My MF101 review was straight forward, the only surprise being the shitty décor. An lpf is just that, and if you don’t understand the concept, do me a favour and go neuter yourself with rusty hedge clippers, or at least promise never to reproduce. Seriously, I bet you know what a guitar pickup is, so why not a low pass filter??? I really need to stop sharing my music tech news with coworkers…

The Freqbox is an entirely different. Even to someone who owns a machine that can synch to its own oscillators, it doesn’t compare. A modular with external input and a synchable vco yadadadada, maybe, but if I don’t have enough money for that, I’m going to hate on anyone else who does…

I’m not going to bore you with a rundown of the freqbox functions. First of all, I don’t really understand the mechanics of it, and am not especially interested in learning such things. Second, saying the “the fm knob increases the amount of frequency modulation applied to the oscillator” doesn’t mean dick if you can’t actually hear it (and I’m far too lazy to make audio samples, they are easy enough to find). Third, you might try moogmusic.com, just a thought.

Instead, I’m going to describe the first couple of days of freqbox bonding. The bonding was a little traumatic, seeing as I got a new audio interface the same day (fuck you to hell you fucking dickfuck programmers at MOTU… to be continued). Once things settled down on that side of things, I was able to sit down and spend some serious luuuuv time.

I was a little misguided as to what to expect here. I have used sync a bit with VA stuff, and never really been a fan. That said, it has always been the usual sync osc1 to osc2 or vice versa, usually for that big rising monotone lead that seems to rise without changing pitch, you know the one… or you could get the rusty hedge clippers. This isn’t nearly the kind of versatility the freqbox offers. I had done a bit of youtubing, buy mostly it was just wankers crooning about the worlds first ‘guitar synth’. Other reviews were good, I wanted another moogerfooger, phasers are for beatnicks… and so, shazam, I have a freqbox.

The misguided part was thinking it would follow anything more than the simplest inputs. I was working on a Shiv-r tune. I had a nice toy piano patch going for the intro of the song which I had already recorded from my Virus through my mf-101. I ran it to the freqbox… and damn did it sound horrible. When I say toy piano patch, I mean a few high pitched oscs, a little detuned and a lot of release. I bet your laughing saying “well duh, of course there wasn’t usable sync”, to which I say… try balancing new gear with the pressure of getting tunes done in a timely fashion and you will understand… I bet your wall sized modular doesn’t compensate for the complete lack of interest any label ever has paid to your tunes ever… anyway…

So I tried sending a simple patch to it and snap! the ever so voodoo magical tracking abilities mf-107 is famous come into play. Ok, I think the toy piano misdemeanor was some magical fluke of new gear teething, and in reality all is well. I go about my patch making business getting all kinds of joy by pushing the mf’s vco into all kinds of scratchy psy-ish goodness. Then, through scholarly interest, I tried pulling the mf osc out of mdma-land and back into just regular tracking of the input… and I get more scratchy goodness, but this time I don’t want scratchy goodness, so let’s call it scratchy badness (and yes, there is still tunes in need of finishing while I waste time on the twiddle stick). “fuckity fuck fuck” methinks, “perhaps the sync rocker is fucked” (to regress from not wanting to explain the functionality of knobs and switches, the 107 has a switch which alternates between the osc tracking the pitch of the input and the osc pitch responding to the amplitude of the incoming signal). I am seriously stumped. I turn it off and on again (digital logic applied to analog machine??). I watch more videos on the internet and wonder why my ‘thing’ isn’t the same as some other guy’s ‘thing’, then I had to go to work and try not to worry about my ‘thing’ for the remainder of the day.

Returning from work, I try a new patch and it is tracking well again. I fuck about with the patch again, and get the same problem again. Instead of reverse engineering whatever I did with the mf, this time I reverse what I did with patch, and it tracks well again. Since most of what I do is either out of the discernable pitch variety or stupidly de-tuned variety, there was a valuable lesson to be learned in this…

The mf tracks simple inputs well, add a second oscillator to the input and it gets a little unpredictable, add a third and you can kiss it all goodbye. Second to that, it won’t track anything too high pitched (it says in the manual the input should be lower pitched than what you want to the mf to put out, but at this point the manual was still in the box… where it belongs). Third, take a simple sound and run it through a hpf before sending it to the 107, weakening the fundamental frequency too much, and it won’t track.

