel Gomez, himself, who has graced its stage numerous times, calls Nelson a “hero” for “keeping the spirit of jazz alive and nurtured.”

“The work done there is very important,” the Latin Piano maestro adds, “it advocates the much needed support for live and crea-tive music.” Support certainly is still also abundant coming from hometown heroes like guitar virtuoso, Rey Infante, sexy saxman, Pete Canzon, even pioneer of Filipino fusion, pianist, Boy Katindig (before having migrated permanently to the United States), and Zildjian Ambassador, drummer, Mar Dizon, who were also there when it all started. Seek and You Shall FindSeek and You Shall Find Truth be told, Philippine Jazz may as well be a drop in the vast ocean that is the profit-driven and image obsessed local music industry. To say that it may not exactly be the most popular nor the most profitable genre would actually be an under-statement. Chances are if you are a local jazzer, it may even be safe to say that you’re no stranger to slavery and starvation. One must remember though, that the ocean is but a multitude of drops. Hence, those who have an equally insatiable hunger and are willing to dig deep for precious and ego-free music need not worry any further. Buried somewhere in the hubbub and chaos of Manila traffic you will find a precious seashell that can magically free you of all your earthly worries. You need just press it against your ear and you will be soothed by the trickling decay of cymbals, tickled by the pitter-pattering piano, enthralled by the warbling of the sax, you name it. Hidden from the commercial scene and scenery it may be; all who seek to get pleasantly swept away in the tide of good vibes are nevertheless free to enter the undiscriminating doors of Tago Jazz Café. Given the amount of heart that has gone and goes into this place, many, myself included, have unearthed a precious treasure – a home away from home.

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A “Gaddism.” In the world of music exists a word that you won’t find in your regular dictionary. Simply put, this can be defined as a drum line – a roll or a groove, coined by one Doctor Steve Gadd. Art, as we all know it, is an imitation game. Hence, there are but a few artists, musicians especially, who can be cited as having actually “invented” anything. Doctor? Wait a minute? Isn’t this a term reserved for scholars in smart suits and well, err, “real” doctors wearing white coats?

There is such a thing, too. The Honorary Doctor of Music was bestowed upon him in 2005 for his outstanding contributions to contemporary music.

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“We walk in the garden of his turbulence” Geoffrey Chaucer in the film, A Knight’s Tale


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TOUCHED BY THE HAND OF GADD

Text and Photos by Andrew G. Contreras

The reality of having this generation’s most influential and maybe most recorded drum-mer walking through the door soon and sitting a mere six feet away was slowly donning on me. A drummer, myself and guilty “fanboy,” I couldn’t help but feel a bit scared. In my head, I strategized my camera angles and composition, at the same time rehearsing what I’d ask should I be fortunate to be allowed a question during this “Pre-Show Talk” for The Steve Gadd Band “70 Strong Concert”. When I caught wind that this music god who has worked with greats such as Frank Sinatra, Eric Clapton, Stevie Wonder, James Taylor, Paul Simon, Chick Corea, Steely Dan, to name a few (his discography is five pages long) would be coming to The Esplanade, I decided pretty much on a whim to fly to Singapore. So there I was fidgeting in my seat, repeatedly checking the settings of my Canon 70D, half expecting that, when or if my chance to meet this him finally came, all intelligence would escape me and I’d probably end up saying something stupid like, “You’re so cool!” A few moments later, I am to find an unassuming and almost frail elderly man clad not in white robes but a plain black t-shirt and jeans trudging through the door and waving shyly to us. I ask the second question of the day, “Given all your achieve-ments, what’s left on Steve Gadd’s bucket list?” In a band, one of the primary tasks of a drummer is to count off, to launch the band into a song.

“I try to live in the moment,” he states, “I don’t want to be in one place while thinking of being elsewhere. Right now what’s most important is that I’m here sitting with you guys,” he states. We’ve officially begun. Right then and there it becomes apparent that this is not going to be a thorough technical discussion filled with confusing drumming and/or music jargons. When asked about his mindset before playing concerts like this one and having worked with fellow greats and industry pioneers, a slightly embarrassed but matter-of-fact “Scary” comes out of his mouth. Being scared – feeling fear – is something you typically wouldn’t expect someone of his stature to openly admit. Apparently, not only is he human, but he actually proudly embraces it. “When you’re sharing the stage with guys who are as talented as my present bandmates or anytime your name gets mentioned along with the likes of Buddy Rich, I don’t think it would be normal not to feel fear,” he assures. By this time, he has put all the drooling disciples in the room such as myself who were initially nervous wrecks totally at ease. Once upon a time, Anthony Jackson, a Grammy Award winning bassist, colleague and friend of Steve’s paid him the ultimate

homage. “When Steve plays the drums, you can hear an entire orchestra being played on the kit.” Doctor Gadd is doing his thing now, conducting the tempo and tone of this talk.

