Fender Player Series Guitars and Basses

Fender Player Series Guitars and Basses | Learn More: fender.com

Fender has had a big year. Much time has been spent updating most of their product lines while also launching a new line of effects pedals and acoustic guitars. Though that seems like a lot, maybe they have saved the best til now as some of their best selling guitars just got better.

A new level of quality that also needed a new name, “The Player Series.” For those familiar with Fender products, this would be the replacement of their MIM (made in Mexico) series, which is a pretty good step above their entry level ‘Squire’ series and somewhere slightly below what their American series was before it too received an update. This update to the entire line of guitars and basses has brought improvements to the pickups and internal components, added a fret, and has freshened the pallet of colors to once again establish Fender as the industry leader in style and sound. Guitars like the often imitated Stratocaster and Telecaster or basses like the Precision Bass and Jazz Bass (P Bass and J Bass for short) are the top choice of many of today’s top music makers. This is no more true than within the worship community as you’d be hard pressed to find any well-known worship team where there isn’t at least one if not all of their musicians playing a Fender product.

Specifically, I reviewed the Telecaster HH in the very cool Tide Pool finish, which straight out of the box played great and sounded amazing. Telecasters, or ‘Tele’ for short, are arguably the “it” guitar at the moment (not that I want to argue and maybe it’s really a tie between the Telecaster and an arch top semi-hollow body). This style of guitar is marked by an unmistakable thin sound found in so many modern recordings and features a slightly wider ‘C’ shape neck that I found very easy to play. I was also pleasantly surprised by the quality of intonation (how the notes at each fret were in tune) that is pretty tight up to the 12th fret.

In the traditional configuration, a Telecaster has two single coil pickups that have recently been updated from ceramic to Alnico (type of metal). The HH model that I reviewed, however, differs from the original in that it comes with two Humbucker pickups (two coils put together that, as the name implies, helps buck or eliminate the hum) which can actually be split into single coil pickups by pulling up on the tone knob. This option allows you to get a much wider spectrum of sounds from the same guitar, from thick sounds to thin sounds quickly and easily.

So whether you want to keep it traditional, want to get the latest colors, need a left-handed version, or want the flexibility of the HH versions the new Player Series from Fender has a lot to choose from. You can check them out online at fender.com or head over to your local retailer and be ready to fall in love (metaphorically speaking).

Pros: Great quality for the price with the legendary sound and style included.

Cons: If I’m getting picky, the intonation wanders a bit above the 12th fret, which is somewhat to be expected for guitars at this price point so if that matters to you consider stepping up a level to the American Professional Series. Also, a case of any kind is not included.

Bottom Line: These are the instruments that are shaping the current sound of worship music at a price most people can afford.

Universal Audio Live Rack 2

Universal Audio Live Rack 2 | Learn More: uaudio.com/uad-accelerators/uad2-live-rac

What Is It: An external processor to run studio-quality plug-ins live

They say in order to move forward in the field of sound you have to go back. That’s because almost all advanced sound is either based on vintage gear or is a modernized technique of processed developed by legendary producers and engineers. When you start to peel back the layers of time you will notice a few names being repeated over and over, one of them would be that of Universal Audio. A company that has long been at the forefront in the world of audio.

While many people offer a version of equipment like the LA-2A and the 1176, they were the ones that actually invented them. This is a level of gear that until recently I didn’t know much about and didn’t realize how important it was to getting a great sound. Look at most any picture of a big recording studio and you’ll see racks and racks of them and with each unit costing in the low thousands of dollars (even today) it was a big part of what made recording studios desirable to work in and put a big roadblock to their use in a live setting.

Renting a studio with expensive gear has faded into the sunset with the advent of plug-ins (smaller programs that you can add to recording software). These digital counterparts can be quickly added to your project as many times as you need for a fraction of the price and once again Universal Audio is a leader in the field. While this modernization greatly improves the home studio, the digitization of a physical unit now created a new barrier to using them live, which was the processing power of your soundboard. Not everyone realizes that digital soundboards are actually computers with knobs and while they offer many similar features to high-end audio units (e.g., compression, eq, and effects) they are not as good. So rather than purchasing a new soundboard, there is now a way to add the processing power you need to allow you to run the same software used by so many top producers today.