I had read in an SOS review that claims it manages to find a ‘sympathetic pitch’ with guitar chords, but I have began to lose a little faith in SOS. The fact is, it doesn’t, but I still love it. I have had it for over a month now, so I will tell what I do use it for.

a) beefing up patches. That seems obvious, but not in the way you think. You can’t make a musical patch and send it to the mf thinking it will make it bigger and better, because it won’t track. I make a sound I like, then create a simplified version to send to the mf that is easier to track. Combine the original patch and the new one through the mf and you are in for some serious beefy business.

b) Oddly enough, percussion. I don’t meaning running full beats through it, I mean adding it single percussive noises with synch turned off and letting the volume of the source control the oscillator. I like this especially for bassdrums, though the result is a kind of flappy/clicky bassdrum which is not especially fashionable right now, but I do whats I wants and I likes it.

As for gripes about the box…

1. I got it in whitewash. After getting my 101 in whitewash I knew this was stupid, and my 107 is even worse quality. I had to get them to match, I’m just special that way. I am planning to rack mount them after I get a third (probably the ring modulator, don’t like phasers in any context, the murf seems like a many variations but at heart a one trick pony, as well as following Moog’s recent trend in stupid names for things…and the delay is overpriced, stupidly overpriced, I know bbd chips are hard to come by, but come on…).

2. There is serious colouring of the input signal. Thankfully there is a true bypass on this one, unlike the 101, but with the bypass off and the wet/dry mix set to 100% dry, you would think it would sound something like the original. Instead, it sounds like it’s been run through a low pass filter. Perhaps a necessary evil to help it track properly, but evil it is, nonetheless.

3. As I learned once upon a time as a young man, analog oscillators are always ‘on’ and obviously true for the freqbox vco. This means there is something like a gate that stops the sound of the osc when the input amplitude falls below a certain point (I guess it is a ‘squelch circuit’, I’m not the most educated type). That is all good, but when the env tracker is pushing hard on the vco, that cut off point is marked with a noticeable glitch that is similar to a guitarist muting the sound of the strings. This is inevitable, but the sensitivity of the “gate” needs to be adjustable to cater for differing inputs. I am under the understanding it is adjustable… by opening the back of the unit and adjusting a trim pot. Having a front panel pot to adjust this would have been grand… perhaps replacing the dumb ass stompbox switch. Moog belongs to the synth man, the guitar man can get his own damn hero.

UPS delivered to my door in an obscure little building in the northern outskirts of BKK. What an age we live in. I do wish to whine about import taxes though… damn import tax blows…

Although I’m sure you all know this, it’s a filter in a box. It’s Fairly similar to the original Minimoog filter, and as far as I can tell, identical to the Moog LP filter (sans MIDI triggering or real envelope control etc). It has a 2pole/4pole swtich, and an envelope follower that tracks the input amplitude, but simple is good. I got the whitewash version, and at the risk of starting the bitching to early… the white is not exactly the best. The wood version looked hot enough already, but I just had to be different and get the fancy white one. It turns out this is just very very very badly painted wood. I mean, it looks like a kindergarten project. Moog seems to have gone all out with their crazy range of woods and backlight themes lately, which is very cute, but if they are delivering things like this, I would say stick with the original versions.

I’m in a list mood, so here we go:

Pros:

- Good price. Well not so good if you are thinking of it just as a LPF that takes up a lot of room on the desk. Good considering it sounds just as Moog does, ie. very good. I think back when these were sold as “Big Briar” they were a lot more expensive, but the build quality was better. As long as the insides stayed the same, I’m not too fussed.

- The drive is very satisfying, especially on low frequencies.

- The difference between 2pole and 4pole is very noticeable, as you would expect. Unfortunately, on a lot of other gear including my Virus, switching slopes doesn’t really get the results one could wish for.

- The env follower is very effective on the “fast” setting, even for sounds with a lot of release, it tracks perfectly.

- The resonance is ever so Moogy. There is something about the resonance on Moog filters that is so distinctive, especially on high settings with the filter very open. It adds a kind of nasty hiss that is just, nasty. I’m probably sending myself deaf and killing my speakers with supersonic ribbish.

-It also does something odd when the env amount and resonance are set quite high, the cutoff is fairly open and the incoming signal is fairly constant in volume (ie. fast attack, full sustain and no release… I’m not sure if this is making any sense). It adds a strange sizzle that I have not been able to catch since I stopped using the Waldorf D-pole plugin many years ago. In theory, any filter with an amplitude follower should do this, but these are the only two I have found that do it just the way I like it.

