Reviews
Aguilar Amplification - Tone Hammer Preamp/Direct Box
The quest for great tone seems like a never ending process. Just when you think you have obtained the final component to complete the ultimate bass rig and achieve sonic supremacy, another piece of must-have gear reveals itself. The Aguilar Tone Hammer preamp/direct box is one such device. Based on their popular OBP-3 preamp design that was introduced several years ago, the Tone Hammer features a 3-band EQ that provides the boost and cut of bass, midrange, and treble frequencies. The bass can be adjusted +/-18 dB @ 40 Hz and the treble +/-18 dB @ 4 kHz. Because the midrange selection of the OBP-3 is limited to just two settings, 400 and 800 Hz, the fully sweepable midrange makes the Tone Hammer a more flexible tone sculpting tool than its onboard predecessor. Spanning a range from 180 Hz to 1 kHz with 17 dB of boost and cut, the midrange control of the Tone Hammer offers more tonal variations, and this added capability supplies more control to accentuate or eliminate problematic frequencies inherent of the instrument or caused by the configuration of the venue.
The Tone Hammer is super simple to operate, and no matter where you set the controls, you can't dial in a bad tone. It has the potential to supply a wide array of sounds to cover practically any musical situation. The separate gain and master controls permit the user to utilize any 4, 5, or extended range bass instrument. With Aguilar's proprietary adaptive gain shaping circuitry (AGS), you can insert an additional gain structure and EQ curve with just the stomp of a button. Depending on the position of the gain control, the AGS circuitry delivers a continuously variable boost. As you turn the gain control clockwise with the AGS button engaged, the amount of boost and saturation increases while the bass continues to tighten and the treble is smoothed out. Unlike the tone produced by nearly all overdrive pedals and rackmountable effects processors which lose their bottom end once the distortion is employed, the Tone Hammer's bass response remains intact. When the AGS is utilized in conjunction with the 3-band EQ, you can toggle between vintage warmth, classic growl, contemporary slap sounds, and overdriven pick tones.
If you are already familiar with the renowned amplification that Aguilar has been manufacturing since 1995, then you know what to expect in terms of overall quality and construction. The Tone Hammer's sleek metal housing is built as solid as a tank. It contains a standard 1/4" input jack, 1/4" and XLR outputs, as well as pre/post DI and ground lift buttons. With the pre/post button set in the pre position, the signal is sent to the XLR output before the gain, AGS, and EQ settings. In the post position, the gain, AGS, EQ, and master control settings are all delivered to the XLR output jack.
Regardless of performance style or technique, the robust 18-volt operation provides the Tone Hammer with plenty of headroom to reproduce the entire spectrum of dynamics. It can be powered with two 9-volt batteries, phantom power, or an optional power adapter. After having spent literally days worth of testing the Tone Hammer in various practicing, live performance, and recording scenarios, the batteries were still going strong. Once the batteries are completely drained, changing them is a breeze. Just loosen the screw located on the bottom of the unit, and the battery compartment easily slides out. I would always recommend picking up the 18-volt power supply with any electronic device similar to this, especially since it is a relatively inexpensive option.
When you are playing out, whether as a solo bassist or backing a large ensemble, portability is always a crucial concern. While racks of gear or a floorboard full of pedals can be significant elements for some styles, not everyone wants to lug around all that equipment. If you long to downsize the load without sacrificing sound quality, then the Tone Hammer is definitely worth checking out. For those last minute recording sessions, rehearsals, or quick gigs where you don't want to haul a massive rig, just connect the Tone Hammer directly into a power amp or mixer, and you are ready to record in any studio environment or perform at any club. Since the Tone Hammer easily fits in the palm of your hand, its compact size makes it small enough to store in the pocket of a gig bag or the accessory compartment of a hardshell instrument case. It really doesn't get more portable than this.
The Tone Hammer was conceived to be much more than just a preamp in a pedal and with far more functionality than a standard direct box. The Tone Hammer isn't just a convenient substitute for an onboard preamp. It presents more tone shaping options than practically all onboard preamps and sounds superior to most rackmountable preamps at many times the cost.
