Being In Your Elements Being In Your Elements

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U N P L U G D I G I T A L . I S S U E NO 1 2 . F E B - M A R 2 0 1 6 Being
In Your
Elements
COMMUNITY TECHNIQUE URBAN MANILA’S HIDDEN TREASURE THE HAND OF GADD BIG H SKATE CO. YOUR INDEPENDENT AUTHORITY ON MUSIC AND GEAR Contents
The Panel
CEO
Clarence Anthony
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Editor
Ria Bautista
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Music Editor
Andrew G. Contreras
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Gear Editor
Cholo Isungga
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DJ Editor
May Cedilla-Villacorta
This Issue RedRum  Rakrakan Festival  Itchyworms Community  Elemental: The 2015 Elements Music Camp  Manila’s Hidden Musical Treasure Technique  Touched by the Hand of Gadd  Guitar Cables Features  BPM  Urban  Gear Disclaimer: All rights reserved. No part of this publication or content may be reproduced or used without
the written permission of the publisher: C.A. Editorial Consultants. All information contained in this magazine
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Writers:
 Aimax Macoy
 Alfie Vera Mella
 Andrew G. Contreras
 Bombee Dueme
 Edelynne Mae Escartin
 Herb Cabral
 Isabelle Romualdez
 Jica Lapena
 Kat Castro
 Mark Verzo
 Wina Puangco
 Yogi Pajarillo
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unplug redrum.rakrakan
3 MUST GO ON
Rakista Radio’s Rakrakan Festival is one of those rock events that
started small but suddenly turned into a monster of a show and one
of local rock scene’s most anticipated multi-band concerts.
This year, the rock festival was met with bad weather
conditions but like what they say in showbusiness:
the show must go on...
or the rock show, in this
case. Originally scheduled
for December 19 last year,
the event date pushed
through last January 16,
2016.
Y O U R
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4 Move stage featured lively sets from 6
Cycle Mind, Jurassic Pards, Now You Make
Angry, Tanya Markova, Banda ni Klegg,
Moonstar 88, Gracenote, False Apart,
Absolute Play, Cables and Space, Barbie
Almalbis, Drive Me to Juliet, Maryzark,
Typecast, Manila Under Fire, Hoodlum,
and newcomer May.
Continuing the tradition of multiple stages
for different genres, here are some of the
bands that performed on each of the
festival's 3 stages:
Groove Stage had acts like The Chongkeys,
Peacepipe, Jeepney Joyride, Coffee Break
Island, Paranoid City, BP Valenzuela, The
Techy Romantics, Brownman Revival,
Calebral, Tricia Garcia, Taken By Cars,
Kartel at Lion and the Scouts, Jeck Pilpil
and the country's premiere reggae outfit,
Tropical Depression.
The much
crowded
of the
three, the
Mosh
Stage,
was given
life by
Galaw Tao,
and then
came The
Morphine
Kings, A
Message Made by Knife, Runbynine,
Oblivion, Subculture, Switch! Kjwan, Valley
of Chrome, Slapshock, Queso, Chicosci,
Hilera, Sandwich, Philia, and Wilabaliw all
got the already pumped up crowd going.
Something to take note of is the Razorback
jam with Jamir Garcia featuring Black
Sabbath’s “War Pigs”. The Youth gave the
attendees a good dose of 90's alt-rock.
The stage also featured Skychurch,
Even, Saydie, Intolerant, and Godzilla
Vs Tokyo.
ka n !
a
r
k
a
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x
e
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G E A R unplug redrum.itchyworms
ITCHYWORMS
5 Y O U R
I N D E P E N D E N T
Man of the night
Jugs Jugueta
celebrated his
birthday by
playing with his
band Itchyworms
at The Brewery.
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6 About Itchyworms
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The Itchyworms is a Filipino rock band whose music is primarily guitar-driven rock with pronounced 1960s and 1980s pop
sensibilities and embellished with two or three-part vocal harmonies. The group made their name in the OPM (Original
Pilipino Music) scene in 2006 with their sophomore effort Noontime Show with songs such as "Akin Ka Na Lang" and "Beer".
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unplug community
7 ELEMENTAL
THE 2015 ELEMENTS MUSIC CAMP
OPM, or what was formerly known as “Original” “Pinoy” Music is dead. It is no
longer playing; it has passed on. It is deceased – ceased to de. It has expired and
met its maker. It is bereft of life. It rests in peace. It has kicked the bucket. It has
shuffled off its mortal coil, run down the curtain and joined the choir invisible.
By stating so, I’m risking awakening to an
angry mob breaking into my house – pitchforks, torches and clubs, in hand, and getting forcefully dragged out of bed, beaten,
and burned alive. A great percentage of
this mob will be friends and peers from the
Philippine music industry. I am part of that
scene, too. Let’s face it: the golden years
of OPM have been long gone. Once upon a
time, you could really follow your favorite
band because that band probably had a
venue they could call home.
Gone are the days when songs like The
Dawn’s “Salamat,” the Eraserheads’ “Pare
Y O U R
I N D E P E N D E N T
Ko,” were the anthems of every high school
kid in the country. We also could hum down
to the last note every line of the guitar solo
of Rivermaya’s 214. But then, everything
changed when the Fire Nation attacked.
Well, the Fire Nation didn’t actually attack –
the greed of record labels did.
Thanks in no small part to these bloodsuckers, the scene nowadays is such that it is
infested with cover albums by artistas who
can’t sing for shit. Only they get the right
backing because only their records will
eventually be “certified platinum” on an
afternoon variety show.
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8 Even the so-called “real musicians” themselves got lazy. It’s become more about the
fame and fortune – more about “being cool”
than the music. As a result of a lot of fundamentals - dynamics, for example, being
neglected, you can expect 90% of bands to
be playing at open-air stadium volume at
small-scale “prods” staged at tiny bars.
Still, if you’re in a band nowadays and
you’re not a Parokya ni Edgar, whom, with
the absence of a real hit of late thrives
mostly on large scale out-of-town gigs, be
prepared to go hungry. But they have it
good. Bands like Kamikaze and Urbandub
recently had to call it quits.
It’s gotten so bad that bar owners, events
companies and the likes feel that “exposure”
is actually a legitimate bargaining tool.
Dead. Right?
IS OPM REALLY DEAD? Then again,
perhaps, OPM is just resting. Enter the
Elements Songwriting Camp – a 6-year old
endeavor under the 7101 Music Nation
formed by “Wannabe Music Honcho”, Julio
“Jun” Sy, “Mad Maestro”, Ryan Cayabyab
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and “One
Woman Band”
Twinky
Lagdameo.
Truth be told,
apart from
that a group of
60 singer-songwriters would be mentored
for five days by household names like Jay
Durias, Noel Cabangon, Chito Miranda,
Ebe Dancel and Raimund Marasigan, I was
clueless about Elements.
