GIT252.variax

4/6/04

4:07 pm

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VARIAX ACOUSTIC

SUMMER 2004
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PHOTOGRAPH KATHARINE LANE SIMS

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CTRO-ACOUSTIC ELE

VOLUTION? RE

FLIGHT OF FANCY?
ine 6 launched Variax at the end of 2002. Wed already had a range of amps and effects processors that used digital modelling to capture the sounds of classic amps and effects and present them in a single unit; doing the same with guitars electric and acoustic was obvious but, as with amp modelling, it has proved highly controversial in the ultra-conservative guitar market. To begin with, its uninspiring chassis its neck and body meant the original Variax (now called Variax 500) did little to persuade the world that DM guitars were really the future. An upgraded vibrato-equipped version, Variax 700, followed and certainly added a better chassis. But the key thing about Variax is that it does more than any other electric guitar by offering over 20 different models of classic electric and acoustic guitars all onboard a single instrument with no outboard processing necessary you just plug in a play.
year and now, in 2004, The electric version of Variax was launched last be the future? by Dave Burrluck we have the acoustic version. Could this
Former Smith Johnny Marr has found the Variax to be a useful tool

The Players

After reviewing Variax 700 last year we dropped it off with Guitarist contributor, studio owner/producer Mike Westergaard who splits his studio time between recording artists and writing music for TV. He used Variax to record the title music of an upcoming E4 show, Four Go Dating, and on new songs during demo sessions with Sky from Morcheeba. People really liked it, its a very useful tool, he assessed. Its the versatility that I found so useful: you can quickly dial in a sound that suits the music youre working on. I didnt pre-select, I just turned the model selector and the ve-way switch to nd a sound that worked. Session player Nick Robinson whos recently been working with Nelly Furtado and Kim Marsh is equally real world about his Variax 700: We all fantasise about playing on stage with loads of different amps and guitars but in reality, if youre a working player playing in smaller venues, the audience doesnt notice what gear youve got.
And if youre doing covers youre trying to replicate recorded parts. Youd think that a seasoned stringmangling pro like Jerry Donahue wouldnt necessarily see the Variax picture, but at the recent Frankfurt Musikmesse Donahue chose to play Variax instead of his own signature Fender, not for a Line 6 demo but on the German-company Nobels stand. I think the Variax is the best offering weve seen since Leo Fender introduced the Telecaster in 1950, enthused Donahue. This instruments ability to successfully replicate the tones Ive insisted on through the years, in addition to so many other popular sounds/stringed instruments, puts it in a league all of its own. Laurie Wiseeld is another seasoned pro who has been using Variax 500 from the beginning; along with performing in We Will Rock You, hes currently touring Europe with Night Of The Proms. I still take my mainstay workhorse guitars but this tour is with a full orchestra and an electric rock band, we play a lot of different kinds of music and sometimes within one song

I need both acoustic and electric, he says. I nd the acoustic sounds on Variax 500 really good, especially through a big PA. The body and neck arent the best but the sounds, the ES335, the Teles, the Strat and Les Paul, all sound good. But its the feel of those old guitars that you cant replicate you cant change the feel. Wiseeld highlights two common complaints: rstly you might be hearing a pretty accurate Les Paulstyle or ES-175 tone but theres no way Variax can feel like either. Also the neck and body of Variax 500 are well made for a budget model but a bit average for a player who has other quality guitars. Top London guitarrepairer Bill Puplett agrees and was asked by some of his customers if Variax was available as a retro-t so they could t the technology into a favourite guitar. British designer of brands like Fret-King and Italia, Trev Wilkinson, had the same thought: The rst time I saw Variax my rst thought was wouldnt it be great to put that technology in a real guitar so you could have the best of both worlds.

