Anaheim, CA (January 18, 2017)
Boss Introduces New Acoustic Singer Amplifier Series
Boss (Booth 303A, Level 3) has introduced the Acoustic Singer amplifier series, a new line of stage amplifiers designed for acoustic guitar and vocals. Offering class-defying sound and onboard features such as acoustic resonance, looping, automatic harmonies, effects, and more, the compact ACS amps give acoustic musicians everything they need to deliver inspiring and impactful live performances.
The Acoustic Singer Pro ($699 street) and Acoustic Singer Live ($499 street) models are carefully tuned for pro-level audio performance onstage. Newly designed bi-amped power sections and custom speakers provide punch and dynamics previously unavailable in this class. The Acoustic Singer Pro is equipped with an 8" speaker, dome tweeter, and 120 watts of power, while the Acoustic Singer Live is equipped with a 6.5" speaker, dome tweeter, and 60 watts of power.
The Acoustic Singer amps offer independent channels for acoustic guitar and vocal. Each channel features a discrete analog input circuit and 3-band EQ for studio-quality sound, plus an input pad, anti-feedback control, and dedicated reverb. The vocal channel can alternately be used to mic an acoustic guitar, or to connect a mic or second pickup installed in the guitar.
The guitar channel features acoustic-resonance processing for restoring natural, woody tone to stage guitars with undersaddle piezo pickups. Two types of chorus effects are available as well. The vocal channel is equipped with selectable phantom power, plus a lush delay/echo effect optimized for voice.
A unique feature of the Acoustic Singer amp is its built-in vocal harmony function, which is derived from the popular VE-8 Acoustic Singer pedal. It provides real-time harmonies that follow the guitar input, making it easy to achieve impressive vocal sounds automatically. Each Acoustic Singer amp is also equipped with a looper, allowing users to create on-the-fly backing with vocals and guitar.
Acoustic Singer amps feature balanced DI outputs for connecting to a stage PA, plus USB for direct recording to a computer. There’s also an aux input for playing backing music from a smartphone, as well as jacks for connecting optional footswitches to control looper, harmony, and effects functions while performing.
Boss Celebrates 40th Anniversary with Limited-Edition DS-1-4A Distortion Pedal
Boss has announced the DS-1-4A Distortion, a limited-edition stompbox that commemorates the 40th anniversary of Boss compact pedals. This special version of the long-running DS-1 Distortion pedal features a unique black and gold look and the classic tone that’s been a favorite of guitarists everywhere for nearly four decades. The DS-1-4A is the first release of the anniversary year, which will be celebrated with many other activities throughout 2017.
In 1977, Boss introduced the OD-1 Overdrive, PH-1 Phaser, and SP-1 Spectrum, the very first pedals in the compact series. Over the last 40 years, the iconic line has been loved by generations, with 115 unique pedal models produced and well over 15 million units sold. Boss pedals are used every day by all levels of players, from famous touring pros to bedroom hobbyists. Today, Boss produces over 50 compact series models that cover the effects needs of guitarists, bassists, and other musicians around the world.
Boss stompboxes are renowned for their great sound, rugged durability, and a unique, highly functional design that remains vital four decades on. But while these primary factors haven’t changed, the technology that goes inside the pedals has continually evolved. Boss has always maintained a breakthrough spirit as a sound innovator, using accumulated expertise and many different approaches to achieve one goal: the best sound.
The DS-1 Distortion was introduced in 1978 as part of the second wave of compact pedal releases. Its hard-edged attack and smooth sustain was an instant success among guitarists, going on to fuel the signature sounds of numerous rock legends. This humble orange pedal has enjoyed such enduring popularity that’s it’s remained in the lineup to this day, outselling every other Boss pedal to date.