Cons

- There are two settings for the env follower, “fast” and “smooth”, on a rocker. Basically it seems to effect the attack time only, or maybe the release as well. I would hardly expect a full ADSR on something in this price range, but having a pot here sweeping the between the two values would have been nice, even if it had increased the price a little.

- Why is there a mix knob? Maybe guitarists using it as a wah wah thing need it… I don’t know, I never wah. I do know I don’t need to mix wet and dry on a filter. Maybe a heavily driven single could be mixed with the dry to add “depth”, but seriously, “depth” would have to be one of my least favourite words. So, I will reiterate, why is there a mix knob on a filter?

- Added to that, when the filter is as low as it can go, ie. more or less silence, and then you turn up the volume high and listen really hard, a little of the dry signal is coming through. Practically, this isn’t important at all, and I reeeeaaalllly shouldn’t be pushing the volume up with the filter at 20hz (the resonance was on zero so my monitors were relatively safe, but anyway)… I expect more than that!

- It would have been a lot nicer, and smaller, if it weren’t doubling as a stompox. Guitarists with their bluesy wails and drunken, clumsy feet don’t rate highly in my world. It also makes patching the cv controls a pain seeing as the jacks are at the back of the unit.

- There is no true bypass. The big ugly stompbox switch will bypass the filter, but not the drive. I don’t really mind, seeing as the drive sounds great anyway, but it makes it difficult to see exactly what the thing is doing to the sound.

- Bob’s grandchildren should be taken off the décor committee.

For anyone interested enough to be reading this, you all probably know what the Access range is all about, so I will spare you the details. Suffice it to say, these are probably the best sounding DSP machine around, and Total Integration pretty much puts it at the pinnacle of usability, especially for lazy types like me who grew up on welfare cheques and cracked soft synths… anyone who disrespects me for that can take either their trust fund ass, or their born before the 1980s ass, home.

Chances are you live in a city where a slice of Access action is available at every corner shop, but Bangkok is a different matter. It was magical and mysterious journey tracking one of these down. After a lot of phone calls and confused secretaries I finally narrowed things down to two shops (first thing to do is pronounce it Access “Wirus”… if you are ever in the neighbourhood). The first shop didn’t have any in stock, but was willing to order one in at a ridiculously inflated price. The second had just the one in stock, and had been using it as a showroom piece. So the showroom it would be and this lead me to an obscure little shop with blacked out windows next to a smelly canal. A big fat white guy (who used to run the national radio station of Bhutan or Brunei or something… how the fuck do people get these jobs??) explained that he occasionally got them in because he has a friend who works for Access, and probably only sells about one per year.

In the end this was all quite good luck seeing as I got a nice price for it, all be it for a synth that has been sitting  in a glass cabinet for a couple of years and 25% less processing power than the current TI2 line (more about the processing power later). Setup and OS upgrades were absolutely painless and experienced very few of the glitches that earlier versions of the TI concept seem to be notorious for. So far, so good (incidentally, OS updates take a long time, don’t try this ten minutes before you have to go to work), but what kind of review would this be without me making my bones…

The DAW:

First of all, I am a Cubase user and I am using SX 3.1, the minimum DAW requirement. Like Virul3nt, I find other DAWs confusing and infuriating, so don’t you fucking dare suggest I try anything other than what I know. It works quite happily in SX 3.1, but certainly not at its full potential. In Virul3nt’s comments there were issues with external audio inputs not working through the usb connection, which was rectified by upgrading to 3.1, and I can confirm this, mine is working with external inputs just fine. My issue is that it is not possible to route cubase channels back into the Virus. It would be very nice to be able to do this, and I actually have some other stuff permanently plugged into the virus external inputs so I can take advantage of its gorgeous delays etc. I would like to be able to do this with audio tracks in cubase as a virtual route, but as it is the only way I could do this is with physical patching. This seems to be a pity given how well the rest of the synth functions inside the DAW. It is possible to do this is in Cubase 5, but I don’t have any plans to upgrade anytime soon… so I am just going to have a bit of pout now, and move on with my life.

