alright, school’s out, and it’s time to...

ccmmagazine.com july 06 ccm 45

Alright, school’s out, and it’s time to rock!Whether you’re a newbie saving up your summer job paychecks for the perfectinvestment in your future career or a road dog traveling from city to blistering cityknocking ‘em dead, it’s likely that more musical gear will be bought and sold thissummer than ever before. From indie bands to worship leaders and colleges re-stocking for the new school year to hobbyists looking for ways to pass the lazydays in style, for many of us, summer is all about the tunes.

This is also the season of major festivals and tours as well as uncountable hoursof jamming in garages and basements from coast to coast, and the options havenever been greater. With new catalogs showing up in the mail almost every day,web stores stocked to their virtual rafters with shiny, new gear just waiting to beplayed and the local store filled to capacity, where do you begin?

The CCM Summer Gear Guide, of course. In the following pages, we havecollected some of the hottest new products in the music gear universe as well assome timeless standbys. From the stunning beauty and delicate artistry ofMcPherson Guitars to the bone-burning volume of Peavey’s flagship 6505 amp,this is a good place to start. If you’re looking for the perfect stage piano and justget overwhelmed comparing the options, we’d like to introduce you to theamazing Roland RD 700SX. And any guitarist looking for perfect tone and effectsneeds to check out the killer Visual Sound effects pedals—and their new amps!Veteran mic purveyors Audio Technica are helping a gospel group fill arenas withjust the sound of its voices—wirelessly! Other bands are criss-crossing thecountry, maybe even cruising in that bus you passed on the highway just lastweek, with an arsenal full of high quality and affordable Audix mics in tow. And,if you’re looking for a top-notch one-stop to record your next album, provideproduction for your big tour or festival or sell you the gear to do it yourself, youwon’t want to miss CK Sound. So, grab your iced tea and take a few minutes toconsider the following contenders for your gear dollars this summer!

By John J. Thompson

Design By Jeff Amstutz,A2ZDesign

SPECIAL ADVERTISING SECTION

contentsRoland 46Peavey 48

Audio Technica 48McPherson Guitars 50

CK Sound 52Visual Sound 54

Audix 56

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46 ccm july 06 ccmmagazine.com

Roland RD-700SXGEAR 2006

GUIDE

Though it looks like a keyboard, there’s good reason to go along withRoland as they describe the new RD-700SX as a “stage piano.” Thoughit accomplishes everything your basic keyboard needs to accomplish,this powerhouse brings a whole lot more to the party. As music seemsto be consistently moving towards warm, organic tones, Roland’s timingwith this unit seems perfect.

Stunning SoundsWith Roland’s most powerful processing engine at its core, the RD-700SX provides two complete 88-note, world-class concert grandpianos, each with individual multi-samples for every key and eachrecorded at a variety of velocity levels. The RD-700SX also containsauthentic electric piano and virtual tonewheel organ instruments as wellas an entire GM2-compatible sound set. Load and play standard MIDIfiles with the built-in MIDI file player. Onboard rhythm and arpeggiatorfunctions are provided as well.

Progressive Hammer-Action KeyboardThe RD-700SX is equipped with Roland’s top-of-the-line ProgressiveHammer-Action Keyboard, which provides heavy-to-light response as youclimb from low to high octaves—just like a real piano. Combined with a

true hammer-action mechanism, the keyboard offers an incrediblynatural response that feels and plays like a true grand.

Instant AccessWith its front-panel sliders, large buttons and backlit LCD, the RD-700SXis a fast and friendly instrument to pilot—especially for live performerswho need instant, fumble-free access to sounds. The one-touch PIANOand E.PIANO buttons let you recall your favorite instrument sounds andedits—such as changes to the piano’s String Resonance and Key Touchor the E.Piano’s Amp type. You can also switch entire groups of settingsduring a performance by selecting a setup that you’ve edited and storedin advance; up to 100 setups can be stored and instantly recalled.

Onboard EffectsTransform your sound with the RD-700SX’s powerful twin multi-effectsengines onboard. Among the many high-quality effects types are reverb,chorus, Sound Control (3-band compressor) and dedicated 3-bandparametric EQ (with adjustable frequency, Q, and gain for achieving theperfect custom-tailored sound). Dedicated knobs, buttons and a largegraphical display allow intuitive sound control.

