Will this generation''s plastic-button “guitarists” ever transform into genuine wood-and-steel heroes of the next generation—and what can the game do to make that happen?
Since the first Guitar Hero game was released on Playstation2 in 2005 and Rock Band in 2007, the two have combined to sell more than 55 million game units (according to Activision and Harmonix). In that same amount of time, countless guitarists have dismissed the games with varying degrees of spite. And though antiguitar- game sentiment has quieted perceivably in recent years, one lingering question remains: will these plastic-button “guitarists” ever transform into genuine wood-and-steel heroes of the next generation—and what can the game do to make that happen?
Enter the Squier Stratocaster Guitar and Rock Band Controller—the first ever full-size, fully functional guitar that doubles as a game controller. Used with this year’s Rock Band 3 Pro Mode (see sidebar below), the first-ofits- kind hybrid is the only real contender in the battle to bridge the gap between game and guitar. And it puts up a hell of a fight to win the favor of players from both camps.
Rock Band 3’s Pro Mode
This guitar exists because of a new game mode introduced in the latest Rock Band game, and is therefore not compatible with previous versions of the game. Pro Mode breaks out of the previous five-button format to present the entire fretboard across six strings. Currently, Pro Mode is only playable using this Squier or a 102-button plastic Mad Catz Fender Mustang replica controller.
Like the original game, the note “bubbles” come toward you conveyer belt-style, this time with a number attached to indicate the fret. Open strings are noted with a “0” and muted strings with a blue “X.” Chords follow a new convention: the low note shows a fret number, while a note “bubble” stretches across the subsequent strings at different thicknesses on each string to indicate how many frets away from the root that string should be fretted at.
A Guitar that’s a Controller? Or a Controller that’s a Guitar?
Let’s get this out of the way—this is a budget Squier Strat that makes certain concessions as a guitar to live a double life as a video game controller. If you’re looking for a superbly playable, versatile, and toneful instrument, Fender makes plenty of those at different price points. Aside from the electronics, which we’ll get to in a moment, it shares many of the same specs as a Squier Standard Stratocaster: agathis body, maple C-shaped neck, 25.5" scale, 9.5" fretboard radius, 22 medium jumbo frets, and 1.650" nut width.
Currently there’s just one finish option—black polyester. There’s also a single-ply white pickguard, and a six-saddle non-tremolo bridge. A Fender strap is included, but I would’ve liked to see a gig bag as well.
Because of the many special considerations necessary for a guitar that is also a game controller, this Strat has a number of proprietary features. The unique truss rod is adjusted with a mechanism located in the treble side of the neck near the neck joint. In place of the neck pickup, there’s a pop-up string mute that allows the game to better track picking during gameplay (a necessary addition given that the game rarely registered the low strings correctly when unmuted) but which can be popped back into the body for playing sans-game. The guitar also features dual outputs for a standard 5-pin MIDI jack and a standard ¼" output jack. The two can be used simultaneously, meaning you can play through an amp while you’re playing the game—which is entirely unnecessary but completely fun. The MIDI output also makes the guitar useable as a MIDI controller using a standard MIDI cable (included) and your preferred DAW.
The single hex pickup in the bridge is a special design for this instrument, as is the polymer fingerboard, which has embedded position sensors that track extremely well and numbered position markers on both sides of the neck. Nestled in the array of knobs and buttons used for gameplay is a volume control— the only control for the guitar itself. The game controls include a T-shaped directional pad, Start (left arrow) and Select (right arrow) buttons, and four tiny, color-coded buttons that correspond to the four standard game controller buttons. The guitar can be used with Xbox 360, PS3, or Wii, as long as you have the correct Mad Catz MIDI converter (separately by Mad Catz for $39.99). The gaming-related side of the guitar runs on three AA batteries, but battery power is not required for just plugging into an amp and playing.
What’s it All About?
If the point of the guitar is to bridge the gap between gamers and guitarists—to guide a generation of button mashers to the art of music making—putting it to the test with the experienced, gig-tested, guitar playing editors of this magazine exclusively would not suffice. So, we recruited a group of testers that represented just about every category of player that might be interested in a 6-string game controller: a serious gearhead guitarist, a guitar teacher, a hobbyist guitarist, a beginning guitarist and gamer, and hardcore gamers with no guitar experience.
