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INTERVIEWS — Enter Shikari, Wilco, The Beautiful Monument + more
REVIEWED — Fender Tone Master Amps, Ernie Ball Music Man Mariposa, PreSonus PM-2,
Yamaha THR II Series, Mackie ProFX12v3 Mixer, Morley 20/20 Wah Pedals, QSC KS118 Subwoofer + more
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CONTENTS 8 10 11 12 16 18 19 20 22 24 25 26 37 38
Foreword
Giveaways Industry News Music News Product News Cover Story: Violent Soho Enter Shikari, The Beautiful Monument Dance Gavin Dance Matty T Wall, Wilco Plant Life Balance Guitar Bass Electronic, Piano Reviews Directory The Bennies
Violent Soho
Hello Mixdown faithful!! My name is Paul and I’m the new Editor here at Mixdown Magazine (following on from the great work done by Nick S. and co.) Chuffed to be in the editor’s chair for what is sure to be an exciting new chapter here at Mixdown. True to form, you will continue to find us wherever the art and technology meet, bringing you the latest news, tech reviews and artist features from the music (and broader audio) universe. Looking forward to sharing with you everything we have in the pipeline, but for now, sit back and have a flick through. It’s a real page turner. Cheers.
PG.16
PAUL FRENCH-EDITOR
/MIXDOWNMAGAZINE
@MIXDOWNMAGAZINE @MIXDOWNMAGAZINE MIXDOWNMAG.COM.AU
Enter Shikari
Matty T Wall
PG. 18
PG. 20
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MADE BY MUSICIANS, FOR MUSICIANS STREET AND ONLINE DATE: WEDNESDAY NOVEMBER 27 AD BOOKING DEADLINE: MONDAY NOVEMBER 18 EDITORIAL DEADLINE: TUESDAY NOVEMBER 19 ARTWORK DEADLINE: WEDNESDAY NOVEMBER 20 For more information on Mixdown Magazine contact us at: (03) 9428 3600 or email paul@furstmedia.com.au
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INTERVIE Beartooth WS — , James Amyl & The Sniff Blake, Frank Iero, ers + more
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INTERVIE Periphery, WS — Duff McKa The Cranberri gan & More es, Circles, Xotic XSC Interface, Guitar. Apogee Element UNO SynthVox AC30S1, IK 46 Multimedi + many a more
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PUBLISHER Furst Media Mycelium Studios Factory 1/10-12 Moreland Road East Brunswick VIC 3057 (03) 9428 3600
ONLINE EDITOR Will Brewster will@furstmedia.com.au
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EDITOR Paul French paul@furstmedia.com.au
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CONTRIBUTORS Rob Gee, Christie Elizer, Nick Brown, David James Young, Adrian Violi, Michael Cusack, Augustus Welby, Luke Shields, Alex Watts, Aaron Streatfeild, James Di Fabrizio, Jack Swann, Alex Winter,
Jessica Over, Eddy Lim, Lewis NokeEdwards, Josh Martin, Taylor Douglas, Ben Eizenberg, Ciara Allen
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GIVEAWAYS
Last Month’s Giveaway Winners
Novation Launchpad Mini MkIII Geared towards the laptop producer, the Launchpad Mini MkIII is the latest entry to Novation’s longstanding beatpad series. With 64 colourful RGB pads and a range of new expressive features, the Launchpad Mini MkIII is also now powered by USB-C for an ultra swift experience, meaning more music and less setting up. Thanks to the homies at Innovative Music, we’ve got one of these awesome units to giveaway this month.
Babymetal Metal Galaxy Vinyl Metal Galaxy is the third album from Japanese Kawaii metal powerhouse BABYMETAL. The album is a full-fledged musical odyssey that sees the band covering more musical ground than ever before. Thanks to our friends at Cooking Vinyl Australia, we had a copy of Metal Galaxy to giveaway on vinyl, and the winner is: Phoebe from Brisbane, QLD!
Teisco/MONO Pedalboard
PreSonus PM-2 Matched Small Diaphragm Cardioid Condenser Microphone
What a whopper giveaway! Thanks to our mates over at BandLab Technologies, we had an entire pedalboard of Teisco and Mono gear bundle to giveaway for our pedal special this month. We wish we could keep these ones for ourselves, but alas - the winner is: Alyssa from Melbourne, VIC!
Perfect for recording acoustic guitars, drum overheads and more, PreSonus’s new PM-2 Matched Small Cardioid Condenser Microphones are exactly what your project studio needs. To celebrate the launch of this awesome new piece of kit, we’ve got a PM-2 to giveaway thanks to our friends at Link Audio.
For your chance to win any of these prizes, 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/terms-and-conditions
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O R I G I N A L D E S I G N S . F E N D E R TO N E .
SMOLDER ACOUSTIC OVERDRIVE D E S I G N E D S P E C I F I C A L LY F O R U S E W I T H AC O U ST I C I N ST R U M E N TS , T H E A L L A N A LO G S M O L D E R AC O U ST I C OV E R D R I V E E L E G A N T LY S O LV E S T H E S E I SS U E S W I T H F E N D E R K N OW H OW.
INDUSTRY NEWS NSW Governments heads for collision with music biz While NSW festival promoters have been heated up about the NSW government’s hard-assed legislation about event safety, cooler heads have prevailed and realised it’s important to talk to the Premier without being antagonistic. In September, the industry’s supporters in Parliament – Labor, the Greens and the Shooters – managed to get the legislation overturned. At the same time, a parliamentary committee inquiry to the legislation recommended it be scrapped, saying the whole thing had been rushed and that it was unreasonable that no consultation had taken place. However, the government hasn’t learned its lesson, it seemed, and went on to introduce the draft of a replacement law that … umm, wasn’t that different from the one that got thrown into the dustbin. The Premier trotted out her mantra that safety was her priority, not understanding that it’s a priority for promoters too, as patrons keeling over from drug overdoses is not good for business, The biz issued an open letter saying that the draft was “unworkable” and called again for a pow-wow. In the meantime, festivals such as Splendour in the Grass, Falls, Laneway, Listen Out and Field Day were threatening to move out of NSW if there was no certainty for their businesses. The NSW music festival sector generates about $50 million and last year drew 400,000 patrons. That would be a significant impact in the NSW state economy. After the delay to mid-November, the live sector put a positive spin, suggesting it would allow the government to have talks with it before the bill, rather than after, which is the approach the government has taken from the get-go. But it’s obvious the music industry is getting fed up, and a number of promoters and music association members have confided to this column that it’s about high time they brought the lawyers in.
Fender launch app for Apple Music Australian guitarists, pianists and ukulele strummers will be able to access the new Fender Songs app on Apple Music to play along with millions of songs. At the time of writing, it was only available in the US, but we’ve been assured it’ll roll out in Australia in the near future. At the core of the app is a chord detection application with an algorithm which uses both “complex digital signal processing techniques and deep knowledge in music theory” to automatically detect the chords of every single song in Fender’s music library in just a few seconds. In practice mode, players get chord charts, lyrics and audio, allowing them to work through the tune at their own pace. In play-along, the chords and lyrics scroll along karaoke-style.
WAMCon on learning the business WAMCon, Perth’s annual music industry conference, is teaching aspiring artists and music industry execs the path forward. Keynotes are from Fifa Riccobono, the first female label boss in Australia (at Alberts, she guided the careers of AC/DC, John Paul Young, Rose Tattoo, The Angels, Stevie Wright etc), dance producer Paul Mac and Laneway NZ promoter Mark Kneebone. Panels include radio pitching, touring Asia, promoting gigs with a low budget, building a fanbase and becoming the best manager.
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Festival flick gets funding
Want to record in Iceland?
Venue update
A new movie called 6 Festivals, has gotten the greenlight after receiving funding from Screen Australia and Universal Music Australia. It is about three mates - one of whom is diagnosed with brain cancer - who go see six festivals, among them Groovin’ The Moo , Lost Paradise, The Drop and Big Pineapple.
The Iceland government has a new initiative where Aussie (and international artists) who record there get a 25% rebate on all recording expenses - including travel and accommodation costs, studio rates and cost of hiring and engineer. It’s a 29-hour flight from Sydney. We suggest you fly, takes too long by boat or walking, trust us.
Wollongong promoters Yours & Owls launch a new venue on Thursday November 14, the 150-capacity La La Las.
Number crunching
Flume, Cookin’ On Three Burners join billion stream club
Brisbane venue The Flying Cock is closing in December with the owner saying it’s ripe for a change.
$3.3 million made from the sale of the late Steely Dan co-founder Walter Becker’s hundreds of guitars and amps. $120,000 paid by Gold Coast man to have Amy Shark’s face tattooed on his back. 500,000 tickets sold in the first hour of Billie Eilish’s 42-date world tour starting in March. $27,000 raised for charity at the Ricochet BALL netball tournament in Sydney with 12 teams from the music and media industries.
Electric Fields in the winner’s seat Electro-soul duo Electric Fields are dancing in the winner’s circle. They’re up for no less than five nominations in next month’s National Live Music Awards. At the same time, they won the Corner Award – courtesy the Corner Hotel, Melbourne – which gets them $5,000 cash, a gig there, rehearsal time at Bakehouse Studios and other goodies. In the running were A. Swayze & The Ghost, Kwame, Zeitgeist Freedom Energy Exchange and Moaning Lisa.
APRA AMCOS welcomed two more acts to its 1,000,000,000 List. for one billion streams globally. They were for Sydney EDM act Flume’s ‘Never Be Like You’’ and Melbourne Cookin’ On 3 Burners’ ‘This Girl’, the latter which exploded after French DJ and producer Kungs discovered the original on YouTube and gave it a remix. Only four are on the list: the others on Nat Dunn for MARSHMELLO’s ‘Friends’ and Dean Lewis for ‘Be Alright’.
AusMusic T-Shirt Day Friday November 15 is AusMusic T-Shirt Day when music fans are asked to wear their favourite Aussie music T-shirt to work or school. It started out as a triple j/ ARIA initiative where it made money for acts as their merchandise sales went up as a result. But it’s also now an important initiative to raise money for Support Act Ltd to help musicians and industry workers who’ve fallen on health and financial bad times. Post your photos to socials using the hashtag #ausmusictshirtday and tag @supportact, @triplej, @aria_official.
The owner of Rapture nightclub in Perth who when a patron complained her drink was spiked sniffed she wasn’t attractive enough, looks like he’ll be investigated by authorities.
Melbourne’s Deluxe Bar & Lounge becomes a live music venue hosting Papercut one Thursday a month. City of Perth is looking at “noise control zones” in the Northbridge precinct to protect venues from noise complaints.
Speakers announced for Songwriters Conference The first speakers have been announced for the 2020 Australian Songwriters Conference, held during the Queen’s birthday long weekend (June 4—8) at Ettalong Beach on the NSW Central Coast, just north of Sydney. They are writing and production team DNA, Grammy-winning US writer and educator Alan Roy Scott, country singer songwriter Amber Lawrence, and music publishing veteran Matthew Donlevy of Cooking Vinyl Publishing Australia, among others. Head online to register today.
mixdownmag.com.au
MUSIC NEWS
Bluesfest 2020 Drops Another Artist Announcement
The Nominees for the 2019 ARIA Awards Are Here
Joining the likes of the already announced Patti Smith and Dave Matthews Band, Byron Bay Bluesfest have added even more world-class acts to the lineup. Leadind the pack is icon Lenny Kravitz, performing in Australia for the first time since 2011, as well as Texan blues legend Jimmie Vaughn alongside Eagles of Death Metal, Tal Wilkenfeld and The Waterboys. As if this lineup wasn’t big enough already, there’s still another announcement of artists yet to come. Grab your tickets before they’re all snapped up!
The biggest awards in Australian music have announced their nominees for 2019. Viral sensation Tones and I unsurpisingly leads the pack with eight nominations including Best Female Artist and Best Pop Release. Paul Kelly is up for five nominations, including a nomination in Best Classical Album, making him the first artist to be nominated across three genres in the same year. Seven nominations have come up for The Teskey Brothers and Hilltop Hoods, while Thelma Plum rings in an impressive six.
The Free Nationals Gear Up For Debut Album
Womadelaide Announces First Acts for 2020
Patti Smith Announces Bluesfest Sideshows
Anderson .Paak’s touring band The Free Nationals have blessed us with another single frrom their highly anticipated debut album. The new single, reggae-inspired ‘Eternal Light,’ features Jamacian artist Chronnix, and stresses the importance of good vibes, positivity and smoking dank kush - something we could all use a bit more of. On top of touring with Anderson .Paak over the past twelve months, The Free Nationals have managed to release a number of tracks from their forthcoming debut album which include features from names like Daniel Caesar, Unknown Mortal Orchestra, Kali Uchis and the late Mac Miller.
South Australia’s annual arts, music and cultaral gathering WOMADelaide has announced a massive 20 artists who willl be performing at the 2020 edition of the festival. Fronting the bill is iconic soul singer Mavis Staples, who is regarded as one of the most important singers of our time for her contributions to music and the civil rights movement. Joining Staples will be ‘The Golden Voice of Africa’ Salif Keita, as well as Hiatus Kaioyte, Odette and WOMADelaide veterans The Cat Empire. Head online for more details.
Patti Smith is one of the most celebrated figures in the rock genre, so obviosuly when she announced in 2017 she’d be performing her final shows on Australian soil it was a big deal. Luckily Smith has decided to return for Bluesfest 2020 as well as a string of sideshows next April. “I really didn’t expect to be coming back, but it was just such a great trip. I really thought that I wouldn’t be able to come back – so I’m delighted that I was wrong”, says Smith. Performing only in Melbourne and Sydney over four nights, these tickets are sure to sell out fast – head to Bluesfest Touring to get yours today.
Farmer & The Owl Share First Round of Artists for 2020
Victorian Music Awards Release List of 2019 Nominees
The Growlers Detail Australian Tour
After killing it in their debut year this year, Wollongong’s Farmer & The Owl festival is coming back for 2020. The first round of acts announced includes electro-rock legends Hot Chip, Weyes Blood, Fat White Family, Uncle Acid & the Deadbeats and Sleaford Mods. The lineup so far only features two Aussie acts, Body Type and Rebel Yell, with more to be added in the near future. The festival is taking place Saturday February 29 at McCabe Park, Wollongong. Keep your eyes peeled for future announcements!
The Music Victoria Awards have announced their nominees for 2019, with Sampa The Great and The Teskey Brothers copping a massive eight nominations each. Gordon Koang and Tropical Fuck Storm have managed to snag five nominations each, while Amyl and the Sniffers and DRMNGNOW scored four. Now in its 15th year, the Music Victoria Awards will be happening at the Melbourne Recital Centre on Wednesday November 20. Public voting is now open, and voters will go into the running to win tickets to the event!
mixdownmag.com.au
Tame Impala Tease New Release Tame Impala have had us anticipating their next album pretty much since July 2015 when Currents dropped, and now they seem to be hinting towards a new release by releasing a mysterious video on their website. The video shows Kevin Parker in a recording studio, a shot of an Oscilloscope screen and a shot of Parker looking out to sea. After dropping ‘Patience’ and ‘Borderline’ this year, fans are well and truly geared up for a new album from the Perth psych-rock sensations.
Psychedelic rockers The Growlers have announced a massive 14 date leg across the country this January to promote their new record Natural Affair. The surf-inspired Californian five piece will be bringing their vibes to a number of coastal hotspots including Torquay, Woollongong, Gold Coast and San Remo, as well as hitting up east coast capital cities and a couple of dates in New Zealand. Natural Affair just dropped, so give it a listen and cop tickets ASAP.
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PRODUCT NEWS
Tannoy Gold Series Coming Soon AMBER TECHNOLOGY | AMBERTECH.COM.AU Monitoring heavyweights Tannoy have teased the impending release of their much anticipated Gold Series line of studio monitors. Often lauded as the originators of the British school of monitor design (and whose influence can be heard on so many classic recordings), Tannoy are a legendary name in the studio-sphere, with the Gold series marking a new chapter for the brands instantly recognisable, dual-concentric designs. Available in 5, 7 and 8 inch variants, the Gold series continue Tannoy’s longstanding tradition of providing professional quality articulation and true-to-form harmonic reproduction. Exactly what you want in a reference monitor! Head to your local Tannoy dealer to hear the legendary monitors in action!