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This guitar is a great tool for the student, recording studio or just for someone wanting an idea of how all those great guitars were supposed to sound Pete Townshend
Doves Jez Williams the Variax will be on our next album
Pete Townshend can have any guitar he likes, but is a conrmed Variax fan
Well things are moving on that front too: Warmoth (see Digital DIY) now makes high-quality replacement necks and bodies for Variax 500 so you can create your own Variax.
Paul Hughes is the Sales Manager at the Soho Soundhouse in London. Weve done very well with Variax, he conrms. Once it was announced we took back orders immediately. However, you need to explain the concept to the customer. The only limitation is the physical guitar itself most people have their own favourite guitar, with its own feel. Variax doesnt feel like a Gretsch or a Les Paul but the tones are close its great for duplicating sounds from records. So just whos buying Variax? Weve sold mostly to session players and touring musicians, says Hughes. Lots of bedroom and semi-pro players too, but Id say the majority has been to top-end players. I dont think Variax has taken anyones market share: the people who buy one already have a Strat and/or a Les Paul.
Paul Malcom from Sound Controls Glasgow store is equally enthusiastic and also states a lot have been sold to function band musicians and also to studio-based players. Variax has been fantastic for us. The 500 created an amazing buzz we pre-sold loads and its still the best-selling model. However, Paul reckons Variax 500 especially has stolen market share primarily from mid-priced hybrid electrics, sales of which in his store have practically ceased.

Not for everyone

Will DM guitars change our industry like digital technology has changed audio recording and photography? No, says Paul Reed Smith. If the modelling was as good as the digital photography is, I would say yes. But, when I see our brochures and it looks like these were pictures taken with lm, and in fact they were taken digitally and no-one can really tell the difference, Id say that changes the industry. But the digitally modelled guitars still dont sound as good as the originals, and almost anybody can hear
the difference. I think what were looking at is the beginning of a changed art form, not the end. As it gets better, I think the chances of it changing the industry will get higher. By the way, I think it will get better. Guitar author Tom Wheeler has written and studied the history of the guitar and written numerous books on the subject. He sees the potential for studio musicians as promising but feels for many players that, tradition continues to play a big role in how we perceive our guitars. You refer to the way digital cameras have revolutionised photography, but that was a mechanical and chemical-based technology in need of revolutionising. For most of us, photographys romance is in the photos, not the camera. Are guitar players really looking for something other than a rich sounding acoustic guitar, or a great feeling, great looking, great sounding electric guitar plugged into a great sounding amp? Id much rather have a Martin, Fender, Gretsch, Gibson, or what have you than a single digital instrument, even if it were convenient, cheaper, and could

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C LECTRO-ACOUSTI E

EVOLUTION? R

DIGITAL DIY
Dont like the neck or body of your Variax 500? Change em!
replicate the sounds of those other
instruments. Why? In a word, romance. I think the simplicity, portability, beauty, feel and vibe of traditional guitars will continue to make them the instruments of choice for most players for decades to come. Author, journalist and Guitarist contributor Charles Shaar Murray has already been swayed by the versatility of Voxs Valvetronix digital amps but says: To extend this into the guitar universe, wed need a modelling guitar which had as groovy a feel and vibe as our favourite Strat/Tele/Les Paul/ES335 or whatever. Sound isnt everything. Id love to be able to turn my open-tuned solidbody slide guitar into a 1930s National resonator (or my 1996 JD Tele into a vintage Rickie 12) at the twist of a knob, but that doesnt mean I want to play a mediocre-feeling alien guitar in order to have those sounds at my disposal. As Charles subsequently commented: I love the Vari but not the ax. Ned Steinberger is one of the few designers that could lay claim to producing really radical revolutionary designs with his headless and virtually body-less carbon bre instruments. The power of electronics is wonderful, but there is a price to pay. With the acoustic guitar, the relationship between player and instrument is intimate, with the sound coming directly from the body. An electric guitar is one step removed, as the sound comes from a separate speaker. The beauty of the electric guitar is that even though it is amplied, the origin of the sound, which is the string itself, is still vibrating under your ngers, and thus responsive to all nuance of technique. The Variax uses the string more like a trigger and as such is two steps removed. Im sure modelling has an important place in the world of guitar, but I dont think it will ever dominate the market. Avalons MD Steve McIlwrath has similar thoughts, especially in regard to the new Variax Acoustic: Its a well made, well designed instrument, but like all digitally modelled systems its focus is on what the electronics can do, not the natural acoustic