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The next question regarding dealing with making mistakes, while not coming from the event’s facilitator and therefore in no way rehearsed, seems to be something that Gadd has set up himself. “If I make a mistake what I do is repeat it a bit later in the song so as to make it appear inten-tional.” While obviously pleased by the loud laughter his admission has elicited, he immediately shifts the dynamics to a more serious and hushed volume. “There was a time in which I’d be sessioning and I’d feel ‘This guy doesn’t like me.’ Through the years I’ve learned not to take it personally. I just try my best to make it work. When you’re a nice guy people eventually see that.” In describing fear, the acronym F-E-A-R, that is, I imagine this song – this intimate gathering, now going into soloing as Gadd shows off with a bit of quick wit and effort-less humor. “Personally, the way that I deal with fear is to Face Everything And Recover. Of course, you can always choose to F**k Everything And Run.” Click, click, click. The trusty Canon system with which I’ve shot some of his peers in the drumming industry, Dennis Chambers, Simon Phillips, and Steve Smith, to name a few, goes off rapidly, as if synchronized with a metronome set to 150 beats per minute. It’s almost showtime and the “Pre-Show Talk” is winding down.

Finally, Steve the 70-year strong profes-sional of over 40 years is asked about his success strategy and for the secret in his staying power. “To me, technical prowess has never been a measure of one’s success.” Again, I’m a bit caught off guard that such words would come from one who is famous as well for impeccable technique. “The only thing that matters is that you love what you do, that you do your homework and do your best.” Showtime. The concert proper, as expected, was noth-ing short of mind-blowing. Contrary to what audiences usually expect of jazz and instru-mental shows though, 70 Strong was not filled with ultra technical, mind boggling instrumental exhibitions. Instead, it was abundant in sweet and sticky grooves,

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super smooth transitions, and all that brilliance that can be learned only by staying humble and just constantly listening. More than a conversation between the drums and bass, or between guitar, piano and trumpet drums, and so on, it was almost a non-verbal understanding reached through impeccable taste, through sheer musical wisdom. The show done Steve, along with fellow band members Walt Fowler, Larry Goldings, Jimmy Johnson and Michael Landau did a meet-and-greet for the entire audience. “Rather than shake your hand,” I respect-fully asked Steve as I was handing him my copy of their first album, Gattitude, “May you just touch my forehead to spread the magic?” Truth be told I thought he’d think it was silly and maybe refuse. But, he was game. Shortly after I stayed on to document the event a bit more. I knew my work was done when, for a brief moment amidst the chaos of the autograph signing – for just a single frame, actually, he looked directly my way and smiled.

Despite feeling like a giddy high school girl on the train ride heading back to my hotel, as surreal as this whole thing was, I realized that, like the rest of us “normal people”, it turns out even a Steve Gadd makes mistakes – that he, too, achievements aside, is capable of fear. Admittedly, as much as he expressed it being something “amazing” he’d have “liked to learn,” the guy can’t twirl drumsticks while playing. Nevertheless I felt blessed to well, err, be, in a way literally blessed by someone who is not only the quintessential musician, but moreover a great human being. That, I guess, is the best achievement to which one can aspire. With that concluded this once sentient being’s journey down to earth. Rather than falling due to excessive pride and ambition, however, he glided down on the ray of light of humility and hard work,

clad in a black shirt and jeans, and swinging to the hip-swaying tune of the “Hustle.”

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About the artist : Bombee Duerme is an avid Guitarian, CheeseBurgerer, Comicist, and 4ever young

What does a guitar cable do apart from it being a link between your amp and your guitar? Why is it so important? Why are cable manufacturers constantly making improvements? Why do some of them cost so much money? Why do guitar shops sometimes give them away for free? What is the best length to purchase? Being a guitarist, I am sure you’ve asked yourself some of these questions. This article is to help you understand the most important link between your guitar and your amplifier. Think of a cable as an artery connected to a heart. Once the artery is blocked with plague built up, the blood flow to the heart decreases and the heart pumps harder. I am no cardiologist, but once the heart needs to work harder, it becomes less efficient and that alters the natural design of the heart.


Guitar Cables

Guitar Cables By Kamal Mahtani

Cables is an extremely dry topic but at the rate guitarists are spending more money to get their desired tone, it is time to learn more about how a guitar cable can make or break your tone.

