Archive of the The Project Studio Category
By George Petersen
MUSIKMESSE/PRO LIGHT+SOUND RETURNS TO FRANKFURT, Germany in a couple weeks (April 6 to 9, 2011) and it’s a monster event, with 15 exhibit halls of M.I., pro audio, DJ and lighting gear. It’s kind of like attending Winter NAMM, LDI, AES, DJ Expo, InfoComm and more—all squeezed into four exhausting days. Newcomers attending Musikmesse/PL+S are often awestruck by the show’s size and scope, but with a few tips, it’s really quite manageable. Here’s some advice for anyone interested in the art of Musikmesse survival:
GETTING AROUND: You DO know your Musikmesse/PL+S badge is also a free pass for Frankfurt’s excellent public transit system, with U-Bahn/S-Bahn (subway), buses, streetcars… Also, there’s a S-Bahn station inside Messe (in the Torhaus) that’s really convenient. Note: The transit system in Frankfurt works on the honor system; there’s a substantial fine if you can’t produce a ticket or pass, so keep your badge with you!
GET IT IN WRITING: Thankfully, a good percentage of Germans speak English. However, just in case, whenever I travel to a foreign country I always keep a copy of the name, address and phone number of my hotel (from a business card or brochure) and keep it in my wallet. This way I can always show it to a taxi driver who has trouble understanding me, and it will get me back to where I need to go.
MORNING CAB TRICK: If you’re taking a cab into Messe in the morning and coming from the direction of city center or the train station, tell the cabbie to take you to the Marriott Hotel rather than Messe (just walk across the street and you’re there). This way, you save time and $$$, by not having to endure the extra 1/2-mile–and frequently backed up–Hamburger Alee (yeah, that’s really the name of the road!) next to Messe, where the cabs have to double back to make a legal U-Turn to get to the front of the Maritim Hotel next to the Halle 5.1 entrance.
SHUTTLECRAFT: Need to get from Hall 5 to Hall 9 in a hurry? Forget those people movers and escalators in the hallways! Walk downstairs, and go outside to the shuttle bus stops, where free shutttles come by every 2 minutes and stop at each hall. They run all day in a loop connecting all the halls. Also, many of the halls are stacked above one another, so your next appointment may just be an escalator ride away.
THE FIND-A-CAB TRICK: There’s a cab stand near Messe in front of the Maritim Hotel, but after 5:30 pm, all the cabs disappear and depending on the lines, the cab wait is sometimes up to 40 minutes (longer when it’s raining). Same problem at the Marriott Hotel across the street. But you’re not stuck: Just use that free transit pass and jump on any streetcar heading toward the Hauptbahnhof (train station) about 2-3 stops away. Get off there, and go to the train station where there are always dozens of cabs out front waiting for customers. Alternatively, you can also ride the subway (or walk) from Messe to the Hauptbahnhof and get a cab there.
GOOD EATS: Unlike most convention centers, Messe has tons of restaurants, some very good–steakhouse, sushi, etc. here’s the link… http://www.accenteservices.de/en/restaurants_bistros_shops/e6-1.htm. I like the one called Rotisserie… it’s at the far end of hall 6.1 with its entrance squeezed next to the staircases, making it hard to find… Not a hot dog place! Has linen tablecloths, table service, lunches about $12-$15… It’s fairly quiet and a great place for business lunches.
AVOID SATURDAY: If you’re attending for business, try to get everything done before Saturday, when the show’s open to the general public. Not only will the joint be packed, but the key players in many companies duck out on the last day.
SOUVENIR SHOPPING: The Flohmarkt (Flea Market) is 8am-2pm Saturday mornings and it USED to be along the bank of the Main river in the Sachsenhausen district. But now, due to complaints from the neighbors, it alternates every week between that traditional riverside location and on Lindleystrasse, where it will be this year during Musikmesse. Either way, it’s FREE and an awesome place to pick up odd trinkets, and last-minute gifts for the kids or folks back home. I’ve been taking people there for years and they’re constantly amazed by the odd stuff we find, ranging from treasures to genuine Eurotrash. But whether you buy or not, the Flohmarkt provides a highly entertaining excursion that you won’t soon forget. Just keep your wallet in your front pocket! Speaking of Sachsenhausen, it’s the restaurant district in Frankfurt, with hundreds of eateries within a 10 to 12 block area—a great reason to return some evening.
