Boss CH-1 Super Chorus effects pedal Classic BOSS chorus pedal with clean, brilliant sound guitar or keyboards

Boss CH-1 Super Chorus effects pedal

The Boss CH-1 Super Chorus has been in production for over 20 years.

There is something unique about this pedal that has made it a popular choice for guitarists looking for a perfect chorus sound to add depth to their tone.

While boss has updated their long-running Chorus Ensemble pedals with the CE-5 and the now discontinued CE-20, they have kept the CH-1 in product despite releasing competing models.

There’s just a different character to the CH-1 that makes it a unique pedal for there chorus pedals.

The most noticeable variation between the CH-1 and the CE-5 is in the tone-shaping controls available.

While the CH-1 sports a simple EQ tone knob, the CE-5 has a Filter section with High and Low cut controls.

This lets you find a precise tonal range for letting your chorus cut through the mix.

While the CH-1 simple lets you shape the overall tone of your chorus sound.

It may appear at first that the CE-5 Chorus Ensemble is the more versatile pedal, some people feel that it’s ultra-modern sound lacks the warmth of the CH-1.

Features of the Boss CH-1 Super Chorus

Classic BOSS chorus pedal with clean, brilliant sound for guitar and keyboards
Effect Level, EQ, Rate and Depth knobs allow for precise shaping of sound
Features Mono input and Stereo outputs for connection to dual amps
Roadworthy design is ideal for gigging musicians
Basic layout include control options for Effect Level, EQ, Rate and Depth

Specifications of the Boss CH-1 Super Chorus

Input Impedance: 1 M ohms
Output Impedance: 10 k ohms or greater
Residual Noise Level: -95 dBu (IHF-A, Typ.)
Connectors: INPUT Jack, OUTPUT Jack A (mono)/ B, AC Adaptor Jack (DC 9 V)
Power Supply: DC 9 V: Dry Battery 9 V type (6F22/9 V), AC Adaptor
Current Draw: 15 mA (DC 9 V)
Accessories: Dry Battery 9 V type (6F22/9 V)
Dimensions: (W) 73 mm, 2-7/8 inches (D) 129 mm, 5-1/8 inches (H) 59 mm, 2-3/8 inches
Weight (incl. battery): 0.4 kg, 0 lbs. 15 oz.

Video demonstration by Boss

DigiTech FreqOut feedback guitar effects pedal review 2017

The DigiTech FreqOut Natural Feedback Creator allows you to get sweet, natural feedback at any volume, with or without distortion. The FreqOut is perfect for situations where volume must be controlled like in the studio, with in ear monitors, or low-volume performance and practice. However, the FreqOut can also be used at gig volume to focus out-of-control feedback on a preferred harmonic at any stage position.

The FreqOut has adjustable feedback Onset (delay before feedback begins), Gain (feedback level to balance with your dry signal), Dry On/Off, latching or momentary operation, true bypass, and a rugged road-tough steel chassis.

The FreqOut uses a 9VDC power supply to easily integrate into your existing pedalboard.


Natural Feedback at any level with or without distortion
Onset Delay and Level balance controls
7 Harmonic Feedback types
Dry Defeat
Momentary/Latching modes
True Bypass

Amazingly the DigiTech FreqOut is very simple with a stacked gain and onset knob that controls the level of the signal, and determines how fast the feedback signal comes into play.

The straight dry signal can be altered via the dry switch, so that it’s only the feedback note coming in.

The foot switch can be the standard on/off with also a press and hold function.

There are several modes of feedback to choose from, Sub, 1st, 2nd, 3rd, 5th, natural low, and natural high.

In momentary mode, it’s like a sustain pedal on a keyboard, Hit a note or chord, press the switch, and hold the sustain for long periods of time.

The LED display shows the level of the feedback signal. Even better, play it like a wah wah, pressing and sustain notes as needed.

In standard mode, it’s smart enough to not sustain everything, but can hold notes and chords in the empty spaces between them.

For players in a small band, this can really fill the sound, it can be done at any volume; meaning no ringing in the ears level volume needed to generate natural sounding feedback.

Clean guitars can benefit as well as bass guitars.

Other DigiTech Effects pedals

Proper, structured piano practice helps you stride forwards

Piano practice can be fun too!