An Experienced Guitarist’s Perspective
If you’re approaching Squier Stratocaster Guitar and Controller as a guitarist looking to have some fun playing Rock Band with the family, you may be disappointed. One tester noted that the polymer fretboard “feels like nails on a chalkboard” when using finger vibrato—which brings us to one of the biggest negatives from a guitarist’s perspective. Because of the way the game operates, any vibrato or bending registers as a wrong note. For an experienced guitarist, it can be difficult to separate what you already know from what the game says you’re supposed to be doing, particularly if you’re a player who plays by ear. On easier levels of difficulty, notes are often omitted and it’s difficult to fight the urge to fill them in based on what you hear. On more difficult settings, what appears on the screen may not jive with the part that you already know, resulting in missed notes, poor scores, and frustration knowing that you can’t follow a game at the same level you can actually play a song.
A Teacher’s Perspective
As a learning tool, the combination of the Strat and Rock Band 3’s Pro Mode is undoubtedly the best option out there for learning guitar through a video game. The mechanics of the game develop dexterity and to acclimate new players to playing strings. It serves as a rudimentary introduction to guitar, though there is an inherent limit to the learning. Techniques like bending, vibrato, and tapping aren’t covered, so at a certain point a student would either stall in technique or graduate to real lessons.
Our guitar teaching tester saw particular potential in the guitar if additional games were released to encourage honing your technique beyond learning the songs included in Rock Band 3. As it stands, someone who is interested in picking up guitar for the first time may be better served taking actual lessons to develop their technique. “Is it better than getting a real guitar and teaching yourself? No,” noted our guitar teacher tester. However, if someone is more psyched about playing a game than playing guitar, this is an excellent transition into learning.
A Beginner Guitarist and Gamer’s Perspective
Perhaps the group most interested in the Squier Stratocaster Guitar and Controller is players—particularly younger ones—who already play both the video games and some guitar. In a culture of instant gratification, the game delivers in ways that books and lessons can’t. It has built-in motivators to keep players on task with training modes for technique and for sections of songs. Each training section runs in an unending loop as you try to score 100 percent to move onto the next portion. This appealed to our tester, who said, “I liked that the game has training that keeps making you do certain notes until you get them down.” Needless to say, getting a 13-year-old to appreciate practice is an impressive feat—made possible in this case part by the gratification of a “perfect score” that’s so ingrained into video gamers.
Learning songs on the guitar was one of our young tester’s favorite parts of the combination, but he also recognized that it can be more difficult at times than learning from TAB books. While you can incessantly loop sections of songs, the loops are predetermined and zeroing in on a particularly difficult part of the section is impossible. Still, the tester loved the guitar and experience— and didn’t want to give it back.
A Gamer’s Perspective
The category of people who would stand to benefit most from the Squier are gamers who have maxed out their abilities on the games, but don’t have the interest or motivation to start guitar lessons on their own. Our strictly gaming testers found the guitar and game combination intriguing, difficult, and motivating. If you’re just starting out, learning how to navigate the fretboard and strings through the tutorials is a somewhat lengthy process, but our testers reported that time flew by when playing it. The tutorials lead smoothly to the next without ever jumping up to a difficulty level that caused them to abandon the cause, and each ends with a song to keep the gaming aspect intact. “Playing all the way through the first song was awesome,” noted one tester. “The tips of my fingers were sore, but I felt like I really accomplished something.”
Guitar Hero and Rock Band experts expecting to be able to jump right in will encounter difficulty— testers who had done well on Expert and Hard on the regular game found themselves struggling through the Easy level in Pro Mode with the Squier. It’s a fitting evolution for the player that has mastered the game. It fulfills the next challenge, and opens another seemingly limitless world of game play (particularly with downloadable Pro Mode songs—not cheap at $2.99 a pop), while imparting a real feeling of accomplishment. Even testers with no existing desire to play guitar were inclined to think about it as a more desirable pursuit—and that is what it’s all about.
The Verdict
Guitar games have been controversial to guitarists since they first hit the market. And all along people have been asking for the link that will turn gamers into guitarists. The Squier by Fender Stratocaster Guitar and Controller with Rock Band 3 might well be that link. It’s not perfect.
Occasionally the strums aren’t picked up by the game, and guitarists accustomed to higher quality instruments might have some reservations about the construction. And the game alone isn’t going to make anyone shred like Yngwie. However, it certainly feels like the beginning of something. Perhaps some years down the road when learning guitar this way is commonplace, this instrument will have marked a critical stepping-off point.
