New bracing and pickups make this mid-priced take on a Gretsch classic a lively and engaging inspiration machine.
Smooth playability on par with much more expensive instruments. Airy, open pickup sounds with lots of clean-to-mean latitude.
Blue finish is pretty but thick in spots. Vintage sticklers might miss some old-school Filter’Tron bite.
$799
Gretsch G5420T
gretschguitars.com
Though big hollowbodies like the Gretsch G6120 are beautiful and an essential ingredient in countless classic records, they can be a tricky playing experience for the uninitiated. Navigable fretboard space is limited by solidbody standards. Big bodies can feel bulky. They’re sometimes feedback prone in high-volume situations, too. Consequently, I’ve watched many solidbody-oriented chums who rarely play hollowbodies handle a big Gretsch with the baffled look of a spacefarer deciphering an alien tongue.
This latest affordable, mid-line evolution of Gretsch’s classic 6120, the re-designed Electromatic G5420T, smooths navigation of those intrinsic challenges. A new approach to trestle block bracing and FT-5E Filter’Tron pickups give the guitar a zingy, lively, and surprisingly feedback-resistant resonance. And the ultra-smooth playability makes it relatable for the average solidbody player. Together, the improvements make the G5420 a welcoming and intuitive-feeling vehicle for the less-orthodox modes of guitar expression that big Gretsch’s enable.
New Shoes in Blue
Trestle bracing, as a name and design concept, graced Gretschs beginning in the ’50s. That system utilized a bridge-like pair of laterally oriented braces. Trestle block bracing is different. It situates a slim, light center bock that is shaped like a bridge arch at a 90-degree angle between two straight, lateral braces. In one sense, the construction is akin to a center-block semihollow body. But the Gretsch trestle block has much less mass and a smaller footprint than the center block in, say, a Gibson 335, making the design a great compromise between rigidity, stability, and resonance. The effects, at least to my ears, are audible. And one thing every staffer that touched this guitar agreed upon was that this was the liveliest affordable Gretsch that any of us remembered playing.
The G5420T also feels like a dream underneath the fingers. The 12" radius makes string bends extra easy. Hammer-ons, pull-offs, and, yes, fleet-fingered Chet Atkins picking feel effortless. And in general the playability is so nice you often forget that notes much past the 17th or 18th fret are a pretty uncomfortable reach. The control layout is a familiar take on Gretsch convention. The master volume control on the treble-side horn is always a blast to use for volume swells. And while the bridge volume is situated pretty far aft on the body, it’s easy enough to reach for fine tuning adjustments and corrections to the neck/bridge blend. The Bigsby, meanwhile, is both fluid, smooth, and, in relative terms, pretty tuning-stable if you’re not too aggressive.
You don’t achieve playability and intonation like that on our review model without sweating the details, and the 5420’s neck, nut, fretboard, and frets all feel very much of a piece.
Construction quality is typically very good in Gretsch’s more affordable Streamliner and Electromatic series, and the G5420T does its part to hold up the family reputation. You don’t achieve playability and intonation like that on our review model without sweating the details, and the 5420’s neck, nut, fretboard, and frets all feel very much of a piece. Little details like the binding around the f-holes are also flawlessly executed. One of the only overt signs of the G5420T’s mid-priced status is the polyester-azure-blue finish, which, while dazzling, looks a bit ripply and thick in spots. Even so, in sunlight, it reveals traces of pearlescent turquoise and lake placid blue, depending on the angle from which you view it.
Balance and Brawn
As Gretsch tells it, the new Filter’Trons are designed for stronger bass output and more articulate high end. I don’t know if I would call the low-end exceptionally robust. But 6th-string notes exhibit a concise, classy punchiness that resonates with just-right complexity and gracefully adds balance and ballast to chords. Some players expect low notes on a Gretsch hollowbody to explode with the heft of a grand piano. But the chiming low notes of a Fender Rhodes electric piano are a more apt analogy for the 5420’s present, overtone-rich-but-understated bottom-string output. This same knack for balance translates to awesome, articulate overdrive and fuzz tones (though, needless to say, it is important to mind the feedback when messing with the latter).
