Issue #325

PIERCE THE VEIL

THE UNPREDICTABLE JOURNEY

MONONEON FRIENDS OF FRIENDS

EDUCATION SPECIAL MELBOURNE GUITAR SHOW

REVIEWED:

FENDER GOLDFOIL TELECASTER

IBANEZ PENTATONE PREAMP

MX PRO IN-EAR MONITORS + MORE

release 2023

SCAN QR CODE

to watch the beasts unleashed in aN EXCLUSIVE jam session & CHECK OUT THE INCREDIBLE LINEUP.

ON SHOW AT Or at your local IBANEZ Retailer

ORIGINAL COLLECTION

The SM-1 Gets a Flashy New Look

The new SM-1 Figured is part of Kramer’s Original Collection and retains the neck-through, double-cutaway mahogany body, ebony fingerboard, Seymour Duncan® Cool Rails™ and JB™ humbucker™ pickups, Floyd Rose® 1000 series tremolo, and Floyd Rose® R2 1000 series locking nut of the original SM-1, but adds bold new finishes over a gorgeous AAA figured maple veneer top.

Available in Caribbean Blue Perimeter, Royal Purple Perimeter, and Black Denim Perimeter, all three colors are also available in left-handed versions.

Visit australismusic.com.au/brands/kramer to find out more

JOSH SMITH

PRO SERIES SIGNATURE SOLOIST ™ SL7 ET

PUBLISHER

Furst Media

A1 1-5 Weston St Brunswick VIC 3056 (03) 9428 3600

PRINT EDITOR

Paul French paul@furstmedia.com.au

ONLINE EDITOR

Isabella Venutti

isabella@furstmedia.com.au

GRAPHIC DESIGNER

Kelly Lim

ADVERTISING MANAGER

Paul French paul@furstmedia.com.au

PUBLISHING DIRECTOR

Patrick Carr patrick@furstmedia.com.au

CONTRIBUTORS

David James Young, Nancy

Malone, Pete Hodgson, Eric Foreman, Andy Lloyd-Russell, Nuwan Rohitha, Kaya Martin, Sam Mcneice, Brett Voss, Will Brewster, Rob Gee, Lewis Noke Edwards, Christopher

Hockey, John Tucker, Pablo

Francois, Adrian Violi

FOUNDER

Rob Furst

Pierce The Veil pg.

Win one of four MEE Professional MX Pro In Ear Monitors

With four different models across the MX Pro range of in ear monitors (each boasting different driver configurations), there is a model for every application, be it for live vocal performance, providing onstage clearly and audibly for instrumentalists or even as an alternative set of monitoring headphones in the studio, their in-ear topography providing the gold standard in isolation.

Given their modular setup, there is also plenty of customisation to be had, with components being able to be changed or upgraded independently. The brand’s patent system was designed from the ground up, meaning that all parts and accessories – including custommoulded eartips and engraved faceplates –are interchangeable between all of the models within the series.

This means that users could start with a universal-fit MX1 PRO and then convert it into

a custom monitor over time as their needs as a performer/practitioner change. If any part needs to be replaced later on, or you merely decide that you’d like to switch to another MX PRO model, you can swap out all of your accessories and customizations – even the custom-fit moulds – in a matter of seconds. This range allows you to create the perfect frankenstein of features; to tailor your in-ears to your specific needs.

For your chance to win one of four driver configurations of the MEE Professional MX Pro, head to our giveaways page at mixdownmag.com.au/giveaway and follow the instructions.

*These giveaways are for Australian residents only and one entry per person. For full terms and conditions visit mixdownmag.com.au/ termsandconditions.

PRODUCT NEWS

Ernie Ball Expands Their Range of 3 Packs

CMC MUSIC | CMCMUSIC.COM.AU

and sound morphing capabilities, built to let you perform fearlessly, compose with fluidity, and explore sound in perpetual motion.”

As part of the introduction of the PolyBrute Noir, CMI Music is even offering a set of Bonus Arturia Wooden legs to the value of $419.00 RRP absolutely free with every PolyBrute Noir purchase.

Now to a couple of questions some users had, no doubt running through your mind.

“But If I use acoustic guitar strings, will the electric pickups have uneven reception?”

Cole Clark says that the acoustic preamp will sound best with acoustic strings, and that the brand has also created a patented way of balancing the string response with the electric pickups to compensate.

“Gorgeous, but seems like a feedback nightmare. How do you keep a humbucker in a big thin box from squealing?” To that, Clark says the key has been to encase it properly: “It’s surrounded inside in its own little box essentially, so it doesn’t know it’s in an acoustic.”

The system is also completed with two excellent Class D amplifiers, which deliver sufficient output power to satisfy the requirements of contemporary music production.

Audio-Technica introduces the first specifically developed streaming headsets

AUDIO-TECHNICA |

AUDIO-TECHNICA.COM/EN-AU

For over 60 years, Ernie Ball strings have been the premier choice for musicians around the world. Ernie Ball has now added 15 more of its most popular string offerings as convenient 3-packs. This includes Slinky, Classic Rock ‘n Roll, and Earthwood sets of various gauges. All 3-packs feature individually sealed sets for lasting protection and better storage. These packs provide a convenient, cost-effective solution for players buying multiple sets at the same time while ensuring each set stays as fresh as possible.

Arturia releases Polybrute Noir Analog Synthesizer

CMI MUSIC | CMIMUSIC.COM.AU

At a glance, the product features 61 keys with velocity and aftertouch, Pitch Bend, a Mod Wheel, Ribbon controllers, Morphée touch and a pressuresensitive 3D controller, Sound Morphing with parts A and B in each preset, Dual Analog VCOs with Noise Generator, 3 stereo Digital FX engines and 768 preset slots.

Boasting endorsements online from industry heavyweights of the likes of Tom Furse from the horrors and Nick Baines of the Kaiser Chiefs, this is a product release synth enthusiasts won’t want to sleep on!

Cole Clark Guitars unveil prototype of next step in their dual output range

COLE CLARK GUITARS | COLECLARKGUITARS.COM

Customers can expect the guitars to hit shelves around mid 2023. Subject for an estimated $4599 Aus RRP.

EVE Audio introduces the SC2070 two-way monitor

ELECTRIC FACTORY | ELFA.COM.AU

At this year’s Consumer Electronics Show in Vegas, AudioTechnica put themselves at the forefront of innovation again, unveiling the world’s first headsets specifically developed to address the needs of live-streaming content creators.

The Arturia PolyBrute Noir, a 6-voice, 61-note analog synthesizer which boasts sound morphing capability, unmatched expression, and deep sound design flexibility, is now available in Australia in a limited-edition black finish.

Arturia describes the release as a “6-voice analog powerhouse, with unprecedented expressivity

After teasing an electric/acoustic guitar on their socials, Cole Clark Guitars have shown the final prototype. Here’s what we know. The bare bones description of the guitar is their thinline acoustic with electric pickups added, using all Australian back and sides. The final product is said to feature a porthole of some kind.

The SC2070 is the ideal instrument for mid-sized professional recording studios as well as home studios where quality is vital.The AMT enables extraordinarily detailed resolution of the high and upper mid frequencies, combining technology from EVE’s lauded SC3070 and the SC4070 monitors. The RS7 was built specifically to attain a crossover frequency of 1800Hz, which is incredibly low for a twoway monitor. The area of the diaphragm is 1.5 times greater than the membrane of the tweeter utilised in SC207.

The 250W total output power of the RS7, 6.5” SilverCone woofer, and amplifier unit are housed in an optimised, low-resonance housing with reinforced front baffle. The drivers are protected from overload by sophisticated protection measures. Meanwhile, the cabinet’s bevelled edges lessen sound diffraction.

The headsets are equipped with the same 45 mm largeaperture drivers that grace the M50x headphones, but it’s the microphone design that truly sets these streaming headsets apart. Both models use a cardioid condenser capsule adopted from their 20 Series microphone designs on a flexible boom arm, allowing for ideal positioning even as you move your head. The result is “rich, studio-quality vocal presence” without background noise and output at a consistent level. The mic can be muted simply by flipping the boom arm into the up position.

With the same drivers as the monitoring choice of top engineers and audio pros in the M50x, the headsets also come with M50x earpads that “stress audio quality and sound isolation”, and mesh and leatherette earpads that “emphasise breathability and comfort”.

Sound Skulptor’s MU524 Vari-Mu Tube Compressor is now available

including the ARP 2600 M, MS-20 Mini, and ARP Odyssey. Promising to deliver parts brimming with rich harmonic content, these new circuits provide the instrument’s bass drum, snare, and tom sounds.

The instrument also features seven digital parts, six of which are sample-based – capable of playing both pre-loaded and user-imported PCM samples. The seventh part uses an elevated version of the Korg Minilogue XD’s Multi Engine, meaning that the Drumlogue can play full-blown synth voices in addition to its drum sounds.

USB routing options, expanded foot switch functionality, as well as additional DSP effects and improved internal circuitry for class-leading sound, the AG08 is able to support many live streaming applications. The real-world, real-time functionality of the AG08 will leave any great content creator’s audience wanting more.

Sound Particles have announced the Explorer SFX

Cloud

CMI MUSIC | CMIMUSIC.COM.AU

For those looking to recreate the idiosyncratic sound of a vintage compressor at a considerably cheaper price point – look no further than Sound Skulptor’s freshly released MU524 Vari-Mu Tube Compressor, the latest addition to the brand’s range of DIY 500-series modules.

The kit utilises a pair of transformers and a NOS (newold-stock) valve in its signal path, and as with the entirety of Sound Skulptor’s range, those who are keen to grab the MU524, but a bit less keen to put it together themselves, can opt for a pre-built module at an additional cost.

Based on compressors such as the Altec 436 and Abbey Road’s RS124 units, the MU524 purports to offer a smooth and natural compression with a soft knee, and can be pushed into distortion if driven to the max. The product is suited for use on a wide range of sources, and users can even link two units in order to process stereo buses or entire mixes.

Introducing the Drumlogue, Korg’s latest drum machine

CMC MUSIC | CMCMUSIC.COM.AU

The company has also joined forces with plug-in developer Sinevibes, collaborating on a new synth plug-in called Nano. Exclusive to Drumlogue, this plug-in utilises the Multi Engine, delivering a virtual analogue synth boasting dual oscillators, ring modulation, a four-pole statevariable filter, as well as a built-in envelope generator and LFO functionality.

Meet the Yamaha AG08 flagship live streaming mixer

SOUND PARTICLES | SOUNDPARTICLES.COM

Korg have officially announced the release of Drumlogue, their latest hybrid drum machine offering. The Korg Drumlogue features completely new circuitry, which was developed by Junichi Ikeuchi, a Korg engineer with a history of working on classical instruments

YAMAHA

MUSIC AUSTRALIA | YAMAHAMUSIC.COM.AU

Sound Particles have just announced the launch of Explorer SFX Cloud, which consists of two elements - a free audio file management application and a cloud based subscription service with access to over 100,000 high-quality sound effects. This combination aspires to provide sound designers and content creators with all of their recording project needs in one convenient package.

Retailing at $1795 AUD, the MB58R series is a further example of how Markbass is always one step ahead in innovating using state-of-the-art technologies.The MB58R 102 PURE features 2×10” Markbass Neodymium custom speakers and a new hi-fi tweeter that is very focused in the high range, with an excellent transient response. It weighs just 10.5 kg, handles 400W of power and delivers a loud, clear and punchy sound that will cut through any mix.

Now made in Italy, the MB58R series cabinets’ custom components guarantee Markbass’ unmistakable tone every time you plug in.

Markbass cabinets have always been remarkable for their light weight. The MB58R cabs are lighter than anything Markbass has previously delivered.

The Yamaha AG08 is an ideal audio streaming solution for content creation, combining practical connectivity and DSP effects processing. Additionally, it supports a wide range of notable streaming apps for speech, gaming, ASMR, and offline content creation.

Every aspect of the AG08’s layout as an audio tool has been designed for intuitive live operation, with the intention being that users will have a complete overview of their streaming sessions, while also being able to make corrective and creative changes on the spot.

The AG08 combines all of the integral functionality of its predecessors, with a versatile selection of new practical features to give you a powerful, onestop-shop streaming station. By integrating more flexible I/O and

The explorer is an application that provides users with an easy way to sort and access their collection of audio files. Files can either be imported or drag and dropped into Explorer, after which a comprehensive metadata system allows them to be tagged with a wide range of information.

SFX Cloud, a cloud-based collection of over 100,000 mono, stereo, multi-channel, and Ambisonics sound effects, is available as an optional add-on to the Explorer application. Once subscribed, users will be able to combine the online library with their own local files within the Explorer software, with no limit on downloads.

For those looking for an environmentally conscious option, look no further. The production materials used for these new cabinets are not just light weight, but also eco friendly - these cabs are now 100% recyclable.

The Markbass lightweight, eco friendly MB58R cabs are now available Down Under

Pierce the Veil

In mid-2018, Pierce the Veil frontman and co-founder Vic Fuentes posted a photo of himself in the studio to the band’s Instagram page. Therein, he described the creative process for what was to become their fifth studio album

The Jaws of Life as a “beautifully unpredictable journey”.

It might seem like remarkable foresight on his behalf, but not even Fuentes could have realised exactly how unpredictable things were about to become. 18 months later, the world came to a standstill – as did any plans for a new Pierce the Veil album, or any album for that matter.

“Before we got things in motion with the album, we were in a very disconnected state as a band,” Fuentes recalls when speaking to Mixdown over Zoom. “It was obviously the way the world was at the time, but it was really weighing on the band – there was a lot of anxiety about what was happening, and if we were going to be able to play music again. Personally, I always knew that we were heading towards something and working towards it, because I was still writing a lot on my own. To keep everyone focused was definitely difficult, though.”

In order to get the process back on track, Fuentes enlisted producer Paul Meany – a man whose best-known aspect of his resume depends on your age. If you’re a millennial, you’ll remember Meany at the helm of keytarwielding alt-rockers Mutemath. Remember ‘Typical’? It’s a banger. If you’re Gen Z, however, Meany will be a familiar face on account of his production and musical direction work with Twenty One Pilots. Either way you cut it, the man is an accomplished music veteran and knows his way around songs that live in your head rent-free – which is exactly what Fuentes was hoping for by enlisting him.

“When we booked Paul we were like, ‘oh my God, this is going to actually happen now’,” he says. “We have like this, this amazing, talented, creative producer behind us now. We were all fans of Mutemath, and we used to go see them play – they were always incredible. Typically, our producers have all been more within the engineering world – they just want to make it sound as good as possible. This time, we really wanted to have somebody that had a really strong opinion and wouldn’t be afraid to battle

“Personally, I always knew that we were heading towards something and working towards it.”

it out with us a little bit on the songs. That’s exactly what we got with Paul – he was the perfect guy for the job.”

From there, Fuentes – alongside lead guitarist Tony Perry and bassist Jaime Preciado – forged ahead with Meany on The Jaws of Life with a refreshed focus and a newfound creative vision. If Fuentes wasn’t excited enough about the record, he brought in a second outside influence to bring the album to life: Brad Hagreaves, the drummer of semi-charmed pop-rock stalwarts Third Eye Blind. “It was another monumental moment for the record,” says Fuentes. “We have one of our heroes playing on this record. My favourite band in the world is Third Eye Blind. I got to make an album with this guy who’s played on all of their albums. We were so excited about what this record could be.”

What this record ended up being, as it turned out, was a chance to redefine Pierce the Veil entirely. Nearly seven years removed from its predecessor, 2016’s Misadventures, it sees the band expanding into electric alternative rock –as showcased on the down-tuned headbanger ‘Pass the Nirvana’. Fuentes can’t help but smile when he talks about the fresh coat of paint his band has been given – especially given it started over 15 years ago, when Fuentes was still in his early 20s.

“It was very natural for us to want to do something different,” he says. “We were craving something new. It wasn’t really a question of us changing things up, because I just wasn’t

writing the same riffs anymore. I think the last two albums that we did captured a lot of that heavy-metal feel – they have a lot of guitardriven tracks with complex riffs and stuff like that. For my part, I was just not writing like that anymore. What was coming to me was taking inspiration from different bands that I enjoyed growing up – Weezer, The Cranberries, Beck, stuff like that. We weren’t really trying to impress anybody with our shredding, y’know? We were more so just trying to write powerful riffs and powerful melodies. That was the focus, and it was all very natural on our end, but also a real challenge for us – which keeps things fresh-feeling and exciting.”

A new sound, a new drummer and a new producer might be enough for most bands to properly make their shift, but the trio didn’t stop there. While working with Meany, the band chanced upon a miniature violin bow: “It’s like the dumbest thing ever,” Fuentes laughs. “As soon as Jaime saw it, he laid down a bass

track with him playing it.” Not to be outdone, Fuentes himself tried out some new hardware in the recording studio – quite literally. “There’s a couple of songs on the album where I recorded guitar parts with a drill,” he says. “I just pulled it out of the closet and went to town – that was a lot of fun.

“Stuff like that might seem trivial, but for the three of us it was so freeing to make an album however we wanted to make it. We’ve been making albums for 20 years, and we finally feel like we can take control now. We engineered and recorded a lot of this ourselves – I have my own studio, and I was doing stuff in there when we weren’t all in together with Paul. If we all got one thing out of making this record, it was solidifying and having faith in our own abilities. We’re utilising everything we’ve ever learned as a band on this album.”

BY DAVID JAMES YOUNG

“It was very natural for us to want to do something different.”

Up Close & Personal: Friends of Friends

Fresh from touring with indie heavyweights Slowly Slowly, Brisbane indie rock outfit Friends of Friends return with hard-hitting new single ‘Morphine’ and news of their own national headline tour. We caught up with lead singer Barnaby Baker to dive deep into his musical journey thus far – from his Garageband beginnings to landing a spot on Spotify’s New Music Friday playlist.

How would you describe your current sound? What’s your primary instrument? What direction are you headed in, artistically speaking?

Primary instrument is drums, and then I fake my way on keys, guitar and bass on the Friends of Friends records. Genre less gets thrown around way too much, but FoF’ tracks tend to sit in their own genres. It’s a mixtape of all my favourite bands and sounds, but overall we’re shooting for a future focused indie-rock. There’s a few curve balls on the upcoming EP though with a softer country inspired track, as well as some hard hitting industrial rock cuts. Are there any artists or producers that you look to for inspiration?

Trent Reznor (Nine Inch Nails) is a big inspiration for Friends of Friends. He is truly the king of synths. There’s one episode on Netlfix’s ‘Song Exploder’ where he talks about making synths from overly reverbed string samples that changed the game for me. It’s all about getting those electronic sounds to feel like breathing organisms, and I’m here for it. In your own words, please describe your average production workflow and setup. I don’t run templates on my sessions, I always open something blank, and just start working. I’m not trying to get bogged down in mixing, so I let the workflow

breathe and be fluid at the start, but there are some specific plugins and techniques I use. Almost every writing session I do will start with some kind of droning texture. Whether it’s from a soft synth that runs through some magic plugins, or a live instrument that gets re-sampled and warped, without fail, I have to start with texture. Sometimes these textures prompt chord progressions, or guitar parts. I’ll then start hearing things that aren’t there, like a guitar part, or little ear candy thing, and the song starts to flesh itself out.

Once that initial harmonic layer is down, I’ll hear a drum part at some point, and try a few things until I’m getting excited about the rhythm section.

I’ve got a home studio that I work from, which always sounds cooler than it is. But I was lucky to find a house with a large room and wooden floors that lend well to production and writing. It’s minimally treated, with just some tall baffles in the corner. I think having a live-ish space is important for your writing and production to come alive in, more so than having the perfect room. Is there anything unique or special about your setup? How did you get to that point?

The most unique part about the setup is simply having everything in the box. It’s not that uncommon

or different – and it’s kind of born out of a budget necessity for Friends of Friends (who has money for a LA-2A? I know I don’t…), but I’ve overly leaned into the digital mindset. Most of the sounds that go into sessions come from audio snippets I’ve collected, or using a bow on an electric guitar etc, and the magic is in manipulating, warping and bending them. I love to bounce snippets of audio out of my DAW, and throw them into a sampler and play them back as chords or random phrases. It can create some really unique moments in your tracks. Do you feel this equipment/ software has had an influence on your unique sonic fingerprint?

Accepting that your musical life now lives inside of a computer can be a little weird, but I try to use it to my advantage. Small things like committing tracks, and nudging them out of time can create some really great variations on riffs and synth parts that you might not have thought of. It can take something average and turn it into something special. Running reverbs into that sans amp plugin everyone has is definitely another trick I often use. I love that big, wall of sound feel, and just throwing plugins in different orders can be the difference between something sounding nice, and something sounding unique (even if you’re not supposed to)

What is your DAW of choice?

Pro Tools is my life. I’ve been using it since highschool, but it means I’ve become dependent on it. If I can hear it in my head, I can most likely make it happen in Pro Tools but I can’t do that in Logic or Ableton, and so I’m stuck with AVID (iykyk) for the time being. I

don’t like wasting time when I can hear something I want to create. Is there anything really cheap or lofi in your setup that punches above its weight?

UVI’s Synth Anthology is a MUST have for me. It’s only $150, and has more synth machines than you’ll have time to hear. They use real samples instead of emulation, so what you get is what you get, but I love the limitation of that. UVI kicks some serious ass.

Lastly, what’s your dream piece of equipment you’d like to own and why?

An outboard Empirical Labs Distressor. I need one. Let me throw it on everything. My mix bus, my vocals going in, the weird mono mic some people put on top of their kick drums, that guitar sound that’s not punchy enough, that weird little bell sound I’m trying to make sound like a glockenspiel. I’m sure it works on everything and maybe one day I’ll find out…

BY NANCY MALONE

Interview: MonoNeon

exact numbers for those particular colours and everything. I’m really big on if the colour stands out or like it glows under ultraviolet light. If it doesn’t, I really don’t like it, but this bass does, definitely!

a lot of technique. It’s really just more just the imagination and just determined to play what I hear.

