AdrenaLinn Rush

I am tracking a lot of guitar lately and for one of the projects I am producing I really wanted to get some new sounds. I had read about Roger Linn’s new guitar pedal which is called the AdrenaLinn II.

The AdrenaLinn II is an effects processor for guitar, keyboard or bass that combines a number of features:

A beat-synched multi-effects processor:

• Tremolo, flanging, rotary, delay, random filtering and other modulation effects, including programmed sequences or filtered tones or note arpeggios, in synch to the internal drumbeat or MIDI. Also included are classic filter effects like auto-wah, guitar synth and talk box

An amp modeler:

• 24 models of classic guitar amps over the past 40 years, distortion boxes, a clean preamp, and a few original amp models

A programmable drum machine:

• A great-sounding beat box with 200 drumbeats and over 40 sounds

This was the most fun I have had on a guitar in years. Although I had booked a couple of hours in the studio to lay down some tracks I spent nearly 6 hours playing with all the different sonic possibilities from this pedal.

Inverse Square Law

I did live sound at church last Sunday and there were a number of issues that took place. The primary wireless mic began randomly emitting short, explosive bursts of crackle. Clearly a short in the cable assembly but no backup wireless system was available. We switched to a wired microphone for the second service. Much better.

However, during the second service we received a complaint that the overall sound pressure level was too high. One person apparently walked out due to the sound level. Of course we diligently adhere to a house standard which has been in effect for several years. My recommendation was to observe the inverse square law and sit further back from the loudspeakers if sensitivity to higher sound pressure levels is an issue.

Although more specialized, studio sound is much less stressful than live sound. There is a higher level of uncertainty in live sound. So many variables can impact the presentation of high fidelity in live sound and there is no second take. To be successful in live sound is to be completely and absolutely transparent to the listener. Better to never be noticed in live sound!