The Polyphony:

You will get both sides of this in internet opinion land. While one person will say they have never run out of voices, another will say they kill it after 5 parts. Chances are the former writes simple electro, and the latter writes trance or some kind of shitty new age music. There are plenty of people screaming that Access exaggerates their polyphony count. People don’t seem to be able to except this is NOT some polyphonic analog where you got x number of oscillators and it will be the same under all circumstances, thinking the 80 or so voices Access promises should be available under all circumstances?? Think again, chump. I’m sure with very simple parts you could easily get all 16 possible slots on the virus going simultaneously, but start throwing in unison, hypersaws and fx and this possibility goes out the window, welcome to cpu-ville. I often kill mine after about 5 parts, but then I like my fx and unison and just have to accept it. And if one were thinking in terms of it dying after just 5 parts, the extra power of the TI2 is really only going to buy you one more voice, so I don’t especially feel like I missing anything by having a TI1. To be honest, though, I did expect a little more. I would like to commend Access on how well it handles cpu overloading. Rather than the expected stutters etc., when the cpu overloads a voice cuts out gracefully and doesn’t disturb the others. I would also like to point out that is one were tossing up between the Nord Lead 2x rack and a slightly more expensive Virus Ti Snow… well the Snow a) sounds better b) TI motherfucker!! And c) with a 20 voice polyphony count, the nord will be chocking a lot quicker than the virus.

Snap, Crackle, Pop:

I had heard that it will give will bursts of static/noise fairly randomly when the series was first released. After about 3 months of quite heavy usage, the little bastard has done this to me once or twice, and the machine wasn’t even especially stressed. It seems usually just one patch confuses it, but fortunately it works ok when the offender is solo-ed, and rendering it sorts out the problem. Just to clarify, I am using the BETA version of OS4 at the time of writing this, so I could be making too much of a point with this…

The Default Patch:

When the TI software boots, it automatically goes to clean patch called “init”… and I fucking HATE it. For one, it loads with a 50/50 mix between osc 1 and 2, with osc 2 slightly de-tuned. This gives you a slightly pusling open saw wav, the worst sound in the world. I would ideally like osc 1 straight up, straight up saws being the sound that inspired Adam to bone Eve. I usually start my patches from osc 2 because it has more modulation possibilities, but I can appreciate how silly it sounds to have the default patch outputting just osc2, so I will leave that issue be (though I think osc 1 should have more modulation… yadadada, I will stop with that now). The second issue is that the two filters load with linked cutoffs as low pass – low pass. Noooooooooooo, I want LPF to HPF by default. I’m sure some people feel ever so analog with the current default… but I specialize in scratchy annoying sounds and love my HPF action. I know I could fix all of this by overwriting the init patch, but the next OS update would probably just throw me back to square one.

Total Integration:

This is awesome. I mean just awesome. I am fairly certain that most synth manufacturers will be following Access’s lead on this one and creating vst instrument like software for their hardware machines. I barely know how to use the Virus from its front panel controls at all. My bone is that a lot of the Virus’s functions are, as of yet, are not represented in the vst software. I only actually have one example of this, but I’m going to jump to assumption there are more examples, because that’s just how I roll. When I run an external input into the virus, there doesn’t appear to be any place in the software to control the levels. I searched in vain, and finally discovered that there is a control, tucked away under a few menus on the actual synth’s front panel screen. This required me to stand up and go to the synth and press some buttons, and this filled me with potato baking rage. I want the virus to be a box that I can plug in and then handle entirely from software. On something analog, there is a great deal of pleasure turning knobs and flicking switches, but on something horrendously complex and digital with the masses of multipurpose pots and menu scrolling, there is nothing but pain, confusion and wasted brain power. Thankfully, Access is on the money with their software updates, and as time goes by, I’m sure ‘Total Integration’ will become more ‘Total’.

The Final Word:

This baby can just about do anything you want, but that is a double edge sword. For example, I am not a great fan of wavetable synthesis. In fact, if you were to come to my house with a Nord Wave and offered it to me for free I would shoot you with my grandaddy’s shotgun. I can’t tell you how much I hate wavetable synths, the only sound they do well is drippy hippy pads that belong with whale samples… so it seems kind of stupid to have shelled out for a top of the range synth knowing in advance you’re not really interested in using half of its functions. My argument against that is that I reserve the right to change my opinions about things tomorrow, and hey!! when I decide wavetable synthesis and whale samples are the best things EVER, I have a synth that kicks ass at it.