It’s as colourful and bold as its namesake artist – Dwayne Thomas Jr, better known as MonoNeon, and is the kind of signature instrument that brings more to the table than just a cool finish: it’s a fully developed, fully realised instrument with its own charms and quirks outside of its utility as MonoNeon’s primary instrument for his effervescent funk creations. Mixdown: So what exactly is it about the Jazz Bass format that does it for you so much?

MonoNeon: Well, I grew up with that sound like a lot of us, you know, listening to a lot of records from the ‘70s and even the ‘60s and ‘80s. That sound was always part of the music I grew up listening to, whether it’s Marcus Miller or Paul Jackson or Herbie Hancock or whatever. That sound was always in my ear from an early age.

In terms of playability, a Jazz Bass neck is kind of tiny and I feel like a Jazz Bass kind of guides you towards playing the music it wants you to play, right?

Yeah! I just always liked the feel of a Jazz Bass. It just feels good. And it’s such a versatile instrument, and it’s comfortable in the studio and live for a long period of time on stage. It’s always been comfortable, a comfortable bass for me to play.

So when it came time to creating your own version of the Jazz Bass with Fender, what were you looking for? What features did

you need and what sets this bass apart from other Jazz Basses?

I’m pretty simple when it comes to preamps and tone controls. The bass just has mid, treble, and bass controls and I told them I just wanted a simple preamp because I didn’t want to think too much about tone selection, because I’m not really picky about it. But the only thing I was really, really picky about was the shape of the neck and how it really felt and the quality and the stability. And I told them I like the roasted maple neck, and I told ‘em exactly the specs, you know, the neck width and the profile and all that stuff. So that was really the focus.

And also the colours: that’s my two favourite colours, yellow and orange. But I was really focused on the neck, the quality of the neck.

Tell us about the pickups.

They’re humbucking pickups. I’ve always loved the sound of a humbucking pickup. They’re very growly and very versatile. You get a lot of different things from it but the most specific thing I like about it is that growl – and the sustain! You get that sustain!

So the graphic designers reading this would probably love to know how specific you were with the colours. Did you bring in colour swatches and say ‘This is the exact yellow and exact orange’?

Oh yeah, I did do that. I told them the HTML codes for the colours of the body and the headstock: the

You seem like a very visuallyguided person. Do you have synesthesia?

Actually I don’t have synesthesia. I dunno where this love of colour and just wanting to have some type of, you know, visual literacy came from. But if I see a painting or I see something like a group of words, I can interpret it musically. Like, some other people may be like ‘It’s just a picture’, but I look at it and think ‘I can play that!’

It may sound weird, but it’s like, I wanna just play like a Mark Rothko painting and whatever that means to me. Or a Dali or Man Ray… I just wanna be able to incorporate that in some way. Even if it doesn’t really make sense to the other person, or even me, I know that there’s some inspiration there. One thing that really stood out to me in the Fender demo videos is just how much is going on in between your notes. There’s all this detail, all these percussive elements and ghost notes, and not in a traditional slap-andpop kind of way. That’s a really specific style and it must be really hard to tab out! How did that develop for you? You must have been aware of doing it when you were learning it, right?

I think I was, yeah. I probably had to be since I guess I was already hearing it, and I just really just started to hone in on it and just really practise and practise it. But I really don’t know how I do it, really, cause I’m not really a technical player. I really don’t have

So I’m not really a technical player. I wish I was, I wish I could do all the crazy tapping! I try to work on that, but it’s more so just an imagination with what I already have and just trying to improve on that and cultivate it and build on it. I mean, you say you’re not a technical player and I guess maybe from a conceptual point of view that could be true, but try to figure this stuff out and play it back when you’re not you! Do you find people coming up to you going ‘How?!?’ Or sending you videos of them trying to play your stuff?

Sometimes, and sometimes they actually play it right, but I don’t think my style is really hard. I know I have my own little quirks and my own little idiosyncrasies, but other than that, the way I play is really blues. It’s all blues. Cause that’s where I come from being from Memphis. And my dad played on a lot of stuff that really influenced me as a kid, knowing his work as I got older. He played on a lot of stuff that I grew up listening to, like Mavis Staples. And my grandmother, she was playing blues all the time around the house and family reunions, so the blues is really the foundation. Everything I do, even when I do the avant garde stuff, trying to be like a John Cage of the bass, it’s still the blues every time.

BY PETE HODGSON

One of the most eye-catching musical instruments released in 2022 was the Fender MonoNeon Jazz Bass V. Seriously, this thing is unavoidable on a music store rack, on a stage or even jumping at you from an iPhone screen.

JUST DUET.

Built-in DSP

The all new Duet has powerful on-board DSP featuring the Symphony ECS Channel Strip developed by Bob Clearmountain.

Learning and Looping with Rachel Claudio

We sat down with multi-instrumentalist, vocalist and producer Rachel Claudio to chat about her inspirations, studio workflow and the recent educational tour she embarked upon across Western Australia.

Tell us a bit about yourself! Can you please briefly describe your musical journey to this point?

I’ve had this relentless desire to make music ever since I can remember. I don’t know what my path would have been if there wasn’t a piano in the house I grew up in. I just spent hours and hours at a time experimenting with harmony and patterns from the age of six. The piano is the great love of my life. It’s the foundation of everything I do. Even when I’m singing, all I see are colours and the notes of a piano.

I started writing and performing around the age of 12. Always with the vocal arrangements and layers... except in those days it was all about over-dubbing cassette tapes. It is the most amazing gift to experience the journey and progression of technology through time.

Tell us a little bit about the tour you embarked on recently in partnership with Ableton, visiting schools across Perth.

I had just finished writing a talk on creativity in children vs adults that I could not deliver (due to COVID!) at Disrupted Festival in Perth, when it came to light that Ableton was looking to do a school tour through Drew Mayhills, who’s a certified trainer and incredibly forward-thinking high school teacher. The synchronicity was impeccable.

I’m at a point, especially as a parent, where I see the need for education reform being a matter of utmost urgency. As Ken Robinson said in his famous TED talk, “Our education system is built on an economic model that no longer exists”

As AI begins to take over not just the menial tasks, but also the jobs that may have once even held prestige - like those of doctors and lawyers - to be a part of the human economy will require people to be able to truly think creatively and critically.

The thing is - humans naturally think creatively and critically. So the question is, “How do we facilitate an environment that preserves their innate intelligence rather than one that extinguishes it?”

You do it through authentic connection. And truly understanding what their biological human development is driving them to do. You throw the outdated standards out the window and engage them there where they want to be met. Admittedly, it helps a lot if they think you make sick beats.

Your TedX talk ‘How to translate feeling into sound’ has racked up a whopping 2 million views on youtube. Can you tell us a little bit about how that came about and how the success of your TED talk has influenced and altered your career trajectory?

The most beautiful thing about TED talks, as opposed to the lifespan of an album of today, is that they are timeless. It’s such a sweet contrast. The curators first asked me in 2015 after I had had a few videos go viral… it all unfolded in divine timing. It was the most equally terrifying and satisfying experience of my life. People still find me via the TED talk all the time. A TED talk is pretty amazing for instant credibility, obviously. But what I love most about it is that I was forced to distil everything that means anything to me about music into the space of 15 minutes and then it was delivered to the world. When people find me via that talk, it automatically means they resonate there too. So it’s that kinda endless residuum around the human aspect of it that I enjoy the most.

As someone who exists at the exact intersection between traditional chops and modern, electronic workflows, how do you find these two worlds co-exist in your own creative output?

There’s at least one moment, every time I sit down and start making music, where I just shake my head at what is possible. The flow I dreamed of as a kid is right here under my fingertips, right now, I am so blown away. I love how they inform each other. For example - while auto-tune gets a bad rap for masking what one singer’s inadequacies might be, it raises the bar of what accurate pitching is for another who can actually sing. The standard of people who can actually sing has never been higher.

There are so many more examples. Another being a vocal like Billie Eilish’s (which I find just exquisite) would never have existed without the compressors and limiters of today, which gives her AMSR-level vocal a presence in her headphones that she would not have been able to perceive and therefore perfect 30 years ago. Especially where it’s used creatively or skilfully, I just love seeing the influence of tech on humans and vice versa.

What is your standard music production workflow? Which part of your setup is most integral to your sound and workflow?

Ableton Live (saving grace of my life!) APC 40 (for midi-mapped no-scroll knobs and all-important faders for live-arranging), Arturia Keylab MKII, Apollo Twin and of course, the plugs & VSTs.

Which of the equipment you work with has most informed what you refer to as the creation of your ‘language of sound’?

Hmmm.. I would say the combined total of Ableton and Arturia, Soundtoys & XLN Audio (as in, every plug from each of the last three)

I’m forever looking to translate a feeling. These tools offer me the possibility of creating worlds in minutes, exactly the way I want to feel them. They deserve every bit of the hype.

What is your DAW of choice?

It’s probably clear by now that I’m a devoted Ableton user from way back. I’ve had to work on Protools and Logic in various studios around the world. Nothing supports my flow like Ableton Live. And it only gets better and deeper with time.

As a talented vocalist, do you have a particular mic or vocal effect that is integral to your vocal sound?

No, I don’t. I’m still on the hunt for the “perfect” mic. I love detail but not bright, like fluorescent lights. I don’t love a lot of the great famed mics on my voice. I have very hard high mids and a feathery low end. I am so committed to the vibe that facilitates the best of me to the point where if you check out any of my recent videos, I’m using an SM58 without headphones … It is not a brilliant vocal sound. But I believe I’m singing the best I ever have. So therefore, it is the “best vocal sound” I’ve ever had.

It can’t be overlooked, however, that the plugs are doing some real heavy lifting.

I am an absolute sucker for all things Manley. The VoxBox and the VariMu are a sparkly miracle spray to me. Very few things make me feel the way they do. I would also lay down my life for EMT140 ‘verv the Neve 1073 pre. And Soundtoys Echoboy, all the way.

But really, and this is really the most important tip for any vocal producer - get your monitoring as amazing as possible for the singer. The singer has to be able to really get off on their sound while singing. Go the extra mile to support them psychologically and technically. A vibe in a studio will carry a performance a hundred times further than any vocal mic ever will.

What has been the most rewarding part of your educational tour?

I received the most moving personal message from a student from one of the schools. The line that got me was “I’m not afraid anymore because of you”. Had me teary.

It was this moment where I remembered that number one, we really have the choice and opportunity to reach people, and number two, that being fearlessly truthful about who you are is the quickest way to help others unlock their own freedom. The power of being committed to that choice must not be understated.

Perth has always been something of an enigma when it comes to its musical output, with a whole host of interesting and unique artists. What is it about Perth’s artistic community that separates it from the rest of the country?

I sometimes wonder if it’s a strange phenomenon where we’re so isolated and removed that we fully “pedestalise” what others are doing in the big cities to the point where we hold ourselves to a standard that maybe doesn’t exist. No one in their musical development is not comparing and referencing. It’s one of the rites of passage of an artist. “Start by trying to be someone else”. Perhaps it’s a case of poor emulation that accidentally passes off as original - like Rick Rubin said, “They weren’t trying to do the Beatles, they were trying to do Motown”

What’s on the horizon for you both musically and in the education sector? What can we look forward to?

Right now, I’m feeling film-score stuff with deep grooves & experimental elements. I like making whatever my heart agrees with in any one period. It gives me the best chance of reaching anyone else at all. I’ll definitely put out a record or two by the end of the year.

I’ve been doing some writing with Rico Love, who’s written for all of the global superstars - everyone from Beyoncé to Usher to Chris Brown. Most of what I’ve done has been relatively underground, so I’m welcoming the new energy and learning from this absolute G. I’m in the process of refining a concept that would make conversations like these accessible on a regular basis to kids who may not have the means or environment to otherwise participate. I definitely feel called to that.

Ultimately, I’d like all of the years to come to bring different and new forms of creative fulfilment and connection with amazing people. Whatever that looks like, that’s what I’m doing.

BY ERIC FOREMAN

CMI Music & AudioKeeping Music Education on the Agenda

Music technology and audio equipment within the education space has come a long way over the past five to ten years.

This accelerated growth has given both students and teachers the opportunity to harness tools within the classroom and wider learning environment previously only available in professional recording studio spaces, top tier music venues or to those with whopping, overly inflated budgets on tap. However, despite these technological leaps, this doesn’t necessarily equate to every educational institution affording themselves decked out music technology labs, a spec’d out music auditorium, performance spaces or the luxury of providing each of their students a full studio package without some serious upfront capital – after all, this isn’t an episode of Oprah. Thankfully, there are solutions now being made available to educational institutions registered with the government here in Australia.

CMI Music & Audio has been a staple music wholesaler in Australia since the 1970’s.

Currently representing industry leading music technology brands such as Universal Audio, Native Instruments, Korg and Arturia and pro audio brands JBL, AKG and Soundcraft, and Adamson, means there’s a lot of ground covered, and an opportunity for educational institutions to take full advantage of this fruitful portfolio of brands.

Having embedded themselves into some of the world’s most infamous recording studios, live music venues, stadiums, arenas and prestigious educational facilities, these world leading brands have also become

synonymous with the high demand workflow of countless producers, engineers and artists, providing them with the quality and reliability these types of creative environments require.

As any educational institution will appreciate, the confines of budgets are indeed a reality, with every penny needing to be carefully considered. Creative arts faculties will understand better than any, the importance of keeping up with current technologies, particularly that of music technology and pro audio. With the rapid rate of technological change, often outright purchases of equipment aren’t necessarily the way to go, as all too often a software production package or audio interface for example, will be superseded within a couple of years.

Whilst this isn’t the be all and end all, it’s certainly in the best interests of an educational facility to be as up to date as possible when it comes to fitting out a music technology lab, live performance space or recording studio. This helps alleviate the chances of falling behind the competition and risking providing equipment (and the subsequent hands on experience) that is not in alignment with the current standards within industry.

The option to lease equipment is a superb solution to this type of conundrum, and with financial flexibility and pre-approval solutions at the ready, it makes this process even easier. CMI’s Education Finance program offers education institutions a unique opportunity to access their wealth of world class brands, offering two-year lease terms with monthly payments. Pre approval of up to $100,000 is available, with a

minimum order value of $5,000. The flexibility at the end of a lease term is where things are particularly appealing, with options to simply reset and forgetallowing for a completely new set of gear to be swapped out at the same or varied quantities, with this option also affording customers improved pricing. The Half/Half option ensures leased equipment is kept up to date where required, and for other gear that isn’t requiring an upgrade, customers can simply continue leasing that gear as normal. Lastly, the student buy out option is particularly appealing for institutions that have students that would like to buy out their gear at a discounted rate at the end of the lease term. Of course, returning leased equipment at the end of a lease term is as simple as it should be.

As mentioned earlier, the CMI family of brands is impressive. Popular product lines such as Native Instruments KOMPLETE 14 production suite is ideal for MIDI classrooms or music tech labs. Available in education site licences for decking out these types of spaces, KOMPLETE 14 when paired with a solid MIDI controller such as the Arturia Keylab Controllers along with Minifuse USB audio interfaces provide a great quality audio production solution with a superb array of included software. Other great offerings include the likes of Universal Audio’s VOLT series of interfaces, which boast great spec with some appealing vintage styled features.

As for pro audio solutions, there are numerous options for portable powered PA systems such as the JBL EON One Compact – ideal for use for sports carnivals and outdoor settings. The affordable

and well spec’d EON 700 series loudspeakers are an ideal option for music practice and jam spaces, as well as outdoor spaces. For medium to larger scale setups, the SRX range of loudspeakers offer both point source and saleable line array options, ideal for installs as well as teaching the concepts of live and install sound systems in the line array format. Of course, for those wanting to go the whole hog, Adamson systems are available for a truly world class and industry leading pro audio solution.

A production suite, recording studio or live sound stage wouldn’t be complete without a healthy array of microphones and headphones where required, and suitably, CMI touts one of the most prestigious microphones and headphone brands on the planet – AKG. Ranging from classic studio microphones such as the C414 through to iconic D112, built to withstand the most demanding live environments. The AKG range is both broad and comprehensive. To have not only great brands, but genuinely flexible leasing options, educational instructions have a fantastic opportunity to spec out their spaces, future proofing for both them and their students, getting access to the most up to date, industry leading equipment available today. It’s no surprise that some of Australia’s leading music education institutions such as Collarts, JMC Melbourne and Box Hill TAFE are taking full advantage of CMI’s offerings, providing their students with the best possible gear and setting them up for work in industry post degree.

BY ANDY LLOYD-RUSSELL

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In performance or session: Eric Bibb (USA) in Q&A session, Nick Johnston (CAN), and Aussies; Phil Manning & Nick Charles, Blues Roulette, King Canyon, Steph Strings, Hussy Hicks, Simon Hosford plays Yngwie Malmsteen’s Trilogy, Kathleen Halloran, Lloyd Spiegel, Kyran Daniel, Chris Bieniek, Opal Ocean, Joyce Prescher, Marcel Yammouni, Corey Legge, Charlie Bedford, Monica Weightman, James Ryan, Michael Paynter, Ben Kelly, Joshua Batten, Leon Todd and more

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Midi and the Modern Audio Curriculum

In case you haven’t realised it, we live in a digital world, and in no space is this more apparent than in the modern audio curriculum.

In case you haven’t realised it, we live in an increasingly digital world, and in no space is this more apparent than in the modern audio curriculum. Audio professionals who completed their training prior to 2010 would have undergone a vastly different experience to students in the present day. Although there will always be a place for the fundamentals of open air recording, with increasing emphasis on electronic and in the box loop based production styles, the importance of developing a nuanced and thorough understanding of MIDI protocols, electronic composition and mapping, has never been more relevant to the audio education space.

Mixdown recently had the opportunity to chat to Christopher Steller, Musician and Product Specialist at Sound and Music (the Australian home of Nektar controllers), about the state of modern audio technology, where we’re headed and the importance of prioritising one’s understanding of MIDI fundamentals in the current zeitgeist.

“In the prehistoric days of analog synthesizers, there weren’t an awful lot of people doing it, so I picked up all of this knowledge just working with them myself,” explains Chris from Sound and Music’s Moorabbin HQ.

“Back then we didn’t have things like instant recall and saveable presets and all the things we take for granted in modern VST’s, so learning to make this kind of music took on much more of a measured workflow, which meant there was

an onus placed on hard skills in the electronic production space.”

Chris knows what he’s talking about. An industry veteran who has been working in the musical instrument and electronic production space since the late seventies, he has borne witness to the complete birth cycle of the kinds of technology that students today take for granted. This extends beyond just basic DAW functionality, and into the increasingly complex world of tactile workflows and haptic functions in the MIDI, space and the ways in which MIDI controllers (particularly those operating across a traditional piano layout) allow for so much in the way of mapping and triggering, as well a providing a familiar home base from which to compose from.

“I believe that having more tactile control and flexibility over the development of music and sounds leads to more creativity,” he ventures.

“The more access to knobs, dials, and sliders, the more creative one can be. I find that working with software and a mouse slows down the creative process. But with a tactile experience and the ability to adjust parameters on the fly and record them into automation, the creative experience takes off.”

As is so often stated, a spoonful of sugar helps the medicine go down, and for Chris, much of the secret to better MIDI education comes from the ease with which the hardware interfaces with our digital host, with an end goal of providing the most user-friendly

experience possible for budding audio and composition students. This is where layout and product design enter the chat.

“When you think about what functions you use most, they’re the same functions that most people use most, regardless of experience level. I want to be able to open and close my mixer page, I want to be able to fast forward and rewind, set up loop points and things like that from the hardware.”

“I want to be able to switch between tracks. Changing patches in plugins, even access to simple things like the volume control of each individual track makes a huge difference.”

What Chris is talking about here is precisely where MIDI controllers appear to be heading, with an ever increasing blurring of the lines between MIDI keyboard and DAW controllers proving an inevitable industry standard for the future. This is where products like Nektar’s own LX MINI find themselves on the front foot.

“They simplify the creative process. Once a student is familiar with a couple of the basic functions on their controller, they can bypass the ‘on-screen’ thought process and get straight into the important bit, which is making the music, being creative, being artistic.”

“There’s processes that everyone goes through when they’re actually being creative. Minimising or simplifying the steps is central to actually getting your flow on. If you are able to integrate your DAW and your MIDI composition device into something like this with such a small footprint, the workflow benefits speak for themselves. As an Audio or Composition student,

these little habits become vital moving forward.’

Dry workflow benefits aside, there is also a cutting edge, creative element to the new range of Nektar products, particularly as it pertains to haptic and expressive capabilities.

“In terms of expression, as well as the responsive knobs and pads, they’ve opted for a 4 in 1 modulation joystick on the Impact LX-MINI. This can be set in a number of different increments to maximise expression at the hardware level.”

Even the most fervent of purists will agree that in the box workflows aren’t going anywhere. While there is always a place for the classic school of recording, with its emphasis on electroacoustics, phase relationships and open air recording, the amount of creative freedom afforded by modern hardware like the aforementioned LX-MINI, and Nektar’s entire range for that matter, is hard to deny. The increasing integration found within the controller space has ushered in an era of uninhibited creativity, which is being taken full advantage of by the current wave of Audio and composition students. The embrace of MIDI protocols, electronic composition and mapping within the audio engineering education curriculum is a vote for the thrilling evolution of production; a welcome acknowledgement of the increasingly digital future we are already rocketing towards.

BY NUWAN ROHITHA

Beale Instruments are Pieces of Australian Music History

Spanning 130 years of quality craftsmanship, Beale have built an instrument empire that has had the time to finetune every part of its design process.

If you’ve been around in Australia for long enough, the chances are pretty good that you’ve tinkered on the keys of a Beale piano. Whether it’s been sitting for decades in your auntie’s lounge room, or it’s weathered and worn in the corner of a practice space, Beale’s creations are so ubiquitous that they’ve rooted themselves into local music history – you can’t tell the story of Australian instrument craftsmanship without mentioning Beale.

Founded in 1883 by a young Irish immigrant named Octavius Charles Beale, the company initially began importing pianos from Germany. However, customers quickly found issues with these pianos – because they were made in Europe from European materials, and they didn’t bode well in the hot, dry Australian weather, which caused them to crack and sound off.