High-end output, meanwhile, is beautiful. First- and 2nd-string notes ring presently and in graceful balance with the rest of the strings, lending a kinetic but not-too-hot edge to leads and chords. And anyone with an affinity for vintage rockabilly or late-’60s West Coast psychedelia will love the way these high notes hop, quaver, and sing with a waggle of the Bigsby. For this author, anyway, it’s a visceral, addictive thrill—particularly with a big Fender amp and a heap of spring reverb and slapback echo.
The Verdict
Any player well versed and at ease with the idiosyncrasies of a Gretsch hollowbody will love the way the 5420 sounds and feels. And on the latter count, certainly, the 5420T is the equal of many much more pricey guitars. It’s very easy to imagine an upmarket or vintage Gretsch owner who sweats gigging with an expensive axe taking this guitar out instead and feeling right at home. The pickups are very well balanced, present, and detailed. And the Bigsby is smooth and invites all manner of twitchy or surfy vibrato moves. Most important is how these factors conspire to offer an uncommon playing experience with an upmarket feel. “Riff machine” may be a term that you could apply to many guitars, but the combination of the 5420T’s playabililty and open, detailed, and balanced pickups add up to a deep well of habit-smashing inspiration—all at a very nice price, to boot.
Gretsch G5420T Electromatic Hollowbody Demo | First Look
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Be sure to locate your sample library where it can be quickly referenced on your DAW.
Improve your recordings using your own samples. Bryan Clark, house producer at Nashville’s Blackbird Studio, tells you how to take the final steps in building your own sample library.
Mastering the sample import process in your chosen DAW can significantly enhance your creativity and streamline your workflow. With a clear understanding of the tools and techniques available, you will be better equipped to bring your musical ideas to life and make your productions stand out.
This month, we finish up a three-part series on creating your own sample libraries. In this final installment, I’m going to give you the basic ways to import your samples into various popular DAWs. Each one has its unique workflow and user interface, but the fundamental process remains very similar. This Dojo guide will cover how to import samples into Ableton Live, LUNA, Logic Pro, Pro Tools, and Studio One.
Ableton Live
Steps to Import Samples
Drag and Drop: Simply locate the sample file in your computer’s file explorer, then drag and drop it directly into an audio track in the session or arrangement view.
Browser Window: Use Ableton’s built-in browser (on the left-hand side). Navigate to the sample’s location on your hard drive, then drag it into the workspace.
Create a Simpler or Sampler Instrument: Drag the sample into a MIDI track with Simpler or Sampler loaded. This allows you to trigger the sample using MIDI notes.
Tips: Use the warp feature for time-stretching and syncing samples to your project’s tempo.
Organize your samples into collections using the “Add Folder” option in the browser.
LUNA
Steps to Import Samples
Drag and Drop: Drag the sample from your file explorer directly into the timeline. Then hold the CTRL key down, click on the end of the loop, and drag it to the length it needs to be.
Browser/Workspace: Use the media browser to navigate to your sample’s location on your hard drive. Drag it into an audio track in your session.
Audio Track Import: Right-click on an empty area in the timeline or a track and select “Import Audio” to locate and add your sample.
Tips: Use LUNA’s built-in varispeed capabilities to match your sample to the session’s tempo.Logic Pro
Steps to Import Samples
Drag and Drop: Drag the sample from the Finder directly into an audio track in the workspace.
File Browser: Use the file browser (accessible via the media sidebar or “F” key) to locate and drag samples into the timeline.
Quick Sampler: Drag your sample onto a MIDI track with the Quick Sampler plugin loaded. This lets you play the sample chromatically.
Tips: Use Logic’s flex time feature to sync samples to your project’s tempo. Organize samples into Logic’s library for quick access.Pro Tools
Steps to Import Samples
Import Audio Dialog: Go to File > Import > Audio; then locate your sample and click “Convert” or “Add” to bring it into the session.
Drag and Drop: Drag the sample directly from your file explorer into an audio track.
Workspace Browser: Use the workspace (accessible via Window > New Workspace) to locate your sample. Drag it into your session.
Tips: Use the elastic audio feature for tempo matching and pitch adjustments.
Place your samples into playlists for efficient access during editing.
Studio One
Steps to Import Samples
Drag and Drop: Drag your sample directly from your file explorer into the timeline or browser.
Browser: Open Studio One’s browser (on the right-hand side), navigate to the folder containing your sample, and drag it into your project.
Sampler Track: Drag the sample onto a MIDI track, and use the Sample One sampler for additional manipulation.