Jands Appointed As Distributor Of Pioneer DJ In Australia
Kyser’s Lifeguard Humidifiers Are Available Now
Waldorf Unleash The Kyra Desktop Synthesiser
JANDS | JANDS.COM.AU
CMC MUSIC | CMCMUSIC.COM.AU
LINK AUDIO | LINKAUDIO.COM.AU
Jands have officially announced the addition of Pioneer DJ to their ever expanding portfolio of brands. This marks a new era for Pioneer DJ in Australia, as they look to further consolidate their already strong presence in the domestic DJ market. “Pioneer DJ hasn’t just changed DJing, they’ve changed the music industry” explains Geoff Smith, GM of Jands Distribution. “They remain the market leader by listening to their customers and employees and encouraging the creativity and talent to pursue new products and new services. These are the same values that Jands holds and we are honoured to partner with Pioneer DJ in taking this great brand forward in Australia”.
Summer is coming – make sure you protect your acoustic instruments from the harsh dry season with Kyser’s Lifeguard Humidifier range. Available in a variety of sizes for dreadnaught, classical and even ukulele sound holes, the Kyser Lifeguard will preserve the wood on your instrument from adverse dry conditions by maintaining a proper internal humidity around the clock. Kyser’s range of Lifeguard Humidifiers are easy-to-use, affordable and extremely practical – we can’t stress just how important these can be in the hot months. Head online to find out more.
German electronic innovators Waldorf have launched the Kyra, an insanely powerful 128 virtual analogue desktop synth that looks set to take over your studio space. The Kyra utilises FPGA (field programmable gate array) integrated circuitry to power its creamy virtual analogue sound and over 4,096 wavetables, as well as a modulation matrix, versatile effects section, a powerful arpeggiator and a formidable Hypersaw mode to create another six oscillators for beefy basses and leads. It sounds incredibly fat, and we cannot wait to get our hands on one when they land this month.
Allen & Heath Unveil The Avantis Digital Mixer PRS Announce Hollowbody Models For SE Series ELECTRIC FACTORY | ELFA.COM.AU PRS Guitars have recently announced the further expansion of their product range, with the introduction of six new models to their PRS SE Series. Of particular note (and one that is sure to get the nod from PRS fans worldwide) is the welcome addition of two classic PRS-style hollowbodys to the SE range. The SE Hollowbody Standard and the SE Hollowbody II combine the balanced, resonant tone of a hollowbody with the power and stability of a classic PRS solid-body. “This is a special time for the SE Series.” explains PRS Guitars COO Jack Higginbotham. “Not only are we bringing new, inspirational instruments to players, we are revisiting some time-told favourites from the PRS catalog to expand our lineup.”
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TECHNICAL AUDIO GROUP | TAG.COM Allen & Heath have launched the all-new Avantis, a huge 64 channel 96kHz digital mixer which promises rock-solid sound and reliability for live music venues. Featuring 42 configurable buses and two whopping 15.6 inch 1080p touchscreens in addition to all your standard knobs, buttons and faders, the Avantis also boasts the ability to save 500 preset scenes and can be expanded with seperate AV-GX4816 and AV-DX012 modules. If there’s ever been a time to upgrade your venue’s mixing system, it’s now – get in touch to order yours today.
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ERIS, REMASTERED. We made sure these monitors maintained the clarity and flat frequency response that Eris has become synonymous with. Eris XT monitors deliver the same smooth, accurate character of their predecessors, and add improved transient response, a wider top-end, and tightly-focused lows. The 100° x 60° elliptical wave guide provides a wider stereo image for a larger sweet spot, while the narrow vertical dispersion reduces reflections from your desk. The silk dome tweeter delivers a smooth, refined sound that accurately reproduces transients and high frequencies. Both the weave and nature of the Eris XT custom-woven composite low-frequency driver deliver a constant dispersion pattern throughout the frequency range. A larger cabinet and improved port deliver deeper bass response. It’s Eris, remastered. Rest assured that your clients and fans are getting what they deserve: your best work. Visit us at www.presonus.com to learn more.
ERIS XT ™
High-Definition Active Studio Monitors
Eris E5 XT
©2019 All Rights Reserved, PreSonus Audio Electronics. PreSonus is a registered trademark of PreSonus Audio Electronics, Inc. Eris is a trademark of PreSonus Audio Electronics, Inc. All other trademarks are property of their respective owners.
Eris E8 XT
PRODUCT NEWS Novation Launch Ahead With Three New Releases INNOVATIVE MUSIC | INNOVATIVMUSIC.COM.AU Novation have detailed three new products in their longstanding Launch series: the Launchkey Mini MkIII, the Launchpad X and Launchpad Mini MkIII. These colourful new MIDI production tools are perfect for both studio and stage, with USB-C connectivity for a speedy response and new features such as touch strips and drum/note input modes to enhance your creative workflow. Other notable updates include a Fixed Chord mode and arpeggiator for the Launchkey and improved RGB backlit pads on the Launchpads for greater expression and reliability. Check ‘em all out today.
The Markbass Little Mark Vintage Is Shipping Now
PreSonus Add Bluetooth To The Eris Monitor Range
DPA Introduce New 2028 Handheld Mic
CMC MUSIC | CMCMUSIC.COM.AU
LINK AUDIO | LINKAUDIO.COM.AU
AMBER TECHNOLOGY | AMBERTECH.COM.AU
The latest entry in Markbass’s Gold Series, the Little Mark Vintage, is on its way to stores around Australia. Boasting 500w of power and coloured by a warm tube preamp, the Little Mark Vintage also features an upgraded DI output and a configurable limiter to balance harmonic distortion and dynamic range. There’s even a three-way EQ setting in addition to its regular four-band EQ to help your tone even further, and to top it all off, the Little Mark Vintage weighs a mere 2.5 kilograms. Keep your eyes peeled for more details soon.
PreSonus have made their entry-level Eris media reference monitor range even more viable with the inclusion of Bluetooth integration. These speakers are great for budding bedroom producers, podcasters, content creators and gamers alike, and boast exceptional woven composite low-frequency drivers and silk-dome tweeters for a tight, refined sound whether critically mixing or casually listening. The new Eris Bluetooth active media reference monitors from PreSonus are available in both 3.5” and 4.5” variants, and with Christmas creeping up, we’re certain they’ll be a hit.
DPA have welcomed a new handheld stage mic to the range, the 2028 vocal microphone. With an emphasis on transparency and open capture, the 2028 aims to represent the sound source as cleanly and uniformly as possible, allowing for maximum workability in the live domain. The supercardioid polar pattern, coupled with many of the same design features found on DPA’s flagship d:facto series, translates into some of the best off-axis and gain-before feedback characteristics of any handheld on the market. Truly professional capture at an egalitarian price-point, the 2028 is sure to get tongues wagging amongst singers and FOH engineers alike. Available at your local DPA dealer.
Samson Rollout Xp310w And Xp312w Rechargeable PA Units ELECTRIC FACTORY | ELFA.COM.AU
Soyuz New ‘Pre-Preamp’ Brings Vintage Vibes Back To The Future STUDIO CONNECTIONS | STUDIOCONNECTIONS.COM.AU Purveyors of boutique transducer technology, Soyuz, recently added the much anticipated ‘Launcher’ to their bespoke product line. Billed as a ‘pre-Preamp’, The Launcher aims to put some classic, old school colour between mic and interface, providing an antidote to the somewhat sterile tendencies associated with the modern signal path. The “little magic box” contains a custom hand-wound transformer and a “secret analogue circuit” designed to add coloration and vintage character to even the most plain-jane sounding microphone. Check in with your local Soyuz dealer to snap one up!
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Buskers rejoice! Samson’s new line of portable PA’s (the Expedition XP310w and XP312w) have finally landed on Australian soil. Boasting 300w of Class D power, an integrated 4 channel mixer, optional wireless expansion and Bluetooth streamability, the XP310W and XP312W are sure to turn a few heads for those looking for the ultimate in cable free portability. These also ship with a Concert 88a Handheld UHF wireless mic included, which only further sweetens the deal! Hit up your local Samson dealer today and check’em out.
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teenage engineering OP-Z
To find a dealer near you or for more information contact Ph: 03-9540 0658 www.innovativemusic.com.au
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VIOLENT SOHO PLOT THEIR RETURN Despite the fact it’s been almost three and a half years since Mansfield’s finest, Violent Soho, released their ARIA Award winning album WACO, the rock-lovin’ four-piece are an undeniably unforgettable force in the modern Australian music scene. So much so, lead guitarist James Tidswell’s throwaway comment unwittingly sparked panic around the nation back in 2017 when it was wrongly reported they were breaking up. “I got in trouble for that!” laughs the laid-back muso who spent the Sunday before our chat manning the BBQ at his local Bunnings. “It was fun to get out there and get involved doing the BBQ-ing. I’ve eaten a lot of Bunnings’ sausages in my time, and it was my chance to be behind the grill." As it happens the occasional burnt sausage and litres of tomato sauce consumed on the day were for a very worthy cause. “It was a great turn out and we did a lot of fundraising for my daughter’s kindy. It’s a little community run kindy, it’s not government funded, as such,” he adds, sounding like the proud dad he is. It’s clear that fatherhood suits him, as it does his band mates that have become parents in the almost two decades Violent Soho have been together, and the fact that people may have turned up to the daddy- daughter fundraiser just to get a photo with one of the country’s most-loved musicians seems lost on Tidswell. “I often forget I’m in Violent Soho. I’ll be doing the food shopping with my daughter negotiating over a Chupa Chup or whatever and someone will come over to ask for a photo and it kind of takes me back because I don’t understand why. After a second or so, then I’m like ‘Of course, no worries!’ We take so much time away from the music world that we don’t feel like a part of it in a way,” he explains. “We’re in Violent Soho, but we’re not Violent Soho, does that make sense?”
"THE ALBUM IS DEFINITELY FINISHED AND WE ARE REALLY STOKED WITH IT. IT’S GOOD TO BE COMING BACK AFTER NEARLY FOUR YEARS." something out this year,” he says. “Obviously we’re not releasing the whole record this year but the album is definitely finished and we are really stoked with it. It’s good to be coming back after nearly four years." Recorded at the picturesque Grove Studios on the NSW Central Coast, the experience was a memorable one. “We all feel - and I know that all bands say this because why would you make a record if you didn’t feel this way - but we feel the most proud of this than anything we’ve ever done as a band.” And to achieve this feat Tidswell says they went back to their roots.
Violent Soho formed in the early 2000’s and have been touted as almost single-handedly reintroducing the sound of the fuzzed-out rock bands of the ‘90’s to younger audiences. Their line-up features guitarists/vocalists Luke Boerdam and Tidswell, bassist Luke Henery and drummer Michael Richards, and their commercial success over the last decade includes taking home two ARIA awards for Best Rock Album and Best Group at the 2016 ARIA awards from their five nominations. And I have it on good authority that they have no plans of breaking up any time soon.
“I’ve noticed that bands often become detached from where they came from - and I’m not talking about anyone necessarily - but they keep pushing further and further from who they were just naturally, whereas we wanted the opposite. We wanted to slip as far back into who we are and what we do as possible, and Greg Wales coming in as producer was an integral part of it.”
“This is one of the only interviews we’ve done in a couple of years or at least over a year. I wonder what I can’t say. What I can tell you is that we have made a new record and we’re doing everything we can to get
“We know him from way back,” Tidswell says. “He actually produced a band from our high school back in the late ‘90s, actually ‘98 it
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would have been. We didn’t have many bands from our school and I really looked up to him as a kid. “He’s done other stuff that you would know. He did the first ever Frenzal Rhomb EP which was called Dick Sandwich, way back in ‘94, and a whole bunch of stuff. He’s one of the last guys that knows how to do things how we wanted them done as well. He has a very old school approach,” Tidswell says. “For us it was just really cool to get Greg because he is an incredible engineer. He’s one of the best in our opinion and he used to organise a lot of gigs back in those days. We used to go to all the shows our school and church would put on. From the first time I saw a band live not even for a single second did I think about doing something else. From the age of fifteen all I planned on was playing music.” These days Violent Soho play to sold-out venues and are a major draw card among international acts at this year’s Good Things Festival in December. “The fact that Bad Religion are on the tour was one of the reasons why we wanted to do it and our friends Skegss are playing so that makes us super comfortable, but I think the biggest one is Mark Hoppus playing with Simple Creatures. I grew up the biggest Blink 182 fan in the world I went to every single show since the Dude Ranch tour,” Tidswell says. “Parkway Drive is one of the most important bands in Australian history,” he continues. “There’s pop stars, there’s hardcore, there’s punk rock, there’s rock, and Reel Big Fish, I grew up seeing them live when I was a teenager, actually one of our first shows was on a bill with them as well. Oh and Poppy - I didn’t even know she made music. I used to follow her on Instagram years ago because her videos were so weird and creepy - I thought she was awesome. I’m going to be in Poppy’s presence, that’s crazy! The line up is kind of like a party playlist, that was why it was really exciting for us to get involved.” And yes, Tidswell says they do have plans to play some of the new songs, but they’re hoping you keep your mobile phones in your pockets. “We’re busting to play, but you can’t play too much because everyone busts out their phones and next minute it’s up on YouTube. I hope everyone can hear how confident, relaxed and OK we are with everything. That’s literally the whole message of the record.” BY NATALIE ROGERS Violent Soho will return to the live circuit for Good Things this December. Head online for all the dates and details.
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MUSIC INTERVIEWS “‘Stop the Clocks’ was one of the longest and strangest writing periods,” Reynolds says. “With a lot of our albums, we’ve released standalone singles. [Fifth album] The Spark, for some reason, seemed to take on a bigger and longer lifespan and we wanted to give it its own space and era. Even the recording process changed its guise and atmosphere a few times. It was a difficult song to make sure we nailed. It felt like it was quite a ‘summer’ track as well, so it was nice to release in summer. With negative emotion, you can get to the core of it easier, but with positive emotion it can seem trite or bubblegum-y. You can fail to encapsulate the positive passion that you’re trying to get across. So, in those moments you have to really think about it so it doesn’t come across too contrived, cheesy or obvious.” After a long period of heavy touring on the back of The Spark, released in 2017, the UK quartet will arrive on Australian shores to play Good Things Festival in December.
Enter Shikari Clock In Sixteen years and five albums into their career, Enter Shikari are a band comfortable with expressing themselves in unique and refreshing ways. Nowhere is this more clear than on latest single, the upbeat ‘Stop the Clocks’ – a song that took the band to a new creative space, says frontman Rou Reynolds.
“Australia is always one of the best places to perform,” Reynolds says. “First of all, we go there when it’s winter up in the northern hemisphere, so that’s nice. It’s a kind of nice mixture between the UK and America – it has a lot of the good points of both. The shows are always amazing as well. There’s a passion and energy we always look forward to. We haven’t played there in quite a while, or at least it feels like a while and we’re very much looking forward to getting back. I’m not bad with the heat, but Rory, our guitarist, definitely struggles with things.” Since that widely-acclaimed release, the band has been honing its already considerable live skills with tours in some not-so-obvious places.
“The Spice Girls with a double kick drum” wasn’t exactly the response I was expecting when I asked singer Lizi Blanco how she’d describe the sound of her band The Beautiful Monument. “Just don’t say we sound like Paramore!”
