Gear Reviews
Studio One 4 Pro Review
Studio One 4 Pro Review
Studio One 4 Professional New Features!
I really have procrastinated on finishing this review, not because I didn’t want to, but due to the fact that I had a total blast playing around with the new features. While this is just the tip of the iceberg on what Studio One 4 Professional will do, the great new features are fun, easy to use, and extremely useful for your projects. You really don’t need to look any further thanl for a robust and complete DAW!
Impact XT
Impact XT looks like a drum machine… why? Because, basically, that’s what it is. In Studio One 4 Professional, Impact XT has 16 pads just like Studio One 3 did, but there are an additional 8 banks having 16 pads each notated on the left hand side of the pads as A-H that you can switch between, actually giving you a total of 128 pads. And a single pad can hold an unlimited number of layered samples. You can also choose different colors for each pad. Another change is the play mode and the choke giving you more options. Reverse and Normalize has also been added as a new option along with follow tempo mode, which is great for working with loops.
Adding samples is just as easy with Impact XT, just highlight the pad and drag the sample or loop into the window and it is assigned to the pad. I need to be honest here, I have not played around with Impact XT much at all and it was a quick and easy VI to learn to use. I can see the use of Impact XT being added greatly to my projects. Taking a loop for example, with the Pitch control, I was able to transpose, tune, adjust the ADSR (Attack, Decay, Sustain, and Release) parameters, along with velocity and envelope. The same when the Filter was applied, being able to adjust the cutoff and resonance, along with the drive, punch, envelope, velocity, and ADSR parameters. The AMP section adjusted the gain and pan setting as well as velocity and ADSR parameters. The same adjustments also worked with any sample that was loaded, however, the ADSR parameters are not available for the samples as AHD is (Attack, Hold, and Decay)
Another new feature addd with the Impact XT is the Impact XT Kits and Sounds. In the GBY Musicloops folder located in the file section under Impact XT Sounds and Kits. If you drag and drop one of the music loops into a track, it actually loads a kit with samples and loops, as well as giving a sample audio track of what you can create. For audio preview purposes… the big thing here is the Patterns they included. They come with variations and make beat arranging extremely fast and easy. Within the Impact XT Kits and Sounds folder are Impact Presets, Kits, Loops, and Samples. Impact XT, as the names states, will make a great impact on your music production and is a great update to Studio One 4 Professional.
Sample One XT
One item that I didn’t mention earlier about Impact XT is that you can change colors of the GUI, and this feature is also available with Sample One XT. This is a nice feature for eye candy, or if you want to have multiple instances open and want to differentiate them with using different colors. With the updated Sample One XT is a new interface and you can now record samples directly into Sample One XT. You can choose different inputs, depending on what you system has available, or you can record from virtual instruments that are already available. I find it a time saver to be able to actually record into Sample One XT instead of into Studio One and having to import the file. One you record the sample, you can edit it as a wave file.
Recording a virtual instrument into Sample One XT is just as easy. Just load the instrument into Studio One 4 and choose that as an input for Sample One XT. From there, you can edit the envelope and add effects to make a unique sample of your own. The choice of effects and how you can use them in Sample One XT is an added plus. Another new feature of Sample One XT is the follow song tempo feature. The feature allows you to play a loop at any key mapping, which changes the pitch and keeps the original tempo. An outstanding feature, which will make easier use of loops, especially if you want to use them at a different pitch.
Chord Track
The Chord Track is something I really can’t say enough about, is easy to use, and is a new feature that is just downright AWESOME! For me personally, this is one of the biggest new features and if you check it out, you will see why. I do some remote sessions for clients and a lot of times, they don’t have chord charts to send, so, I used to listen to the tune and write out my own charts, then record the bass line. Well, now those days are long gone. You can take a guitar track, or piano, as long as the instrument uses chords and the chord track will tell you what the chord changes are. Implementation is super easy. You need to engage Chord Track first and it is in the upper left hand corner of the Studio One 4 Professional… looks like a note with dashes behind it… then with just a right click on the audio track, go to Audio and choose “Extract to Chord Track” in the drop down and you also can do this with drag-and-drop!