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Imagine your cable being blocked with similar impurities. THIS is going to make a huge impact on your tone. For one, your amp will need to work harder and secondly, your guitar will sound nothing like how it’s designed to sound. WHAT ARE THE IMPURITIES IN A CABLE? Impurities are referred to as other metal elements that shouldn’t be there. Silver is the best conductor for signal, but it is too expensive. Copper is the second best conductor provided it has 99.95% Copper purity. When pick-up manufacturers design pick-ups, they use guitar cables with 99.95% Copper purity in their R&D. To experience what goes on in their R&D, a guitar cable with 99.95% purity would translate the experience immaculately. When a cable is free, or cheap, you can be rest assured It’s Copper content is significantly lower and other metal elements are mixed in to compensate for its low Copper content. This is a TONE KILLER. Don’t buy another pedal or change your pick-ups, simply change your cable.

Klotz Cables, a leading brand German cable

manufacturer, has been manufacturing high-quality cables for the MI (Musical Instrument) and Pro AV (Audio/Video) Industry for 35 years. Klotz makes it very clear that every model of cable they manufacture has 99.95% Copper purity.

Klotz offers nine different guitar cable models and each of them vary in tone due to precise calculated Capacitance. Their cables are designed for every kind of playing style. What tone are you after? What’s your playing style? Here comes the topic of Capacitance. Capacitance in a cable influences the impact on sound quality. Capacitance is a science and it is calculated to work with the resonant frequency of the pick-up. Entry level cables will have a Capacitance of 115pF/m and professional cables would have a Capacitance of 67pF/m. What does this mean? This number is very important to determine the tone you are after. The lower the Capacitance, high frequencies roll off more naturally. The higher the Capacitance, the stronger the attenuation of the signal especially in the higher frequencies.


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The longer the cable, the higher the Capacitance too. Keep the cable as short as possible. As a recording engineer, I hardly allow guitarists to use their cables when recording.

I want transparency and I only use my own collection of Klotz Cables such as the Titanium, La Grange, FunkMaster, ProArtist or KIK depending on

their genre of music.

When you purchase an amp and a guitar, the cost of a

decent cable is only a small fraction of the total cost. A serious F1 car racer wouldn’t use a free helmet would he? Cables are just as important. Don’t fall prey to fancy packaging, thick cables and technical jargon. Look out for its Copper Content and it’s Capacitance. Be sure to use similar quality patch cables for your pedals, otherwise it will defeat the purpose of using a good quality guitar cable. It defines you, it defines your tone!

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A recording guitarist would prefer a cable with lower Capacitance for clarity in details especially for acoustic guitars.

A bass player would prefer a cable with higher Capacitance for more definition on the lower frequencies.

A blues guitarist would want a warm tone and would like a cable with a Capacitance of 65-75 pF/m.

21

An example of how this can be applied:

http://asia-pacific-india.beyerdynamic.com/shop/hah/headphones-and-headsets.html

If you have been looking for a place that rocks, has the variety that ranges from heavy metal to acoustic nights, great food and drinks, and one that provides that total entertainment experience, for the people who only want the very best, go to Checkpoint that is open from Wednesday to Saturdays, from 5 pm until the nearly the break of dawn.

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A concert venue like no other, Checkpoint Rock Bar is the South is place for those who thrive on the rock lifestyle. Unlike other bars that have stages for any kind of cast or music, those sleazy ones that are decadently dirty, there is nothing mediocre about Checkpoint, as it is a class place with the perfect stage and hitech sound equipment that is considered as home by the best local and international musicians.

DESIGNED TO ROCK


22

CHECKPOINT

Like Checkpoint Rock Bar on Facebook www.facebook.com/checkpoint?frebar/f=ts

https://www.facebook.com/checkpointbar/?fref=ts

ABOUT THE COLLECTIVE: Progression in art is something that requires a complete abandon of sorts. It is that courageous step forward, right out of the box, in brazenly sure footing. ILLUMINARI represents the feminine prin-ciple in a world of duality. Their message is the light of existentialistic exploration and the clarity of inner truth. Their tool is the path of musical expression and artistic movement. Recognising that in this material reality, the masculine principle, the route of reaching outward for truth, is the more active, dominant one, and so the purpose is to illuminate listeners to release themselves from the hold of the overtly physical and discover the deeper, realer life within. If but only one person awakens this light within them, ILLUMINARI would have served its ultimate vision, to ignite the guidance of the heart and soul. This is the picture they are painting in all its audacity and what they believe contributes to the collective.