“We’re so naturally fidgety that we have to keep the show moving forward,” Reynolds says. “We’ll throw in remixes of songs or mash up different songs together or re-imaginations of songs. It’s one of the most important things about the band, because people want to see an honestly passionate show. Nobody wants to see a band that’s been on tour for three months playing the same set, because it’s just boring. I think we’re just relentlessly progressive in everything we do, so the show keeps progressing as well. We hopefully can make people feel all sorts of things.” The band are working feverishly on album number six, Reynolds says. “We’ve started the next album,” he says. “We’re still in the early stages but there’s a good wealth of new music now. With every album, the first stage is just sheer panic as you’re coming to terms with the fact there is this beast that has to be reared and that can be disorientating and imposing. But once you get started and get bearings and direction, it becomes and fun and you get over the sheer anxiety of the project. That’s where we are now. The plan is to have it out next year.” BY PAUL MCBRIDE
Clearly this comparison has been made perhaps a few too many times before and it’s something that makes her audibly bristle, perhaps with no small justification. However that was just one of many surprises I was presented with during our all too brief but memorable phone call to her native Newcastle in New South Wales.
affected by the experience. “They were very important people to me and the more their legacy lives on, the more I talk about it, the more people remember them and I don’t think they should be forgotten. The grieving process was a whole new world for me, I’d never lost someone, I didn’t know what it was like, it was very overwhelming. The album was a very cathartic experience.”
With a singular vision and admirable determination she assembled the band from the ground up. “I’ve got a very talented bunch of best friends. I’m very lucky,” Lizi Blanco states with sincerity and respect in equal measure. The band has been through a few personnel changes since 2013, but according to Blanco, this is the definitive lineup.
Catch Enter Shikari play at Good Things Festival this December.
Talk soon turns to shows and the upcoming Good Things tour in December, featuring Parkway Drive, A Day To Remember, Violent Soho, Bad Religion and Trivium among others. “I cried when I found out I was going to be on the same lineup as A Day To Remember, so I am beyond excited,” Lizi says almost bashfully. Although the thrill of playing big stages is almost palpable, she confesses a fondness for the intimacy and closeness to the audience of smaller club shows. “I like both for different reasons.” So what’s next for The Beautiful Monument? “At the moment we’re just focusing on the Good Things Tour. We want to put on the best high-kicking performance we can on that, but we’re always writing. "The grind never stops." BY MATT DWYER
When it comes to the writing process, the band is very much a democracy. All members bring in their own influences and styles which makes for a band that has its own sound as well as a diverse range of material. Far too many bands have imploded due to their main songwriter’s unwillingness to let other members share in the composition of new songs, quite often resulting in a limited sonic palette. A recurring theme of their second and most recent album I’m The Reaper is mortality and loss, due to Blanco recently experiencing the passing of many people close to her. This quickly becomes apparent after listening to singles “Reaper” and “Stay”. “Within the span of two years I lost six or seven people, which was a lot… it was rough,” she says, still clearly
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Australian fans can be guaranteed a blistering live experience when the band lands for the December run of shows, and possibly with some unique surprises thrown in.
“It’s been an amazing year,” Reynolds says. “We got to go and do eight shows in Russia, which took us out of the normal cities we play – Moscow, St Petersburg, and all the way really far east to Lake Baikal [in Siberia] to bits of nature I never thought I’d see. It was incredible. I think they just appreciate bands that actually go there. Every country has its bad aspects, politically, but there’s an energy there that we probably don’t find anywhere else. The shows
Lizi also describes herself as “a bit of an asshole” when asked how the band came together. Turns out she’d “got fed up with playing guitar and didn’t want to do it anymore” and already knew that Alex Henderson played guitar in the band Falsifer. The two met under dubious and very rock 'n Roll circumstances and instantly became close friends. Lizi Blanco wanted to dedicate herself to being a front woman and asked Alex to take over guitar duties. Bassist Amy MacIntosh was the next recruit, and lastly was second guitarist Andy Skombri, who Lizi had met in another line up in a Battle Of The Bands years earlier.
The Beautiful Monument Stand Up
can get to such an ecstatic level, ever since we first played there. We just got back from America, where we did a stint across Texas, the east coast and Canada. Then we were back at Reading and Leeds in the UK for the first time in five years, which felt almost like a homecoming.”
The Beautiful Monument will be appearing on the Good Things traveling roadshow this December. Head online for tickets and details.
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MUSIC INTERVIEWS After touring the country back in late February, Dance Gavin Dance has had their heads down in the studio ever since, recording their ninth studio album. “We don’t have a title or anything for it yet, but the music’s sounding great and we can’t wait to put it out, probably sometime early next year,” says lead guitarist and original member Will Swan. With an ever-changing roster of both instrumentalists and vocalists, fans can never be sure what’s coming next from the Sacremento five-piece. Inspired not only by progressive rock and post-hardcore sounds, Dance Gavin Dance also draws inspiration from everything from pop and R&B to jazz funk. The band’s diversity shines through with their two newest singles, ‘Head Hunter’ and ‘Blood Wolf’, and fans never know what’s going to happen next with these guys.
Dance Gavin Dance Find Their Groove Dance Gavin Dance have been around since 2005, and damn this band have been on a journey. With members coming and going over the years, the band seems to have finally found themselves a solid lineup and are truly mastering their unique sound. The two founding members, guitarist Will Swan and drummer Matthew Mingus, have managed to keep the band thriving throughout the years despite the variations in their lineup.
“We’re all over the place. We wrote ‘Head Hunter’ and ‘Blood Wolf’ in the same writing session – a heavier one and a softer one – so we just released the heavier one first and the softer one second. People always jump to conclusions they’re just like ‘oh, they must be going into this new sound because this song doesn’t sound like their other songs’ but when you listen to our records there’s like, a bunch of styles, so I expect the same thing from the next record, where we kind of dabble in a little bit of everything.” “I like the energy of playing really heavy stuff live and the audience energy and the chaos of it, something that got me into playing music in the first place,” Swan says. “But I also like being able to slow it down and do a lot more chilled out songs and variety is important, I think. Both cool in their own way.” For a band that’s been around since the mid-2000s, Dance Gavin Dance have managed to not only stay relevant, but to thrive as a band over the years and continue producing great records, each more unique and successful than the last. With an ever-changing sound, the band stays true to the music they love.
“I think we just kind of do our thing, in our explorations of styles and willingness to incorporate things and to take risks and to do things that are different, allow ourselves to develop and progress on its own way and that is something that, when people listen to the music, it keeps it from dating to a certain era now because we’re not just taking on genre conventions and trying to appease whatever audience at the time that’s like, supporting the scene, we’re just doing our own thing. And I think that’s helped keep us relevant and push us forward as a band.” “We just have a lot of different tastes. Everyone in the band listens to and watches all different kinds of stuff. Our music’s kind of chaotic and poppy, and sometimes funny too and our music videos like to incorporate all those different kinds of aspects too. We don’t like to take it too seriously most of the time, have a bit of ‘tongue and cheek’ aspect is cool too, especially because the scene’s so devoid of that, everyone’s pretty serious all the time and it’s nice to break some levity into that situation.” And after so many years of band members coming and going and a rumored near-split of the group, Dance Gavin Dance seems to have started to settle down, and their refined sound reflects that. “I think we’ve had this lineup for like, seven years now, and it’s pretty solid and it’s felt good. Just having this lineup, we’ve been a band longer than most bands have been a band. It feels like we’ve definitely settled into it.” BY CIARA ALLEN In Australia exclusively for Good Things, Dance Gavin Dance will be playing in Melbourne, Sydney and Brisbane this December.
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MUSIC INTERVIEWS As his band took to the sticky Cherry stage, it very soon became clear that Wall was a man who had a love for blues and hard rock in equal measure, with an almost uncanny ability to seamlessly mix the two beloved genres. He was also fortunate to have a killer rhythm section that played with a virtually telepathic sense of groove and dynamic. Wall’s third release Transpacific Blues Volume One is a set of blues standards featuring a formidable group of contemporary guitar pickers from the U.S - Kid Ramos, Walter Trout, Eric Gales, Kirk Fletcher and fellow West Australian Dave Hole. The choice of material and collaborators is a great fit with killer results. Artists who have recorded duets in the past can sound almost like a competition of who can play louder and faster (guitar players can be notorious gunslingers) however this a cohesive album that pays respect to the form and to the songs. At this year’s Marysville Jazz and Blues Festival, Wall was a featured artist with three appearances and a guitar masterclass. Attendees certainly got their money’s worth listening to and learning from one of the best in the biz right now.
Matty T Wall Bridges The Pacific The first time I met Perth’s Matty T Wall was at Melbourne’s legendary and lamented Cherry Bar one Sunday afternoon.
Wilco's Road To Joy Fifteen years ago, improvisational guitarist Nels Cline thought he might apply for a job at Starbucks. A phone call from Wilco frontman Jeff Tweedy changed his life.
I managed to talk with Matty on the phone as he was in transit between Marysville and Tullamarine for the long trip back to Perth. The new album is called Transpacific Blues Volume One, which suggests there may be a second volume in the works. “Yes, that’s the plan” says Matty optimistically “I really would like to do an original album, with a Volume Two in between.” “I had an idea that I wanted to do a blues covers album and get some Australian guitar players on board, but didn’t really hear back from anyone. I had a few contacts in the States and managed to get Kid Ramos on board, which is really cool, he’s got a great style, then thought why not try to get my favourite guitar player at the moment, Eric Gales on the album? Once we got him, we were able to get Walter Trout and Dave Hole was involved from day one, so it turned out
The concept of getting so many different artists in different countries on one album can be a daunting one. One can’t help but wonder about the recording process. “Well, we recorded all the band tracks live in one morning“ states Matt rather modestly. “Then I’d take my guitar parts out and email the MP3s’ to the various artists and they would play on the track with a few different passes of fills and solos and then send them back. Then I’d take what I liked and mix it with what I had recorded. “ So with the logistics of the project in place, Matty went on to explain how he decided to match the material stylistically with the different guest players on the album. “I listened to what they’d done in the past and what style they’re known for. ‘High Heel Sneakers’ is obviously a Memphis tune, so Eric Gales was the perfect choice for that ‘cos it’s got a funk to it. If you’ve ever heard Eric Gales play a funk tune he shreds all over it. Kid Ramos has a real jump blues style so all the stuff he did was perfect. Same with Walter Trout, doing that grimy, bluesy shuffle on ‘She’s Into Something’ and Dave Hole can play John Lee Hooker boogie til the cows come home. That’s his thing. And hearing what Kirk Fletcher did on ‘Born Under A Bad Sign’ was just perfect!“ Matty T Wall should be proud of what he has achieved. Transpacific Blues Volume One is a rockin’ blues album that at eight tracks and thirty five minutes doesn’t wear out its welcome and leaves you wanting more. BY MATT DWYER Transpacific Blues Volume One is out now via HipsterDumspter Records. Catch him at WAMFest and Bendigo Blues Festival this month.
Today, he’s the noisiest cog in the Wilco machine - one that has been operating so long, Cline jokingly compares it to the Rolling Stones. The stock standard phrase used to describe Cline in Wilco interviews is the experimental wildcard; separate from the moody cerebralism of frontman Jeff Tweedy. It’s not something he’s entirely comfortable with; neither does he like his guitar acumen being complimented. Reminded that Rolling Stone called him one of the hundred greatest guitarists of all time, he scoffs “It’s lovely but it’s stupid”.
which sometimes can be elusive to me,” Cline says.
As Wilco begins to tour their 11th studio album, Ode to Joy, a sparse and disconsolate collection, Cline can hardly catch a break – apart from tonight, when he loses track of time while out to dinner and causes a music journalist pileup on the phone conference line. He’s apologetic, but in good spirits; unlike the sound of Ode to Joy. The album sounds like it was recorded in an open field, in part because it was parsed together by demos recorded by just drummer Glenn Kotche and Tweedy in Wilco’s renowned recording hovel The Loft.
“It’s the intent of the song that matters, it doesn’t matter who plays what,” he adds.
“I think Jeff had a very specific idea orchestrally and architecturally about what the drum identity was going to be on this record. It was gonna be different; it was gonna be stark; it was going to be march-like and intense,” Cline says. The key to the sparseness, Cline adds, is an almost total lack of cymbals (“Check it - I think there’s only three” - I couldn’t hear any). Curiously for a record with a personal tone, Ode to Joy has attracted a “political” label - ‘Before Us’s rallying cry of “remember when wars would end?” in particular - though that’s new to Cline. “If it’s a protest record of the soul and the spirit, then yeah, I’m cool with that,” he laughs. The heaviness of Tweedy’s lyrics on the record is swaddled ironically in some of Wilco’s brightest ever arrangements; a form borne of Tweedy’s compositional process, according to Cline. “Jeff is always subtly supportive, yet at the same time will prod me or any of us, into strategies or some kind of musical methodology that will elicit the feeling that he is looking for -
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to be a US/ Australian thing and I liked the concept so that’s where the name came from.”
“On this record, more than once he said ‘That was great, but it wasn’t despondent enough’. And, I said ‘This song is in D Major, I didn’t think it was despondent’.” Ode to Joy’s quiet volume has led some fans to assume Cline was deliberately restrained by Tweedy. But Cline says that’s not true; besides, many of the lead guitar takes are simply those recorded by Tweedy trying to communicate ideas.
There’s also a sizable gulf between the size of the venues Wilco are slated to play and the record’s energy, but it’s not one Cline is afraid of; their setlist contains an average of eight songs from Ode to Joy. “In the past, I would say that we would tread more carefully about playing too much of the quiet material - maybe avoid it in a way? I think the attitude now is that we don’t care,” Cline laughs. The no-care attitude is something Cline enthuses about with Wilco (“my comrades”) and his own music making throughout our chat. “The mutual respect that we have and I don’t know what you wanna call it; it’s chemistry! It changed my life. I wasn’t trying to be dragged out of obscurity but it definitely put me in full view of a range of people I never expected to be in full view of,” Cline says. “That’s a great gift from Wilco. It’s a band with no hits and no direction other than the direction that we go in. We don’t have to kowtow to the past.” BY JOSH MARTIN Ode to Joy is out now via dBpm Records.
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REVIVAL OF THE FITTEST
MUSIC FOR PLANTS AND PEOPLE In recent years we’ve witnessed an outburst of millennials desperately cultivating a new form of culture – the crackle of the vinyl cleanses the air alongside houseplants creeping up the post-modern walls of our existence. Over four decades after its release, Mort Garson’s 1976 experimental epic Mother Earth’s: Plantasia has blossomed onto our list of cult classics. A self-proclaimed album of ‘warm earth music for plants… and the people who love them’. Having already worked with the likes of Cliff Richard, Doris Day and Brenda Lee, in 1967 Garson abandoned a promising career in pop music and instead dedicated the remainder to pioneering album length compositions on Moog modular synths. The album was co-conceived and sold by Mother Earth Plant Boutique shop owners Joel and Lynn Rapp whom wrote an accompanying booklet on caring for houseplants. Other copies were only ever available with the purchase of a Simmons mattress from Sears – make of that what you will. Fast-forward to today where thanks to vinyl crate diggers and YouTube’s algorithm the album’s popularity has soared. Original vinyl pressings of Mother Earth’s: Plantasia have sold for up to $600. Garson’s bubbly melodies are reminiscent of a certain sentimental playfulness. Fortunately, thanks to Sacred Bones Records, copies are a little easier to come by after its reissue earlier this year. Even more fortunate for some of Melbourne’s own inner city lefties – Sydney based producer and multi-instrumentalist Anatole recently teamed up with projectionist Carla Zimbler to perform a unique live reinterpretation of Garson’s record; a night devoted to plants, science, light and sound.
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We got the chance to chat with Jonathon Baker, AKA Anatole, before the show to discuss his upcoming performance and the recent release of his debut album Emulsion.
amongst the Blue Mountains, the result of having spent a great deal of time examining everything from the smallest of organisms to the great enormity of all things.
A pioneer in his own right, Baker is simultaneously pushing the boundaries of acoustic and electronic music. His solo sets feature live keys, trumpet, flute and vocals accompanied by powerful driving beats and carefully layered synths, turning ambient mixes into club bangers with ease.
“It’s all about texture, all the sounds occupy a space”.