I’m pretty pissed about this and I’m going to march in there this week and take my A6 from them.  They’ll call me if this part ever comes in (in one piece) and we’ll take it from there, but hopes aren’t high. 

The moral of the story I guess is, if you ever want to buy a major, modern flagship synth like the A6, make sure the company that manufactures it is still manufacturing it and that they have a good track record for repairs.  Another arguably good sign is if the company updates their synths with “version 2″ hardware and constant OS updates.  While the A6 was an instant classic when it came out in 2001, it’s in limited production and Alesis have had their share of problems as a company. 
This experience makes me wonder about the upcoming Waldorf Stromberg.  With Waldorf going under and resurfacing numerous times in their history, and given how problem-ridden their recent Blofeld was rumoured to be upon release (at least before the first OS upgrade), I have strong doubts that Waldorf would be able to support their Stromberg if and when they do finally release it.  Not to mention the fact that Waldorf is taking so many years to release the Stromberg, which really doesn’t look good for their financial situation.  Oh, and Waldorf shipping the Blofeld with “secret” RAM and selling a licence to unlock it later on is without doubt a major dick-move IMHO. 
A good looking company is one like Access, who updates their Virus-line every few years, and Moog, with new and alternate versions of their flagships fairly regularly.  So perhaps, unless you’re T Rizzle and can get every new flagship upon release without too much pain, maybe it’s advisable to stick to the big names without getting too esoteric in your investments. 

This means one very cool thing - finally my studio has multiple outputs!  At last, I can run individual channels through hardware FX & synths, and at live shows I can separate the backing tracks to give better FOH clarity & control. 
Well, in theory, this is what I can do. 

Unfortunately my main production environment is my iMac running Windows via Bootcamp.  What I have found out after getting the MOTU is this - MOTU products are not supported for use under Bootcamp!  It has to do with the firewire port, and despite upgrading all necessary drivers and reading all possible forums I have come to the inevitable conclusion that I simply cannot use my MOTU Ultralite Mk3 under Bootcamp.  This was confirmed by MOTU’s tech support when I finally contacted them with my problems.  They replied with an abrupt and succinct single sentence: “MOTU products are not supported for use under bootcamp”.  Well, fuck, that’s great… 
The good news is, the MOTU works perfectly on my VAIO laptop, as well as on the Mac OS partition of my iMac.  So what this means is that I am going to have to switch to Mac OS, probably accompanied by a jump to Cubase 5, when I can afford that upgrade.  Oh, one other thing you’ll need is a Firewire 400-800 adaptor, given that the MOTO is Firewire 400 only, and the iMac has 800 ports…  This was obtained easily enough from an Apple store..

In the meantime however I’ve been testing the MOTU preamps by doing some recordings on an environment that supports it.  The recordings are noticeably clearer and more satisfying than my old Tascam US-122 - really a night & day difference there.  I’ve also been having fun with running live loop-based jams on my VAIO, using Ableton Live, and routing individual channels through my KP3.  This should come in very handy at future Plague Sequence gigs. 

I’ve also been getting some serious mileage out of the DSI Mopho, which I’m unfortunately going to have to finally part with next week when I move.  Initially I thought it covered much the same ground as my Moog Little Phatty, in that they’re both analogue monosynths, but the DSI has a very different set of functions.  It’s sound is very different and much brighter/glassier, but the main difference is in the sequencer/arp.  I downloaded the Mopho software editor and this unlocks the yellow box (we’ve nicknamed it the “Bee-Box”) to some amazing tweakability.  Hit the Sequencer section for some really crazy possibilities, where you get 4 x 16-step sequencers that can be assigned to different paramaters.  If you can’t have fun with this sequencer, chances are you are dead inside.  It’s got a very contemporary electro sound, but it’s also a dirty little EBM machine.  If it had an analogue overdrive circuit I’d probably have to hook up my reproductive organs and try to make little Bee-Babies with it.  The other well-appreciated feature is that it never seems to go out of tune, despite the fact that it’s analogue.  I think the Moog Little Phatty is the best synth ever made (and I own an A6), but given that it has no internal tuning reference I have to tune mine before every recording, and sometimes it goes out by 100c.  I think I’m going to have to add a Mopho of my own, or a Tetr4, to my “list”…..

