
A view of the mic closet at Nashville’s County Q studio.
Compare notes with Nashville producer-engineer Mike Purcell, who runs down the essentials of a pro-level home-studio mic collection.
A well-rounded mic closet could take a lifetime to build. I’m constantly trying different things, but there’s always a core set of mics I come back to because they’re reliable and provide good results. Many of these mics work on a wide range of instruments. By knowing my mics, I can make a choice that’s going to enhance the sound of an instrument—especially guitar.
In this story, I’ve listed several options for each mic type covering a range of prices from low to high. A higher cost usually indicates that the quality of components and workmanship are better, leading to a more consistent product. Lower cost generally means quality control isn’t as strict and that mics may differ more from their published specs.
You’ve probably heard this before, but the three main types of mics are dynamic (or moving coil), condenser (or capacitor), and ribbon mics. Let’s work our way through each category.
Dynamic Mics
Dynamic mics are composed of a voice coil suspended in a magnet. Incoming sound moves the voice coil within the magnetic field and a current is created. This is passed through a transformer to step up the voltage, and then sent to a mic preamp.
Dynamic mics are the mainstay of live sound because of their durability and ability to be used on loud sound sources without overloading. These are desirable characteristics in the studio when we’ve got to place mics close to a flailing drummer or mike up a Marshall Super Lead 100 full stack.
Dynamic mics exhibit the following characteristics:
- They are less sensitive to transients and high frequencies (7k and up.) They capture these frequencies, but at a lower level than a condenser.
- They color the sound in the midrange between 3-5k, adding a slight bump in this area.
- On loud sound sources, they exhibit a type of mild compression or soft clipping, useful on amps, drums, and vocals.
- They are cardioid, or unidirectional, and are the most sensitive in the front with maximum rejection off the back. (There are divisions of cardioid: hyper, super, etc. In all cases, they are most sensitive at the front, with rejection off the back or sides.)
- They exhibit a proximity effect. As directional mics are placed closer to a sound source, they pick up more low end, 100 Hz and below. Dynamic mics are designed to use the proximity effect, so as they move farther from a sound source, they will sound thinner.
“Dynamic mics are the mainstay of live sound because of their durability and ability to be used on loud sound sources without overloading.”
Even though dynamics all exhibit these same general characteristics, each mic will color the sound differently. Some dynamic mics work better on drums. They have an increased low-frequency response, a dip in the lower mids, and a bump in the presence range—essentially an EQ curve that sounds good on bass drums and toms. Others may have a more pronounced bump in the upper mids, making them a great choice for guitar amplifiers. While dynamic mics are typically used for the close miking of drums and guitar amplifiers, they are also well-suited to some vocalists.
A well-rounded mic closet in a home studio that cuts four- or five-piece bands would have at least 8 to 10 dynamics. Modern production dynamic mics top out around $600, and most are under $250.
Dynamics mics to consider:
- Shure SM57 ($99 street): The most common mic in the world. It’s cheap, incredibly durable, and sonically consistent from mic to mic. It can take the highest sound pressure level (SPL) you can throw at it and work on any instrument in a pinch. It’s often used for snare drums or guitar amps. Many of Tom Petty’s vocals were recorded with an SM57.
- Shure SM58 ($99 street): The big brother to the SM57. It has a built-in pop filter/windscreen and a slightly different low-end response. There are hundreds of cheap knockoffs of the Shure SM57 and SM58. Stick with the originals and you’ll be much happier over the long run.
- Sennheiser e 609 ($99 street): An inexpensive supercardioid mic. The supercardioid pattern indicates it is much more directional than a cardioid. This can be useful when miking a snare drum, to reject sound off the sides of the mic. The e 609 also has a slightly less harsh frequency response, so can be useful on edgy or bright guitars.
- Shure Beta 52A ($199 street), Audix D6 ($199 street), AKG D112 ($229 street): These are a newer generation of dynamic mics that are designed for bass drums. Plus, they work well on toms—although Audix also makes the D4 and D2, which are tailored towards smaller drum frequencies (rack tom, floor tom). And they work well on bass amplifiers.
- Sennheiser MD 421-II ($399 street): Excellent kick and tom microphone. The frequency response of the 421 works well on drums. It’s also commonly used on guitar amps and vocals.
- Shure SM7B ($399 street): Another variation using the SM57/58 diaphragm, this mic has electronics that allow you to tailor its frequency response. The SM7 is often used in broadcast and is a go-to choice for vocals by rap and metal artists.