Though it’s easy to consider the notion of learning guitar motivated by gaming success less than pure and noble, stop and think of why you started playing. Was it for the art? Or was it to get girls? While it would be nice if every pre-teen girl and boy with a passion for music picked up the guitar and practiced day in and day out, today’s reality—riddled with distractions like texting and Twitter—demands something more motivating, and the music scene isn’t always enough. There are fewer Beatles, Jimis, or Eddie Van Halens leading kids to guitar like the pied piper. If it takes a game for the next Eddie or Slash to pick up a guitar in this day and age, so be it. At least now there’s a tangible, affordable, and appealing link to push them to the next level.
Buy if...
you or someone you know is serious about taking guitar gaming to a new level and starting a real guitar journey.
Skip if...
you’re an experienced guitarist looking to have some fun—try Rock Band’s drums or vocals instead!
Rating...
MSRP $280 - Squier by Fender - squierguitars.com |
Day 4 of Stompboxtober brings a chance to win a pedal from TWA: The Chemical-Z! Don’t miss out—enter now and return tomorrow for more!
TWA CHEMICAL-Z
Roy Z signature overdrive pedal designed by TubeScreamer creator Susumu Tamura. Inspired by Maxon OD808, OD808X, and APEX808 circuits, Chemical-Z features the "Magic" IC used in APEX808 for less compression & more even frequency response than a standard 808. Increased output level. Two footswitch-selectable clipping modes - normal & hot.
Intermediate
Intermediate
• Learn classic turnarounds.
• Add depth and interest to common progressions.
• Stretch out harmonically with hip substitutions.
Get back to center in musical and ear-catching ways.
A turnaround chord progression has one mission: It allows the music to continue seamlessly back to the beginning of the form while reinforcing the key center in a musically interesting way. Consider the last four measures of a 12-bar blues in F, where the bare-bones harmony would be C7-Bb7-F7-F7 (one chord per measure). With no turn around in the last two measures, you would go back to the top of the form, landing on another F7. That’s a lot of F7, both at the end of the form, and then again in the first four bars of the blues. Without a turnaround, you run the risk of obscuring the form of the song. It would be like writing a novel without using paragraphs or punctuation.
The most common turnaround is the I-VI-ii-V chord progression, which can be applied to the end of the blues and is frequently used when playing jazz standards. Our first four turnarounds are based on this chord progression. Furthermore, by using substitutions and chord quality changes, you get more mileage out of the I-VI-ii-V without changing the basic functionality of the turnaround itself. The second group of four turnarounds features unique progressions that have been borrowed from songs or were created from a theoretical idea.
In each example, I added extensions and alterations to each chord and stayed away from the pure R-3-5-7 voicings. This will give each chord sequence more color and interesting voice leading. Each turnaround has a companion solo line that reflects the sound of the changes. Shell voicings (root, 3rd, 7th) are played underneath so that the line carries the sound of the written chord changes, making it easier to hear the sound of the extensions and alterations. All examples are in the key of C. Let’s hit it.
The first turnaround is the tried and true I-VI-ii-V progression, played as Cmaj7-A7-Dm7-G7. Ex. 1 begins with C6/9, to A7(#5), to Dm9, to G7(#5), and resolves to Cmaj7(#11). By using these extensions and alterations, I get a smoother, mostly chromatic melodic line at the top of the chord progression.
Ex. 2 shows one possible line that you can create. As for scale choices, I used C major pentatonic over C6/9, A whole tone for A7(#5), D Dorian for Dm9, G whole tone for G7(#5), and C Lydian for Cmaj7(#11) to get a more modern sound.
The next turnaround is the iii-VI-ii-V progression, played as Em7-A7-Dm7-G7 where the Em7 is substituted for Cmaj7. The more elaborate version in Ex. 3 shows Em9 to A7(#9)/C#, to Dm6/9, to G9/B, resolving to Cmaj7(add6). A common way to substitute chords is to use the diatonic chord that is a 3rd above the written chord. So, to sub out the I chord (Cmaj7) you would use the iii chord (Em7). By spelling Cmaj7 = C-E-G-B and Em7 = E-G-B-D, you can see that these two chords have three notes in common, and will sound similar over the fundamental bass note, C. The dominant 7ths are in first inversion, but serve the same function while having a more interesting bass line.