Piano Practice – most people don’t really want to ‘learn’ to play the piano or ‘practice’ the piano, they just want to ‘play’ piano. ‘Play’ sounds like fun, ‘practice’ sounds like a chore. We get this image from childhood – some kid stuck indoors ‘practicing’ scales while all the other kids are outside the window ‘playing’.

So, first thing we need to do is to see our piano practice in a new light. See it as a way of accelerating the learning process so that SOON you’ll be able to ‘play’ piano and play it well. If you don’t practice and you just play old familiar tunes you move rather slowly. Yes, you’ll get better at playing those old familiar tunes but technically you won’t be pushing yourself to greater heights.

Proper, structured piano practice helps you stride forwards. I say ‘proper’ because a lot of people have an idea that practice IS just playing songs over and over. Practice needs to involve unchartered territory. The golden rule is – ‘practice what you CAN’T play, not what you CAN play’.

First of all, work out what you want to achieve. Do you just want to know all your chords without thinking about how they are formed – then work out a practice routine that leads to that goal. Maybe you want to learn about inversions or chord substitution – again, make the practice fit the goal.

Split your practice session into two halves. In the first half play the difficult stuff – your mind is sharper to begin with – then reward yourself with some enjoyable but reasonably difficult tunes. Make sure you are comfortable. Many a bad back has happened because of a bad piano stool at the wrong height. Make sure your piano is in tune. If you don’t have a good piano and are serious about learning GO BUY A GOOD ONE.
Every fifteen minutes stretch your arms and shoulders and roll your neck to combat stiffness. Check out some Yoga exercises for shoulders and back.

Follow the 3 times daily rule. Repetition in practice is ESSENTIAL. If you find something particularly difficult make sure you practice it at least 3 times every day. Don’t worry if it takes months to master – you’ll get there.
Don’t play for the neighbours. Practice piano at a time when you don’t care who is listening so that you can make lot’s of mistakes and play things over and over. Organise your piano music carefully – don’t keep it in a heap where you keep playing the ones on top. If you download sheet music put it in a folder. Have plenty of shelves near the piano. Be realistic – I truly believe that anyone can learn piano and learn it to an enjoyable level but no two people are alike – some are more ‘naturally’ gifted than others. If you have an average ability then it’s all down to practice. The more you practice the more you learn.

Now and then, Piano practice with your eyes closed – or don’t look at the keys – this really sharpens you up. Organise your life so that practice is possible (this where Mindfulness comes in). Too many people think they don’t have time to practice when really they just haven’t found the time. How long should you practice – that’s up to what you want to achieve. You don’t have to be a concert pianist. Even if you just play for yourself just enjoy that. The archer who’s mind is on the prize cannot stay focussed on the target. Accept the bad days when it seems like you can’t play a note. Sometimes it’s better to walk away. So remember that “playing piano” and “Piano Practice” are different. Which do you do? Aim for a bit of both.
Which is better.. Keyboard or Piano?

Real pianos are great but the one big drawback is you can’t turn the volume down so with a piano you tend to end up playing for the neighbours. With a keyboard you can stick on some headphones and play whatever turns you on – you can experiment, make mistakes and sound silly and play something a thousand times without driving other people nuts.

Ideally – have BOTH!
If you are buying a piano it is preferable to buy an overstrung piano not a straight strung! How to tell: Lift the top lid of the piano you should see the tuning pins at the top of the piano. If the tuning pins are evenly spaced along the pin block and the strings are all parallel and vertical this is a straight strung piano. If there is a group of tuning pins at the left and a separate group at the right and the strings cross over in a X shape this is an overstrung piano. Also get a tuner to check it out. I bought a piano once that needed to have the wood treated because all the pins (that tighten the strings) were coming loose very quickly after being tuned – disaster!
What Keyboard should you choose?

A lot depends on what you want. Do you want a keyboard that sounds and feels like a Piano – then you’re looking for a keyboard or Digital Piano with WEIGHTED keys. Listen carefully to the piano sound – don’t be bamboozled by all the other buttons. If you want something portable then you are looking for a keyboard. Personally I would still look for one with weighted keys – I hate the feel of light plastic keys.