Dubbing Plantasia as “everyone’s secret favourite”, Baker was keen to jump on board after Plant Life Balance approached him with “pretty much the perfect gig”. Having been the first time reworking an entire album he decided not to perform a stock standard start to finish rendition. “I’m reinterpreting what the album means, using the themes of the record, taking different pieces and infusing my own stuff; live sets for me there’s a lot of improvisation.” Numerous research projects have concluded positive associations between classical music, nature sounds and plant growth. In particular, there has been evidence of plants redirecting their roots in response to the sound of running water. Although no scientific method was performed in the making of Mother Earth’s: Plantasia, Baker recognised the premise behind the album to be part of the reason for its recent cult following. “When you listen to it with that idea in mind it’s a really cool concept that you don’t get with many albums, its such an interesting point to come from – serious but very playful.” Baker practices a similar approach, adding that there are ambient field recordings in the background of most of his tracks – perhaps paying homage to his upbringing
It comes as no surprise when you hear the album. It’s worth more than just one listen. First, let it wash over you before getting lost in the detail, as you follow a different thread each time – there is rarely any central melody yet Baker holds your attention with lifting flute arpeggios, intricate percussive trails and a broad list of features including a sample from Ólafur Arnalds’ Stratus pianos. Having supported Arnalds during his recent Australian tour, Baker said the passion for music from Arnalds was incredible. Much like he mentioned that the constraint Garson set for himself in composing solely with the Moog was just as inspiring. Sometimes restricting yourself is what really makes your creativity flourish. Listen out for the detuned viola drone midway through ‘Creature’, this spur of the moment decision came from sitting about with his friend asking, “what can your instrument do, what can my instrument do?” “When you’ve got limitless opportunity you don’t scratch the surface. Coming from a background of classical music I really understand what practice is and I bring that into what I do.” Preaching to keep the studio sessions simple, most of Emulsion was recorded on a Shure SM57, letting Baker focus more on his collaboration with friends. This notion of simplicity, like Garson’s own, allows electronic artists really push their respective instruments to the limits – a soothing and unique step away from the many “lone geniuses” of electronic music today as well as a testament to Baker’s own artistry.
Currently putting album number two together as well as securing a scoring deal, Baker is working hard to take things to the next level. He’s very excited to perform more with his new trio and thinking of relocating to the States to let his career flourish further. Thankfully, he’ll be setting up shop this month in Sydney for another Plantasia tribute, so make sure you keep your eyes and ears out and catch a show before we lose him overseas. “I’m just trying to do my own things and say yes to opportunities that sound interesting” he remarks, and you can hear the energy ooze into his sweet sounds. There’s something about the seamless unity of opposing ideas that we as listeners can sense. It’s something both Garson and Baker achieve and is perhaps the reason their music stands out. Maybe this idea is gaining significance today as we ever realise the importance of a healthy mind. There’s no denying the benefits of listening to music with a glass of water and a quick seat in the sun – maybe it’ll help your unhappy houseplant just the same, after all it’s only your ear that limits your perception of what sound is. BY JACK SWANN Catch Anatole perform at Plant Life Balance’s Plantasia gig coming up in Sydney this November. Keep an eye out at plantlifebalance.com.au for details.
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A little more sus
More comping with chords
Following on from our suspended discussion from last issue let’s check out some more voicings and put them into chord progressions. To recap, suspension involves moving the 3rd of a chord up or down (to a 2nd or 4th). They are often used as substitutions and in conjunction with Major and Minor chords. Figure A for example highlights some classic ‘guitar’ type uses of the suspended chord sound.
Last issue we looked at filling out your bass lines with chords. Having anything from two notes plus we’re limited on the bass by the maximum amount of notes we can play at any one time. Typically the most important information in a chord is the root note and the 3rd however so even two note chords can be a great starting point. Figure A shows this idea of chords using the root and 3rd, this example being in the key of F Major. If you know the order of diatonic chords in a Major key you’ll know these then create F, Gm, Am, Bb, C, Dm for the first six chords. The seventh chord is a little ambiguous as it’s actually diminished when played as a triad and then half diminished with the added seventh. Let’s just recognise that it’s E with a G (minor 3rd) on top, creating a minor interval for now. Further note - technically these intervals may be referred to as 10ths (as in the 3rd after the octave) but let’s just stick with Major or minor 3rds for now.
This example uses typical open/first position chords. The first bar can be thought of as Dsus4, D, Dsus2, D. Bar two moves to Asus4, A, Asus2, A. Bar three plays Csus4, C, Csus2, C and lastly Bar four is Fsus4, F, Fsus2, F. These sounds can be heard in music from The Beatles, Beach Boys, Radiohead, Eric Clapton and Queen to name a few. Suspended chords are also commonplace in Funk, R&B and Soul. Often higher voicings are used with syncopated rhythms as can be seen in Figure B. Based around an F Major chord vamp this example takes its cues from Prince/Tower of Power/Earth Wind and Fire and moves between Fsus4, F Major and Fsus2. Check the voicings first (they come from the 5th string Major barre chord shape) and then work on the rhythm. Start slow, making sure you count and try different fingerings to work out what suits. To keep this example sounding really funky it needs to be clean (no unwanted notes/strings ringing/noise) so needs good left hand muting and you need to make sure of the rests. The rests reinforce the syncopated feel and add to the overall groove.
Due to its unresolved or suspenseful sound the suspended chord sound also lends itself to cycling in patterns. Figure C takes Bsus2 and moves up in minor 3rds (Dsus2, Fsus2, Absus2).
Hopefully you can see how useful these shapes can instantly be. Figure B takes a common pop/rock chord progression and applies our two note chord voicings. Bars 1 – 4 are just the root notes as you typically might play a simple bass line and then bars 5 – 8 incorporate the chords. You can now hear the chord quality rather than just the root note!
If we want to expand on this and make it a bit more hip (rather than either literally just root notes or chords) let’s combine the two in a more musical way. Figure C expands on this chord progression. Let’s pretend it’s a mid tempo straight rock tune. Now we get some single root notes, some chords, syncopation and some extra implied harmony (the diatonic descending movement in the last bar). Now this may be overkill in a full band setting but perhaps it’s a break down section, or under a delicate solo or in a duet with another bass player. When used selectively and intelligently this idea of starting further harmony and using chords as a bass player can be a very effective tool.
Take note of the sound – slightly mysterious yet pleasant and bright. Changing the rhythm (Figure D) can then also help with the feeling of movement. Remember with no 3rd these suspended chords technically aren’t Major or minor (especially without any other context or information about the 3rd in the melody or other harmony). So, suspended chords can be great to use as a contrast when Major or minor is expected. Last example (Figure D) – let’s keep the same chord progression but make the bass line and chords a little more syncopated. The first bar pedals low F but adds in the 3rd (A) creating an F Major sound, bard two adds a syncopated rhythm to the C Major chord. Bar three plays crotchets on D minor whilst the final bar of Bb Major plays an alternating pattern between the root and the 3rd.
Figure E highlights a typical rock/pop chord progression in the first four bars. Then have a listen to the last four bars with the incorporation of suspended chords. Bar five is Esus4 to E, bar six Bsus2 to B, bar seven F#sus4 to F# and then G#sus4 in the final bar. Having the suspended chord change to the Major or minor creates an interesting sound of movement perhaps hinting at what our ear is partially expecting to hear which is then followed by the full Major or minor chord. BY NICK BROWN
Hopefully you’ve now got some more ideas for creating Major and Minor chords. These are a great starting point – try opening a Real Book or look up some charts in different styles and try comping through them as opposed to just playing the bass line. Then we can get onto extending these voices with 7ths and 5ths etc next month! BY NICK BROWN
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ADVICE COLUMNS ELECTRONIC MUSIC PRODUCTION
Wavetable synths are back! With the announcements of the new ASM HyndraSynth and Modal Argon8, it appears Wavetable synths are definitely back in vogue. It’s not unexpected, trends are cyclical right? Analogue’s been redone to death now, FM synths made a few appearances over the last few years like they did in the ‘80s, so now it’s on to wavetables. Fortunately, this is a style of synthesis that doesn’t require reverse engineering and remanufacturing ancient circuitry like the analogue revival did. Wavetables synths require digital processing power, heaps of it! And in 2019, we’ve got plenty of that, so we’re seeing manufacturers actually forging new ground, instead of rehashing it (hallelujah!). To understanding how best to utilise a synthesiser, it always helps to understand its core principles. So what is a wavetable synth? Well, the hint is in the name. The noise source, or oscillator, is a table full of different wave shapes that have different harmonic structures. No, not like a dining room table, a table like a spreadsheet. The idea is that the oscillator oscillates through the table’s cells, slowly morphing between the waveshapes creating evolving timbres. There may only be
Inversions subtle differences in the waveshapes making for a lively but controlled sound - or extreme differences, for wilder results. Now add a second oscillator and use a different wavetable. You now have two complex morphing sound sources interacting in key. Get some panning happening for a nice stereo spread. Listen to the sounds swirl around you. Have I painted a sonic picture for you? There’s huge scope for interesting textures with wavetables, you can morph between
PIANO
Inversions – Simple and Sweet Inversions provide a foundation for playing, writing and listening to music. They are a vital element in developing melodies and bass lines. It takes just a few simple steps to break down chords – permitting you to make fast changes within a small sonic space. Alternatively, break them up into wide frequency bands that rapidly fill with newfound harmony and feeling.
from a basic sine wave to a vocal-sounding formant wave shape to a hollow sounding square wave with any amount of variation you desire. Needless to say, wavetable synth excel at ambient pad sounds, but are certainly not limited to it. Xfer’s software synth Serum is one of the most popular VST plugins of all time - drum’n’bass producers love it for its 5monstrous foundation-shaking bass strength and sound-design options.
The new generation of hardware wavetable synths take the ideas of the past and bolster them with modern hands-on control,
CUSACK I BY MICHAEL Inversions
10 See how easy and quickly you can move from a C to an F chord and back again.Notice how the 5
chords sound much closer together compared to playing them in the first instance. To go from this F inversion to a G chord you now have two easy choices. Firstly, you could hold your hand positioning and shift your wrist, moving each finger just one note to the right like so: 10 5The problem here is that it is now difficult to return to the original C chord using the same fingers we began with. This isn’t necessary if you’re going on to play a different chord, however, for the sake of this exercise we want to play the G in its first inversion.
But wait! Notice where your index and ring fingers rest on the piano when you’re playing the
Inversions I
We all know how different the major key sounds to its minor. Well, inverting any major interval will turn it into a minor. See the following major third in C become a minor sixth in A by moving the C up an octave.
seamless high resolution wave samples and morphing, additional wave shaping effects and modulation, analogue-style filters (and unusual digital ones) and high quality FX engines. Plus, modulation options everywhere! The HydraSynth has five LFOs. Five. All available at a fraction of what the uber-hi-tech wavetable synths of the ‘80s and ‘90s were. Making music in 2019 is pretty awesome huh?
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F chord – basically on a D and a G hey? Leave these fingers where they are and move your thumb down to the B and you’re there!
Second Inversion – F Major
But above all of this, inversions simply make your life easy. When dealing with triads – a three note chord – on the piano, you will be familiar with the root position. This means the root note is situated on the bottom of the chord. This is typically the arrangement most chord charts will show. A first inversion moves the third of the triad to the bottom. A second inversion moves the fifth of the triad to the bottom. Let’s start with a simple exercise that demonstrates the core effect inversions can have on your playing. Use your right hand to play the I-IV-V progression in the key of C – this means you don’t have to worry about any black notes just yet. The three chords broken down into their individual 5notes are as follows: C–E–G, F–A–C, and G–B–D. On your chord chart this will look like this:
C Major
F Major
G Major
Now, moving from a C to an F chord as above you not only played a C note in two different octaves but you had to shift your wrist to get there. This time, keep your right thumb on the bottom C, and move your middle and pinky fingers to the right one note. You are now playing an 10 F chord in its second inversion – effectively we have moved the C from the top of the chord to the bottom.
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Second Inversion – G Major 14
First Inversion – G Major
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Now it’s a simple step to move back to the original C chord –rememberingto use the same fingers you started with.
Not only can you hear a distinct difference between these two arrangements but your playing
technique differs as well. The first arrangement forces you to hold the same fingering pattern 19 18
and move your wrist to find subsequent chords. The 19latter arrangement relies on adjusting your fingers whilst holding your wrist in one position. These practices are invaluable to your technique. You will appreciate them when you up the tempo.
Stay tuned for more exercises and an in depth discovery of how you can shape your sonic disposition. BY JACK SWAN 19
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PRODUCT REVIEWS FENDER
Tone Master Amplifiers FENDER MUSIC AUSTRALIA | FENDER.COM.AU | RRP: TONE MASTER DELUXE REVERB - $1,549, TONE MASTER TWIN REVERB - $1,899
Fender’s latest Tone Master series is a love letter to some of their most treasured amplifiers from their extensive catalogue. While Fender have experimented with digital modelling in the past, none have come close to rivalling both the sound and response of an all-tube amplifier. That is, of course, up till now. In an unprecedented first for the company, Fender have selected two of their most famous tube amps to undergo the fully digital treatment: the classic Fender Twin Reverb, and the ever-popular Deluxe Reverb.
and rock 12” Jensen N-12K neodymium speakers – a single for the Deluxe Reverb, and obviously a double for the Twin. These speakers harken back to the traditional C12K speakers of old but rely on lighter neodymium magnets to alleviate as much bulk as possible. After close inspection, the build quality is about what you’d expect from Fender these days: sheer excellence. Quality control has been outstanding in recent years from the company, and it’s a trend we hope to see continue.
Aesthetically, the pair of two amps bear identical façades, apart from a small Tone Master logo embedded on the bottom corner of the grille. The classy combination of black tolex with a speckled silver grille cloth is as handsome as ever, and unmistakably screams out Fender from a distance. Front panel controls for both amplifiers remain identical to their vintage counterparts: two sets of high/low inputs are available over two channels – purely dry, and a vintage channel which enables both reverb and tremolo effects. Only the red jewel light has been modified – it now flickers between amber and red to indicate operation status. Super nifty.
But let’s get one thing straight for all the tube snobs out there: these amps both feel and play like a genuine tube amp. Both amps run a highly efficient class-D power system that simulate their original wattages. The Twin runs at 200W into 4 ohms, simulating a vintage 85W output, while the Deluxe Reverb runs 100W into 8 ohms, imitating a true-to-spec 22W output. The increased wattage also allows incredible output flexibility – both amps feature a five-stage attenuator switch on the rear panel that goes all the way down to 1W for the Twin, and a mere 0.2W for the Deluxe Reverb. You’d never see the original versions of these amps in use for casual bedroom practice, but now, that scenario is entirely plausible.