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23

World of ILLUMINARI There is no mediocrity in what they are attempting to do. It is cutting edge sound, no more, no less. The intent is to be as experimental as possible while balancing a core, natural melody that resonates with instinctive good feeling. Their debut album is a Trip Hop composition, which is a fusion of funk, soul, jazz with an urban drumming style, entitled "ILLUMINARI AT THE THRESH-OLD" and it is a compilation of different esoteric information

aligned to the twelve archetypal subjects of the astrological signs.

ABOUT THE ALBUM: ILLUMINARI AT THE THRESHOLD ...is a title that on one hand describes it as being the debut album (the threshold, the beginning) and on the other, plays upon the guardian of the threshold, an imagery from the theosophical circles. The guardian is a being that guards the path to higher knowledge. It is the metaphorical place where you are checked on whether you have released all layers of judgment within yourself. If you are cleansed of all levels of that karmic impurity, you are then invited into the worlds of greater wisdom and lightness. Therefore the album’s message and purpose is to help the listeners prepare for that moment where one meets the symbolic guardian and be ready to receive the higher worlds. It is also simply a message to just free yourself from the bondage of what you believe life’s expectations should be and take that step to understanding what existence is all about.

The album itself has been mastered by the grammy-nominated Emily Lazar, who was also the engineer for Björk, Paul McCartney, Wu Tang Clan, Prodigy, Foo Fighters, Garbage, Sia Furler amongst others. The mixing was done in Diablito Studios, by Diego Aguirre. Diablito Studios is a company co-owned by one of the members of Molotov, a famous Mexican rap group.

DIGITAL ALBUM: Includes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more. Released: December 3, 2015

Produced by Celestine Angel

Executive Producer: IZ St

Music Composition & Arrangement: Marco Fernandez

Arrangement, Vocal Composition & Lyrics: Celestine Angel / IZ St

Live Guitar Parts: Luis Huichotron De Nuex

Live Bass Parts: Cesar Ignute

Live Drum Parts: Ana Riv

1. Libra) Bluesphere 04:52

2. Scorpio) A Labyrinth is not a Maze 04:48

3. Sagittarius) Trial by Fire 05:16

4. Capricorn) No Exception 04:18

5. Aquarius) Take a Deep Breath 07:27

6. Pisces) Chalice 04:33

7. Aries) The Seventh King 04:12

8. Taurus) Arc Matrimony 04:27

9. Gemini) Gemini (True Groove) 04:32

10. Cancer) Cero 05:05

11. Leo) Philosophia Perennis 06:02

12. Virgo) Letters on the Battlefield 04:55

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24

Media Kit:

www.illuminarimusic.com

www.illuminaritunes.bandcamp.com www.facebook.com/areyouilluminari

click to play

https://www.youtube.com/watch?v=EGfy8drLHFI

http://illuminaritunes.bandcamp.com/releases

http://www.illuminarimusic.com/

https://www.facebook.com/areyouilluminari

Coming from the success of the first 3-city tour leg held in Davao, Cagayan de Oro and Cebu Cities in October, The WOW Group through its affiliate companies, Audio-Video Solutions Corporation (AVSC) and G2K Corporation, conducted these free pro-audio seminars for Zamboanga and General Santos Cities’ microphone and pro-audio professionals. Attendees were comprised of pastors, company owners/presidents and key decision-makers, audio/sound engineers and technicians from malls, hotels, govern-ment offices, houses of worships, schools/ universities, dealers and rental companies and even end-users themselves.

Aiming to impart the latest and limitless advancement in pro-audio technology, AVSC and G2k Corp. invited audio authorities from two of the world’s premium German brands, Sennheiser and Adam Hall to share their skills and knowledge on pro-microphone and pro-audio techniques. Sennheiser Engineer Kenan Phang presented topics on understanding Radio Frequency, Wireless Systems Manager, intermodulation, product orientation on Sennheiser XSW, evolution G3 and D1 Digital Microphones. Participants showed interest during the presentation on the typical set-up of

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25 THE PURSUIT OF

The WOW Group of Companies, importer and distributor of Entertainment, Energy and Environment as well as Food and Wellness products, recently concluded “The Pursuit of Perfect Sound: A Pro-Audio Seminar” in two key cities in Mindanao, Zamboanga and General Santos Cities.

PERFECT SOUND

Sennheiser evolution G3 microphones and actual demonstration on the appropriate and suitable microphone set-up and installation. The second part of the seminar was opened by a presentation on the fundamentals of an audio set-up which was conducted by Audio Engineer Marksolo Jamias. Equipped with his ten years extensive experience in audio post production, audio system design and installation, Jamias shared among the audience the essentials of a live sound production, basic room acoustics, sound check procedures, causes and prevention of sound feedbacks, among others, leading to Adam Hall’s presentation.