Side note: Many manufacturers offer a drum-mic package—a great solution if you’re starting out. These usually include several dynamics for the close mics and a few condensers for the overheads and/or hi-hat. Plus, these mics can also be used for recording other instruments.
Here are a few examples of drum packages:
- Audix FP7 ($399 street): A seven-piece mic kit, with five dynamics and two condensers. Audix also offers larger drum packages.
- Avantone PRO CDMK-8 ($899 street): This eight-piece kit includes five dynamics and three condensers.
- AKG Drum Set Premium ($2,329 street): Another eight-piece set, with five dynamics and three condensers.
Condenser Mics
Condenser mics consist of a thin, charged diaphragm suspended over a metal plate. As sounds strikes the diaphragm, it moves and causes electrons to flow through the plate. This signal is amplified by internal electronics and passed through a transformer or field-effect transistor (FET) and is sent to a mic preamp.
Condenser mics exhibit these characteristics:
- They are active devices that require a power source, most commonly provided by +48V Phantom Power.
- Some are capable of multiple polar pickup patterns: cardioid, omnidirectional, figure eight, and everything in between.
- They may include a passive attenuation device (PAD), a switchable attenuator that prevents overload when the mic is used on loud sound sources.
- They may include a switchable high-pass filter (HPF), used to roll off unwanted low-end frequencies.
- They are the most sensitive mics, making them ideal for recording quiet instruments.
- They have the widest frequency response and are good at capturing frequencies across the audible spectrum.
- They color sound less than other mics and are good when you want to accurately capture the timbre of an instrument.
Condenser mics are divided into two categories: small diaphragm condensers (SDC) and large diaphragm condensers (LDC). SDCs have a diaphragm of less than 1" and tend to be more responsive to transients and high frequencies. Their off-axis response is also more even.
LDCs have a 1" or greater diaphragm. They sound fuller, but off-axis mic response can be uneven. LDCs, because of their overall size, can be harder to position in tight miking situations.
“Because of their sensitivity and wide frequency response, condenser mics are used for drum overheads and ambience, acoustic stringed instruments, piano, ensembles, amplifiers, and vocals.”
Matched microphone sets require that the frequency response and sensitivity of the two microphones are very similar. This allows them to record a balanced stereo image. So, a well-rounded mic closet will have a matched set of SDCs and LDCs, and a few assorted condensers for other purposes.
SDCs to consider:
- Rode NT5 ($219 single/$429 pair street): Rode is an Australian manufacturer that makes quality products at affordable prices. I’ve been impressed with all their equipment, and the NT5 is no exception.
- Shure SM81 ($399 street): A good, durable utility mic. Inexpensive. Not as open sounding as other SDCs. I use these for snare bottoms and hi-hats. They have a PAD and HPF.
- Warm Audio WA84 ($399 single/$749 pair street): Warm Audio is a relative newcomer to the pro audio world. They’ve been making reproductions of classic gear and offering them at lower prices. In general, I’ve been impressed with the quality of their products. These PAD-equipped mics are their version of the KM-184, at half the cost.
- AKG C451 B ($639 single/$1,395 pair street): Very responsive to transients and can take high SPL. These PAD and HPF mics yield an edgier sound. I love these on mandolin or banjo.
- Miktek C5 ($699 /$1,399 pair street): These mics include a switchable omni capsule, allowing for cardioid and omnidirectional use for spaced pair miking.
- Neumann KM184 ($849 single/$1,595 pair street): Smooth sounding all-around mic with an articulate and defined high-frequency response. One of my favorite go-to mics when I need a stereo recording of an instrument.
LDCs to consider:
With LDCs, manufacturers have families of mics that use the same basic components, but the higher-end mics will offer pattern selection or other features. Within the family, the sound will be similar. Examples are the AKG C214 and C414, and the Shure KSM32 and KSM44.
- Rode NT1000 ($329 street): I am a huge fan of Rode, and the NT1000 routinely beats out more expensive mics for vocals. This cardioid mic is solidly built and big sounding without harshness..
- AKG C214 ($465 street): The little brother to the AKG C414, this cardioid-only example with a PAD and HPF exhibits the same general frequency response, but it doesn’t have all the features of the 414.
- Audio Technica AT4033A ($399 street): One of my favorite inexpensive mics, the 4033 has a pleasant defined midrange and clarity that brings instruments through the mix. These may not be good when trying to capture extended low frequencies. Audio-Technica calls this cardioid mic a medium-diaphragm condenser.