The very first and most noticeable difference that separates these iterations from their older selves is their physical weight. The Twin Reverb is abnormally light – weighing in at an extremely manageable 15kg – less than half the weight of an all-original model. The Deluxe Reverb is even lighter still, at a mere 10.4kg. This is mainly thanks to the absence of the sizeable tube preamp and power stages, in addition to the amplifiers material construction. Both are now housed in a lightweight pine cabinet,
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In terms of sound, these amps stack up incredibly well. Fender claim that the Tone Master series is “virtually indistinguishable” compared to the all-tube original, and this dynamic duo certainly attests to that bold statement. The Twin’s clean tones are punchy and crystal-clear, and effortlessly generate the tight yet booming low end characteristics of a classic Twin Reverb. As you would expect, there is an incredible
amount of clean headroom on tap here. On the other hand, the Deluxe Reverb offers slightly more of a smooth and creamy tone with a slightly scooped midrange. Turning the volume up past six or seven even generates tube-like breakup, with a threshold that can be lowered at decreased wattage settings. The reverb in particular is eerily convincing; most digital amp modellers fall short in achieving the luscious tones of an authentic Fender spring reverb, but the high-quality DSP of the pair easily produces spacey, bouncy trails without breaking a sweat. The same goes for the tremolo – everything sounds incredibly accurate across the board. And for the pedal fiends, don’t sweat. I was genuinely surprised at how well it took stompboxes – while not having the best dynamic response out there, the sounds produced were entirely applicable in a live setting. Thankfully, dirt pedals handle smoothly without overwhelming fizz, while modulation effects like choruses, phasers and delays all perform with no complaint through these amplifiers. Apart from the handy power attenuator function, the pair of amps bear more hidden features perfect for both stage and studio. A balanced XLR line output coupled with a level control and ground switch is perfect for going straight into your favourite DAW or a live mix situation, in addition to an impulse response (IR) switch that toggles between three cabinet simulation settings: no emulation, a dynamic microphone, and a ribbon mic. The dynamic microphone setting is great for dynamically cutting through the mix when playing live, while the ribbon simulation setting excels at recording with
its extended low end. And as an additional bonus, both amps come with a hardy amp cover and a modernised Fender two-button footswitch, which controls the onboard reverb and tremolo effects. What more could you ask for? The Tone Master series is more than a simple tribute to its roots. It’s proof that Fender are still hard at work, constantly innovating and changing the game one brilliant step at a time. Don’t forget – with no tubes present, you’re not just cutting weight out from the equation. You’re saving both time and money for inevitable maintenance, multiple tube replacements, and trips to the amp doctor. Pat yourself on the back Fender, you’ve absolutely smashed it with this one. BY EDDY LIM
HITS: ∙ Authentic, era-accurate tones ∙ Power attenuation ∙ Manageable weight MISSES: ∙ Some might not dig the pine enclosure
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EVERYTHING IN BETWEEN. UNLOCK NEW SOUNDS WITH THE AMERICAN ACOUSTASONIC ™ TELECASTER.®
C RA FT E D I N C ORONA , C A L I FORNI A
PRODUCT REVIEWS TWO NOTES ENGINEERING
Torpedo C.A.B.M INNOVATIVE MUSIC | INNOVATIVEMUSIC.COM.AU | EXPECT TO PAY: $499 Two Notes Engineering are a company at the forefront of bringing impulse responses to the masses, as well as producing products to assist the modern producer and modern player. From their flagship Torpedo Studio to the smaller Captor series, Two Notes provide products for any need or level of profession. The Torpedo C.A.B. M is in the middle of the Torpedo range and provides a great solution for guitarists and bassists live or in the studio. The C.A.B. M is a one input, three output stompbox-style unit with a nicely backlit OLED screen and a long list of tonal options that can be expanded via Two Notes Wall of Sound software when connected via USB. You can load your own impulse or tweak the pre-loaded ones to provide your sound engineer a more direct, controlled signal. The Two Notes C.A.B. M is a designed to be used on a pedal board, and resembles a small footprint stompbox. You can plug your pedals straight into it as you would a head, then send a direct out. Or, you can route your head back through the C.A.B. M and send your front-of-house engineer a direct signal to be either blended with your cabinet sound or to replace your cabinet sound entirely. The C.A.B. M is easy to set-up and has a lot of routing options inside and outside of the pedal. The side of the stompbox features Amp In, Speaker
Out and Input Level controls, as well as USB for connection to Two Notes’ Wall of Sound software and the power adapter input. The other side has your line out, DI out (with a ground lift), auxiliary in and headphone out for silent practice. The OLED backlit screen to tweak all these settings dims when untouched, so it’s not startlingly bright on a dark stage or dimly lit studio. When recording with the C.A.B. M, you can switch between 32 cabs that are pre-loaded, load and tweak your own. Alternatively, you’re able to purchase more impulse responses from Two Notes. The pre-loaded cabs are all definitively different sounds, so you can quickly scroll to find something that is your ballpark tone, then tweak it until it’s perfect. The cabinet sounds believable, and genuinely resemble a mic’d cabinet in a room (the room can be tweaked as well!). Once you’ve found your tone, you can record it at 24 bit / up to 96kHz resolution, and rest assured that the bandwidth of 12Hz - 19kHz is leaving nothing behind the recording with the XLR DI out. The pre-loaded impulse responses can sound dark initially but with some tweaking they come to life and sound like a perfectly mic’d cabinet in a room of any size you like.
be a replacement to traditional cabinets and microphones, but something to work with cabinets and be integrated for more control to bring your perfect tone to the stage or studio. The Two Notes software provides an isolated sound to your interface or FOH sound, which can then be blended with your cabinet sound or can be your entire rig with a creative preamp pedal. While admittedly the C.A.B. M isn’t as a complete of a package as the larger C.A.B. from Two Notes or smaller solutions such as Hughes & Kettner’s RedBox, it’s the most comprehensive product for the footprint, and that’s what Two Notes Engineering is all
about: modern solutions for modern players, with products that fit our needs to a tee.
Ernie Ball Music Man’s recent output has seemingly focused on creating experimental, impeccably crafted instruments that sound and feel faultless, and the Mariposa doesn’t stray from the pack here. While there’s some quirks in the design that’ll attract criticism - I’d definitely worry about the vulnerable position of the pickup toggle switch for one - it’s otherwise a perfectly crafted instrument. What’s more important, however, is the thrill that comes with playing this thing. It urges you to play differently, but in a way that retains the integrity of your own personal style. I felt inspired to take more risks on the Mariposa regardless of whether I was strumming, picking or plucking; reaching for further frets to explore uncharted chord voicings and phrasing notes more obtusely than ever before. It’s truly inspiring to play an instrument as aesthetically pleasing, inviting and mentally rewarding as the Mariposa. Even the fret edging, tuning stability, intonation and tremolo action are of a top-tier pedigree when first embraced from the case: a telltale sign of passion and craftsmanship.
tone knob, but how many guitarists actually use them? Even though there’s limited tone shaping options, these EBMM hand-wound humbuckers sound absolutely first class. They’re awesome while clean but also distort in a manner which is both warm and slightly prickly, and it’s evident that Omar obviously played a key role in the design here. I found it quite easy to achieve early Mars Volta soundscapes or thrashy Relationship of Command-inspired tones quite easily with a handful of pedals and an AC30. On that note, the Mariposa is suited to players who are more inclined to fiddle with zany effects pedal combinations than they are coil-tapping or tone knob sweeping, and that’s certainly the best way to approach this guitar.
familiar and futuristic, which somehow toes a fine balance between incredibly simple, aesthetically provoking and musically inspiring. Of course there’s quirks, but seriously: look at the Mariposa and tell me it isn’t the cherry on top of Ernie Ball Music Man’s ethos in design for the decade. Hats off to the risk takers here.
I think that some people will be frustrated with the Mariposa for some of the more simple elements of its design, and I can totally understand that. I mean, I do love a
It’s quite difficult to honestly pinpoint any major flaw in Omar’s new Ernie Ball Music Man Mariposa. Somehow, the two parties have envisioned a guitar both
For a stompbox with the tiny footprint that it has, the Two Notes C.A.B. M features everything you need it to. Not designed to
BY LEWIS NOKE EDWARDS
HITS: ∙ Routing options ∙ Small footprint MISSES: ∙ Not a load box - bigger Two Notes products are though.
ERNIE BALL MUSIC MAN
Mariposa CMC MUSIC | CMCMUSIC.COM.AU | ENQUIRE FOR PRICING Look, let’s clear the air here: the notion of a guitarist as chaotic and “anti-guitar” as Omar Rodriguez-Lopez teaming up with a company renowned for instruments as bespoke and bourgeoise as Ernie Ball Music Man just doesn’t feel right. His unorthodox, ramshackle and downright destructive playing style definitely makes him a questionable contender for a guitar as beautiful as the Mariposa. I love Omar, but seriously - the man literally flings guitars across stage like a frisbee. Who the hell green lighted this as a signature model?!? Thankfully, the pairing is much better in person as it is on paper - the Mariposa might just be one of the coolest guitars I’ve ever had the pleasure of playing. It’s difficult to describe the design of the Mariposa, but if your mind can conjure the image of an Ernie Ball Albert Lee combined with a vintage Japanese Teisco, you’d be somewhere in the ballpark. Adorned with an ornate, laser-etched floral pickguard and available in a range of four finishes with eye-catching matching headstocks (this review model was decked in a gorgeous Dorado Green finish), the Mariposa is constructed from lightweight Okeueme and is fitted with a meticulously roasted mahogany neck and speedy ebony fretboard with pearl block inlays. As awkward as it may look, it’s an extremely comfortable and balanced guitar to play both standing and
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sitting, with a great neck profile and nearperfect reach across the fretboard.
BY WILL BREWSTER HITS: ∙ Beautifully crafted and extremely comfortable guitar ∙ Roasted neck is a dream ∙ Unfathomably inspiring for devoted players MISSES: ∙ Some will find flaws in its quirky design
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PRODUCT REVIEWS FENDER
American Acoustasonic Telecaster Ziricote FENDER MUSIC AUSTRALIA | FENDER.COM.AU | RRP: $5999 After making waves in early 2019 with the release of their Acoustasonic Telecaster, Fender are doubling down with their latest update to the series. The artisanal newcomers are constructed from exotic tonewoods and are only limited to 250 units worldwide for each model (cocobolo, koa, and ziricote). Up for review is the ziricote variant which, in my humble opinion, looks the best out of the lot. After snapping open the locks of its official Fender hardshell case, I was immediately at a loss for words. Inside laid a guitar bearing a stunning chocolate-brown ziricote top, matched with black limba for its sides, back and neck, topped off with an ebony fretboard. The figuring and colour gradient on every inch of this guitar – body, neck, and fretboard – is simply extraordinary. Special mentions have to be made for the complementing dark wooden tuning pegs and the company’s logo etched onto the headstock. Fender have really gone the extra mile with this guitar, and it really shows right from the onset. The meticulous craftsmanship doesn’t end with mere assemblage. Fender’s modern “Deep C” shaped neck carve is immediately recognisable – electric guitar players will feel right at home with this axe. The guitar also features a subtly bevelled bottom face that acts as a supremely comfortable forearm rest. For electronics, the Acoustasonic series utilises a unique three pickup configuration:
an under-saddle Piezo pickup, an internal body sensor that highlights percussion, and a single N4 noiseless pickup complete with a matching wooden cover. These are controlled by two options: a Stratocaster-esque five-way switch, and a pair of knobs – volume and voicing. The voicing knob grants a completely new voice when rolled to each extremity, which means you have access to ten different tones at a moment’s notice. Blending the two voices is also an incredibly satisfying process and can lead to a virtually infinite number of inspirational sounds at your disposal. In terms of sonic capability, this guitar absolutely requires to be plugged in to be used at its full potential. While the carefully engineered sound hole does project somewhat, the Acoustasonic Telecaster lacks the tonal depth and booming nature of a traditional acoustic guitar. It’ll suffice for a casual living room strum, but if you’re looking to jam with other guitarists unplugged, you may find yourself occasionally drowned out by larger-bodied acoustics. When plugged in, the Acoustasonic Telecaster morphs into a vehicle for creativity. With the five-way switch pointed towards the neck, you’ve got access to a range of simulated tonewoods and body shapes: including rosewood and mahogany dreadnoughts, a rosewood auditorium, and a maple smallbodied acoustic. Generally, these all sound
fairly authentic. The dreadnoughts growl with their heightened bass presence, while the auditorium and small-bodied models sparkle in both the mid and high frequencies. Head down towards the middle and bridge, and you’ve got more tones geared towards the street and stage. The middle position offers a Brazilian rosewood dreadnought with the option to add the body pickup to the mix, perfect for adding some creative percussion to loops. The final two positions offer either a blend of an electric edge to a mahogany dreadnought, or a clean electric tone with optional grit. These voicings are excellent for solo bar gigs and open mics, with the hybrid mode even seeming to be a perfect match for Fender’s new Smolder Acoustic Overdrive. While each pair of voices generally sounded great, I wish Fender had modified the electronics to better highlight the tonal flavours of the exotic woods used, which
feels like a slightly missed opportunity. Even with its wealth of rich sounds, jawdropping aesthetics and fantastic playability, it’s hard to ignore its extremely hefty price tag – close to double the price of a standard mahogany Acoustasonic. As one of Fender’s most premium offerings, this guitar may pander only to serious collectors or tonewood connoisseurs. BY EDDY LIM
HITS: ∙ Absolutely stunning aesthetics ∙ Flawless build quality ∙ Great range of usable tones MISSES: ∙ Extremely steep price tag
PRODUCT REVIEWS YAMAHA
THR-II Amplifier Series YAMAHA MUSIC AUSTRALIA | AU.YAMAHA.COM | EXPECT TO PAY: THR10II – $499, THR10II WIRELESS – $749, THR30II WIRELESS - $849
Yamaha’s THR series of amps blew the world of practice amps away when they released the first line of THR amps, featuring the THR10 and THR5, followed closely by the THR10C, THR10X and THR5A, providing tones for clean, metal and acoustic players respectively. While a very complete range in itself, Yamaha have now presented the THRII, an updated line of amplifiers for designed for 2019 and the future. Featuring not only the same great specs as the THR series and the specialist amps that followed, the THR-II offers a combination of the original THR series, offering 15 guitar amp models, bass amp models, effects, both wireless and wired capabilities, as well as an auxiliary input, independent aux and guitar volumes, and EQ for your guitar or bass. The THRII series of amps are plenty powerful for practice of any kind, and can be used to practice silently via headphones or loudly via dual driving speakers rated between 20 and 30 watts, depending on your amp of choice. The THRII series features plenty of controls to tweak tones on the units themselves with familiar feeling and looking knobs for EQ, gain, master volume and effects, but can also be dialed remotely via the Yamaha smartphone app, and connected to a computer via USB 2.0. The THR-II series of amps are designed for players of any level, niche, age, experience who may be accustomed to any type of gear I can imagine. They can react and be used as an all-analogue amp, or be tweaked entirely digitally for more modern players. Let’s begin with the most powerful in the THR-II series, the THR30II Wireless. A 30
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watt amplifier with a wireless system that can be linked with a Line 6 Relay G10T transmitter and used wirelessly (great for practising from the comfort of your couch or desk chair!), line in, line out, as well as a headphone out for silent practice. This makes the THR30II a perfect answer to practice at home, even if it didn’t contain dual 3.5” (9 cm) Full Range speakers. Music can be routed into the amp, your guitar or bass can be plugged in simultaneously, and settings can be toggled in and out via saved settings in user memory. Great tones can also be created from scratch via the 15 guitar amps, three bass amps, mic models and inelegant modulation and timebased effects. If 30 watts is a bit much, no worries, Yamaha has you covered. The THR-II is also available in a 20-watt wireless version or, simpler yet, a 20 watt wired version, where a more conventional approach is taken and a cable is required to plug your weapon of choice into the 1/4” input. All three models can be remotely controlled via the Mobile Editor app, and all models have Bluetooth capabilities. Both the THR30II Wireless and THR10II Wireless have, as their name suggests, wireless capabilities, and both models can be powered via rechargeable battery, while the THR30II features a line out for recording and/or other creative endeavours. Inside and out, the THRII series are built for players needing a simple and convenient solution to rehearsing, to creating new sounds and simple recording. All three of the amps can be controlled via Yamaha’s