To combat this issue, Beale opened Australia’s first piano factory in 1902, located at 47 Trafalgar Street in Annandale NSW. It was known as one of the most self-contained instrument factories in the world. They used local materials and completed the entirety of the piano making in-house, including metalwork, carpentry, painting and polishing. The company even created their own tuning system, the Beale Vader system (also known as the all-iron system) that primarily used metal instead of wood to protect

the instrument from damages from Australia’s notorious changes in humidity.

Pianos were big business back in the day, as they were one of the only ways you could listen to music in your household (no bluetooth speakers – could you even imagine?). It was standard practice for most homes to have a piano and during the hey-day of dinner parties, and guests would gather around to show off their skills. As the Aussie population grew, so did Beale, and it quickly became the largest piano factory in both the southern hemisphere and the entire British Empire.

spruce keys, chromium plated pegs and virgin wool hammer pads. They’re warm and rich in tone, yet effortless to play. The factory pumped out a whopping 95,000 instruments in its time –that’s more than enough to make a mark.

These days, the company has diversified its portfolio, adding saxophones, flutes and violins to its range. The new instruments are no different in quality to their piano predecessors. The reason Beale has survived the eb and flow of countless musical trends is because of the power of its name and its reputation.

The violins on offer fall at a reasonable price point, sitting at around $379 to $399, and come in four sizes, from the petite 1/4 to the standard 4/4. They are entry level instruments that are built to last through the years, replete with a righteous, full-bodied sound. Each detail has been attended to with the brand’s signature dedication. Made from solid tonewoods, the Beale violin has a hand-painted varnish finish for increased resonance, a fully inlaid purfling for longevity, and all of the fixings, including a lightweight case, an adjustable shoulder pad, a rosin block and a carbon graphite bow with solid ebony frog.

(Quick aside: Octavius Beale had strong opinions on population. The man had twelve children and was even brought on by the government to work on a royal commission about population decline. The more you know!)

The recipe for the perfect piano took over 50 years to get right: Siberian hybrid vertical grain timber soundboard, laminated

Their saxophones, the TX200 tenor ($1599) and the SX200 alto ($1299), are suitable for everyone, from starters to pros. They are crafted from brass and some of the finest imported features, including American springs and Italian leather pads. To top it off, they’re finished with an adjustable thumb rest for comfortable jamming, and a shiny gold lacquer finish for a little glam.

Finally, the flutes. The Beale FL200 and FL400 have a lot in common, including the highquality silver body, the C foot joint, the offset key configuration and the velvet padded case. They’re like two sisters – the LF200, going for $499, is the younger one, made for those with less experience, while at $899, the FL400 is a bit more mature and has all of the bells and whistles. The FL400’s French appointed open hole key design opens the door for more experimental styles of playing, while the solid silver mouthpiece gives the instrument a luxe feel.

Although Beale’s manufacturing now takes place overseas, there’s something distinctly Australian about their gear. From the brand’s meticulous craftsmanship to the expertly selected parts, the Beale insignia holds weight – it gives buyers the peace of mind that they’ve chosen wisely.

BY KAYA MARTIN

Lay of the Land: An introduction to Pioneer DJ workflows

When you think of DJ equipment, there’s no other name as synonymous as Pioneer.

From clubs to home studios, large festivals to your friends living room, you’d have to be living under a rock to not have heard of Pioneer DJ gear. Pioneer’s flagship CDJ and DJM range is literally the industry standard, and most likely what you’re gonna see if you step up in the booth at clubs or festivals the world over.

With the large scope of the market that Pioneer occupies, we’ve decided to take you through the best options and workflows for DJ’s at any stage of their career, from budding newcomers to seasoned professionals, and take a look at how their Rekordbox software can be integrated with products from the entry level DDJ200, all the way up to their all in one XDJ series.

For those looking to make their first splash into the DJ sphere, you can’t look past Pioneer’s DDJ-200, which is a portable two channel mixer which connects via USB and Bluetooth. This stripped down version of Pioneer’s larger controllers still features all the staples needed to mix, faders, EQ, jog wheels, cue and play buttons, plus tempo sliders and hot cue pads, which paired with Pioneer’s flagship Rekordbox software will let you hit the ground running. Hell, you can even power this device with a portable charger and connect over Bluetooth to WeDJ on your mobile device to start mixing on the go.

WeDJ is Pioneer’s entry level mobile app designed to streamline the DJ process. It comes with built in mixing tools like FX, transitions

and automatic phrase sync. The app, like Pioneer’s flagship Rekordbox software, can stream audio from a range of the big streaming providers (Beatport and Soundcloud Go+), to allow you to mix whatever tracks you want, whenever you want and due to its portability, wherever you happen to be.

In comparison to WeDJ, Rekordbox is the fully fledged software which allows professional analysis of tracks, music management and mixing capabilities on its own or connected to the vast range of supported Pioneer DJ gear. As with the rest of the industry, Rekordbox now has cloud capabilities, allowing you to stream music from popular sites as well as storing your own music on the cloud for backup or streaming on the fly, to ensure you’ll always have your full library available for play.

Stepping up in terms of capabilities, the DDJ-FLX4 boasts additional beginner friendly features to ensure your party goes off without a hitch. The controller adds the Smart Fader function, which will automatically change the BPM, bass levels and beat match the two tracks, utilising the crossfader to morph between them both. Pair this with Smart CFX, which adds a multitude of FX to one knob, adding your own flair to DJ performances just got a lot easier. The DDJ-FLX4 also has a built in sound card, enabling a direct RCA out to speakers and a microphone input, which paired with the USB connection to rekordbox, allows you to directly record your voice over a mix, great for online radio shows and live streaming.

For the inner turntablist in all of us, Pioneer’s DDJ-REV7 is the newest instalment of professional digital timecode (DVS) gear compatible with Serato. This two channel scratch style DJ controller emulates having a couple of Technics 1200’s battle style and a mixer, with a plethora of additional buttons all fit into a sizable form factor enclosure. The EQ knobs get moved toward the top of the faceplate, giving the Magvel crossfader its time to shine. The jog wheels look like record turntables because they inherently are, as they’re motorised platters which provide that tactile feel vinyl enthusiasts are looking for. The mixer component also features the unique flick switch EQ which allows for a faster way to turn on FX in a pinch. As a pro piece of Pioneer’s range, there’s also the option to plug in external gear such as CDJ’s or additional turntables to really take them into the next level. The two usb ports on the rear allow for seamless changeovers at functions, paired with microphone inputs and balanced outputs for both booth and master ports, the DDJ-REV7 is equally apt at home in your bedroom or in the booth at your favourite club.

Lastly, we have Pioneer’s XDJ range of products, which at a glance look like controllers, but these devices are actually all in ones, capable of running sans computer and emulating what it’s like to play on Pioneer’s coveted DJM and CDJ NXS 2 gear. The newest of the bunch is the XDJ-XZ, a 4 channel all inclusive DJ powerhouse set to get the party started.

The inbuilt LCD screen allows you to select tracks from either

of the two USB ports, Pro DJ link or directly connect to rekordbox, supporting any workflow you prefer. The fully fledged layout emulates their professional NXS2 product line, which will make professional DJs feel right at home. Everything from master FX, cue buttons, full sized jog wheels and mic inputs emulates their independent counterparts to a T. Not only does this system feature everything you’d expect, you can add turntables or other gear to the mix via the extra two RCA inputs, meaning you can upgrade your setup while still having the XDJ-XZ as the centrepiece.

Pioneer is the name in the DJ world for professional equipment worldwide, and for up and comers, to new players, to seasoned touring DJs, there’s something compatible for everyone’s needs in their line of products. The DDJ-200 provides a portable slimline option for brand new DJs alongside the DDJ-FLX4 which adds smart mixing capabilities to the fold. For turntablists, the DDJREV7 gives you the tactile feel of vinyl with the workflow flexibility a digital controller allows and for the digital DJ while Pioneer’s XDJ line pairs professional functionality with an all in one design.

There is really something for everyone within the plethora of products Pioneer has out on the market right now, and whichever workflow you choose, you really can’t go wrong.

BY SAM MCNEICE

Transducers 101: The Yin and Yang of the Recording chain

Whether you are aware of it or not, microphones and monitors share a common genetic lineage in that they are both prime examples of what we commonly refer to as transducers.

Whether you are aware of it or not, microphones and monitors share a common genetic lineage in that they are both prime examples of what we commonly refer to as transducers. Put simply, a transducer is a device that converts air pressure (or sound as we hear it) into an electrical signal and vice-a-versa. If you have ever witnessed a DJ scream into their headphones and have it pick up like a microphone, you would have witnessed how this relationship can be reversed to interesting effect. When digging into the fundamental concepts and principles of capturing and reproducing sound, it’s actually pretty crazy the similarities that these principles, designs and thus, pieces of equipment share. When placed at the opposing end of this signal chain, these seemingly diverse pieces of equipment essentially act in the reverse of one other. Fascinating.

This is a pretty heady topic, so we are probably best to take it back to basics and start by defining what mics and monitors actually do.

At its core, a microphone is a device which takes acoustical sound pressure in the open air and converts it into a small electrical signal, which can then be routed through the system to whatever ends we see fit.

In the case of large diaphragm dynamic like Shure’s iconic

SM7b, this is achieved via electromagnetic induction, or rather sound waves causing a diaphragm to vibrate which inturn triggers the moving coil of wire to push and pull against its magnetised core, in turn creating an electromagnetic pulse and a variance in signal between positive and negative. This variance is essentially an electrical representation of the sound pressure, as captured in the open air.

So what happens at the other end? The exact inverse. With the electrical signal produced by the microphone now in our system, we are free to amplify and process it as we see fit before we need to convert it back into acoustical analogue energy in the open air. This is exactly the role of the studio monitor (like the awesome KRK V8 S4 midfield).

Both of the above devices are still transducers. Both deal in converting acoustical energy to electrical signal and vice-a-versa and yet both sit at completely opposite ends of the recording chain. One deals in diaphragms, one deals in drivers. One deals with sound going in, the other deals with sound going out.

Now, in the above example we have specifically gone with the SM7b and KRK V8 S4 for a number of reasons. Firstly, they are both examples of transducers that are prized for their robust low end and low distortion properties, characteristics that have made them favourites across a whole host of studio and content applications. Secondly, they are both examples of a sophisticated moving coil topography-one that expertly straddles the line between clean detail in the upper

mids and exceptional low end performance, a direct result of the slightly larger diaphragms and drivers employed in their designs. This serves as a perfect way to introduce the obvious correlation between physical size and low frequency response in relation to transducer design.

Just like with mics, monitors come in all kinds of varieties and designs, usually with specific applications in mind.

Because of their larger size and heavier mass, large diaphragm microphones tend to have slower recoil properties and a slightly more delayed transient response than their small diaphragm brethren, and require more air to be moved at the acoustic level. but are generally able to produce a bolder, deeper capture, with a more extended low end reproduction. Because of the sheer amount of energy involved in moving a component of this size, this will generally require more gain at the amplification stage, to bring our analog signal up to nominal level, which is why you often see people employing signal boosting devices like cloudlifters etc into their signal chain for mics like the SM7b. As studio monitors tend to be dealing in full mixes as opposed to isolated sound sources, they require multiple transducer circuits to tackle the broad range of frequencies required as accurately as possible. The high frequencies are usually taken care of by a monitor’s tweeter (typically a 1” diameter HF driver). Which makes total sense when thinking back to how Small Diaphragm mics are more sensitive to and are better at capturing high frequency information. Whilst this takes care

of the high frequency content, the woofer is where all the low end information is being reproduced –and in this case, the shoe needs to fit the foot.

As mentioned, the energy required to accurately reproduce these much larger sound waves is pretty substantial. The driver or woofer of a monitor needs to be of adequate size and design to achieve this properly – hence why typical midfield and far-field monitors will have larger woofers sizes. This not only allows for more precise reproduction of bass frequency content, but also gives monitors the required throw to get this information to the listener positioned at a distance from the monitor. Even in smaller studio spaces, to accurately reproduce bass frequencies and give that real impact when tracking and mixing, a woofer of 6” – 8” will be required. Monitors like the KRK V6 and V8 have become synonymous with low-end punch for just this reason and of course their fundamental design more than does the low end justice.

Although posit, both the humble microphone and trustworthy studio monitor are well and truly branches of the same audio tree. While they both share a common design ethos, each are tailored and tuned with their specific application in mind as a means to give us, as engineers, the maximum amount of creative control.

To bring in the new year with a punch, any pair of KRK V6 and V8 studio monitors come with a free Shure SM7B studio microphone. Head to your nearest KRK dealer today and get yourself a bargain!

BY ANDY LLOYD-RUSSELL

Recording Fundamentals with ESI Audio

Whether you are working in the podcasting or music recording space, audio capture quality is extremely important for determining how your work is received.

A recording that demonstrates poor audio quality could potentially decrease engagement with your product, as substandard recordings tend to be disregarded by increasingly sophisticated listeners. Content that is well recorded, with clear replication of the recorded source, delivers authenticity and authority to the tone of the product. Building your work from a solid foundation ensures that your recorded output will hit the benchmark professional standard you’ve been aiming for. Arriving at this point is often determined by the recording chain, so getting this aspect of your production right can definitely pay dividends with impressive, professional results.

There are multiple elements that work together to form the basic recording chain. These all work in conjunction to deliver the final result, with each stage being just as important as the last. The relationship between these elements is almost symbiotic, because if one element of the recording chain is weak, then the others will often struggle to compensate. After all, your signal chain is only as good as the component that preceded it. For example, if your monitoring is not translating the recording, then you will struggle to interpret what you’ve captured and your decision making will be compromised-hence the need for quality monitoring and headphone solutions. If the microphone

quality is inadequate, then you are doing a disservice to the material from the get go. These concepts are applicable whether you are recording a podcast, or your latest single. That’s because the need for capturing quality audio is universal. Finding the right tools to get you to that point in either production field is extremely important.

So what are the elements of the recording chain? The basic recording chain starts with the source, which could be a person speaking, a musical instrument, or any other sound relevant to the production. Often what determines the quality of the source recording is the space where the recording takes place. Getting the context right is the key consideration here. Having the right instrument, space or voice is just the start of the process of delivering the best outcome possible. Sound waves then travel through the air to be captured by a microphone, which converts the acoustic energy into an electrical signal. What should you be looking for when selecting a microphone for your recording chain? If nothing else, your studio needs a good all-round solution that will capture a wide frequency range and has the ability to handle reasonable sound pressure levels. The electrical signal is then sent to a preamplifier or audio interface, where it is boosted and converted into a digital signal. The audio interface should ideally be able to capture a wide dynamic range. Dynamic range is the difference between the softest and loudest parts of the recording. The biggest issue here is being able to effectively reproduce louder transients, thereby eliminating distortion in the recording. The digital signal is then processed by a digital audio workstation (DAW)

software and recorded onto a computer or storage device. The recorded audio is then played back through monitors or headphones to be mixed. The monitors or headphones should be of good quality to accurately represent the recorded sound, with decent frequency response. It’s better to have monitors or headphones that don’t have obvious colouration, so having monitors that have an even or flat frequency response is preferable. It’s important to have a good understanding of the entire chain, as the quality of each component will impact the final recording. It’s also important to note that this chain is not linear; the monitors and headphones can also affect the recording process. For example, if the monitoring situation is less than accurate, a mix that sounds great on them may not translate well to other playback systems. For many budding recordists, this may mean opting for headphone monitoring, to offset the influence of the room and allow for decisions to be made from a relatively unimpeded vantage point.

The key to a great recording is to have high-quality components at each stage of the chain and a good understanding of how they work together. Having a quality set-up that works well together from microphone to analogue/ digital conversion, to monitoring can make the process of getting a quality result simpler to deliver. There are some manufacturers that have recognised the need for bundled equipment that’s designed to work effectively together as a complete recording chain solution. One example of this is the ESI U22 XT cosMik set, which is a complete audio recording solution that includes

a microphone, preamp, audio interface and headphones. This bundle offers everything you need to get started with recording audio, from capturing the sound to monitoring the final result. By offering all of these components in a single bundle, ESI Audio has made it easier for content producers and musicians to get started with audio recording and have ensured that all of the components work well together. This is especially beneficial for those who may not have a lot of experience with audio equipment and are looking for a simple, all-inone solution. This bundle includes the U22 XT USB audio interface, the cosMik 10 condenser microphone and the excellent eXtra 10 monitoring modelling headphones. All of these units individually have the specifications to deliver consistent quality audio recording, but together form a comprehensive recording solution. The bundle also offers some nice additional software tools. The modelling headphones can be used in conjunction with the included Realphones ESI Edition. This software re-creates the acoustic environment of a recording studio control room using the eXtra 10 headphones. In conclusion, it can be tempting to view our recording chain as nothing more than a series of unrelated circuits, but given the audible sonic influence that things like microphone selection, preamp colour, conversion and (especially) monitoring environment play on our overall output, doing so would be to miss the obvious symbiotic relationship at play here. Every part of our recording chain informs the next.

BY BRETT VOSS

Behind the Scenes of Melbourne Guitar Show 2023

It’s been a long wait but now it’s back: the Melbourne Guitar Show, one of the undisputed highlights of the guitar-geek calendar, returns after a pandemic-prompted hiatus.

Prior to the necessary cessation of festivities, MGS had established its own unique niche in the event landscape: it’s a little bit like the big trade shows, such as NAMM and Musikmesse, but unlike those industry-only shindigs, MGS is open to everyone over its two days. It’s a little big like going to the biggest guitar swap-meet you ever saw, except swap-meets don’t tend to have the absolute latest in brand-new gear displayed by the people who either make or distribute it. It’s a bit like a weekend-long music festival dedicated to guitar, it’s a bit like a social media meet-up with all of your far-flung online buddies… in short, it’s a lot of different things making up one really unique, essential event.

compared to the winter shows of previous years!”

Research from Fender and others indicated that many additional people picked up an instrument for the first time during the first two years of the pandemic. The return of the MGS presents a unique opportunity for some of those new players to make their first in-person contact with the vast community of like-minded souls they’ve joined.

“I can’t wait,” Walker says.

“There was a time during the lockdown period where people turned to music. With nothing to occupy their time for a while there, the music products industry was one of those industries which was one of the winners out of the winners and losers of lockdown, and it’ll be interesting to see how that has translated into people wanting to continue on with their musical exercises. We’re hopeful to see some, some new enthusiasts this time. I feel as though the enthusiasm from all of the social media comments and all of the feedback we’re getting is indicating that a lot of new people are really looking forward to the show.”

with what will likely be the local guitar shop in their community.

“I think one of the strengths of shows like ours has been that people get to see a range of instruments that they would not be able to see anywhere else,” Walker says.

“In one place, they can see the major brands all showing as much of a range as possible - their new stuff and what have you, but also the local makers and more unusual guitars and the handcrafted stuff. That’s always been a big attraction, I think. Most retail stores don’t stock such a range of one-off handmade instruments, and so I think it’s definitely one of the major draws of the show. Our research over the years has shown that many people come to the show for that reason, to see the gear and experience the gear, pick it up, play it, talk to the experts and to make a really informed decision about the type of gear that they want.”

but we’ve tried to provide some new talent for people to experience as well. Hussy Hicks, you know, great act, terrific guitar player, George Parker. Kathleen Halloran’s come a long way. She was part of the jam in 2019 but this year she’s performing in her own right as well as in the blues jam.

Kyran Daniel, great player, Steph Strings, great young player who’s coming through the ranks. And Blues Roulette is going to host the jam this year. So again, we’ve always tried to provide that sort of diversity of styles and talent - I think this year there’s gonna be something for everybody.”

Simon Hosford has established something of a tradition of oneoff tribute sets to various guitar legends, and this time around he will be performing Yngwie Malmsteen’s Trilogy album in its entirely, after performing a Van Halen tribute at the previous show, and a set of Racer X classics prior to that.

e made the

“And we decided to do it sooner rather than later, so we chose an autumn date this time around. And another reason for that is we get to experiment with a warmer climate

One really unique aspect of the Melbourne Guitar Show is that it is effectively Australia’s largest popup guitar shop. With guitar shop experiences becoming harder to find, it’s a great way to not only buy some gear on the day, but also for newer players to perhaps make their first in-person contact

Another big drawcard is of course the incredible lineup of artists provided this year, as with other years. There are some new faces as well as some familiar ones, including Canadian guitar phenomenon Nick Johnson, who is returning for his second MGS. It really reinforces the ‘we’re all one big family’ feel of the show. Artists include Chris Bieniek, Lloyd Spiegel Trio, Phil Manning, Joshua Batten and so many more.

“Certainly there has been a bit of a family thing with the show,” Walker says.

“Including yourself (your humble Mixdown scribe has performed and hosted live interviews in the past), people like James Ryan and Simon Hosford and Nick Charles….

“When he suggested he might try this one, I thought, well, I’ll grab that one with both hands!” Walker laughs.

“We lost several years in the music industry, and the entertainment industry as we knew it before has sort of started to come back. We’re starting to achieve a little bit more normality now,” Walker concludes.

“So all of a sudden we’re in 2023 and our last show was in 2019. It’s good to see and hear people. It’s good to see the main stages and the industry back.”

BY PETER HODGSON

“I think one of the strengths of shows like ours has been that people get to see a range of instruments that they would not be able to see anywhere else.”

commitment to do it as soon as we could and so we managed to do it,” Australian Music Association Chairman Rob Walker says.

ESP Guitars: Seeing is Believing

CMI is one of Australia’s premier distributors of fine musical instruments: they’re the ones responsible for bringing ESP and Blackstar to our stores, studios and stages. And like many Australian musicians, they’re itching to get back out there in front of an audience at the Melbourne Guitar Show. They’ll be bringing some special treats to the show this year, as Guitar & Accessories Brand Manager Steve Lane tells us:

“We’re teaming up with the guys at Bedfield Music this year, who are based out in New South Wales,” Lane says.

“They’re one of our bigger ESP dealers nationally, and we’re really going to show attendees at the Melbourne Guitar Show the finer end of ESP.”

So what does that mean?

“That means Custom Shop. That means some one-off ESP USA models. We’ve also got a kind of pretty top secret announcement. It’ll be happening from ESP on the day of the Guitar Show; we’ll be launching the three new guitars in the LTD range. So that’s very exciting. And there will be a lot of exclusive models that have just arrived in Australia on the stand for the dates.”