As it gets better, I think the chances of the Variax changing the industry will get higher. And I think it will get better Paul Reed Smith
sound of the instrument. In electroacoustic guitars I see it as developing into an important niche rather than becoming the mainstream. It will have an impact, but wont dominate in the same way digital technology has affected the world of photography and audio recording. immediately change tuning without touching our machineheads. Pitch modelling is very exciting, reckons Bill Puplett, whos tted and repaired all types of multi-tuning devices like Hipshots Trilogy bridge and the TransPerformance system beloved by Jimmy Page. Any systems that physically retune the strings all have The future? problems of compromise with differing So are we guitarists all technophobic, string tensions and the fact that the conservative romantics? Well, I think neck moves under these different the evolvement of the electric guitar is tensions. But to achieve it from a xed actually held back by the majority of string tension is a major breakthrough. guitarists hesitation to accept new Its a very musical way to go I think. concepts and/or new materials and But many guitar players probably methods of construction, offers Trev havent yet tried this new fangled axe. Wilkinson. It seems strange to me that The Doves Jez Williams is happy he Variax is possibly the one guitar that did: Variax is proving to be a very people actually listen to to judge it handy tool. Weve already used it on most other guitars are judged visually various demos, and it will denitely on appearance and specs such as end up on the next album. Its so easy materials or place of manufacture and, to change the whole mood of a song by of course, age. simply changing a Strat into a semi The launch of Variax Acoustic instantaneously. (reviewed on page 92 of this issue) will Johnny Marr was likewise impressed: no doubt heighten the debate. With its Ive found so far the Variax has an on-board pitch modelling we not only intrinsic sound of its own which is have the versatility of the numerous very pleasing and useful, and is onboard sounds but also the ability to particularly good when used with the POD. Ive found that I used it as a very, very diverse electric guitar and I stopped checking the sound it was modelling (almost, curiosity got me). I just got a good sound and played. Pete Townshend has access to any guitar he likes but hes still found time to evaluate Variax. This guitar is a great tool for the student, recording studio or just for someone wanting an idea of how all those great guitars throughout history were supposed to sound, he says. In a lot of cases the Variax version sounds better than the original. Digital technology may have its detractors but it has changed the way we live, work, and create music. Is the digital modelling guitar (which you must remember is just in its Seasoned pro Jerry infant stage) the future or Donahue: the Variax is simply a ight of fantasy? What the best offering since do you think? the Telecaster in 1950

Warmoth is probably the premier quality supplier of replacement necks and bodies with a wide online choice of options. Recently the USA company announced replacement necks and bodies for Variax 500 so you can simply load up Variaxs parts on to a new chassis. Currently both Strat and Tele style bodies are available (unnished from $265, solid colours add $165) while a maple/rosewood Strat-style neck will cost $157 (plus $15 upcharge to alter the screw positions). If you want a higher quality version of the back-angled Variax neck with the Line 6 headstock, Warmoth makes those too. You can order on-line (or via phone or fax) and shipping charge to the UK for the above body and neck would be $53 (approx, plus import taxes, VAT and in some cases a handling charge).

www.warmoth.com

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LINE 6 VARIAX ACOUSTIC 700 899
ACOUSTIC MODELLING GUITAR CD TRACKS 2 & 3

CHOICE

Line 6 Variax Acoustic 700 899

The rivals

Fishman Aura 499 Fender Acoustasonic Stratocaster 799.99 Godin xtSA 939 Godins latest, reasonably priced multi-voice guitar offers electric and electro-acoustic tones plus, via its 13-pin standard synth output, the potential to access an unlimited variety of other sounds including the Roland VG-88s acoustic models. Fishmans Aura pedal uses Acoustic Sound Images, not modelling, to transform your electro-acoustic tone into an exceptionally lifelike acoustic tone its got a chromatic tuner, notch, phase, compression and threeband EQ. The Fender is a more straightforward stage-only electroacoustic, with graphite topped alder body, maple neck, three-way Fishman pickup into threechannel preamp, active tone and sexy colours
Modelling mania hits acoustic players head-on as Line 6 packs an impressive selection of classic acoustics into just one guitar by Matthew Wig
oth Line 6s Variax 500 and 700 (Jan 2004 issue) modelling guitars already offer a small selection of acoustic guitar/instrument types among their arsenal of onboard guitar models. However, it became clear to Line 6 that while these provide a compelling jack-of-all-trades solution for instrument-burdened gigging guitarists, acoustic players have very particular needs that were not being met. A dedicated acoustic modelling guitar was required; not only loaded with acoustic-specic features and functionality, but with a more congruous playability and design. Enter the Variax Acoustic 700, armed with appropriately potent modelling re-power: 12 classic acoustic models, four more exotic acoustic instrument models, preset and custom alternate tunings at the touch of a button, compression, modelled microphone placement and the ability to save preferred parameter settings. These models have all been created for this guitar, and do not correlate to those found on its predecessors. As a result, more time and effort has been spent tweaking the algorithms that instruct the complex digital transformations, aiming to enhance the acoustic realism of the models.