The line in Ex. 4 uses E Dorian over Em9, A half-whole diminished over A7(#9)/C#, D Dorian over Dm6/9, G Mixolydian over G9/B, and C major pentatonic over Cmaj7(add6). The chord qualities we deal with most are major 7, dominant 7, and minor 7. A quality change is just that… changing the quality of the written chord to another one. You could take a major 7 and change it to a dominant 7, or even a minor 7. Hence the III-VI-II-V turnaround, where the III and the VI have both been changed to a dominant 7, and the basic changes would be E7-A7-D7-G7.
See Ex. 5, where E7(b9) moves to A7(#11), to D7(#9) to G7(#5) to Cmaj9. My scale choices for the line in Ex. 6 are E half-whole diminished over E7(#9), A Lydian Dominant for A7(#11), D half-whole diminished for D7(#9), G whole tone for G7(#5), and C Ionian for Cmaj9.
Ex. 7 is last example in the I-VI-ii-V category. Here, the VI and V are replaced with their tritone substitutes. Specifically, A7 is replaced with Eb7, and G7 is replaced with Db7, and the basic progression becomes Cmaj7-Eb7-Dm7-Db7. Instead of altering the tritone subs, I used a suspended 4th sound that helped to achieve a diatonic, step-wise melody in the top voice of the chord progression.
The usual scales can be found an Ex. 8, where are use a C major pentatonic over C6/9, Eb Mixolydian over Eb7sus4, D Dorian over Dm11, Db Mixolydian over Db7sus4, and once again, C Lydian over Cmaj7(#11). You might notice that the shapes created by the two Mixolydian modes look eerily similar to minor pentatonic shapes. That is by design, since a Bb minor pentatonic contains the notes of an Eb7sus4 chord. Similarly, you would use an Ab minor pentatonic for Db7sus4.
The next four turnarounds are not based on the I-VI-ii-V chord progression, but have been adapted from other songs or theoretical ideas. Ex. 9 is called the “Backdoor” turnaround, and uses a iv-bVII-I chord progression, played as Fm7-Bb7-Cmaj7. In order to keep the two-bar phrase intact, a full measure of C precedes the actual turnaround. I was able to compose a descending whole-step melodic line in the top voice by using Cmaj13 and Cadd9/E in the first bar, Fm6 and Ab/Bb in the second bar, and then resolving to G/C. The slash chords have a more open sound, and are being used as substitutes for the original changes. They have the same function, and they share notes with their full 7th chord counterparts.
Creating the line in Ex. 10 is no more complicated than the other examples since the function of the chords determines which mode or scale to use. The first measure employs the C Ionian mode over the two Cmaj chord sounds. F Dorian is used over Fm6 in bar two. Since Ab/Bb is a substitute for Bb7, I used Bb Mixolydian. In the last measure, C Ionian is used over the top of G/C.
The progression in Ex. 11 is the called the “Lady Bird” turnaround because it is lifted verbatim from the Tadd Dameron song of the same name. It is a I-bIII-bVI-bII chord progression usually played as Cmaj7-Eb7-Abmaj7-Db7. Depending on the recording or the book that you check out, there are slight variations in the last chord but Db7 seems to be the most used. Dressing up this progression, I started with a different G/C voicing, to Eb9(#11), to Eb/Ab (subbing for Abmaj7), to Db9(#11), resolving to C(add#11). In this example, the slash chords are functioning as major seventh chords.
As a result, my scale choices for the line in Ex. 12 are C Ionian over G/C, Eb Lydian Dominant over Eb9(#11), Ab Ionian over Eb/Ab, Db Lydian Dominant over Db9(#11), and C Lydian over C(add#11).
The progression in Ex. 13 is called an “equal interval” turnaround, where the interval between the chords is the same in each measure. Here, the interval is a descending major 3rd that creates a I-bVI-IV-bII sequence, played as Cmaj7-Abmaj7-Fmaj7-Dbmaj7, and will resolve a half-step down to Cmaj7 at the top of the form. Since the interval structure and chord type is the same in both measures, it’s easy to plane sets of voicings up or down the neck. I chose to plane up the neck by using G/C to Abmaj13, then C/F to Dbmaj13, resolving on Cmaj7/E.