Well-ConnectedThe RD-700SX is fully equipped for the gigging professional. Both 1/4”and XLR outputs provide compatibility with all popular types of mixers andamplification systems. And for the utmost in performance expression, theRD-700SX offers inputs for damper pedals and two-function assignablefoot pedals. Use the tandem MIDI outs and USB I/O for MIDI control anddata backup/exchange. The RD-700SX’s customizable “Master Control”features allow it to serve as the master for other MIDI instruments. Andfor audio/visual-minded musicians who want to “play” graphics (via Edirolvideo equipment), the RD-700SX is V-LINK compatible.

Sound ExpansionThe RD-700SX offers an impressive 474 internal tones and 14 rhythmkits, which can be expanded by adding two optional Roland SRX boards.Choose from an impressive lineup of SRX titles including CompleteOrchestra, Big Brass Ensemble, World Collection, Platinum Trax and more.

For the latest RD-700SX product information, visit roland.com.

If you were on a desert island (with electricity), what three pieces of gear would you take with you?

PHIL KEAGGY: Legendary guitarist and songwriter, Grammy nominee and Dove Award winner

1. My iPod. If I have electricity, I would have everyone I love to listen to from Johnny Ray, Elvis, The Beatles, Mike Bloomfield, TheVentures, John Renbourn, Bruce Cockburn, Jeff Beck, Michael Hedges, Anthony Phillips, Vaughn-Williams, Keith Moore, PhillMcHugh, Bob Dylan, Randy Stonehill, Sara Groves, Cheryl Bliss and even some of my music—especially those where [my wife]and my kids are singing. I have lots of music there—even C.S. Lewis on audio. How about that band Love Song? And who couldforget those great recordings of Mark Heard, Rich Mullins and Keith Green? I might even have the whole Bible on my iPod.Thank you Apple and thank You God!

2. My Nespresso machine—Always a fresh cup of espresso, different, yet consistent with each cup, or should I say E-pods. It takes water and someelectricity, lots of that, given I have access to some AC.

3. My Oral B electric toothbrush. There’s nothing like a good brushing at the day’s end. Be sure to pack a lot of Arm & Hammer Baking Sodatoothpaste. Brush once in the morning; maybe an afternoon brush and an evening brush…puts a smile on your face.

Phil Keaggy

Roland RD-700SX

PW

Peavey 6505GEAR 2006

Peavey Electronics, long a purveyor of affordable solid-state amps andvalue-conscious guitars, absolutely blew away the rock world in the ’90s withthe introduction of the 5150 amp and speakercabinet package. The original design was puttogether with rock legend Eddie Van Halen; and itscombination of tone, volume and reliability—alongwith Van Halen’s name—immediately made the5150 a strong competitor in the big rock ampcategory with the classic Marshall JCM series andnewer Mesa Boogie line.

Re-named in honor of the 40th anniversaryof Peavey (1965-2005) and slightly re-tooled,the new 6505 amps are increasingly popularamong rock, metal, hardcore, punk and, even,classic rock bands.

The secret to the 6505’s ear-trashing powerlies in its assemblage of six 12AX7 preamptubes and four 6L6GC power amp tubes—enough power easily to knock over the poser inthe back row. Simple controls allow for no fussadjustments to presence and resonance, and astripped down three-band EQ makes managingthe aural range an easy task.

The 6505 head churns out 120 Watts (rms) into 16, 8 or 4Ohms (which the user can switch). A foot-switch-able lead/rhythm

channel—select and effects loops addversatility, and the lead channel offers pre- and post-gain controls.

All this menacing sound is projected througha special 412 cabinet fitted with four Sheffieldloudspeakers. Rated at 300 Watts (rms), thecab can handle everything the head throws atit and more. Heavy duty hardware and castersand high-density plywood hold it all together.Road tested and rocker approved, the 6505will be seen frequently this summer on stagesat festivals, in clubs and in arenas. If anyonedoubts the legitimacy of the post-Van Halen-era Peavey monsters, just ask P.O.D., ChasingVictory, 12 Stones, Blindside, Demon Hunter,Mike Bauer, Mortal Treason, Symphony inRed, The Agony Scene or former Marshall andMesa Boogie fans Stryper. Nothing destroysyour hearing like the 6505!