Adam Hall, manufacturer and distributor of LD Systems that offers a broad range of products from wireless audio transmission through port-able sound systems to instal-lation speakers, was repre-sented by Technical Product Specialist Vinod Kumar. Aside from the basic PA techniques, sound theories, basic principles on mixers, signal processors, amplifiers and speakers, low imped-ance vs high impedance, the presentation’s highlight was on the introduction and actual demo of LD Systems CURV500 PS Portable Array Loudspeakers. The seminar

attendees were amazed and deceived by its design – sleek and small yet produces a very powerful, high-definition audio quality from low, mid to high. Participants were impressed upon learning that the CURV500 is applicable for home entertainment, bars and restaurants, churches and for office conferences and may be plugged in with audio devices like MP3, iPOD, CDs, laptop, etc. and even musical instruments, perfectly fit for all musicians. For 2016, AVSC and G2K, through “The Pursuit of Perfect Sound” will visit more areas nationwide, continuing its purpose of connecting more closely with these audio enthusiasts, practitioners and experts not only to impart knowledge about the latest technology and application techniques but to learn from them as well and to have a better understanding of the market.

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26

Audio-Video Solutions Corp. www.avscorp.com.ph www.facebook.com/Audio-Video-Solutions-Corporation-124310460919222/

General Santos

Zamboango

https://www.facebook.com/Audio-Video-Solutions-Corporation-124310460919222/

https://www.facebook.com/Audio-Video-Solutions-Corporation-124310460919222/

http://www.avscorp.com.ph/

Each month Area 51 Secret

Party Facility in Lugutan

Beach, South of Bolabog

(the side of the island

opposite of white beach)

organizes the Full Moon

parties which starts from

11pm until sunrise the next

day. Resident DJs there are

Erwin Edralin (A DJ Called

ER) and Reo Mendoza (DJ

Blindside) with Jack Bates

as resident musician

providing live percussions along

with group of tribal drummers and

percussionists. Area 51 was called

Jungle Bar before. I was very fortunate

to have played there as guest DJ on the

87th full moon party.


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@Area 51 Boracay Full Moon Party

@Area 51 Boracay

By Herb Cabral Location : Boracay

It is currently the

only underground

joint in Boracay,

with DJs providing

proper house music

and techno. Area 51

is also host to the monthly black moon

party series which happens between two

full moon parties.


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Local house music group NBK (Natural

Born Klubbers) held their year-end party

last December 21, 2015 at Revel in BGC.

The DJ roster listed Manolet Dario vs.

Marc Naval, Bombi Balquiedra vs. Niju &

Jon Naval vs. Antz Santiago. Guest DJs

were Abdel Aziz vs John Monreal.


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Natural Born Klubbers Revel @The Palace

Photo © NBK Group

Location : BGC / The Fort

Photo © NBK Group

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30

Photo © NBK Group

Photo © NBK Group

Photo © NBK Group Photo © NBK Group

Euphoria Disco, one of Manila’s most

happening places back in the day, finally

closed its doors last December, but not

before throwing a big party on Dec.

30 named “Euphoric Euphoria” which

featured legends Boyet Sison, Jon Tupaz

& John Robinson, with support Juan

Miguel Salvador & The Authority.


Euphoric Euphoria @Intercontinental Manila

Location : Makati City

Photo © Angela de Dios Photo © Angela de Dios

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Hype & Glow : The Year-End Party was

held at SM City Fairview open grounds

last December 30, 2015. It was a grand

paint-party that featured the metro’s

hottest bands and DJs got together

to close the year with a

big bang.

Bands featured were Sponge Cola & Rico

Blanco. The DJ lineup was comprised of

Deuce, Ron Poe, Everyday People, Callum

David, Travis Monsod & Mars Miranda,

with MC Boo, Jams & Thug on the mics.

Location : Quezon City

Hype & Glow @SM Fairview unplug bpm 32

Photo © Regi Valenzuela

Photo © Regi Valenzuela

unplug urban 33


Skateboards x Local Filipino Art Big H Skate Co. recently teamed up with four awesome local artists

to create a new breed of Big H boards: The Big H Filter!

These hybrid 33” double kick boards are the most versatile board that Big H Skate Co. has ever created. Made just right for cruis-ing, freestyling, freeriding, or even bombing some hills if you’re up for it. But being a good ride doesn’t mean it doesn’t look good.