Really, I couldn’t care any less. Every band
in the contemporary scene sounds the same,
anyway. Albeit sans pitchforks, torches and
clubs, it was Up Karma Down in the form of
a videographer friend covering Batch 2015,
who would rudely awaken me. He needed
a substitute. The Camp, which is normally
held in Dumaguete was, thanks to the chaos
created by the APEC Summit, moved to
Hacienda Isabella (owned none other than
the timeless Kuh Ledesma) in the part of
Cavite that is practically Tagaytay. That
being very much drivable, I braced myself
for noise, out-of-tune instruments,
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9 monotonous singing, and an abundance of
rants by either bitter old musicians or kids
with delusions of grandeur, both of whom
have yet to come to terms with the fact that
the industry today is such that one can no
longer live like a rockstar. Okay. While I
understand that I’ve probably talked so
much smack that you’re thinking happy
thoughts involving inflicting grievous bodily
harm upon me on social media, I beg your
indulgence. Time to choke on my words.
ELEMENTARY : Turns out, not everybody
can get into the camp. Participants of
Elements are not selected on a first come,
first serve basis: they are screened thoroughly not just once, but numerous times
and by none other than Mr. C (Cayabyab)
and his peers who facilitate the camp
along with him, namely Jungee Marcelo, Jim
Paredes, Ebe Dancel, and so on. Therefore,
in order to make the crucial cut you have to
be really damn good. Jireh Calo, a camper
from batch 2014, for example, is now taking
up further studies at the Berkelee College
of Music and boasts even being able to sing
while playing the keyboard using a slipper.
Y O U R
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While nobody was able to mimic such a feet,
er… feat, come dinner, over which each of
the participants must eventually perform
throughout the camp, I was nevertheless
pretty impressed and pleasantly surprised
by the talent that this country has to offer.
“This country,” by the way, because Luzon,
Visayas and Mindanao are equally represented.
I’d actually seen some of these guys prior to
Elements at gigs here and there, but never
stripped down to the bare essentials, meaning just an acoustic guitar, piano or both.
Again, we go back to my having pointed out
earlier that local productions are more often
than not just unbearably noisy. I stand by
this as, upon having been able to see veterans like Josh Villena (Autotelic), Bea Fabros
(The Jeffrey Zulueta Expermiment), and
Fairwell Fair Weather’s Mic Manalo perform
solo, I could for a change clearly understand
their lyrics. The rhythm hand being the core
of a melody, I could see as well how technically sound they were as instrumentalists.
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10 Guitar virtuosos LJ Manzano and Yan
Abelardo, for their part, were amazing with
their uniquely percussive styles that could
fool one whose eyes are closed into assuming that a full band was onstage. Prior to
having seen the performances of the two,
I was clueless that guitarists like youtube
staples, John Gomm and Luca Stricagnoli
actually existed in this country.
While there was an abundance of raw skill,
the simplicity and wittiness of songs such
as Yoyie Soriano’s “Chubby” were not to
be outdone. Lines like “Ako lang talaga ang
iibigin mo/ Lumaki ‘man ang timbang at
waistline ko/ “Wag mag-aalala,” yun ang
pangako mo/ Kung tataba ako gagayahin
mo ako’t/ Mag-eexercise tayo,” had the
crowd buckling in their seats from too much
laughter. (I’ll be the only one you love/
“Don’t worry,” you promised/ If I get fat
you’ll get fat, too and we’ll exercise)
Music in no small part equally a group effort,
campers were assembled into groups/teams
by and by and made under the guidance
of their mentors to compose and perform
various jingles and themed numbers.
The performance of Audie Gemora’s group,
“Trapped sa Trapik”, for example, had each
camper playing/singing the part of different
stereotypes from all walks of life who are
caught in the every day chaos that is Manila
traffic. Despite having been created under
very tight time constraints, it was so brilliantly executed that it could’ve passed as
a key scene for a stage play.
Y O U R
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EGO HAS LEFT THE BUILDING :
Thanks to the performances, it was clear to
me that there is apparently no shortage of
talent in the local scene. In this day and
age, however, having the talent does not
mean instant success. That’s where the
modules by resource speakers such as
Youtube’s James Koo, Billboard’s Jonathan
Serbin and Orchard’s Mike Baldo, which
gave the campers a basic idea of how the
international business works and how to
penetrate it, came in.
As a voracious music listener and passionate
drummer, myself though, it was the stories
of rapper, Gloc-9, and Parokya ni Edgar’s
Chito Miranda that really stood out.
To sum up his career to those of you
who are not familiar with “Gloc” (as he is
commonly called), let’s just say that, after
Francis M., the father of local hip-hop
passed away in 2009, it was he who
inherited the title.
Apparently, even though already more or
less having made a name for himself and
already having cut two albums early in his
career, his drive to succeed was such that
he still kept his day job waiting tables at
the long departed local fastfood joint, Bunon-the-Run. Despite already having won
numerous awards and achieved significant
commercial success with hits like “Hari ng
Tondo” and “Lando,” such was his desire
to provide for his family that he took up
nursing in 2009 so as to have a fallback.
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11 Chito Miranda, for his part, could not have
been more adamant in stressing to the
campers that making music must reign
above all. “When Parokya began we never
really had any delusions of fame and fortune,” he narrated, “We were just friends
whose way of hanging out was to be in a
band and jam.” “Truthfully, thinking about
the business just stresses me out. All I
really want to do is record and gig,” he
added. As far as he sees it, rather than
count the profit that can be made word
for word written in a song, it is more
important to build and sustain good
working relationships.
Forging good relationships. Behind all the
modules on music theories, marketing and
mixing, exercises on collaboration, and all
the bonding shared over a 7/8 tinikling,
Kopiko 78 degrees, and so on, this I guess
is what Elements is all about. The Elements
community now 300 strong though, it is
simply much more than a network – it is
a family.
the morning even to a point of getting sick
just to make sure their children received
the proper guidance. These children are
also fortunate to have uncles like Jay Durias,
Gabby Alipe, Joey Ayala, and so on, who, no
matter what make sure that their schedules
are cleared to accommodate the camp come
that time of the year.
Moreover, what could be better a start than
by planting new seeds – the campers, and
nourishing them with life-giving water,
solidifying their foundation with pillars of
earth, provoking the fire in their bellies and
letting them breathe fresh air. True, OPM
may be dead for now. With the existence
of Elements, however, described as “life
changing” by campers and mentors alike,
I do not doubt for
one second that, like a
Phoenix, it will one day
rise from the ashes –
better, stronger, and
to a really awesome
soundtrack.