When screaming/shouting, it’s incredibly important to never run out of breath.  We spent time going over Shiv-r songs and noting points to take breaths so that I don’t run out.  It’s not only to keep the vocal power up, but if you are shouting and run out of breath, the muscles in your throat will push against your voice box and do some serious damage and it’s a quick way to get nodules in your throat which have to be surgically removed (not fun). 
Food: stay away from dairy the day of the gig.  If strapped for time and all you can get is Mickey D’s (which is an unfortunate and unplanned post-soundcheck/pre-gig ritual of mine), it’s okay because the meat and the bread is fine, but try and just eat half of it and take out the dairy.  The ideal food - sushi!  Very clean, not too heavy and the wasabi is good for clearing the nasal passages.
Alcohol: Absolutely stay away from red wine the day of the gig, as the antioxidants will cause your throat to flare up.  White wine is the best thing you can drink (if you have to drink), which is largely inconvenient as I can’t stand white wine (I think it’s a male thing), but I guess it’s time to learn to like it.  Stay away from anything carbonated, but if a beer is necessary, go for a blonde or something not too carbonated.  Other than that - white spirits are A-OK as long as they’re mixed (thank christ for that), just don’t go crazy. 
Warm-up: probably a good idea to do this before soundcheck just so you sound consistent and the engineer knows what to expect.  Just go over 5-minutes of the set or do 5 minutes of scales to warm up.  This’ll last for 3-4 hours max so a re-warm-up before the set might be necessary if soundcheck is much earlier. 
We went over a bunch of shouting tricks and the “vocal fry” technique, but for further learning she recommended the Zen of Screaming DVDs by Melissa Cross.  I’ll definitely be checking these out. 
Mics: My teacher recommended a Beta58 for my voice, which is what she uses as well because it suits her voice and has better feedback rejection than an SM58.  This echoes something an engineer friend of mine told me, which is that apparantly Covenant’s engineer’s choice of live mic for Eskil is a Beta58.  Definitely something to consider as I currently use SM58s (and the troublesome 520DX/bullet). 
Touring: Make sure you cough up the phlegm out of your throat at the end of the night.  Singing always results in phlegm and if you leave it in your throat it’ll breed more.  Ideally put a hot towell over your head and chill at the end of the night to clear it out.  Also, make sure your voice is in shape by practicing for at least half an hour a day for a month before back-to-back gigs.  The voice is comprised of a muscle, which will perform better when exercised.  Basically, a night of singing will stretch out the vocal chords, and they will need to resize to their regular form.  If they’re in shape, this will happen faster and you can sing again sooner, but if they’re out of shape they can take over a day to get back into their regular form which will mean wavery vocals in back-to-back gigs. 
Hydration: Drink 1litre of water for every 20kg you weigh in order to keep your throat sufficiently hydrated.  For me this is like 3-4 litres…ouch. 

There is a great deal of technique that was imparted as well, such as making an ugly nasal sound while running scales to unlock methods of projection. 
In the studio, when I’m not shouting I tend to rely on a very breathy, whispery sound for effect.  Unfortunately this really doesn’t translate live because it uses a tonne of air which is highly damaging and not so loud.  After these lessons I’ve learned to project these sections naturally which should add a lot more power to future gigs. 

Ah, what a pleasingly evil-looking pair…
The camera is the Canon 450D (in my completely unskilled hands).

Hacker by virul3nt

Anyway, today I got into it and the thing is really damn impressive.  I’ve recorded a short demo so I’m going to basically let the Mopho speak for itself rather than review it’s features.  After all, I’ve got remixes to do…

Oh, one other thing to mention though, is that obviously DSI has just brought out the Tetr4, which is essentially 4 Mophos in one box, for not much higher a price.  Well I say “ho-hum” to this.  The Mopho simply WORKS.  There’s really a lot to be said for mono-synths, and I think the Mopho is perfect in what it is.  So I think, my friend James shouldn’t be throwing his Mopho out the window to get a Tetr4 anytime soon.  As to whether I will pick one of these up myself, while I think it does offer a different sound to the Little Phatty (mmmm, curtis chip…), I don’t think the features justify the expense given what’s already in my arsenal.  But hey, the Mopho rocks!

Audio Demo - everything except the kick drum is from the DSI Mopho:

p.s. doesn’t the quality of the pic look better than usual?  We also picked up a Canon 450D camera recently too.  It takes stunning photos…

Next up will be some audio samples and videos…