The Live Rack 2 by Universal Audio is a relatively easy to use rack mount unit that is essentially a computer that is designed to process audio really fast. This allows you to run a large number of high-quality plugins without experiencing any lag in timing, something known as latency. To control which plug-ins are being used and to switch between settings you will need an actual computer to act as the interface to run a very light and simple program while the Live Rack 2 handles all the heavy lifting. For those who are already Universal Audio users and are familiar with vintage gear, this will be a breeze as it closely resembles their console program. Users will also be delighted to find that licensing works on all Universal Audio units so you don’t have to purchase separately for each device. If, however, you are not familiar with Universal Audio plug-ins (UAD for short) or vintage gear then this can be a bit of a steep learning curve and even though it’s offered at a fraction of what it used to cost there might be some sticker shock as high-end gear is not known for being cheap.

Connection to your soundboard is made through a MADI connection, no that’s not a typo, it’s MADI not MIDI. This is a network protocol that is lighting fast and is standard on high-end soundboards like DigiCo and SoundCraft but not so standard on most of the soundboards used by the average church. Behringer users get off easy as an interface card is relatively affordable, however those with a Yamaha can expect to pay quite a bit, and others are simply not available. This connection sends the signals from your soundboard to the unit and then returns the processed sound almost instantaneously.

One of the key features that this system allows is live pitch correction via a plugin by the industry-leading company Antares, which is included with both product price points. By selecting key, voice range, and effect intensity you can really help bend notes back to where you hoped they were going in the first place. This, of course, is just one of the many benefits as almost the entire arsenal of UAD plugins are compatible with Live Rack allowing you to dial in custom settings for each track and subgroup. While the physical unit is the same for both options, the first price point includes a limited but very useful assortment of plug-ins or if you want to go ‘all in’ the full version put all their tools at your fingertips. It is also possible to add plug-ins individually without the bundled discount. Demos of plug-ins are available so you can see what it does and know how it interacts with your gear.

Pros: This is pretty exciting stuff for people who are familiar with this kind of equipment because it really does sound better and based on relative price it’s a pretty good deal.

Cons: They are working on it but you can’t use the same computer for running LiveRack as you do for other Universal Audio products. One plug-in that is currently missing is a multi-band compressor as the one they have is mostly for mastering and is not compatible with LiveRack. For those who are not familiar or are just getting started it can seem pretty expensive and may take some education to reap the full benefits.

Bottom Line: Top notch gear

Alesis SamplePad Pro and SamplePad 4

Alesis SamplePad Pro and SamplePad 4 | Learn More: https://www.alesis.com/

Review By: Steve Reed

What is it? A very compact and programmable electronic drum set/trigger pad

As the sonic landscape of music continues to include sounds from both acoustic and electronic drums, many drummers are looking for ways to get the sounds of their favorite recordings into a live venue. Enter a drum pad, these are those flat boxes (positioned next to a regular drum set) that are used pretty heavily by many of today’s artists. Designed to take the beating of being hit by a stick, these drum pads allow you to use the preloaded sounds included with your purchase, load your own via an SD card slot, or simply trigger sound by connecting to a computer via MIDI.

While essentially being a very compact electronic drum set, these pads can be placed alongside an acoustic drum set or even be used independently, giving you the features of an electronic drum set without the form of a drum set (a configuration that was even used by Christian artist/writer Ryan Stevenson at the National Worship Leader Conference this year).

While drum pads have been around for awhile, there has always been a bit of a barrier for most people. Namely, the one about the price. With many manufactures asking around $800, most people have not been ready to make the leap. However, with the new line of drum pads from manufacturing legend Alesis, that has changed. Offered at a fraction of the cost and loaded up with features, their flagship model, The SamplePad Pro comes with 200 sounds and has 8 pads that can be extended by additional pads and even allows you to connect a high hat and kick drum trigger, giving you the ability to potentially have a complete electronic drum set. It’s younger brother the SamplePad 4 only has 4 pads and only 25 sounds but it is a great option for those who don’t need the full drum set capabilities.

Each model allows you to load your own samples (pre-recorded sounds) via an SD card slot and gives you extensive control over pad settings from volume to pad sensitivity. Also available within the unit is the ability to adjust the pitch on each pad to get higher and lower sounds as well as add some light reverb. The SamplePad Pro even allows you to load up 2 samples per pad so that when you hit the pad softly it triggers an independent sound from when you hit it hard (a feature usually only found in advanced drum sample packs). The interface is simple but intuitive and I was quickly able to get the sounds I was looking for. Separate headphone controls allow for silent practice and an auxiliary in with volume control allows you to play along with your favorite music.