Big H Skate Co. released four models of the Big H Filter, each one’s a piece of art from amazing local artists: Rob Cham, JP Cuison, Pancho Karambola, and HK Niu. One thing though, The Big H Filter is on a limited run so be sure to grab one before stocks run out.

THE BIG H FILTER BOARDS L-R: HK Niu Rob Cham JP Cuison Pancho Karambola

DOUBLE KICK

www.facebook.com/bigHskate

Clic

k he

re

https://www.facebook.com/bigHskate/?fref=ts

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GOES STREET

Before 2015 ended, Big H Skate Co. released a collection of streetwear-inspired shirts under the new Big H Skate Supply line. Perfect for chilling in and skating out, these new threads from Big H Skate Co. were also designed with the local skateboarding and longboarding communities in mind which served as a reference for the designs.

Get them while they’re hot, swing by the Big H Skate Co. flagship store at Market! Market!, Taguig.

BIG

H S

KA

TE

CO

www.facebook.com/bigHskate

Clic

k he

re

https://www.facebook.com/bigHskate/?fref=ts

DARKUSCASE is a bag and accessories

manufacturing company with proud

roots in serving the needs of artists

and musicians in the Philippines.

Created by Lui Cornelio and Ace Del

Mundo, both artists who took their

passion for music, design and culture

into a young and budding business

venture.

Darkuscase Bags and Accessories is

under Darkus Central, a duly registered

company (DTI/BIR) under the laws of the

province of Bulacan, Philippines.

FLAGSHIP LINE

Soft-cases for : Drum equipments -

sticks/cymbals/hardwares, Electric and

Acoustic Guitars, Keyboards

ACCESSORIES:

Custom Guitar Straps (Canvas/Digital

Print Canvas)

Button Pins

Custom Phone/Tablet cases

Custom Guitar Picks

All Darkuscase products are

MADE-TO-ORDER.

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EDITOR’S PICK DARKUSCASE

Custom Guitar Straps

Weblink : www.facebook.com/darkuscase


HARMAN’s DigiTech brings a new sonic

twist to delay pedals with its Obscura

Altered Delay, featuring four delay

modes that can be distorted, darkened

and degraded to create everything from

lo-fi tape emulation to backwards

playback, repeat/hold effects and

out-and-out sonic mayhem.

The DigiTech Obscura Altered Delay

features Analog, Tape, Lo-Fi and

Reverse modes, to re-create the

distinctive sonic signatures of early

tape-based echo and delay units and all

their aural idiosyncrasies. The Degrade

and Tone knobs enable players to con-

trol the amount of increasing signal

degradation and high-frequency rolloff

of successive repeats, and the reverse

mode emulates the dizzying psychedelic

sound of playing a recording backwards.

The Level control adjusts the amount

of dry to delayed signal, while the Time

knob dials in the duration of the delay

from slapback to 2 seconds of delay.

The Repeat control adjusts the number

of delay repeats, from a single clean

repeat to chaotic oscillating runaway.

The Obscura Altered Delay’s Tap Tempo

mode with beat divisions enables the

player to tap the footswitch to match

the delay to the tempo of the music.

Adding to the sonic hijinks, the pedal’s

Repeat/Hold function will lock onto and

loop a phrase and its Tails on/off switch

controls whether the delay continues

after the effect is switched off, or cuts

off abruptly. The Obscura Altered Delay

features mono and stereo inputs and

outputs, true bypass operation, die-cut

hook and loop pad, redesigned Stom-

plock, and a rugged metal chassis.

DigiTech Obscura Altered Delay is

available at the suggested retail price

of USD149.95.

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EDITOR’S PICK DigiTech Obscura Altered Delay

New Sonic Twist To Delay Pedals

Weblink : http://digitech.com/en/products/obscura


Expect big value from this DW Design

Series Clear Acrylic five-piece drum

kit! This five-piece shell pack gets you

well on your way towards crafting your

ideal drum kit for stage or studio. You

get three toms, a snare, and a kick drum,

all made from clear acrylic that's sure

to turn some heads.

The Design Series Drum Set packs a

punchy sound that's perfect for a wide

variety of drumming styles. For reliable

performance you can count on for years

to come, call Sweetwater for this DW

Design Series Clear Acrylic acoustic

drum set today.