VARIAX ACOUSTIC 700 Build quality Playability Sound Value for money

TEST RESULTS

WE LIKED Ease of use, excellent alternate tuning feature, included accessories and the best acoustic sounds youll hear from a plugged-in guitar on its own WE DISLIKED Some scruffy construction details, and what about an onboard tuner?

Variax Acoustic 700

As we mentioned in our preview (March 2004 issue) this guitar is styled a bit like the Gibson Chet Atkins SST. Its body is solid mahogany, although three separate slabs make up its width, with considerable wood mass removed for the electronics compartments and oval soundhole chamber. For ttingly
acoustic styling the at top (there is a slight widthways convexity) is a handsomely uniform-grained slice of solid cedar; and youll notice the traditional black and white puring. The rosette is a bit furry around its edges, but the perimeter puring is cleanly laid. The black lacquered inner surface of the soundhole chamber is left surprisingly rough. Where the electric Variaxes have bolt-on necks, this three-piece mahogany example is mortise-jointed, Les Paul style. Its ngerboard is cleanly nished, with sharp outlined inlays, but its not the neatest fret manicure weve ever seen. The nut is squarely seated and this rosewood-faced headstock carries a set of smooth and positively geared tuners. Down at the authentic acoustic bridge we nd an unusually dry, bare-wood surface, albeit tidily nished with no sharp corners. The front-end of the Variaxs complex signal chain is a fairly familiar piezotype transducer with separate sensors for each string. This unit is a neat looking, if chunky, integrated saddle unit with logically staggered, slotted metal saddle pieces for accurate intonation. At each end theres a handy height adjustment screw.
A generous nish applied to neck and body simultaneously results in some pooling around the heel/body joint line and ngerboard extension sides. However, this isnt a tone issue here, purely a cosmetic concern. At the rear, a large square cover plate unscrews to reveal the modelling nerve centre circuit board, which appears deceptively modest considering its capabilities. Only the twin looms of ne wires going to the controls and the output, respectively, hint at the wealth of stealthy technology at work here. Both the pickup and main PCBs are securely screwed to the body wood. The battery compartment is latched shut with a coin slot screw, and inside you nd a 6 x AA battery cradle, which rattles around loose when its empty and is removable to leave a 9V PP3 connector. 9V cells are for emergencies only as they are swiftly drained. The simple control panel is purposely lacking in dened markings since the three sliders control a number of functions. Unusually, these sliders have bare ends, but theyre sufciently smooth and damped. The main selector knob is a chunky, positively clicking and signicantly damped device with sufcient resistance to any accidental twisting or depressing. While there is a digital in/out, youll need Line 6s Vetta combo to use it. The standard mono jack output can receive phantom power from the very handy XPS footswitch via a stereo lead; and Line 6 includes both. The XPS is a mains powered (adaptor included) DI box that allows A/B switching between