The limited-edition DS-1-4A ($59 street) features a sleek black body with gold lettering, gold knobs, and a vintage silver thumbscrew for the battery compartment. The pedal comes in a special box with the Boss 40th anniversary logo, and will be available in 2017 only. A special anniversary webpage celebrating 40 years of Boss compact pedals will launch on January 18, 2017 as well.Boss Announces EV-30 Expression Pedal
Boss has just announced the EV-30, an all-new expression pedal for controlling parameters on devices with 1/4" TRS expression inputs. Striking the perfect balance between practicality and playability, the compact EV-30 is ideally suited for use on pedalboards and anywhere space is at a premium.
The EV-30 ($99 street) shares the same rugged, space-saving design of the popular FV-30H/L volume pedals and PW-3 Wah, offering pro-level performance in a small footprint. A key feature of these pedals is an innovative internal mechanism that delivers smooth action, precise control, and lasting durability. In addition, the pedal chassis is constructed of die-cast aluminum, providing a rock-solid foundation while maintaining reduced weight for easy transport.
The EV-30 is equipped with two expression outputs, enabling the user to control two different effects from a single pedal. A convenient polarity switch provides compatibility with nearly any device that supports expression control, from stompbox pedals and multi-effects to keyboards, MIDI controllers, and beyond.
The EV-30 works great with Boss pedals equipped with expression pedal inputs, such as the DD-500 Digital Delay, VB-2W Vibrato, DM-2W Delay, and others. It’s also a perfect fit for Boss multi-effects such as the GT-100 and GT-1, as well as Boss effects switchers like the ES-8 and ES-5.
For more information:
BOSS
This 1968 Epiphone Al Caiola Standard came stocked with P-90s and a 5-switch Tone Expressor system.
Photo courtesy of Guitar Point (guitarpoint.de)
The Epiphone Al Caiola model was built in the Gibson Kalamazoo factory and was similar to an Epiphone Sheraton, with a longer 25 1/2" scale. It was built from late 1963 until 1969 and was available with different pickups like Gibson mini-humbuckers and P-90s. The guitar would be renamed the Al Caiola Custom to make way for the Al Caiola Standard that was introduced in 1966, but both models had the Tone Expressor system.
The guitar has a Telecaster-like wiring configuration: two pickups, master volume and master tone, 2-way pickup-selector switch. Since the circuit only has a 2-way switch instead of a 3-way switch, you can’t play both the neck and bridge pickup at the same time. (Maybe Al Caiola didn’t like a middle-position sound; who knows?) There are also five additional mini-slider switches labeled 1—5 which make up the Tone Expressor system.
“With the individual slider switches of the Tone Expressor system, you can combine all five switching positions in any way you like, so you have countless possible combinations.”
Having a look under the hood reveals the Gibson Varitone system used on the ES models. My first thought was this was new wine in old bottles, but after having a deeper look, there are differences between the standard Gibson Varitone and the Tone Expressor system. The Gibson Varitone uses a 1.5 H inductor, while the Tone Expressor system has a 15 H inductor on board. The Varitone is a rotary switch, so you can only dial in one of the switching positions, no combinations. With the individual slider switches of the Tone Expressor system, you can combine all five switching positions in any way you like, so you have countless possible combinations. Electronically, the Tone Expressor is a switchable band-rejection filter; mids are attenuated and the result is a crisp, more twangy tone.
In this first of two parts about this very special circuit, I want to describe the switching positions of the Tone Expressor system. First, here are the individual parts:
• 500k audio master volume and master tone pot with a 0.02 μF tone cap. This configuration will work with mini-humbuckers as well as P-90 pickups.
• 2-way pickup-selector slider switch. Having the possibility to engage both pickups together (no matter if in parallel or in series) would enhance this wiring noticeably.
• 15 H inductor (choke). The inductor in this circuit creates a series of notch filters together with the caps of the individual switches, so the circuit doesn’t remove all signal above a certain frequency, but only a certain amount above and below that frequency. There is a lot of debate about using an inductor or not, and if so, what type.