Drum Editor
The Drum Editor is a really nice function giving you a quicker ability to do note manipulation within Studio One for the drums. The Drum Editor works great along with Impact XT. Instead of the midi notes looking like dashes, they look like little triangles, with drums; we really don’t care about the note length, just knowing that it is a hit is enough. You can edit just one midi note or a group of them, perform a right click and all of the options come up for changing the parameters. You can also apply a name to the notes on the left hand side for the note. For example, if C1 is your kick drum, instead of just seeing it as C1, you can rename it to “kick” This makes it easier to see what you are editing as part of the drum kit. This also makes it easier for making custom drum kits within Studio One for yourself or others. Basic functions are still there such as the ability to zoom in or out, quantize, swing, velocity settings and more.
Import Song Data
The ability to Import Song Data from other projects you have been working on is just another one of the new great features in Studio One. Just suppose you are working on a track and you have a thought that something you created in another track may fit the song you are working on. Well, now you can import the data from the other song into the new song you are working on. It’s easy to do, just choose song, then import song data, and choose the song you want to import from. Once you choose the file you want to import from, you have options of also importing the tempo, markers, and which tracks you want to import. There are also track options to import such as events, layers, and automation. You can copy the files to the song folder, or save them in your new song, and you can also import features such as volume, pan, inserts, send, and instruments.
In conclusion, Studio One 4 Professional is a complete DAW that has everything you need for your songs and projects from start to finish without any need for additional plugins.
Also, please be sure to check out my previous review here at Bass Musician Mag on Studio One 3 Professional!
Gear Reviews
Review Transcript: BITE Custom Bass – The Black Knight PP Bass
This is a written transcript of our video review of the BITE Custom Bass Black Knight PP Bass originally published on March 4, 2024
BITE Custom Bass – The Black Knight PP Bass Review…
Bass Musician Magazine did a review on a Steampunk bass from BITE Guitars about three years ago, it was an amazing instrument, and we were very impressed. Now we’re happy to bring you another BITE bass, the Black Knight PP.
Everybody needs a P-type bass, it’s the standard of bass. If you’re recording, they want you to have a P bass. So why not have something that gives you a little more by having two instead of one P pickup. That’s the idea of this bass, it’s the first thing that leaps out: the double P pickup configuration.
Installing two of their 1000 millivolt split-coil pickups, BITE then went one step further and wired them up in a 4-way parallel/series circuit, a look at the controls reveal a 4-way rotary selector:
The first position, marked “B”, gives you the bridge pickup by itself.
The second position, marked “P”, gives you the bridge and neck pickups in parallel mode, that’s the traditional J-type circuit, it reduces output due to the physical law of parallel circuits.
Position number 3 is marked “N”, it gives you the neck pickup by itself.
And finally, number 4, marked “S”, gives your bridge and neck in a series (humbucking) mode which adds up resistances and thus boosts output. The other two controls are master volume and master tone.
What’s more, like every BITE bass, this one also has a reinforced headstock heel designed to give it extra output and sustain. The BITE website features a graph and explanation of what they have done to the heel, as compared to traditional headstocks.
A look at the body reveals a beautiful Black Blast body finish and underneath that we have alder wood. The bass has a matching headstock with a 4-in-line tuner setup and the traditional bite out of it, so everybody will know what kind of bass you’re playing. The pickguard is 3-ply black, the neck is vintage tinted hard maple and it has a satin speed finish at the back which keeps your thumb from sticking.
On top of that, there’s a clear-coated roasted black locust fretboard with black blocks marking the frets. The nut is a black Graph Tec nut, we’ve got diamond dome control knobs, and the tuners are lightweight compacts with cloverleaf buttons and a 1:17 ratio precision gear. The bridge is a Gotoh brass bridge with 19-millimeter string spacing.
Overall measurements: we’ve got a standard 34″ scale, a 1.65″ width nut and a C neck profile. This bass weighs 8.2 pounds, or 3,7 kilograms for our metric friends, and it uses standard 18% nickel silver frets.
Taking a closer look at the sound, this bass is a joy to play. The BITE proprietary 1000 millivolt pickups deliver an extraordinary amount of output which is surprising considering this is a passive instrument. You may even want to set your amp to active mode because of all of the juice you’re getting out of this guy.
The tonal possibilities are very versatile, it’s a straight P if you want but also much more with those different arrangements of the circuitry. So why have multiple basses when you’ve got one that can give you your basic P plus a lot more?