Maybe the biggest negative for these pads is that the custom samples take a few seconds per megabyte to load, which depending on how big your files are or how you structure the layout of your pad can take some time to be ready to use. This would be challenging if you needed to switch sounds quickly between songs. There are, of course, some workarounds. The first being to buy a fast SD card, as they are all not the same speed (look for a 10 on the label). The next is to lower your file sizes by eliminating silence or downsampling (lowering your audio quality) which seems a crime but in a live environment, it will probably go unnoticed. The last way is to avoid using the SD card feature altogether and to pair the drum pad with your computer by using such programs as AbletonLive and MainStage via MIDI. This allows your computer to handle all of the processing work and yet retain the primary benefits of the drum pad, which is that you can hit it with a stick.

Pros: You can’t beat the price and the ability to expand and customize is sure to meet the needs of a vast majority of musicians. For those who were already planning to use programs like AbletonLive or MainStage, this is a no-brainer.

Cons: A little slow to load for heavy users

Bottom Line: Priced right and full of possibilities

Valhalla DSP Plugins: Shimmer, VintageVerb, UberMod and SpaceModulator

Valhalla DSP Plugins: Shimmer, VintageVerb, UberMod and SpaceModulator | Learn More: valhalladsp.com

Reverb has reached new heights of popularity in the worship community with Shimmer being the most trendy variety. It’s a sound that contains an octave effect that adds massively reverberated notes above what you are already playing. This is often used in ‘pad’ sounds for keyboards and even by electric guitar players.

There are several ways to accomplish this sound, from standalone keyboards and pedals but increasingly this effect is being done in a live environment by computers running software like MainStage, Ableton, GigPerformer or in the studio with software plugins for the standard offerings of DAW’s (Digital Audio Workstation) such as Logic, ProTools, and Ableton. But of all of the available reverb units in the world, which one should you choose? Where I live, that’s the kind of thing we talk about over coffee or before service, which is where I had started hearing the buzz about Valhalla from several producers here in Nashville. But it wasn’t until I then noticed that Peter James, the main sound designer for Hillsong, had a Valhalla plugin as the only additional one required for his patches for MainStage, that I knew it would be worth a listen. Since then I have seen it in many other places and can understand what all the noise is all about.

To those unfamiliar with plugins or the specific ways that reverb can be controlled, these programs can be a bit overwhelming as they are designed to give you extensive control over your sound. Thankfully, there are quite a few presets that will spark your creativity and several 3rd party sound designers, such as the aforementioned Peter James, offer low-cost settings you can download, sometimes even for specific songs. In addition to the ValhallaShimmer, the VintageVerb stands out as a great choice for those looking for a classic ‘verb’ or if you are looking to push the boundaries of the sonic landscape, then check out UberMod and SpaceModulator.

Demos are available so you can test it out before you purchase at valhalladsp.com.

Pros: Relatively low cost and current popularity

Cons: Lots of knobs but lots of presets

Bottom Line: It is what some of the top professionals are using

Paige Capo

Paige Capo | Learn More: paige-capo.myshopify.com

Capo’s are a metaphorical lifesaver for many guitar players, they allow you to play open chords in different keys and can keep you from having to play the often dreaded barre chords. However, most capos have a problem, they bend the strings. This unfortunate side effect causes the guitar to play out of tune. This is, of course, unless you place them perfectly behind the fret or take the time to re-tune your guitar after putting it on.

I’ve had the same capo for most of my adult life so I, like many people, had just learned to live with the consequences and became meticulous about my placement, would check my tuning, and had to avoid using them on an electric guitar and simply gave up trying to use one with lighter gauge strings. Thankfully there is a better way. Though it took some time, I began to notice that many musicians were not using the same capo I was and of all of the capo options out there in the world, the one that I started to see used fairly often was the Paige capo. A capo that has a simple but clever design that allows you to easily apply even and direct pressure to the strings so that your guitar stays in tune! Hallelujah.

There are a few ways to use this capo, the first being the most surprising as they are actually designed not to come off your guitar. That’s because the capo can be discreetly tucked behind the nut (the top fret by the headstock where the tuning pegs are) which allows you to always have your capo ready. You simply slide it to the fret you want and tighten it with a few twists. I found this to be a two-hand operation, but even with adding in an extra extremity it was still faster than my previous process. Though it is not the recommended method you can, of course, take the capo off, which only requires a slight squeeze on the side which releases the bar to swing open.

Several different models are available for different instruments and even for different neck shapes. They are readily available at most music stores or online retailers and are competitively priced.

Bottom Line: If you play guitar you should know about this.