With its tremendous flexibility, ease of use, and outstanding portability, the Aguilar Tone Hammer excels in every application from the studio to the stage. For a grab-it-and-go solution, the Tone Hammer can't be beat, and with a street price less than $200, there is absolutely no reason why every bassist shouldn't make this essential tool a part of their arsenal. No other preamp/direct box offers this much versatility in a convenient package at this price point. The Aguilar Tone Hammer is, without question, one of the best bass products of 2008.
Tone Hammer Specifications
- 1/4" input
- 1/4" and XLR output
- Bass: +/- 18 dB @ 40 Hz
- Midrange: +/- 17 dB @ 180 Hz to 1 kHz
- Treble: +/- 18 dB @ 4 kHz
- Engage switch
- AGS switch
- Pre/Post DI switch
- Ground lift switch
- Three-year limited warranty
- Street Price: $199
Options
- 18-volt power supply
Contact Information
Aguilar Amplification
599 Broadway, 7th Fl.
New York, NY 10012
Web Site: AguilarAmp.com
E-Mail: info@aguilaramp.com
Reviewed By: Cliff Engel - October 30, 2008
The Tone Hammer is super simple to operate, and no matter where you set the controls, you can't dial in a bad tone. It has the potential to supply a wide array of sounds to cover practically any musical situation. The separate gain and master controls permit the user to utilize any 4, 5, or extended range bass instrument. With Aguilar's proprietary adaptive gain shaping circuitry (AGS), you can insert an additional gain structure and EQ curve with just the stomp of a button. Depending on the position of the gain control, the AGS circuitry delivers a continuously variable boost. As you turn the gain control clockwise with the AGS button engaged, the amount of boost and saturation increases while the bass continues to tighten and the treble is smoothed out. Unlike the tone produced by nearly all overdrive pedals and rackmountable effects processors which lose their bottom end once the distortion is employed, the Tone Hammer's bass response remains intact. When the AGS is utilized in conjunction with the 3-band EQ, you can toggle between vintage warmth, classic growl, contemporary slap sounds, and overdriven pick tones.
If you are already familiar with the renowned amplification that Aguilar has been manufacturing since 1995, then you know what to expect in terms of overall quality and construction. The Tone Hammer's sleek metal housing is built as solid as a tank. It contains a standard 1/4" input jack, 1/4" and XLR outputs, as well as pre/post DI and ground lift buttons. With the pre/post button set in the pre position, the signal is sent to the XLR output before the gain, AGS, and EQ settings. In the post position, the gain, AGS, EQ, and master control settings are all delivered to the XLR output jack.
Regardless of performance style or technique, the robust 18-volt operation provides the Tone Hammer with plenty of headroom to reproduce the entire spectrum of dynamics. It can be powered with two 9-volt batteries, phantom power, or an optional power adapter. After having spent literally days worth of testing the Tone Hammer in various practicing, live performance, and recording scenarios, the batteries were still going strong. Once the batteries are completely drained, changing them is a breeze. Just loosen the screw located on the bottom of the unit, and the battery compartment easily slides out. I would always recommend picking up the 18-volt power supply with any electronic device similar to this, especially since it is a relatively inexpensive option.
When you are playing out, whether as a solo bassist or backing a large ensemble, portability is always a crucial concern. While racks of gear or a floorboard full of pedals can be significant elements for some styles, not everyone wants to lug around all that equipment. If you long to downsize the load without sacrificing sound quality, then the Tone Hammer is definitely worth checking out. For those last minute recording sessions, rehearsals, or quick gigs where you don't want to haul a massive rig, just connect the Tone Hammer directly into a power amp or mixer, and you are ready to record in any studio environment or perform at any club. Since the Tone Hammer easily fits in the palm of your hand, its compact size makes it small enough to store in the pocket of a gig bag or the accessory compartment of a hardshell instrument case. It really doesn't get more portable than this.
The Tone Hammer was conceived to be much more than just a preamp in a pedal and with far more functionality than a standard direct box. The Tone Hammer isn't just a convenient substitute for an onboard preamp. It presents more tone shaping options than practically all onboard preamps and sounds superior to most rackmountable preamps at many times the cost.
With its tremendous flexibility, ease of use, and outstanding portability, the Aguilar Tone Hammer excels in every application from the studio to the stage. For a grab-it-and-go solution, the Tone Hammer can't be beat, and with a street price less than $200, there is absolutely no reason why every bassist shouldn't make this essential tool a part of their arsenal. No other preamp/direct box offers this much versatility in a convenient package at this price point. The Aguilar Tone Hammer is, without question, one of the best bass products of 2008.