It’ll be a rare opportunity for Aussie guitarists to see the kind of flash that ESP regularly displays at its booth at the NAMM Show in Anaheim each year. NAMM attendees will recall the absolute glitz and showiness of the ESP booth, where you will not only see catalogue

models, but also some of the finest handcrafted instruments in the world, a sort of ‘best of the best’ opportunity for the brand to really go allout on looks and features.

“That’s right,” Lane says. “And on the ESP stand this year at the Melbourne Guitar Show, there will be at least three guitars that are in that category. We’re talking super high end; one of the guitars, for example, is from what’s called the Exhibition Series. And this guitar is really next level. The woods that are used… I mean, it says it’s quilt maple but it’s one of these maples that looks 3D in real life. You have to see it in person. Photos can’t capture it. It’s really a ‘seeing is believing’ thing. So I would definitely ask people to come over and have a look at that guitar on the stand!”

ESP has long been known for its range of signature instruments, from legacy artists like George Lynch and Ron Wood to modern players. ESP’s LTD brand even got on board with Australia’s Parkway Drive to offer signature models for Luke Kirkpatrick and Jeff Ling in 2016. There are ESPs and/or LTDs designs with members of Of Mice & Men, Testament, Breaking Benjamin, Slayer, Judas Priest, Deftones, Lamb Of God, Unearth, Korn, Mastodon, Animals As Leaders, Darkest Hour, Soulfly, Behemoth, A Day To Remember, Code Orange, Goatwhore, Rammstein and many more. And with a new Metallica album out this year, there’s gotta be some Hetfields and Hammetts on display, right?

“Correct,” Lane says. “I would say to any Metallica fans that will be at the Show, definitely swing by and see what we’ve got on offer there. Because we do have some exclusive models that I think, possibly outside of the US, Melbourne will be the only place globally to see. We’ll have those guitars on show. The Metallica signatures do well for us and having

the biggest metal band on Earth obviously helps push out the message, for sure!”

CMI will also be showing off the latest and greatest from Blackstar.

“For us the show is about showcasing the force of ESP and also highlighting Blackstar’s St James Range. These are lightweight valve models which came out twelve months ago. They sound great and we’re really looking forward to seeing what people think of them. And we’ll actually have someone on the stand from ESP, a gentleman called Miguel who is coming over from the US. He works with us very closely and he’s going to be there on the Saturday, and he can talk ESP to the next level! That will be his first time in Australia and it’s going to be great to have him along as well.”

BY PETER HODGSON

MELBOURNE GUITAR SHOW 2023 LIVE PERFORMANCE AND SESSION PROGRAM

Program subject to change. See Artist profiles tab for more information about sessions

WHAMMY BAR - Level 2 (via Escalator West)

SATURDAY MARCH 4

11.30 - 12.15 CHRIS BIENIEK Jazz Rock Guitar Heroes Tribute with Gavin Pearce, Gerry Pantazsis, Hong Yang

12.45 - 1.45

HUSSY HICKS

2.15 - 3.00 LLOYD SPIEGEL TRIO with Tim Burnham and Lisa Baird

3.15 - 4.00 KATHLEEN HALLORAN BAND with Kim May and Darryn Farrugia

4.30 - 5.30

SIMON HOSFORD BAND PLAYS YNGWIE MALMSTEEN’S ‘TRILOGY’ with Phil Turcio, Pete Drummond, Pete Mollica, Chris Stark

MARSH MEZZANINE STAGE - Level 1 Escalator West

11.00 - 11.30

12.00 - 12.45

1.00 - 1.45

2.00 - 2.40

3.00 - 3.45

ERIC BIBB (USA) Up Close & Personal in Conversation and Song

KYRAN DANIEL

MONICA WEIGHTMAN

STEPH STRINGS

GUITAR SHOW Hosted by Nick Charles, featuring Lloyd Spiegel, Corey Legge, Kyran Daniel, Julz Parker, Monica Weightman, Charlie Bedford

WINNER’S CIRCLE WORKSHOP STAGE - Level 1, Escalator West

11.00 - 11.45 KEMPER DEMO presented by Innovative Music with Declan Boyle

12.00 - 12.45 Up Close and Personal with STEPH STRINGS - Presented by Boss

1.15 - 2.15

2.30 - 3.15

3.30 - 4.15

NICK JOHNSTON (Canada) CLINIC presented by Schecter Guitars

VOX MINI GO SERIES AMPS featuring product Specialist Tom Baeppler -Presented by Vox

LANEY CLINIC featuring Sammy Vincent

1876 BAR - Level 2, Escalator West

11.30 - 12.15

12.30 - 1.15

1.45 - 2.30

2.45- 3.30

3.30 - 5.00

BEN KELLY

COREY LEGGE Presented by Cole Clark Guitars

JOYCE PRESCHER with Duncan Yardley

JOSHUA BATTEN

LUTHIERS LOUNGE FORUM

Guitarmakers from both bespoke and production streams getting together for casual meet and greet. All welcome, whether you’re building or just interested. Come stop by. Say gday. Bring your latest build. Troubleshooting. Networking. General guitar related chit chat. Open mic. Play a few numbers. All welcome.

MELBOURNE GUITAR SHOW 2023 LIVE PERFORMANCE AND SESSION PROGRAM

Program subject to change. See Artist profiles tab for more information about sessions

WHAMMY BAR - Level 2 (via Escalator West)

12.00 - 12.30 NICK JOHNSTON (CAN) Presented by Schecter Guitars

SUNDAY MARCH 5

1.00- 1.40 KING CANYON Featuring James Ryan, Jimmy Cupples, Kit Riley, Haydn Meggitt

2.20 - 3.45 BLUES ROULETTE MELBOURNE GUITAR SHOW JAM

With Blues Roulette’s Ben Wicks and Johhny Tesoriero with guests James Ryan, Charlie Bedford, Simon Hosford, Kathleen Halloran, Julz Parker, Marcel Yammouni, Jimmy Cupples.

MARSH MEZZANINE STAGE - Level 1 Escalator West

11.00 - 11.45 KYRAN DANIEL

12.00-12.45 PHIL MANNING & NICK CHARLES

1.00-1.45 HUSSY HICKS

2.00- 2.45 OPAL OCEAN

WINNER’S CIRCLE WORKSHOP STAGE - Level 1, Escalator West

10.30-11.15

Two Notes, Morley Pedlas, VHT Amps Demo presented by Innovative Music & featuring James Ryan

11.30 -12.15 FRACTAL AUDIO WORKSHOP featuring Leon Todd “Live Tones vs Studio Tones” Leon explores the cutting edge of guitar tones on the world leading Fractal Audio Axe-Fx. Presented by Independent Music

12.30 - 1.15 “Dial It In! How To Produce A Killer YouTube Demo Track” presented by Boss featuring Leon Todd

1.30 - 2.15 LLOYD SPIEGEL on Cole Clark guitars

2.30 - 3.15 LINE 6 CATALYST AMPS DEMO with Michael Paynter presented by Line 6 & Yamaha Music

1876 BAR - Level 2 - Escalator West

11.00 - 12.00 PENCIL TATTOOING GUITARS

Coloured pencil has caused a Guitar Art Revolution. The concept of “Pencil Tattooing” was developed in 2011 by Gypsy Spelling and has since been utilised by Australia’s best known guitar manufacturers and luthiers. This workshop is an opportunity for anyone interested in Guitar Art (no experience required) being applied to previously lacquered Guitars or raw timber.

12.15 - 1.00

MARCEL YAMMOUNI DEMONSTRATES LAUDA GUITARS

Come and hear the best Lauda Guitars has to offer in the hands of Marcel Yammouni. Multi-instrumentalist and producer. Featuring the Night Owl and Bluehawk models. Check out the possibilities of a modern hollowbody.

1.15 - 2.00

2.15 - 3.00

FENDER SESSIONS - Inspiration, Workflow, and Versatility for the Guitarist, Semi-Pro Producer and Enthusiast How do you nurture and capture that elusive creative spark? A panel discussion featuring Michael Paynter and Kathleen Halloran. Presented by Fender

LUKE BAILEY Presented by Walden guitars

Spotlight: Strymon Effects

Strymon have been on a tear as of late, which culminated in the recent success of their Next Generation line of effects pedals that were released and subsequently took the industry by storm late last year.

There is a lot of hype around Strymon at the present juncture and its easy to see why. The brand boasts an ardent fanbase that wholeheartedly believes in their product range, which combines the very best of analogue and digital to produce digitally-controlled pedals that provide players with more routing, presets, and configurability than any other offerings, currently on the market.

Strymon first achieved acclaim with the massive success of their BigSky, TimeLine, and Mobius pedals, before going on to expand their range and creative horizons, targeting more specific sounds by way of the Iridum amp modeller and impulse response pedal, the Compadre dual-voice compressor and boost, and more recently, the Zelzah multidimensional phaser. All forward thinking pedals, each bearing its own unique sonic signature.

Fans of titanic and ethereal reverb possibilities, will no doubt be aware of Strymon’s Big Sky and Blue Sky pedals (who’s fans include industry titans of the likes of Foals’ Yannis Phillipakis, no less)- this year’s Melbourne Guitar Show comes bearing some exciting news. Strymon will be showcasing the brand new Cloudburst Ambient Reverb Pedal, the first in a new series of more compact pedals which takes the Cloudburst sound from the Big Sky and makes it easier for users to work with - with a couple of cool tricks thrown in the mix, too. For a compact unit, the Cloudburst packs in the features. USB connectivity is found on the rear, saving space with a USB-C connection. Inputs and outputs are offered on TRS connectors that can be switched from Mono to Stereo.

And MIDI switching is still an option with a TRS MIDI connection squeezed in. A centre negative DC connection is also found on the rear, as this pedal chews a decent current with all of the processing - batteries aren’t a realistic option.

Turning attention to the pedal’s top panel, it’s fairly standard fare, with control knobs for Decay, Pre-Delay, Tone, Mix and Mod, plus an intriguing Ensemble switch - a selection that should keep most ambient noodlers happy. The Pre-Delay adds a nice touch, giving the Reverb more dimension and a little reality, until you start pushing it beyond the halfway mark, where it swirls into the realms of fantasy with upwards of two seconds pre-delay.

The Tone control adjusts the Reverb sound, not the dry sound, so when you get into the modulation on the Cloudburst you are able to dial back some of that glassy shimmering and darken the sound up nicely. Of course, as with any Strymon effect, you can abuse just about every setting, so it is possible to ramp up the tone to an eye watering sound that gives a new definition to the word ‘bright’. The Mix control does just that, blending the wet and dry signal. Then we come to the Mod control, which is something Strymon fans will no doubt want to wind up right away. It adds a subtle shimmering vibrato at first engagement that gets wilder as it increases, with the reverb carrying on the modulated sound through the entire decay process. This interacts with the modulation and ensemble functions to provide a whole host on sonic possibilities. The beauty of this kind of interactivity is the manner in which it goes well beyond a standard reverb pedal, especially when you engage the aforementioned Ensemble mode. There are two settings, being Mezzo Piano (the more subtle of the two) and Forte. Starting off with the more subtle of the two, the ensemble mode adds a synthesised string sound into the reverb mix that is taken from the notes you’re playing, giving a gentle, but warm fullness to the overall sound.

The Cloudburst tracks your playing and generates the string sound from the harmonics to give the impression that it is actually a separate entity and not just a duplicate of the reverb in a different tone. Because of this, you’ll actually get different ensemble sounds when you change the pickup selection, or adjust your playing style, with a more staccato effect delivering different string sounds to a softer, more fluid style of playing. When you move into the Forte mode, it brings the volume of the ensemble up and adds more layers to the sound for a really beautiful aural image. This one feature in itself is going to have people lining up to get their hands on one of these pedals. It’s just a delight to listen to.

So, if you thought reverb was just a simple, one-knob addition that is found on the far right of your amp, think again. Strymon have once again proven that your standard reverb is never going to be enough. This is a pedal that just brings guitars to life and has something for just about any player. And for the Strymon faithfuls out there who already have one or two of their blue boxes, the Cloudburst offers a new take on their delightful reverb and packages it into a housing that is just small enough to fit next to your other two. I don’t think I need to say any more - the richness of this pedal’s sound really says enough!

Be sure to test out the Strymon Cloudburst Ambient Reverb pedal yourself at this year’s Melbourne Guitar show.

BY ROB GEE

In Focus: Ibanez Guitars at Melbourne Guitar Show

Fret-sweaters rejoice: the Melbourne Guitar Show is making a return for 2023! Featuring must-see live performances, brand showcases and beyond, it’s a long overdue celebration of all things with strings, and we’re all totally amped to see what’s in store for this year.

Ahead of the big dance in Caulfield, we’re checking out a few choice models from Japanese juggernauts Ibanez, providing a cheeky sneak peek of what models you can expect to see at this year’s show.

Polyphia are one of the hottest guitar bands going today, so it would make sense for their star shredder to wield such a dazzling piece as the Ibanez TOD10 Tim Henson Signature Guitar. With a slick roasted maple neck, an ultra-responsive ebony fretboard and some top-notch hardware, Tim Henson’s signature TOD10 is a premium model for prodigious players. It’s loaded with Henson’s signature Fishman Fluence pickups for true, articulate playing, while bespoke wiring lets you enjoy tonal versatility at its absolute best.

If shredding is your aim, make the RG8870 Prestige the game. A prestige made-in-Japan model with all the specs to boot, the RG8870 boasts a glorious fivepiece maple/wenge neck with a stunning fretboard inlay, an alder body with a flamed maple top and a chambered body to alleviate weight and enhances tonal clarity. Gotoh tuners and a Lo-Pro Edge whammy are also included, and a trio of DiMarzio pickups help make this model a must for any dedicated metalhead.

The RGD3121 Prestige definitely doesn’t lack in the looks department! Boasting an iridescent finish, the RGD3121 also offers a slick Wizard neck for deft

fretwork, a tidy MonoRail bridge and a pair of Fishman Fluence ceramic humbuckers. Luminlay side dots and Gotoh locking tuners also prove to be a nice touch, while an extended 26.5” scale allows it to play nicely with heavier string gauges for some meaty, down-tuned riffing.

For those who prefer more traditional S-type guitars, the AZ2203N Prestige might be the model for you. An alder body, roasted maple neck and rosewood fretboard provide a familiar playing surface to suit all styles, while appointments like an all-access neck joint, compound radius fretboard and non-recessed bridge cavity puts the AZ2203N a bar above what you’d usually find in an S-type model. There’s also an intuitive blend control wired in, and the presence of three Seymour Duncan Fortuna pickups is a welcome sight as well. Unlock your true potential as a player with the RGA622XH Featuring 27 frets, this guitar lets you reach areas of the neck like never before, with its beveled design and clean contours letting you shred harder than ever. An African mahogany body and maple/walnut neck makes for a steady pairing, and DiMarzio Tone Zone and Air Norton pickups are a nice touch. Add in the LoPro Edge tremolo, menacing black finish and gold hardware, and you’re looking at one serious shredder.

The compact, ergonomic curves of the Q547 might be off-putting for some, but with one of these

guitars in your grasp, you’ll be more than ready to tackle the future. This sophisticated sevenstring boasts an intuitive headless design and some truly tasty appointments, including a roasted maple/bubinga neck, nyatoh body and birdseye maple fretboard. A R1 / Q58 pickup combo delivers plenty of grunt, while the dynaMIX9 switching system offers no less than nine variations - what more could you ask for?

Not willing to blow the budget? Try the GRG220PA1 on for size. Featuring professional appointments such as a poplar Burl Art top, roasted maple neck and classic sharktooth fretboard inlays, it’s a neat, affordable introduction to the Ibanez shredder type of guitar. A pair of Classic Elite humbuckers allow for chunky rhythms and articulate leads alike, and there’s also a T106 whammy bar for superior tuning stability.

Another sleek way to dip into the world of Ibanez guitars with minimal financial damage, the GRG120QASP is a stylish super-shredder to suit all kinds of applications. It’s got an eyecatching quilted maple top and a sturdy maple neck, as well as quality appointments like a T102 tremolo, mono-unit input jack and tidy black hardware. Two Ibanez Infinity humbuckers are also added into the equation, making for a guitar that screams out value for money.

Don’t worry bassists - we didn’t forget about you, and neither did Ibanez. Sleek, ergonomic and sonically rich, the EHB1005F is a five-string fretless wonder, and could prove to be a workhorse in the right hands. The lack of a headstock and the addition of a chambered body makes it lightweight and versatile, with a

beveled contoured body providing a comfortable playing experience. Bartolini pickups are a big plus, while a VariMid three-band EQ allows you to flick between passive and active tones for unrivaled flexibility.

Few electric upright basses look quite as cool as the UB805! With a crisp Jatoba fretboard and maple body, this five-string is a true head-turner, and should be a no-brainer for any demanding session bassist. It’s loaded with a AeroSilk piezo pickup system for a balanced signal with plenty of articulation, and also comes with a Tama stand, bow and padded gig-bag: the perfect option for anyone on the hunt for a portable alternative to a conventional double bass.

If you’re after a more conventional low-end weapon, make sure to check out the SR5FMDX2: it’s an absolute beast. African mahogany, ash and flamed maple combine for an exotic aesthetic and wonderfully playable experience, and the five-piece Atlas panga and purpleheart neck is a joy to behold. The killer Nordstrand Big Single pickups boast some eyecatching birdseye maple wooden covers, and when paired with Ibanez’s custom three-band EQ and bypass switching, you’ll soon be in tone heaven.

All of these Ibanez models are available to see and play at the Melbourne Guitar Show, so do yourself a favour and get down to check them out for yourself!

Ibanez is distributed in Australia via Australis Music.

BY WILL BREWSTER

Hey Laidy Guitar Straps - Doin’ it for Mother Earth

Hey Laidy creates limited edition handcrafted guitar straps, camera straps, bag/purse straps and belts. The hero of these vintage inspired designs is the eco-friendly hemp webbing and beautiful jacquard ribbons. Uncompromising on comfort and style, these environmentally conscious pieces are made in small batches by the maker, Laidy Byrne in her home studio on the Mornington Peninsula in Victoria. Fashionable and timeless, durable and authentic, like listening to your favourite record on repeat - it only gets better with time.

Byrne sat down with Mixdown to tell us about her process, from sourcing through to construction, every step of which prioritises sustainability.

“Hey Laidy is a brand built on the philosophy of quality over quantity. In a world dominated by fast fashion and a throw away culture, Hey Laidy products aren’t influenced by trends. They are timeless, robust accessories that have been built to withstand the rigours of rock n roll.

“There are three key components to a Hey Laidy guitar strap; hemp webbing, jacquard woven trim and leather. I chose to work with hemp for a couple of key reasons. Not only is hemp the strongest natural fibre and one of the most sustainable fibres you can use, it is also extremely comfortable to wear. The hemp webbing used in my products has some natural grip so the strap doesn’t slip and slide off your shoulder like many of the nylon

Cranking it up to 11 with Lauda Guitars

Lauda Guitars are an addition to this year’s Melbourne Guitar Show to keep your eye on. Proudly made in South Australia, the duo at Lauda marry modern CNC technology and precision with hand-built craftsmanship at every step.

Luthier Chris Lau has been playing, repairing and building guitars and basses for over 25 years. Recently, Lauda Guitars have been perfecting their two unique hollow bodies, working closely with guitarists and drawing from many years of repair experience on the bench. There have been many iterations as they work to build a guitar that blends a modern performance with soul and character. The brand also offers custom inlay.

The Night Owl Hollowbody is a dynamic, light and supremely versatile instrument. It yields lively and warm clean tones. With the construction utilising a milled solid body strategically connected to a fully carved top, feedback problems are no issue, and the Night Owl can deliver decisively robust, driven tones. It even sounds fantastic in low drop tunings, something not every hollowbody can deliver. This makes it a great choice for players in a variety of genres, or even ones wanting an instrument that can cover a lot of territory over several sets.

The Bluehawk Hollowbody is a thinline instrument tuned towards jazz, blues and fusion. With traditional bent sides, sustain blocks and a solid, fully carved back and top, it has an acoustically balanced tone for a thinline. But like its smaller

based straps nor does it need breaking in like a leather strap.

I made a conscious decision to use vegetable tanned leather rather than chrome tanned as the process is carried out without the use of toxic substances or heavy metals. It is also less harsh on the hide so vegetable tanned leather tends to last longer. All my leather comes from the longstanding reputable family owned business, Leffler Leather Merchants in Melbourne.

Last but not least is the beautiful jacquard trim that adorns each strap. Reminiscent of the guitar straps made popular by the likes of Jimi Hendrix and Janis Joplin in the 60s and 70s, I primarily use vintage trims scoured from around the globe. A current favourite with customers is the vintage upholstery trim, sourced online from a boutique seller in the United Kingdom.

Even the packaging has been thoughtfully considered from an environmental perspective. Each strap is packaged in a reusable cotton drawstring bag and online orders are sent in an eco-friendly mail bag that is compostable.”

BY NANCY MALONE

cousin, it provides reliable performance at higher volumes. The tone is full and punchy even on the higher frets and it has a lot of sustain. An important difference in this model is the 16th fret neck joint (instead of 14th) giving great access to upper frets. Utilising CNC technology during building also means that a Bluehawk can feature difficult to work exotic tops, such as the burl poplar shown here. For more information, visit laudaguitars.com.au, and be sure to check out their models at MGS.

BY NANCY MALONE

Inside The Wolf Den - A closer look at Wolf Guitars

Exhibiting at this year’s Melbourne Guitar Show, Wolf Guitars is managed and run by She Wolf Erica Buckley, and the brand’s HQ, ‘The Wolf Den’, at Freo Guitars in Fremantle, was conceived after Co-Founder Peter McCallum, an emergency medical officer working at an exploration mine site in the Pilbara, wanted to purchase a decent guitar to take to site to play during his down time. A long and thorough search on the world wide web led Peter to a manufacturer renowned worldwide for the quality of the electric guitars they produce.

