The pedal has four knobs - one of which is a rotary switch - plus a three-way switch, and features selectable effects variations.

In designing the pedal, TC wanted something that was fast, easy and intuitive to use, with the ability to change sounds on the fly with a few knob tweaks.

However, it was also aware that most stompboxes have a core sound - a basic tonality that's purely their own. Something that's fine if you like it, but that you're also unable to change if you grow tired of it. With this in mind, it set about building in a feature to allow access to a number of alternative sounds.

This feature is called TonePrint: the pedal has a USB connection that allows you to import a new sound, a custom 'tuning' of the pedal, from a computer and store it in a special onboard memory slot called up by the TonePrint position of the pedal's three-way switch (or the rotary switch in the case of the delay).

TC has made a number of these alternative 'tunings' available for each pedal, all easily accessed and downloaded into it from a special TonePrint website.

And these aren't just voicings created by some Scandinavian boffin in a white lab coat. Instead, TC has asked a bunch of the world's best guitar players to make TonePrints for the pedals.

The company has given them a specially developed tuning software that allows them to tweak every single aspect of the pedals - parameter settings, what range the pots should have, what the min-mid-max values should be, and so on, to make their own perfect pedal.

The Flashback recalls TC's Nova Delay in the number of distinct effects it offers. Its fourth knob is a rotary switch that can call up nine different delay effects plus the TonePrint setting as well as setting it up as a looper.

The smaller three-way switch sets the timing division for the tap tempo function and offers quarter note, eighth note or both for a multi-tap repeat pattern - tap tempo being implemented by pressing the footswitch and rhythmically hitting the strings (the pedal mutes when you do this).

IK Multimedia’s AmpliTube® Fender™ apps for iPhone®, iPod touch® and iPad® are now available for download from the iTunes App store.

Designed and developed in close cooperation with Fender, AmpliTube Fender™ is a full featured recording studio, guitar amp and FX rig offering the legendary Fender™ tone.

Sporting the pure Fender tones that millions of guitarists know and love, AmpliTube Fender™ offers the same famous tones for your iPhone and iPad, developed in close cooperation with the tone gurus at Fender to ensure the authenticity of the sounds. Using technology from the award-winning desktop version of IK Multimedia’s AmpliTube Fender™ for Mac/PC, the AmpliTube Fender™ apps for iPhone and iPad each offer 5 Fender™ amp models — the ’65 Deluxe Reverb™, the Super-Sonic™, the ’65 Twin Reverb™, the ’59 Bassman™ LTD and the Pro Junior™, and 6 Fender™ stompbox models — Tape Delay, Compressor, the Fender Blender™, Phaser, Overdrive and Noise Filter.


AmpliTube Fender™’s signal chain allows the musician to customize their rig with 3 simultaneous stompbox effects on iPhone/iPod touch and 4 on iPad, taking the audio signal through an amplifier head, speaker cabinet and microphone. Each element of the tone is individually selectable, with fully operational controls for ultimate ‘tweak-ability’. Also, current AmpliTube 2 app users can expand their existing rig by adding all of the gear models of AmpliTube Fender™ into their current AmpliTube 2 app, incorporating that famous Fender™ tone.

Perfect for practicing and play-along, AmpliTube Fender™ also includes SpeedTrainer, which provides the ability to slow down imported backing tracks (-50%) to learn complex riffs, or speed them up (+200%) for practicing playing skills. Songs and backing tracks or loops can be easily loaded into the apps directly from the iPod library on the iOS device or from the computer.

Also an entire band can be recorded, or full songs and compositions can be produced directly in AmpliTube Fender™ thanks to its built-in single track recorder with re-amping ability, expandable to a full-featured 4-track recorder on iPhone or an 8-track Recorder on iPad, both with the master effects’ section. Ideas can be quickly captured by recording performances that can be shared by exporting high quality audio files or M4As.