Check out peavey.com for more information.

While the folks at Audio Technica earned their stripes making high-endphonograph cartridges in the 1960s and 1970s, for nearly 30 years,they have been blazing trails in developing, perfecting andmanufacturing amazing microphones. Sure, they have left their mark oneverything from optical cables to headphones, but their main bread andbutter continues to be microphones that deliver exceptional quality ataffordable prices.

New gospel vocal ensemble Valor has been touring the country non-stop, including singing the national anthem at major sporting events likethe NBA Finals. The group certainly puts its AT wireless mics andreceiver system through its paces on a nightly basis. From findingavailable UHF frequencies quickly in hostile environs to handling ademanding vocal range that would curl the cables of lesser equipment,the band’s Audio Technica Artist Elite® 4000 Series UHF WirelessSystem and AEW-T3300 and AEW-T5400 cardioid condenser handheld

transmitters take it all in stride. Even when bass singer Paul David hits a

low note four octaves below middle C—territory previously lost in wirelesssystems—the Artist Elite microphoneswork perfectly. “In our particular genre,”David says, “so much of the time ourvoices actually become the instrument.And Valor’s approach to musicstylistically puts an even greater amount

of emphasis on vocals. We’ve tried a number of wireless microphonesand found what we needed at both ends of the spectrum with the AudioTechnica 3300 and 5400 handheld microphones.”

Established artists like Michael W. Smith and Steven CurtisChapman have been endorsing Audio Technica’s mics for years. WithAudio Technica’s constant innovation, it’s no surprise that a newgeneration of artists are as enthusiastic as the veterans.

Check out audio-technica.com to learn more.

GUIDE


Audio Technica

Artist Elite 4000 UHF Wireless System

6505 Amp

Valor

www.mcphersonguitars.com

‘‘... I was stunned by its tone,playability and intonation.’’

McPherson® Guitars1204 Roberts Road, P.O. Box 260, Sparta, WI 54656

(608) 366-1407

“When I opened the case ... I was stunned by the craftsmanship ...When I played it I was stunned by its tone, playability, and intonation.When I plugged it in I was stunned by how well it cut through the mixwhen playing with a band. Sound engineers and band members have allgiven unsolicited raves regarding [its] natural, punchy tone ... To my surprise,I’ve never been this impressed with a guitar before.”

Paul Baloche — Songwriter, Worship Pastor and Producer

“The McPherson guitar is the finest guitar I have every played...period.It has spoiled me with it's incredible sustain and big full sound. I haveexclusively been playing McPerson for 9 years and wouldn't playanything else.”

Mark Harris — Singer, songwriter, musician, Member of 4Him(Grammy Award nominee and six-time Dove Award winner)

“Since recording our new record, World Service, last year, the McPhersonhas not left my side at any live concert. It sings and it has songs inside of it.”

Martin Smith — Lead singer, songwriter and guitarist for the group Delirious

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McPherson GuitarsGEAR 2006

GUIDE

The acoustic guitar is possibly the most quintessentialinstrument in American music. For centuries, the craftsmen(luthiers) who design and build them have been perfectingthe art and science of guitar making—identifying the bestwoods, the most effective body designs and what kinds ofhardware best hold them all together.

Arguably, some of the most significant advances inguitar artistry and technology have come in the last fewyears through a boutique maker whose worshipful attitudetowards craftsmanship is earning him the love andrespect of the most scrupulous players in the world. Aftersome personal prayer time and revelation, MattMcPherson launched McPherson Guitars a few years backwith not just a single noteworthy innovation but three!

The most famous of McPherson’s innovations staresat everyone from the outside. However, OffsetSoundhole Technology is much more than a visualdistinction. Understanding that the sound of theacoustic guitar is created by vibrations on the face of theguitar (literally the “soundboard”), it made sense toMcPherson that removing that important wood right atthe “sweet spot” might actually be dampening the toneof the guitar. By moving the sound hole off center, morecontiguous real estate for vibration is achieved. The effect is noticedimmediately by any experienced player.

