MOOG Little Phatty Stage 11 analogue synthesiser

Many will probably remember the Minimoog synthesisers with equal amounts of affection and frustration! The latest incarnation from Moog music and their Little Phatty family is the Little Phatty Stage 11, which like it’s predecessors, the Stage and the Tribute Edition puts the performer in control of a 100 per cent analogue signal path, two ultra stable voltage controllers, a voltage controlled filter and other features like CV and KB gate inputs, a full MIDI controller and an external audio input.

There are however some new features on the Little Phatty Stage 11, which include MIDI over USB, an arpeggiator and a MIDI clock sync. The former allows the player flexibility to run a laptop/softsynth setup, or to connect the Little Phatty directly to a computer running Editor/Librarian.

The arpeggiator is a great new performance feature with a myriad applications, which can also be sync’d to the MIDI clock, allowing the player to synchronise the LFO and arpeggiator rate to the tempo of your MIDI sequencer, drum machine or software, offering perfectly timed modulations to go with your rhythm tracks and the arpeggiator.
 
With a 37 note 3 Octave (C to C) keyboard and an octave button to give an effective range of 7 octaves, along with a phenomenal 32 live performance presets, together with a six source, four destination modulation section which opens up possibilities that were never available on the earlier models – the Little Phatty is a powerhouse of a player.

Added to which, you can now re-calibrate the pitch wheel, oscillators and note range yourself with the built in calibration system – this stylish 21st century Moog no longer has to go back to base! For all these various soundscape options, a Moog is still a Moog. But the Little Phatty11 has certainly brought an added extra dimension to the electronic sonic palette and the world of synthesised sound. Go to www.moogmusic.com

Onboard Research Corp Centre  Pitch Tuner
The Centre Pitch comes in the useful accessories category. It’s been around for a while, but many musicians have probably forgotten just how useful it can be. You know the situation – you’ve probably been there. The background noise means that you can hardly hear yourself speak and there’s precious little time left to get your instrument in tune. The Centre Pitch Universal works on the vibrations of your instrument, so other sounds will not interfere with the procedure.

It can be clipped on to bells and pipes with the one handed clamp with its four rubberised feet, and can be adjusted to recalibrate the ‘A’ to 440/441or 442hz. It can also be set to display notes in concert pitch, or alternatively (just for us jazzers!) to transpose for Bb, Eb or F instruments and you can also choose to see accidentals as sharp or flat. The Centre Pitch is also easier to read than units with VU meters or simple LEDs as it displays the actual note being played. For more go to www.sf-music.co.uk

Conn CAS280R alto saxophone
This sweet soundin’ horn has to be one of the best that has ever crossed my desk. And it’s been a while since we’ve had the pleasure of seeing a new Conn. But going on what this alto has to offer, it’s certainly been worth the wait. Made in Taiwan (like the Mauriats), this Far Eastern factory certainly knows how to put a good horn together. Looking not unlike a Selmer Series 2, the finishing on the silver plating is flawless and the dark felt pads set against the silver add a nice touch. Indeed, this horn oozes elegance. The overall build quality is excellent and it’s always good to see metal reflectors on the pads.

The 280 has a very positive action and is very responsive – you can fly down the keys with ease. And there is no clanking whatsoever. I particularly liked the palm key positions, added to which, the bottom table setup is really nice – the springing isn’t too hard, so it’s easy on the little finger. The top ‘F’ also works really well, as does the octave key mechanism. But here I would have really liked to have seen the stylish original underslung Conn rather than the ubiquitous Selmer standard.

Sound wise, the dynamic range is outstanding – all the way through. The 280 is a free and easy blower, that asks for little while it offers so much. Intonation is spot on, the altissimo range is easy to pitch and the bottom notes really do sing. Seriously though, this is a horn that I would recommend to any player. And because of its remarkable dynamic range, it would be equally suited to either classical or jazz. It all comes in a zippered leather case with a plush lined pre-formed interior, two zippered face pockets, two soft padded grab handles, two adjustable padded shoulder straps and a fully adjustable encased padded back harness. For more go to www.conn-selmer.com

Yamaha Eric Miyashiro signature trumpet
Not only is this signature trumpet very light, but it’s a horn that has a real edge when you drive it – Miyashiro obviously relishes being ‘out front’! Visually it’s a very striking, if traditional looking instrument with quite an abrupt flair to the bell – which is perhaps where it gets its punch from. The plating is honey brass, with what looks like brass finger loops, along with mother of pearl capped finger pads and black felt cushions to the valves. The valve system is integral (top sprung), and I should perhaps issue a note of caution here – I found it surprisingly easy to return the valves the wrong way round, so they sit incorrectly. Overall however, the build quality is excellent and on our sample everything was airtight.

A light instrument, it delivers a light sound and the Miyashiro is clearly more at home at the top rather than the bottom. It’s frighteningly playable and glides through the full range with ease. Sonically it may not be the most subtle of instruments with its bright, full tones, but play it softly and it soon becomes clear that there is a very appealing mellow, almost sweet side to this horn - an aspect to it’s character that I particularly liked.

Interestingly, Yamaha have recently gone down the rucksack/bag route for their instrument cases and have had developed a multi-pocketed nylon denier unit with a heavily padded twin compartment accommodating two horns. Unfortunately, it seems that the manufacturer has stuck too closely to the dimensions given and as a consequence, the bag is a few centimetres short on height and in its present form doesn’t give the instruments real protection. No doubt, knowing Yamaha, this minor miscalculation will soon be rectified. For more go to uk.yamaha.com