AmpliTube Fender features:
Real time guitar mobile multiFX + recording and practicing app
Full rig with 3 stompboxes (iPhone)/4 (iPad) + amp with effects + cabinet + mic
6 Fender™ Stomps — Fender™ Phaser, Fender™ Blender™, Tape Delay, Overdrive, Compressor (by registering) and Noise Filter
5 Fender™ Amps with matching Cabinets — ’65 Deluxe Reverb™, ’65 Twin Reverb™, ’59 Bassman™ LTD, Super-Sonic™ and Pro Junior™
2 Microphone models, dynamic and condenser
Single track recorder (with re-amping) expandable to full 4 track (iPhone)/8 track (iPad) recording studio with master effects through in-app purchase
Import and play up to 50 songs/backing tracks directly from your iPod library on your device or from your computer
Ultra-realistic tones derived from the AmpliTube Fender Mac/PC studio
Slow down or speed up the tempo (-50% to +200%) of imported songs without affecting their pitch
36 presets can be saved/named/recalled on the fly
Includes tuner and metronome
Low-latency for real time playing
FREE version also available - can be expanded by individual gear model purchases, or bundle purchase via the in-app purchase feature
Can be incorporated into the AmpliTube 2 for iPhone/iPad app via in-app purchase

Pricing and availability

The AmpliTube Fender apps for iPhone and iPad are currently available from the iTunes App Store, and cost $14.99/ €11.99 each.

Free versions are also available for iPhone and iPad, both expandable with the individual amps and effects a-la-carte through in-app purchases.

The 4-track recorder and 8-track recorder with master effects’ sections on the iPhone and iPad cost $9.99/ €7.99 and $14.99/ €11.99 respectively as in-app purchases. AmpliTube 2 for iPhone/iPad users are able to add AmpliTube Fender™ stomp box and amplifier models as individual in-app purchases for only $4.99/ €3.99 per amp, $2.99/ €2.39 per stomp box, or $14.99/ €11.99 for the entire collection of models.

Watch the trailer below and get more info at www.amplitube.com/fenderiphone and www.amplitube.com/fenderipad

While the Standard Telecaster reigns as one of the most popular solidbody guitars of all time, Fender’s humbucker-equipped Telecaster variations—like the Custom and Deluxe, both introduced in 1972—have more of a cult following. However, both models have found favor with great players who don’t always run with the herd. Keith Richards is one of a handful of guitarists who adopted the Telecaster Custom and its unique humbucker neck/single-coil bridge configuration, while Thom Yorke, Lee Ranaldo and Dave Grohl count among the dual-humbucker Telecaster Deluxe’s devoted fans.

Fender recently added Telecaster Custom and Deluxe models to its expanding, popular line of Road Worn guitars, which have the aged look and worn-in feel of a well-loved battle-ax. Both models are relatively accurate reproductions of the original versions, but they sell for three to four times less than what you’d pay for their vintage counterparts.



Keith Richards fans are certain to gravitate toward the Road Worn Telecaster Custom, which looks almost identical to the black 1975 Tele Custom that he often plays in concert. While previous Road Worn models have included several modern “hot-rodded” enhancements, those modifications are absent and missed on the Tele Custom. Fender opted for vintage-style frets, which are lower profiled, thinner and an acquired taste along with the Custom’s 7 1/2–inch curved radius, but then again, this ax is for players who are already familiar with vintage guitars. The single-coil Tele bridge pickup provides more jangle than twang, but the neck humbucker is a welcome addition that gives added punch to open G–tuning rhythms.

The Deluxe has medium jumbo frets, but they are a little on the small side. However, the flatter 12-inch radius feels good under the fingers. The pair of humbuckers gives the guitar attractive fat tone that’s almost like single-coil P90 pickups but with a little more weight. This is a great guitar for pounding out “wall of sound” rhythms (no wonder so many rhythm guitarists have leaned toward this model), but it also holds its own quite nicely for lead players who desire bold, aggressive tones for solos.