Get a keyboard with at least 61 keys – anything less and you will be craving for more keys after a few days. Also make sure get a sustain pedal, a keyboard is absloutely a dead thing without one. Without a sustain pedal as soon as you lift your finger off a key the sound stops dead – with a piano at least the strings vibrate for a second or two – the difference is quite noticeable.

Proper, structured piano practice helps you stride forwards

The Gibson Les Paul Guitar history down the years first sold by the Gibson Guitar Corporation in 1952

The Gibson Les Paul guitar – a solid body electric guitar that was first sold by the Gibson Guitar Corporation in 1952.

The Gibson Les Paul Guitar history down the years first sold by the Gibson Guitar Corporation in 1952

The Gibson Les Paul guitar designed by Gibson president Ted McCarty, factory manager John Huis and their team, along with guitarist/inventor Les Paul.

The Gibson Les Paul was originally offered with a gold finish and two P-90 pickups.

In 1957, humbucking pickups were added, along with sunburst finishes in 1958.

The sunburst 1958–1960 Les Paul today one of the best-known electric guitar types in the world was considered a failure, with low production and sales.

For 1961, the Les Paul was redesigned into what is now known as the Gibson SG.

A second Les Paul model was introduced in 1953, Called the Les Paul Custom, this black guitar with gold-plated hardware was dubbed the “Black Beauty”. Various bridge and tailpiece designs were added in 1953 and 1954, including the popular Tune-o-matic bridge.

The Goldtop and Custom models continued without significant changes until 1957.

In 1957, P-90 pickups were no longer offered on Les Paul guitars, new humbucker pickups designed by Seth Lover in 1955 were added to the Les Paul guitar in 1957.

This innovation in pickups became the flagship pickup design most associated with Gibson.

The post-1954 Les Paul guitar line included two models: the Standard (nicknamed the Goldtop), and the Custom (which offered gold hardware and a more formal black finish).

The Les Paul Custom features gold hardware, multilayer binding including the headstock, ebony fingerboard, real mother-of-pearl inlays and two or three-pickup layout.

1950s Customs were all-mahogany, rather than the mahogany-with-maple-cap of the Goldtop.

The original Customs were fitted with a P-90 pickup in the bridge position and an Alnico V “staple” pickup in the neck. In 1957, the Custom was fitted with Gibson’s new PAF humbucker pickups, and later became available with three pickups instead of the usual two.

The traditional Les Paul Custom was discontinued in 1961 and its name transferred to the custom version of the then-new Gibson SG.

In 1968, Gibson reintroduced the Les Paul Custom as a two-pickup-only model.

The headstock angle was changed from 17 degrees to 14, and a wider headstock and a maple top were added.

White and two sunburst finish options were added to the color palette in 1974, also new in 1974 was the optional TP-6 fine-tuner tailpiece, allowing for micro-adjustment of string tuning from the bridge.

The mahogany neck was replaced with a three-piece maple neck in 1975 with this change lasting till around 1982.

Popular colors, such as wine red and “silverburst,” were added in the 1970s and ’80s

In 1954, the Les Paul Junior debuted, targeted the beginning or student guitarist. The Junior is characterized by its flat-top “slab” mahogany body, finished in sunburst. It had a single P-90 pickup, simple volume and tone controls, an unbound rosewood fingerboard with plain dot-shape position markers, and a combination bridge/tailpiece unit similar to the Goldtop.

In 1955, Gibson launched the Les Paul TV model, which was identical to the Junior except for the name and a fashionable contemporary “limed oak” style finish, later more accurately named “limed mahogany”. This natural wood finish with white grain filler often aged into a natural wood or dull yellow appearance, and eventually evolved into the opaque mustard yellow, popularly called “TV yellow”. The model was not, as a popular myth says, to avoid glare from old TV cameras, but a modern look and a name to promote “The Les Paul & Mary Ford Show” then on television.

Gibson made a radical design change to their Junior and TV models in 1958: to accommodate player requests for more access to the top frets than the previous designs allowed, these electric guitar models were revamped with a new double-cutaway body shape. In addition, Juniors were now available with a cherry red finish, while the re-shaped TV adopted a more yellow-tinged finish.

The Gibson Les Paul Special was released in 1955, featuring a slab body, two soapbar P-90 single coil pickups, and was finished in a color similar to TV Yellow (but not called a TV model).