Following the same thinking, McPherson looked for other ways tooptimize the vibrations on the soundboard. His attention came to twoother systems—the neck and the bracing inside the guitar. On mostguitars, the neck rests against the soundboard and is often glued to it.The glue acts as a dampening agent, and the solid wood of the neckstops vibrations on the part of the soundboard that it rests upon. Toeliminate this, McPherson invented a cantilevered neck that does notmake contact with the soundboard at all. It worked.

Turning his attention, then, to the innards of theguitar, he applied the same logic to the bracing. Again,no glue and limited contact were the starting point; buthe also discovered a significant increase in sound byplacing braces at odd angles—nothing square. Insteadof bouncing back and forth, the sound bounces at allangles inside the box, greatly enhancing the naturalacoustic projection of the instrument.

These three major modifications produce theastounding results that have made McPherson one ofthe most respected names in boutique guitar making inthe world. Artists as diverse as Brad Paisley, Phil Keaggy,Paul Baloche, Amy Grant, Peter Furler, Steven CurtisChapman, Martin Smith and, even, Wayne Newton allrave about the amazing sound and feel of a McPhersonguitar. On stage, in the studio or on the porch, this guitaris rapidly becoming the gold standard in quality, tone andexcellence.

Though sales are at an all-time high (companyspokesman Scott Twite confirms that demand for theguitars is actually outstripping supply right now), everypiece is still hand-made in the company shop nearLaCrosse, Wis. Moreover, despite the rapid increase in

the awareness and appreciation of the guitars and the radicallyincreased demand, prices have not been raised since the company firsthit the market. With an entry point around $4,000 and a ceiling justbelow the $10,000 mark, McPherson’s are premium but notunattainable.

Though not nearly as stunning as actually playing one, the McPhersonGuitar website is an amazing experience. Visit mcphersonguitars.com tosee—and hear—for yourself.

Matt and Sherry McPherson


CCK Sound Productions

GEAR 2006

GUIDECalling CK Sound Productions a full service company doesn’t quite coverit. You want to record a 48-track digital album? They have you covered.Want to track a live album on the road? No problem. Need a full soundsystem for a concert or tour? A permanent installstion at a church orstadium? No sweat…they do it all the time. Looking for a piece ofequipment for your rig? Maybe a console or a microphone or someacoustic baffling for your home studio? Again, they do it all the time.

Founder Clinton Kennet got his start as an engineer at the ripe oldage of 13, touring with Alvin Slaughter and the Slaughter family. Thoughhis gear has improved mightily from the Tapco board of his youth, thiscommitment to integrity, quality and Christian principles remains intactand blazing bright. “Every event is an opportunity to serve both the artistand the Lord,” Kennet insists. “No matter what the project, our clientscome to us secure in knowing we stay true to our foundations ofintegrity, working around any budget while still maintaining a level ofexcellence. My team and I strive to set ourselves apart to win customerloyalty through our great service and methods that will not compromiseour commitment to Christ.”

In addition to a team of crack engineers, CK Sound boasts animpressive collection of equipment in its arsenal as well. “We use some ofthe best names out there in the audio industry to enhance an artist’ssound,” Kennet insists. “Corners are never cut at the expense of quality.We use Neumann vocal mics, Radian and/or EAW Wedges, dependingupon what our artists need. We also use all the Elite series of mics from

Audio Technica, wired andwireless, along with Shure,Shure Beta, Audix andSennheiser mics. The ampsare Crown-I Tech; and, forprocessing, we use Ashly, DBX,Lexicon and T.C. Electronics.The list goes on.”

Kennet continues, “Weare set apart by quality and excellence in our work. Our number onegoal is to make sure our artists and clients are happy. When it comesto concerts, we understand the ministry of the musicians; and, asprofessional Christian engineers, we make sure to flow along with whatGod is doing. During awesome praise, we’ll crank it, sending the kickdrum pulsing through your chest. But, in times of worship and reverence,we know how to produce a crystal clear sound to let the music penetrateyour soul.” Over the years, CK Sound has earned the trust of artistssuch as Don Moen, Alvin Slaughter, Darrell Evans and Michael Gungor,among many others.

So, regardless of your sound reinforcement needs, CK Sound shouldbe on your short list to check out. Their amazing website is brimmingwith information and it’s ready any time of the day or night, just like CK.

Hit cksound.com for the scoop. Additional information provided by Angie Teater.