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PHOTOGRAPHY LOUISE BROOM

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With plenty of frets beyond the 12th, its a good job intonation is up to scratch
The controls are simple to use and sturdy enough to last
an instrument level mono jack output
and a standard line level XLR output, so you can toggle between acoustic amp or direct PA routing if necessary. The Variax Acoustic is designed to feel like a regular acoustic, so its reasonably buxom C-prole neck, about 21mm (rst fret) to 23.5mm (10th fret) deep, is par for the course. Combined with a manageable width, this delivers a non-specialised familiarity thats reminiscent of Avalons Silver Series (Oct 2003/ Sept 2004) neck dimensions. The ngerboard is given a lightly sealed, dry silk nish that offers talcum powder lubrication, but as we mentioned earlier the fret ends are not as snag-free as they could be. Solidbody construction makes it simpler to achieve ideal neck alignment and a uniform ngerboard, so we have no problems here. Fret height looks very even, too, end to end. The result is a consistent, positive and effortless action, that makes these standard-issue light-gauge bronze strings seem unusually easy-going. Also, you can adjust the 12th fret string height via the saddle screws, which means you can do a complete action set-up yourself. Intonation is, unsurprisingly, as near as damn-it to perfect at the 12th, which is a relief with all these frets, an open cutaway and the electric style lowprole heel to tempt you up there. Acoustic players may balk at the weight of this guitar, but once youve stood up and pranced around with it for a bit, the slim body advantages make a persuasive argument.
The simple control panel is purposely lacking in defined markings since the three sliders control a number of functions
A quick press of the selector knob and the red LED lets you know youve engaged alternate tuning mode. If Line 6s tuning choice is inappropriate you enter alternate tuning set-up mode (a quick double press leading to a ashing red-green-red-green LED) where you can pick from the library of preset tunings (see boxout). It is assumed you will tune the Variax Acoustic to standard tuning to begin with, or else presets go a little pear-shaped. In this mode the compressor and mic position sliders function differently. When farthest from the knob the compressor slider selects preset tunings mode, in which case the mic position slider acts as preset tuning selector. Moving the compressor slider towards the knob engages custom tuning mode and selects each separate string in turn until the nal position when the capo setting selects all strings simultaneously. The Variaxs pitch modelling allows you to drop each string down an octave (12 semitones/ half-steps) or raise it by a fth (seven semitones/half-steps). Pitch control is served by the mic position slider here. For the two 12-string guitars, the mandola, the sitar and the Japanese

Variax Acoustic has both a regular jack socket and a digital I/0 for Vetta II connection

Special Features

The main rotary selector is illuminated with a green LED in basic play mode (see boxout for model listing). In this mode the three sliders govern compression, volume and mic position. Compression is a tricky concept, but the Variax simplies it to a single more or less decision. Sophisticated microphone modelling allows you to adjust (in the digital domain) microphone placement relative to the modelled instruments soundhole. This is your only control over tone.
shamisen you cannot use alternate tunings, but you do get logical manipulation of these models. For example, with the 12-strings you can vary the relative pitch of the string pairs to get some chorusy phasing or choose for only the high octave strings to sound (like Nashville tuning). Alternate tunings, compressor levels and mic positions can all be saved to the particular model you selected to edit, and you can even save alternate tuning mode as the default for that model. Youll note the lack of any EQ, which Line 6 considers unnecessary. Personally, this reviewer thinks an onboard tuner would be the next generations most useful addition.
LINE 6 VARIAX ACOUSTIC 700 PRICE: 899 (inc gig bag and accessories) ORIGIN: Korea TYPE: Single cutaway, at-top, acoustically chambered solidbody featuring 16 digital acoustic guitar/instrument models, instant alternate tunings and onboard compression TOP: Solid cedar BODY: Mahogany MAX RIM DEPTH: 48.5mm MAX BODY WIDTH: 350mm NECK: Mahogany SCALE LENGTH: 648mm TUNERS: Individual die-cast chrome NUT/WIDTH: Synthetic/43mm FINGERBOARD: Rosewood, unbound with pearl snowake markers, 432mm (17-inch) radius FRETS: 24, medium BRIDGE/SPACING: Rosewood/54mm ELECTRICS: Piezo-type hexaphonic saddle pickup into patented onboard Variax DSP modelling nerve centre/preamp. Controls include multi-function 16-way rotary model selector/push-button knob, volume, compressor, modelled mic position, instant alternate tuning switch, preset alternate tunings select, individual string or capo pitch (custom tunings) and custom settings save function. Power via 6 x AA batteries (10-12 hours approx), 1 x PP3 (1-2 hours emergency power) or phantom supply from XPS A/B footswitch/DI box (included) through TRS/stereo lead (included). Guitar outputs regular 6.4mm jack and digital I/O for Vetta II amp connection. XPS A/B footswitch/DI box (external power supply included) toggles between unbalanced 6.4mm jack and balanced XLR outputs WEIGHT (kg/lb): 3/6.6 LEFT-HANDERS: Not yet OPTIONS: Spruce top versions planned for later in year FINISHES: Natural gloss body and neck (as reviewed) or black Line 6 UK www.line6.com