OPM may be dead for now. What better way
to resurrect it though than through having
a basic unit of musicians fathered by Mr. Sy
and Mr. C., the household literally lit by a
mother with a Twinkle in her name, all
who worked tirelessly with no financial
remuneration ‘til the wee small hours of
Y O U R
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Text and Photos by Andrew G. Contreras
12 Manila’s Hidden Musical Treasure
All that is gold does not glitter. Not all who wander are lost.
(J.R.R. Tolkien, The Lord of the Rings)
Unknown to many, mysteriously tucked in the side
streets of Quezon City, there exists a humble holein-the-wall called Tago Jazz Café. Translated to
English, the word appropriately means, “hidden.”
That it is, indeed. Not long ago it was actually just a
food stall or what Filipinos know as a carinderia on
the premises of owner, Nelson Gonzales, in which
he and five other friends would hang out.
Thanks to having been able to pool together a small
sum of money, after having clocked in intense manual
labor, and courtesy of a whole lot of love for jazz, they
were able to convert it into one of the most special –
meaning spacially challenged bars in which you would
ever set foot. This is not an exaggeration as it was
literally a hallway that could seat maybe fifteen
people – performers included – hence barely
accommodating a live band.
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13 Back then we would actually have to wait
for the band to finish a song or for a break
in-between sets in order to get to the comfort room because in fear of accidentally
bumping into a bassist or guitarist as we
squeezed through the cramped space.
While pit-stopping one’s pee was not
actually the hapee-est way to hangout, the
music made everything worth it. The local
scene plagued by bands sorely lacking
dynamics, Tago was the much sought after
relief for, despite the confined quarters, the
volume control of the musicians was such
that we could still manage to have a decipherable conversation while they played.
Such was their passion that, despite jazz
being the “real alternative music” in an
industry dominated by image more than
imagination, they brought their amazing
talents to the stage night in and night
out regardless of the tiny talent fee.
Moreover, given the intimate setting,
the bond forged between the regulars –
musicians and audience alike – was unique
in that there seemed to be no borders
separating them. Nelson himself calls it
“an immersion in a friendly atmosphere.
Not exclusive and not snobbish.”
The hangouts at Tago were gold. Unfortunately, they would be short-lived. Barely
six months into operation, an electrical fire
would force its’ doors to indefinitely close,
thus prematurely ending what was a magical
run.
The old that is strong does not whither, deep
roots are not reached by the frost. (Ibid)
While the fire in the kitchen had been
doused – along with it electricity, water, and
not to mention the support of those who
would become former partners, Nelson’s
stalwart desire to continue to “bring people
together through the rare art form that is
Philippine Jazz” burned ever bright.
Eight months later, thanks to a little help
from his friends and through the bare hands
that also dexterously wield drumsticks,
spices, skillets and ladles six nights a week,
curator/ accountant/ waiter/ bouncer/ cook/
construction worker/ wholesome GRO, and /
drummer, Nelson, was able to re-open its’
doors.
Y O U R
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14 “The work done there is very important,”
the Latin Piano maestro adds, “it advocates
the much needed support for live and creative music.” Support certainly is still also
abundant coming from hometown heroes
like guitar virtuoso, Rey Infante, sexy
saxman, Pete Canzon, even pioneer of
Filipino fusion, pianist, Boy Katindig (before
having migrated permanently to the United
States), and Zildjian Ambassador, drummer,
Mar Dizon, who were also there when it all
started.
While the nightly
“elation” and
“freedom” of
bringing jazz to
local audiences
is a reward
in itself, the
“100,000,000%
stress level” of
being the broke
ultimate D.I.Y.
guy for the much
bigger Tago Jazz
Café has not
gone unnoticed.
Barely a year after its’ resurrection an interview with Mika Shino, UNESCO Adviser to
Goodwill Ambassador and 14-time Grammy
Award Winning pianist and composer, Herbie
Hancock, resulted in Tago having become
an official partner of the International Jazz
Day festivities.
Since then, when foreign artists namely
drum and percussion guru, Dr. Royal
Hartigan, saxophonist, Daniel Guggenheim,
pianist, Art Hirahara, and so on are in the
Philippines, they make sure to stop over
at Tago. None other than Latin Grammy
Award Nominee, Edsel Gomez, himself,
who has graced its stage numerous times,
calls Nelson a “hero” for “keeping the spirit
of jazz alive and nurtured.”
Y O U R
I N D E P E N D E N T
Seek and You Shall Find
Truth be told, Philippine Jazz may as well
be a drop in the vast ocean that is the
profit-driven and image obsessed local
music industry. To say that it may not
exactly be the most popular nor the most
profitable genre would actually be an understatement. Chances are if you are a local
jazzer, it may even be safe to say that
you’re no stranger to slavery and starvation.
One must remember though, that the ocean
is but a multitude of drops. Hence, those
who have an equally insatiable hunger and
are willing to dig deep for precious and
ego-free music need not worry any further.
Buried somewhere in the hubbub and chaos
of Manila traffic you will find a precious
seashell that can magically free you of all
your earthly worries. You need just press
it against your ear and you will be soothed
by the trickling decay of cymbals, tickled by
the pitter-pattering piano, enthralled by the
warbling of the sax, you name it.
Hidden from the commercial scene and
scenery it may be; all who seek to get
pleasantly swept away in the tide of good
vibes are nevertheless free to enter the
undiscriminating doors of Tago Jazz Café.
Given the amount of heart that has gone
and goes into this place, many, myself
included, have unearthed a precious
treasure – a home away from home.
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15 Text and Photos by
Andrew G. Contreras
TOUCHED BY THE
HAND OF GADD
“We walk in the garden of his turbulence”
Geoffrey Chaucer in the film, A Knight’s Tale
A “Gaddism.” In the world of music
exists a word that you won’t find in
your regular dictionary.
Simply put, this can be defined as a drum
line – a roll or a groove, coined by one
Doctor Steve Gadd. Art, as we all know
it, is an imitation game. Hence, there are
but a few artists, musicians especially, who
can be cited as having actually “invented”
anything.
There is such a thing, too. The Honorary
Doctor of Music was bestowed upon him in
2005 for his outstanding contributions to
contemporary music.
Doctor? Wait a minute? Isn’t this a term
reserved for scholars in smart suits and
well, err, “real” doctors wearing white coats?
Y O U R
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16 The reality of having this generation’s most
influential and maybe most recorded drummer walking through the door soon and
sitting a mere six feet away was slowly
donning on me. A drummer, myself and
guilty “fanboy,” I couldn’t help but feel a
bit scared. In my head, I strategized my
camera angles and composition, at the
same time rehearsing what I’d ask should
I be fortunate to be allowed a question
during this “Pre-Show Talk” for The Steve
Gadd Band “70 Strong Concert”.