After purchasing two beautifully appointed sample guitars that sounded phenomenal, co-founder and seasoned businesswoman Erica encouraged Pete’s belief that these guitars would excite and thrill musicians searching for sensibly priced instruments that far exceed the quality/price equation.

All Wolf Guitars Australia instruments leave the Wolf Den in an all inclusive, state of the art Wolf Guitars Australia hard case - gig-

Study Guitar Making with NCAT

Preston’s Northern College of the Arts & Technology is allowing students to tap into the ample opportunities in both Victoria’s guitar making industry, and with independent makers nationally, offering guitar making units within their Certificate IV in Musical Instrument Making and Repair.

ready, reliable and dressed to thrill. Upgrades and modifications are available on all of the She Wolf models, however, clients are of course encouraged to get to know the guitars as they come before making any modification requests.

So what makes a Wolf Guitar? Put simply, they are beautifully crafted, well equipped, sonically brilliant electric guitars and basses. Wolf makes both solid and semi hollow bodied electric guitars. More importantly, the guitars fall at a reasonable price point, making them accessible to players that choose to spend their hard earned money on a professional instrument rather than a brand they have been told to buy. Having said that, Wolf certainly doesn’t don’t compromise on quality.

In every sense of the word, Wolf Guitars are a professional musician’s instrument that will stand their ground comfortably alongside guitars three times their price.

Built in Vietnam to the brand’s specifications, all Wolf Guitars Australia models are finished in Fremantle Western Australia with a restring, upgraded grover or gotoh tuners, a fret-level, crown and polish, electronics and component upgrade and check, truss-rod check, action and intonation check and a certificate of service and authenticity. They are all equipped with phenomenal howling wolf overwound, high output

pickups and Wolf’s own quantum circuitry and components. Where possible, Wolf sources sustainable tone and fretboard woods, and their manufacturing processes are environmentally friendly and ethically minded.

Wolf Guitars Australia also manufactures their own high quality true bypass and analogue effects pedals, which are hand painted by local Fremantle artists. Progressive, innovative, relentless and brilliant - Wolf Guitars Australia are undoubtedly about to go Global.

BY NANCY MALONE

The college not only boasts established relationships with Maton Guitars, Cole Clark Guitars and many independent instrument makers, but doubly so, the Australian Music Association (the National Retailer’s

Association). It’s no surprise, then, that in the Certificate IV, students are given the opportunity to learn to make both a bolt-on electric guitar and a dreadnaught style acoustic guitar.

Upon the successful completion of these two instruments, students can then allow their creativity to take the reins by designing and constructing a custom made instrument of their choosing. The college will provide the materials necessary for the taskstudents need only supply the hardware.

Guitar making teacher at NCAT Mark Russel considers the course’s ethos of openarmed encouragement to be one of its true highlights:

“NCAT is known for its equality and giving everybody a fair chance at succeeding at what their love is. If you give people the chance to pursue a passion they’re going to naturally succeed in it.”

This training is delivered with Victorian and Commonwealth Government funding and there are no prerequisites, though completion of NCAT’s Certificate III in Musical Instrument Making & Maintenance would be an advantage for keen applicants. For more information regarding application and assessments, visit NCAT’s website at ncat.vic.edu. au.

BY NANCY MALONE

The comprehensive course covers an introduction to the computer controlled cutting and milling machines and laser cutters, as well as the proper use and maintenance of the hand and power tools necessary for construction, allowing them to gain vital, hands on experience.

Seth Baccus Guitars: Instruments of Distinction

the Shoreline range has been at the forefront of the Baccus brand which contains the Shoreline T and Shoreline JM lines.

Now I know, it seems like a big call, but when you’re talking about a history steeped in guitar repairs, a wide array of acoustic, electric, and classical guitars, niche brand and instrument offerings, and a substantial music education department, it’s not too big a claim. All of which culminates in the country’s longest running guitar store under the same ownership.

With early groundings as a guitar repair shop operating under the name of DeKroo Bros Music in the ‘60s, they quickly gained a reputation as one of the top repair shops in the New South Wales capital. Working with some of the top retailers of the time as well as CBS, their workshop was entrusted with around a dozen Fender resprays a week.

When the business changed hands in 1972, DeKroo Bros Music became the Guitar Factory we know and love today, operating as a family owned business in the last five decades since.

Since then, the Factory situated just up the road from Banjo Paterson Park has maintained a deep focus on the niche market, including an extensive array of folk instruments such as banjos, mandolins, and ukuleles. So much so that they remain Sydney’s only specialist store for banjos, mandolins, bluegrass, and folk instruments.

Beyond folk and bluegrass, their heart still lies within specialising in guitars. While still bringing in the venerable Fenders, Gibsons, Yamahas, Martins, Taylors,

Matons… the list goes on and on, they also bring across a swathe of boutique and niche brands to Aussie shores.

This point of difference is emanated in their handmade amps, luthier-built classical guitars, and boutique effects pedals to name a few, but one of the more interesting offerings includes the Seth Baccus line of guitars.

The namesake of the brand had quite the apprenticeship through step father and well-respected luthier Andy Manson and his brother Hugh, working at the world-famous Manson’s guitar shop for over a decade. During his education, he also worked as a technician for Led Zeppelin during their 2002 reunion tour, but it’s his work with Muse’s Matt Bellamy that really stands out.

Growing up a few houses down from Bellamy in Exeter, Devon, Baccus was able to watch Muse evolve into the ‘Supermassive’ band they are today. Part of their intergalactic rise can be attributed to Bellamy and his affinity for Manson guitars, which Hugh was a vital component of.

“From Hugh and I delivering the first Delorean to real world studios during the recording of Origin of Symmetry, right up until the launch of the MB1, I was proud to be part of Hugh’s team,” Seth recalls.

When 2009 rolled around, Seth decided to go out on his own and start Seth Baccus Guitars. In 2012, the flagship Nautilus was released, Baccus’ first set neck single cutaway model. More recently,

The Shoreline T doesn’t need to be intently analysed to posit a guess as to what the ‘T’ might stand for. The iconic Tele pickguard and the distinct control knob layout, it oozes class. It teeters on the line of tribute and innovation with a lightweight body and a maple neck bolted on, while also boasting a range of modern features like its hand-carved heel design, medium jumbo frets, 12” fingerboard radius, and intonated brass saddles on the bridge. Bare Knuckle pickups are standard which Seth describes as “really open-sounding pickups, very warm and hollow in the neck and all the clang and twang you could want in the bridge”.

The Shoreline JM comes with a totally unique view and is the newest model in the range, expanding the bolt-on neck designs on offer from Baccus. Boasting the same modern features of the Shoreline T like its hand-carved heel design, medium jumbo frets, and 12” fingerboard radius, the elegant curves of this original body shape are said to be well balanced and set this line apart visually. The Shoreline JMs are available with a number of options, such as pickup configuration, bridge set up, and fingerboard woods. Not to mention a wide variety of finishes and scratchplate materials including tortoise shell and parchment.

Comprising the Gladesville Guitar Factory Seth Baccus collection are two Shoreline T guitars, both with rosewood necks and parchment plates, with the Aged Sonic Blue

finish boasting double binding, while the classic Sunburst finish sits pretty by itself. There are four Shoreline JM options to dig your teeth into with a combination of pickup and plate differences. Leading the way with the line are the two dual humbucker options with tortoise shell plates, with the Aged Black axe being the point of difference with a maple neck compared to the rosewood seen with the rest of the collection. The remaining two contain a humbucker and P90 combination with parchment plates. “Heirloom quality, built with love” is their motto, and it’s certainly on display with the Shorelines on offer.

If all of the above hasn’t convinced you Gladesville Guitar Factory is a one-stop-shop for the guitar community, then surely considering their music tuition facility will make it such. Oneon-one lessons for guitarists of any age, level, or style, and some highly trained teachers (bass and ukulele lessons available too), you’ll have a hard time not being helped at the Factory.

BY ERIC FOREMAN

Nestled in the Lower North Shore of Sydney sits a one-stop-shop for the guitar community, the Gladesville Guitar Factory.

Tips for Practising Today

But then I often think that, while I’m technically the educator, I’m also the student, and therefore, how can I keep on the ball and practise what I preach? How can I stay engaged as a super busy person?

I thought this would be a great opportunity to share some practice tips that have worked for me in the past. Some are well known, some might be new, and there are so many more. It matters not. Here’s six tips for practising today, for the busier humans.

MILEAGE

This is nothing new but it’s great. Take the drum vocabulary you already know and then see how many ways you can use it to get more mileage from every idea. This might be as simple as orchestration variations – use the toms instead of the snare, or perhaps, your favourite fill/groove/ idea could be played over a new subdivision – 16th notes into triplets for example. You might substitute a limb for another and incorporate a bass drum into the hand pattern you’d been working on. Perhaps, you have a fill that’s super comfortable. Add one extra note to it and see what the result is. The key thing here is that you don’t have to keep reinventing every idea from scratch. Experiment with the concepts of variation and extension to get more from the ideas you already know.

PRACTISE SLOWLY

A tip from the masters. Practising slowly is a real thing. The way it was explained to me has stuck

with me. The body needs to know what you’re asking of it before you try to get it to do it fast. We crawl before we walk and so on. When you think about it, it makes perfect sense. If it’s not feeling great or solid at a slow tempo, how can it be super clean and awesome at a faster tempo? It seems counter intuitive, but it’ll save you time.

DON’T FORGET THE RUDIMENTS

Yep. I know you’ve heard it before, but the rudiments are great. In a lesson recently with a brand-new student, I explained that every single time I play the drums, I use the three basic rudiments. Everything we do is (usually) a combination of singles and doubles anyway so, get back to practising singles (RLRLRLRL), doubles (RRLLRRLL) and paradiddles (RLRRLRLL).

You might branch out a little further and experiment with some of the other paradiddles – my favourite is the inward paradiddle (RLLRLRRL), which lends itself well to grooves and even Latin patterns. Try adding accents too, as this transforms the rudiment into an applicative musical idea with dynamic variation. Then, move the accents around the drums – toms, cymbals with a bass drum underneath etc. Remember to keep the non-accents soft for full effect. You’ll be surprised how much technique this requires.

I recently watched a friend of mine Danny Farrugia – a great drummer – apply himself to learn, practice and perform The Solo by Steve Gadd. As I watched the video

he posted on Instagram, I was amazed to see this drummer, who plays for the likes of Tina Arena, set himself the goal of working on that piece and attempting to perform it to a recording standard to share on socials. How inspiring to see someone go back to perfecting the fundamentals. Oh, and The Solo is loaded with rudiments. Perfectly arranged and orchestrated in a musical way.

NO TIME? GET IN THE ZONE

This one is hugely applicable to me as a full-time teacher, Dad and musician. When do I make time for practice in the crazy busy week? I suppose the philosophy of the wealthy that suggests paying yourself first could be applicable here. I could certainly reassess my week and find the time somewhere. In all honesty though, I tend to ‘live to work’ these days. However, there is a practice tip I use and it works for me. If I’m on the drums or the practice pad –between students, classes, early on the gig – even for five minutes, I try to get in the zone. I try not to just play the stuff I always play but, in that moment, work on the new idea, the pattern, the phrase. Make the most of that five minutes and avoid the distractions. In. The. Zone.

Overall, the busy lifestyle lends itself well to pockets of time to practise – 5-10 mins here and there. It’s not much but if you have a few mins, get on the kit, and make the most of it!

GOALS

Seems cliche I suppose but let’s face it, we need to set goals. Perhaps right now, not the blue-sky thinking type goals for this context of practising today.

Try just having a few key short term practice goals. It could be a fill idea, a coordination/ independence concept, a piece from a book, working with a metronome better, learning a groove from a new style/genre and so on. Even better, write them down. That way, when you’re in the zone, you have material to draw from to keep working through.

NEED INSPIRATION? WATCH SOME VIDEOS – AGAIN

If you’re a regular on YouTube, you’ve probably seen a lot of the great drum videos. But a practice tip for today is to revisit some of them again. Go watch Gadd, Weckl and Vinnie smash it out at the Buddy Rich memorial concert again. I sent a video of Vinnie Colaiuta playing at the Baked Potato to a student of mine recently. But then, I watched it again. So inspiring! You might think you’ve seen all the Gadd licks but blimey, they’re still so good! Some of the original videos and drummers who inspired you will keep inspiring. Take the time to revisit these moments in drumming history. Of course, new inspirations are just around the corner so keep looking for new things too!

It’s hard to keep on the drum wagon when you’re busy but I hope these tips resonate with some of you. In fact, it’s inspired me to get back to it myself. Perhaps, the classroom marking can wait after all.

BY ADRIAN VIOLI

I’m an educator. I spend a lot of time trying to engage and help students time manage, practice and progress.

Two Things That Can Help Your Chord Playing Now

KNOW THE NAMES/ORDER OF NOTES

You don’t have to be a theory whizz to get by on Guitar, but it can seriously help with all aspects of your playing – learning new tunes, working out riffs, improvising and more. So, get to know your notes!

C C#/Db D D#/Eb E

F F#/Gb G G#/Ab A

A#/Bb B C

Starting from C the notes, move up and there are 12 notes before I reach the next C, which we call the octave. You’ll notice that every sharp also has a flat name. Confusing at first I understand! Broadly speaking we’ll use the sharp names when ascending and the flat names when descending at first. How do I apply this to guitar? Well, every fret is one of these notes.

For example, if you start with the 6th string (low E) the first fret would then be F. The second fret is F# (which can also be called Gb but remember, when we’re ascending we’ll call it the sharp name) and the third fret is G. You could then do the same with the other strings (5th string Open A, 4th string Open D etc). Yes, this seems like a lot of notes to remember at first and it is. But, the important thing is that you can actually work them out!

BARRE CHORDS

Open chords are great. They’re used all the time for any level of player. But, to really start learning more material and have more chords up your sleeve, barre chords are the next step. Typically the first barre chord shapes you will learn are Major and Minor, the most important thing for these is to know the root note.

Major Minor

Figure 2 shows another two shapes that you might be familiar with. The difference with these (other than the actual shapes) is that the chord name/root note comes from the 5th string. So, the first fret is A# or Bb Major or Minor, the fifth fret would be D Major or Minor.

Major Minor

Figure 1 shows Major and Minor chords with the root on the 6th string. This means that we can take our knowledge of note names and then move these shapes up and down the neck. For example, move it to the 3rd fret and you’ll have G. Then just use either the Major or Minor shape to create G Major or G Minor. Move it to the 6th fret and it will be A# or Bb Major or Minor.

Just think how useful these will be! Playing a song with predominantly open chords and then a C#m pops up? No need to worry anymore – decide which root note shape is appropriate (5th or 6th string) and play a barre chord.

To take the next step with these concepts, you can then explore more voicings and chord qualities (7ths/9ths/13ths etc) and move them around the neck. You can also start creating chords using your knowledge of notes across all the strings.

BY NICK BROWN

Figure 1

Figure 2

Learn to Learn

I still get enthused about learning new things on my instrument (and I don’t think I’m alone in saying that). Working out a lick, learning a line from a tune I dig, understanding the theory behind an improvised line over changes, finally dialling in a specific tone - the list goes on.

And of course, it’s never been easier to access information and lessons (does that sound old?!) Forums, online platforms, apps, Youtube – they are all hugely powerful tools that make it so easy to find a resource for almost whatever you’re interested in learning. Awesome.

This ease of access and abundance of material can create a few issues though. Often, I see students/players that learn a lot of cool parts and/or bits of a tune/lick/groove but then have lots of holes in their playing in terms of theory, groove, and the ability to learn tunes quickly and thoroughly. And yes of course, it’s sometimes hard to see what your own weaknesses are playing and technique wise. So – what to do?

Find a teacher/mentor/external source that can independently see what the issues are – and then (hopefully) offer suggestions/ exercises/approaches to address them. How do I find someone, you ask? I know that can seem like a tricky task, but read reviews, get recommendations and ask those you respect/

look up to. You’d be surprised by where this can lead. And it can just be for a lesson or two. For those with some existing ability and a certain level of knowledge, a single lesson with a good teacher can give you material to practise for a long time. And of course, this can also be an online teacher. There are a few real time issues with playing exactly in time together online, but teachers with a good setup and good administration/instructional skills can record examples, provide resources and get the point across succinctly.

Furthermore a good teacher (and a good lesson/exercise/explanation) can give you that spark, as previously mentioned. Nothing better than feeling like you’re making progress and developing as a player. I’ve heard stories of many great players wanting to develop a certain area, or struggling with a concept and going to see teachers/colleagues/peers to get advice. If it’s good enough for them…

So – nothing wrong with learning bits and pieces, licks, new ideas and small things. But also consider the overall picture of your playing and think of some broader areas/concepts that you might be struggling with, and address them.

Embrace technology and the amazing learning tools available, and consider the help and guidance of a good teacher.

BY NICK BROWN

Gold Foil Telecaster

Fender Music Australia| Enquire for Pricing

Fender are a true innovator and they have the back catalogue to prove it. Given their illustrious history and the sheer number of breakthrough technical advancements to which they can be credited for, it makes a tonne of sense that the most recent run of Fender releases appear as something of a melting pot, taking these iconic feature sets and design cues from Fenders past and combining them to unique effect.

Guitarists and bass players have alway had a knack for customisation-combining disparate pieces of equipment that don’t always interface perfectly with each other on paper, and this is especially relevant when it comes to pickups, bridges and controls that our guitar bodies aren’t routed for. Fender have taken this a step further and smoothed out the rough edges, releasing a range of classic Fender shapes that feature their cult favourite gold foil mini humbuckers, in turn offering a unique sound that’s otherwise difficult to achieve with any other pickups.

Mini humbuckers sit between the size of a single coil and a proper humbucker, and require some specific routing, unless you’re happy for there to be a little gap around the larger cavity or a specific pickup ring. The sound, again, sits somewhere between a single coil and a humbucker, with less hum but not the massive sound of a humbucker. The gold foil element is what makes this

range unique, offering a truly vintage style tone, and in a variety of configurations, in this series. We’re specifically talking about the Telecaster here, but the series also boasts a Jazzmaster, Stratocaster and Jazz Bass.

The Fender Gold Foil Telecaster is new for 2023 and is a standard, full-size Telecaster that’s made from mahogany as opposed to the alder and ash more commonly used. The neck is maple with an ebony fretboard, and the 60’s ‘C’ shape feels great in the hand. Historically, the 60s is where guitar manufacturers started to move away from ‘baseball bat’ necks, so the Gold Foil series will feel familiar to most players.

The mahogany body adds a bit more weight to the guitar overall, but helps in adding heft to the Telecaster sonically. The gold foil pickups have less bite and twang than more traditional single coil Teles, but instead offer warm, sizzling tones that are ideal for rhythms or uniquely fat leads.

It’s immediately obvious that the gold foils are quite low output, but they’re designed that way, and for good reason. Lower gain means they have more headroom by the time they get to your amp, so you’ve got more clarity for cleans and less risk of buzzy distortion when your signal hits your amp. The humbucker configuration helps with any potential noise and having a humbucker in the neck and bridge position on a Telecaster was a new experience for me, but definitely something that helped me coax out new

sounds and styles of playing. The satin urethane finish on the neck helps fretting and moving around the neck quickly, without any glossy nitro or poly finishes to stick to your hands and slow them down.

Head to toe, the Fender Gold Foil Telecaster is its own beast. The maple neck is finished in satin urethane with a matched gloss urethane headcap in true 60s style. The Tele is available in either White Blonde or a deep Candy Apple Burst, and the ebony fingerboard provides a stark contrast to both finishes, while sonically adding some clarity and spunk to the dual mini humbucking gold foil pickups. The pickups are controlled by a master volume, master tone and a threeway switch, allowing for traditional Tele togglin’. Helping that classic Tele tone along are the brass saddles and synthetic bone nut, while the Gloss Polyester finish allows the body wood to breathe and give the eventual output all of those warm, rich overtones that mahogany has in spades. The aforementioned fretboard has a 12” radius, so they’ve gone for a more modern feel, but the 25.5” scale length will make you feel at home, and can handle most tunings without intonation issues. This whole range is an array of newer and older style specs together, mixed together for an entirely playable Tele at the end of the day.

The Fender Gold Foil Telecaster is one part of a new range of unique guitars and basses from

Fender. Having conquered much of the world of guitar innovation, Fender have instead paired some existing tech such as gold foil pickups, and built a range around them so us tinkerers don’t have to go routing and re-routing our guitar for our latest sonic adventure. The gold foils deviate from the twang and treble of a classic Tele configuration, what with a covered neck single coil and uncovered, angled bridge pickup, but the wood selection makes it all tie together nicely into something new. The neck shape, feel and design are a super comfortable play, and specs like the radius and mahogany body shift the tone and playability into a more modern field - the gold foil pickups providing a dichotomy with their warm, sultry, 60s tones. Mini humbuckers have that unique ability to poke through a dense arrangement but also provide weight and impact, and the Fender Gold Foil Mini-Humbuckers fit this to a tee.

The Gold Foil collection may not be everything you expected from these tried and true, traditional Fender shapes, but they’ll surely inspire something new entirely. Fender seems to have the uncanny ability to help us do that.

BY LEWIS NOKE EDWARDS

Sterling StingRay Short Scale SS4 Bass

CMC Music | RRP: $1795

I’ve always had a soft spot for short scale basses. There’s something about all that low end coming out of such a compact instrument that is eternally satisfying and almost feels like it shouldn’t be possible. The lower string tension gives them a distinctly looser feel when compared to a standard scale bass, something that classic players such as Paul McCartney, Jack Bruce and Bill Wyman all famously used to their advantage.

Needless to say, I was very excited to hear that Music Man’s affordable import line, Sterling, was releasing a short scale version of the brand’s iconic StingRay model, a bass that has been beloved by players for its unmistakable look and punchy sound since 1976. The SS4 is Sterling’s first ever short scale model, and it doesn’t fail to deliver as a fantastic new iteration of this classic design.

For Bass aficionados, the StingRay is nothing short of iconic, prized for its aggressive tone and prominent midrange-a sound which was utilised to great effect, perhaps and famously by revered RHCP bassist Flea during the band’s artistic peak. Now, players such as myself who favour the compact playability of a short scale instrument, can get that same unmistakable StingRay tone in a more comfortable package, and at an affordable price to boot.

