Hayward, CA (January 24, 2013) – At Recording King we've dedicated ourselves to creating affordable, historically-based models of the world's most iconic guitar bodies. With the new RJJ-116 solid top jumbo body with 16” lower bout, we present a guitar with great volume and projection that can withstand a strong rhythmic attack from players. Popularized at the beginning of Rock and Roll, the classic jumbo body shape still enjoys notoriety today.
The RJJ-116 is assembled with a solid AA grade Sitka spruce top and mahogany back and sides. The 24.75” scale and 1-11/16” nut gives players ample room for chording or fingerstyle, while delivering powerful volume. Our contemporary C-profile neck strikes the perfect balance between a vintage and modern shape, great for electric players or acoustic players. The vintage-style Grover tuners keep the RJJ-116 in tune under hard strumming. Combine those components with the classic Jumbo-style body, and you have a vintage-style singer/songwriter guitar with some serious projection.
The RJJ-116 is available in natural gloss finish at a street price of $599.99 and comes with Recording King's industry-leading lifetime warranty.
Recording King adds 12-fret Slope Shoulder guitars to our 2013 lineup.
We've put everything great about our slope shoulder guitars into an amazing-sounding 12-fret instrument that delivers traditional slope shoulder sound, but benefits from the additional warmth that comes from the bridge placement and 12-fret neck joint.
Assembled from all-solid tonewoods, the RAJ-122 starts with a solid AA grade Sitka spruce top and solid African mahogany back and sides. The 1-11/16" bone nut is the perfect spacing for strumming, fingerstyle or flatpicking, and combined with the bone saddle, helps to give these guitars and additional degree of brightness and clarity.
It's finished in vintage sunburst with a classic black pickguard, ivory Golden Age tuning machines and the historic Recording King headstock.
Players will enjoy the vintage tone and appointments of the RAJ-122 slope shoulder, and wallets will appreciate the impressively affordable street price of this great-sounding guitar. The RAJ-122 has a street price of $799.99
We're also offering a solid top version of the 12-fret Slope Shoulder, the RAJ-112, with mahogany back and sides and vintage-style Grover tuners. It's available in a natural gloss finish and has a street price of $599.99.
Recording King Slope Shoulder guitars come with Recording King's industry-leading lifetime warranty.
For more information:
www.recordingking.com
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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.