When I caught wind that this music god
who has worked with greats such as Frank
Sinatra, Eric Clapton, Stevie Wonder, James
Taylor, Paul Simon, Chick Corea, Steely
Dan, to name a few (his discography is
five pages long) would be coming to The
Esplanade, I decided pretty much on a whim
to fly to Singapore. So there I was fidgeting
in my seat, repeatedly checking the settings
of my Canon 70D, half expecting that, when
or if my chance to meet this him finally
came, all intelligence would escape me
and I’d probably end up saying something
stupid like, “You’re so cool!”
A few moments later, I am to find an
unassuming and almost frail elderly man
clad not in white robes but a plain black
t-shirt and jeans trudging through the door
and waving shyly to us. I ask the second
question of the
day, “Given all
your achievements, what’s
left on Steve
Gadd’s bucket
list?” In a band,
one of the
primary tasks of
a drummer is
to count off, to
launch the band
into a song.
Y O U R
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“I try to live in the moment,” he states, “I
don’t want to be in one place while thinking
of being elsewhere. Right now what’s most
important is that I’m here sitting with you
guys,” he states. We’ve officially begun.
Right then and there it becomes apparent
that this is not going to be a thorough
technical discussion filled with confusing
drumming and/or music jargons.
When asked about his mindset before
playing concerts like this one and having
worked with fellow greats and industry
pioneers, a slightly embarrassed but matterof-fact “Scary” comes out of his mouth.
Being scared – feeling fear – is something
you typically wouldn’t expect someone of
his stature to openly admit. Apparently, not
only is he human, but he actually proudly
embraces it. “When you’re sharing the stage
with guys who are as talented as my present
bandmates or anytime your name gets
mentioned along with the likes of Buddy
Rich, I don’t think it would be normal not
to feel fear,” he assures.
By this time, he has put all the drooling
disciples in the room such as myself who
were initially nervous wrecks totally at ease.
Once upon a time, Anthony Jackson, a
Grammy Award winning bassist, colleague
and friend of Steve’s paid him the ultimate
homage. “When
Steve plays the
drums, you can
hear an entire
orchestra being
played on the kit.”
Doctor Gadd is
doing his thing
now, conducting
the tempo and
tone of this talk.
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17 The next question regarding dealing with
making mistakes, while not coming from the
event’s facilitator and therefore in no way
rehearsed, seems to be something that
Gadd has set up himself. “If I make a
mistake what I do is repeat it a bit later
in the song so as to make it appear intentional.” While obviously pleased by the
loud laughter his admission has elicited,
he immediately shifts the dynamics to a
more serious and hushed volume.
“There was a time in which I’d be sessioning
and I’d feel ‘This guy doesn’t like me.’
Through the years I’ve learned not to take
it personally. I just try my best to make
it work. When you’re a nice guy people
eventually see that.”
In describing fear, the acronym F-E-A-R,
that is, I imagine this song – this intimate
gathering, now going into soloing as Gadd
shows off with a bit of quick wit and effortless humor. “Personally, the way that I deal
with fear is to Face Everything And Recover.
Of course, you can always choose to F**k
Everything And Run.”
Click, click, click. The trusty Canon system
with which I’ve shot some of his peers in
the drumming industry, Dennis Chambers,
Simon Phillips, and Steve Smith, to name a
few, goes off rapidly, as if synchronized with
a metronome set to 150 beats per minute.
It’s almost showtime and the “Pre-Show
Talk” is winding down.
Finally, Steve the 70-year strong professional of over 40 years is asked about his
success strategy and for the secret in his
staying power.
“To me, technical prowess has never been a
measure of one’s success.” Again, I’m a bit
caught off guard that such words would
come from one who is famous as well for
impeccable technique. “The only thing that
matters is that you love what you do, that
you do your homework and do your best.”
Showtime.
The concert proper, as expected, was nothing short of mind-blowing. Contrary to what
audiences usually expect of jazz and instrumental shows though, 70 Strong was not
filled with ultra technical, mind boggling
instrumental exhibitions. Instead, it was
abundant in sweet and sticky grooves,
Y O U R
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18 super smooth transitions, and all that
brilliance that can be learned only by staying
humble and just constantly listening. More
than a conversation between the drums and
bass, or between guitar, piano and trumpet
drums, and so on, it was almost a nonverbal understanding reached through
impeccable taste, through sheer musical
wisdom.
The show done Steve, along with fellow
band members Walt Fowler, Larry Goldings,
Jimmy Johnson and Michael Landau did a
meet-and-greet for the entire audience.
“Rather than shake your hand,” I respectfully asked Steve as I was handing him my
copy of their first album, Gattitude, “May
you just touch my forehead to spread the
magic?” Truth be told I thought he’d think
it was silly and maybe refuse. But, he was
game.
Nevertheless I felt blessed to well, err, be,
in a way literally blessed by someone who
is not only the quintessential musician, but
moreover a great human being. That, I
guess, is the best achievement to which one
can aspire. With that concluded this once
sentient being’s journey down to earth.
Rather than falling due to excessive pride
and ambition, however, he glided down on
the ray of light of humility and hard work,
clad in a black
shirt and jeans,
and swinging to
the hip-swaying
tune of the
“Hustle.”
Follow the Leader
Shortly after I stayed on to document the
event a bit more. I knew my work was done
when, for a brief moment amidst the chaos
of the autograph signing – for just a single
frame, actually, he looked directly my way
and smiled.
Despite feeling like a giddy high school girl
on the train ride heading back to my hotel,
as surreal as this whole thing was, I realized
that, like the rest of us “normal people”,
it turns out even a Steve Gadd makes
mistakes – that he, too, achievements aside,
is capable of fear. Admittedly, as much as
he expressed it being something “amazing”
he’d have “liked to learn,” the guy can’t twirl
drumsticks while playing.
About the artist :
Bombee Duerme is an avid Guitarian, CheeseBurgerer, Comicist,
and 4ever young
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19 Guitar Cables
By Kamal Mahtani
Cables is an extremely dry topic but at the rate guitarists are spending
more money to get their desired tone, it is time to learn more about
how a guitar cable can make or break your tone.
What does a guitar cable do apart from it
being a link between your amp and your
guitar? Why is it so important? Why are
cable manufacturers constantly making
improvements? Why do some of them
cost so much money? Why do guitar shops
sometimes give them away for free? What
is the best length to purchase? Being a
guitarist, I am sure you’ve asked yourself
some of these questions. This article is to
help you understand the most important
link between your guitar and your amplifier.
Think of a cable as an artery connected to
a heart. Once the artery is blocked with
plague built up, the blood flow to the heart
decreases and the heart pumps harder. I am
no cardiologist, but once the heart needs to
work harder, it becomes less efficient and
that alters the natural design of the heart.
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20 Imagine your cable
being blocked
with similar
impurities.
THIS is
going to
make a
huge
impact
on your
tone. For
one, your
amp will
need to
work
harder and
secondly,
your guitar
will sound
nothing like
how it’s
designed to sound.