The line in Ex. 14 was composed by using the notes of the triad for the slash chord and the Lydian mode for the maj13 chords. For G/C, the notes of the G triad (G-B-D) were used to get an angular line that moves to Ab Lydian over Abmaj13. In the next measure, C/F is represented by the notes of the C triad (C-E-G) along with the root note, F. Db Lydian was used over Dbmaj13, finally resolving to C Ionian over Cmaj7/E. Since this chord progression is not considered “functional” and all the chord sounds are essentially the same, you could use Lydian over each chord as a way to tie the sound of the line together. So, use C Lydian, Ab Lydian, F Lydian, Db Lydian, resolving back to C Lydian.
The last example is the “Radiohead” turnaround since it is based off the chord progression from their song “Creep.” This would be a I-III-IV-iv progression, and played Cmaj7-E7-Fmaj7-Fm7. Dressing this one up, I use a couple of voicings that had an hourglass shape, where close intervals were in the middle of the stack.
In Ex. 15 C6/9 moves to E7(#5), then to Fmaj13, to Fm6 and resolving to G/C. Another potential name for the Fmaj13 would be Fmaj7(add6) since the note D is within the first octave. This chord would function the same way, regardless of which name you used.
Soloing over this progression in Ex. 16, I used the C major pentatonic over C6/9, E whole tone over E7(#5), F Lydian over Fmaj13, and F Dorian over Fm6. Again, for G/C, the notes of the G triad were used with the note E, the 3rd of a Cmaj7 chord.
The main thing to remember about the I-VI-ii-V turnaround is that it is very adaptable. If you learn how to use extensions and alterations, chord substitutions, and quality changes, you can create some fairly unique chord progressions. It may seem like there are many different turnarounds, but they’re really just an adaptation of the basic I-VI-ii-V progression.
Regarding other types of turnarounds, see if you can steal a short chord progression from a pop tune and make it work. Or, experiment with other types of intervals that would move the chord changes further apart, or even closer together. Could you create a turnaround that uses all minor seventh chords? There are plenty of crazy ideas out there to work with, and if it sounds good to you, use it!
Many listeners and musicians can tell if a bass player is really a guitarist in disguise. Here’s how you can brush up on your bass chops.
Was bass your first instrument, or did you start out on guitar? Some of the world’s best bass players started off as guitar players, sometimes by chance. When Stuart Sutcliffe—originally a guitarist himself—left the Beatles in 1961, bass duties fell to rhythm guitarist Paul McCartney, who fully adopted the role and soon became one of the undeniable bass greats.
Since there are so many more guitarists than bassists—think of it as a supply and demand issue—odds are that if you’re a guitarist, you’ve at least dabbled in bass or have picked up the instrument to fill in or facilitate a home recording.
But there’s a difference between a guitarist who plays bass and one who becomes a bass player. Part of what’s different is how you approach the music, but part of it is attitude.
Many listeners and musicians can tell if a bass player is really a guitarist in disguise. They simply play differently than someone who spends most of their musical time embodying the low end. But if you’re really trying to put down some bass, you don’t want to sound like a bass tourist. Real bassists think differently about the rhythm, the groove, and the harmony happening in each moment.
And who knows … if you, as a guitarist, thoroughly adopt the bassist mindset, you might just find your true calling on the mightiest of instruments. Now, I’m not exactly recruiting, but if you have the interest, the aptitude, and—perhaps most of all—the necessity, here are some ways you can be less like a guitarist who plays bass, and more like a bona fide bass player.
Start by playing fewer notes. Yes, everybody can see that you’ve practiced your scales. But at least until you get locked in rhythmically, use your ears more than your fingers and get a sense of how your bass parts mesh with the other musical elements. You are the glue that holds everything together. Recognize that you’re at the intersection of rhythm and harmony, and you’ll realize foundation beats flash every time.“If Larry Graham, one of the baddest bassists there has ever been, could stick to the same note throughout Sly & the Family Stone’s ‘Everyday People,’ then you too can deliver a repetitive figure when it’s called for.”
Focus on that kick drum. Make sure you’re locked in with the drummer. That doesn’t mean you have to play a note with every kick, but there should be some synchronicity. You and the drummer should be working together to create the rhythmic drive. Laying down a solid bass line is no time for expressive rubato phrasing. Lock it up—and have fun with it.