Tips: Enable the “Stretch Audio Files to Song Tempo” option in the browser for automatic tempo synchronization. Create sample folders within Studio One’s browser for quick access.General Best Practices
Regardless of the DAW you use, it is important to maintain a smooth and efficient workflow. Organize your sample library with clear folder names and categories to make locating files easy (see last month’s installment for detailed strategies). Where possible, learn DAW-specific shortcuts for importing and editing samples to save time. Always check if your DAW offers a feature to sync the sample’s tempo to your project to ensure seamless integration. Finally, regularly back up your sample collection to avoid losing important audio files and preserve your creative assets! Seriously. Do it now.
Next month, we’re off to “console” land and I’ll be investigating console emulations (hype or not?), summing bus processors, and more to give you a more “studio” sound. Until then, blessings and namaste.
The shredder and son of legendary artist Frank Zappa gives a tour of his up-to-date gear, including a complex stereo switching system, four racks of pedals, and some of his father’s favorite guitars.
Dweezil Zappa was always going to end up being an incredible guitarist. His dad, Frank Zappa, is celebrated as one of the most talented and creative guitarists in history, and by age 12, Dweezil was recording music produced by Eddie Van Halen. (Little surprise that he’s covering Van Halen’s 1981 stunner “Push Comes to Shove” lately.) He’s been a bona fide guitar star ever since, releasing seven original solo records, six tribute records, two LPs with his brother Ahmet Zappa, and guesting on recordings across the music universe.
Ahead of his gig at Memphis’ Minglewood Hall on his 2024 Rox(postroph)y tour, which celebrated the 50th anniversary of Frank Zappa’s Apostrophe (') and Roxy & Elsewhere records, Dweezil gave PG’s John Bohlinger a boot-to-bonnet look at his current road setup. There’s a lot of ground to cover between his and his father’s catalogues, and Dweezil loves the challenge, which he meets with a mix of his own gear and some special vintage assists courtesy of his dad.
Brought to you by D’Addario.Shut Up ’n Play Yer Les Paul
This coveted Gibson Les Paul Custom, featured on the cover of Frank’s 1981 record Shut Up ’n Play Yer Guitar, came out on the road this tour. Dweezil says that around 1986, his dad swapped in Dan Armstrong-made ceramic pickups. At one point, Frank installed a second input to try to use the guitar as a synth controller, but it didn’t track well enough to continue the experiment.
Along with the standard controls, the guitar includes switches to turn on different parts of the onboard preamp, which boosts the signal and adds plenty of gain. A rotary knob controls a wired-in parametric EQ set up to emulate different settings along the sweep of a wah pedal. Dweezil didn’t get much of the lowdown from his father on the complex operations; it was more trial-and-error. “You just have to turn knobs until you find something that you like,” he says. He connects to his rig with ZZYZX SnapJack magnetic cable connectors.
Rockin' with Roxy
Also out on the Rox(postroph)y tour is Frank’s iconic Roxy & Elsewhere-era Gibson SG. Like the Les Paul, it’s got a preamp circuit to boost the signal, a sweepable EQ, and can achieve acoustic, piezo-adjacent sounds. The preamp configuration in this one is red-hot; it dishes out tons of gain.
Signature Shabat
For Strat-style tones, Dweezil calls on his signature Shabat Lynx DZ, which has been used to dial in his cover of “Push Comes to Shove.” Per Shabat, it has a “body-mounted HSS configuration with a push/pull phase shift on the middle pickup, simplified single-knob layout, custom-cut 3-ply parchment/gold pickguard, and … a Vega-Trem VT1 tremolo."
The Lynx DZ is constructed with an alder body and a quartersawn hard maple, medium-C-profile neck with a 25.5" scale length. It’s loaded with Lollar Special S and Lollar El Rayo pickups, and the middle Special S is wired for phase shift. The Lynx, as well as the SG and Les Paul, are strung with Optima Gold-Plated 2028 FZ Frank Zappa strings (.008–.046), and struck with D’Addario .50 mm celluloid picks. (Dweezil likes them for pick slides.)
On the Ground
Zappa keeps a significant board at his feet, which he controls with a Fractal FC-12 controller. He runs his sound in stereo, with different effects going to each side, so he keeps volume pedals for each side in front of him, plus a wah and expression pedal.