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The slimline mahogany body feels quite agreeable once youre used to it
The Variax Acoustic catwalk
Heres the Variax Acoustic 700s list of models, along with the drool-some source instruments Line 6 referenced to create them PARLOR TRIPLE 0 DREAD JUMBO C & W GYPSY 1941 Martin 5-Martin 000-Martin D-Gibson J-Gibson SJ-Selmer Maccaferri JAZZ 1951 DAngelico New Yorker NYLON 958 Manuel Velazquez FOLK Guild F412 BLUES Stella Auditorium RND NECK 1939 National Reso-Phonic Style O SQUARE NECK 1937 Dobro Model 27 BANJO Gibson Mastertone MANDOLA Mandola SHAMISEN Japanese Shamisen SITAR Indian Sitar And here are the preset alternate tunings you have at your ngertips E & A OCTAVE DOWN DROP D DADGBE DADGAD HIGH G GBDGBD LOW G DGDGBD OPEN D DADF#AD OPEN A EAEAC#E OPEN E EBEG#BE
With a built-in alternate tunings library, you may not need these as much as you think
The Line 6 XPS footswitch is included with the guitar
The sounds are just there and usable straightaway, the basic controls are simple, the alternate tunings feature is intuitive and mastered in minutes
Hence, when you move on to Gypsy, Jazz, Banjo, Sitar (excellent fun), or even Shamisen, you appreciate the complete personality change, even if you dont know what to do with them yet! Both the atmospherically lo- Selmer Maccaferri-based Gypsy and Gibson Mastertone-based Banjo are particularly impressive, capturing the real spirit of the source instrument, although actual users of these instruments may be more critical. The resonator models capture the essence of the instruments in question, but the idiosyncrasies are missing, while Nylon is a bit unconvincing. Both the 12-strings and Mandola highlight the technical difculties that arise when modelling instruments with string-pairs, and the results are still a little synthetic. Inevitably, some of the characterful if occasionally perplexing quirks associated with such acoustic instruments are somewhat ironed-out and homogenised during the digital, algorithmic re-assembly processing. So, while each model tone is commendably balanced, positive and consistent over its entire response range, delivering a predictable performance, even at very high volumes, theres a slightly unrealistic dynamic smoothness. When youre using an alternate tuning you really want to be drowning out any acoustic sound coming from the Variax or the dissonance will do your head in. Also, youll nd that note tracking is fractionally slower on a digitally de-tuned string, and the lower you tune the more the model character gets blurred.

Verdict

One of the Variaxs huge pluses is its immediate plug in and play ease of use the sounds are just there and usable straightaway, the basic controls are simple, the alternate tunings feature is intuitive and mastered in minutes. On one level Fishmans nifty new Aura pedal does offer your existing electro an edge with its more lifelike acoustic ambience, but that is a relatively tricky set-up concentrating purely on the sound quality issue; plus, at gigging volumes, the solidbody Variax Acoustic is bound to behave better. Inevitably, its the Variaxs choice and features that give it the edge, and not only is it unique as a one-stop cure for many acoustic players woes, but it offers by far the best value way of achieving this specic solution.
SOUNDS: To this reviewers ears the
Triple 0 is the most convincing of the six-string models, with a core tone thats superbly workable and considerably more satisfying than any existing acoustic pickup system alone could hope to provide. The mic position control allows a welcome and useful variety of warmth, tonal colour and percussive elements. For a more biting, meaty sound the Dread comes in a characterful second best, but it has to be said that some of the other sixstrings sound a bit like variations on the Triple 0, just with different EQ.
Line 6 Variax Acoustic 700