PHIL kEAGGY

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STEVEN CURTISCHAPMAN

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SALVADOR

day of fire


Visual SoundGEAR 2006

GUIDEIn case you’ve spent so much time jamming in your basement thatyou haven’t seen the light of day for a few years, let us break somenews to you.

Pedals are back!In the ’70s and early ’80s, guitarists got all their crazy sounds and

effects from brightly colored little boxes, all daisy-chainedtogether, creating noises both welcome and not. In the

late ’80s, the pedals all got absorbed into multi-effectprocessors that laid at your feet like a strange

piece of A/V equipment and were often harder towork than a typewriter underwater. Next came

the age of “modeling,” where companieslike Line 6 could fit hundreds of computer-sampled tones and effects into a single

pedal or the ubiquitous POD gadgets. But, in the new millennium, it’s back to the

pedals; and the more old-school, chunky, analogand retro, the better. Some are all about image and branding, andothers are all about sound. The latter is certainly the case with thejaw-dropping and increasingly popular wares of Nashville-based Visual Sound. If such notables as U2,Relient K, Day of Fire, Audio Adrenaline,The Strokes, Eric Johnson, AvrilLavigne, Phil Keaggy,MercyMe, Metallica andKeith Urban all swear bythem, then, grasshopper, itis time to listen up!

Each of Visual Sound’spedals—Jekyll & Hyde UltimateOverdrive, Route 66 AmericanOverdrive and the H2O LiquidChorus and Echo—is actually twopedals in one, having twocompletely separate channels thatcan be used individually or incombination with each other. The

company is also re-issuing its flagshipinnovation, the Visual Volume pedal tocelebrate its tenth anniversary.

Visual Sound is also excited to announcethat it is expanding its “stable” of productswith the Workhorse line of amplifiers—the 60W212 Stallion and the 30W 112 Pony. Bothmodels have revolutionary easy user-biasing aswell as 100 percent clean tube amplification,Celestion speakers, hand-wired controls and jacks,carbon comp resistors (where they count), a toroidalpower transformer, a 9VDC output and cable for poweringthe free Jekyll & Hyde pedal (which comes with every amp)and a padded amp cover with pockets on the sides.Protection circuitry throughout each amp prevents failure of allcritical components. Housed in an all-wood cabinet, each amp features aHubcap sound dispersion speaker grille (patent pending), making it soundgreat from anywhere on stage.

As if all that weren’t enough, the 1 SPOT space-saving adaptercontinues to fly off shelves as word keeps spreading about

the first 9VDC adapter to require only one spot on a walloutlet or power strip. Why? Because the 1 SPOT

works with almost every pedal in existenceand can easily power an entire pedal

board by itself with the additionof optional daisy chain cables.It’s also a fraction of the cost ofbrick-sized pedal board powersupplies, and it takes up nospace on the board. It evenconverts voltage automatically,anywhere in the world!

For more information aboutVisual Sound visit theirwebsite at visualsound.net.


TOM HEMBY: Veteran guitarist, Grammy Award-winning producer and songwriter

1. My 1960 GIBSON 355, simply because it’s the best sounding and easiest playing guitar that I’ve ever played. It has the originalPAF pickups, which are thick and sweet sounding. But of course, a great electric guitar needs a great sounding amp tocompliment and enhance the sonic quality of the instrument. (See my #2 pick.)

2. The BADCAT (hot cat model) amplifier. Hands down, it’s one of the best sounding amplifiers I’ve ever heard. The distortionchannel has an almost vocal quality to it and has smooth glassy highs and a nice warm complex midrange. The 355 and theBadcat are a magical combination for me. It’s as if they were made for each other! But, since we are on an island, this means thatthe electrical situation could always be at the mercy of a hurricane or tropical storm.

3. My McPherson acoustic guitar. I love this guitar for many reasons—it’s amazing playability, impeccable intonation and detailed tonal qualities. But,truth be told, if I ever go to a desert island, I’m thinking the only gear I’ll take with me is a beach umbrella with a lawn chair, iPod, and a coolerfull of Cheetos, sandwiches and Stewart’s orange and cream soda. (I actually go to the beach to get away from gear!)