Klotz Cables, a leading
brand German cable
manufacturer,
has been
manufacturing
high-quality
cables for
the MI
(Musical
Instrument)
and Pro AV
(Audio/Video)
Industry for
35 years.
WHAT ARE THE
IMPURITIES IN A CABLE?
Impurities are referred to as other metal
elements that shouldn’t be there. Silver
is the best conductor for signal, but it is
too expensive. Copper is the second best
conductor provided it has 99.95% Copper
purity.
When pick-up manufacturers design
pick-ups, they use guitar cables with
99.95% Copper purity in their R&D.
To experience what goes on in their R&D,
a guitar cable with 99.95% purity would
translate the experience immaculately.
When a cable is free, or cheap, you can
be rest assured It’s Copper content is
significantly lower and other metal elements
are mixed in to compensate for its low
Copper content. This is a TONE KILLER.
Don’t buy another pedal or change your
pick-ups, simply change your cable.
Y O U R
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Klotz makes
it very clear
that every
model of
cable they
manufacture
has 99.95%
Copper
purity.
Klotz offers nine different guitar cable
models and each of them vary in tone due
to precise calculated Capacitance. Their
cables are designed for every kind of playing
style. What tone are you after? What’s your
playing style?
Here comes the topic of Capacitance.
Capacitance in a cable influences the
impact on sound quality. Capacitance is
a science and it is calculated to work with
the resonant frequency of the pick-up.
Entry level cables will have a Capacitance
of 115pF/m and professional cables would
have a Capacitance of 67pF/m. What does
this mean? This number is very important to
determine the tone you are after. The lower
the Capacitance, high frequencies roll off
more naturally. The higher the Capacitance,
the stronger the attenuation of the signal
especially in the higher frequencies.
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

An example of how this
can be applied:
 A recording guitarist would prefer a cable
with lower Capacitance for clarity in
details especially for acoustic guitars.
 A bass player would prefer a cable with
higher Capacitance for more definition
on the lower frequencies.
 A blues guitarist would want a warm
tone and would like a cable with a
Capacitance of 65-75 pF/m.
The longer the cable, the higher the
Capacitance
too. Keep
the cable
as short
as possible.
As a
recording engineer, I hardly allow guitarists
to use their cables when recording.
21 I want transparency
and I only use my own
collection of Klotz
Cables such as the
Titanium, La Grange,
FunkMaster, ProArtist
or KIK depending on
their genre of music.
When you purchase an amp
and a guitar, the cost of a
decent cable is only a small fraction of the
total cost. A serious F1 car racer wouldn’t
use a free helmet would he? Cables are
just as important. Don’t fall prey to fancy
packaging, thick cables and technical jargon.
Look out for its Copper Content and it’s
Capacitance. Be sure to use similar quality
patch cables for your pedals, otherwise it
will defeat the purpose of using a good
quality guitar cable.
It defines you, it defines your tone!
unplug vibe
22 CHECKPOINT
DESIGNED TO ROCK
A concert venue like no other, Checkpoint Rock Bar is the South is place for those
who thrive on the rock lifestyle. Unlike other bars that have stages for any kind
of cast or music, those sleazy ones that are decadently dirty, there is nothing
mediocre about Checkpoint, as it is a class place with the perfect stage and hitech
sound equipment that is considered as home by the best local and international
musicians.
If you have been looking for a place that rocks, has the
variety that ranges from heavy metal to acoustic nights,
great food and drinks, and one that provides that total
entertainment experience, for the people who only
want the very best, go to Checkpoint that is open from
Wednesday to Saturdays, from 5 pm until the nearly
the break of dawn.
Like Checkpoint Rock Bar on Facebook
www.facebook.com/checkpoint?frebar/f=ts
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23 World of ILLUMINARI
ABOUT THE COLLECTIVE:
There is no mediocrity in what
they are attempting to do. It is
cutting edge sound, no more,
no less. The intent is to be as
experimental as possible while
balancing a core, natural melody
that resonates with instinctive
good feeling.
Progression in art is something that requires a
complete abandon of sorts. It is that courageous
step forward, right out of the box, in brazenly sure
footing. ILLUMINARI represents the feminine principle in a world of duality. Their message is the
light of existentialistic exploration and the clarity
of inner truth. Their tool is the path of musical
expression and artistic movement. Recognising
that in this material reality, the masculine principle,
the route of reaching outward for truth, is the more
active, dominant one, and so the purpose is to
illuminate listeners to release themselves from
the hold of the overtly physical and discover the
deeper, realer life within. If but only one person
awakens this light within them, ILLUMINARI
would have served its ultimate vision, to ignite the
guidance of the heart and soul. This is the picture
they are painting in all its audacity and what they
believe contributes to the collective.
Y O U R
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A U T H O R I T Y
Their debut album is a Trip Hop
composition, which is a fusion
of funk, soul, jazz with an urban
drumming style, entitled
"ILLUMINARI AT THE THRESHOLD" and it is a compilation of
different esoteric information
aligned to the twelve
archetypal subjects of
the astrological signs.
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24 The album itself has been mastered by the
grammy-nominated Emily Lazar, who was also
the engineer for Björk, Paul McCartney, Wu Tang
Clan, Prodigy, Foo Fighters, Garbage, Sia Furler
amongst others. The mixing was done in Diablito
Studios, by Diego Aguirre. Diablito Studios is a
company co-owned by one of the members of
Molotov, a famous Mexican rap group.
DIGITAL ALBUM:
Includes unlimited streaming via the free
Bandcamp app, plus high-quality download in
MP3, FLAC and more.





ABOUT THE ALBUM:
ILLUMINARI AT THE THRESHOLD
...is a title that on one hand describes it as being
the debut album (the threshold, the beginning)
and on the other, plays upon the guardian of
the threshold, an imagery from the theosophical
circles. The guardian is a being that guards the
path to higher knowledge. It is the metaphorical
place where you are checked on whether you
have released all layers of judgment within
yourself. If you are cleansed of all levels of that
karmic impurity, you are then invited into the
worlds of greater wisdom and lightness.
Therefore the album’s message and purpose
is to help the listeners prepare for that moment
where one meets the symbolic guardian and be
ready to receive the higher worlds. It is also simply
a message to just free yourself from the bondage
of what you believe life’s expectations should
be and take that step to understanding what
existence is all about.



Released: December 3, 2015
Produced by Celestine Angel
Executive Producer: IZ St
Music Composition & Arrangement: Marco Fernandez
Arrangement, Vocal Composition & Lyrics:
Celestine Angel / IZ St
Live Guitar Parts: Luis Huichotron De Nuex
Live Bass Parts: Cesar Ignute
Live Drum Parts: Ana Riv
click
to play
1.
Libra) Bluesphere 04:52
2.