STAYING UPRIGHT: If you’ve never attended a European show, you should know that there’s a bar (and occasional complete lounge) built into nearly every booth. German beer is very good and Messe-style is a very civilized way of doing business. But as you wander from booth to booth, you might consider alternating soda, juice or water with those beers, so you’re still coherent by mid-afternoon! Anyway, travel safe and have a nice Musikmesse.
DO A FRIEND A FAVOR! Know someone attending Musikmesse? E-mail them the link to this blog. Thanks!
George Petersen is an independent journalist/author/producer. Visit him on Facebook or at www.audioinfosource.com.
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By George Petersen
ONE OF THE GREAT ENGINEERS OF ALL TIME, Roger Nichols, needs your help. And he’s not looking for an assistant engineer or someone to help dust his Grammy Awards. Roger quite literally is fighting for his life.
PHOTO: Roger showing his pool mix technique. (Image courtesy Deborah Gray Mitchell)
Last summer, Roger was diagnosed with Phase 4 Pancreatic cancer. Although quite serious, many of those afflicted survive for years with proper treatment. Unfortunately, the medical costs and bills have devastated the Nichols family, leaving them nearly bankrupt, making any chance of Roger taking part in some promising new treatments nearly impossible.
Once upon a time, Roger Nichols turned his back on a lucrative career as a nuclear engineer, turning audio knobs instead, and the world’s been a better-sounding place ever since. From his decades of work with Steely Dan, John Denver and other artists, Roger proved his production prowess while stretching the limits of technology. When the available gear couldn’t do the job, he’d invent solutions, such as the 1978 Wendel sampling drum computer (the first drum replacement device) or the Rane PaqRat, which transformed a lowly ADAT or DA-88 recorder into a 24-bit mastering deck. And if that wasn’t enough, his Digital Atomics company developed a vacuum desiccation system for tape restoration that offered an alternative to tape baking. Over the years, tracks Roger engineered (such as Donald Fagen’s The Nightfly) became established as standards for speaker demos in audio showrooms and AES booths—in either case, some pretty tough customers.
On a personal note, Roger was always a caring and giving person, whether serving on NARAS boards, or volunteering his time to lecture to college students and AES sections. In fact, I once convinced Roger into spending a week with me doing production seminars for the audio community in Buenos Aires, Argentina. That was a little off the beaten track, but Roger was quick to give up his valuable time for the benefit of others. Between his amazing legacy of recorded work (Steely Dan, Donald Fagen, John Denver, Rickie Lee Jones, Take 6, Johnny Winter, Placido Domingo, Roseanne Cash, The Beach Boys and so many more) and his benevolence in helping others, he has given so much to our industry.
Now it’s time we helped HIM out.
>>>You can donate to help Roger via PAYPAL. Any amount, large or small, is appreciated and will make a difference. CLICK HERE FOR MORE INFORMATION
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And please pass this link to as many people as possible. Thanks!
George Petersen is an independent journalist/author/producer. Visit him on Facebook or at www.audioinfosource.com.
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By George Petersen
THIS WAS A TOUGH YEAR FOR MIDDLE TENNESSEE. And it was especially hard on Soundcheck, Nashville’s premiere live sound showcase for tour rehearsals, with off-the-road storage for instruments and backline for major tours, and on-site offices for leading companies such as Meyer Sound, Shure, Digital Console Rentals, Fender, Peavey, Tour Supply Inc., and others. And back in mid-May, when the once-in-a-century rains caused the Cumberland River to rise well over its flood stages, Soundcheck was at ground zero, and in a matter of hours was completely submerged. We had planned to host our sister publication’s annual Mix Nashville live sound and recording series just days later, and postponed the event until September 13 and 14, 2010.
Meanwhile in those months since the waters subsided, Soundcheck has been going nearly 24/7 to get back on line, pulling out drenched sheetrock, tearing out soaked carpeting, re-wiring and re-building, while rare guitars and amps went into a dry triage facility, where world-class restoration specialists went to work. Now, after this almost Herculean effort, Soundcheck is back.