In 1959, the Special was given the same new double-cutaway body shape as the Junior and the TV received in 1958. Around this time, Les Paul decided to discontinue his affiliation with Gibson; the model was renamed “SG Special” in late 1959. However, when the new design was applied to the two-pickup Special, the cavity for the neck pickup overlapped the neck-to-body joint. This weakened the joint to the point that the neck could break after only moderate handling. The problem was soon resolved when Gibson designers moved the neck pickup farther down the body, producing a stronger joint and eliminating the breakage problem.

In 1960, Gibson experienced a decline in electric guitar sales due to strong competition from Fender’s comparable but much lighter double-cutaway design, the Stratocaster. In response, Gibson modified the Les Paul line. For 1961, the Les Paul was thinner and much lighter than earlier models, with two sharply pointed cutaways and a vibrato system. However, the redesign was done without Les Paul’s knowledge, and he hated the design, so he asked Gibson to remove his name. The single cutaway designed retained the “Les Paul” name until 1963 when Les Paul’s endorsement deal with Gibson ended. Without a contract, Gibson could no longer call its guitars “Les Pauls’, and it renamed them “SGs” (for “Solid Guitars”).

The Deluxe was among the “new” 1968 Les Pauls. This model featured “mini-humbuckers”, also known as “New York” humbuckers, and did not initially prove popular. The mini-humbucker pickup fit into the pre-carved P-90 pickup cavity using an adaptor ring developed by Gibson in order to use a surplus supply of Epiphone mini-humbuckers. The Deluxe was introduced in late 1968 and helped to standardize production among Gibson’s U.S.-built Les Pauls. The first incarnation of the Deluxe featured a one-piece body and slim three-piece neck. The multipiece body (a thin layer of maple on top of two layers of Honduran mahogany) arrived in 1969. In late 1969, a reinforcing neck volute was added. 1969 Deluxes feature the Gibson logo devoid of the dot over the “i” in Gibson. By late 1969/early 1970, the dot over the “i” had returned, plus a “Made In USA” stamp on the back of the headstock. The Deluxe could be specially-ordered with full-size humbucker pickups; such full size versions of the Deluxe were “Standard” spec. By 1975, the neck construction was changed from mahogany to maple, until the early 1980s, when the construction was returned to mahogany. The body changed back to solid mahogany from the pancake design in late 1976 or early 1977.

In 1978, the Gibson Les Paul Pro Deluxe was introduced. This guitar featured P-90 pickups instead of the “mini-humbuckers” of the Deluxe model, an ebony fingerboard, maple neck, mahogany body and chrome hardware. It came in ebony, cherry sunburst, tobacco sunburst or gold finish. It was discontinued in 1983.

The Gibson Dark Fire, a variant of the Gibson Les Paul, was an electric solid body guitar produced by Gibson Guitar Corporation. It was a second generation Robot Guitar, using an updated version of the Powertune self-tuning system produced by Tronical Gmbh. The Dark Fire also introduced Gibson’s Chameleon Tone Technology, a system consisting of onboard electronics designed to simulate various guitar tones. Additionally, the guitar included an audio interface called the Robot Interface Pack or RIP.

The Studio model was introduced in 1983, and is still in production. The guitar is intended for the studio musician; therefore, the design features of the “Les Paul Studio” are centered on optimal sound output and not on flashy appearance. This model retains only the elements of the Gibson Les Paul that contribute to tone and playability, including the carved maple top and standard mechanical and electronic hardware. However, the Studio design omits several stock Gibson ornamentations that do not affect sound quality, including body/neck binding. The first Studios from 1983 to 1986 were made with alder bodies rather than mahogany/maple. The current Studios come with a chambered mahogany body with either a maple or mahogany cap. The entry level Les Paul Studio “faded” has a weight relieved mahogany body and top and a satin finish.

Gibson also offered the Studio in a “standard” model, This variant was adorned with neck and body binding, ebony fretboard and sunburst paint job.

All Studios at the time had dot fretboard markers and a thinner body.

Playing Drums with a metronome good or bad for your playing skills?

Playing drums with a metronome is a diverse subject in the drumming world, there are many opinions by all types of drummers about if a metronome helps or hinders your drumming style and some think it makes you too robotic not allowing you to find your natural feel and freedom when playing a drum kit.

