The Invicta watches review in the real world for pro divers

So, you are a diver and looking for the professional submariner look? Are you worried about the huge prices these watches usually come with? You can put an end to all those worries and move forward with your purchase plans. Because the Invicta watch group has launched a few collections of diver’s wrist watches that are of very high quality with stunning looks and still come with an affordable price tag. Here is a watches by Invicta review of the best selling products from the company.

  • Men’s 0072 Pro Diver

It is large with a distinguished classic chronograph. The functionality is at its best when compared to other contemporary watches. It is made up of stainless steel which is gold toned. The gold tone is due to the plating of 18k on the stainless steel. It is also given a polished finish after the plating. One look at the watch spells out sophistication and class. You can use not only leisurely occasions but also for office and work parties. Simply put, it is a luxury wrist watch that can be bought without years of installments to pay.

With the 18k gold plated stainless steel band and case, a safety clasp is found. The case provides the perfect foundation for a rotating bezel sporting minute markers with an attractive black dial. The hand, hour markers and all the three sub dials are luminous. At the 4 o’clock position, there is a date display window. It is covered on top using a magnifying glass. It has three gold plated crowns on the side of the case. One will be used to start and stop the watch. The other to reset all the settings. Another one can be used to set time and date.

It has Swiss quartz movement with flame fusion crystal. It can handle the pressure up to 660 feet or 200 meters. It is water resistant till that depth. The shape of the dial is round with analog display. The case is 48 millimeter in diameter and 17 millimeter in thickness. The bezel is unidirectional and gold plated as well. It weighs a total of 1.1 pounds.

  • Men’s 6981 Pro diver collection

This has a super cool look with black and gold band and case. The dial is a black polyurethane watch. It has quartz Swiss movement. Also, the mineral crystal has twice the resistance to scratches and protects the dial. The bezel is of gold tone with Arabic numerals fitted perfectly atop a ring made of black stainless steel.

It is resistant to water up to a depth of 100 meters in water. The Swiss chronograph will navigate perfectly to the changes in pressure. The case is 48 millimeter in diameter and 17 millimeter in thickness. It is made up of stainless steel completely. The band is made up of polyurethane. The bezel is unidirectional.

You can view the Invicta watches review of buyers on the websites which legitimately sell the products.

Forgotten distortion delights

Charles Darwin would have been pleased to witness the ascension of best distortion effect pedals of all time as they evolved from simple fuzz tones to sophisticated mini processors with multiple gain and filtering stages, electronic switching, and, in some cases, effects such as chorus and delay. These three boxes from the ’70s and ’80s provide an overview of how quicklydistortion technology advanced in the days before the rack revolution sent stompboxes scurrying back to the primordial pond.

Electra Overdrive

Though best known for its ’70s-era guitars that featured interchangeable effects modules, Electra also produced a variety of pedals. One of its simplest offerings was the Overdrive, which, despite having a modern-style FET footswitch, was a basic op-amp clipper with a Depth (gain) control. The Overdrives specialty is a fuzzy grind that becomes more massive as you turn up the gain. Though strong in output, the Overdrive is dynamically weak–it doesn’t clean up well when you turn down your guitar. But if all you want is brute-force distortion and aren’t concerned about “tube” tone, the Overdrive is a hip find.

Washburn AD-3 Stack in a Box

A quantum leap from the Overdrive is this little powerhouse, which sports a much more complex circuit utilizing a pair of 558 op-amps and eight transistors. The AD-3’s Distortion, Level, and Tone controls provide a wide range of fat-sounding grind. This pedal can do the creamy tube thing, but its forte is wicked-sounding distortion with sustain for days. This is a shredder box par excellence, and with the Tone control at about ten o’clock and the Distortion anywhere close to maximum, you get thick, buttery burn that still allows the natural voice of your guitar to come through.

Ibanez SS20 Session-Man II

In 1987, Ibanez introduced its first multi-effects pedal, the SS10 Session-Man, which featured distortion and chorus that could be combined in series or parallel. Sporting the same Pepto Bismol paint scheme, the SS20 is a distortion/delay unit that similarly allows for series or parallel operation. As with the original model, the SS20 has a latch on the left side of its metal housing that flips the footswitch open for quick battery replacement.