It took a while to line up new dates for Mix Nashville that would work for sponsors, attendees and, most importantly, Nashville’s audio community. But we’re moving full-steam ahead with our favorite event of the year. Nashville is a recording town and there are plenty of programs catering to the studio crowd, but we’re also offering expanded programming, with two full days of presentations and panels focusing on live sound.
Hosted by Meyer Sound and Yamaha, Soundcheck’s Studio D will be the central point for all things Live, with three presentations each day from the sponsors, and I’ll be moderating two stellar industry panels featuring top-level industry pros offering advice and insights from their years of experience. The first, on Monday afternoon at 2:30pm, is “Sound System Meets Venue—Selecting The Right Playback Package,�? which given the selection of range of gear available today, will look into answering some tough questions about creating the right system for any installation. At 2:30pm on Tuesday, the topic will shift to “What’s Next? Technologies That Will Drive the Next Five Years in Sound Reinforcement.�? And with all that’s going on—from consoles to plug-ins to processors to snakes to system control to wireless—this should provide a fascinating glimpse into determining what’s around the corner and on the horizon.
Best of all, the event is FREE to all greater Nashville residents, and a mere $39 for earlybird registrants from outside Davidson County. Visit the Mix Nashville website today for all information and links to registration. Hope to see you there!
George Petersen is an independent journalist/author/producer. Visit him on Facebook or at www.audioinfosource.com.
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Keith Barr 1949-2010
By George Petersen
I’M LOSING A LOT OF FRIENDS LATELY. And not Facebook “friends�?, but real, amazing human beings that are no longer with us. The other day, it was Keith Barr, the genius who founded Alesis and was a co-founder of MXR, who passed away at 60. Besides some of the greatest stompboxes ever devised, Keith also led the team that created the Alesis ADAT digital modular digital multitrack recorder that—while mostly obsolete today (digital TAPE recorders?)—forever changed the audio world. For a more compete background on the life of Keith Barr, go to “In Memoriam—Keith Barr”
Even today, there are major holdovers from the ADAT technology, such as the LightPipe standard for carrying eight channels of digital audio over a fiber optic strand, and the company still continues, but perhaps the huge legacy of Keith Barr came from the vast number of industry pros today who were lucky enough to be part of the Alesis empire in Southern California and developed their marketing / sales / engineering / management / manufacturing chops there. The list of alumni from that great organization is substantial and they all share a bond from working within that team environment.
Farewell, Keith. You left us all too soon, but your mark on the industry is indelible and long-lasting and will continue to be felt for years to come. Rest in peace. You will not be forgotten.
George Petersen is an independent journalist/author/producer. Visit him on Facebook or at www.audioinfosource.com.
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By George Petersen
WORLD RENOWNED FOR ITS PRO MICROPHONES, Neumann has announced it is adding Neumann-branded studio monitors to its portfolio. The new line will be based on products from Klein + Hummel—another company iin the Sennhsiser family of products. K+H monitors earned an excellent reputation in European marklet, but are less well known in other countries, particularly in North America.
“This will certainly change in the near future, because the Neumann brand is well-established in the international studio world,� says Wolfgang Fraissinet, president of marketing/sales at Neumann Berlin. “We anticipate a strong synergy effect here.�
Neumann is no stranger to non-microphone technologies, such as record lathes and studio consoles. In this rare photo, company founder Georg Neumann (left) experiments with an optical film sound recorder.
“In the history of the company, Neumann stands for far more than microphone technology, “ Fraissinet continues, “and over the decades we have also produced record-cutting equipment and studio consoles, for example. Our expertise in transformer design for the microphone—as well as in signal processing and digital audio technology, has already been demonstrated. In addition Neumann has a leading role in the area of high technology, which is successfully implemented, for instance, in the digital microphones of Neumann’s Solution-D series.�
Existing K+H studio monitors are being incorporated into the Neumann product portfolio as the “KH Line.� Over time, new products will be developed to fullfil the needs of high-end studio professionals. The first new studio monitors carrying the Neumann label will be launched later this year.
