Vancouver, BC (September 6, 2010) -- The Liquid Metal Guitar Company has started shipping the new LMG-T Paisley. The LMG-T Paisley is the company's LMG-T polished to a mirror finish then etched with a paisley pattern using the company's proprietary process. Liquid Metal says the guitar came about after a conversation with luthier Bill Crook, who builds paisley guitars for Brad Paisley, and is their tribute to both Cook and Paisley.
The guitar features a Seymour Duncan LMG Custom Wind “Phat Cat” Pickup in neck position, which they say creates a beautiful buttery tone, and a Peter Florence TE 50 Voodoo bridge pickup. The TE 50 is a flatpole pickup that features aged ALNICO 5 magnets for a woody, organic sound. The pickup is wound to the correct '52 specs with the tin bottom plate. Liquid metal says the pickup gives great overtones and harmonics that are absolutely killer in the guitar.
The LMG-T's body is machined from a solid block of aircraft grade 6061 T6 Aluminum to proprietary thickness. The top and sides are contiguous, which creates a rigidity to the body that Liquid Metal says creates an amazing warm tone and note bloom. The metal bodies also shield the guitar, which the company says eliminates hum.
The guitar’s body is clear coated with a exceptionally hard, high gloss, scratch resistant clear coat that enhances the depth perception of the finish on the body.
The neck is made of Canadian hard rock maple. Liquid Metal describes their 8-step sanding process: "The rough cut neck is hand sanded with 600 grit to find the neck's shape. The next steps use 800 grit sand paper and the last 4 steps utilize 1200 grit for an end result that is incredibly smooth. Finally, a clear satin sealer is applied for an extremely natural and fast feel that offers protection from dirt and moisture while feeling like highly sanded, raw wood. It just feels good to hold and play." Street price $3316.
For more information:
Liquid Metal Guitars
Source: Press Release
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Peterson StroboStomp Mini Pedal Tuner
| The StroboStomp Mini delivers the unmatched 0.1 cent tuning accuracy of all authentic Peterson Strobe Tuners in a mini pedal tuner format. We designed StroboStomp Mini around the most requested features from our customers: a mini form factor, and top mounted jacks. |
But by gosh, if delay—and its sister effect, reverb—haven’t always been perfect for the music I like to write and play. Which brings us to the Fishman EchoBack Mini Delay. The EchoBack, along with the standard delay controls of level, time, and repeats—as well as a tap tempo—has a toggle to alternate between analog, tape, and digital-delay voices.
I hooked up my Washburn Bella Tono Elegante to my Blues Junior to give the EchoBack a test run. We love a medium delay—my usual preference for delay settings is to have both level and repeats at 1 o’clock, and time at 11 o’clock. With the analog voice switched on, I heard some pillowy warmth in the processed signal, as well as a familiar degradation with each repeat—until their wake gave way to a gentle, distant, crinkly ticking. Staying on analog and adjusting delay time down to 8 o’clock and repeats to about 11:30, some cozy slapback enveloped my rendition of Johnny Marr’s part to “Back to the Old House,” conjuring up thoughts of Elvis trapped in a small chamber, but in a good way. It sounded indubitably authentic. The one drawback of analog delay for me, generally, is that its roundness can feel a bit under water at times.
Switching over to tape, that pillowy warmth evaporated, and in its place came a very clear replication of my tone—but with just a bit of the highs shaved off the top. With the settings at the medium-length mode listed above, I could see the empty, glass hall the pedal sent my sound bouncing down. I heard several pronounced pings of repeats before the signal fully faded out. On slapback settings (time at 8 o’clock, repeats at 11:30), rather than Elvis, I heard something more along the lines of a honky-tonk mic in a glass bottle. Still relatively crystalline, which actually was not my favorite. I like a bit more crinkle—so maybe analog is my bag....“That pillowy warmth evaporated, and in its place came a very clear, pristine replication of my tone—but with just a bit of the highs shaved off the top.”
Next up, digital. Here we have the brightest voice, and as expected, the most faithful repeats. They ping just a few times before shifting to a smooth, single undulating wave. When putting its slapback hat on, I found that the effect was a bit less alluring than I’d observed for the analog and tape voices. This is where the digital delay felt a little too sterile, with the cleanly preserved signal feeling a bit unnatural.
All in all, I dig the EchoBack for its replications of analog and tape voices, and ultimately, lean towards tape. While it’s nice having the digital delay there as an option, it feels a bit too clean when meddling with time of any given length. Nonetheless, this is surely a handy stomp for any acoustic player looking to venture into the land of live effects, or for those who are already there.