Distortion and delay go together like chocolate and peanut butter, and the SS20 combines them in novel ways. The Distortion, Distortion Tone, and Distortion Level controls provide textures that range from mild tube-style overdrive to saturated tones with lots of sustain. By pegging the Delay Time control (which tops-out at only about 250ms) with the Mode switch in the Series position, you get tanky distortion effects that sound like they’re being pumped through varying lengths of concrete pipe. Select the Parallel setting and you can mix the distortion and delay to create anything from bouncy, reflective echoes (with a hint of distortion) to heavy, in-your-face grind with a pronounced slap-back shimmer–reminiscent of what you might hear if you had Slash and Scotty Moore wailing on the same part in unison. There are also two trimpots under the footswitch cover for adjusting delay level and feedback. The former is mostly useful for turning off the delay, but high feedback settings allow you to preset the SS20 to unleash wild, runaway-delay effects at the touch of a button. Not easy to find, but a must-have box for anyone who yearns to grind on the wild side.

Echoes of the past: Danelectro Reel Echo and Spring King

Tape delay and spring reverb were mainstays of popular music during the ’60s, and many major manufacturers produced one or both types of effects. Some of these products–such as the Fender tube Spring Reverb and the Market Electronics/Maestro Echoplex–are now considered classics, and command high prices on the vintage gear market. But these old boxes are typically bulky and fairly delicate, and often require regular tweaking to keep them operating properly–all factors that make them less than ideal for gigging guitarists.

Danelectro‘s Reel Echo and Spring King pedals purport to provide classic delay and reverb tones, without the hassles associated with vintage boxes, and at a fraction of the cost. These best reverb pedals for guitar are very solidly constructed, can be powered by a 9V battery or the optional DA-1 AC adapter ($9), and sport cool paint jobs and retro knobs and switches. Sonically, they are clean and quiet, and though they don’t offer true-bypass switching, I didn’t notice any tone sucking or audio degradation. Both pedals have standard mono 1/4″ inputs and outputs, but the Reel Echo features a second jack that outputs just the dry signal for stereo effects.

Reel Echo

The Reel Echo was obviously modeled on the classic Echoplex tape delay–it even has a graphically-represented “tape” path, a sliding tape head-shaped knob for adjusting delay time, and a Sound On Sound switch. Despite the cosmetic resemblances, however, the Reel Echo has its own unique sound and feature set.

There’s nothing new about getting a tape-delay sound out of a digital processor (in fact, one of the more successful examples is Danelectro’s own Dan Echo pedal): a clean digital delay is modulated slightly to simulate tape flutter, and high frequencies are gradually filtered off successive repeats. The Reel Echo’s Warble feature handles the first task, and a Lo-Fi knob lets you dial in varying amounts of high-end roll-off. To add to the fun, there’s also a tone switch that toggles between tube and solid state settings, supposedly mimicking the differences in voicing between the two types of tape delays. (Note that these controls affect the delayed sound only.)

On the upper section of the pedal are two footswitches and associated LEDs. Pressing the Echo switch engages the effect and lights the Tempo LED, which flashes in sync with the delay time–though there’s no tap-tempo function. The other footswitch puts the Reel Echo into Sound On Sound mode, which resembles the Echoplex’s sound-on-sound function in name only.

SOS. The Echoplex records onto a three-minute continuous loop tape cartridge, and its Sound On Sound switch disengages the erase head, allowing you to overdub indefinitely onto that loop. The Reel Echo’s Sound On Sound switch disengages the delay input–in other words, you can record a short phrase (up to 1.5 seconds, the pedal’s maximum delay time) with the repeat knob turned up enough to make the phrase play indefinitely, then press Sound On Sound and play along with that phrase without adding to it. And speaking of regeneration, you can get the Reel Echo to self-oscillate, sort of like an Echoplex (think “flying saucer”), by cranking the repeat knob all the way up. However, if you attempt to have the saucer “take off” by changing the delay time, all you get is digital glitching–that’s one classic Echoplex effect you can’t get with the Reel Echo.

Head To Head. The Reel Echo works best when connected between a guitar and an amp. When patched into an amp’s effects loop, there was a noticeable degradation of signal quality. (It did, however, work quite well as an outboard processor in the aux loop of my recording mixer, so go figure.) The pedal’s input is flexible enough to handle pickups ranging from mellow to mega-hot, and the unit worked well when chained together with other pedals.

Does the Reel Echo sound exactly like an Echoplex? Of course not–but it does capture a great deal of the original’s vibe. The Warble effect sounds more like a very nice chorus than tape flutter to me, and only the first half of the lo-fi knob’s range is particularly useful. Still, I was able to get some great sounds by using them in combination with the tone switch. My favorite setting was Warble on, lo-fi off, and tone switched to tube.