With this release, Sterling have nailed the high quality craftsmanship and massive sound that Music Man basses are known

for, and all at a more accessible price point. Good news indeed for those who have always wanted a StringRay but haven’t quite had the budget to pull the trigger on one thus far.

The 30” scale and natural matte finish allows you to glide up and down with unparalleled ease, allowing you to push the limits of your fretting hand with the busiest lines you can muster, even if your digits are a little on the titchy side.

Aside from the shorter scale and more compact body, seasoned StingRay slingers will also quickly make note of another interesting change to this classic bass. Music Man has chosen to omit the active pickup in this model, forgoing the inclusion of a preamp and instead favouring a simple passive pickup. Players who prefer the purer vintage tone and touch sensitivity of passive pickups will be delighted with this change, but if you’re a fan of the aggressive zing that Stingrays are known for, fear not.

Although passive, the humbucking pickup in the SS4 sounds no less powerful than its active predecessor. This is largely due to the inclusion of Music Man’s innovative Neodymium pickup magnets. Compared to more traditional magnets such as Alnico, Neodymium possesses a stronger magnetic force, meaning that they generate a much stronger signal without needing to be as highly wound. Whilst this force is generally too excessive to be used for six string guitars, it is perfect

for the big dense strings of a bass and helps to create the huge, clear sound that this model exhibits. Complementing and expanding upon the Sterling SS4’s core sound are the three powerfully effective on-board controls. The volume control is as smooth and linear as one could hope, and includes the incredibly useful feature of a push/ pull boost function. I found this to be a particularly exciting addition. Having such a powerful volume boost at your fingertips creates an opportunity for dramatic uses of dynamics on stage and is perfect for players who need an extra kick in certain sections or solos in a band setting. Upon discovering this tool I immediately lamented not having had it at my disposal before, thinking back to all the big moments in songs I could have accentuated perfectly with a simple movement of my hand.

The middle control on the SS4 is a three-way rotary selector. This brilliant function allows players to switch between three unique pickup modes with ease, making this bass extremely versatile for a single-pickup instrument. The first mode is the classic ‘series’ mode, providing the massive, balanced and clear humbucking sound the StingRay is revered for. The second position is a coil tap, creating a more refined, lower output ‘single coil’ sound more appropriate for old school bass tones. Finally, the third position on the rotary switch engages the ‘parallel’ mode, emitting a warmer sound with a bit less edge and more of a bump in the low mids.

The third and final control on the SS4 is a traditional tone knob, which effectively rolls off the zingy top end that the StingRay is known for in a pleasantly linear fashion. All in all, these three controls make it easier than ever for bassists to sculpt their tone on the fly, enabling them to find their place in any mix without having to rely on EQ pedals or other fiddly devices.

In retrospect the StingRay seems to have been crying out for a short scale iteration. The darker tone of a short scale bass, caused by a lack of upper harmonics, perfectly balances out the generous midrange and biting top end of the classic model without nullifying it. The lower tension allows players to indulge in more bending and vibrato than ever before, a factor that will likely be appealing to fans of the StingRay, which has long been associated with more aggressive and modern styles of playing.

The slinky playability of the neck, combined with the smaller body and wonderfully versatile tonal options of this instrument make it an excellent choice for beginners and experts alike. A small bass with a huge sound, the SS4 is somewhat of a marvel. If you’re looking for an affordable short scale bass that isn’t short on punch, this new offering from Sterling is a fantastic choice.

BY CHRISTOPHER HOCKEY

Gold Foil Jazz Bass

Fender Music Australia | Enquire for Pricing

bass will greatly influence your sound, giving you room to breathe within the dynamics of any sonic landscape.

I still remember the first time I saw a Gold Foil pickup. I was at my friend Sam’s house and he was showing me a frankenstein Jazzmaster he had been putting together. There in the bridge position was a groovy little gold mesh pickup, partially obscured by its silver cover. ‘What is that?’ I asked, wide eyed. He explained to me that it was a Gold Foil and I asked him what they sounded like. Sam, normally impossible to stump, immediately scrunched up his face and thought about it for a while before simply replying ‘I can’t really describe it, it just sounds like a Gold Foil.’

There is something about the sound of those pickups that lives above the buzz words guitarists like myself love to use to describe tone. Since that day I’ve learned a lot about Gold Foils, that they were featured in the cheap mail order guitars in the 60s that ultimately defined the sound of garage rock, that innovators DeArmond and Teisco seem to both be equally credited for their invention and that slide virtuoso Ry Cooder, my personal hero, absolutely swears by them, especially in the neck position in his famous Coodercaster.

Despite the acquisition of this knowledge over the years I still struggle to define exactly what it is about the Gold Foil sound that makes it so special. However I’m now in a position in which the application of some apt adjectives is a necessity, so here it goes. These pickups, although generally

low output, have a midrange bite to them that is almost papery They also have a very airy top end, as if there’s a space above the highest frequency your guitar is emitting that your notes have room to drift up into, along with a stiff attack on the front end of each note, and an almost crackly lofi breakup when combined with distortion. Basically they sound like nothing else.

Now that my face is un-scrunched, let’s revel in some good news. Fender, obviously aware that players like my friend Sam have been taking these pickups out of pawn shop guitars and putting them into Fenders for decades, are releasing a whole line of Gold Foil loaded instruments including, for the first time that I’m aware of, a bass. A Jazz Bass no less! And let me tell you, it is a thing of beauty. Straight out of the box, I was blown away by the look of this thing. I am a sucker for Fender’s matching headstocks, so I got a little giddy when I saw the Sonic Blue finish on the body was on the traditional Jazz Bass headstock too. This combined with the bound fretboard, tortoiseshell pickguard and lollipop tuners amounts to one immensely classy looking instrument.

And now for the big question, what does a Gold Foil pickup sound like in a bass guitar? That airy top end is most certainly present, along with a punchy but warm midrange and a generous and very clean bottom end. This model does not suffer at all from

only having one pickup, despite being in contrast to the Jazz Bass’s standard two pickup configuration. The Fender Jazz Bass has always been my favourite bass guitar. Who can forget the lusciously warm, rounded tone of John Paul Jones? Or the bumpy but bright sonic stylings of the innovative Jaco Pistorious? Released in 1960, The Jazz Bass was Leo Fender’s second design after the Precision Bass, and compared to its thumpier predecessor, it exhibited a more prominent midrange and brighter tone, making it a much more versatile instrument.

Its beautifully contoured body is incredibly comfortable, and its wide frequency range makes it perfect for slap and fingerstyle alike. When pushed to its limits, a Jazz Bass is capable of a middy growl that no other bass can quite live up to, making it particularly suitable for filling out the midrange in smaller bands featuring only one guitar.

These factors have made The Jazz Bass the most popular bass in the world, and although providing a different spin on this classic instrument, The Gold Foil model exhibits those factors in spades. Despite having only one pickup, players will find that by simply manipulating the tone control they will find a plethora of tones at their fingertips. The Gold Foil pickup, being quite low in output, also allows for greater touch sensitivity, meaning this instrument can be incredibly dynamic in the right hands. How hard you play this

Aside from the sound, the physical details of The Gold Foil Jazz Bass prove that Fender’s attention to detail has not waned in the modern era. The pearloid dots and white binding on the ebony fretboard, lollipop tuners and matching painted headstock all lend themselves gorgeously to the graceful retro allure of this model. It is truly one of the most beautiful offerings from Fender that I’ve seen in a long time. The Gold Foil pickup, often so associated with lofi garage swagger, looks perfectly at home on this Jazz Bass and yet perfectly counterbalances its upmarket ornamental aesthetic. At this point I feel that it is my moral duty to warn bassists of all stripes, experience levels and genres that if they try this model out that they are very likely to end up buying. Even I, a humble guitarist by trade, am finding it difficult to resist the temptation. The pawn shop prowess of the Gold Foil pickup and its garage rock legacy combined with the refined jazzy elegance of this model’s design may well have resulted in a perfect instrument. Every now and then, a legacy company behemoth like Fender comes out with something particularly special, something that they really nail under a sky full of aligned stars. This is one of those times. A cult classic pickup in a blockbuster bass, the Gold Foil Jazz Bass has the best of both worlds.

BY CHRISTOPHER HOCKEY

Pentatone Preamp

Australis Music | RRP: $399

Pultec style EQs, as the boost and cut curves aren’t symmetrical and result in unique little ‘humps’ of frequency information that really let tones shine through, inhibited by surrounding noise and mud.

Beyond this, there’s a noise gate, which again can be toggled on and off and is a single knob affair, and the Post Boost can be stomped on and off, need be. The 5-band EQ and Pre-Boost can be remotely turned on and off via an input on the top of the chassis with the Ibanez IFS2L external footswitch or similar. Ibanez have graciously included a little diagram on the chassis itself for those of us brave enough to build our own TRS cables to connect to more complex switchers!

Ibanez are arguably most famous for the Tubescreamer. The Tubescreamer is a three knob overdrive pedal designed to offer a particularly ‘tubey’ sound, or allow you to push a tube-based amplifier into new territories, so it’s no shock that they continue to push the boundaries of guitar stompboxes. Most recently, they’ve done this with the Pentatone Preamp pedal, a mono preamplifier pedal with drive, dual EQ and a noise gate available. The Pentatone is designed to shape and sculpt your tone from the get go, refining your tone before it moves onto different effects and flavours of drive, and eventually an amplifier. You can also control the pre-boost or five-band parametric EQ via an additional footswitch in the ‘Remote’ input. The Pentatone Preamp will take up some pedalboard real estate, but can also replace a handful of pedals with its features so you won’t be left high and dry. The Pentatone offers a whole heap of well laid out and useful options, so it can integrate into an existing pedalboard or become the centrepiece of your sound.

The Ibanez Pentatone Preamp features ¼” input and output on the top of the rugged metal

chassis. Once signal hits the pedal, it moves through the Pre-Boost, which is switchable and allows you to adjust gain before the signal moves to the EQ and additional drive. There’s an additional ‘Gain’ control, Bass and Treble controls and a ‘Bright’ switch, which makes your tone… uh, brighter. While all of these are pretty standard fare, the additional 5 band EQ is where the Pentatone really shines. The 5-band EQ, with a toggle switch to turn it on and off, has 20dB of gain available, i.e. you can boost or cut 10dB either way from zero, but also has sweepable frequencies for each band, so you can really hone in on that holy grail of sculpted tone. Starting at the low end, you can boost between 30Hz and 100Hz, and the top end allows for 1.5khZ14.5kHz. The three bands between those are where the magic really happens on a guitar, and there’s enough overlap to begin to sculpt some really interesting curves even before other pedals and effects. Simultaneously boosting and cutting similar frequencies in different bands can begin to manipulate the bell curves that these EQs introduce, for tighter response when you need it. This technique is commonly used in mixing and production when using

Once you’ve got your head around the layout of the Pentatone, the concocted tones are as classic or unique as you like. Something about Ibanez’s designs lends the Pentatone well to that Tubescreamer-style sound, but the additional EQ and boost stages offer some more refinement, especially to those who are using power amp pedals for touring rigs. A combination of Pre Gain and Post Boost can easily result in a modern metal sound, while either alone can push your sound into bluesy territory or classic rocky chime. A little research can help you in using the 5-band EQ to shape the Pentatone into different amplifier style sounds, i.e super scooped for modern American, Mesa Boogie style tones, and pushing different areas of the mids can help you move from Marshall to Orange to glistening Vox sound in seconds. The Post Boost is handy for harnessing for amplifier drive, allowing you to clip the input of your amp with the Post Boost dimed (and have that footswitch handy to toggle this on and off!)

The Pentatone Preamp Pedal from Ibanez looks like a whole lot of options, which it is, but once you get to grips with the layout, it all makes sense. It’s more like an amplifier than it initially seems, with pre gain, EQ and post gain controls at its core, with some handy ways to refine your sound along the way. It’s great as a stand

alone gain pedal, or as a boost, or as your primary sound for someone using compact power amps like the Orange Pedal Baby, EHX Magnums or a Seymour Duncan Powerstage. It integrates well with other pedals, and while it can be an all encompassing solution to most gain needs, it has handy controls to switch things on and off as you need them. The five band EQ is a great ‘always on’ style addition, but the amount of control allows you to really push the boundaries and use it as a boost for solos, or for unique moments like radio and telephone effects when the highs and lows are cut entirely. The control allows you to shape your tone to a room, ensuring you sound consistent night after night. Different rooms contain different nodes and nulls, and a little EQ can help you to give the noise gate a good signal to clamp down on if you need it. The gain it offers is familiar, tried, and true, but the options within the Pentatone’s little chassis push it into a league of its own.

BY LEWIS NOKE EDWARDS

Performer Pro

Amber Technology | RRP:$1999

Over the last year or so, we at Mixdown have been lucky enough to have had a steady stream of the awesome new Breedlove offerings landing on our desks with some regularity, and it’s been nothing short of a pleasure. State of the art models such as the Premier Concert Edgeburst CE, the Pursuit Exotica S Concertina and the Rainforest S Concert Papillon CE have all been consistently stellar across the board, combining the very best in materials and unique body designs and pairing that with some excellent modern pickup technology to create the ultimate in daily playing guitars. It’s got to the point where we’ve had to enforce a first-in best-served policy among the office’s acoustically inclined when it comes to the Breedlove review units, with all of our guitar specialists squabbling amongst themselves to take one home - it’s no exaggeration, the Breedlove stuff has become a hot commodity around here.

Based in the heart of Bend, Oregon, in the States, surrounded by untamed wilderness, it’s no surprise that the craftsmanship of the Breedlove makers, from design through to construction, all begins at the timber end of the equation, with their impassioned affinity for carefully selected tonewoods. And it’s not just wood selection that the brand prioritises - breedlove have always had a knack for producing some of the most forward thinking body

shapes in the wider acoustic guitar space, a legacy currently being flawlessly upheld by Breedlove’s product design engineer Angela Christensen and the brand’s dedicated team of craftspeople. Tethered to the brand’s commitment to sustainability, Christensen is responsible for the eco-friendly, natural materials used at Breedlove’s Bend workshop; a process that ensures that, should you like to, you could literally track down the tree that birthed, for example, your Made in Bend Legacy Concert CE, and learn where it was grown, and how it was individually, sustainably harvested. Christensen, just like Breedlove’s owner Tom Bedell, has travelled to the forest to ensure best practices, and to witness how the sustainable methods employed by Breedlove help preserve habitat, protect wildlife and foster community.

Since it’s early 90’s inception, the brand’s iconic Concert shape has developed something of a cult following, and this distinctive cutaway outline informs the four models in the company’s line-up today. That includes the object of this very review, the Performer Pro acoustic, which I have been lucky enough to have in my hot little hands this week.

There is a level of pride and TLC in all Breedlove offerings that just always feels like it goes a step or two beyond the kind of attention to detail one would

normally find in a guitar like the Performer Pro. As mentioned, the Breedlove higher ups personally take it upon themselves to visit forests the world over to source raw materials from local families, mills, and suppliers, with the aim of preserving and protecting the world’s forest habitats and the communities who strive to peacefully coexist alongside them. And folks, while sustainability is of the utmost importance to the brand, don’t think that planetconscientiousness means that a Breedlove guitar skimps on style - when I first unsheathed the Performer Pro, I was floored by the sheer refinement of the thing. With a thin, all-gloss, aged toner finish, brass inlays, an FSC certified Ovangkol fretboard and bridge, African mahogany back sides, and neck and a certified European spruce top, this model exudes class. The built-in tuner, a feature many of us acoustic aficionados certainly don’t take for granted, is also sleek and inconspicuous - it doesn’t detract from the prestige aesthetic - but then, what could? There is a lot to like, or, pardon the pun, love, when it comes to Breedlove. All of their instruments are handcrafted, handvoiced, and Sound Optimised – Breedlove’s proprietary system for carefully matching tops and backs sanded to weight, not thickness, and tuned to target frequencies for tone, projection, and sustain makes for some of the best natural quality control of anything in

the acoustic guitar space - the Performer Pro is no exception. The construction process involves experienced luthiers meticulously tapping, listening, and shaving away tiny curls of tonewood to target specific, measurable frequencies to make each instrument hit its tonal sweet-spot. When picking up this guitar for the first time, I couldn’t help but notice the ergonomic, intuitive feel of the neck. My acoustic style tends to involve a lot of extended chord voicings around the middle of the neck, with a healthy amount of flatpicking in between - the kind of stuff that can really put a strain on the back of my fretting hand regardless of posture or strap height. This wasn’t an issue with the Performer Pro. I was able to glide around the neck doing my thing without feeling anatomically impeded by the neck at all.

Tuning to concert pitch, the Performer Pro has a full and natural voicing that seems to jump from the soundhole with minimal effort required in terms of attack. You can literally feel the resonance through the body in a haptic and tactile way - it’s very impressive. It’s a hard thing to articulate, but the combination of the user-friendly fretboard and the unobstructed voicing make the Performer Pro a pleasure to play. It’s nice to be playing an instrument that is working with you, rather than against you. They say all good things come in threes - in the case of this instrument, it’s Breedlove’s selection of woods that achieve the perfect tone every time, the user-friendly neck and fretboard that won’t impede upon your creativity, and not least, the egalitarian price point. Acoustic purists and crossover electric dabblers alike will benefit from having a model like the Performer Pro in their arsenal, whether you’ll be playing it on stage or just noodling around the house.

BY NANCY MALONE

Horsemeat Overdrive

Electric Factory | RRP: $525

and get our dirt from the floor will find the Horsemeat to maintain its articulate touch-sensitivity at even very high-gain settings.

Players will also notice that even when turned up to its maximum degree of distortion, the Horsemeat remains very pleasantly uncompressed, creating a more open sound than traditional overdrives that lends itself beautifully to PRS’s aspirations of transparency. This remains true at low volumes, making the Horsemeat applicable to virtually any musical scenario.

name. Given the quality of his new offering, and the astronomical price that Centaurs have become infamous for, one would be inclined to validate his cheekiness. However, in true PRS style, this new pedal has clearly been designed to carve its own path, rather than beat a dead horse in a market already flooded with clones of the elusive Centaur.

PRS have long been known in the guitar world for two things: producing high-end instruments of exceptional quality and for providing a much needed tonal middle ground between their two more traditional competitors.

A sonic Switzerland if you will, PRS have succeeded in creating guitars that are neither notably bright nor dark sounding, but rather exhibit a neutral hi-fi purity that has made them the go-to choice for session players and studio cats for decades.

It therefore makes perfect sense for PRS, for their first foray into the ever expanding world of boutique pedals, to produce their version of what has come to be known as a ‘transparent’ overdrive: the Horsemeat. A pedal that aims, much like the brand’s guitars, to take away the least amount of tonal quality possible from the player’s signal whilst serving its function.

For those uninitiated, the concept of a transparent overdrive is that it adds gain/clipping to your signal without drastically altering your EQ or colouring your tone, or as Paul might put it, without subtracting from the natural sound of your guitar.

This makes it a perfect choice for players who want to enhance their signal with the gritty harmonic richness that overdrive pedals provide, without either brightening or darkening their overall sound.

PRS have brought this concept to life more effectively than perhaps ever before with the Horsemeat. The pedal simply emanates quality through its exquisite articulation and nuance, offering a full and sparkling spectrum of tonality with none of the ‘boxiness’ of other, more mids-focused overdrives.

True to the versatility that PRS has become famous for, the Horsemeat features a generous total of five parameters. Aside from the self-explanatory Level and Gain controls, the pedal boasts a three-pronged approach to tone-shaping with its Treble, Bass and Voice functions, the latter of which affecting overall frequency response, similarly to how the Presence knob on an amplifier would.

This range of control allows players to match the sonic characteristics of the pedal as precisely as they wish with their base tone, providing an unmatched transparency that maintains itself across the impressive spectrum of distortion on tap.

From a crystal-clear clean boost, to a high gain throaty growl, the Horsemeat’s Gain control offers a wide range of overdrive sounds at any volume. Players who prefer to create distortion by pushing the front end of their amp’s preamp section will find that by rolling back the Gain and turning up the Level control, they can do exactly that; whilst those of us who like to keep our amps a little cooler

While the Horsemeat certainly has enough headroom and is simple enough to be an effective live tool, its incredibly high fidelity sound and ultra precise controls make it a perfect choice for the studio. PRS Guitars have always shone in the hands of seasoned session players, who have long favoured them in the studio for their tonal versatility and sensitive response. The same will be true, it can be confidently said, of the brand’s new expansion into the pedal market. The Horsemeat will no doubt secure a comfortable place as a studio staple in the years to come alongside its sixstringed counterparts.

Pedal aficionados, who this product was undoubtedly made for, will be pleased to hear that this ultra-transparent overdrive features true bypass and 100 percent analog circuitry, relying on germanium diodes to achieve its vintage yet crystalline sound. Once again PRS have justified their up-market prices with a product of truly astounding quality, a quality that is also reflected in the pedal’s sleek yet characterful design.

In contrast, however, to this classically upmarket aesthetic, is the name. Horsemeat, let’s talk about it. As the nerdier amongst you are likely to already be aware, the current reigning champion of the transparent overdrive world is none other than the equinethemed Klon Centaur, so one might very well conclude that Paul Reed Smith is making a bit of a statement in regards to the superiority of his product with this seemingly unusual choice of

Much like Paul Reed Smith’s guitars, the Horsemeat is a tool that doesn’t get in its own way. Despite its extensive parameters, PRS have succeeded in making this a very usable piece of equipment that allows players to maintain a balanced, even tone whilst adding more gain to their signal.

So if you’re on the prowl for a high-end dirt box with all the bells and whistles it needs, and none of the ones it doesn’t, this may be the pedal for you. Even in a market full of stiff competition, serious players, gearheads and pedal connoisseurs alike will find the Horsemeat to be a very fine addition, or rather not a subtraction, to their arsenal.

BY CHRISTOPHER HOCKEY

Prestige Artist 88 Key

Electric Factory | RRP: $849

clearly as they play - so will the neighbours if they take the dial much further past nine o’clock!