The new Neumann Synergie logo
So far, Neumann has been secretive about the new products, other than unveiling a new logo for this symbiosis of the two technologies, known as Neumann Synergie. The circular logo shows a microphone grill on the left, a speaker cone on the right, with a gentle sine wave shape separation between the two. So the rest of us will have to wait until later in the year for more details on Neumann’s first studio monitors. Stay tuned. We’ll keep you posted as soon as we hear anything.
Go here for more information about Neumann’s existing K+H monitor line .
When not working on Mix stuff, George Petersen records and performs with the SF Bay Area-based rock band ARIEL. Check ‘em out at www.jenpet.com.
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By George Petersen
LES PAUL, THE AVIATOR??? Here’s another astounding story about a side of master guitarist/inventor Les Paul that’s never been referenced anywhere and here it is for the first time. Interestingly, the link to this whole episode starts years ago in my studio. Stay with me for a bit and enjoy this amazing revelation about a side of Les few people know about…
In 1988, I was recording Greetings from Ariel, the debut album with my band, ARIEL. It was a fun rock excursion and featured a number of well-known guitar players doing guest solo spots. We had already recorded tunes with Ronnie Montrose, Jeff “Skunk” Baxter, Brad Gillis, Bill Spooner, Danny Kalb and Craig Anderton-all monster players in their own right, but I wanted to record something with Les Paul as well.
I called Les, asking if he’d be interested in doing a session. I told him we could do it any way he wanted. We could do it at his house, or at a studio in New York, or I’d fly him out to California and we could do something in L.A. during Winter NAMM, or we could do something in my place near San Francisco. He said no, because he was retired from that and if he consented to do my project then he’d have to do a lot of explaining to Lionel Hampton’s manager, who evidently had been calling fairly frequently, trying to get Les to do a project with Lionel.
Les started asking about my studio. Thinking that this meant he was perhaps warming up to the idea of doing something for his old pal George Petersen, I gave him a detailed description of the gear, which included an Akai ADAM digital 12-track, a highly modified 56-input Soundcraft 600 analog desk and a homemade digital 4-track mastering system made from interlocked Nakamichi DMP recording processors-essentially hotrodded Sony PCM-F1 units.
My studio, circa 1988
Next, Les asked where the studio was and I said it was in Alameda, California. Then the bombshell hit. “ALAMEDA, CALIFORNIA!” Les shouts. “Years ago I swore I’d never return to that &%#$&#$ Alameda, California!” The immediacy (and vigor) of his response made me think of the Three Stooges’ “Niagara Falls” routine, where Curly goes berserk whenever he hears the phrase “Niagara Falls.” Something was going on here, and I wanted more information.
I asked Les for some extra details and he told me the most amazing story. At some point during his Army stint during World War II, he was flying in a two-seater Army Air Corps plane over the San Francisco Bay Area.
During the flight, the plane developed a massive hydraulic leak, started losing control and spraying fluid all over the cockpit. Les said he was soon soaked with the fluid and evidently “some other fluids” (thankfully he didn’t elaborate about the “other” fluids) as the plane suddenly starts losing altitude.
NAS Alameda, circa mid-1940′s
Fortunately, down below, the two spotted the Alameda Naval Air Station with its long, clear runways reaching out into San Francisco Bay. Somehow the pilot manages to make it to the runway, but the plane hits hard, bounces up and on second impact, the wings snap off.
This leaves the two occupants wheeling down the runway in the fuselage, with little control while trying to stop before the plane ends up in the bay. Just before the breakwater, they finally manage to stop the plane, but getting out, Les and the pilot face the mile-plus walk back to the control tower.
Off in the distance, the pair noticed a jeep heading towards them. Salvation at last! And after surviving a harrowing landing, at least they won’t have to walk back. The jeep pulls up with a sailor/driver and a furious officer, who screams “You have no right to land an Army plane on a U.S. Naval facility!”
Les never did tell me what happened next, but he concluded by saying, “That’s why I’ll never return to Alameda, California.”
And after that experience, I’m not sure I’d blame him for feeling that way.