- Miktek C1 and C7e ($599 and $899 street): Miktek is a Nashville-based manufacturer that has developed a line of mics that perform far outside their price class. The C1 has a PAD, HPF, and is cardioid only, while the C7e is multipattern.
- Neumann TLM 103 ($1,195 street): The TLM 103 is a smaller footprint package that utilizes Neumann’s classic U 87 capsule and transformer-less circuitry at a more affordable price. These sound great on vocals and acoustic stringed instruments, if you’re looking for a bigger sound.
- AKG C414 ($1,279 street): The 414 is another industry standard found in many studios. Based on the classic AKG CK12 capsule, the 414 has a wide frequency response. It is bright and present and can sound amazing on some singers and overly bright on others. It works well on pianos and acoustic guitars where you need a sheen on them.
- Neumann U 87 Ai ($3,695 street): The U 87 is a flagship standard that you can find in almost any studio. Multipattern select, HPF and PAD equipped, it’s got a fat low end, smooth high frequencies without harshness, and a thick, musical midrange. An incredibly flexible mic with excellent fidelity, it’s got a price tag to match its functionality. I’ve used these on toms for a huge sound, but you have to really trust the drummer if you’re putting this mic in range of their sticks
Ribbon Mics
Ribbon mics function by suspending a very thin conductive metal strip between two magnets. Sound waves strike the metal strip, causing it to vibrate. The vibration in the magnetic field creates a current in the magnets. This is sent through a transformer, and then the signal is sent to a mic preamp.
“Never run +48V phantom power to a ribbon mic. While most modern ribbons are phantom safe, it can destroy vintage ribbon mics.”
A good mic closet should have several ribbon mics, and possibly more depending on the style of production. Ribbon mics have seen a resurgence over the past 20 years and there is a wide variety available, ranging from $200 to $1,500 and more. Ribbons are used on guitar amps, as drum overhead or room mics, and on horns, acoustic guitars, percussion, and vocals.
Ribbon mics exhibit these characteristics:
- The thin ribbon allows them to be very sensitive to transients.
- They color the sound. They are warm sounding and add character.
- They are the least sensitive type of mic and ill-suited for quiet sound sources.
- They’re very fragile. A puff of wind (or the air coming out of a kick drum) can damage the mic.
- They are bi-directional/figure eight. They pick up sound from the front and back of the mic at the same level. Exceptions exist, like the Beyerdynamic M 160.
- Caution: Never run +48V phantom power to a ribbon mic. While most modern ribbons are phantom safe, it can destroy vintage ribbon mics. (Once again, there are exceptions. Active ribbon mics, like the AEA N22 Nuvo, exist. These do have internal amplification similar to a condenser and require phantom power.)
Ribbon mics to consider:
- Pinnacle Microphones Fat Top ($229/$519 pair street): The Fat Top is a current iteration of the original Cascade Fat Head. I’ve used Fat Heads for years. They’re wonderful on guitar amps and percussion.
- Stager SR-66/SR-2N ($699/$649 street): Stager Microphones is a small boutique operation in Nashville. They use neodymium magnets in these models, for increased magnetism in a lighter package. The transformers are hand-wound and designed to get the best transfer of sound from ribbon to mic preamp. The SR-66 is a long-ribbon package, offering a flatter frequency response. The SR-2N is a midrange-forward short-ribbon design.
- Coles Electroacoustics 4038 ($1,485 street): The Coles 4038 is designed by the British Broadcasting Corporation in the 1950s and the tech specs have never changed. A lot of work went into engineering this mic. It has a flat frequency response up to 15k and is very responsive to transients.
- Royer R-121 ($1,499 street): Royer Labs is one of the best-known manufacturers of ribbon mics. They’ve pioneered innovations in ribbon mic technology that allow them to be used on very loud sound sources without damage to the microphone. The R-121 is one of the most popular mics in existence and exhibits all the classic characteristics of a ribbon mic.
What about tube microphones?
Tube mics are a subset of condenser mics. Up until the 1960s, condensers used a tube for the amplification of the low-level diaphragm signal. Tubes sound nice, but have a lot of issues: heat, high power requirements, and they can suffer from microphonics. In the ’60s, a solid-state replacement for the tube was created: the FET, or field effect transistor. The FET emulates tube characteristics and has two benefits: smaller size and reduced power requirements. The first solid-state condenser mic designs used the same circuit except for the FET substitution, but they sounded different, crisper. They had lost the tube character.