Tom Hemby

Visual Volume Pedal

1-SpotAdapter

60W 212Stallion

& 30W 112Pony

Audix Corporation, PO Box 4010, Wilsonville, OR 97070

In Canada, C-Tec, Tel 604-942-1001, Fax 604-942-1010

®Audix Corp 2006. All rights reserved. Audix and the Audix logo are trademarks of Audix Corporation.

FOR A DEALER NEAR YOU CALL: 800-966-8261TEL: 503-682-6933 FAX: 503-682-7114 www.audixusa.com

Lester EstellePillar

Brandon EstelleSuperchick

Two Great Bands,Two Brothers,Two Terrific Drummers…one choice for Microphones: AUDIX

“Audix microphones come throughfor me night after night. Theyare a big part of my sound.”—Lester Estelle/Pillar

“Audix makes killer mics, theymake my drums sound huge!”

—Brandon Estelle/Superchick

AUDIX…The recognized leader inpercussion and instrument microphones

W56 ccm july 06 ccmmagazine.com

Audix MicrophonesGEAR 2006

GUIDE

Whether providing sound reinforcement for the choir at your church orhandling the blood curdling screams of Pillar’s front man Rob Beckley,Audix microphones are becoming an absolute essential for thousands ofapplications.

Though they are the go-to vocal mics for a range of artists includingCasting Crowns, Kutless, Phil Keaggy, Avalon, Chris Rice, Tree 63, RitaSpringer, Derek Webb, The Listening and hardcore rockers Spoken,vocals are just the beginning. From amps and acoustic instruments tospecially-designed drum mics and a whole line of amazing studio-qualitycondensers, Audix does it all.

With everything from horn sections and percussion to multiple vocalsand amp cabinets, Salvador needs a wide range of microphones andhas found it all in Audix. For Phil Keaggy, it’s not only his wireless VX10on the road but also his in-studio SCX25 condenser mic that make himan Audix fan.

As if that wasn’t enough, Audix recently unveiled the impossiblydiscreet MicroBoom™ carbon fiber boom arm that attaches to anymicrophone stand and allows its Micros series M1290 condenser micto capture the sound of an entire choir without bulky distractions orpermanent hanging installation. The spy-like microphones clock in at

an astounding 3.5 inches longand are available in cardioid,hypercardioid, omni-directionaland super-cardioid (shotgun) polarpatterns. The Microboom standdefies all logic with a diameter ofless than 0.3 inches (7.4 mm)and a weight of only 2.5 ounces(78 grams). Internal electronicseliminate unsightly hangingcables and aid in ease of use.

Audix also recently launched itsfirst entry into the increasinglyimportant wireless category. TheRAD-360 UHF Wireless systemoffers convenience, versatility andreliability (along with affordability)and the now famous Audix sound.This product is a frequency-agileUHF wireless microphone systemwith 193 selectable frequenciesand a dual tuner, true diversityreceiver. Operating in the UHFband between 638–806 MHz, the RAD-360 is designed for a wide range of professionalapplications, including liveper formances, regional soundcompanies, fixed installations,corporate meetings, events andchurches.

Ease of use, consistency of soundand durability under frequent useare all characteristics of the Audixline. For more information, visitaudixusa.com.


VICKY BEECHING: Sparrow Records recording artist

1. First would be my electric guitar…I can’t last more than a few hours without playing it! It’s a Gibson Les Paul, part of a new rangeof guitars called the “Goddess Series,” built for women. They are lighter in weight but with the same cool tone. Seeming as it’ssolid wood, maybe it would double up as a raft. Then I could float on it and paddle away, making a daring escape from the island!

2. Second, my beloved harmonica! It was originally inspired by Alanis Morisette, but now I see it as an affectionate tribute to mycountry-music-soaked new hometown, Nashville! (I also recently discovered you can buy harmonicas in the key of C for only$2.50 from Cracker Barrel. So, for only $2.50 you too could take one onto a desert island and learn to play!)

3. Third would be my fire-juggling torches. Although they are not musical gear, they provide a lot of inspiration and fun! Besides, there are a lot ofworship songs about “holy fire” and “refining fire”...So I could take my torches onto the desert island and write a whole new album of “fire-themed”worship songs.

Casting Crowns’ Mark Hall

M1290

Vicky Beeching

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