Mobile Editor, which for the THR10II Wireless and THR10II, offers a further ten amps. All models are capable of providing modulation effects such as flanger, tremolo, phaser, echo and multiple reverbs, with a compressor and noise gate available via the Mobile Editor app. All three models have an onboard chromatic tuner, so you can ensure your rehearsal is pitch perfect no matter what tuning you and/or your band decide to play in. 30 watts is a lot of signal being pushed around, even for practice at a healthy level. The THR30II provides 15 watts a pop from its two speakers, while the THR10IIs both provide 10 watts either side from dual full-range speakers. The amps are powered via AC adapters, and all except the THR10II can be used with a rechargeable battery for approximately five Hours. They're also easily transported around with the THR30II being the heaviest of the lot, just weighing a mere 4.3kg. The THR was a one-stop-shop for practice and great new creative tones, but the THR-II series blows even these phenomenal examples out of the water, despite electronics usually thriving in dry conditions closer to room temperature. The existing series featured amps aimed at specific players, but the THRII series provides all these great sounds into one tidy package, offering players a multitude of different sounds within the one unit, rather than specialised amps for different styles. The amps are lightweight, convenient, stylish and practical, designed to make the focus of your sessions on playing and not dialling in tones or tripping over cables, or slowly
selecting tones with a dial instead of a mobile app - ugh, remember the days when we turned knobs? Your tones are only limited by your imagination, as the THR-II series offers updated and creative routing for recording, playing back, monitoring and practicing your playing. I really struggled to fathom what else could possibly be improved in the next series, but Yamaha continues to surprise with innovation and musician-focused, grounded design. BY LEWIS NOKE EDWARDS
HITS: ∙ Wireless capablities ∙ All amp models in one; no need to choose one model that limits its amps MISSES: ∙ Still no output to a bigger cabinet
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PRODUCT REVIEWS MORLEY
20/20 Wah Pedal Range INNOVATIVE MUSIC | INNOVATIVEMUSIC.COM.AU | EXPECT TO PAY: BAD HORSIE: $349, POWER WAH: $289, POWER WAH VOLUME: $329 Morley have been producing top quality ’treadle’ style pedals (Google that one!) since the ‘60s and ‘70s. Featuring large sturdy metal bases and rubber-coated foot pedals, Morley have produced some of the most famous wahs and volume pedals in history. The 20/20 Series of pedals, as hinted at by the name, offers a revamped range for the fast-approaching year of 2020. Popular pedals such as Steve Vai’s Bad Horsie and Bad Horsie 2, as well as the classic Power Wah Volume are discussed here, and boy oh boy have I gone to town on them. The 20/20 series, including the Bad Horsie Wah and Power Wah Volume, feature a new buffer circuit, improved features that retain the best of the classics, and the same optical circuit switching for years of perfect performance. Without going too far down the rabbit hole, more conventional expression pedals are comprised of a switch that engages the effect, which is then dialled back and forth by a pedal which is moving a cog that is affecting a potentiometer (‘pot’). This pot is actually doing the frequency filtering, or ‘effecting’ per sey. Over time, as most things do, these pots wear out and need to be replaced, fixed, or serviced. Morley pedals, however, are controlled by optical and silent switching which, again, skipping the rabbit hole, uses a shutter inside the pedal that allows more or less light through to a resistor
to control the effect, similar to how a pot might, but without the wear and tear. This allows Morley to do away with pots, and a lot of wear and tear, as well as offering silent switching using optical circuitry in the new 20/20 range of pedals, all put together in a more pedal-board-friendly package, unlike some of Morley’s more famed and robust models that admittedly occupy a lot of real estate. The Bad Horsie Wah, a slight remake of the famed Bad Horsie and Bad Horsie 2, features the Bad Horsie 2’s contour and volume knob, as well as a spring loaded design, originally at Vai’s request. For those accustomed to Dunlop wahs, or similar, this is a much more comfortable way to wah, offering more control over the effect that quickly snaps back to zero/off when not used. The contour mode offers a slightly different style of wah, and can be toggled between using the Contour switch, and depicted by a bright red LED. If two wahs in one isn’t enough, the 20/20 range also offers a Power Wah Volume, a double-threat wah pedal and volume pedal to be used together and further save pedalboard space. The Wah mode offers a Wah Boost of up to 20dB, which does not affect the volume when toggled over into Volume mode. Another bright red LED signifies the Wah mode; no light and the pedal is just a solid volume pedal with a consistent taper
for balanced response and nuance. What’s more, both pedals feature glow-in-the-dark logos to be easily seen on dark stages, and all pedals in the 20/20 range feature inbuilt signal buffer to keep your tone as clean and consistent as possible; it really is the little things. All-in-all, Morley have somehow improved on some real classics. The Bad Horsie is an all-encompassingly famous wah, only eclipsed by the main himself: Steve Vai. The Power Wah Volume manages to pack so much into a single pedal, whereas the 20/20 incarnation packs it all, plus a signal buffer, into an even smaller package. They’re as robust as ever, designed within an inch of their life, and built to withstand not only the road, but the stage, your shoes, and your expression. Morley are as ready as they’ve ever been… are you? BY LEWIS NOKE EDWARDS
HITS: ∙ Classic pedals with added features instead of re-worked originals ∙ Friendly size MISSES: ∙ Bad Horsie only available with spring
CHARVEL
Pro-Mod DK24 HH 2PT CM QM CHARVEL GUITARS AUSTRALIA | CHARVEL.COM.AU | RRP: $2229 With an ever increasing presence in stores, on stages and on records, Charvel really is a force to be reckoned with, and the Pro-Mod DK-24 2PT CM QM is a perfect example of one such weapon. This guitar in particular, in keeping in-line with a lot of Charvel’s guitars, is a perfect middle ground between a Strat and Super Strat, and cover ground at both ends of the spectrum, while fulfilling needs everywhere in-between. Featuring caramelised maple necks, a variation of roasted maple that feels and looks more hard-wearing than standard maple, Seymour Duncan humbucking pickups as standard and Gotoh tremolos, the ProMod series of solid-bodied electrics are a phenomenal addition to the company’s rich manufacturing heritage. While some guitars unsuccessfully attempt to occupy space between more traditional models, and result in a distasteful blend of either guitar, Charvel have managed to carve out a space that we never we needed, but that suits players from jazz and blues to rock and metal, with high quality pickups that can provide tones to cover all the ground you might need. Head to toe, it’s blindingly clear that this Charvel Pro Mod DK24 is built to be played. This might sound like a given, but you’ll understand when your fingers wrap Charvel’s “speed neck”, and chords and leads flow
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effortlessly along the ‘caramelised’ and seemingly unfinished neck. This neck finish is actually Satin Urethane, and graphite reinforcement secure the 24 Jumbo frets. This special maple finish doesn’t absorb notes quite like more standard maple neck might, and it pairs quite exquisitely with the quilt maple top and oddly-titled, yet strangely-enticing Chlorine Burst finish. The caramelised maple responds with a more specific spank and attack, more closely resembling rosewood, while retaining the feel of maple. This guitar is made in Mexico, and the neck feels fast, but equally great for chugging and heavier playing when need be; it’s a seamless transition between shred and chunk, making the DK24 a great touring guitar. The neck position offers a creamy humbucker option, while the bridge responds aggressively without being overtaken with colour. As if you’d expect any less, but the stock Seymour Duncan take gain and distortion well, offering dynamic and retaining balance, but cleaning up equally well, as if the pickup switching wasn’t enough already! The scale length of the guitar clocks in at 25.5”, secured at either end by CharvelBranded Die-Cast Locking Tuners, a GraphTech Tusq Nut, providing the tuning stability and tonal clarity of bone, without the harm to the environment, as well as a
Gotoh Custom 510 Tremolo. Neck to bridge, the guitar features a Seymour Duncan Alnico II Pro APH-1N and Seymour Duncan Custom Full Shred SH-10B, as well as a five-way pickup selector switch and a two-way mini toggle to flick between series and parallel. Either side of the pickup selector are a single master volume and a No-Load Tone knob, offering a bypassed tone knob when dialed to ten, sending your signal as cleanly as possible to the output jack – which is notably recessed into the back of the guitar’s body. While this certainly adds in the aesthetic appearance and onstage practicality of wearing the Pro-Mod DK24, I can’t help but feel some old-school shredders won’t be a fan of this touch. All in all, this Charvel specifically, but also any of the Pro-Mod DK24s, in either HSH or HSS configurations, are a phenomenal choice for all players. The neck feels familiar, yet fresh and re-invigorated, while the Seymour Duncan humbuckers offer a myriad of tonal options when blended together, or selected
alone. The guitar is comfortable both socially and physically, and features a fairly standard shape and feel that attracts both traditional Stratocaster players and SuperStrat players alike, while offering feel and tone for both. The Charvel DK24 is a jack of most trades, and absolute master of some. BY LEWIS NOKE EDWARDS
HITS: ∙ Comfortable and familiar feel ∙ Seymour Duncans as stock ∙ Caramelized maple feels great MISSES: ∙ Recessed input jack isn’t for everyone
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PRODUCT REVIEWS FRAMUS
Devin Townsend Stormbender AMBER TECHNOLOGY | AMBERTECH.COM.AU | EXPECT TO PAY: $5999 Devin Townsend is an absolute mastermind. Between Strapping Young Lad, Devin Townsend Project and numerous other projects, he has released a ridiculous amount of music over the last 25 years, as well as produced some of the most pivotal heavy bands from the last two decades (Lamb of God, Misery Signals, and Darkest Hour to name a few). It seems absurd to me that it’s taken so long for the man to get the signature guitar treatment, but now the absurdity has come to an end. After playing numerous custom shop Framus guitars for the last few years, Townsend and the German guitar giants have teamed up to finally release a production model, the Stormbender – the perfect machine for the modern metal/ prog guitarist. I’ll start by saying that the Stormbender is one hell of an impressive guitar. The spec sheet alone blew me away before the guitar itself reached my desk. The AA flame maple top, ebony fretboard, EverTune bridge, Fishman Fluence pickups and high-quality Graph Tech tuners show that no expense was spared in its creation. On top of the immaculate specs, the Framus team have delivered and then some when it comes to build quality. I traced over every inch of the guitar and every tiny aspect of its build was utter perfection. Granted, it’s what you would expect from a guitar with such a hefty price tag. Townsend is renowned for being a dynamic player, so naturally you would expect his
guitar to cover a lot of bases, which it does in absolute style. This is certainly not just another gloss black, one dimensional metal guitar. Of course, it absolutely sings when it comes to high gain and overdriven tones, but the Stormbender soars with beautiful resonance in cleaner settings. I couldn’t get over how clear and pristine the guitar sounded when playing larger chord voicings and how percussive/snappy single note passages were. I have to give Townsend’s signature set of Fishman Fluence pickups credit. I’ve never been a fan of active pickups as they always seemed so flat and docile, but the Fluence pickups have a lot of life and sound very rich. The added value of a push/pull tone knob allowing you to change the voicing of the pickup was also a lovely surprise. Voice One sounded full and vibrant for high gain chugs and riffs, whereas Voice Two was crystal clear and more akin to a passive, single coil pickup. This feature only added to the diverse range of sounds you can achieve with the Stormbender. I was a bit perplexed by a few of the specifications on the Stormbender, admittedly. The tiny toggle switch placed on the top horn of the body seemed odd, mostly due to the horn itself being quite long but the switch itself being very small, making it easy to miss when trying to change pickups on the fly. I was also astounded that such a high end instrument only came with a padded gig bag instead of a road worthy flight case. It would
be safe to assume that any instrument at this price point would come with a fitted case to ensure the safety of your investment. Those little things aside, the Stormbender is a stellar piece of kit. It’s beautifully crafted, incredibly dynamic and impeccably classy. While the aesthetic might be a bit too out there for some, I’m sure that any fan of Devin Townsend or progressive music is going to have a field day with this guitar. If you’re looking to invest in a high end guitar that can cover a lot of sonic territory and operate as a solid workhorse for live or studio use, then I would highly recommend taking the plunge on the Stormbender. BY NICHOLAS SIMONSEN
HITS: ∙ Huge dynamic range of tones ∙ Flawless build quality ∙ Classy aesthetic MISSES: ∙ The lack of hard case is mind-blowing
AUDIENT
Sono Interface STUDIO CONNECTIONS | STUDIOCONNECTIONS.COM.AU | EXPECT TO PAY: $699 Audient are a company known for consistently producing high-quality products that push their own boundaries and embrace change while remaining firmly grounded in their history and holding themselves to a high regard. From their large format consoles to the more recent line of interfaces, such as the ID44, they tend to produce top quality products in whatever they put together. That is why the Audient Sono, a partnership with cabinet impulse response behemoth Two Notes Engineering, is really a phenomenal leap forward for guitarists, incorporating a multitude of widely used and loved technologies into one easy-to-use box. Featuring two preamps, headphone and monitor outs, onboard EQ and drive as well as an optical input to expand the inputs available on the Sono, this product, while aimed at a specific market, can really be the catalyst for some amazing sounds and recordings. The Audient Sono includes the same preamps found on Audient’s bigger format consoles such as the ASP8024. A lot of Audient’s bigger format products are based pretty closely on SSL, so you can rest assured that the preamps are designed with your playing and the final product in mind. The Sono features a handy monitor mix, that toggles between the input and your DAW playback - a feature that is becoming increasingly common, however endlessly useful for recording yourself or
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others. What’s more, while recording, you can choose to send your signal through the 12AX7 input valve or not, or even bypass the preamp circuity entirely so you can use your own preamp. This kind of addition shows that Audient is not only committed to producing great products, but to treating lower-level products the same as any other. You can retain clear, concise D.I. tracks, or warm them up before whatever you’ve thrown into the signal chain next. Both preamps, before the valve, have 60dB of gain, and the input meter labeling on the front panel is a gentle reminder of where you should be sitting, giving a little comedic relief from such a serious piece of kit. Finally in the signal chain, users can load up to three cabinets into the Audient Sono and cycle through them with the A/B/C switches located on the bottom right of the unit. Cabinets are selected, tones dialed and ‘microphones’ are placed via Two Notes’ Torpedo Power Amp Modeling and Cab Simulation app. However, don’t let the guitar and bass cabinets stop you from exploring the possibilities with this product. The room sounds themselves are great - so why can’t that be your drum room? The reverb is already nicely filtered and would sit great in any mix - it could be the trick up your sleeve that propels you ahead in such a competitive market. The software includes 20 amps to start with, and eight rooms, as well
as providing eight microphone choices for a bunch of different tonal options. Two Notes has an even bigger array of amps and cabinet models available for purchase. Overall, while the Sono is marketed as a onestop-shop for guitarists, it’s really so much more. Think of it as an interface with a valve preamp and impulse responses as standard, but also consider what a phenomenal addition to any studio it would be. Drums and vocals can be re-amped to achieve creative ambience, synths can come alive through its pure valve preamp, and any other instrument can get gritty through the phenomenally
designed preamp routing – basically, there’s certainly no shortage of versatility with the Sonos. BY LEWIS NOKE EDWARDS HITS: ∙ Valve preamp ∙ Drive and EQ on board ∙ Two Notes software included MISSES: ∙ Literally none
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PRODUCT REVIEWS ERNIE BALL MUSIC MAN
Caprice Bass Guitar CMC MUSIC | CMCMUSIC.COM.AU | ENQUIRE FOR PRICING Perhaps best known for their Stingray line of basses, Ernie Ball Music Man aren’t a company to jump around with 46 different models that all seem like variations on each other. Instead they’ve built a respected line of instruments that professionals and amateurs alike have entrusted for their low end duties for many years. Recently Ernie Ball Music Man took the plunge of adding some interesting new models to their range with the Caprice being one of them. Featuring new looks, it also introduces a Ernie Ball Music Man first being completely passive. Instantly you’ll notice that the Caprice is a move away from the Stingray look, yet it still retains a certain traditional familiarity which won’t completely alienate those from the vintage camp. The body shape has some classic qualities to it with the pickguard adding to its inviting lines and figure. This particular example came in Diamond Blue which looks clean and classy. Ernie Ball Music Man are also offering Natural, Tobacco Burst, Black, Ivory White and Coral Red as standard. Alder is the wood of choice for the body with maple for the neck. In terms of hardware Ernie Ball Music Man use their own pickups and top loading bridge with Schaller tuners. A quick mention should also be given to the new headstock design of the Caprice with a 3 + 1 tuner layout adding some more of the typical Ernie Ball Music Man looks. As mentioned previously, perhaps the biggest innovation on the Caprice
is the fact that it’s completely passive. No more batteries for this Ernie Ball Music Man, and I think it works great.
midrange in-between tones, raspier bridge sounds, and then roll the tone up or down for everything in between.