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George Petersen is an independent journalist/author/producer. Visit him on Facebook or at www.audioinfosource.com.
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By George Petersen
WE OFTEN GET A LOT OF STRANGE ITEMS IN THE MAIL at the Mix offices here, but the other day we were intrigued by the arrival of a rather odd parcel. Within the ordinary-looking outer packaging was an unmarked black box (somewhat reminiscent of the black monolith from Stanley Kubrick’s 2001-A Space Odyssey) and within that was a Mackie Onyx 820i analog mixer with FireWire interfacing, a copy of Pro Tools M-Powered software, a DVD marked “Insert Me” and a page of instructions printed using ransom note-style cut-out letters. The outside of the mixer’s box (shown in the photo below) touts a large notice saying it’s COMPATIBLE WITH PRO TOOLS M-POWERED in large letters with the words “and Logic, SONAR, Cubase, etc.” listed beneath in smaller type.
In true Mackoid tradition, the DVD had a short video clip of a Mackie employee with an altered voice, wearing a stocking (actually it was a pair of pantyhose) over his face to conceal his identity. The mystery spokesperson explains a few people were chosen to receive this “top-secret” parcel and then goes to play part of a Pro Tools session through the 820i. More mysterious perhaps was the other file on the DVD–an installer for the “Mackie Universal Driver Version 1″ that would let Mackie products act as an audio interface/front end for Pro Tools M-Powered software. If so, it’s a big deal–a lot of impact for a relatively few lines of code.
Assuming this isn’t simply a case of reverse-engineering on Mackie’s part, this development is significant for several reasons. Up until this point, Digidesign has been exceedingly protective about its hardware, with the only sanctioned deal being certain gear from sister company M-Audio working with the specially branded Pro Tools M-Powered software. So this is either the first step (admittedly, a small step and not a leap) toward penetrating Digidesign’s “software curtain” on Pro Tools hardware, or simply opening the market somewhat on the M-Powered side to bring more users into the Pro Tools fold. And once there, some of these users would, in theory, eventually upgrade to Pro Tools LE or a full-bore Pro Tools HD system, making it a coup for Mackie and a win on Digidesign’s part.
Yet, other than a mysterious note, a new FireWire-enabled mixer and a driver with a LOT of potential, there are many questions and few answers–at least so far. What other products are planned? Will/can other manufacturers join in the fray? Will this lead to third-party openings for other Digi products, such as Pro Tools HD or Pro Tools LE? In all, quite a mystery. However, more information should surely come on September 9–Mackie’s “official” launch date for the 820i. But one thing’s for sure: This story ain’t over yet. Not even close. Stay tuned to mixonline.com for more developments.
We’ll be watching this one!
When not working on Mix stuff, George Petersen records and performs with the SF Bay Area-based rock band ARIEL. Click here www.jenpet.com/ariel.html and check ‘em out.
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By George Petersen
EVER WONDER IF SOMEONE’S PUTTING YOU ON? We always appreciate getting e-mails and comments about Mix and the industry in general, but every once in a while, we just gotta wonder whether someone’s putting us on. It’s the web equivalent of the phrase “O.K., Where’s the hidden camera?”—wondering whether Allen Funt is gonna come out from behind a curtain. And sometimes, maybe it’s simply a sad reflection on whoever actually sends these things.
One time, some guy inquired, asking for a recommendation about what kind of outboard mic preamp he should buy. Someone told him his tracks would sound much better if he bought a Neve preamp. I replied that to in order for us to maintain some kind of impartiality, we have a policy of not recommending any specific products unless it is part of a written article, review, etc. But out of curiosity, I asked him what kind of mics he had. He replied he had a couple of Shure SM57s.
Believe me, there are few mics more amazing than this must-have, time-tested classic, but at this point the “Candid Camera” alarm went off in my mind. However, diplomacy set in and I recommended he could probably get more quality for his money by first getting some better mics which later—once he’s ready to invest in a super-quality preamp—would really make sense. Problem is some schmoe, an “expert,” no doubt, gave some one-size-fits-all advice that really didn’t fit his particular situation.