Tone Hammer Specifications
- 1/4" input
- 1/4" and XLR output
- Bass: +/- 18 dB @ 40 Hz
- Midrange: +/- 17 dB @ 180 Hz to 1 kHz
- Treble: +/- 18 dB @ 4 kHz
- Engage switch
- AGS switch
- Pre/Post DI switch
- Ground lift switch
- Three-year limited warranty
- Street Price: $199
Options
- 18-volt power supply
Contact Information
Aguilar Amplification
599 Broadway, 7th Fl.
New York, NY 10012
Web Site: AguilarAmp.com
E-Mail: info@aguilaramp.com
Reviewed By: Cliff Engel - October 30, 2008
LightWave Systems - Saber SL 5-String Bass
Featuring a modern and ergonomic body shape, the LightWave Systems Saber SL is a 34-inch scale bass that sports an alder body with a striking infrared finish, a 3-piece maple neck, a rosewood fingerboard that is accessible over its entire two-octave range, and a custom GraphTech monolithic bridge. At the core of all LightWave basses, and the aspect which makes their instruments distinct from the basses manufactured by other builders, is their patented optical pickup system. Since the pickups utilize infrared light technology to sense the vibration of the strings, they eliminate the inherent pull and added coloration of magnetic pickups. As a result, the notes on the fingerboard of the Saber SL sustain longer than the notes I have heard on any bass with conventional pickups because there is no magnetic field to dampen or influence the strings. Rather than ending abruptly, notes decay in a linear fashion into silence. Tonally, one of the most significant advantages of employing the optical technology is its ability to extend bass response and accurately reproduce the low B-string with stunning definition and punch. Playing harmonics and chords on this instrument is a revelation. Harmonics that are barely detectable on other basses simply jump off the Saber SL. Even three and four-note chords resonate with a level of clarity I have rarely experienced on any bass. Unlike the annoying hum and buzz produced by basses with traditional single coil pickups, the Saber SL is completely quite. You can barely tell that it is on even at obscene decibels which makes it a welcomed addition to any recording environment.
For a 5-string bass, the Saber SL is remarkably lightweight in construction. Weighing only 7 lbs. 8 oz., the Saber SL is not only one of the lightest 5-string basses I have ever tested, but it is lighter than most 4-string instruments I have played as well. Although the Saber SL delivers a sound unlike standard bass guitars, it still maintains the same familiar feel so you won't have to modify your performance technique if you are someone who has been playing bass for years. The only aspect of the Saber SL that took a little time to get used to was the physical absence of conventional pickups and the natural thumb rests they provide below the lowest string. However, an easy-to-install thumb rest can be purchased directly from LightWave Systems or any of their dealers.
From subtle nuance to dramatic variation, the tone of the Saber SL can be shaped through the master volume, bass boost/cut, midrange boost/cut, midrange frequency, and iceTone level controls along with a warm/cool toggle switch. The volume, bass, and midrange controls are similar to what you will find on traditional bass guitars which makes them easy to use. The sweepable midrange frequency control allows you to broaden or narrow the frequency band between 200 Hz and 1 kHz that you can then boost or cut with the midrange control. As the iceTone level is turned clockwise, it blends the sound generated by the piezo transducers which are embedded in each individual string saddle with the optical signal. It adds a new dimension of high frequency enhancement and supplies more percussive presence without the added hiss experienced with a standard treble control or the typical clack and harshness that is often associated with most piezo transducers. The warm/cool toggle switch simulates the sound created by selecting the neck or bridge positions on a bass with two magnetic pickups. When this switch is placed towards the neck, the instrument's tone becomes warmer and deeper. With the switch selected towards the bridge, the tone is brighter and has more detail.
Another valuable benefit of optical pickups is the ability for bassists to use strings that don't contain magnetic properties. In addition to the stainless steel and nickel-plated strings that are typically installed on basses with standard pickups, nylon strings can be utilized on LightWave basses to further expand the tonal capabilities of the Saber SL.