Light in weight, the Caprice feels comfortable and will suit those that dig the skinny vintage feel. The neck is slim and fast, again adds to that old school vibe, and of course there’s easy access across the whole fretboard (including the higher registers). Sound wise, Ernie Ball Music Man have implemented a PJ styled pickup arrangement. Both humbucking, there’s a split coil in the middle and a standard four pole pickup in the bridge. With separate volume controls and a master tone control you can dial up for old school funk, honky
I love the Caprice’s mix of old and new. It creates some contrast in the Ernie Ball Music Man line up but has a sense of familiarity to the player too. As with all Ernie Ball Music Man instruments, the build and quality control seems top notch and the colour offerings should cover quite a few bases. Great for fingerstyle or a pick, it really fits the go-to, one bass to cover a few settings type instrument. BY NICK BROWN
HITS: ∙ Passive, good variety of tones ∙ Nice contrast to the rest of the Ernie Ball Music Man range MISSES: ∙ Nope
PRODUCT REVIEWS TC ELECTRONIC
Flashback 2 X4 Delay AMBER TECHNOLOGY | AMBERTECH.COM.AU | EXPECT TO PAY: $549 Your favourite Danish gear company is back at it again - this time with a revised and updated version of their excellent Flashback X4 delay/ looper. TC Electronic make it extremely clear that this elongated stompbox – immediately reminiscent of a certain lime-green Line 6 delay modeller – is the end-all, be-all of delay pedals. With such an incredible number of features packed into its sizeable chassis, they might just be right. TC Electronic are renowned for their timebased effects pedals. That’s a fact, not an opinion; their Hall of Fame reverb and standard-sized Flashback delay are more than enough proof. The new Flashback 2 X4 is their latest flagship delay pedal, featuring ten factory delay settings and six additional TonePrint/preset selections. For those who aren’t aware, TonePrints are artist-created presets that are unique for TC Electronic pedals. You can connect the Flashback 2 X4 via provided USB cable to your PC or Mac to upload TonePrints to a specified slot, or even use your smartphone to beam it down through your phone’s speakers, into your guitar’s pickups, and then to the pedal. There are over 70 TonePrints currently available on the website, with more being added each day – you can rest assured that you’ll never run out of interesting ways to use this pedal.
The controls atop the Flashback 2 X4 are fairly self-explanatory: Subdivision, Delay Time, Feedback and Level. The Subdivision knob hosts a staggering range of note intervals to please even the most experimental performers. It even includes a custom division preset which can be set up via the TonePrint app. In a similar fashion to its predecessor, the Flashback 2 X4 remains extremely userfriendly. Three of the four footswitches are dedicated to one delay type each, while the last acts as a global tap tempo. Flicking the bank/store toggle switch downwards binds a delay algorithm to a footswitch of your choice, while thumbing it upwards or holding down the tap tempo footswitch gives access to a secondary bank, giving access to three more delay selections. A handy red/green LED light atop each footswitch even lets you know which bank of delays you’ve currently chosen. Even the Looper mode – which allows for a decent 40 seconds of recording – is completely foolproof, with simple controls conveniently marked above each switch. The sounds produced by this pedal are simply sublime. From TC’s iconic 2290 Dynamic Digital Delay to its historically accurate tape and analog bucket-brigade delay, you won’t find a sound or setting that ever displeases. Of particular note is the new crystal setting, which produces a swirl of ethereal
and haunting tones which can be further accentuated with the MASH footswitch. Up to three different parameters can be modified when using the pressure-sensitive MASH switch, which can be set via the TonePrint app. Most of the default selections allow controlled, real-time bursts of cascading feedback to add extra dynamics to your playing. It’ll take some practice to equate the pressure required to the feedback level you want, but when learning is this fun, who’s complaining?
There’s a whole slew of ways you can use the TC Electronic Flashback 2 X4, and the included looper is just the cherry on top of an already impressive product. TC Electronic have produced yet another winner in the delay category, and it’s not difficult to see why they’re globally recognised in this particular field.
The top panel of this stompbox has a wealth of input and output jacks. There’s room for stereo functionality (which works a treat with the ping pong delay setting), an external expression pedal, and even MIDI control capabilities. Two easily accessible dipswitches also allow you to select between buffered and true bypass, and even a kill-dry setting for use in a parallel effects loop.
HITS: ∙ Crazy number of delay algorithms to pick from ∙ Excellent flexibility ∙ MASH is super fun
BY EDDY LIM
MISSES: ∙ None
IK MULTIMEDIA
UNO Synth SOUND AND MUSIC | SOUND-MUSIC.COM | RRP: $429 If you’ve been keeping up to date with what’s trending in the music gear sphere, you’ll have noticed a steady shift towards companies mass producing relatively affordable analogue synths in recent years. Spearheaded by the likes of Korg and Arturia and followed somewhat sluggishly by Roland and Behringer, this shift has seen manufacturers eschew the bulky digital workstation in favour of small hardware units that act as the perfect gateway into the winding world of analogue synthesis. Despite the abundance of heavyweight competitors, Italian audio tech firm IK Multimedia has also decided to throw its hat into the ring with their own take on the analogue trend with the small, yet oh so mighty, UNO. Weighing in at a slight 400 grams and taking up less space than the average iPad, the UNO is an ultra-portable, two oscillator mono synth packed with a sequencer, arpeggiator and an array of real-time effects. Power is provided either via micro USB or four AA batteries, making the UNO perfect for musicians on the go or to fiddle with in transit. I’m sure some will fuss about IK’s decision to add 3.5mm input and output ports on the rear of the unit, but it’s obviously a nifty cost-cutting measure that also complements the portability of the synth. While its name bears semblance to a relatively famous polysynth of the ‘80s, the UNO follows in the footsteps of none, offering a completely unique approach in its sound,
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function and design. Given IK Multimedia’s main hustle is within the digital realm of interfaces and iOS apps, this decision is definitely for the better, making playing with the UNO an invigorating experience. Avoiding the typical analogue trope of crowding as many knobs, switches and faders onto the interface as possible, the UNO’s synth engine is instead controlled by four rotary knobs and soft touch buttons arranged into one easy matrix. With two independent VCOs providing sawtooth, triangle, square and variable pulse waveforms, a noise generator, a two-pole filter with LPF, BPF and HPF modes (there’s also a dedicated filter cutoff knob, which is a big win in my books), an LFO and a custom dual-stage overdrive, you’ll be flummoxed with the amount of sounds you can squeeze out of the UNO. Whether you’re aiming for snarling acid house tones, rumbling Moog bass, sharp sawtooth leads or something weird and wacky, you’ll be able to wrangle it from the UNO with ease. There’s also 100 presets (80 of which are customisable) to choose from to get you started with patch building, which is actually quite impressive considering the size of the device. However, given the same kind of soft touch buttons in the editing matrix are used to control the keyboard of the synth, you’ll want to plug a MIDI keyboard into the UNO straight away to really access its full potential otherwise you’ll be stuck in sequencer land.
If being stuck in sequencer land doesn’t sound too bad to you, then you’ll still be able to have plenty of fun with the UNO. Recording and editing sequences is simple and intuitive, and if you’ve ever played around with any model from the Korg Volca series, you’ll be able to master the UNO’s 16-step sequencer pretty easily. Sequences can be programmed in steps or in real time with three directions to choose from: forwards, backwards or backand-forth, while tempo can be tweaked via a dedicated rotary knob. The UNO’s arpeggiator is also surprisingly powerful with ten patterns, a four-octave range and a convenient hold function to keep things rolling on even when you’re editing sounds. There’s also an inbuilt analogue delay located near the right side of the keyboard which adds a whole lot of character to any sequence or arpeggio you’re playing, as well as a range of other performance effects including Dive, Scoop, Vibrato, Wah and Tremolo. Save for the delay, these effects really don’t add anything to the experience of the UNO, and sound like they’ve been shipped across from a quirky ‘90s multieffects pedal. Given the power, performance, portability and price tag of IK Multimedia’s first foray into the world of analogue synths, I’m surprised at the lack of hype around this little fella, because the UNO has serious potential to put a big dent in the budget synth market. It’s an incredibly inspiring unit with an easily
navigable interface and array of sounds to choose from, and is bound to offer just as much fun to synth masters as it does to beginners. BY WILL BREWSTER
HITS: ∙ It’s literally the size and weight of a paperback novel – what’s not to love? ∙ 100% pure analogue bliss ∙ Nifty sequencer and arpeggiator section MISSES: ∙ Cheesy effects ∙ Soft touch keys definitely aren’t for everybody
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PRODUCT REVIEWS PRESONUS
Eris Bluetooth Studio Monitors LINK AUDIO | LINKAUDIO.COM.AU | EXPECT TO PAY: 3.5BT - $249, 4.5BT - $349 Whether you’re just starting to dip your toes into the deep, murky waters of setting up your own studio or you’re a seasoned professional with a penchant for all things boutique, you’ll know that PreSonus are always there to be relied upon. Although the brand have always aimed to appease those within the audio technology sector, it’s apparent there’s more to the market than musicians in this day and age. The allure of podcasting, content creation and live streaming is attracting more and more casual consumers who are less picky about tech specs and focus more on functionality and price. This is where these new Eris BT Monitors comes into the picture. Referred to by PreSonus as Media Reference Monitors, these compact Bluetooth-equipped babies are available in both 3.5” and 4.5” configurations, making them suitable for creating, sharing and listening anywhere within the home environment. As far as studio monitors go, setting up the Eris BT series is a breeze. Straight out of the box, you’ll find two speakers: one passive, and one powered with a 50w amplifier, as well as a mains plug, speaker connecting cables, a TRS to RCA cable and a single 1.5m stereo TRS cord. There’s also adhesive foam feet included that you can peel off and stick to the bottom of each monitor to assist with sound isolation. Despite the difference in price and speaker size, both the 3.5”
and 4.5” bear a similar combined weight of 2.9kg, while their slight dimensions allow them to flank your desk top, bookshelf or even bedside table without taking up any excessive real estate. Even though they’re not directly referred to as Studio Monitors and are aimed at a demographic that wouldn’t consider themselves as audiophiles, both pairs of Eris BT monitors output a balanced, smooth sound without too much colour: an essential feature when used to critically reference audio. While the 4.5” obviously brings a bit more low-end to the table than its smaller counterparts, the woven composite drivers of these Eris speakers allow for a tight bass response which remains clean even when pushed at loud volumes. The 1” silk-dome tweeters located above the woofers also let your transients and high-end frequencies sparkle without being too bright and shiny – something I noticed immediately while tapping out a hi-hat sequence on my MPC. These tweeters are also decked out with a wide pattern to ensure there’s a large optimal listening field - meaning you’ll spend less time positioning your speakers to find the sweet spot when mixing or even casually listening. Both the 3.5” and 4.5”’s main powered monitors also feature acoustic tuning knobs on the rear to attenuate or boost any frequencies your listening
environment might absorb, making them even more versatile and user-friendly. Pairing these monitors to any audio source via Bluetooth is also super simple – I managed to hook up both my laptop and phone within a minute via a simple menu dive, with the LED on front of the powered monitor glowing white to indicate you’re connected. To my surprise, I experienced barely any latency issues or notable drop in sound quality, even when I put these monitors to the test with a CPU-hungry Logic session. While it would be nice be able to pair more than two devices to the monitors, I’m sure this feature won’t garner many complaints from its intended demographic. Given their pricepoint, functionality and sound, the PreSonus Eris BT series definitely set a new standard for budding content creators. They’re light, compact, easy to
use, sound great and most importantly, cater to a range of users who mightn’t be as well-versed in the tech-heavy lingo of other reference monitors – and for that, PreSonus have bagged a winner. BY WILL BREWSTER
HITS: ∙ Perfect for entry-level users ∙ Great sound even in shoddy listening environments ∙ Bluetooth connectivity is a big plus MISSES: ∙ Price is almost too good to be true
QSC
KS118 Subwoofer TECHNICAL AUDIO GROUP | TAG.COM.AU | EXPECT TO PAY: $3,299 QSC have been creeping into Australia’s live and musician market for years. They’re here to stay, and for good reason. Offering products from loudspeakers and subs to mixers and amplifiers, they cover a whole lot of ground. QSC is shaking things up, not only metaphorically; the new QSC KS118 is a subwoofer ready to make the floor quake as part of a PA system reaching down to 41Hz. The KS118 is a robust, inconspicuous cube-shaped subwoofer that fulfills every need you could need from a sub, but also features some extra handy additions to assist in future-proofing your system and sound. The KS118 can be linked with other KS118s for a more complete and powerful array of low-end, as well as QSC’s “DEEP™” mode to assist in making the KS118 a perfect fit for almost any application. In use, the KS118 is a breeze. It’s super powerful, featuring a 3600 watt amplifier module, so there’s no shortage of signal being powered into the audience and floor. This is a sub that really makes a performance an experience, and helps the signal be felt as well as heard. Speakers and signals that offer such rich low frequencies don’t usually provide much in the way of direction, however the KS118 can be linked with a second KS118 to provide a vast cardioid response from the speakers and PA. While a single KS118 will do a fine job and provide omni-directional (and omnipotent and omnipresent) sound, dual KS118s can be
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dialed in to provide a wider birth resulting in a cardioid response, perfect for either side of a stage and aimed at the dancefloor or audience. To ensure your performance remains tight and consistent, the KS118 offers a handy crossover and delay control via the LED screen, which is also used for selecting the cardioid response, firmware and DEEP™ mode. The KS118 is a superbly robust subwoofer, and so it should be while blasting low frequency out of its Class D amplifier module at up to 3600 watts. Constructed from 18mm birch which secures the 16-gauge Black Powder Coated Steel grille and speaker enclosure, the QSC KS118 won’t move, even when pushing serious air. The 18 inch radiating driver assists in keeping those low frequencies consistent and controlled, while the adjustable crossover delay can be toggled to fit into any existing or new system, and these settings can then be saved as scenes and recalled with the push of a button, e.g. during a souncheck or a venue could save a ‘safe’ scene to return to if all go awry (which is not usually a scenario that I associate with QSC). It can be mounted either vertically or horizontally (via the vertical pole mount if required), or alternatively sat on the floor and isolated with four low-noise, heavy-duty casters on the four corners of the KS118. The dual XLR/1/4 input and IEC cable plug both have locking systems, and the dual loop-through outputs make routing simple, as it should be.
All in all, the KS118 is not only a great solution for an existing system, but it can assist in future proofing your gear. Easily adding a second KS118 into the chain in the future cold very well save you from having to invest in two entirely new subs, or worse yet, an entire new PA system. While capable of handling serious volume and low frequency, the KS118 is equally at home at lower volumes and different systems, thanks to intuitive crossover and omni/cardioid signal settings. The crossover can be toggled up and down along the frequency spectrum, and the KS118 will keep proving consistent signal up to 98Hz, and handling it all with a solid enclosure,
powerful amp, and robust casters to secure valuable low-end. BY LEWIS NOKE EDWARDS
HITS: ∙ Inconspicuous ∙ Robustly constructed ∙ Easy to manage crossover, delay and effect MISSES: ∙ It’s pretty heavy!
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PRODUCT REVIEWS PRESONUS
PM-2 Small Diaphragm Cardioid Condenser Microphones LINK AUDIO | LINKAUDIO.COM.AU | EXPECT TO PAY: $199 PreSonus are a company primarily known for their range of highly successful interfaces and digital mixing consoles such as their Studio and StudioLive series. Over time we have seen the company expand further and further into the realm of monitors (with their highly acclaimed Sceptre series) and now microphones, with the PM-2 Small Diaphragm condenser marking a coming of age for the brand in this highly competitive arena. Let it be known, the exquisitely designed PM-2 is an absolute masterclass in modern microphone design for the prosumer market. Every aspect of the PM-2 just feels well considered and makes perfect sense both on paper and in practise. From the lightweight chassis (to offset the added mass of the large-ish capsule), to the utilitarian, no frills packaging, the PM-2 reflects a company very much in sync with its intended market. From the outset The PM-2’s modus operandi is abundantly clear - to provide a rugged, affordable, stereo-pair with the project studio in mind. Where PreSonus have excelled with this particular offering (and what makes the PM-2 such a winner) is in the capsule design itself and how the PM-2’s unique voicing translates so seamlessly into the world of home recording.