Scorpio) A Labyrinth is not a Maze 04:48
3.
Sagittarius) Trial by Fire 05:16
4.
Capricorn) No Exception 04:18
5.
Aquarius) Take a Deep Breath 07:27
6.
Pisces) Chalice 04:33
7.
Aries) The Seventh King 04:12
8.
Taurus) Arc Matrimony 04:27
9.
Gemini) Gemini (True Groove) 04:32
10.
Cancer) Cero 05:05
11.
Leo) Philosophia Perennis 06:02
12.
Virgo) Letters on the Battlefield 04:55
Media Kit:
www.illuminarimusic.com
www.illuminaritunes.bandcamp.com
Y O U R
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A U T H O R I T Y
www.facebook.com/areyouilluminari
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25 THE PURSUIT OF
PERFECT SOUND
The WOW Group of Companies, importer and distributor of Entertainment, Energy
and Environment as well as Food and Wellness products, recently concluded
“The Pursuit of Perfect Sound: A Pro-Audio Seminar” in two key cities in
Mindanao, Zamboanga and General Santos Cities.
Coming from the success of the first 3-city
tour leg held in Davao, Cagayan de Oro and
Cebu Cities in October, The WOW Group
through its affiliate companies, Audio-Video
Solutions Corporation (AVSC) and G2K
Corporation, conducted these free pro-audio
seminars for Zamboanga and General
Santos Cities’ microphone and pro-audio
professionals. Attendees were comprised
of pastors, company owners/presidents and
key decision-makers, audio/sound engineers
and technicians from malls, hotels, government offices, houses of worships, schools/
universities, dealers and rental companies
and even end-users themselves.
Y O U R
I N D E P E N D E N T
Aiming to impart the latest and limitless
advancement in pro-audio technology, AVSC
and G2k Corp. invited audio authorities from
two of the world’s premium German brands,
Sennheiser and Adam Hall to share their
skills and knowledge on pro-microphone
and pro-audio techniques.
Sennheiser Engineer Kenan Phang presented
topics on understanding Radio Frequency,
Wireless Systems Manager, intermodulation,
product orientation on Sennheiser XSW,
evolution G3 and D1 Digital Microphones.
Participants showed interest during the
presentation on the typical set-up of
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26 Adam Hall, manufacturer and
distributor of LD Systems
that offers a broad range of
products from wireless audio
transmission through portable sound systems to installation speakers, was represented by Technical Product
Specialist Vinod Kumar.
Aside from the basic PA
techniques, sound theories,
Zamboango
basic principles on mixers,
signal processors, amplifiers
and speakers, low impedance vs high impedance,
the presentation’s highlight
was on the introduction and
actual demo of LD Systems
CURV500 PS Portable Array
Loudspeakers. The seminar
attendees were amazed and deceived by
its design – sleek and small yet produces a
very powerful, high-definition audio quality
from low, mid to high. Participants were
impressed upon learning that the CURV500
is applicable for home entertainment, bars
and restaurants, churches and for office
conferences and may be plugged in with
audio devices like MP3, iPOD, CDs, laptop,
etc. and even musical instruments,
perfectly fit for all musicians.
General Santos
Sennheiser evolution G3 microphones and
actual demonstration on the appropriate and
suitable microphone set-up and installation.
The second part of the seminar was opened
by a presentation on the fundamentals of an
audio set-up which was conducted by Audio
Engineer Marksolo Jamias. Equipped with
his ten years extensive experience in audio
post production, audio system design and
installation, Jamias shared among the
audience the essentials of a live sound
production, basic room acoustics, sound
check procedures, causes and prevention
of sound feedbacks, among others, leading
to Adam Hall’s presentation.
For 2016, AVSC and G2K, through “The
Pursuit of Perfect Sound” will visit more
areas nationwide, continuing its purpose of
connecting more closely with these audio
enthusiasts, practitioners and experts not
only to impart knowledge about the latest
technology and application techniques but
to learn from them as well and to have a
better understanding of the market.
Audio-Video Solutions Corp.
www.avscorp.com.ph
www.facebook.com/Audio-Video-SolutionsCorporation-124310460919222/
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Full Moon Party
@Area 51 Boracay
Location : Boracay
27 By Herb Cabral
Each month Area 51 Secret
Party Facility in Lugutan
Beach, South of Bolabog
(the side of the island
opposite of white beach)
organizes the Full Moon
parties which starts from
11pm until sunrise the next
day. Resident DJs there are
Erwin Edralin (A DJ Called
ER) and Reo Mendoza (DJ
Blindside) with Jack Bates
as resident musician
providing live percussions along
Jungle Bar before. I was very fortunate
with group of tribal drummers and
to have played there as guest DJ on the
percussionists. Area 51 was called
87th full moon party.
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28 It is currently the
only underground
joint in Boracay,
with DJs providing
proper house music
and techno. Area 51
is also host to the monthly black moon
party series which happens between two
full moon parties.
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29 Photo © NBK Group
Natural Born Klubbers
Revel @The Palace
Location : BGC / The Fort
Local house music group NBK (Natural
Born Klubbers) held their year-end party
last December 21, 2015 at Revel in BGC.
The DJ roster listed Manolet Dario vs.
Marc Naval, Bombi Balquiedra vs. Niju &
Jon Naval vs. Antz Santiago. Guest DJs
were Abdel Aziz vs John Monreal.
Photo © NBK Group
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30 Photo © NBK Group
Photo © NBK Group
Photo © NBK Group
Photo © NBK Group
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31 Euphoric Euphoria
@Intercontinental Manila
Location : Makati City
Euphoria Disco, one of Manila’s most
happening places back in the day, finally
closed its doors last December, but not
before throwing a big party on Dec.
30 named “Euphoric Euphoria” which
featured legends Boyet Sison, Jon Tupaz
& John Robinson, with support Juan
Miguel Salvador & The Authority.
Photo © Angela de Dios
Y O U R
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A U T H O R I T Y
Photo © Angela de Dios
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32 Hype & Glow @SM Fairview
Location : Quezon City
Hype & Glow : The Year-End Party was
Bands featured were Sponge Cola & Rico
held at SM City Fairview open grounds
Blanco. The DJ lineup was comprised of
last December 30, 2015. It was a grand
Deuce, Ron Poe, Everyday People, Callum
paint-party that featured the metro’s
David, Travis Monsod & Mars Miranda,
hottest bands and DJs got together
with MC Boo, Jams & Thug on the mics.
to close the year with a
big bang.
Photo © Regi Valenzuela
Photo © Regi Valenzuela
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33 DOUBLE
KICK
Skateboards x Local Filipino Art
Big H Skate Co. recently teamed up with four awesome local artists
to create a new breed of Big H boards: The Big H Filter!