Tube mics are revered for their warmth, wide frequency response, and pleasing sound. They are most commonly used for vocals, but I’ve used them for every instrument. There’s a robust market for inexpensive tube mic modification. Sometimes it’s as easy as swapping a tube, while others do capsule and component level changes. These mods can greatly enhance the sound of an inexpensive tube mic. A good mic closet should have at least one curated tube mic. They start at about $499 and can range upwards of $30,000.
Some manufacturers with tube mics in the below-$1,000 price range include Avantone, Warm Audio, Golden Age, and Lauten Audio. My recommendation is to audition several and find the one that will have the broadest application for your recording situation. They won’t sound exactly like their pricier counterparts, but they’ll give you a flavor in your mic closet that’s only possible with a tube microphone.
Tube mics to consider:
- Mojave MA-300SN ($1,399): Mojave was created by David Royer of Royer Labs. They use quality components for mics that meet exacting standards. The 300SN is a tube large-diaphragm condenser mic. It features a continuously variable pattern select, which ranges from omni to figure eight. The MA300SN has a warm low end with an open top.
- Miktek CV4 ($1,699 street): Miktek’s line of hand-built mics includes this large diaphragm condenser with nine polar patterns. I’ve used these on vocals and stringed instruments with great success.
- Peluso 22 47 SE ($2,149 street): Peluso Microphone Lab is a boutique company that hand builds each mic. The 22 47 is a reproduction of the venerable Neumann U 47. The 22 47 is a great choice for vocals and acoustic instruments, and I find myself using less EQ when recording with this mic. Their interpretations of other classic mics are also available.
Photo by Nick Sonsini
- Telefunken ELA M 251 (repro: $10,996/vintage: $25,000-plus street): Around 3,700 units of the original 251 were manufactured from 1960 to ’65, but a modern reproduction is available. It has an open top end without harshness, a smooth, rich midrange, and low-end warmth with punchiness. It’s an excellent vocal mic and excels on harmonically rich instruments.
Now, Go Forth and Record
You’ve got to start somewhere when building your mic closet. If you’re not tracking full bands, I’d recommend starting with a couple dynamics (like the SM57) and a set of LDCs. With these mics, you’ll be able to cover basic overdub sessions. From there, borrow mics from friends, explore the world of ribbon and tube mic sounds, and discover what works best for your home studio.
What About DIs?
Direct boxes, or DIs, are an integral part of any studio. They are used to connect (Hi-Z) instruments with low-impedance (Lo-Z) microphone preamps. Hi-Z devices, such as guitars and basses, have 1/4" outputs. The DI provides a 1/4" input to connect to your guitar and an XLR output which connects to a preamp. DIs also have a 1/4" output jack. This is used to pass the signal through the DI and connect to an amplifier. Often, a bass or guitar is recorded to two tracks—one signal from the DI and the other from an amplifier.
There are two types of DIs: passive and active. Passive devices have of an internal transformer that changes the impedance of the signal. Active DIs require a power source for their internal electronics and will have less signal degradation than a passive device. A good home studio should have at least one active DI and two passive DIs.
Modern DAW interfaces usually have built-in Hi-Z inputs via 1/4" jacks that allow you to connect directly to your interface. These negate the need for a DI.
Here are several DI boxes to consider:
- Radial StageBug S-B2 ($89 street): Radial is well known for their technology in direct box design. This is a passive DI with a small footprint.
- Radial Pro48 ($129 street): These active devices are full-range DIs with a bandwidth of 20 Hz to 20k.
- Rupert Neve Designs RNDI-1($299 street): Like most Neve designs, this active device is engineered for the highest fidelity audio and sounds great.
Digital Modeling Mics
Digital microphone modeling systems are a relatively new development. They combine a specially designed microphone with modeling software that allows you to record audio that sounds as if you had used a different microphone. The software models a variety of classic or vintage mics. The two frontrunners in this new tech are the Slate Digital VMS Virtual Microphone System and Universal Audio’s Sphere L22 Microphone Modeling System (which was developed in conjunction with Townsend Labs).
They use a sonically transparent microphone designed to interface with their modeling software. The signal is passed from the mic through a neutral mic pre (one that doesn’t color the sound too much) to your DAW input. The plugin is applied to the audio and an output mic model is selected. The result sounds as if it had been recorded with the selected mic.