Considering all of the cutting-edge technology housed in the bridge and the large control cavity on the back of the instrument, the Saber SL requires minimal maintenance in terms of setup. Unless you are changing strings with a huge gauge differential, the only thing that needs special adjustment are the optics contained within the bridge. The optics can be aligned either by ear or calibrated electronically on the motherboard, and this procedure takes just a couple minutes to complete. To achieve optimal optics settings by ear, plug the bass into an amplifier and then listen for when the sound output is the loudest as you turn the hex adjustment screw on the top of each monolith.
Initially, I thought the NiHM rechargeable battery pack could be a potential drawback with this bass, but my concerns were quickly relieved as this instrument received a thorough testing. The battery pack provides approximately 16 hours of playing time per charge. A full charge takes about an hour to complete, and you can play the bass while it is charging. Unlike typical 9-volt battery systems which are found in most basses and can go completely dead without warning in the middle of a gig, there is a red status LED positioned on the top of the Saber SL's lowest string monolith. When that LED is well lit, the battery pack contains sufficient charge to play the bass. As the battery pack drains its power, the LED light dims. Once that red LED goes out completely, the battery has about two more hours of playing time before needing to be recharged. This rechargeable battery pack will actually prove to be more cost effective than a 9-volt setup when you take into account the number of batteries that you would need to replace over the span of time you own a bass with a 9-volt battery system.
Designed as an alternative to conventional magnetic pickups in order to realize the sonic potential of both pickup and instrument, the LightWave Systems Saber SL harnesses the most revolutionary pickup technology to be developed for stringed instruments since the introduction of magnetic pickups. The string-to-string separation of the Saber SL is perfectly balanced with an extended bandwidth, and it is capable of providing a wide dynamic range. Priced at a point well below other professional basses of this grade, the Saber SL produces a unique tonal character that expands the palette of colors available to the contemporary bassist. Its transparent response delivers the true voice of the string, the acoustic characteristics of the instrument, and the subtle nuances of your playing at an exceptional value.
Saber SL 5-String Specifications
- Solid alder body
- Infrared finish
- Rosewood fingerboard
- 3-piece hard maple neck
- LightWave optical pickup system
- Custom GraphTech monolithic bridges
- iceTone saddles
- Switchcraft output jack
- Noble potentiometers
- Master volume
- Bass boost/cut
- Midrange boost/cut - Midrange frequency
- iceTone level
- Warm/cool toggle switch
- NiMH rechargeable battery pack
- 34" scale length
- 2-octave/24 fret fingerboard
- ProTec gig bag
- Limited three-year warranty
- Retail Price: $1395
Options
- 5-string or 4-string
- Fretted or fretless
- Infrared, ultrablack, or xenon blue finish
Contact Information
LightWave Systems
6387-A Rose Lane
Carpinteria, CA 93013
Web Site: LightWave-Systems.com
E-Mail: info@lightwave-systems.com
Reviewed By: Cliff Engel - October 22, 2008
For a 5-string bass, the Saber SL is remarkably lightweight in construction. Weighing only 7 lbs. 8 oz., the Saber SL is not only one of the lightest 5-string basses I have ever tested, but it is lighter than most 4-string instruments I have played as well. Although the Saber SL delivers a sound unlike standard bass guitars, it still maintains the same familiar feel so you won't have to modify your performance technique if you are someone who has been playing bass for years. The only aspect of the Saber SL that took a little time to get used to was the physical absence of conventional pickups and the natural thumb rests they provide below the lowest string. However, an easy-to-install thumb rest can be purchased directly from LightWave Systems or any of their dealers.
From subtle nuance to dramatic variation, the tone of the Saber SL can be shaped through the master volume, bass boost/cut, midrange boost/cut, midrange frequency, and iceTone level controls along with a warm/cool toggle switch. The volume, bass, and midrange controls are similar to what you will find on traditional bass guitars which makes them easy to use. The sweepable midrange frequency control allows you to broaden or narrow the frequency band between 200 Hz and 1 kHz that you can then boost or cut with the midrange control. As the iceTone level is turned clockwise, it blends the sound generated by the piezo transducers which are embedded in each individual string saddle with the optical signal. It adds a new dimension of high frequency enhancement and supplies more percussive presence without the added hiss experienced with a standard treble control or the typical clack and harshness that is often associated with most piezo transducers. The warm/cool toggle switch simulates the sound created by selecting the neck or bridge positions on a bass with two magnetic pickups. When this switch is placed towards the neck, the instrument's tone becomes warmer and deeper. With the switch selected towards the bridge, the tone is brighter and has more detail.
