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#Westone guitar forums android
I now use 1964 A8's, Senn IEM G3 wireless in a stereo mix (X32 Producer) and mix via android tablet. I used 1964 Qi's for both guitar and bass - church and secular, wired and wireless - for 2 yrs before that happened. I've been using 1964 Ears (Audio) for 3 yrs - my band are endorsee's, so I'm a little biased.īut.
#Westone guitar forums drivers
if you want sound stage, great audio and quality IEM's, you'll need to go to multiple drivers and custom fit.
#Westone guitar forums full
you are pushing the full spectrum thru one speaker, you'll get ear fatigue and no separation or instrument definition. much better than the SE215's that came with my PSM200 -yes, I've owned both. you'll get nothing but mush from them if you push them.
#Westone guitar forums pro
“Uncle Mat” was a prophet without honor in his homeland, or so it would appear.The UM Pro 10's are single driver. But when it comes to Matsumoku collecting, they’re silent. They are active buyers, collectors, and participants on American guitar forums. The Japanese love American guitars and they saw the yen’s climb as a chance to have the Les Paul or ES-335 they’d wanted all along. Would Fender and Gibson have had their renaissance? Would we have much of an American guitar industry left today, or would the American guitar manufacturers have suffered the fate of their automotive counterparts?Ī postscript to this story: Today, the vast majority of Heritage guitars, and a significant amount of Gibson and PRS production, are shipped to Japan. It’s interesting to think what might have been had the yen not skyrocketed. Japanese electric guitars are a rare curiosity in the US nowadays domestic manufacturers hold the high ground, China vomits out a stream of junk at the $699 price point and below, Korea makes a few Gretsches and whatnot. The Corona plant opened in 1986 and all of a sudden you could buy an American-made Stratocaster for the same price as a bolt-neck Westone Spectrum LX. The Matsumoku plant acquired the Westone name for European sales and continued to supply them until 1990 or so before shutting down. That’s a 50% price bump in twelve months. My 1986 Spectrum FX in Candy Red sold for $699, about $1450 in today’s money. As the yen climbed sharply in 19, from 238 per dollar to 168, the price of the Spectrum FX climbed as well. The comet that killed this tone tyrannosaur was financial. The equivalent modern guitar would be an Ibanez S5470 Prestige, which costs $1999. It’s such a brilliant tool for the purpose, and it sold for a reasonable price: $499 in 1985, which would be $1050 today.
It can perform Vai-style bends without difficulty but it can also imitate Page’s Les Paul. There’s a lot of magnet under the strings, which isn’t great for sustain, but the solid maple body and neck go some way to bring that back. It can accurately re-create almost any electric guitar tone you’d want for a cover band, it would be invaluable. It doesn’t have a sharp edge on it anywhere. There’s something almost too perfect and evolved about the Spectrum FX. In 1986, however, Matsumoku added the “heel-less” construction that had proven popular in the Electra X935 “Endorser”, only with an even deeper cut. Louis Music decided to use the “Westone”, rather than the “Electra” name, for their US-market guitars, the X199 simply became the Spectrum FX. The first-generation FX was basically an Electra X199 a sleek, set-neck super-Strat with eighteen different pickup combinations, a deep-bend-optimized tremolo, and the highest grade of workmanship Matsumoku could bring to the table. Louis to get it, but that’s a small price to pay for an example like this. That’s a photo of the Spectrum FX my man ultra sonic picked up for me in St. Then the meteor hit.Īmong the spiky and multi-featured Cretaceous Matsumokus of 1986, the final-production Westone Spectrum FX, demoed above by my friend “Proendorser Mike”, is the Tyrannosaurus Rex. The earliest “Uncle Mat” guitars were Les Paul copies the final ones arrived in a bewildering variety of colors, shapes, capabilities, and tonal possibilities. In a way, it was a lot like the age of the dinosaurs in the relatively short period between 19, the guitars became vastly more specialized, complex, and expensive. I’ve been writing and talking about the Matsumoku Electras/Westones/Arias/Skylarks and the Golden Era of Japanese guitar-building quite a bit lately.
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