Playing Drums with a metronome good or bad for your playing skills?Playing Drums with a metronome good or bad for your playing skills?

Playing drums with a Metronome

“It’s possible that if a drummer uses a metronome incorrectly, they might not see improvements in time at all”.

“They can become to dependent on the metronome, which could slow the development of their natural internal rythm”.

Others believe that working with a metronome is crucial to a player’s development in keeping time. Stating that learning to play with a metronome makes your timing better when you’re not playing with one, and makes it easier to work with a click track.

There’s no such thing as perfect time, but you can surely improve your internal clock with practice.

It seems the more common feeling about playing drums with a metronome is a positive one but I believe that once you have the ability to play to a track without using the metronome, you should then put it to one side and only bring it back into the practice if you are struggling with a drumming track.

Search Metronome on Band Instruments UK



Dean Custom 350 floyd – Gloss Natural Model electric guitar Review

Dean Custom 350 floyd – Gloss Natural

Dean Custom 350 floyd   Gloss Natural Model electric guitar ReviewDean Custom 350 floyd   Gloss Natural Model electric guitar Review

The Dean Custom 350 floyd Electric Guitar has a Floyd Rose tremolo which works well with its double-cutaway body.

Constructed with a carved flamed maple top and a lightweight basswood back, the custom 350 guitar boasts a 25″ scale length bolt-on maple neck.

The 6-in-line headstock looks awesome with a winged Dean logo.

The guitar has a 24-fret rosewood fingerboard and is decorated with pearl dots and a custom inlay at the 12th fret.

High-output DMT humbucking pickups deliver a wide range of tones and a push/pull coil-splitting tone control lets you perform to all music genres, you can also capture single-coil pickup sounds.

A Floyd Rose Special tremolo bridge and a locking nut gives you additional control without fear of going out of tune.

Specifications Dean Custom 350 floyd Gloss Natural

Model Name Custom 350 Floyd – Gloss Natural
Design Feature Coil Tapping Tone Knob
Dexterity Right Handed
Body Material Basswood
Body Type Custom
Top Material Flame Maple
Top Contour Arched Top
Neck Material Maple
Scale Length 25 1/2″ (648mm)
Construction Bolt-On Neck
Neck Shape C
Fretboard Material Rosewood
Inlays Pearl Dot / Custom 12th
# of Frets 24 Jumbo
Fretboard Radius 16″ (406mm)
Nut Floyd Rose R3 (43mm)
Nut Width 1 11/16″ (43mm)
Tuners Sealed Die Cast
Knobs Dome Black Chrome
Hardware Color Black Chrome
Bridge Floyd Rose Special
Pickup (Neck) DMT Design
Pickup (Bridge) DMT Design
Binding Multi-Ply on Headstock Only
Finish Natural
Country of Origin CHINA
Truss Rod Dual Action
Controls Volume / Tone / 3-Way Blade
Strings D’Addario EXL120 (.009-.042)



yamaha dtx522k electronic drum kit

Yamaha DTX522K Electronic drum kit The DTX502 Drum trigger module how to mute backing drums

Yamaha DTX522K Electronic drum kit and DTX502 Drum trigger module

When you buy your first Yamaha DTX522K Electronic drum kit you take it home or to your studio take it all out of its packaging assemble it and want to get started straight away playing the drums to see what its like.

I wanted to learn to play drums and this was the kit of choice for me after set up I selected the song and kit i wanted to use to start drumming and found that the backing tracks built into the DTX502 Drum module already had drums playing ! after practicing with another drummer playing and getting frustrated I finally worked out that you can turn the drummer off so that just the music is playing “makes sense right”.

Here is a short tutorial video I made showing how to mute the drums on the practice tracks I hope it helps you when you get your first Yamaha DTX522K drum kit.

The Yamaha DTX Range is excellent for begginners and proffesional drummers.

Yamaha DTX522K Muting backing drummer on DTX502 Module

Click here to watch this Yamaha DTX522K Tutorial on YouTube

Current models of Yamaha Electronic drums

DTX400 Series, the entry level model. The kit supports up to 9 triggers, including a 3-zone snare, two cymbals, 3 tom pads, hi-hat and kick. The module has 10 editable kits, and have a USB-MIDI port.