The 19.2mm, 6 micron thick diaphragm found on the PM-2 is notably larger than what you would normally expect to find on a traditional small diaphragm condenser. This larger, heavier diaphragm, coupled with the PM-2’s Class A FET circuitry marks an intentional move towards a smoother, more complementary transient response. This makes sense, considering the fast-attack, solid-state preamps typically found on the kind of consumer level interfaces this microphone is likely to be paired with. A slower, less sensitive capsule is also more likely to play nice with untreated rooms, rounding off jagged frequencies and dulling harsh reflections. To put it simply, the PM-2 has been specifically designed to downplay the unflattering aspects of your recording chain, whilst keeping the overall sound as flat and neutral as possible to allow for maximum workability. It’s a level of consideration rarely seen in a budget microphone and something definitely worthy of adulation. Sonically, I found the PM-2 to have a recessed, almost ribbon-y quality to it with a very usable off-axis response and a more than generous sweet-spot. I found it performed particularly well on acoustic guitar, especially on singer-songwriter
material, where it sits nicely behind a vocal or lead guitar. It’s this inherent mellowness that also makes the PM-2 a prime candidate for capturing nylon string guitar or foley; tricky sources that can very quickly veer into harshness if not mic’d correctly. Being a matched stereo pair, the most obvious home for the PM-2’s would be hovering above a drum kit and for this application I found them to be a welcome addition to any mic closet (especially when the program material called for a slightly darker kit sound). They have that kind of workable neutrality that serves as a perfect ‘get out of jail free’ card if nothing else seems to be working. One aspect of the PM-2 that could potentially catch some engineers offguard (and probably something worthy of mention), is the sheer amount of gain required to bring them up to a respectable volume. This flies somewhat contrary to the typical small diaphragm condenser, but makes perfect sense considering the enlarged diaphragm and FET circuit. In summary, the release of the PM-2 represents a real watershed moment, not only for Presonus peripherals, but for budget microphone design in general. Up until
now, manufacturers have been notoriously slow to adapt their capsule design to the new found rigours of the home studio/DAW market. The PM-2 is a prime example of what can be achieved with a bit of extra care and forethought at the R’n’D stage. BY PAUL FRENCH
HITS: ∙ Smooth, Sympathetic voicing, perfect for home recording. ∙ Extremely good value for money MISSES: ∙ Not much…I guess it would be nice if the Stereo bar was indexed?!?
MACKIE
ProFX12v3 12 Channel Professional Effects Mixer AMBER TECHNOLOGY | AMBERTECH.COM.AU | EXPECT TO PAY: $679 The humble Mackie mixer has been a mainstay in rehearsal studios and practice spaces since (what feels like) the beginning of time and for good reason. Their intuitive pushbutton routing, rock-solid build quality and unobtrusive, desktop configuration have made them the ideal ‘set-and-forget’ solution for anyone with even a passing interest in sound reinforcement. Mackie make mixers with the civilian in mind and the ProFX12v3 carries on this commitment to accessibility and ease-of-use, but propels it into the modern age with upgrades fitting for an increasingly digital world. A mixer’s worth can often be gauged by how well it handles the dry practicalities of the job and in this respect the ProFX12v3 earns top marks. The eight colour-coded channel strips and centralised, global FX section are ridiculously easy to navigate and the Aux/ Sub/FX routing is as straight-forward you are likely to find. This directly translates to ‘less time sound-checking, more time playing’ and yet another reason why the latest ProFX range are poised to pick up the mantle of ‘practice space standard’ set by Mackie mixers past. If that was all this mixer had to offer, it would still be a winner IMO, but somewhat surprisingly it’s in the studio where the ProFX12v3 really comes into its own. The latest incarnation of the ProFX series has seen some significant upgrades to the recording side of the equation, with
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the ProFX12 now capable of streaming @ 24-bit/192kHz via USB. Combine that with the high-quality, on board Onyx preamps and free copy of Protools First and you have yourself a pretty legit little recording setup, perfect for project studios and podcast production. It’s these aforementioned Onyx preamps that really do push this product over the line and make it such a viable choice as a mixer/interface. From the moment you plug in, you feel like you are working with the signal in its entirety (not a compromised approximation of the signal). Instruments feel detailed and full bodied, with ample headroom for DI bass and guitars. As a preamp, the Onyx just has a robustness and cleanliness that feels a level above what one would normally expect to find in a mixer/ interface in this price bracket. Of course it would be hard to talk about the ProFX series without talking about the FX themselves and this latest instalment definitely delivers in that regard. With 24 built-in effects (including flavours as space-specific as ‘Warm Lounge’ and ‘Warm Theatre’), the ProFX12v3 offers a sonic palette for almost any stylistic requirement. The reverbs are tasteful and lack the inherent graininess that so often plagues digital ‘verb. (Hot tip: The ‘Overdrive/ Distortion’ setting pairs remarkably well with DI Bass for record-ready fuzz tones.)
In fact, my only criticism of the ProFX12v3’s onboard features would be the inbuilt compressor and how subtle it is. From a functionality perspective it may have almost been better served having a limiter in its place, as with the input at unity and the compressor up full, it’s still difficult to hear it having any noticeable impact on the program material. This is essentially just nitpicking on what is, in essence the kind of rock-solid offering we have come to expect from Mackie. Its userfriendly layout, realistic effects engine and high-performance Onyx preamps make for a highly capable unit, both in the live and recorded domains. In short, the ProFX12v3 excels in speeding up workflow and allowing the user to get a more than usable sound, in a minimum amount of time, which is something sure to strike a chord with budding musicians and podcasters alike. BY PAUL FRENCH
HITS: ∙ Awesome Onyx preamps ∙ Easy-to-navigate MISSES: ∙ Compressor is quite subtle
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DIRECTORY
EVOLUTION MUSIC
SKY MUSIC
KOALA MUSIC
DAMIEN GERARD STUDIOS
(Music Instruments Retailer) A | 4/2181 Princes Hwy, Clayton VIC P | (03) 9546 0188 E | info@skymusic.com.au W | skymusic.com.au /skymusiconline
(Audio Products Distribution) A | Brookvale, NSW P | (02) 8090 6508 E | koalaaudio@outlook.com W | koalaaudio.com.au / koalaaudio
KEYNOTE STUDIOS
FIVE STAR MUSIC
THE AUDIO EXPERTS
MAKE MERCHANDISE
EASTGATE MUSIC
NEWMARKET STUDIOS
(Music Production Studio) A | 87-91 Arden Street, Melbourne VIC P | (03) 9329 2877 E | callum@newmarketstudios.com.au W | newmarketstudios.com.au /newmarketstudios
LEARN MUSIC
(Music Education) A | 311 High Street, Kew VIC P | (03) 9853 8318 E | learnmusic@bigpond.com W | learnmusic.com.au /kewlearnmusic
SOUNDS EASY PTY LTD
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VINYL REVIVAL
BINARY MUSIC
(Music Instruments Retailer & Education) A | 48 Bloomfield St, Cleveland QLD P | (07) 3488 2230 E | sales@binarymusic.com.au W | binarymusic.com.au /binarymusic
SOUNDS ESPRESSO
A | Shop 2 398 Lonsdale St, Melbourne VIC P | (03) 9670 8231 E | info@jaben.com.au W | jaben.com.au /jabenau
(Vinyl and Record Specialist) A | 405 Brunswick St, Fitzroy VIC P | (03) 9419 5070 A | 128 Sydney Rd, Brunswick VIC P | (03) 9448 8635 E | info@vinylrevival.com.au W | vinylrevival.com.au /vinylrevivalmelbourne
(Record Store & Café) A | 268 Victoria Road, Marrickville, NSW P | (02) 9572 6959 E | soundsespresso@hotmail.com W | soundsespresso.com.au /soundsespresso
HYDRA REHEARSAL STUDIOS
MELBOURNE MUSIC CENTRE
CONWAY CUSTOM GUITARS
GLADESVILLE GUITAR FACTORY
EASTERN SUBURBS SCHOOL OF MUSIC
DEX AUDIO
MONA VALE MUSIC
TURRAMURRA MUSIC
(Music Instruments Retailer) A | 8/2 Northey Rd, Lynbrook VIC P | (03) 8787 8599 E | info@evolutionmusic.com.au W | evolutionmusic.com.au /evolutionmusicaus
(Rehearsal & Recording Studio) A | 3/3 Melissa St, Auburn NSW P | (04) 1160 5554 E | keynotestudio6@gmail.com W | keynotestudios.com.au /keynote1
(Music Instruments Retailer) A | 1131 Burke Rd, Kew VIC P | (03) 9817 7000 E | sales@eastgatemusic.com W | eastgatemusic.com.au /Eastgatemusic
(Headphone Specialist Retailer)
(Rehearsal Rooms) A | 18 Duffy Street, Burwood VIC P | (03) 9038 8101 E | hydrastudios@bigpond.com W | hydrastudios.com.au /hydra.rehearsal.studios
(Music Lessons) A | 10 Floriston Road, Boronia VIC 7 Sahra Grove, Carrum Downs VIC P | 0421 705 150 E | essm@essm.net.au W | essm.net.au /easternsuburbsschoolofmusic
(Music Instruments Retailer) A | 102 Maroondah Hwy, Ringwood VIC P | (03) 9870 4143 E | websales@fivestarmusic.com.au W | fivestarmusic.com.au /fivestarmusicoz
(Music Instruments Retailer) A | 525 North Rd, Ormond, VIC P | (03) 9578 2426 E | info@melbournemusiccentre. com.au W | melbournemusiccentre.com.au /melbournemusic.centre
(Audio Visual Retailer) A | 393-399 Macaulay Rd, Melbourne VIC P | (03) 8378 2266 E | mail@dexaudio.com.au W | dexaudio.com.au /dexaudioaustralia
(Audio Visual Retailer) A | 2065 Dandenong Road, Clayton VIC P | (03) 9545 5152 E | sales@theaudioexperts.com.au W | theaudioexperts.com.au /TheAudioExpertsAus
(Luthier) A | Wynnum, QLD P | 0408 338 181 E | info@conwaycustom.com.au W | conwaycustom.com.au /conwaycustomguitars
(Music Instruments Retailer) A | 55 Bassett Street, Mona Vale NSW P | (02) 9986 0589 E | info@mvmwarehouse.com W | www.monavalemusic.com / monavalemusic
(Recording Studios) A | 19 Grieve Rd West Gosford NSW P | 0416 143 030 E | bookings@damiengerard.net W | damiengerard.com.au /damiengerardstudios
(Screenprinting, Embroidery & Promotional Products) A | Unit 22/7 Lyn Parade, Prestons, NSW P | 0423 740 733 E | sales@makemerchandise.com.au W | makemerchandise.com.au /MakeMerchandise
(Music Technology & Instruments Retailer) A | Suite G05, 15 Atchison St, St Leonards NSW P | (02) 8213 0202 W | soundseasy.com.au /dsoundseasy
(Music Instruments Retailer) A | 280 Victoria Rd, Gladesville NSW P | (02) 9817 2173 E | mail@guitarfactory.net W | guitarfactory.net / GladesvilleGuitarFactory
(Music Instruments Retailer) A | 1267 Pacific Hwy, Turramurra NSW P | (02) 9449 8487 E | general_sales@turramusic.com.au W | turramusic.com.au / TurramurraMusic
Not In The Directory? C O N TA C T
W I L L @ F U R S T M E D I A . C O M . A U
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T O
S E C U R E
Y O U R
P L A C E
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FIVE ALBUMS THAT SHAPED THE BENNIES The Avalanches - El Producto EP I remember seeing The Avalanches not long after this EP came out. Dudes jumping around the stage, frantically rapping in these weird nasally voices, bashing on various synths and keyboards and interchanging roles constantly with the drummer and bass player, their DJ taking the crowd on a trip with mind blowing beat juggles, and even cutting up weird sounds like exotic bird calls. This EP captures their ability of taking funky, sample heavy hip hop loops, and jamming them live with the wild energy of a live punk band, then laced with fat 808 drums and loops that sound like a soundtrack from a kooky old cartoon or horror movie. The main thing that stood out to me both in this recording, and in their live sets, was that they were having so much fun while playing, and just how infectious that is to the listener. A huge influence on me and still on high rotation. Black Sabbath - Vol. 4 Hearing songs off this album immediately takes me back to my teenage years when my mates and I would blast these tunes in the car on road trips down to the coast searching for waves. In the absence of any waves to
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surf we’d drive around looking for some other cheeky shit to get up to. With the car stereo cranked we’d all be head banging in sync while singing along to Ozzy’s words or Tony’s epic guitar riffs. Back at the time of its release these geezers were pushing the boundaries of heavy metal music with an experimental edge. As a ‘90s kid listening to this stuff I loved the energy, the crunchy tones, all the melody baked into every song and how seamlessly they moved between different themes. Bill Ward’s drumming on this album has such a cool jammy feel to it with heaps of personality and the interplay with the rest of the rhythm section is perfect and something to strive for as a drummer. Rage Against the Machine - Rage Against the Machine Rage Against The Machine was probably as close as I ever got to nu-metal but I’m glad to have gone deep on this one; I think I had to buy this CD twice because it got so scratched up going in and out of my Discman.I really dug the blend of genres with heavy metal, punk, funk and hip-hop thrown together in this way with so much attitude and depth. The whole album is really engaging from start
to finish and a massive pump up - you’ve got Tom Morello’s riffage and experimental sounds and Brad Wilk’s solid as fuck drumming. And of course the rap vocals from Zack de la Rocha which are front and center and he uses repetition to perfection which turns these songs into a badass political message to the establishment. Blink 182 – Dude Ranch Although being a ‘97 release, this album came flying into my life in my final years of high school around 2001 - 2004. But for most Blink fans this album means more than just a great batch of songs. It also represents a time of recreational recklessness. It gave any kid with a guitar the courage to start a band and play those three chords with pride. It immediately launches itself with opening track ‘Pathetic’ - the shared favourite song amongst The Bennies. Other personal favourites include ‘Emo’ with its slamming half time bridge, where DeLonge opens up his fretboard with a semitonal riff that defies all the usual Blink 182 ‘rules’. This record forever holds a special place in my heart as being the beacon of where things began and a really fun time to reflect on.
H-Block 101 - Burning With The Times I think it’s fair to say this band would have been one of the most influential Australian punk bands for many artists - particularly for the Melbourne Arthouse music venue scene. So many great bands have cut their teeth in that pub and it would largely due to these guys. This record in particular really resonates with me as it was a double release and nothing says ‘fuck you’ more than a band who can smash out 22 absolute solid tracks at once. When listening to this record as each track comes on you find yourself remembering how much you love that particular song, often engaging in phrases such as “Ooh this ones a banger” or “Aahh man I forgot this was on this record”. Another reason to celebrate this record is its ability to flow through genres with such ease. From straight up folk punk/ rock and roll being played out of a jet engine, to tightly controlled reggae/dub from your living room chill sesh. These guys were able to display all this all the whilst remaining the same band. Catch The Bennies touring for Good Things Festival this December.
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R e a l To n e f o r R e a l P e o p l e
D U R A B L E GOODS FOR THE MODERN MU SI C I AN
CONVERTERS
MUTI-PLUG CABLE
R-ANGEL CABLES
EXTENSION CABLES
VOLTAGE DOUBLER & VOLTAGE CONVERTER
MA METER
9V ADAPTER / COMBO PACK
CS 6 LOW PROFILE MULTI VOLTAGE | 7 MULTI VOLTAGE POWER SUPPLY | 12 MULTI VOLTAGE POWER
SHRINK OUTSIDE THE BOX MORE COMPACT, SAME IMPACT.
Transport the greats with you. The studio range brings you those iconic Marshall tones in a portable 20W format.
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