Don’t sleep on the snare. What does it feel like to leave a perfect hole for the snare drum’s hits on two and four? What if you just leave space for half of them? Try locking the ends of your notes to the snare’s backbeat. This is just one of the ways to create a rhythmic feel together with the drummer, so you produce a pocket that everyone else can groove to.
Relish your newfound harmonic power. Move that major chord root down a third, and now you have a minor 7 chord. Play the fifth under a IV chord and you have a IV/V (“four over five,” which fancy folks sometimes call an 11 chord). The point is to realize that the bottom note defines the harmony. Sting put it like this: “It’s not a C chord until I play a C. You can change harmony very subtly but very effectively as a bass player. That’s one of the great privileges of our role and why I love playing bass. I enjoy the sound of it, I enjoy its harmonic power, and it’s a sort of subtle heroism.”
Embrace the ostinato. If the song calls for playing the same motif over and over, don’t think of it as boring. Think of it as hypnotic, tension-building, relentless, and an exercise in restraint. Countless James Brown songs bear this out, but my current favorite example is the bass line on the Pointer Sisters’ swampy cover of Allen Toussaint “Yes We Can Can,” which was played by Richard Greene of the Hoodoo Rhythm Devils, aka Dexter C. Plates. Think about it: If Larry Graham, one of the baddest bassists there has ever been, could stick to the same note throughout Sly & the Family Stone’s “Everyday People,” then you too can deliver a repetitive figure when it’s called for.
Be supportive. Though you may stretch out from time to time, your main job is to support the song and your fellow musicians. Consider how you can make your bandmates sound better using your phrasing, your dynamics, and note choices. For example, you could gradually raise the energy during guitar solos. Keep that supportive mindset when you’re offstage, too. Some guitarists have an attitude of competitiveness and even scrutiny when checking out other players, but bassists tend to offer mutual support and encouragement. Share those good vibes with enthusiasm.
And finally, give and take criticism with ease. This one’s for all musicians: Humility and a sense of helpfulness can go a long way. Ideally, everyone should be working toward the common goal of what’s good for the song. As the bass player, you might find yourself leading the way.Fuchs Audio introduces the ODH Hybrid amp, featuring a True High Voltage all-tube preamp and Ice Power module for high-powered tones in a compact size. With D-Style overdrive, Spin reverb, and versatile controls, the ODH offers exceptional tone shaping and flexibility at an affordable price point.
Fuchs Audio has introduced their latest amp the ODH © Hybrid. Assembled in USA.
Featuring an ODS-style all-tube preamp, operating at True High Voltage into a fan-cooled Ice power module, the ODH brings high-powered clean and overdrive tones to an extremely compact size and a truly affordable price point.
Like the Fuchs ODS amps, the ODH clean preamp features 3-position brite switch, amid-boost switch, an EQ switch, high, mid and low controls. The clean preamp drives theoverdrive section in D-Style fashion. The OD channel has an input gain and outputmaster with an overdrive tone control. This ensures perfect tuning of both the clean andoverdrive channels. A unique tube limiter circuit controls the Ice Power module input.Any signal clipping is (intentionally) non-linear so it responds just like a real tube amp.
The ODH includes a two-way footswitch for channels and gain boost. A 30-second mute timer ensures the tubes are warmed up before the power amp goes live. The ODH features our lush and warm Spin reverb. A subsonic filter eliminates out-of-band low frequencies which would normally waste amplifier power, which assures tons of clean headroom. The amp also features Accent and Depth controls, allowing contouring of the high and low response of the power amp section, to match speakers, cabinets andenvironments. The ODH features a front panel fully buffered series effects loop and aline out jack, allowing for home recording or feeding a slave amp. A three-position muteswitch mutes the amp, the line out or mute neither.
Built on the same solid steel chassis platform as the Fuchs FB series bass amps, the amps feature a steel chassis and aluminum front and rear panels, Alpha potentiometers, ceramic tube sockets, high-grade circuit boards and Neutrik jacks. The ICE power amp is 150 watts into 8 ohms and 300 watts into 4 ohms, and nearly 500 watts into 2.65 ohms (4 and8 ohms in parallel) and operates on universal AC voltage, so it’s fully globallycompatible. The chassis is fan-cooled to ensure hours of cool operation under any circumstances. The all-tube preamp uses dual-selected 12AX7 tubes and a 6AL5 limiter tube.
MAP: $ 1,299
For more information, please visit fuchsaudiotechnology.com.