Akai EW1 - 4000S

The Akai EW1 4000S (pictured right) is an extraordinary piece of kit. An electric wind controller sound module, its fingering system incorporates touch sensitive note keys based on the same fingerings as those for the saxophone or clarinet, alongside its own idiosyncratic collection of plates, buttons and shift rollers. For instance, the octave shift rollers allow a player to shift pitch through an incredible eight octave range, while the adjacent glide plate gives a portamento effect, smoothly and continuously sliding the pitch up and down.

Other effects include the mouthpiece vibrato sensor, a transpose button and the two pitch bending plates – one up – one down. Playing the EW1 successfully will present quite a challenge even to the seasoned player and setting your own personalised note key and breath sensor levels is essential to a confident beginning, although you’ll no doubt find your right thumb falling back onto the touch sensitive pitch bending plate, or your left thumb inadvertently slipping between the octave shift rollers.

But it is the mouthpiece of the EW1 that we found the most interesting and organic part of the instrument. It not only contains the very effective vibrato sensor, but it also contains a breath sensor, which not only responds to tonguing techniques, but also responds very sensitively to the different characteristics of wind pressure, allowing the player tremendous freedom of expression. Away from the sharp end, the 4000S has 100 internal preset programmes, not all of which it has to be said are vastly different. Each of these can be assigned by number to a key note, allowing a player easy access to a particular programme during a live performance. Wind based sound modules are undoubtedly one of the most exciting and creative musical tools around and the soundscapes that can be created with the EW1 4000S are almost limitless. For more info go to www.sax.co.uk

The Soundpost - Schertler bass pick up

This is the system that every string bass player has been waiting for – a true voiced pick up that allows for an increase in volume without feedback. Swiss-made, this lightweight moving coil mini contact transducer microphone, looking much like a micro-stethoscope, is attached to the top of the instrument underneath the bridge by means of a green adhesive putty. A short fine connecting cable then relays the signal to the jack socket, which fits easily between the A and D strings, incorporating a knurled ring phase reversion switch. Moving the knurled ring allows the player to shift the sonic wavelength from a high pressure zone, with its tendency to interference and feedback, to a low pressure zone while staying in the same position. On test, dialling into the low pressure zone failed to show up any problems standing right in front of the bass amp and speaker cab. The pick up additionally with the PRE A-111 pre-amp/mixer plugged into the return socket of the send and return loop of the amplifier. Adjusting the tone controls on the pre-amp offers a thinner as well as a rich bassy sound, while adjusting the resonance gives a dry, clear sound, all the way through to a rich boomy warm sound. Clearly this is the answer for small stages and where space is limited as well as for larger venues where higher volumes are required and there is a greater tendency towards feedback. But it’s also fine for studio work, as there is a "dry" out on the back of the pre-amp for going straight into the desk, which could also double as an output for a monitor. For more info go to www.thesoundpost.co.uk

Gibraltar - Drum Throne

Part of a new upgraded range from the Gibraltar group, this stylish, extraordinarily lightweight dome-shaped perch finished in super tough leatherette, uses top grade foam for maximum support and comes with a plush velveteen cover for extra comfort. The solid double braced steel tripod base is exceptionally well engineered with large easily accessible wing and hex nuts, while a sure footing is guaranteed with Gibraltar’s new ergonomic rubber “super foot”, which on the test rig provided very good stability and reliable grip. Added security is provided by a cast super lock seat fastening system that combines a memory lock with the usual collar clamp.  For more info go to www.arbiter.co.uk

Kawai PR-1 - piano recorder

The PR-1 piano recorder is an ideal tool for home recording. Looking much the same as a CD micro-system player, the front panel comprises the tray, record, play and stop buttons, together with level indicators, EQ and reverb options. The rear of the unit offers two piano inputs for the customised microphones, two input sockets for external instruments such as a vocal microphone, guitar or an electric keyboard plus an optional foot switch socket. There is also a headphone jack and two XLR jacks for outputting the sound through external speakers or any other device. The whole point of the PR-1 is to record the “true” sound of an acoustic piano through its two customised microphones. Although the instruction leaflet makes the claim that the microphones can be attached to any piano, this is not strictly true. There is no problem with “grand” pianos but uprights have always had different soundboard support systems. Some come with vertical bars and some without any bars at all which pose real difficulties when fixing the microphones. The mid 1970s Kemble on test here was rigged up in a Heath Robinson fashion, so that we could attach the two microphones at the pre-requisite distance from the soundboard. After juggling the treble and bass balance, we recorded clean. The result? It’s a clear sound with good separation that retains all the resonant qualities of the acoustic instrument. A simple, straightforward recording device that produces excellent results for pianists, small combos and singer/songwriters. For more info go to www.kawai.co.uk