The row of pedals perched atop the pedalboard includes a TC Electronic Polytune 3 Noir, a Marshall-style prototype pedal, J. Rockett Audio Designs PXO, Union Tube and Transistor Lab, SoloDallas Orbiter, a Jext Telez White Pedal (to nab a specific tone for playing “Nanook Rubs It”), and a 29 Pedals FLWR.
In the Rack
On our 2013 Rig Rundown, Dweezil was using the Fractal Axe-Fx II, and this time around, he’s upgraded to the Axe-Fx III as the basis of his sound. Given the sonic territory covered in his shows, it simply became too unwieldy and expensive to tour an analog rig.
The brains of his show are held in a rack system. A couple of out-of-sight splitter boxes help with the complex stereo signal paths, as do a pair of Voodoo Lab HEX audio switchers. The Axe-Fx III lives on the top shelf, and just below it are an Eventide H90 and TC Electronic TC 2290 that go to both sides.
The next rack down runs only to the left side, and includes a BK Butler Tube Driver, DigiTech FreqOut, Red Panda Radius and Raster, Krozz Devices Airborn Analog Flanger, and a Paul Trombetta Design Tornita! fuzz.
The level below it runs to the right side, with a “Clown Vomit” fuzz, Chase Bliss Warped Vinyl, Korg FLG-1 Flanger, Chase Bliss Generation Loss, Goochfx Holy Cow, and another Red Panda Raster.
Wrapping up the rig is the bottom rack, which again runs to both sides. It carries most of Zappa’s exquisite dirt sounds, thanks to a Union Tube and Transistor Tsar Bomba, Chase Bliss Automatone Preamp MKII, Goochfx Dirty Hippie, Tru-Fi Two Face, Foxrox Electronics Paradox TZF2, and a Paul Trombetta Design Rotobone that … somewhat reasonably apes a trombone sound. Paul Trombetta, we salute you.
Kepma Guitars introduces the new Fenix Series of Grand Auditorium acoustic guitars, offering premium features at an entry-level price, plus their new travel-sized FC Mini Series.
Designed for both aspiring players and seasoned musicians, the Fenix Series offers premium features typically found in higher-priced instruments, all starting at just $249.99.
“The new Fenix models represent our commitment to making premium-quality guitars accessible to players at every level, without compromising on sound, playability, or innovation,” said Kepma USA president Tony Moscal. “With their torrefied solid tops, thinner neck profiles, and unparalleled playability, these guitars deliver exceptional sound and feel typically reserved for professional instruments—all at an entry-level price.”
The Kepma Fenix Series features a Grand Auditorium body style with a solid torrefied Sitka spruce top, delivering exceptional tonal resonance and stability. The proprietary Kepma Torrefication Process uses a precise combination of heat and humidity to remove moisture, oils, and sap from the wood, resulting in a stronger, more stable top that enhances string vibration and ensures consistent performance in any environment.
Back and sides are crafted from layered African mahogany, providing a warm, balanced sound. The neck, made of durable nato wood, is reinforced with a two-way adjustable truss rod and finished with a smooth satin coating for effortless playability.
The Fenix Series is packed with cutting-edge features to elevate the playing experience:
- New 4-Point Bolt-On Neck Joint: Ensures unparalleled stability that allows for easy adjustments and maintenance - a first at this price point.
- Ultra-Thin Water-Based Finish: Environmentally friendly and just 0.042mm thick, this finish protects the guitar while maximizing tonal projection and preserving the natural beauty of the wood.
- Beveled Binding for Comfort: High-quality ABS beveled binding enhances durability, prevents edge damage, and ensures a comfortable playing experience.
- C-Shaped Fast Neck: A player-friendly design that reduces hand fatigue, enhances playing fluidity, and supports all playing styles.
For players seeking even more versatility, the optional AcoustiFex K-10 Pro Pickup, Preamp & FX System transforms the Fenix into an all-in-one performance and practice powerhouse. This system includes built-in reverb, delay, and chorus effects, Bluetooth audio streaming, and a companion app for rhythm looping, metronome functions, and more. Whether you’re performing on stage or practicing at home, plugged into an amp or mixer, or simply playing unplugged, the AcoustiFex system delivers unmatched sound and convenience.