Slate and UA accomplish this by testing and measuring a microphone’s behavior and mapping that behavior out in software. The software knows the characteristics of the recording mic and processes the audio, applying the differences to the signal. The recorded signal now sounds as if it was recorded with a $20,000 Neumann U 67 (or whichever mic you’ve selected).
The benefit of these systems is that it is non-destructive. Just like amp modeling plugins, there is a dry sound recorded in your DAW, and the processing is applied with a plugin. You have the ability to modify it throughout the recording process, finding the sound that works with your final production.
These systems offer a huge range of sounds and offer mic selections that would not be available in your average home studio. And each system offers a selection of recognized mic models with an established track record.
The lowdown:
• Slate Digital VMS Virtual Microphone System (mic and software $499 street): This system’s ML-2 is a small diaphragm mic. Once recorded, sound is processed via the VMS plugin (compatible with AAX, VST2, VST3, and AU formats). The VMS software includes 13 mic models, ranging from the AKG C12 to the Shure SM7B. Two add-on mic bundles are available for purchase from Slate: Blackbird Mics ($199 street), featuring five mics from Nashville’s Blackbird Studio, and Classic Tubes ($299 street), featuring five modeled mics.
• Universal Audio Sphere L22 Microphone Modeling System ($1,199 to $1,499 street): UA’s Sphere L22 was developed in conjunction with Townsend Labs. The Sphere software works the same as VMS, tuned for the provided mic and offering 34 output mic models.
The Sphere system uses a dual-capsule mic. This allows the software to take the signal from both capsules and create a 3D sonic picture of the modeled microphone. In theory, this should offer off-axis behavior similar to the originals. The mic can use both capsules to create a stereo recording, too.
The software is available in UAD, AAX, VST2, VST3, and AU formats. It offers more tweakable parameters than the VMS. So, if you’re a knob twister and like to fine-tune your sounds, the Sphere is a good choice. The additional controls come with a higher price tag.
- Tone Tips: Modelers vs. Traditional Rigs, Part 2 ›
- Amp Mic’ing vs. Impulse Responses ›
- The Recording Guitarist: Mic Makes Right ›
- Color Coding Sessions Can Save Your Butt - Premier Guitar ›
- How to Get More Out of Your Mics with Modelers - Premier Guitar ›
Wampler Catacombs
Meet the Wampler Catacombs and the Syntax: The Catacombs offers delay and reverb pedal with 11 iconic sounds in one intuitive package. While the the Wampler Syntax features a compact and versatile MIDI program selector, tap-tempo controller, and amp channel switcher.
Ever since Brian Wampler first picked up a guitar, he's been chasing the perfect sound - a quest that led him to build pedals in the first place. One challenge kept coming up, both for him and the countless musicians he's talked to: the struggle to have a wide range of sounds with complex editing capabilities while keeping the pedal interface manageable. Musicians either compromise on versatility or sacrifice precious space. Brian knew there had to be a better way. That's why he created the Catacombs - a pedal that eliminates the compromise altogether. It packs 11 of the most popular delay and reverb sounds into one intuitive, powerful package. Whether you're after a trusty digital delay and a plate reverb or a musical shimmer and a spaced out echo we have you covered!
The team at Wampler have worked for a long time on ensuring Catacombs will become an indispensable part of your rig. Each program offers tap-tempo control and can be saved into one of the pedal's eight front panel preset locations for instant recall. Delays and reverbs can be run in Stereo, in parallel or in series. But it doesn’t end there - the pedal also comes with a complete software version as a plugin for your DAW in AAX, AU, and VST3 format for both Mac and PC. The Catacombs plugin is FREE to all customers that register their Warranty online ($49.99 if purchased separately).
Legendary Delays
When designing the Catacombs, Brian wanted to put a whole universe of sonic textures at your fingertips. With six delay programs, you can feel the warmth and depth of analog delays (ANLG), the harmonic nuances of a Bucket Brigade Device delay (BBD), or the nostalgic modulated vibe of classic artisanal tape and mechanical delays (TAPE). Feeling adventurous? The other-worldly Echo-Space Delay (SPC) awaits. The favorite Wampler Faux Tape Echo (FTE) and an accurate recreation of the classic 2290 digital delay (DIGI) also feature. Each setting offers tap-tempo control and can be easily saved into one of the pedal's eight front panel preset locations for instant recall. It's like having a studio's worth of delay effects right at your feet.