I’m not sure why Fender decided to revive the much-disparaged three-bolt Micro-Tilt neck mounting design, but the neck felt solid and secure throughout my trials, and the tonal benefits outweigh the initial set-up hassles.

The sound of a great Vox tube amp is one of the 10 wonders of the world for guitarists, but until recently that experience has come with a relatively hefty price. A few years ago the situation started to change for the better when Vox developed some exciting new models that offered classic Vox tones at prices that weren’t out of reach to most players.

Vox’s new Custom series continues this welcome trend by providing classic Vox tones and pro features in fully gig-worthy amps that cost about what you’d expect to shell out for a basic entry-level amp. Interestingly, the new Custom series AC30C2 features a simpler design that does away with the various switches found on its previous (and currently discontinued) Custom Classic counterpart, while the Custom series AC15C1 expands upon the features and versatility of its Custom Classic brother by adding a Normal channel and a master Tone Cut control. The new models also come stock with Celestion Greenback speakers, which replace the Wharfedale speakers and the more expensive optional Celestion Alnico Blues.

The addition of a Normal channel and a tone cut control brings the AC15C1 closer to the classic AC30 Top Boost model than its previous incarnation. With its 15-watt output and single 12-inch speaker, the AC15C1 is like a mini AC30 that’s ideal for small club gigs and recording.


Like an AC30, the AC15C1 includes a very cool tremolo circuit with speed and depth controls. Unlike an AC30, the amp also features built-in spring reverb with a level control. The tremolo and reverb effects are in the master section, so they are applied to both channels, and you can engage or disengage each effect separately with an optional footswitch. An external speaker jack with an 8/16-ohm impedance selector automatically disconnects the internal speaker when you connect an external speaker cabinet, while the extension speaker jack keeps the internal speaker functioning when you plug in an additional cab.

Digitech's original JamMan set the standard for full-featured digital looper/phrase sampler pedals and garnered the praise of numerous legendary musicians. The double-sized pedal lets players record phrases, overdub tracks and play along with their backing rhythms and riffs in live settings. But the JamMan is also a great way to practice, learn and compose. You can connect an external music source, sample a phrase from a song and even loop the playback at slower or faster speeds.

Now comes the JamMan Solo, which offers almost all the features of the JamMan in a standard-sized stomp box.



For a compact pedal, the JamMan Solo is laden with features, and it’s hard to detail everything it can do in the space of a review. At its heart, the JamMan Solo is a mono phrase looper that can record your guitar’s output and/or record the output from an external audio device, and then play the recorded phrases back continuously. Any number of overdubs can be added to a looping sample, provided that the total loop time doesn’t exceed the 10-minute record and playback limit. Time signatures are selectable, and the samples can be set to play only once if you don’t want to hear them on a constant loop. You can also change a loop’s tempo up or down (Time Stretch) without altering the pitch. The JamMan’s built-in rhythm tracks provide nine metronome sounds that you can build your loops around. The rhythm guide track is not recorded with the audio, and it can be changed or turned off in any loop.

Though the internal memory’s 35 minutes of record time and 99 patches will be sufficient for most users, the SD/SDHC card expansion slot lets you expand this to 16 hours of record time and add another 99 patches. For maximum flexibility, the optional DigiTech FS3X footswitch facilitates live switching of loops and lets you play different loops back to back.

Loops and their settings can be backed up to a Mac or PC via the pedal’s mini-B USB port and organized using DigiTech’s JamManager Loop Librarian software (a free download at digitech.com). Headphones can be connected to the unit’s single 1/4-inch output, and power is provided through the included 9.6-volt adapter. Battery power is not an option.



PERFORMANCE

Although the JamMan Solo’s numerous control options can be somewhat daunting at first, the unit is very intuitive to use. In a matter of minutes, I was recording, looping and layering phrases that played back with impressive digital sound quality. Bear in mind that when playing along with the JamMan through an amp set for crunch or distortion, you’ll need to connect the pedal to a parallel effect loop to keep the backing tracks from distorting as well.