DTX500 Series, the mid-level model. The kit supports up to 12 triggers including a 3-zone snare, 2 3-zone cymbals, dual-zone hi-hat and 8 single-zone inputs, including kick bass pad. The module contains 50 different kits and has both USB and MIDI (except the DTX 500 only has MIDI interface) connections.

DTX700 Series, the upper-range model. It supports up to 11 distinct triggers including 3-zone snare, hi-hat, cymbals and toms. 2 inputs are single-zone including the kick.

DTX900 Series, the flagship model. It supports up to 15 distinct triggers including 3-zone snare, hi-hat, cymbals and toms. 2 inputs are single-zone including the kick. The module contains 100 different drum kits and has both USB and MIDI.

Previous Models of Yamaha Electronic Drums

DTXplorer – predecessor to the DTX400 Series
DTXpress – predecessor to the DTX500 Series
DTXtreme – predecessor to the DTX700/DTX900 Series

Yamaha Electronic Drum Kits

tom petty

Tom Petty found at his Malibu home and sadly dies later in hospital age 66

Tom Petty has died in California aged 66, a statement was issued on behalf of his family.

Tom Petty was found at his Malibu home and sadly died later in hospital aged only 66.

He died peacefully at 20:40 Pacific time, surrounded by his family, bandmates and friends, said his manager Tony Dimitriades.

Tom was a co-founder of the Traveling Wilburys group in the late 1980s, touring with Bob Dylan, Roy Orbison, Jeff Lynne and George Harrison.

Thomas Earl Petty (October 20, 1950 – October 2, 2017) was an American rock musician, singer, songwriter, multi-instrumentalist, and record producer. Petty served as the lead singer of Tom Petty and the Heartbreakers. He was also a member and co-founder of the late 1980s supergroup the Traveling Wilburys, and his early band Mudcrutch.

Petty recorded a number of hit singles with the Heartbreakers and as a solo artist. In his career, he sold more than 80 million records worldwide, making him one of the best-selling music artists of all time. In 2002, Petty was inducted into the Rock and Roll Hall of Fame.

line 6 firehawk fx

Line 6 Firehawk FX used as a recording interface The Firehawk FX multi-effect processor

The Line 6 Firehawk FX can be used as a recording interface

The Line 6 Firehawk FX features

HD Multi-Effect with iOS & Android App Control

The Firehawk FX multi-effect processor combines world-class tone with intuitive app-based editing, so you can get the perfect sound faster than ever before. The Firehawk Remote app for iOS and Android gives you the power to sculpt great tone, right in the palm of your hand. Choose from over 200 legendary amps and effects?including 50 HD models?and wirelessly control every detail of your sound. You get access to 128 internal presets plus a massive online tone library, making it easy to find the right sound for any recording session, rehearsal or gig. With 1/4? and Variax Digital (VDI) inputs, two outputs, FX loop, USB connectivity and ultra-low latency, Firehawk FX is also an ideal guitar recording interface for PC, Mac and iOS.*

Choose from over 200 amps and effects including 50 HD models
Control every aspect of your signal chain via iOS and Android app
Access 128 onboard presets plus thousands of tones in the cloud
Record to Mac, PC or iOS with ultra-low latency

World-Class HD Modeling

Firehawk FX is packed with over 200 amps and effects, giving you powerful flexibility to create your own sound or reproduce the tones of any recording. From warm vintage classics to high-gain powerhouses, the world?s best guitar amps are now at your fingertips. And to take your sound even further, Firehawk FX is loaded with inspiring effects, including must-have stompboxes and stunning Line 6 originals. Firehawk FX is a powerful multi-effect guitar processor that will foster your creativity and energize your playing.

Welcome to High-Gain Heaven

The Line 6 Firehawk FX brings together a collection of the most crushing high-gain guitar amps.

Behringer PMP1680S Europower 10 channel 1600W Powered Mixer Amp

The Behringer PMP1680S powered mixer amplifier is a rack-mountable compact amp that delivers a great performance.


Ultra-compact rack-mountable 2 x 800-Watt stereo powered mixer (1600-Watt bridged mode)
Revolutionary Class-D amplifier technology: enormous power, incredible sonic performance and super-light weight.

Ultra-compact design at nearly half the depth and weight of conventional powered mixers means no more lugging around dead weight.