The speakers are seriously powerful, easily passing 100 dBA on my decibel meter, well and truly enough to fit in with a band of acoustic instruments. The address of the speakers is vertical, and they project quite well, but the keyboard does have line out on the onboard, if the speakers are not enough.

The Alesis Prestige Artist has a stylish and sophisticated look that will appeal to professional musicians and music enthusiasts alike. It has a classic black finish and modern lines, which make it a beautiful addition to any home or studio space. The Prestige Artist is quite small in terms of 88 key keyboards, and this is primarily due to the fact that the interface is placed vertically on the Piano, which makes it extremely suitable for the home. It also is very well suited to a space restricted environment, such small stages or venues, in a live context.

My first thought when I sat down to test out the Prestige Artist, was just how good the entire experience of playing the piano was. It balances good quality keys, punchy speakers and decent instruments, all of which create a really enjoyable practice environment and elevate the playing experience.

The Prestige Artist comes equipped with a very competent array of onboard features, including a wide range of highquality instrument sounds. This list includes multiple grand and upright pianos, strings, brass, woodwinds, and percussion. The piano sounds are especially brilliant, my personal favourite being the upright.

The control panel includes various effects, such as reverb, chorus, and delay, which can be applied

to the instrument sounds to add depth and character, as well as a built-in metronome, and a variety of drum patterns that can be used as accompaniments for both practice and performance.

The modulation effects are definitely capable, with multiple different options, such as different reverb room sizes etc. The metronome also offers different time signatures, which is a nice touch.

One of my favourite features, which is arguably the most important aspect of any good practice piano, is the way the keys feel; how they respond to your fingers, and how those interactions compare to other pianos. The Prestige Artist features graded hammer-action keys, which have a solid and realistic response. The Grading is nice, with the lower keys feeling satisfyingly heavier than the higher keys.

The Prestige Artist does lack Pitch and Modulation wheels, which may hamper its midi use. I suspect that this product was created with the express purpose of being used in a practice space or recital hall environment, and for that, it is competently equipped.

Two of the features that make this product perfect for practising are the Lesson and Practice Modes. Practice Mode essentially splits the keyboard into two zones with the same pitch and voice - the

Prestige Artist would be perfect for piano students looking to follow along with their instructor or duet with another player. And if you want to hear how your playing is coming along? Look no further than Record Mode, which allows users to capture and then listen back to their performances with ease. And there’s no need to stress if you don’t want anyone to hear that private practice session playing back on a loop while you assess your progressyou can plug your cans in to either of the front-facing headphone jacks to automatically mute the speaker system!

The purchase of the Prestige Artist also entitles users to 60 free interactive lessons with music education platform Melodics - a great app suitable for desktops or tablets for fun, relevant and effective practice. Melodics offers a huge lesson variety and a learning structure that puts you in charge - if all of that isn’t enough to convince a remote-learning keyboard novice, I don’t know what is!

The Alesis Prestige Artist serves very well as a practice instrument, and is ideal for musicians who are looking to improve their playing skills at home. Its high-quality sound and realistic playing feel make it a great tool for musicians to use in rehearsal, and its powerful speakers will ensure that they can hear themselves

Overall, this instrument has a very high-quality sound that is reproduced in clear detail due to the powerful speakers, a realistic playing feel from the graded hammer action keys, and a solid list of onboard instruments and modulation to enhance practice and performance. Though it is lacking a pitch or Modulation wheel, this is not really the scope the instrument is trying to fill.

The Prestige Artist is a great choice for practising at home; with its weight and size it may not be as portable as other digital pianos, but we all know where to go if you are looking for maximum portability from your piano. Additionally, its lack of a pitch or mod wheel may limit the range of sounds and effects that it can produce, making it less suitable for musicians who need these features for their live performances.

Overall I would certainly recommend this keyboard, as the Prestige Artist well and truly hits the mark as a budget option for a home practice piano, and comfortably satisfies the needs of a small entertainment venue or recital hall, backed by its modest array of instruments that are delivered in clear detail through the powerful onboard speakers.

BY JOHN TUCKER

SP8 8-Channel Smart Preamp w/ AD/DA

Studio Connections | RRP: $799

a great palette for mixing in some of that colour, but when set as line inputs can be used to receive signal from external preamps if grit, tone and analogue warmth is more your thing.

The only thing more consistent than our coverage of Audient’s growing range is the reliability, build, quality and design of their products. Audient is a UK-based professional audio company who produces everything you need at the core of your studio: preamps, consoles and converters. Founders David Dearden and Gareth Davies met while working at Soundcraft, when their knack for designing and building functional equipment began to fall into place. Audient’s range of EVO interfaces is so unique that they’ve side-stepped into their own branding, EVO by Audient. EVO are some of the most unassuming pieces on the market, classy matte black boxes filled with high end AD/DA converters, clean mic preamps and well-laid out controls. The most recent addition is the EVO SP8, built to provide even the most discerning studios with an extra 8 channels of EVO preamps. Connected via ADAT, the EVO SP8 features eight EVO mic preamps, two of those switchable to JFET Instrument/Hi-Z inputs and eight line outputs. The SP8 is rack mountable with the additional EVO SP8 Rack Ear Kit, so it can be installed on a more permanent basis into your racks, relegated to the very heart of your studio, interfacing all your equipment.

It’s important to note that the SP8 is not a stand alone audio interface, meaning it can’t serve as the soul of your studio, but is

instead designed to be used to expand an existing audio interface with just a few ADAT cables. For those playing at home, a single ADAT connection can generally carry 8 channels of audio (if you’re recording at 44.1kHz or 48kHz), so this doesn’t need to involve a lot of extra patching and additional costs for cables. The preamps are balanced and have 58dB of gain available, while boasting ultra low distortion and noise. The preamps are controllable via the channel’s button and a shared pot for gain, and phantom power is selected by toggling between the channels and pressing the shared ‘48V’ switch on and off. The same use applies for the Instrument button that’s used to switch to Instrument level inputs for channel 1 & 2. What’s more, you can link stereo channels to adjust their gain at the same time.

The SP8 features EVO’s Smartgain feature, accessible by the big green button on the unit’s face. Smartgain is a new feature designed to quickly set optimal gain for mic preamps and get on with the music making. With Smartgain engaged, the unit will analyse the incoming signal and set the optimal gain for maximum dynamic to minimal noise. All of this is easily read and interpreted on the SP8’s screen, which also has brightness controls for those of us working out of dimly lit studios. The SP8 can either act as its own clock or receive clocking from an

external source, either ADAT or via the Wordclock IN, and the outputs can be toggled between the 8 analogue line outputs or ADAT. In use, the SP8 is a breeze. Connection via ADAT brings up the additional channels on your main interface, and adjusting settings to clock from your master interface has the SP8 slaved for its sample rate. The Smartgain feature is a lot of fun, albeit mostly providing a great starting point for you to tweak a little further. The Smartgain feature analyses a small amount of audio, and without having an entire song’s worth of information, it’s almost impossible for the unit to set optimal gain. The paired stereo control makes recording things like drums a breeze, allowing you to pull up stereo pairs of overheads and rooms very quickly with complete independent control if you need it. The one thing that may be missing from the SP8 is a phase switch, but admittedly, this is something easily set inside your DAW, and for the price of the SP8, it may be a lot to ask. The SP8 may just be the most affordable way to expand your studio, with no sacrifice on sound quality at the end of it all.

The SP8’s screen offers great feedback on the adjustments you’re making, usually preset to watching the little green metres bounce when receiving signal. The EVO preamps aren’t particularly colourful, and provide

The SP8 is the latest in a range of unbelievably affordable recording solutions from EVO. The unit offers an additional 8 channels to just about any recording set-up that accepts ADAT, and when paired with the EVO 16 for 16-24 channels of EVO preamp, is a formidable setup that’ll pass the test of even the most acutelytrained set of ears. The entire EVO range comes to us from one of the biggest audio manufacturers in the biz, Audient, and their focus on features that really matter to working creatives are on show in the SP8. Extra inputs with well laid out controls that allow you to quickly set gain and phantom power, so you can quickly throw some mics up and capture a performance rather than be bogged down in dials, menus and settings. The SP8 chassis is the same matte black as the rest of the EVO range, and it’ll integrate easily both sonically and aesthetically. The SP8 is such a home-run that has me re-thinking my entire studio in lieu of a couple of rack spaces of EVO gear.

BY LEWIS NOKE EDWARDS

M3 Mictrak Stereo Shotgun Microphone

Dynamic Music| RRP: $399

beyond what you might expect from a camera mounted audio recorder with 32-bit float recording on board.

We’ve seen some great innovations in portable digital recording from Zoom over the years, as they continue to prove that location and size are no real restriction to quality audio recording. Now, with the release of the M3 MicTrak, Zoom have again stepped up their game in a new area of digital audio recording - DSLR camera use. This M3 MicTrak takes a hot shoe mounted shotgun microphone and combines it with an on-board digital audio recorder, all of which can be powered by batteries. But they’ve gone one step further, with the addition of 32-bit Float recording. This is going to change the way you look at quality camera audio forever.

It’s always been a bit of a tough one, getting good quality audio recording on a DSLR. That is, without having to carry a backpack full of gear, a car battery and an inverter. Well, Zoom has changed all that. The M3 MicTrak is the device I wish we had ten years ago, and it will probably still be a device I will want to have in ten years’ time. Fair warning, I am going to go on and on about how good this thing is. For what it’s worth, the M3 MicTrak deserves it. There are plenty of great camera mountable shotgun microphones on the market. I have used many of them and have found a few favourites for different situations. However, with the release of the M3 MicTrak, you could just about do away with the rest and just work with the one. This stereo condenser microphone combines

several focal points, with a 90 and 120 degree stereo span, as well as a mono option for extreme direct recording of a single source. This allows you to really hone in on a presenter when you don’t want environmental noise coming into the picture. It comes complete with its own suspension mount and wind sock, so you can properly isolate the camera from operating noise, handling noise and environmental noise. The mount is quite a neat little design, with four rubber arms on all sides of the battery casing, where the most weight is, to evenly suspend the microphone and isolate it from the camera. This can be secured to your camera with a hot shoe mount, or adapted for a microphone desk or boom stand for use in the studio, or recording podcasts/YouTube videos. Similarly to just about every shotgun microphone for DSLRs, there is a connecting cable to run the audio into your camera and record directly to the video in place of the camera’s builtin microphone. That is great, and does offer an incredible improvement over the camera’s audio, but you’re still stifled by the camera’s audio recording limitations. So, Zoom took matters into their own hands and included an onboard recording system in the housing of the microphone. I mean, with all their experience in portable digital recorders, it just makes sense that they would deliver in both quality and compact design. And with that, Zoom has gone above and

What you get is an incredible audio recording that requires no adjustment of the gain settings at the recording stage without any digital clipping. This may seem odd, but one way of looking at it is that 32-bit float recording is capturing audio well above the ceiling that has previously been a limitation on digital audio - the cut-off point that causes clipping. You can record with amazing dynamic range and capture just about everything. From the quietest nuance to the loudest crash, the audio is captured clearly and without distortion, so that it can then be adjusted in post-production. It’s like having an almost infinite dynamic range, where a huge amount of audio is captured for every second, but only at the expense of about 1/3 extra recording space. With limited dynamic range, you end up clipping if a signal goes to high, and you don’t hear a lot of the quieter sounds if you adjust the gain to counteract loud signal sources. So, the result is you end up missing something. 32-bit float recording ensures it’s all there and can be recalled as you require with gain adjustments in your editing software.

This all gets recorded onto the hardware at the base of the microphone above the camera mount for transfer later into your DAW. You can also record with the connected cable into the camera simultaneously, for an additional audio capture as a guide, backup or alternative. As mentioned, all of this is achieved with just two AA batteries, further keeping the unit’s size and weight to a minimum, whilst allowing up to 12 hours’ recording time. Your camera battery will be long dead before the M3 MicTrak is, so you’ll be able to hear the camera guy swearing on the audio recording when he has to change batteries at a critical moment.

All that said, this is not just a location recorder. You can bring the M3 MicTrak into the studio,

office or living room and use it as a direct recorder into your DAW. So, for those of you who want to record YouTube videos at home, as well as on the go, you can use the same microphone on your camera or directly into your computer. It acts as a direct audio interface for recording in this manner, and also integrates with your computer after a location recording for seamless transfer of audio. The included M# Edit and Play software makes transfer and adjustment of audio as simple as it should be.

Zoom has got it right on all levels with this device. It really is going to change the way so many video and content producers are going to think about their audio recording. Just because you need your equipment to be compact and lightweight, does not mean you have to suffer a reduced audio quality. You can now bring your video content to life with the best audio recording you are going to hear from something of this size

BY ROB GEE

T-Series T5V (Nearfield) Monitor

Focusrite Australia | RRP: $299

Some users may find this to be a challenge, especially if they are not experienced with speaker placement, or are operating out of a less than ideal space.

The woofer on the ADAM Audio T-series T5V is an excellent 5-inch diameter woofer, with a polypropylene cone. The materials are all high quality, ensuring a durable and longlasting performance - the woofer is capable of handling up to 50W, allowing it to deliver clear and dynamic sound at high volumes, and the maximum SPL of 109dB allows for plenty of headroom to play with. Overall, the woofer on the ADAM Audio T-series T5V Nearfield Monitor provides tight and punchy bass response, with a wide frequency response and high SPL, making it an ideal choice for audio production.

ADAM Audio have been making studio monitors for a long time now, and the brand has always excelled at fast-transient response and attack times, as well as proven time and time again that they can accurately reproduce and represent the mix. The T-Series T5V (Nearfield) Monitors by ADAM Audio are no exception, despite their modest price tag.

The ADAM Audio T-series T5V is a powerful Nearfield Monitor packaged in a sleek, modern design. The monitor features a black matte finish, and a clean shape with smooth lines. The build quality is solid and feels robust, adding to the overall aesthetic of the product. The T5V is also compact, making it suitable for use in smaller studio spaces. The design of the T5V is functional and practical, ensuring that it will blend in well with a variety of studio setups.

The ADAM Audio T-series T5V Nearfield Monitor has been built to very high standards of quality, and also, durability. It boasts an enclosure that is made of robust MDF and metal, and features a strong, solid construction. The speaker cones and surrounds are also built to withstand heavy use, with high-quality materials and tight tolerances that ensure long-

lasting performance and reliability. Well and truly professional grade quality on a consumer grade budget.

One of the best aspects of the T5V, is that it features advanced waveguide technology and a balanced frequency response, providing a clear and accurate representation of audio. This makes it excellent for use in music production, mixing and mastering, as sound is accurately reproduced with a switchable bass extension, thus the T5V is suitable for a range of environments despite its relatively small cone size. The T5V also features an optional room correction filter that allows you to tune the monitor to your specific room, ensuring that you hear an accurate representation of your mix in your studio.

It is worth noting however that the lower threshold for the range of the T5V is 46Hz, so some users may find that the monitors lack the deep bass response required for certain types of music or audio production. However, this is sort of to be expected with 5 inch Woofers.

Another consideration is that the advanced waveguide technology may require careful placement of the monitors in the room to ensure optimal sound quality.

The Tweeter on the ADAM Audio T-series T5V Nearfield Monitor is a new U-ART 1.9-inch Accelerated Ribbon Tweeter, a ‘breakthrough solution’ that allows high resolution recording and mixing on a budget. It reaches 25kHz and is mated to a precision waveguide that uses the same dispersion control attributes as the HPS (high frequency propagation) waveguide used in the flagship S Series Monitors by ADAM Audio. The tweeter hits a maximum SPL of 102dB which is well and truly enough headroom. The two speakers are powered by a D-Class amplifier, which delivers 20W of power to the tweeter and 50W to the Woofer. This allows the delivery of high SPLs and the security of knowing that at listening levels, you are not flogging the drivers too hard. Something worth noting is the fact that the T5V monitors are rear ported. This means that in the event that they are placed too close to a wall, you might be left with the illusion of exaggerated low end, known as a ‘False Bottom’. This can be countered by ensuring the speakers are placed more than 12 inches away from the wall, or it can be mitigated via EQ if this is not an option.

The ADAM Audio T series T5V nearfield monitor is a high-quality, professional-grade studio monitor

that offers a range of features and performance capabilities that make it a valuable asset to any audio production setup. Coupled with the fact that it is priced very reasonably at around the $600 mark for a pair - the ADAM Audio T-Series T5V is undoubtedly an excellent option for a budget recording studio setup.

In conclusion, the ADAM Audio T series T5V Nearfield Monitor is a well-designed and high-quality speaker system that will appeal to many audio engineers and producers. The monitor features a sleek, modern design and is built with high-quality materials. The T5V provides accurate sound reproduction, is versatile, and has a switchable bass extension. It may require careful room placement for optimal sound quality, but this is an easy fix. The woofer and tweeter both provide a tight and punchy bass, and crisp, clear high response, respectively. Overall, the T5V is a good investment for those who plan to use it frequently in a professional audio studio or in a prosumer space as well.

BY JOHN TUCKER

M4 Mictrak Stereo Microphone and Recorder

Dynamic Music| RRP: $799

As is expected with any Zoom recorder, there is a stereo pair of condenser microphones that offers excellent audio quality in their own right. Set the M4 MicTrak up on a microphone stand and use these to record an acoustic guitar or piano and you’ll be amazed at the quality on offer. Put it in front of an ensemble or choir to capture a room recording and the M4 MicTrak defies previous ideals with a new level of articulation and detail in the onboard microphones. These just about sell the unit in itself, especially when backed with the power of the 32-bit float recording.

If you’ve already read my review of the Zoom M3 MicTrak in this issue, it means that our esteemed editor laid out the magazine in alpha-numeric order. Or, you’re just jumping around reading what you like at your own choosing. But, if not, then I suggest you look at that first as it will give you a good idea of just where Zoom is going at present with their latest innovations, and will lay some groundwork for understanding what is happening with this series. But, for now, we’re looking at another model in the range, the Zoom M4 MicTrak handheld digital recorder. I am not going to get quite as excited about this unit, but don’t let that fool you into thinking it’s any less capable. In fact, for those of you with a focus on musical recording, rather than video production, this is really going to win the day.

I think it goes without saying that Zoom has really cornered the market with portable, handheld digital audio recording over the past decade. Yes, there have been other contenders, but none have come close to offering the quality and flexibility that the extensive range of Zoom recorders brings to the market. Ever since the iconic H4 made waves, we have seen a steady delivery of improved

models with more features and greater connectivity. Well, for those of you only just discovering Zoom recorders, you’ve come along right as a new mark in audio recording is being notched. The M4 MicTrak takes the legacy of the H4 and its later cousins and drags them all into a new generation of digital audio recording. Ok, so I am fairly wrapped with this unit too, so I make no apologies for talking it up. For what it offers, the M4 MicTrak deserves the praise. What’s on offer here is a 4-track digital recorder that includes 32bit float recording. If you’re not au fait with the workings of 32-bit float recording, in a nutshell, it’s digital recording with no clipping. I talk about it a little more in the M3 MicTrak review, so you can read all about it over there. What this means is that the Zoom handheld recorder you’ve always loved and used has just jumped ahead leaps and bounds as far as audio quality goes. You need not worry about gain control on the input side of things, as everything is captured and you can adjust the levels in your DAW. That means you know you’re getting almost carefree perfection in your audio recording, so we can focus on the features offered in the unit itself.

However, if you need more colour in your recording, or simply just more tracking options in one take, there are two XLR inputs for an extra pair of microphones. You can go to town here with the flavour you want to bring to your recording. Throw a 58 into one for a rough and raw dynamic sound, and go crazy with a U87 in the other for a rich studio sound that has a timeless warmth of tone. Or, just be sensible and use a couple of microphones that suit the intended purpose. You’ll end up with a stereo pair of condenser microphones and two independent microphones for more isolated sound sources. Of course, you can run a DI signal or Hi-Z signal in via the TRS connectors on these combo jacks rather than a microphone via XLR. This means you can even feed a balanced stereo input from a mixing console and capture an entire mix with the M4 MicTrak, whilst blending that with a room sound from the onboard stereo pair of microphones.

This means that in the studio or in a live environment, this compact unit can offer a range of setups to suit various situations. It can also be used as an audio interface when linked to your computer via the USB connection, so you can run directly to your DAW. That makes it a great option for podcasters who work from home, but also need to take their show out and about from time to time. The unit itself is something to

behold. Zoom has moved away from the clunky box with externally mounted microphones of previous models and really gone with a more handheld aesthetic in this rendition of the audio recorder. It looks like a microphone, a little like a 421 with a whole lot more going on. And with that, you’re almost encouraged to use it in a handheld manner, where previous models felt like they needed to be mounted on a stand or, as was so often the case, left balancing precariously on a table top, always a brief moment away from being toppled when someone pulled on a mic cable a little too hard. So, given that this unit wants to be held, Zoom has ensured that handling noise is kept to a minimum. The microphone capsules are beautifully suspended and isolated from the housing, so you can opt for in-hand recording and know it isn’t going to affect the quality significantly.

Finally, for those of you looking to combine your audio with video capture. The M4 MicTrak has a built-in timecode generator. That means you’re getting 4-track audio recording that can be perfectly aligned with your video and snapped to position without a care in the world. Think about the possibilities of stereo location recording with two directional microphones for isolated dialogue capture in your video, and suddenly the M4 MicTrak takes on a whole new level of creativity. And did I mention 32-bit float recording? Yes, this thing is a gamechanger.

BY ROB GEE

Connect 6 Audio Interface

Electric Factory | RRP: $479

EIN. EIN stands for Equivalent Input Noise and refers to the noise that the preamps introduce, i.e. their noise floor. The acceptable range is generally -120dbV to -129dBV, so the Lewitt can hang with the best of them. The Lewitt Connect 6 is controlled via the Lewitt Control Centre, where you can put together two separate mixes, i.e. for monitoring and streaming, or for yourself and a recording artist, as well as having access to the preamps where you can toggle phantom on and off, flip phase or engage the high-pass filter. Once you’ve got healthy signal, you can engage the onboard DSP and record through an Expander, Compressor and Equaliser to get great sounding recordings that don’t need much work - or that sound great when streamed live!