Personally, I think adding an inductor is not the best choice. The design may have worked at the time, but today, most of us are looking for different sounds. While the Varitone has its fans, it was never very popular because it can suck tone, and a lot of people say that it doesn’t have a major effect anyway.
If you want to use an inductor and find a matching one, these have center-tapped primaries and secondaries. Use the entire primary or the entire secondary, and ignore center taps for the Varitone wiring. I had the chance to measure several original inductors (labeled TF-90-1C), and they all showed something between 12 H and 17 H; keeping their tolerances in mind, you can use any inductor in this ballpark.
• 10 M resistors. There is a 10 M resistor connected to the circuit in series to each of the five caps. These “pull-down” resistors prevent loud popping noises when using one of the switches—standard when switching capacitance like on the Varitone system.
• 100k resistor. Together with the caps on the switches, the single 100k series resistor creates a frequency selective voltage divider, which is essential to create a proper frequency notch. The value is well-chosen so there is no need to replace it.
On the Varitone rotary switch, position No. 1 is the bypass mode. The Al Caiola, with its slider switches, naturally doesn’t need an extra switch for this. When no switch is engaged, the Tone Expressor system is in bypass mode. In general, we can say that the bigger the cap, the thinner the tone, and vice versa. Or in other words: The bigger the cap, the more the humbucker tone is tidied up towards a more twangy and single-coil-like tone.
An up-close look at the controls for the Tone Expressor system.
Photo courtesy of Guitar Point (guitarpoint.de)
Here is what each switching position does:
• Switch No. 1 with 1000 pF cap corresponds to position two of the Varitone rotary switch and has a very subtle effect. It’s an unmistakably PAF-style humbucker tone, but with the bass frequencies tidied up a little. This setting can help cut through a mix and will prevent a boomy, woolly tone when playing full-tilt.
• Switch No. 2 with 3000 pF cap corresponds to position three of the Varitone rotary switch and is my favorite setting. Still a PAF-style humbucker tone, but tighter and with more transparency. This tone never gets too boomy and rides on the edge of the P-90 territory.
• Switch No. 3 with 0.01 μF cap corresponds to position four of the Varitone rotary switch. This reminds me of a typical P-90 tone with a tight bass and clarity in the high frequencies—very cool for some break-up blues playing.
• Switch No. 4 with 0.03 μF cap corresponds to position five of the Varitone rotary switch and is a very twangy and single-coil like setting that sounds like a Stratocaster—very useful and versatile.
• Switch No. 5 with 0.22 μF cap corresponds to position six of the Varitone rotary switch and is the most twangy setting. It reminds me a lot of a good Telecaster, especially with the bridge pickup.
Next month, we will look into different ways to set up and mod this circuit, so stay tuned!
Until then ... keep on modding!
The GibsonES Supreme Collection (L-R) in Seafoam Green, Bourbon Burst, and Blueberry Burst.
The newest addition to the Gibson Supreme Collection, the ES Supreme, follows the release of the Les Paul and SG Supreme guitars earlier this year. This new ES model builds on the legendary versatility of the ES-335 and adds features that take it to new heights with its AAA-grade figured maple tops, Super Split Block mother-of-pearl neck inlays, push/pull volume controls for coil tapping, and more.
The Gibson Supreme Collection (L-R) Les Paul, ES, and SG.
Designed for smooth playability, the mahogany neck has a Rounded C profile and compound radius ebony fretboard, while the Burstbucker Rhythm Pro and Burstbucker Lead Pro pickups enhance sonic versatility. Available in two pickup models in three colors, as well as two exclusive finishes–including one equipped with three pickups–with their stunning looks and undeniable sonic appeal, these new ES models reign supreme. A hardshell guitar case is also included.
For more information, please visit gibson.com.
NEW Gibson ES Supreme – Full Demo & Overview – MOST Versatile Gibson ES-335 EVER?
Gibson ES Supreme Semi-hollowbody Electric Guitar - Seafoam Green