Iconic Reverbs
But he didn't stop at delays. The Catacombs also houses five finely tuned reverb programs that Brian and his team honed to perfection. With just a twist of a knob, you'll discover expansive halls (HALL), a warm vintage plate (PLT), and that classic spring reverb (SPR) with plenty of "drip." The shimmer reverb (SHMR) allows a whole new layer of sonic texture, especially when paired with an expression pedal, and the intimate ambiance of the ROOM setting creates that perfect studio reverb. Just like the delay programs, each reverb is easy to control and can be quickly saved into one of the eight onboard presets. The Catacombs is all about giving you the tools to shape your sound effortlessly.
Stompbox-like Control
Like the Terraform and Metaverse before it, the Catacombs is designed to be as quick to dial in as possible. We replaced confusing menus and fiddly touch screens with clearly marked knobs you can adjust on the fly. Controls for Time, Feedback, Modulation, and Level (with Alt functions for each effect type) put all the essential tools right at your fingertips.
Digital Power with an Analog Soul
In creating the Catacombs, Brian wanted to blend the best of both worlds. It uses a
high-performance DSP engine to bring each effect to life with authentic character, and gives you eight front panel preset locations where you can save and instantly recall your favorite settings. If you're looking to expand even further, you can access up to 128 presets with full MIDI control, it has optional stereo routing, a parallel or serial switch, and an assignable expression pedal input to control any parameter (or multiple parameters) in real time. It's a pedal that can grow with you, adapting to any musical situation.
Brian Wampler’s attention to detail and commitment to designing the best and most player friendly products out there is second to none. Those qualities are on full display within the Catacombs. From its convenient form factor to its flexible controls and full MIDI implementation via mini-TRS jacks, the Catacombs is all Wampler.
- Studio quality conversion 48 kHz sampling rate with 24-bit audio
- Full 20Hz to 20kHz frequency response
- Studio-quality vintage and modern effects - 6 Delays and 5 Reverbs designed and realized in-house at Wampler
- Simple user interface making your sound design instantaneous
- All parameters controllable via an outboard expression pedal
- 8 onboard preset locations to save your favorite patches, 128 total via MIDI
- Full MIDI control with CC and PC commands and MIDI clock compatibility
- True Stereo or Mono I/O
- Complete set of AAX, AU, and VST3 plugins FREE when pedal registered online
- Pedalboard friendly enclosure with minimal footprint
- Power draw - 9V DC center pin negative, external supply only: 130mA at 9V
- Dimensions : 4.5” x 3.75” x 2.25” (114 x 95 x 56mm) Weight: 2 pounds (910g)
- Includes Wampler’s limited 5-year warranty
- Designed and Built in the USA
The Wampler Catacombs carries a street price of $299.97.
For more information visit wamplerpedals.com.
Wampler Syntax
The Wampler Syntax Rig Control Pedal offers dual-sided functionality and easy setup via slide switches, and seamless integration with your favorite gear.
Let me know if this sounds familiar: you have a powerful effects pedal with a ton of built-in features, but they're buried under menus. The onboard footswitches won't cut it, so you add a dedicated MIDI controller, maybe a tap tempo pedal, maybe an external footswitch. Before you know it you have removed the convenience that an all-in-one pedal was supposed to offer.
Brian Wampler feels your pain. That's why he designed a dual-sided MIDI program selector, tap-tempo controller, and amp channel switcher and put it in a tiny housing. We call it the Syntax: a micro-format, multifunction switcher that lets you go deep with your favorite delays, modelers, amps, and other gear with the press of a footswitch.
Effortless Setup
Syntax has way more power than its small enclosure suggests. Even more impressive is you get all its functionality via simple, independent slide switches. A quick slider push can set one footswitch to scroll MIDI program changes while the other taps out your delay's tempo. Or connect Syntax to your amp in latching mode to swap channels. It's up to you, and it really is that easy.
MIDI Switching from a Micro Pedal
Syntax is a full-fledged MIDI preset controller in a mini-stomp housing. Able to output PC messages 1 through 8, this little stomp can set presets on all your favorite MIDI-enabled gear - including the Catacombs, Metaverse, and Terraform. All three can be daisy-chained together via MIDI and synchronized presets can be selected from the Syntax with ease. No complex menus, just a simple setup and plug-in, and you're ready to scroll through up to eight of your favorite tones. With a dedicated MIDI In port it can also be integrated into a larger MIDI environment.