Shell Pack Features at a Glance:

Shell pack with two rack toms, one

floor tom, one snare drum, and one

kick drum

Snare (Depth x Diameter) 5.5" x 14"

Mounted Toms (Depth x Diameter)

8" x 10", 9" x 12"

Floor Toms (Depth x Diameter) 14" x 16"

Bass Drums (Depth x Diameter) 18" x 22"

Seamless clear acrylic shells provide

impressive tone and unique looks

True Pitch tuning rods let you fine-

tune your kit's sound

Full-suspension floor tom legs and

suspended tom mounts included

Clear acrylic finish

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EDITOR’S PICK DW Design Series Acrylic

5-piece Drum Kit

Weblink : www.dwdrums.com/drums/design


The Tweaker 40 is a two channel, 40-watt

amp, driven by two premium 6L6 power

tubes and three hand selected 12AX7

preamp tubes. Packed with the features

gigging musicians have been asking for,

the Tweaker 40 expands Egnater’s

award-winning Tweaker Series.

The eleven on board Tweaker switches

provide unparalleled flexibility for

shaping your tone.

A rugged 2-button footswitch

is included. Available as a

head or 1x12” combo.

TWEAKER SWITCHES

VINTAGE/ MODERN: Transforms the feel

from classic rock to modern edge

USA / AC / BRIT: Choose American, British

or AC EQ

TIGHT & BRIGHT: Shapes the low and

high-end response

HOT / CLEAN: Select low or high gain

MID CUT: Sculpts the critical midrange

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EDITOR’S PICK Egnator Tweaker-40

40-Watt Tube Amplifier

Weblink : www.egnateramps.com/EgnaterProducts/Tweaker/Tweaker40/Tweaker40.html


The G01 Portable Guitar Amp from Fiio

allows you to play your guitar any time

and any place without disturbing others.

Just plug the foldable 1/4" guitar plug

into your guitar, and plug your head-

phones with 3.5mm mini plug into the

G01, and you are ready to start jamming.

Use the volume control to set your

level, and tweak the high/low frequency

tone control to customize your sound.

There is even an overdrive control for

adding crunch.

The G01 is equipped with a rechargeable

battery that conveniently charges

via USB. It also features a lanyard for

carrying and is housed in a double sided

aluminum alloy shell.

Connect an audio device such as an mp3

player to the aux input using a stereo

3.5mm to 3.5mm cable (not included)

for jamming along to your favorite

music or backing tracks

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EDITOR’S PICK FiiO GO1

Portable Compact Guitar Amp


For vocalists, performers and active

spoken word presenters, the XD-V75

family sets new standards for versatil-

ity, reliability, ease of use and superior

audio quality.

All XD-V75 systems – both handheld

and bodypack – feature patented digital

technologies that deliver sound so

impressive they inspire confident, great

sounding performances. Including a

handheld system featuring 10 superb

microphone models, a lavalier system

with nine EQ filter models, a headset

featuring a high-end omnidirectional

microphone capsule, and a bodypack unit

to fit a favorite headset mic or lavalier

of your own, the XD-V75 family is the

right choice.

The mic modeling delivers great sound,

which remains pristine from your lips

to your audience’s ears thanks to the

24-bit performance. DCL™ (Digital

Channel Lock) technology keeps your

signal safe the entire time.

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EDITOR’S PICK Line 6 XD-V75

Professional 24-bit Digital Wireless System

Weblink : http://line6.com/xd-v75/


Made with a 1mm stainless steel shell,

the Armory Series Tomahawk Snare from

Mapex has penetrating accuracy and

long range projection.

The focused power of its rimshot is

resonant. The steel shell features a

rounded 45-degree bearing edge for

focused brightness with plenty of

volume.

The shell is fitted with a piston

strainer and vertical throw-off that

enable quick, smooth operation and

prevent snare wire tension changes

during play. The precision tooled solid

steel Armory Tube Lugs deliver greater

tuning accuracy and shell stability

while giving the drum an elegant yet

modern appearance. The shell also

offers a black chrome finish.

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EDITOR’S PICK Mapex Armory Tomahawk

Snare Drum 14 x 5.5

Weblink : http://mapexdrums.com/us/products/snares/armory


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EDITOR’S PICK Palmer CAB 112 RGN

Guitar Cabinet 1x12” with Eminance Reignmaker 8 Ohms

www.palmer-germany.com/mi/en/CAB-112-RGN-Guitar-Cabinet-1-x-12-with-Eminence-Reignmaker-8-Ohms-PCAB112RGN.htm


Model name: PCAB112RGN

Palmer cabinets are rugged, flexible

and affordable guitar cabinets.

The main features are:

Front-mounted speakers

Detachable grill

Solid workmanship

Speaker mount and quality check

carried out in Germany

Eminence Reignmaker

Tight, more focused with more highs,

more abundant in harmonic detail.