To sum it up, the Black Knight PP is an amazing instrument. The attention to detail that BITE puts into their basses is second to none. This bass is also amazingly balanced and gorgeous to hold and feel with the satin neck finish.
For more information, visit online at bite.guitars/product/black-knight-pp
Bass Videos
Reviews: Phil Jones Bass Compact Plus 450 and Bass Engine 17
Phil Jones Bass Compact Plus 450 and Bass Engine 17 Reviews…
In this issue, we take an in-depth look at two new amps from Phil Jones Bass, the Compact Plus 450 and Bass Engine 17.
For more information, visit online at pjbworld.com
Bass Videos
Video Review: BITE Custom Bass – The Black Knight PP Bass
BITE Custom Bass – The Black Knight PP Bass Review…
I am sure many of you saw my review of the Snobby Steampunk Bass from BITE Guitars back in February of 2021 and will remember what a remarkable bass it was. BITE has been building custom basses since 2019 and has a unique custom approach where you can configure your bass to your specs.
I am very excited to have another Bass From BITE Guitars in my hands, The Black Knight PP Bass!
The need for a P-Bass in one’s armamentarium is pretty standard for bass players and I recall chatting about this with Marty O’Brien about a year ago. It turns out that Marty and BITE Guitars got together and came up with this excellent configuration that gives you a P-Bass with a whole lot more. Marty even played his own Black Knight PP bass at the 2024 NAMM show. You can see his review here.
Join me as I take an in-depth look at this very cool instrument and share all the details.
Here is The Black Knight Bass from BITE Guitars!
For more information, visit online at bite.guitars/product/black-knight-pp
Gear Reviews
Gear Review: Origin Effects Cali76 Compact Bass
Origin Effects Cali76 Compact Bass Review…
Throughout the evolution of music, bass players have sought tools to sculpt and enhance their sonic landscapes, and one indispensable ally in this pursuit has been compression. Origin Effects, a name synonymous with premium audio craftsmanship, introduces the Cali76 Compact Bass Compressor, a pedal that pays homage to the legacy of compression and brings forth a new chapter in bass sonic mastery.
As we delve into the world of the Cali76 Compact Bass Compressor, we’ll explore how Origin Effects seamlessly weaves together the heritage of compression and contemporary bass demands, promising a pedal that not only honors the past but propels your bass playing into the future. Join us on this sonic expedition as we dissect the nuances of the Cali76 Compact and uncover the secrets it holds for bass players seeking the perfect blend of vintage warmth and modern versatility.
For Starters, the Cali76 is a studio-grade FET compressor pedal, based on the classic Urei 1176, but with some features optimized for bass guitar. For those of you who are not familiar with it, a FET (Field Effect Transistor) compressor is essentially a solid-state tube compressor emulation that allows for fast and precise control over the attack and the release parameters; allows for extreme compression ratios; and finally adds the typical 1176 color and character to the sound.
Together with the common controls we see in most compressor pedals – Ratio, Attack/Release, input (just like the original 1176, the threshold in this pedal is fixed), and output (makeup gain). The Cali76 offers two more controls dedicated to us bass players.
A Dry control – This allows us to mix in our dry, uncompressed signal to the pedal output. This is great for when we want to add back some of our playing dynamics to the compressed sound or for when you want some volume back in situations where the compression starts taking away the volume.
A High Pass Filter control – Low frequencies on a bass guitar signal normally overwhelm compressors. This high pass filter allows the compressor to only react to higher frequencies, which helps preserve the natural dynamics of our playing while keeping the low end intact.
Metering on this pedal can be a bit hard to get used to at first. There’s a single LED light on the pedal, that not only serves as an On/Off light, but it’s also our meter. It glows red when no compression is applied and orange for active compression. The brighter the light, the greater the amount of gain reduction. Yellow signifies that the gain reduction reached 27dB and maximum reduction occurs around 38 dB.
In practical terms, it’s all about working with the input and the LED to find the sweet spot (turn the input to zero, start playing and slowly increase the input level until you start seeing the LED glowing orange, which means there’s reduction going on).
With 6 highly interactive knob controls, this pedal implies some degree of compressor knowledge and also some amount of tweaking and experimentation to find the perfect settings. The good news is that it is very hard to make this pedal sound bad…
It can go from very subtle compression settings to very extreme, and it can do everything in between. Also, the team at Origin has been kind enough to add a couple of sample settings in the manual to get players started and to help us understand better how the pedal works.