Izotope RX Advanced: Audio Restoration   

Izotope RX Advanced: Audio Restoration | Learn More: izotope.com/rx

Three letters, one word…”Wow!” I also regularly used the phrase, “You’ve got to be kidding me,” while discovering the enormous capabilities of this relatively unknown software. Izotope RX is designed to not only enhance audio but also to fix problems. But not just any problems, many of these were the kind of issues that I previously thought were unfixable. Things like wind blowing on the microphone, loud clicks and pops, distortion from clipping, mouth noises, background sounds, and even breaths can all be removed in one click modules that usually start with the phrase,

“De-” (e.g., De-click, De-rustle, De-hum, De-wind, De-plosive, De-ess, etc.).

By just using these modules I have saved hundreds of hours of time. I was used to going through podcasts and vocal performances to manually turn down the breaths and was trying to eliminate mouth smacks with painstakingly tedious volume automation. All that has been replaced by one key command, about three clicks, and 1 minute of processing. Much time has also been saved by not having to re-record projects that had problems. Each time I ran into some trouble I would say, “I wonder if RX could fix this?” and sure enough it could.

One such problem was the microphone bleed that happens when two people are speaking near each other, as unless you isolate the individuals each microphone picks up the other

person, which causes an unpleasant sound and creates challenges when you want to edit. By using the De-bleed feature you simply have the software analyze the two audio sources and it can separate them apart.

This process leaves you with clean audio that sounds like you recorded them separately with all the benefits of the personal interaction you can only get from being in the same room.

In addition to the modules that operate in their standalone program, I also made heavy use of the RX real-time plugins that can take care of problems as they happen. The main plug-in being a background noise eliminator, which is essentially a dynamic expander, that through compression makes the loud parts louder and the quiet parts quieter. It has made a world of difference in the quality of my projects. These are also the kind of filters you can run audio through as you’re live-streaming or recording your sermons.

Now if that were not enough, there is actually another method of restoring audio that gets as granular as you need as this software has the ability to break audio apart and display the information graphically by volume and pitch. This allows you to physically see the problems you’d like to fix. In one of their demonstrations they showed an audio file where someone in the crowd had whistled loudly during a performance, a few clicks later it was gone and you can’t tell it was ever there.

There are a few ways to purchase this software to fit your specific needs and your budget, with each level adding more features. The top level is the RX Post Production Suite that also includes a lot of other programs designed to help you mix, maximize sound output, and analyze/meter your audio to perfection. It also includes a year’s worth of access to their training so you get the most out of your investment. Check out izotope.com/rx to see which level is right for you.

Pros: Industry leading tools to help you improve your audio

Cons: ach DAW (digital audio workstation) interacts with this software differently. Some can be accessed through the program itself and others have shortcut keys to export files to be worked on and then automatically update. That’s not a problem but it’s just something to get used to. The RX loudness control, however, does not work in all DAW platforms, so just check their requirements before you purchase.

Bottom Line: This is amazing

Fender Effect Pedal

Fender Effect Pedal

What Is It: Guitar Effect Pedals

Overview: Despite one of the most legendary names in the guitar business, Fender has been relatively quiet in the effect pedal world, so you can imagine our excitement when we heard Fender released six brand new effect pedals! Besides having some of the best names in the guitar pedal game (such as “Marine Layer Reverb), the new pedal line up looks sleek and modern in their anodized aluminum exteriors and bright shiny paint jobs. We sat down with the whole lineup and played with each of the pedals individually and together, and trust us on this one: once you start playing with them, you won’t want to stop.

Lineup: The brand new pedal lineup features six pedals: Pugilist Distortion, Level Set Buffer, The Bends Compressor, Mirror Image Delay, and Santa Ana Overdrive. All the pedals have an innovative magnetic battery door, and a switch on each pedal engages LEDs that backlight the knobs to help you see your settings on stage.

The Pugilist Distortion features two gain sections with controls for each section and a blend/stack feature that allows you to run the two in series or stack them together. We loved the versatility the distortion pedal brings to the table and the “two-in-one” gain allows you to save room on the pedalboard by eliminating the need for a high gain/low gain distortion.

Next up is the Santa Ana Overdrive, an original Fender FET circuit that responds much like a tube amp. With a 3-band EQ and Presence knob, the controls already start to reminds us of a specific British amplifier… The overdrive can go from light breakup to saturated lead tones, and the boost switch can be configured to give you volume boost or more drive. One of our favorites of the lineup, we loved the way this pedal responds to the dynamics of playing guitar, much like a tube amp.