The Kepma Fenix™ Series offers four configurations to suit every player’s preferences:
- FGA1-130 (Natural Finish): Grand Auditorium, solid torrefied spruce top, layered mahogany back and sides. MAP: $249.99
- FGA1-130A (Natural Finish with AcoustiFex): Grand Auditorium, solid torrefied spruce top, layered mahogany back and sides, AcoustiFex K-10 Pro Pickup System. MAP: $299.99
- FGA1-130SB (Sunburst Finish): Grand Auditorium, solid torrefied spruce top, layered mahogany back and sides, sunburst finish. MAP: $249.99
- FGA1-130ASB (Sunburst Finish with AcoustiFex): Grand Auditorium, solid torrefied spruce top, layered mahogany back and sides, sunburst finish, AcoustiFex K-10 Pro Pickup System. MAP: $299.99
The new Fenix models are designed to inspire beginners and seasoned musicians alike, setting a new benchmark for performance and value in the industry.
Kepma Guitars is thrilled to announce the introduction of its versatile FC Mini Series, packed with cutting-edge technology that redefines expectations for travel-sized guitars.
The new FC Mini models include a variety of configurations to suit every player’s needs. The Spruce/Rosewood and Spruce/Mahogany options feature solid torrefied spruce tops paired with layered rosewood or mahogany back and sides, available in natural and sunburst finishes. The Mahogany/Mahogany model features a solid torrefied mahogany top with layered mahogany back and sides in a natural finish. Each guitar is offered in three versions: no pickup, with the AcoustiFex® K-10 Pro system, or equipped with the Elfin Sound System, and all come with a deluxe gig bag. Prices range from $399.99 to $549.99 MAP.
Big Sound in a Compact Package Traditionally, smaller guitars have been associated with compromised sound and tone. Kepma’s FC Mini Series shatters this notion by integrating advanced innovations and meticulous design to create a guitar that offers the full resonance and projection of a standard acoustic.
Premium Materials and Construction The torrefaction process removes moisture, oils, and sap from the wood, enhancing stability and delivering superior tonal richness. Back and sides crafted from high-quality mahogany or rosewood ensure durability and warmth in every note.
Technological Innovations
- Proprietary Bolt-On Neck Design: Kepma’s neck contour bolt-on neck joint ensures a perfect and stable connection between neck and body, offering ultimate playability and infinite adjustability.
- Rosewood Bracing: Solid rosewood bracing enhances top stability and reduces energy loss, resulting in superior articulation and sustain.
- Arched Back Design: A unique arched back improves resonance and eliminates the need for back bracing, allowing for harmonious vibrations and a fuller sound.
Enhanced Playability The FC Mini Series is engineered with the player in mind. The slightly thicker neck provides added stability, while the ergonomic C-shape design reduces fatigue during extended playing sessions. The sleek cutaway provides access to the higher notes on the fretboard for better playability. Lower string action, beveled binding, and redesigned precision sealed tuners further enhance comfort and ease of use.
Attention to Detail Kepma’s commitment to excellence is evident in every detail of the FC Mini Series:
- D'Addario XS Strings: Coated strings extend playing life and offer superior projection.
- Elegant Aesthetics: Features include a magnolia inlay on the fretboard, upgraded rosette, and a refined rosewood veneer headstock.
- Eco-Friendly Finish: A thin, water-based matte finish minimizes vibration damping for a clear, transparent sound.
Advanced Electronics for Modern Musicians
AcoustiFex K-10 Pro System Each new FC Mini Series model is available with the AcoustiFex K-10 Pro System, offering:
- Built-in reverb, delay, and chorus effects
- Bluetooth audio streaming for playing along with backing tracks
- An on-the-go USB interface for app connectivity, enabling looping, rhythm tracks, and practice tools like a metronome and tuner
- Whether you’re performing on stage or practicing at home, plugged into an amp or mixer, or simply playing unplugged, the AcoustiFex system delivers unmatched sound and convenience.
Elfin Sound System The FC Mini Series are also available with the new Elfin K-13 Sound System, developed collaboratively by Kepma and Double Acoustics. The system offers high sensitivity, accurate sound reproduction, strong output power, and low noise. The under-saddle piezo pickup delivers sweet treble and punchy bass, making it ideal for fingerstyle playing. Additionally, the preamp features a rechargeable battery system that can be conveniently charged using a standard USB-C phone charger cable. The Elfin K-13 Sound System was developed and voiced specifically for the Kepma ¾ size FC Mini Series guitars.