One very important characteristic that the Reel Echo does have in common with the Echoplex is that it is fun and inspiring to use. Add to that the Reel Echo’s no-maintenance and hassle-free performance, easy portability, and bargain price, and you’ll want to rush right down to your local music store without delay … delay … delay.

Spring King

The pale-yellow Spring King is an analog device containing an actual reverb tank with three eight-inch springs. Its three brown chicken-headed control knobs couldn’t be simpler to use: Volume controls the input level to the reverb tank (not the overall volume), tone darkens or brightens the color of the reverb, and reverb determines how much effect is blended with the dry signal. The front panel also contains an oval-shaped rubber Kick Pad. This isn’t connected to anything, it just provides a convenient spot to give the Spring King a good whack should you decide to add some clamorous “boings” to your performance.

After donning my baggies and waxing my board, I put the Spring King through its paces. I patched the pedal between a Les Paul and a Rivera Thirty-Twelve amp, and the first thing I noticed was that even with the King’s volume control all the way down, the unit still produced a slight cinder block room sound. Though that wasn’t a particularly pleasing effect, I was quickly able to dial in more desirable sounds by increasing the volume and setting the tone and reverb controls to twelve o’clock. That brought the King to life, and soon I was surfing through a surprising variety of tonal possibilities.

The key to getting the best performance out of the Spring King is adjusting the input volume properly–too little level and it sounds tinny and wimpy, too much and it gets nasty. The other two controls are also effective over their entire ranges. The tone control provides a nice palate of coloration from dark and muffled to bright and ultra-sproingy, and the reverb control gradually introduces more wet signal into the mix, rather than heaping it on all at once.

The Spring King’s tone can’t compare to, say, a Fender tube spring reverb, or even a full-sized spring reverb in a good guitar amp. After all, there are no tubes to give it that sort of smoothness and warmth. Nonetheless, Dano’s new box has lots of personality–and at $199, the King rules!

Danelectro’s Reel Echo and Spring King pedals provide oodles of antique ambiance in cool, cost-effective packages.

Kissing Cousins

  • Line 6 DL4 Delay Modeler
  • Little Lanilei Reverb Pedal

Using Waist Cinchers – 4 Things You Should Remember

Waist training, also known as waist cinching or tight-lacing, is the process of slowly slimming down the waist in the course of many months with the use of a corset consisting of steel bones. The process of waist training came into prominence first during the Victorian period. It faded in the later years, but in the last few years it has again gained much limelight – thanks to rising awareness about obesity, an attempt to shape the body by ordinary women and use of best waist cincher by many celebrities such as Kim Kardashian. If you have are going to begin waist cinching, you should remember the following 4 things in order to train your waist in a proper manner.

Determine your body shape

The first step is to determine your body shape, and know whether you have a pear, an apple or a ruler shape. The female body is generally categorized into any of these three shapes. Once you determine this, you will easily be able to under which type of corset would be ideal for your body shape.

Look for proper body support

The best types of cinchers can gently push up your bust, lengthen your torso and provide your spine with proper support. You can wear these as fashion accessories under your dresses and be able to slim down your mid section and the waist in order to change your body shape in the most dramatic manner. These dresses provide your body with compression and can enhance the circulation, perspiration and thermal energy of your body. A waist cincher can reduce the amount of toxins and fats in your body and can help your muscles to operate in the fullest possible extent. You can appear smoother, slimmer and sexier.


Look for cinchers which come in a blend of more than one layer of fabric. This way, the waist area of the outfits can ensure pressure. If it gets decompressed easily, it is not the ideal corset to go for. The corsets of the best type are very strong but soft in feel. This ideal combination of strength with softness makes cinchers the right blend of power and beauty.


Look for cinchers that are equipped with satin coutils and also made of steel bones. The more the amount of steel bones in the outfit, the better it can be for you. Look for bones at the opening of the back and in between the eyelets. Otherwise, the eyelets of this outfit will drop off once you tighten the cincher. Look for the presence of two steel bones, one on each side of each seam. This is especially important in case the corset is of a bigger size. The more the number of panels in the design of your corset, the better it will be for you. This is due to the reason that the panels can lead to a rise in the number of steel bones in your corset and improve its shaping. You need to avoid using corsets that come with 3 or 4 panels on every side, as these are inferior in quality.