Tap Tempo & Latching
Here's something Brian has always thought: why should we settle for pedals that do just one thing when they could do more? Latching and momentary footswitches might look the same externally but they perform different and equally important functions with different rigs, so he figured, why not create a pedal that can handle both? Want to switch amp channels or toggle effects seamlessly? Or maybe you need a rock-solid external tap tempo? You got it. It's all in the Syntax, ready to adapt to any rig you throw at it.
A Lot More Control in A Lot Less Space
Whether you lean heavily on MIDI, need tap-tempo for your favorite delay, or want to free up some pedalboard real estate for a new Catacombs (hint, hint), the Wampler Syntax is the perfect choice. Designed to be placed either horizontally or vertically on your board, it works seamlessly with all digital Wampler pedals, as well as your other favorite gear. It brings your entire rig together while giving you even more room to expand.
Brian Wampler’s attention to detail and commitment to designing the best and most player friendly products out there is second to none. Those qualities are on full display within the Syntax. From its convenient form factor to its ease of use and versatility, the Syntax is all Wampler.
- Rock solid construction and high-grade components selected for optimal performance
- Compact 2 footswitch preset switching remote via MIDI (PC1-8)
- Latching and momentary function through Ext out TRS socket - function selectable via dual slide switches
- Dimensions: 1.5” x 3.5” x 1.5” (38.1mm x 88.9mm x 38.1mm) - height excludes knobs and switches
- Power draw: 20mA at 9V - 18V 9-18V power jack – DC supply only, no battery connection within
- Includes limited 5-year warranty
- Built in USA
The Wampler Syntax carries a street price of $99.97.
For more information visit wamplerpedals.com.
Ferocious fuzz forces, a +/- 2-octave range, and the capacity for odd intervals make this menacing machine almost as much synth as dirt device.
Keeley Octa Psi Transfigurating Fuzz Pedal with Polyphonic Pitch Shifting
Octa Psi Transfigurating Fuzz PedalD'Addario's new Bridge Pin Puller and Tour-Grade Peg Winder are designed to make string changes a breeze.
The Bridge Pin Puller is designed to be the fastest, easiest, and safest way to remove bridge pins from an acoustic guitar. Small enough to fit in your pocket, the standalone bridge pin puller is a great way for acoustic players to avoid fumbling with bridge pins during string changes and maintenance. The ergonomic design comfortably fits in hand but won’t place extra pressure on the instrument or bridge during use. Best of all, the clamp design encloses the pin, keeping it secure inside the puller until it’s released.
The Tour-Grade Peg Winder offers next-level performance for luthiers, techs, or anyone who wants to change strings with maximum speed and ease. The multi-tool design brings together a ball bearing, non-damaging socket for smoother winding, molded grips, and a spring-loaded bridge pin puller, delivering an all-in-one option to handle most standard string changes.
From the straight-forward simplicity of the Bridge Pin Puller to the all-around convenienceof the Tour-Grade Peg Winder, D’Addario has your string changes covered.
For more information, please visit daddario.com.
On this episode of the 100 Guitarists podcast, we’re talking about our favorite Lukather tracks, from his best rhythm parts to his most rippin’ solos. And even though he spends most of his playing time with the biggest names, we’ve managed to call up a few deep cuts.
Steve Lukather is one of the most documented guitarists in the hit-making biz. He grew up as an L.A. teen with a crew of fellow musicians who would go on to make their livings at the top of the session scene. By the time Lukather and his pals formed Toto, they were already experienced chart-toppers. The band went on to success with hits including the rockin’ “Hold the Line,” breezy, bouncing “Rosanna,” and the timeless “Africa.”
As a session player, Lukather’s reign in the ’70s and ‘80s extended from Olivia Newton-John to Herbie Hancock to Michael Jackson. And alongside Michael McDonald—whose “I Keep Forgettin’ (Every Time You’re Near)” included Lukather’s distinctive rhythm riffage—Daryl Hall and John Oates, Kenny Loggins, Peter Cetera, and Christopher Cross (among many others) he may have earned the title of yacht rock’s number one guitar player.
On this episode of the 100 Guitarists podcast, we’re talking about our favorite Lukather tracks, from his best rhythm parts to his most rippin’ solos. And even though he spends most of his playing time with the biggest names, we’ve managed to call up a few deep cuts.