Complete Package Each FC Mini guitar comes with a padded deluxe gig bag and an accessory kit that includes a custom truss rod wrench, microfiber polishing cloth, bridge pins, picks, extra saddle, and string height gauge.
Purchase Options
Spruce/Rosewood, Natural Finish
- Solid Torrefied Spruce Top/Layered Rosewood Back & Sides
- No Pickup: Model FCM-SR, MAP: $449.99
- With AcoustiFex K-10 Pro: Model FCM-SRA, MAP: $549.99
- With Elfin Sound System: Model FCM-SRE, MAP: $549.99
Spruce/Rosewood, Sunburst Finish
- Solid Torrefied Spruce Top/Layered Rosewood Back & Sides, Sunburst Finish
- No Pickup: Model FCM-SR-SB, MAP: $449.99
- AcoustiFex K-10 Pro: Model FCM-SRA-SB, MAP: $549.99
- Elfin Sound System: Model FCM-SRE-SB, MAP: $549.99
Spruce/Mahogany, Natural Finish
- Solid Torrefied Spruce Top / Layered Mahogany Back & Sides, Natural Finish
- No Pickup: Model FCM-SM, MAP: $399.99
- With AcoustiFex K-10 Pro: Model FCM-SMA, MAP: $499.99
- With Elfin Sound System: Model FCM-SME, MAP: $499.99
Spruce/Mahogany, Sunburst Finish
- Solid Torrefied Spruce Top / Layered Mahogany Back & Sides, Sunburst Finish
- No Pickup: Model FCM-SM-SB, MAP: $399.99
- With AcoustiFex K-10 Pro: Model FCM-SMA-SB, MAP: $499.99
- With Elfin Sound System: Model FCM-SME-SB, MAP: $499.99
Mahogany/Mahogany, Natural Finish
- Solid Torrefied Mahogany Top / Layered Mahogany Back & Sides, Natural Finish
- No Pickup: Model FCM-MM, MAP: $399.99
- With AcoustiFex K-10 Pro: Model FCM-MMA, MAP: $499.99
- With Elfin Sound System: Model FCM-MME, MAP: $499.99
The new Kepma FC Mini Series combines portability, premium materials, and advanced technology to offer an unparalleled sound and playing experience. Whether you’re a traveling musician or a beginner seeking comfort and quality, the FC Mini Series is your perfect companion.
For more information, please visit kepmausa.com.
Shure introduces the Nexadyne line of dynamic instrument microphones.
Each Nexadyne super cardioid microphone boasts Shure’s patented Revonic Dual-Engine Transducer Technology. While typical instrument microphones use a single transducer, Nexadyne microphones feature two precisely calibrated transducers working together to achieve optimal performance that delivers natural, authentic clarity while minimizing unwanted noise.
Nexadyne’s combination of acoustic signal processing and exceptional polar pattern linearity, enables the microphoneline to deliver a stronger and clearer output. This output is more authentic to the performer and reduces audio engineers’ need to apply typical EQ corrections.
Featuring compact industrial designs and a discreet, black finish for low-profile visibility, Nexadyne Instrument Microphones provide exceptional sound quality, industry-leading durability, and stage-friendly functionality. Each Nexadyne microphone surpasses real-world reliability requirements show after show and stands as the road-ready choice for modern touring.
Nexadyne 5 Dynamic Guitar Amp Microphone
Capture the full detail and power of your signature amplified guitar tone. The Nexadyne 5 ensures the full range of your guitar tone is captured and ready for the mix every time. The incredibly small dynamic cartridge design enables a side-address form factor for improved placement. It can be positioned by hanging off any amp or used with a standard mic clip and stand.
Nexadyne 2 Dynamic Bass Amp / Kick Drum Microphone
Kick drums will just sound bigger. The Nexadyne 2 delivers true, low-end clarity and fullness on every stage, with contoured EQ, protection from stage rumble, and improved high-frequency extension and attack definition. The microphone is designed with its swivel joint separated from the XLR output source for secure placement without strain on output cables.
Nexadyne Instrument Microphones carry these street prices: The Nexadyne 5 is available for $219. The Nexadyne 2 is available for $249.
Each microphone includes a zippered bag and brass adapter. The Nexadyne 5 includes the A25E mic clip.
For more information please visit shure.com.