Another time, some guy e-mailed after reading what we assumed was a thoroughly tongue-in-cheek article I wrote on the back page of our AES issue last year with a bunch of joke press releases called “Products You Won’t See at AES”. You can check it out here: CLICK HERE FOR ARTICLE.
Among other things—including gems such as “The Roach Coach Music Library,” a “Drunkulator” plug-in and a “Stoogelizer” outboard processor—the list described the “Virtual Sur-Reality” helmet, which would give users the visual impression they were mixing in Abbey Road studios or the Sydney Opera House rather than the cheesy studio or dumpy basement club they were in.
It was written in jest, yet some poor soul actually thought it was real (talk about sur-reality!) and wondered how he could contact the manufacturer. I’m sure it was quite a letdown for this person to hear the truth, but maybe there’s a lesson to be learned here that indicates there might be a market opportunity for someone to actually make such a product. Any takers? And hey, if it’s on the Internet, it’s gotta be real… doesn’t it?
George Petersen is an independent journalist/author/producer. Visit him on Facebook or at www.audioinfosource.com.
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By George Petersen
IT AIN’T EVERYDAY, BUT ONCE IN A WHILE I have the pleasure of talking to Fletcher, the founder/audio cult leader of Mercenary Audio, MercenaryAudio.com. And while we don’t always agree, I definitely respect this guy for his audio saavy–which is most impressive. He’s occasionally been the center of controversy, such as the time that the centerpiece of his AES booth was an Alesis ADAT and a Mackie 1604 mixer, held high for all to see–impaled on a huge metal spike. I think he referred to that as an art project, but later acquiesced to pressure from the AES to take it down as it offended certain showgoers.
Another time, some bozo was trying to sell replacement speaker cable kits with a pair of standard household AC plugs wired to 1/4-inch connectors. The idea was that if you needed a 100-foot speaker line for a live gig, you’d just attach these adapters to an orange AC extension cable and you’d be set. Well, set for electrocution–in case someone accidentally plugged one end into a 110-volt outlet while the other was in your amp/mixer etc. Great concept, perhaps, but a VERY BAD IDEA. Anyway, Fletcher offered his own protest by outlining a body silhouette (it might have been Eveanna Manley’s) on his booth floor in yellow tape, looking much like a crime scene right after CSI-AES arrives.
Anyway, we chatted for a while and somehow got on the subject of the weirdest calls we’d ever received. I recounted one I got from some guy who couldn’t find original Shure SM57 mics. He called a half dozen retailers, who only sold SM57-LC mics. What happened to the real thing–the classic that everyone uses on everything from snares to Fender Twins? I’m not sure if he was saddened or relieved when I simply told him that the “LC” designation simply meant “less cable,” meaning it didn’t come with a cord. The guy’s response was simply: “Oops. sorry…” [click].
Fletcher laughed, and then recounted a tale of some guy who called him a few years ago, looking for an original “blackfaced” ADAT. Given the Mercenary boy’s history with ADATs, he figured someone was putting him on, because even if someone did want an ADAT tape machine, they’d most certainly opt for one of the later versions with the improved electronics and transport. This guy went on to explain that he’d read about people printing rhythm tracks to tape as an effect, had tried it with an ADAT and really dug the way it “warmed” up the sound… This guy was certainly off his rocker, but had done the near-impossible, something that few have ever accomplished, leaving the quick witted–and highly opinionated–Fletcher himself speechless. The story is almost unbelieveable, yet Fletcher swears that it’s true. Ask him sometime.
When not working on MIX stuff, George Petersen records and performs with the SF Bay Area-based rock band ARIEL. Click here www.jenpet.com/ariel.html and check ‘em out.
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By George Petersen
I FIRST GOT A REAL SWISS ARMY KNIFE back in the early ‘70s, when I spent a lot of time troubleshooting gear. I finally managed to destroy it (it essentially was worn out to the nubs) after it saved my butt about a thousand times, repairing hundreds of pieces of A/V gear, from simple P.A. rigs to elaborate 70mm projection systems with 6-channel Dolby playback. I even filed down the flat screwdriver that stuck out of the side of the knife body at a 90-degree angle so it would fit those reverse-threaded XLR set screws that holds the connector into place. That same attachment also made for a pretty formidable brass-knuckle effect, although that particular usage wasn’t mentioned in any of the official Victorinox literature.