Dynamic Control is a setting that provides natural compression, balancing dynamics between various playing techniques. It is a subtle compression that will work almost out of the box almost all the time. Having a medium setting for the High Pass Filter ensures an honest translation of the lower string dynamics.
Parallel compression is a popular studio technique, where both compressed and natural signals are blended. We get the sound and feel of hard compression while retaining the natural playing dynamics.
Percussive, lively & Fat is a setting that uses a slower attack time to accentuate the start of any note. Then using a fast release allows the compressor to recover between notes so that the phrases sound more percussive. Ideal for slapping and other percussive techniques.
Finally, I would like to mention the classic 1176 tonal coloration. It’s not a secret that engineers all around would sometimes use the 1176 compressor, without applying any compression, just to get the tonal coloration into the instrument sound.
And the Cali76 compressor is no different, it has such a rich, warm, and full coloration that’s super pleasing to the ear and makes you want to have it ON all the time. So be aware, that if you want a transparent compressor, this pedal is not for you!
All in all, it is easy to understand why this pedal became a favorite of so many bass players around the world. The Cali76 Compact stands as a testament to the meticulous craftsmanship and thoughtful engineering that Origin Effects is renowned for. It seamlessly navigates through the rich history of compression, offering bass players a gateway to the soulful resonance of the past while empowering them to sculpt a contemporary sonic future.
Whether you’re a seasoned bass maestro or a budding virtuoso, the Cali76 Compact invites you to embark on a sonic journey where every note is held in a delicate balance between tradition and innovation. As we bid farewell to our exploration, we do so with the realization that the Cali76 Compact is more than just a pedal; it’s a sonic companion that elevates the artistry of bass playing
For more information, visit online at origineffects.com
Gear Reviews
Spector NS Ethos HP 4 Bass Review
Spector NS Ethos HP 4 Bass Review…
Not long ago, I did a review of the Spector NS Dimension HP 5 Bass and I have just been given the honor and privilege of reviewing the Spector NS Ethos HP 4 Bass. I have to say, another great bass from Spector that is hard to put down! While there are some similarities between both basses, there are also some noticeable differences which is why I believe having both is essential to any bass arsenal.
Spector, widely used by many rock and metal bassists like Ian Hill, Alex Webster, Colin Edwin, Doug Wimbish, and many more, just to name a few, has a long-standing in these genres. Well, that’s about to change! The bass I used for the review, didn’t see any of those genres, matter of fact, I used it on a few classic country gigs and at church too! However, when at home in the studio, I let the funk out. The NS Ethos HP 4 Bass is an all-around great bass for any genre and will not disappoint.
Let’s get into the specs about the bass, and here we will find the differences between the HP 5 Bass and the HP 4.
Forget that one is a 5 string, while the other is a 4, while that is a difference, that’s not one that I feel needs to be noted as both models are available as 4 and 5 strings. The Spector NS Ethos HP 4 Bass has a 34” scale, 24 fret, 3 piece maple neck through construction with solid alder wings, ebony fingerboard along with centered and side dots and the 12th fret Spector logo inlay with a brass nut.
While the pickups are different as the NS Dimension HP 5 Bass uses the EMG 45DC and the NS Ethos HP 4 Bass sports the EMG 35DC pickups, they are the same pickup configurations, the difference being, one for 4 string, the other for 5 string. The electronics are the same, consisting of a Darkglass Tone Capsule preamp which consists of +-12dB @70Hz for Bass, +-12dB @500Hz for Mids, and +-12dB @2.8kHz for Hi Mids. Controls for Spector NS Dimension HP 5 Bass consist of Master Volume, Blend, Bass, Mid, and Hi Mid controls. The electronics are powered by a 9-volt battery.
The bridge is a Hi-Mass locking bridge with intonation screws and the tuners are sealed die-cast. All hardware is black. Same as the Spector NS Dimension HP 5 Bass, the HP 4 Bass is available in 4 different finishes, White Sparkle Gloss, Gunmetal Gloss, Plum Crazy Gloss & Black Gloss. The bass also comes with a very nice and well-padded gig bag.
Check out the Spector NS Ethos HP 4 Bass at a Spector Music Retailer today near you or visit online at spectorbass.com/product/ns-ethos-hp-4/
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