It feels like Lewitt are popping up on more and more people’s radars with every passing year, particularly with studio engineers who have taken a shining to the brand’s rock solid, utilitarian range of microphones.

Hailing from Austria, there is plenty to like about Lewitt. From their egalitarian price point through to their futuristic, neon green aesthetic, they are clearly a brand with an eye firmly on the future, producing everything from affordable and accessible products right up to professional grade hardware and everything in between, with no sacrifice in quality along the way.

The Connect 6 Audio Interface is one of their early forays into convertors, and boy oh boy does it carry the torch for Lewitt. The Lewitt Connect 6 is a two-input USB-C audio interface, designed for musicians and creators who need all hands on deck in a small package. The inputs are combo ¼”/XLR inputs, allowing you to record both line level/instrument or microphones through the same input. The back of the unit boasts three USB-C inputs for connection to your computer, power and your phone, so you can use it on the go and create sounds however you like. There’s an auxiliary device

input and output, both ⅛”, as well as left and right ¼” outputs for main monitors if you’re using the Connect 6 in a more static setup. Onboard DSP is available for treating audio on the way in, and the Control Center app is included from Lewitt for you to remotely control preamp input, routing and DSP processing. The usability of the Connect 6 is unparalleled, somehow making a small interface that can be used for podcasting on the go or at a studio, recording music, streaming or even work meetings with pristine audio. The connectivity is staggering, but not overwhelming, as the Connect 6 is largely plug and play. You’ll have it up and running in moments, with clearly labelled inputs, outputs and routing options on the unit itself and in your computer.

The Lewitt Connect 6 Audio Interface offers great digital and analogue connectivity in a rugged but subtle and classy chassis. The analogue connectivity is via the two combo ¼”/XLR inputs, and there’s multiple analogue output options. The Connect 6 features two headphone outputs on its front, and input metering on the face so you can keep an eye out for optimal levels. The preamps have 72dB of gain on board, as well as super low-noise rated at -133dbV

While the small size lends itself well to those beginning their recording journey, the Lewitt has powerful onboard DSP for the more experienced amongst us, and its small size means we can travel with it and work on the go. It’s not always easy to get great sounding recordings from the start, but Lewitt makes it easy and accessible. Their DSP doesn’t have a particular colour, but is instead designed to tame and control audio as it’s been recorded or streamed. Best of all, the DSP prevents your computer or phone from melting down during a recorded take, so you can be confident that the Lewitt Connect 6 Audio Interface is as ready as you. Connection is a breeze and the Lewitt is largely plug and play with Windows or Mac, while the routing options within the Control Center leave you confident that the Connect 6 will be ready for anything. The magic of recording and streaming is that anything can happen, and generally if it can happen, it will, but you’ve got backup inputs and outputs, as well as separate mixes available for monitoring, so you can easily and quickly find a work around.

The Lewitt Connect 6 is a really functional and robust audio interface. It’s designed for creators and music makers, and Lewitt have packed a lot of what we need into

a practical and small package. It takes up limited desk space, but will also fit in a backpack, and is powered by USB-C so you can use it on the go. For this reason, it’s an equally good purchase for beginners or professionals alike, as you’ll always find a use for it. Even outside of music and content, as the world moves online and working from home becomes more common, the Lewitt Connect 6 can be a great option for meetings. The same functionality designed for podcasting, streaming and music making allows you to route signal whenever you need it, albeit the professional-grade audio quality being lost on your coworkers after Zoom processes your voice! The onboard DSP is really practical, available on both inputs independently, and takes the processing off your computer, so recording can continue without a hitch. Even if there is a hitch, while surely not the fault of the Connect 6, it’s ready to route signal elsewhere to continue the music uninterrupted.

BY LEWIS NOKE EDWARDS

Audio Portable Vocal Booth

Link Audio | RRP: $3,499

Not everyone has an ideal recording setup, but everyone has sparks of inspiration, an amazing lyric in them, or a great idea for a vocal hook. For those of us with untreated walls, harsh and reverberant rooms, or traffic outside our window, portable vocal booths exist. These are usually about head size and cover only the microphone, shielding it from noise and wind, but Imperative Audio push the boundaries with their Portable Vocal Booth, designed more for singers to stand in than sing into. Capturing an emotive vocal is imperative (sorry!) to a powerful mix, and isolated vocals give us the freedom to compress, effect and process a vocal as much as we’d like, without bringing up any room harshness or echoes.

As beautiful as the birds may be singing outside your window, you don’t want them layered beneath every track!

Being height adjustable with a music stand built-in, the Imperative Audio Portable Vocal Booth is a one-stop-shop to

total isolation in less-than ideallocations. Helping to prevent standing waves, phase issues and bleed, the Portable Vocal Booth could be the key to your next great vocal take. We often spend hours rehashing takes in the studio, so when the magic happens, you want it to be recorded as cleanly as possible, and the Portable Vocal Booth from Imperative Audio helps us do that.

Marketed as a vocal booth, the Imperative Audio Booth could easily be used anywhere that a baffle might be in a studio situation. It can cover and isolate guitar and bass cabinets, as well as block drums from other instruments or create a little wall to tuck your drum room mics behind for some treble roll off and an extra moment of delay. Its rounded-off design helps diffuse sound, but it’s also square enough to isolate three sides of a source and prevent unwanted bleed and spill to the source. We’re mostly talking music here, but for podcasting or streaming it would work wonders if you can’t afford a

dedicated room! The practicality of the booth is its ability to quickly and efficiently fold away when not in use, folding down to a fraction of the extended size, and it can also be tucked away into the included carry bag. With the legs fully extended, the ceiling of the booth reaches 210cm, so for most musicians, it’ll be a comfortable fit, and for anyone else — that’s a tall order! Fully detracted, the Imperative Audio Portable Vocal Booth works well for things like isolating amplifiers in the studio or kick drums from the rest of the kit. The Portable Vocal Booth is constructed from light aluminium, and its classy design not only looks good, but serves to prevent standing waves that can be present in ill-treated rooms. The booth’s cylindrical shape serves to disperse these further, and not before the three layers of high performing layers of acoustic treatment absorb any other acoustic energy that might cause problems. What you’re left with is pure vocal and nothing but! The Portable Vocal Booth offers up to 28.4 dba reduction, and the tight, treated design has a reflection time of 0.07 seconds. The weight of the booth is 35.5 kg, standing from 181 cm to 210 cm high with a circumference of 324 cm. The mic stand channel is 30 cm long, allowing for an overhead mic to be inserted into the booth from above and positioned comfortably. The Portable Vocal Booth includes a stand for sheet music, a phone or iPod, as well as an accessory shelf. The interior circumference is approximately 300 cm with an 80 cm opening, so there’s also room for a stand for a laptop or additional mic stand if needed. The isolation that the Portable Vocal Booth provides inspires some new creative mic placement that was previously difficult to capture, let alone imagine in a standard studio setup. The five legs are independent, so it can be propped up safely on tables, stairs, amplifiers or uneven floors without risk of it toppling over or shifting mid-song to ruin an otherwise perfect recording.

The Portable Vocal Booth from Imperative Audio is a bit of kit that

most of us forget about. While a good mic, good preamp and most importantly a good singer are important, the room where we capture those recordings informs the final recording most of all. Reflections, standing waves and comb filtering all play a part in detracting from a recorded take. A singer who’s able to hear themselves clearly is able to focus on their performance, sound, tone and emotion without any worry about echoes, their headphone mix or hearing their voice bounce around a room while they try to deliver.

The Imperative Audio Portable Vocal Booth removes the variables and delivers great isolation no matter the project. Equally usable for instruments as they are for vocals, the Portable Vocal Booth is entirely adjustable for a multitude of uses, particularly when studios become cluttered and messy as we scramble to record those fleeting moments of magic!

BY LEWIS NOKE EDWARDS

B-3: The single most influential keyboard in musical history.

The Hammond B-3, along with its siblings such as the C-3 and A-100, have been the single most influential keyboards in music history.

When paired with a real Leslie speaker, Hammond's sonic versatility has defined the electrified keyboard sound from rock to soul, to gospel and jazz Today this sound is as sought after as ever

The new generation of Hammond instruments offer robust build, outstanding reliability, and a sound that can't be imitated. Hammond Suzuki introduces its greatest performance organ ever; the XK-5 Following huge international demand, the XK-5 is back in stock at your local Aussie Hammond dealer.

Let’s face it: we have tons of respect for anyone who carries a B-3, but to get all of the sound with none of the hassle, you need the New Original™

HAMMOND XK-5

The New Original™

The new XK-5 features Hammond's legendary proprietary technology plus real tube pre-amp featuring the 12AX7 and 12AU7 for unprecedented tone generation and overdrive control

Enjoy new virtual multicontact keyboard, modelling the 9 physical drawbar contacts Authentic Hammond built waterfall keys and clean action so you can play the dip, bounce and slide of a real Hammond B-3

The best ever Digital Leslie Five sets of harmonic drawbars enhanced vibrato/chorus and more Carry it as a single keyboard or build your Hammond dream; like the "Heritage Pack" pictured above Experience it today at your Hammond dealer!

HAMMOND SK PRO

Taking the world by storm, the latest and greatest SK PRO series sets the standard for lightweight keyboards with the right mix of features for any player or genre Authentic, sought-after Hammond sound and feel Unprecedented tonal versatility and functionality, plus real time controls like never before Get it now in 61 note, 73 note or dual keyboard!

Stagepas 200 Portable PA system

Yamaha Music Australia | RRP:$1399

channels of mono microphone/ line inputs and stereo inputs, with two of the mono input channels equipped with Hi-Z connectivity for direct injection of instruments like keyboards, acoustic guitar etc, making it a perfect choice for the small combo, mobile DJ or for small scale corporate AV applications.

While on the topic of flexibility, there is little denying that the flexibility of the onboard mixer is without doubt one of the Stagepas 200’s strong suits.

Out of all of the brands currently inhabiting the broader loudspeaker market, few have a CV as diverse and balanced as Yamaha’s.

From their historical dominance in home theatre and hi-fi, through to their highly respected Public Address systems (the brand’s Sound Reinforcement Handbook is still considered the bible on all things FOH) and of course, their recent successes in installed products and commercial systems, the brand has always enjoyed a stellar reputation in the professional space, irrespective of whichever branch of the Audio tree they are inhabiting.

Rest assured, if it has drivers and involves a power amp of any kind, the sight of a Yamaha logo (three intersecting tuning forks to denote the brands commitment to music) comes as a welcome sigh of relief. They are the benchmark for utilitarian and unpretentious excellence in the field.

It’s this same spirit that inhabits the new Stagepas 200, the latest in Yamaha’s flagship Stagepas range of portable PA’s.

Featuring a 8” LF coaxial speaker with a 1.4” HF compression driver, nimbly driven by a 180W Class-D amplifier, the combination of these two drivers delivers both glassy clarity in the mid range with enough throw and dispersion to cover a surprising amount of real estate for a speaker of this size.

The low end reproduction in particular is likely to surprise, with the Stagepas 200 providing an impressive amount of reinforcement down there for a speaker of this size and wattage. This no doubt lends itself to social environments of all kinds, and as an all purpose listening speaker for entertaining or bluetooth streaming, the Stagepas 200 might be the most intuitive and user friendly option at present. Weighing in at a diminutive 12kg, its portable enough to be carted around from event to event with little inconvenience or fatigue and the quality of its output is sure to keep the dancefloor or barbecue pumping.

The aftermarket STP200 carrying case is also of note, as it increases the portability of the Stagepas 200 into uncharted realms. Taking obvious inspiration from the world of DJ bags, the STP200 is about as stowable as carry-on luggage, with its retractable handle, stash pockets and high quality castors making for one of the best aftermarket cases out there for any product, anywhere.

For the solo artist or small ensemble, the Stagepas 200 is a terrific portable option. With three combo inputs and a stereo/ mono line input, there is more than enough front end flexibility for most small scale performance applications. The built in 5-channel digital mixer features three

Designed for simplicity and ease of use, the one knob EQ selects the frequencies you’d like to depress –cutting the low end for speeches or reducing the high-mids to make room for vocals in a band mix. ‘MODE’ selection toggles between three settings (Speech, Music and Club) to instantly dial in a multiband compressor with optimised settings for each application. Industry standard SPX reverb is available in four different types, each with an adjustable length to add essential atmosphere and character to your music. STAGEPAS Editor is a dedicated application that gives you remote control over levels and EQ to aid with setting up and fine tuning your sound and can also save settings to recall your optimum configurations.

The Stagepas Controller App (which allows users to adjust volume and EQ at a distance via Bluetooth during rehearsal or performance) is yet another nod to the world of large scale venue installs and touring PA, and provides a level of legitimacy seldom encountered in the world of Portable PA. The app itself allows for more adjustment in finer detail than the main unit’s interface, with access to parameters like EQ, Reverb, Compressor, Microphone simulators, Ducker, etc. to maximise the capabilities of your STAGEPAS 200. You can even save these settings in “scenes” stored on the app to be recalled any time for minimal set up time in the future.

One particularly notable feature on the Stagepas 200 is the

ability to angle the cabinet at varying degrees, to optimise the dispersion characteristics to a specific application. Buskers and street performers will be looking at the 60 degree gradient to project sound up to ear level (a welcome departure from directing your stage sound directly at the ankles of onlookers.)

The 30 degree angle is ideal for performers on stage or anyone looking for a handy portable monitoring option, and the ability to link together multiple systems via the monitor out port, make for a speaker with an incredibly high ceiling, in terms of application and scalability.

Yamaha wrote the book on sound reinforcement (literally - the brands ‘Sound Reinforcement Handbook’ is considered to be the bible for all things PA and speaker design), so it comes as no surprise that the Stagepas 200 comes bursting at the seams with electro acoustic design nous and clever workflow tidbits.

Even the accessories (like the STP200) have the look and feel of a company with a long and storied history in the professional space. If you are serious about stage sound (even in the context of house parties and pop up shows), then the Stagepas 200 is for you.

BY PABLO FRANCOIS

MX Pro In-ear Monitors

Xenonoz | Enquire for pricing

No longer just the domain of the touring stadium act, the category of in-ear monitoring is one that has undergone a period of rapid evolution in recent times, with manufacturers extracting every bit of comfort and performance possible out of this live audio staple.

Nowhere is this more apparent than in something like MEE Audio’s new MX Pro line of in-ear monitors, which combine durability and fit with a remarkable output level, making them a perfect on stage addition to your touring rider.

As a live vocalist with an ‘energetic’ stage persona, my thoughts immediately went to past experiences of in-ears being ripped out or stepped on in the heat of the moment, but the MX Pro series immediately put these concerns to rest. Their ergonomic design, makes them near-impossible to dislodge, and their modularity makes them easy to repair regardless of which part needs switching out, giving them a level of redundancy that is second to none-perfect for any artist in the throes of a long, arduous tour who needs to hoard back ups upon back ups.

With four different models across the range (each boasting different driver configurations), there is a model for every application

be it for live vocal performance, providing onstage clearly and audibly for instrumentalists or even as an alternative set of monitoring headphones in the studio, their inear topography providing the gold standard in isolation.

Given their modular setup, there is also plenty of customisation to be had, with components being able to be changed or upgraded independently. The brand’s patent system was designed from the ground up, meaning that all parts and accessories –including custom-moulded eartips and engraved faceplates – are interchangeable between all of the models within the series.

Essentially, this means you could start with a universal-fit MX1 PRO and then convert it into a custom monitor over time as your needs as a performer/practitioner change. If any part needs to be replaced later on, or you merely decide that you’d like to switch to another MX PRO model, you can swap out all of your accessories and customizations – even the customfit moulds – in a matter of seconds. This range allows you to create the perfect frankenstein of features; to tailor your in-ears to your specific needs.

This modular approach blurs the line between universal and custom in-ears, and thus MEE is facilitating great audio performances and

on-stage hearing protection for musicians on any budget. Each MX Pro drive configuration option has a specific audio practitioner in mind. Primarily performing these days as a vocalist, the MX3 Pro were the obvious first choice for me, and their crisp, focused midrange is a result of the unique driver construction, namely two moving coil woofers for natural air movement in the low end, and two balanced armatures for precisely detailed treble frequencies - this is the set the brand suggests for guitarists and singers, and it’s easy to hear why. Diction is precise and clear onstage with a level of articulation far beyond what you would normally expect to hear through a set of in-ears. Perhaps most surprising was the impressive heft of the output coming from the MX3. Far from a shrinking violet, there is a robustness in tone that is ideal for keeping track of transients and timing cues amongst the cacophony of stage volume. This ability alone is worth the cost of entry.

For those using their IEM’s for monitoring, mixing, or even just general listening it would pay to try the MX1, which features an advanced, moving coil driver that delivers dynamic audio with wellbalanced bass, good clarity and crisp detailing. Drummers and bass players need look no further than the MX2, which is more bass inclined, with its dedicated moving coil subwoofer. Those seeking a set for stage and studio monitoring will likely gravitate toward the MX4, for its capability to ensure a balanced, high-fidelity reference sound. The sleek, transparent design of the set that I have personally welcomed into my liveperformance arsenal means that these in-ears are inconspicuous and don’t distract a crowd visually - especially at a distance. For the particularly image conscious customer, the ability to design your own set of headphones down to each minute feature is undoubtedly a boon - us artists love the opportunity to express

ourselves at every turn, right? Why not flex your individuality with your in-ears too!

The sound, fit, comfort and feel of this product is nothing short of fantastic. These things seriously stay put - I’ve not once had to push them back into my ears on stage, which is a huge drawcard for me. The process of incorporating in-ears to your live set up as a vocalist can be intimidating for many - but I’ve found that the MX3 actually allows me to hear all of the immediate nuances of my voice (perhaps a little too well) and has actually allowed me to improve the longevity of my vocal quality while touring, as I’m not constantly over-projecting just to try and hear myself.

The reasonable price point of the MX Pro series is a deal only sweetened by the fact of their modular design; as opposed to buying a whole new set if an element of your IEM’s malfunctions, being able to switch out individual parts is a convenient and cost effective solution. While I’ve found the custom mould to be a cherry on top, the standard ear tips and faceplates are perfectly serviceable too.

Whether you’re alive vocalist, instrumentalist, or an audio practitioner favouring IEM’s for studio use, I am completely confident that there is an option for you in the MEE Professional MX pro range. The brand undoubtedly understands the breadth of use of IEM’s in the contemporary music industry, and has thus delivered a sleek, entirely customisable product, interchangeable and chameleonic as the creative industry they’ve been designed in service of.

Distributed by https://www.xenonoz.com/

BY NANCY MALONE

My Rig: Extortion

Extortion’s new ‘Seething’ EP is their first new music in ten years. It’s fifteen tracks of blistering outsider hardcore punk, in the succinct and sneering vein that Extortion is renowned for. The self-released 7” vinyl sold out in days and their recent shows in Perth and Melbourne were also met with an insatiable fanaticism. We caught up with the rhythm section; bassist Aaron and drummer Milky, to get a rundown on what gear helps bring Extortion’s unique blend of hardcore punk, powerviolence and thrash to life.

AARON (BASS):

BASS

Fender P Bass - Black

“I’ve historically been a Guitar player, Extortion is the first band I’ve played Bass in properly, and as such my setup is pretty simple. I’ve always loved P Basses, they look sick, play sick and sound great.”

PICKUPS

Lace Pickups - Nate Newton Riffblasters

“My friend Nate released signature pickups through Lace Pickups that work perfect for heavy music, so they got put in my Bass along with an Eyehategod sticker and it sounds ripping.”

AMP

Darkglass Electronics - Microtubes 900v2

“I use a Darkglass Electronics Microtubes head as it is small and light, and sounds heavy, and I’ve seen Crowbar and Eyehategod use them, so it must be the best.”

PEDALS

TC Electronics Polytune3, Kink Guitar Pedals Russian Plague, Boss NS-2

“Standard tuner and noise suppressor to keep things in line/tight, but the main driver in the chain is the Kink Guitar Pedals Russian Plagueit’s unreal, a combo of a Big Muff and a ProCo Rat, can be a wild as hell distortion or a smooth fuzz, love it - mine is customised with a brutal logo so it’s obviously the best version of it, thanks to Jason from Burn The Hostages for turning me onto them.”

MILKY (DRUMS):

Sonor Prolite Kit

22” 10” 12” 14” 16”

Ludwig Black Beauty Snare

Dw 9000 Double Kicks

“I’ve only just recently purchased the Prolite and I couldn’t be happier. The upgrade was a long time coming, as I’d been playing on a Mapex I’d had since I was 14-15 years old.”

“The thing I love most about the Prolite besides the natural wood finish are the toms, they really cut through the mix and have a resonance much louder than I’m used to. I perform a-lot of drum fills in Extortion and these toms really do it justice. The kick drum sounds huge also, my blast beats sound fatter than ever.”

Zildjian A Custom Cymbals

14” Hi Hats 18”, 19” Crash, 20” Ride

Zildjian 18” Orientalist China Cymbal

“The Zildjian A Custom Cymbals have been my go-to cymbals for a while now, can’t really go wrong, loud and bright, perfect for heavy music.”

https://extortion.bandcamp.com/album/seething

BY ERIC FOREMAN

Zildjian

Orientalist

Fender P Bass - Black

Lace Pickups - Nate Newton Riffblasters

Microtubes 900v2

Polytune3

Sonor Prolite Kit

W9000 Double Kicks

Boss NS-2

Kink Guitar Pedals Russian Plague

Zildjian A Custom Cymbals 14” Hi Hats

18”

China Cymbal

Tune Up Your Back-to-School Game with Strings that Sing!

AG232 Electric Guitar Starter Bundle

D20 Solid Acoustic Guitar Pack

Includes an Ashton AG232 Electric Guitar, Orange Crush Mini amplifier, gig bag, strap and lead with free Online Guitar Lessons. Guitar colours available in Seafoam, Trans White, Metallic Pink and Metallic Gold.

Includes an Ashton D20SCEQNTM solid top dreadnought acoustic-electric guitar, Armour ARM1250W acoustic gig bag, Armour GS50B guitar stand and an Ashton CP2 trigger-style capo.