Another valuable benefit of optical pickups is the ability for bassists to use strings that don't contain magnetic properties. In addition to the stainless steel and nickel-plated strings that are typically installed on basses with standard pickups, nylon strings can be utilized on LightWave basses to further expand the tonal capabilities of the Saber SL.
Considering all of the cutting-edge technology housed in the bridge and the large control cavity on the back of the instrument, the Saber SL requires minimal maintenance in terms of setup. Unless you are changing strings with a huge gauge differential, the only thing that needs special adjustment are the optics contained within the bridge. The optics can be aligned either by ear or calibrated electronically on the motherboard, and this procedure takes just a couple minutes to complete. To achieve optimal optics settings by ear, plug the bass into an amplifier and then listen for when the sound output is the loudest as you turn the hex adjustment screw on the top of each monolith.
Initially, I thought the NiHM rechargeable battery pack could be a potential drawback with this bass, but my concerns were quickly relieved as this instrument received a thorough testing. The battery pack provides approximately 16 hours of playing time per charge. A full charge takes about an hour to complete, and you can play the bass while it is charging. Unlike typical 9-volt battery systems which are found in most basses and can go completely dead without warning in the middle of a gig, there is a red status LED positioned on the top of the Saber SL's lowest string monolith. When that LED is well lit, the battery pack contains sufficient charge to play the bass. As the battery pack drains its power, the LED light dims. Once that red LED goes out completely, the battery has about two more hours of playing time before needing to be recharged. This rechargeable battery pack will actually prove to be more cost effective than a 9-volt setup when you take into account the number of batteries that you would need to replace over the span of time you own a bass with a 9-volt battery system.
Designed as an alternative to conventional magnetic pickups in order to realize the sonic potential of both pickup and instrument, the LightWave Systems Saber SL harnesses the most revolutionary pickup technology to be developed for stringed instruments since the introduction of magnetic pickups. The string-to-string separation of the Saber SL is perfectly balanced with an extended bandwidth, and it is capable of providing a wide dynamic range. Priced at a point well below other professional basses of this grade, the Saber SL produces a unique tonal character that expands the palette of colors available to the contemporary bassist. Its transparent response delivers the true voice of the string, the acoustic characteristics of the instrument, and the subtle nuances of your playing at an exceptional value.
Saber SL 5-String Specifications
- Solid alder body
- Infrared finish
- Rosewood fingerboard
- 3-piece hard maple neck
- LightWave optical pickup system
- Custom GraphTech monolithic bridges
- iceTone saddles
- Switchcraft output jack
- Noble potentiometers
- Master volume
- Bass boost/cut
- Midrange boost/cut - Midrange frequency
- iceTone level
- Warm/cool toggle switch
- NiMH rechargeable battery pack
- 34" scale length
- 2-octave/24 fret fingerboard
- ProTec gig bag
- Limited three-year warranty
- Retail Price: $1395
Options
- 5-string or 4-string
- Fretted or fretless
- Infrared, ultrablack, or xenon blue finish
Contact Information
LightWave Systems
6387-A Rose Lane
Carpinteria, CA 93013
Web Site: LightWave-Systems.com
E-Mail: info@lightwave-systems.com
Reviewed By: Cliff Engel - October 22, 2008
S.M.V. - Thunder