Anyway, it’s too late for Christmas now, but I just heard about a slick new entry in the Swiss Army line—even cooler than the company’s Cyberknife of a couple years back, the one that even included mini Torx drivers for repairing PCs.
Although it’s a whopping $1,200 retail, Wenger Giant Swiss Army Knifeâ„¢ V1.0 #16999 certainly tops anyone’s gift list—or for those companies looking for the ultimate in tradeshow swag—this one’s the ticket. At an actual size of 8.75×3.25-inches (WxL); and weighing in at 2 pounds, 11 ounces, it’s a bit large for the average pocket. However you get a lot here…
It touts 85 implements with 110 functions in all including a 2.5″ 60% serrated locking blade; nail file, nail cleaner; corkscrew; adjustable pliers with wire crimper and cutter; removable screwdriver bit adapter; 2.5″ blade for official world scout knife; spring-loaded, locking needle-nose pliers with wire cutter; removable screwdriver bit holder; phillips head screwdriver bit 0; phillips head screwdriver bit 1; phillips head screwdriver bit 2; flat head screwdriver bit 0.5mm x 3.5mm; flat head screwdriver bit 0.6mm x 4.0mm; flat head screwdriver bit 1.0mm x 6.5mm; magnetized recessed bit holder; double-cut wood saw with ruler (inch & cm); bike chain rivet setter, removable 5mm allen wrench, screwdriver for slotted and philips head screws; removable tool for adjusting bike spokes, 10mm hexagonal key for nuts; removable 4mm curved allen wrench with philips head screwdriver; removable 10mm hexagonal key; patented locking philips head screwdriver; universal wrench; 2.4″ springless scissors with serrated, self-sharpening design; 1.65″ clip point utility blade; philips head screwdriver; 2.5″ clip point blade; golf club face cleaner; 2.4″ round tip blade; patented locking screwdriver, cap lifter, can opener; golf shoe spike wrench; golf divot repair tool; 4mm allen wrench; 2.5″ blade; fine metal file with precision screwdriver; double-cut wood saw; cupped cigar cutter with double-honed edges; 12/20-gauge choke tube tool; watch caseback opening tool; snap shackle; mineral crystal magnifier with precision screwdriver; compass, straight edge, ruler (in./cm); telescopic pointer; fish scaler, hook disgorger, line guide; shortix laboratory key; micro tool holder; micro tool adapter; micro scraper–straight; micro scraper–curved; laser pointer with 300 ft. range; metal saw, metal file; flashlight; micro tool holder; philips head screwdriver 1.5mm; screwdriver 1.2mm; screwdriver .8mm; fine fork for watch spring bars; reamer; pin punch 1.2mm; pin punch .8mm; round needle file; removable tool holder with expandable receptacle; removable tool holder; special self-centering screwdriver for gunsights; flat philips head screwdriver; chisel-point reamer; mineral crystal magnifier, fork for watch spring bars, small ruler; extension tool; spring-loaded, locking flat nose-nose pliers with wire cutter; removable screwdriver bit holder; phillips head screwdriver bit 0; phillips head screwdriver bit 1; phillips head screwdriver bit 2; flat head screwdriver bit 0.5mm x 3.5mm; flat head screwdriver bit 0.6mm x 4.0mm; flat head screwdriver bit 1.0mm x 6.5mm; magnetized recessed bit holder; tire tread gauge; fiber optic tool holder; can opener; patented locking screwdriver, cap lifter, wire stripper; reamer/awl; toothpick; tweezers; and of course, a key ring—you won’t lose your keys if this sucker is attached—guaranteed.
Of all these functions, my fave would have to be the “12/20-gauge choke tube tool� (some of use work some pretty tough gigs), but the “shortix laboratory key� sounds intriguing as well…
Wanna check it out? Just click here…
When not working on Mix stuff, George Petersen records and performs with the SF Bay Area-based rock band ARIEL. Click here www.jenpet.com and check ‘em out.
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