By Tina Winkhaus

INGREDIENTS
Pour 30 madeleines :
225g de farine,
175g de sucre,
100g de beurre,
1 sachet de levure chimique,
4 oeufs,
1 citron,
1 pincée de sel.

PREPARATION
1. Dans une terrine, battez ensemble les oeufs entiers et le sucre jusqu’à ce que ce dernier soit entièrement fondu.
Ajoutez la farine, le sel et la levure tamisée ensemble, le zeste râpé du citron puis le beurre fondu.
2. Beurrez avec un pinceau les plaques de moules à madeleine, saupoudrez-les de farine et secouez-les pour faire tomber l’excédent.
3. A l’aide d’une poche à douille ou d’une cuillère à café, remplissez chaque moule au 3/4.
4. Laissez reposer 20 minutes.
Pendant ce temps, faites chauffer le four à 220°C (7 au thermostat). Enfournez, laissez cuire 8 minutes environ.

MERRY CHRISTMAS & HAPPY NEW YEAR!

Assassin’s Waltz

Main Theme

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Kyiv, Ukraine / Munich, Bavaria / Berlington, Vermont )

After garnering considerable buzz in late 2008, Kay’s K161 Kay Thin Twin Reissues are now casually swinging through Europe and around the world. There are some pics and sounds below…

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The Thin Twin was the first guitar to be able to create that unique blues sound from the special interior Kay bracing which made this instrument a favorite among blues players and both emerging and famous rockers of the ’50s and ’60s. The name “Thin Twin” referred to the two blade pickups, providing a clean, sharp biting sustaining sound unlike any instrument made. The Thin Twin’s unique body is hollow acoustic type, with special feedback-resistant chamber parallel bracing, parabolic arched maple back, maple sides and 3-ply curly or flamed maple top. Although the purchase may appear a bit hit and miss (due to the varying quality of each particular guitar being produced in China), this instrument is a plain beauty and undoubtedly sounds like nothing else out there.

Kay K-161 Thin Twin Reissue

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Two more tight mixes from the Marmor&Stein forthcoming album (especially showing Vetal’s exceptional drumwork). It’s gettin’ long and hm-m… excitingly conceptual.

2. Der

3. Jungfrau

The Epiphone Rumblekat feels more like a slender, small-bodied acoustic guitar with a massive set of cojones. The top and back are slightly arched (this one is an older Korean-made Custom Shop all-transluscent finish and kinda “aged” hardware model), and the semi hollow bodies vibrates with the music in a whole other way, and that feels different as you hold the instrument. Easy to fine-tune different sounds when plugged in, by blending the pickups. Much less forgiving of poor technique as your usual P-thing, but much more rewarding when played cleanly. It has helped a lot to build kinda slick and tight bottom on Steile Treppe recently.

1. Steile Treppe

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to be continued…

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The original Burns Rez-O-Matik pickups were an air coil with an American Alnico III magnets. The coils are wound on a collapsible former. Once the coil is wound to spec, the former is collapsed from the inside, and the coil is taped completely. Then its put into the cover with the magnets, and then the whole thing is epoxied so it won’t be microphonic. The coil is very thin top to bottom, and there is no bobbin. The power and punch of a Alnico III magnet is used to produce a sweet, full-sounding tone, characterized by tight lows, light mids, and airy highs – somewhere between the quack of a single coil and the growl of a p-90. And as a result of the higgledy-piggledy chaos of directions in which the coil wires point, the Burns Rez-O-Matik has a richer harmonic content than any pickup wound in a more disciplined way.

Burns Rez-O-Matik

I have it on authority of several US contributors of the correct vintage that a ‘nitty-gritty gator’ once was a ‘lowlife hip dude’ and can assure that in terms of sound (and of course looks) the Danelectro Nifty Fifty (15w rms solid-state amp) is undoubtedly one of those die-hard fellows

Nifty-Fifty-Dirty-Sweet

…being rediscovered during the last recording sessions – Electrovoice Cardinal (Cardioid Capacitor Vocal Mic) is beautifully engineered, impressively stylish, and sounds good to boot. The frequency response of the Cardinal is flatter than that of most large-diaphragm mics, as the presence peak is less pronounced and quite broad, but there’s also a hint of low-end lift at around 70-80Hz, which gives the mic a very subtle ’smile EQ’ characteristic, the practical outcome of which is that the sound is mildly flattering but still very natural sounding. There’s nothing thin or edgy about the sound and, because there’s no excessive inherent coloration, it responds well to EQ — you’re not constantly trying to fight the mic’s in-built character. Of course you don’t get the fudgy warmth of a tube mic or even a transformer-coupled model, but to our ears this makes it easier to place the vocals at the front of a mix without using excessive volume, and there’s certainly nothing budget (except the $199 price tag) or second class about the sound of this little beauty