RATING

SUMMER 2003

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More acoustic modelling
Although Variax remains the only acoustic modelling guitar, were seeing more and more products that use some kind of acoustic modelling, or similar technology, to improve your basic piezo or magnetic electro-acoustic tone. Heres a brief overview by Chris Vinnicombe

Roland VG-88

PRICE: 899 TYPE: Virtual guitar and amp modeller plus synth and digital effects

Fishman Aura

PRICE: 399 TYPE: Digital acoustic instrument processor pedal Acoustic Imaging Blender
Back in September 2000, we reviewed the Roland VG-88 Virtual Guitar System. Rather than being a specic acoustic instrument modelling system, the VG-88 incorporates Rolands COSM technology to model a whole library of guitars, effects and ampliers to great effect including both steel and nylonstrung acoustic models and the option to change the size and type of the synthesised acoustic body. Although this is easily the most expensive option here, dont forget that acoustic modelling is just a small part of an incredible array of sonic options that the VG-88 offers, with the added advantage that there is no need for onstage guitar-swapping.
WE LIKED Everything! No tracking delay and the majority of sounds retain playing dynamics and expression WE DISLIKED Requires the GK2A pickup to get the most out of the unit; minor glitching on some real-time parameter changes Roland UK www.roland.co.uk

As reviewed in issue 251, Fishmans new Aura processor provides a slightly different take on modelling technology, focussing instead upon taking the sound of your acoustics piezo or magnetic pickup and employing sophisticated digital processing in order to simulate the effects of a carefully positioned studio-quality microphone. The main advantage to this approach is that you can get close to the micd acoustic tone of your own instrument, in whatever environment that you decide to play. We said at the time: that buzzy, close-up piezo pickup character is eradicated, replaced with a natural airy sparkle and a three-dimensional sense of size and space.
WE LIKED Extremely lifelike micd-up acoustic sounds, upgradeability and solid construction WE DISLIKED No MIDI adaptor cable, lack of knobs for more intuitive editing FCN www.shmanaura.com
ALSO CHECK Weve not reviewed BOSSs AD-8 Acoustic Guitar Processor (279) but our tech team has heard an excellent demo. The AD-8 uses COSM Acoustic Modelling to, transform piezoequipped guitars into six high-end acoustics. Body and String Enhance help to create what BOSS believes are, warm, micd acoustic sounds. Other features include four-band EQ and reverb, onboard tuner with mute function, anti-feedback control, four preset memory locations and balanced XLR outputs to allow direct connection to a PA. Roland UK www.roland.co.uk

Yamaha AG Stomp

PRICE: 399 TYPE: Acoustic guitar preamp pedal with stereo digital effects and mic modelling

Korg AX10A

PRICE: 99 TYPE: Multi-effects processor for the acoustic guitar
Reviewed in issue 219, Yamahas AG Stomp takes the successful formula of their modelling pedals and applies it to the particular needs of acoustic guitarists. The AG Stomp features microphone modelling technology and although microphone models are more generic than the Acoustic Sound Images used on Fishmans Aura, we were again impressed by the way that the AG Stomp managed to breathe life and natural ambience into a basic piezo tone: Twisting the blend control between direct and full microphone simulation, you can hear claustrophobic piezo buzz give way to a truly threedimensional sense of space.
WE LIKED Emphasis on the essential acoustic requirements and totally credible, effective mic simulations WE DISLIKED Lack of input gain control Yamaha www.yamaha-music.co.uk

Korgs brand new AX10A follows on from their cost-effective electric guitar and bass modelling pedals which we reviewed back in issue 250. The AX10A uses Korgs highly-regarded REMS modelling technology to approximate the tones of a variety of classic acoustic guitars and features mic modelling as well, although this is limited in comparison to the Fishman and Yamaha units. However, if you are looking for a lowcost way to liven up an acoustic signal for live or studio use then this could be an ideal rst port of call. It would particularly be a good place to start for less-experienced players.
WE LIKED Easy to use and ideal for multieffects virgins WE DISLIKED Slightly unsophisticated sonic options Korg UK www.korg.co.uk