Model name: PCABM

Passive Cabinet Merger

The concept behind Palmer's Cab Merger

may be very simple, but the unit fills an

important gap! Have you ever wanted to

connect two guitar cabinets to just one

amplifier output? It's quite simple with

the PCABM!

In addition, you can choose parallel or

series wiring. For instance, two 8 ohm

cabinets can be connected for a total

load of 4 ohms (parallel) or 16 ohms (in

series).

The device is entirely passive and does

not affect tone in any way.

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EDITOR’S PICK Palmer CAB M

Passive Cabinet Merger

Weblink : www.palmer-germany.com/mi/en/CAB-M-Passive-Cabinet-Merger-PCABM.htm


Model name: PTRIAGE

Amp Selector

The Palmer TRIAGE routes the guitar

signal for up to three footswitch-

selectable amps. A fourth switch

(SIDEKICK) makes it possible to

select two or all three amplifiers

simultaneously.

The outputs are transformer isolated

to automatically eliminate ground loop

and the dreaded hum. For each path, an

adjustable in-volume buffer amplifier

is available, which can boost the signal

up to 12dB (four-fold enhancement).

In addition, each output has a phase

reversal switch to rotate the signal by

180°. This feature is often helpful to

prevent frequency cancellation when

playing amps that are out of phase with

each other. Each output has its own

ground lift switch.

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EDITOR’S PICK Palmer TRIAGE

Amp Selector

Weblink : www.palmer-germany.com/mi/en/TRIAGE-Amp-Selector-PTRIAGE.htm


Superlux HD631 Series is a high-quality

DJ headphones. HD631 series headphones

comes with rotatable ear pad design

and lets you easily go to a single ear

monitoring.

Specifications:

dynamic, closed-back, neodymium

magnet

101dB SPL, 40 Ohms, 20Hz-20kHz

3000mW, coiled cable, up to 3m cable

with stereo mini-jack and 1/4" jack

adapter

Weight (excluding cable): 260g.

Colour: Black

High-res 51mm (2") neodymium drivers

Dynamic closed-back design

High noise attenuation< > Comfort-

able headband pads

Rotating ear pad for single-ear

monitoring

Detachable, single side cable

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EDITOR’S PICK Superlux HD-631

Professional DJ Headphones

Weblink : www.superlux.com.tw


Sleek, compact, and simply awesome,

the gunmetal-finish Fly Rig 5 is a tiny

tonal titan, a thoroughbred profes-

sional unit armed with sweet analog

tones. At under 12” in length, you can

rule the road, rehearsal or recording

gig. No heavy flight cases, no cable

spaghetti, no dead weight.

With the Fly Rig 5, no arena is too large

and no stage is too small. Just grab your

guitar and tap into five must-have

pedals in Tech 21's award-winning

arsenal: a genuine SansAmp, a reverb, a

delay, a powerful boost and the incredi-

ble Plexi distortion. All of this in a

streamlined, rugged metal housing that

will easily fit in your guitar case.

There are illuminated mini-controls to

show active status, an included power

supply and studio-grade, metal foot-

switches and jacks. It's everything you

need and nothing you don't.

With the functionality of a full pedal-

board, minus the crackling patch cables,

dying batteries and ground loops, the

Fly Rig 5 is a simple step to the rich,

expressive combinations you can use for

any session. Even when you want to use

the latest digital supercomputer or a

vintage tube amp, the Fly Rig 5 covers

your ass like yoga pants. It's the perfect

instant back-up rig when your boutique

gear goes down exactly when you need it

most.

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EDITOR’S PICK Tech 21 Fly Rig 5

Thoroughbred Professional Unit with Sweet Analog Tones

Weblink : www.tech21nyc.com/products/sansamp/flyrig.html


Live Custom Oak snare drums focus

on playing in live situations using

1.2mm oak plies which provide a

powerful low-end that shakes your soul.

This snare drum sounds more fitted for

this series drum sets with its materials

and colors used same as toms of its

series.

Features:

Size : 14"x5 1/2"

All Oak 6ply Shell

Dark Silver Finished Hardware

Q type Strainer release

Colors / Finishes LNS1455 EWS:

Emerald, Shadow, Sunburst

MSRP: USD 590

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EDITOR’S PICK Yamaha LNS1455

Live Custom Oak Snare Drum

http://usa.yamaha.com/products/musical-instruments/drums/snaredrums/snaredrum-wood/live_custom/#tab=product_lineup


Photo©

Infinity

Blues Q type

Release /

DC3 type

Butt Photography

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