These hybrid 33” double kick boards are the
most versatile board that Big H Skate Co.
has ever created. Made just right for cruising, freestyling, freeriding, or even bombing
some hills if you’re up for it. But being a
good ride doesn’t mean it doesn’t look good.
Big H Skate Co. released four models of the
Big H Filter, each one’s a piece of art from
amazing local artists: Rob Cham, JP Cuison,
Pancho Karambola, and HK Niu. One thing
though, The Big H Filter is on a limited run
so be sure to grab one before stocks run out.
THE BIG H FILTER BOARDS
L-R:
 HK Niu
 Rob Cham
 JP Cuison
 Pancho Karambola
Click here
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www.facebook.com/
bigHskate
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34 BIG H SKATE CO
GOES STREET
Y O U R
I N D E P E N D E N T
Get them while they’re hot, swing by
the Big H Skate Co. flagship store at
Market! Market!, Taguig.
A U T H O R I T Y
Click here
Before 2015 ended, Big H Skate Co.
released a collection of streetwearinspired shirts under the new Big H
Skate Supply line. Perfect for chilling
in and skating out, these new threads
from Big H Skate Co. were also
designed with the local skateboarding
and longboarding communities in mind
which served as a reference for the
designs.
O N
www.facebook.com/
bigHskate
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OR
IT CK
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unplug gear
DARKUSCASE
Custom Guitar Straps
DARKUSCASE is a bag and accessories
manufacturing company with proud
roots in serving the needs of artists
and musicians in the Philippines.
Created by Lui Cornelio and Ace Del
Mundo, both artists who took their
passion for music, design and culture
into a young and budding business
venture.
Darkuscase Bags and Accessories is
under Darkus Central, a duly registered
company (DTI/BIR) under the laws of the
province of Bulacan, Philippines.
FLAGSHIP LINE
Soft-cases for : Drum equipments sticks/cymbals/hardwares, Electric and
Acoustic Guitars, Keyboards
ACCESSORIES:
Custom Guitar Straps (Canvas/Digital
Print Canvas)
Button Pins
Custom Phone/Tablet cases
Custom Guitar Picks
All Darkuscase products are
MADE-TO-ORDER.
Weblink :
www.facebook.com/darkuscase
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G E A R DigiTech Obscura Altered Delay
’S
OR
IT CK
ED PI
unplug gear
New Sonic Twist To Delay Pedals
HARMAN’s DigiTech brings a new sonic
twist to delay pedals with its Obscura
Altered Delay, featuring four delay
modes that can be distorted, darkened
and degraded to create everything from
lo-fi tape emulation to backwards
playback, repeat/hold effects and
out-and-out sonic mayhem.
The DigiTech Obscura Altered Delay
features Analog, Tape, Lo-Fi and
Reverse modes, to re-create the
distinctive sonic signatures of early
tape-based echo and delay units and all
their aural idiosyncrasies. The Degrade
and Tone knobs enable players to control the amount of increasing signal
degradation and high-frequency rolloff
of successive repeats, and the reverse
mode emulates the dizzying psychedelic
sound of playing a recording backwards.
The Level control adjusts the amount
of dry to delayed signal, while the Time
knob dials in the duration of the delay
from slapback to 2 seconds of delay.
The Repeat control adjusts the number
of delay repeats, from a single clean
repeat to chaotic oscillating runaway.
The Obscura Altered Delay’s Tap Tempo
mode with beat divisions enables the
player to tap the footswitch to match
the delay to the tempo of the music.
Adding to the sonic hijinks, the pedal’s
Repeat/Hold function will lock onto and
loop a phrase and its Tails on/off switch
controls whether the delay continues
after the effect is switched off, or cuts
off abruptly. The Obscura Altered Delay
features mono and stereo inputs and
outputs, true bypass operation, die-cut
hook and loop pad, redesigned Stomplock, and a rugged metal chassis.
DigiTech Obscura Altered Delay is
available at the suggested retail price
of USD149.95.
Weblink :
http://digitech.com/en/products/obscura
Y O U R
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G E A R DW Design Series Acrylic
’S
OR
IT CK
ED PI
unplug gear
5-piece Drum Kit
Expect big value from this DW Design
Series Clear Acrylic five-piece drum
kit! This five-piece shell pack gets you
well on your way towards crafting your
ideal drum kit for stage or studio. You
get three toms, a snare, and a kick drum,
all made from clear acrylic that's sure
to turn some heads.
The Design Series Drum Set packs a
punchy sound that's perfect for a wide
variety of drumming styles. For reliable
performance you can count on for years
to come, call Sweetwater for this DW
Design Series Clear Acrylic acoustic
drum set today.
Shell Pack Features at a Glance:
 Shell pack with two rack toms, one
floor tom, one snare drum, and one
kick drum
 Snare (Depth x Diameter) 5.5" x 14"
 Mounted Toms (Depth x Diameter)
8" x 10", 9" x 12"
 Floor Toms (Depth x Diameter) 14" x 16"
 Bass Drums (Depth x Diameter) 18" x 22"
 Seamless clear acrylic shells provide
impressive tone and unique looks
 True Pitch tuning rods let you finetune your kit's sound
 Full-suspension floor tom legs and
suspended tom mounts included
 Clear acrylic finish
Weblink :
www.dwdrums.com/drums/design
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Egnator Tweaker-40
40-Watt Tube Amplifier
The Tweaker 40 is a two channel, 40-watt
amp, driven by two premium 6L6 power
tubes and three hand selected 12AX7
preamp tubes. Packed with the features
gigging musicians have been asking for,
the Tweaker 40 expands Egnater’s
award-winning Tweaker Series.
The eleven on board Tweaker switches
provide unparalleled flexibility for
shaping your tone.
TWEAKER SWITCHES
VINTAGE/ MODERN: Transforms the feel
from classic rock to modern edge
USA / AC / BRIT: Choose American, British
or AC EQ
TIGHT & BRIGHT: Shapes the low and
high-end response
HOT / CLEAN: Select low or high gain
MID CUT: Sculpts the critical midrange
A rugged 2-button footswitch
is included. Available as a
head or 1x12” combo.
Weblink :
www.egnateramps.com/EgnaterProducts/Tweaker/Tweaker40/Tweaker40.html
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FiiO GO1
Portable Compact Guitar Amp
The G01 Portable Guitar Amp from Fiio
allows you to play your guitar any time
and any place without disturbing others.
Just plug the foldable 1/4" guitar plug
into your guitar, and plug your headphones with 3.5mm mini plug into the
G01, and you are ready to start jamming.
Use the volume control to set your
level, and tweak the high/low frequency
tone control to customize your sound.
There is even an overdrive control for
adding crunch.
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The G01 is equipped with a rechargeable
battery that conveniently charges
via USB. It also features a lanyard for
carrying and is housed in a double sided
aluminum alloy shell.