The most underrated in the group is definitely the Level Set Buffer, which unfolds a swiss army knife of features when you take a close look. A level knob can add or reduce 12dB of gain and a Hi-Frequency control can add a subtle shimmer or reduce the shrillness of certain pickups. It has its own mute switch and a dedicated tuner out that allows you to tune all the time and removes it from the signal path. To top it off, the load switch engages a capacitive load identical to plugging your guitar into a tube amp, giving you the ideal situation for your electric guitar pickups.

The Bends Compressor is not only one of the most transparent guitar compressors we’ve heard, and has enough controls to give you a huge range of dynamics. Level and Drive control the signal at the input and output, while the blend knob allows you to control the blend of compressed and dry signal. The Bends gives you great sustain and huge dynamic control.

If you’re listening to the same records we’re listening to here at WLM, you know that delay might be the most important tool for a worship guitar player, and the Mirror Image has a ton of options for spacey, atmospheric echoes. With three modes, digital, analog, and tape, you can choose from warbly analog tones to crystal clear digital echoes. We loved the warmth of the analog and tape modes, although the “dotted eighth” switch on the digital mode can give you an instant “U2” big rhythmic delay!

Besides having our favorite pedal name, the Marine Layer might also be our favorite color out of the six pedals. With six different types of reverbs, you can go from roomy space to cavernous ambience in the same pedal. The damping control allows you to dial back high frequencies in the verb settings, making it incredibly versatile. Our favorite feature is the fact that the trails of the verb continue when you stomp the pedal on and off.

More: Great design, housing, tons of features and sound great!
Less: We’d love to see the delay and verb in stereo!

Pedaltrain Pedal Boards

Novo 24

Individual pedals are back in style in a big way. With them is also a need to keep them organized and securely mounted for transportation. As an electric guitar player myself and a gear nerd I am always taking a glance at what people have for equipment. After seeing the same style of neatly organized pedalboard coming from the same great looking flight case I decided to find its source, which leads me to Pedaltrain.com. The first thing that surprised me was though I had seen their equipment in use by guitar legends like John Mayer and Peter Frampton they don’t have pictures of them on their site or even artist endorsements at all. They want to be an every person kind of company and it turns out all those famous people that use Pedaltrain pedalboards actually bought them just like everyone else does, because they wanted to. To me, that speaks volumes.

For the review I took a look at two models of pedalboard, the larger angled design of the Novo 24 and a smaller flat design in the Metro 16. First off, all Pedaltrain boards are made from high-quality aluminum that is extremely light and remarkably sturdy. The Metro 16 is the exact same size as the pedal board I have been using for years so I was interested to see how my pedals would fit, mostly because of the rail design of the Pedaltrain boards would seem to offer less capacity. However, after working the puzzle for a few minutes, I was surprised to find I actually fit more pedals and not less. The rail system also offers the ability to run your cables from underneath, which cleans up the look of the board considerably.

The Novo 24 is gigantic compared to the Metro 16 and it’s not even the largest one they offer. To try and fill it up I had to break out all the random pedals I own, even the broken ones, but there was still room. These larger boards are set up on an angle to help you reach the back row pedals and allow space underneath the board to mount power supplies and other gear. Also available are risers and accessories to give height to smaller or recessed pedals.

To transport these amazing pedal boards they offer a few options. The first is a soft case that is for regular light duty use of taking your gear from your home to church in your car and the occasional outing. This soft case has sturdy waterproof zippers and is also available in a very convenient backpack configuration. But for those that are road warriors, or just love the look of being a road warrior, the flight cases are the real deal in every way.

One of the coolest features offered on the very helpful and friendly pedaltrain website is a service they offer called pedalboardplanner.com that is an interactive way to see what size of board you should get and how your pedals will fit. They have an index of many of the most popular pedals that allow to point and click in order to place them on a virtual pedal board. Use it to see how the pedals you already own will fit or the ones you want to own will fit.

More: Top of the line gear used by countless people including top professionals. With many options to fit your needs and budget.
Less: Not much
Tip: Running cables underneath cleans things up but sometimes slightly longer patch cables are required.

Vox MV50 AC

Vox MV50 AC


What Is It: Electric Guitar Amp Head

For decades the Vox guitar amp has been legendary. While the tone is highly sought after and often simulated by multi-effects pedals, these amps have always had a few drawbacks. Namely, mass and cost. The AC 30, which this unit is modeled after, is as big as it is heavy, ridiculously loud, and fairly expensive but for those who crave its iconic sound, it’s totally worth it.