THE BOTTOM LINE

Whether you want to play complex, layered guitar lines, loop polyrhythmic phrases, compose or just play along with your favorite tracks, the DigiTech JamMan Solo is a must-have tool.

Blackstar Amplification was launched in 2007 by a handful of former Marshall engineers and employees that shared a vision of amp performance and design. In just three years, the company’s amps have earned approval from James Hetfield, Opeth’s Fredrik Åkesson, Billy Gibbons, Gus G. and many other artists for their ability to generate unique Brit- and American-style sounds. Blackstar’s latest amp is the Series One 200, an all-tube tone monster with a herculean 200-watt power plant. Aside from its mega power, the amp’s custom-designed tone-shaping circuitry and variable output power make it one of the most malleable, sensitive and useable superheads.

FEATURES

Blackstar's Series One 200 is one heavy amp, weighing in at roughly 60 pounds. Most of this sciatic-stressing heft is from the massive transformers that support the 200-watt power section. A quartet of bulbous KT88 bottles create all of that power, while imparting their special brand of smooth and complex midrange, round highs and deep bass extension.

Essentially, the Series One 200 is a four-channel amp with a two-channel preamp. The channels are Clean, Crunch, OD1 and OD2. The Clean and Crunch share one preamp, while the OD1 and OD2 share the other. The Clean and Crunch each have two switchable modes: Bright/Warm (Clean) and Crunch/Super Crunch (Crunch). Each channel has a dedicated gain and volume control, but Clean and Crunch share one set of bass, middle, treble and ISF (Infinite Shape Feature) controls, and OD1 and OD2 share another identical set of controls. This proprietary ISF dial alters the character of the tone stack from a warm, thumping American-style response to a wooly, lush and softer British personality.



PERFORMANCE

Incredible volume and sound pressure levels are easily achieved by the Series One 200, thanks to its 200-watt engine. However, that power also reveals subtle tonal and texture details that you can’t detect as well with lower-wattage amps. These abilities were pleasantly conspicuous in the Clean channel, which was punchy and surprisingly multidimensional for a circuit-laden amplifier.

The Crunch channel is very capable of producing classic British and American overdriven tones, although the KT88 power tubes maintain a wide midrange response and linear highs. Engaging the Super Crunch switch boosts the gain and also overrides some of the KT88s natural tone with more aggressive mids and punchier treble spikes.

OD2 has somewhat more preamp gain available than OD1. Otherwise, these two lead channels are quite similar in their snappy and harmonically rich vintage-modern tonality. Reasonably high levels of saturation and sustain are available in either channel, but the gobs of clean power maintain distinct note definition.

The amp’s DPR was useful for adding more body to the overall sound, even at low volume levels. It’s like having a built-in Variac, allowing you to keep a rock-solid tone at all levels, no matter where you set the individual channel volume controls and master volume.

THE BOTTOM LINE

Blackstar's Series One 200 qualifies as a true mega-amp, not just for its whopping 200 watts of potential output power but also for its ability to deliver that power with as much finesse as brawn. Four footswitchable channels provide instant access to a range of sounds and gain levels, while the ISF and DPR circuits allow players to infinitely shape the tone, power level and saturation permutations.

VOX amPlug Specificaitons

• Power supply: AAA batteries (x 2)
  
• Battery life (FX on):
  Zinc-carbon batteries: approximately 3 hours
  Alkaline batteries: approximately 11 hours
  
• Dimensions (W x D x H): 86 x 80 x 31mm/3.39" x 3.15" x 1.22"
  
• Weight: 40 g/1.41 oz. (not including batteries)
  
• Included items: Two AAA batteries (for verifying operation)
  

*Specifications and features are subject to change without notice.