Connect an audio device such as an mp3
player to the aux input using a stereo
3.5mm to 3.5mm cable (not included)
for jamming along to your favorite
music or backing tracks
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Line 6 XD-V75
Professional 24-bit Digital Wireless System
For vocalists, performers and active
spoken word presenters, the XD-V75
family sets new standards for versatility, reliability, ease of use and superior
audio quality.
All XD-V75 systems – both handheld
and bodypack – feature patented digital
technologies that deliver sound so
impressive they inspire confident, great
sounding performances. Including a
handheld system featuring 10 superb
microphone models, a lavalier system
with nine EQ filter models, a headset
featuring a high-end omnidirectional
microphone capsule, and a bodypack unit
to fit a favorite headset mic or lavalier
of your own, the XD-V75 family is the
right choice.
The mic modeling delivers great sound,
which remains pristine from your lips
to your audience’s ears thanks to the
24-bit performance. DCL™ (Digital
Channel Lock) technology keeps your
signal safe the entire time.
Weblink :
http://line6.com/xd-v75/
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G E A R Mapex Armory Tomahawk
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Snare Drum 14 x 5.5
Made with a 1mm stainless steel shell,
the Armory Series Tomahawk Snare from
Mapex has penetrating accuracy and
long range projection.
The focused power of its rimshot is
resonant. The steel shell features a
rounded 45-degree bearing edge for
focused brightness with plenty of
volume.
The shell is fitted with a piston
strainer and vertical throw-off that
enable quick, smooth operation and
prevent snare wire tension changes
during play. The precision tooled solid
steel Armory Tube Lugs deliver greater
tuning accuracy and shell stability
while giving the drum an elegant yet
modern appearance. The shell also
offers a black chrome finish.
Weblink :
http://mapexdrums.com/us/products/snares/armory
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Palmer CAB 112 RGN
Guitar Cabinet 1x12” with Eminance Reignmaker 8 Ohms
Model name: PCAB112RGN
Palmer cabinets are rugged, flexible
and affordable guitar cabinets.
The main features are:
 Front-mounted speakers
 Detachable grill
 Solid workmanship
 Speaker mount and quality check
carried out in Germany
Eminence Reignmaker
Tight, more focused with more highs,
more abundant in harmonic detail.
www.palmer-germany.com/mi/en/CAB-112-RGN-Guitar-Cabinet-1-x-12-with-EminenceReignmaker-8-Ohms-PCAB112RGN.htm
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Palmer CAB M
Passive Cabinet Merger
The device is entirely passive and does
not affect tone in any way.
Model name: PCABM
Passive Cabinet Merger
The concept behind Palmer's Cab Merger
may be very simple, but the unit fills an
important gap! Have you ever wanted to
connect two guitar cabinets to just one
amplifier output? It's quite simple with
the PCABM!
In addition, you can choose parallel or
series wiring. For instance, two 8 ohm
cabinets can be connected for a total
load of 4 ohms (parallel) or 16 ohms (in
series).
Weblink :
www.palmer-germany.com/mi/en/CAB-M-Passive-Cabinet-Merger-PCABM.htm
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Palmer TRIAGE
Amp Selector
Model name: PTRIAGE
Amp Selector
The Palmer TRIAGE routes the guitar
signal for up to three footswitchselectable amps. A fourth switch
(SIDEKICK) makes it possible to
select two or all three amplifiers
simultaneously.
In addition, each output has a phase
reversal switch to rotate the signal by
180°. This feature is often helpful to
prevent frequency cancellation when
playing amps that are out of phase with
each other. Each output has its own
ground lift switch.
The outputs are transformer isolated
to automatically eliminate ground loop
and the dreaded hum. For each path, an
adjustable in-volume buffer amplifier
is available, which can boost the signal
up to 12dB (four-fold enhancement).
Weblink :
www.palmer-germany.com/mi/en/TRIAGE-Amp-Selector-PTRIAGE.htm
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Superlux HD-631
Professional DJ Headphones
Superlux HD631 Series is a high-quality
DJ headphones. HD631 series headphones
comes with rotatable ear pad design
and lets you easily go to a single ear
monitoring.
Specifications:
 dynamic, closed-back, neodymium
magnet
 101dB SPL, 40 Ohms, 20Hz-20kHz
 3000mW, coiled cable, up to 3m cable
with stereo mini-jack and 1/4" jack
adapter
 Weight (excluding cable): 260g.
 Colour: Black
 High-res 51mm (2") neodymium drivers
 Dynamic closed-back design
 High noise attenuation< > Comfortable headband pads
 Rotating ear pad for single-ear
monitoring
 Detachable, single side cable
Weblink :
www.superlux.com.tw
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Tech 21 Fly Rig 5
Thoroughbred Professional Unit with Sweet Analog Tones
Sleek, compact, and simply awesome,
the gunmetal-finish Fly Rig 5 is a tiny
tonal titan, a thoroughbred professional unit armed with sweet analog
tones. At under 12” in length, you can
rule the road, rehearsal or recording
gig. No heavy flight cases, no cable
spaghetti, no dead weight.
With the Fly Rig 5, no arena is too large
and no stage is too small. Just grab your
guitar and tap into five must-have
pedals in Tech 21's award-winning
arsenal: a genuine SansAmp, a reverb, a
delay, a powerful boost and the incredible Plexi distortion. All of this in a
streamlined, rugged metal housing that
will easily fit in your guitar case.
There are illuminated mini-controls to
show active status, an included power
supply and studio-grade, metal footswitches and jacks. It's everything you
need and nothing you don't.
With the functionality of a full pedalboard, minus the crackling patch cables,
dying batteries and ground loops, the
Fly Rig 5 is a simple step to the rich,
expressive combinations you can use for
any session. Even when you want to use
the latest digital supercomputer or a
vintage tube amp, the Fly Rig 5 covers
your ass like yoga pants. It's the perfect
instant back-up rig when your boutique
gear goes down exactly when you need it
most.
Weblink :
www.tech21nyc.com/products/sansamp/flyrig.html
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Yamaha LNS1455
Live Custom Oak Snare Drum
Live Custom Oak snare drums focus
on playing in live situations using
1.2mm oak plies which provide a
powerful low-end that shakes your soul.
Photo©
Infinity
Blues Q type
Release /
DC3 type
Butt
Photography
This snare drum sounds more fitted for
this series drum sets with its materials
and colors used same as toms of its
series.
Features:
 Size : 14"x5 1/2"
 All Oak 6ply Shell
 Dark Silver Finished Hardware
 Q type Strainer release
Colors / Finishes LNS1455 EWS:
Emerald, Shadow, Sunburst
MSRP: USD 590
http://usa.yamaha.com/products/musical-instruments/drums/snaredrums/snaredrumwood/live_custom/#tab=product_lineup
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