There are two conventional analog ways to have a guitar amp. The first is the one most people are familiar with, the all in one amp and speaker box with a handle on top known as a “combo”. However, you can also run them separately. To have just an amp, known as an “amp head” and then connect that to a separate boxed speaker/s known as a “Cabinet” or “Cab” for short.” It is also possible to digitally simulate what an amp and speakers would do in the form of a pedal. This device is a combination of the latter two.

By utilizing a new micro-tube technology based on fluorescent lights, this is a true analog amp head that can power a speaker cab with up to 50 watts of power. Which in most rooms is enough to peel the paint off the walls. A three-way toggle switch on the back lets you select the proper power setting to match the demands of your speaker cab. Impressive performance from a unit no bigger than most guitar pedals.

You can also plug directly into a sound system via a line out/headphone jack that taps into the digital speaker modeling aspects of the unit. This configuration would be useful for those who don’t want to lug around an amp or those who don’t need sound to come from a speaker. You could just mount it to your pedalboard and then based on your preferences place it at the end or the front of your signal chain.

There are four versions of this new concept. Clean, AC, Boutique, and High Gain. Since I own a traditional combo amp by Vox known as an AC15 I wanted to see how the MV50 AC compared. The features are simple and effective. Like on most all guitar amps the Gain knob does contribute volume but it mostly increases how much distortion is being added to the sound and then by making corresponding adjustments with the Volume knob you can create the right tone at the right output level. There is also a Tone knob that adjusts the balance between low sounds (dark) and high sounds (bright).

That’s how it functions, but how does it sound? The answer is great. You can get a wide range of tones that many players would be happy, ecstatic even, to have. The biggest criticism for most people will be because of comparison. Does it sound like an AC 15 or an AC 30? Pretty much but there are differences. While I initially struggled with the comparisons, my son thought it sounded amazing and put it right to use. Once I stopped comparing it started sounding a lot better.

Pros: It really does sound good. It’s small, light, portable, and powerful.
Cons: Some settings caused an unpleasant clipping sound in the distortion and maybe it’s to be expected but it really sounds different plugged in vs. using a speaker. Lastly, this unit requires 19v of power so you can’t power it like a pedal and must use the included power supply.
Bottom Line: A powerful tiny amp head that can add a lot of great sounding tones to your guitar.


Furman 15A Classic Series Power Conditioner w/Lights PL-8C

Furman 15A Classic Series Power Conditioner w/Lights PL-8C

What Is It: Power Conditioner and AC noise suppressor
Many churches around the world are dealing with mysterious buzzes in their sound system which range from small hums to even the local radio station randomly interrupting the sermon. While there are many factors involved in exactly why this happens, many are surprised to find that it can actually come from the very lifeblood of electrical equipment…the power. To help better understand what can be done, I reached out to the industry leader in this field, Furman to review their products and get some guidance.

The products that Furman is most famous for are power conditioners, that many of you have probably seen in sound booths and on stages, but today I’m going to talk a bit about what they do.

They Regulate: Power from an outlet is inconsistent and can fluctuate dramatically. While most modern equipment is designed to handle this ebb and flow of strength, electronics perform optimally when power is consistent.
They Protect: Power can also surge or dip to a level that can permanently damage equipment. Furman conditioners also have the ability to take a hit, dissipate the energy, and continue working without having to replace or reset a breaker.

They Filter: The PL-8C is the first level in Furman’s product offerings to do something about buzzes caused by power. Through something they call the LiFT Filter this unit has the ability to reduce the buzzing sound by 10 decibels, which depending on how loud the buzz is, can be all that you need. Other products by Furman can reduce the volume of buzzes further, from 40 decibels of reduction all the way to 100% elimination. The range of ability is the determiner of price and physical size of the units.

PL-8C Power Conditioner by Furman can be rack mounted and has 1 plug in the front for convenience and 8 plugins on the back, with enough space to accommodate larger plugs. Also on the front is very handy lighting system that is designed to shine much-needed light onto the knobs and faders of the rest of the gear in your rack.

Pros: Industry leading technology and peace of mind knowing your gear is protected. It can reduce or eliminate buzzing caused by AC (regular wall outlet) power.
Cons: Determining the cause of buzzes is often a process of elimination so purchasing this product is not a guaranteed fix, but only a piece of the puzzle.
Bottom Line: You don’t have to live with buzzes and Furman is here is help. The engineer I spoke with actually invited Worship Leader to publish his email for those of you who need some assistance.  Christos.Desalernos@nortekcontrol.com

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