Aside from the late Jaco Pastorius, no bassists have influenced bass players worldwide over the past three decades more than Stanley Clarke, Marcus Miller, and Victor Wooten. Less than two years removed from performing together at an awards ceremony, this bass supergroup has converged to release, Thunder, a recording that is guaranteed to resonate for generations of bassists to come. By themselves, Clarke, Miller, and Wooten are each prolific, award-winning solo artists who lead their own groups and are commonly revered as pioneers and innovators of the bass guitar. Collectively as S.M.V., these lords of the low frequencies pack the most powerful one-two-three punch ever displayed on a bass-centric project. Encapsulating an array of moods, textures, and dynamics which begins with the escalating drama of the first track, a nostalgic feel permeates throughout these sessions. In addition to the aptly named title track which contains all the sonorities of a classic bass anthem, S.M.V. revisits contemporary renditions of standards from the bass repertoire including a medley of Clarke's "Lopsy Lu" and "Silly Putty" along with Wooten's "Classical Thump," and Miller's "Tutu." Throughout this collection of 13 remarkable pieces which were produced by Miller and fuse the sounds of contemporary jazz with funk genres, S.M.V. is joined by well integrated special personnel including Chick Corea, George Duke, Butterscotch, Patches Stewart, Poogie Bell, Derico Watson, J.D. Blair, Ronald Bruner Jr., Kevin Ricard, Steve Baxter, Ruslan Sirota, Karlton Taylor, and Ariel Mann. Featuring the unmistakable timbres of their respective signature instruments, these legendary bassists generate earth-shaking slap grooves with astounding technical facility and the lyrical melodic statements that bass enthusiasts have come to expect from this threesome. Along with all of the virtuoso slap bass playing on this project, Clarke also contributes arco and pizzicato tones from his acoustic upright while Miller provides fretless bass melodies. The amount of low end that is not only heard but also felt on this production is extraordinary. Even though the bass is mixed prominently in these selections, the grooves, melodies, and solos played by each of these icons never disrupts the sonic space occupied by the others during the brilliant dialogue. While Thunder is destined to be a landmark bass recording and is certain to be celebrated by the bass playing community, you definitely don't have to be a bassist to enjoy the musicality of these compositions because the music on this release extends to an audience beyond that of only bass aficionados. Starting with Stanley Clarke at the forefront of the bass guitar revolution in the 1970's, these bass titans have inspired countless musicians, and Thunder is much more than just a tribute to past achievements. It captures the same level of intensity and depth that has characterized all of the recordings put forth by this trio of acclaimed bassists since the release of Clarke's first solo album in 1973. On Thunder, their debut collaboration, Clarke, Miller, and Wooten continue to redefine the role of the bass and expand its dimensions.
Tracks
"Maestros De Las Frecuencias Bajas"
"Thunder"
"Hillbillies On A Quiet Afternoon"
"Mongoose Walk"
"Los Tres Hermanos"
"Lopsy Lu - Silly Putty (Medley)"
"Milano"
"Classical Thump (Jam)"
"Tutu"
"Lil' Victa"
"Pendulum"
"Lemme Try Your Bass"
"Grits"
Musicians: Stanley Clarke (Bass), Marcus Miller (Bass, Bass Clarinet, Alto Saxophone, Tenor Saxophone, Synths, Beat Programming), Victor Wooten (Bass), Chick Corea (Piano), George Duke (Clavinet), Butterscotch (Vocals, Beat Box, Voice Trumpet), Patches Stewart (Trumpet), Poogie Bell (Drums), Derico Watson (Drums), J.D. Blair (Drums), Ronald Bruner Jr. (Drums), Kevin Ricard (Percussion), Steve Baxter (Trombone), Ruslan Sirota (Keyboards), Karlton Taylor (Keyboards), Ariel Mann (Synths)
Style: Contemporary Jazz/Funk/Fusion
Release Date: August 12, 2008
Artist Contact: SMVMusic.com
Reviewed By: Cliff Engel - August 12, 2008
Tracks
"Maestros De Las Frecuencias Bajas"
"Thunder"
"Hillbillies On A Quiet Afternoon"
"Mongoose Walk"
"Los Tres Hermanos"
"Lopsy Lu - Silly Putty (Medley)"
"Milano"
"Classical Thump (Jam)"
"Tutu"
"Lil' Victa"
"Pendulum"
"Lemme Try Your Bass"
"Grits"
Musicians: Stanley Clarke (Bass), Marcus Miller (Bass, Bass Clarinet, Alto Saxophone, Tenor Saxophone, Synths, Beat Programming), Victor Wooten (Bass), Chick Corea (Piano), George Duke (Clavinet), Butterscotch (Vocals, Beat Box, Voice Trumpet), Patches Stewart (Trumpet), Poogie Bell (Drums), Derico Watson (Drums), J.D. Blair (Drums), Ronald Bruner Jr. (Drums), Kevin Ricard (Percussion), Steve Baxter (Trombone), Ruslan Sirota (Keyboards), Karlton Taylor (Keyboards), Ariel Mann (Synths)
Style: Contemporary Jazz/Funk/Fusion
Release Date: August 12, 2008
Artist Contact: SMVMusic.com
Reviewed By: Cliff Engel - August 12, 2008