10-channel mixer section features 6 mono and 2 stereo channels plus separate CD/Tape input/output
2 studio-grade, 24-bit stereo FX processors with 100 awesome presets including reverb, chorus, flanger, delay, pitch shifter and various multi-effects.

Revolutionary FBQ Feedback Detection system instantly reveals critical frequencies for easy feedback removal.

8 high-quality mic preamps with switchable +48 V phantom power for condenser microphones
Effective, extremely musical 3-band EQ, switchable Pad, and Clip LEDs on all mono channels.

Stereo 7-band graphic EQ allows precise frequency correction of monitor and main outputs
Voice Canceller function removes singer’s voice from recordings for karaoke applications.

Selectable stereo (main L/R), double mono (main/monitor) or bridged mono amplifier operation mode.

Speaker Processing function adjusts frequency response to match professional speaker systems like BEHRINGER EUROLIVE series, etc.

Standby switch mutes all input channels during breaks while background music is provided via CD/Tape input.

Adjustable stereo Aux input for connecting external signal sources
Internal switch-mode power supply, noise-free audio, superior transient response and very low power consumption.

Massive Mono or Stunning Stereo

The Behringer EUROPOWER PMP1680S gives you the choice of 2 x 800-Watt stereo, 2 x 800-Watt dual mono mode (giving you a mono version of the main signal through one powered output plus a mono version of all monitor send signals through the second powered input) or 1,600-Watt bridged mono sound. Whether the center of attention happens to be a folk trio, a speech, or a synth-rock band with mind-boggling stereo patches, the EUROPOWER PMP1680S mixers can accommodate. This sonic versatility also makes it an excellent choice for churches, where vocals and stereo recordings often share face time.

Classic Control

Leave the mic preamps at home, because the quality of sound that was once only available in the studio is ready to go wherever you do. Built-in, boutique-caliber mic preamps with switchable +48 V phantom power make it possible to use either dynamic or condenser mics with the EUROPOWER PMP1680S. It gives you 8 mic inputs.

Built-in Digital Effects Processor

The EUROPOWER PMP1680S comes equipped with a 24-bit FX processor, giving you 100 mind-blowing digital effect presets such as delay, chorus, and reverb. Apply them to any channel, as well as to the monitors and main output. In case you’re pulling double duty as sound engineer and performer, the FX processor features a footswitch jack for remote on/off. Of course, if you have treasured outboard gear you’ve grown attached to, the EUROPOWER PMP1680S can integrate them into the mix while leaving out the built-in FX processor.

Changing the Channels

The EUROPOWER PMP1680S mixer has excellent flexibility to accommodate whatever a performance requires. You get 8 channels for mics, guitars, and other mono instruments. Stereo channels 7-10 are designed to work in pairs as stereo channels, or independently for more mono instruments. All mono channels have 3-band EQ, switchable Low cut filter for eliminating infrasonics, and Clip LEDs to indicate when the input signal is too hot.

A STANDBY switch mutes all mic channels during breaks, preventing the microphones from picking up noise or interference. You can leave all faders untouched while you play a CD via the CD/TAPE inputs.

The FBQ Feedback Detection system automatically shows you which frequencies are causing feedback. Just touch the FBQ button and watch the red LEDs on the 7-band graphic EQ pinpoint show you which frequencies to adjust for optimized sound, without the feedback.

The Ins and Outs

Use the CD/TAPE IN RCA inputs to feed in external stereo signals from CD players or tape decks. The VOICE CANCELLER switch eliminates the vocals from pre-recorded music for instant karaoke applications.

CD/TAPE OUT RCA outputs send line-level signals from the mixer to a recording device. The left and right output 1/4″ connectors can be used for a variety of purposes, including connecting more power amps. Connect monitor power amps or active monitor speakers to the MON SOUND output. Powered outputs on this mixer are available in professional Speakon-compatible format.

Simple, Superb, Small

Medium-sized events call for a lightweight, easy-to-use powered mixer. The EUROPOWER PMP1680S mixer is one of the most efficient, affordable mixers for the job, and is even suitable for use as a pure analog mixer or as a pure power amplifiers. With new technological advantages and incredible built-in features, it’s easier than ever to lend exceptional sound quality to all kinds of public performances.