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INTERVIEWS — Harts, TOKiMONSTA, Caribou, John Butler + more
MADE BY MUSICIANS FOR MUSICIANS
REVIEWED — EVO 4 By Audient, Steinberg UR22c, ZOOM LiveTrak L-8 Mixer, Shure MV51
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INTRODUCING MEINL STICK & BRUSH
Distributed in Australia by Electric Factory - (03) 9474-1000 - meinl@elfa.com.au - @meinlaustralia
CONTENTS 8 10 11 13 17 18 19 20 21 28 29 30 31 33 50 53 54
Foreword
Giveaways Industry News Music News Product News Cover Story: Deftones Tokimonsta, Caribou John Butler, Hot Chip Harts Podcasting/ Post-Production Special Electronic, Guitar, Bass Piano Percussion Product Reviews Directory Fast Five: Tal Wilkenfeld My Rig: Luke Holland
It’s a brave new world out there, with technology evolving at a rate our grandparents would have deemed impossible. Nowhere has this rapid evolution been more apparent than in the world of podcast and streaming, where the lines between tech, consumer audio and music production become blurrier by the month. Even gamers have gotten into the swing, seeking out broader soundstages and lower latency, moving further down the rabbit hole that is pro audio. This, our inaugural Pod, Post and Beyond issue looks to explore the very tech-heavy future of sound-some of it musical, a lot of it not. I can’t wait to see where we are, this time next year.
Deftones PG 17
Godspeed, PAUL FRENCH - EDITOR
/MIXDOWNMAGAZINE
@MIXDOWNMAGAZINE @MIXDOWNMAGAZINE MIXDOWNMAG.COM.AU
Tokimonsta
John Butler
PG. 18
PG. 19
For breaking news, new content and more giveaways visit our website.
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BY MUS ICIA
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#302 –
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#301 –
JUNE 2019
APRIL 2019
MAY 2019
MADE BY MUSICIANS, FOR MUSICIANS STREET AND ONLINE DATE: WEDNESDAY MARCH 25 AD BOOKING DEADLINE: MONDAY MARCH 16 EDITORIAL DEADLINE: WEDNESDAY MARCH 18 ARTWORK DEADLINE: WEDNESDAY MARCH 18 For more information on Mixdown Magazine contact us at: (03) 9428 3600 or email paul@furstmedia.com.au
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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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GRAPHIC DESIGNER Alex Foreman, Chayto Nadin
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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INTRODUCING MEINL STICK & BRUSH
Distributed in Australia by Electric Factory - (03) 9474-1000 - meinl@elfa.com.au - @meinlaustralia
GIVEAWAYS
This Month's Giveaways This month we have a couple of incredible giveaways from the legends over at Dynamic Music. For the budding podcaster, we have the Zoom LiveTrak L-8 (RRP:$939). To go into the running simply drop us a line and tell us your best pod worthy yarn. For those from the sound design/ field recording side of the end of the equation, we have the awesome Zoom F6 Field Recorder (RRP:$1399). To go into the running to win this incredible prize, simply drop us a line on the Mixdown page and tell us your best story from the field. We want to hear all the weird stuff you’ve been recording. Box fans, the wind, the sound of one hand clapping, all of it!
Last Month’s Giveaway Winners Polaris – The Death Of Me Vinyl Giveaway Thanks to Resist Records, we had a copy of the brutal new Polaris LP to give away this month - congratulations to: Tyson from Melbourne, VIC!
Amity Affliction - Everyone Loves You Once Thanks to The Amity Affliction and Warner Music Australia, we had a copy of the band’s new album Everyone Loves You… Once You Leave Them on slime green vinyl, as well as a signed poster from the band. The winner is... Haiden from Brisbane, QLD!
See below for terms and conditions.
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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INDUSTRY NEWS 5SOS, Tones and I Hit One Billion Streams More and more Australian acts are hitting huge streaming numbers these days, which in turns see expansion of APRA AMCOS’ 1,000,000,000 List. The latest two acts to hit a billion include 5 Seconds of Summer with their track ‘Youngblood’ and Tones and I’s inescapable ‘Dance Monkey’. ‘Youngblood’ was released in April 2018, going on to spend eight weeks on top of the ARIA chart, four in New Zealand, and reached the top ten in eleven countries including #3 in Canada, #4 in the UK and #7 on the Billboard Top 100, becoming the band’s first top 10 and highest charting single in the US. The band’s catalogue has now reached 10 billion streams globally, ahead of their new album Calm and an extensive world tour. ‘Dance Monkey’ is the fastest Aussie song to reach one billion streams across all platforms, reaching the milestone last November after its May 2019 release. Last month, ‘Dance Monkey’ ticked over one billion streams on Spotify alone, and is well on its way to surpass a staggering two billion streams across all major platforms. It topped the charts in 30 countries and set new chart records in Australia and the UK. Not bad for a song that was written in 30 minutes.
Live Music Professionals Program Returns Music Victoria is bringing back its Live Music Professionals program for 2020. Designed to strengthen Victoria’s live music businesses, the free professional development program is open to venue owners, managers, band bookers and independent promoters. The 16 chosen are matched with music biz pros for one-on-one coaching sessions and masterclasses. 100% of last year’s recipients increased their networks and 89% found new business opportunities. Applications close 5pm Friday March 20 – head online for details.
So Long, Farewell Sydney street paper The Brag, which launched back in 2003, issues its final print edition on March 4. You can still check it out online if you want. It’s doubtful The Set will return in 2020 for a third season. ABC TV’s director of entertainment told TV Tonight it’s “struggling to get the budget”. Perth music gear retailer Kosmic Sound has closed its doors after 50 years and entered liquidation. Staging Rentals and Construction (SRC) close their Sydney operations this month but continue in Melbourne.
Roady4Roadies Expands To 13 Cities The second Roady4Roadies expands from five cities (Adelaide, Brisbane, Sydney, Melbourne, Perth) to 13 this year, with Darwin, Gold Coast, Hobart, Newcastle, Port Lincoln, Sunshine Coast, The Entrance and Townsville jumping aboard. Howard Freeman of CrewCare says “In its first year, Roady4Roadies raised $71,500.00. The net profit of $62,820.00 went to the Support Act Roadies Fund to assist crew in crisis.” The day includes begins with a leisurely 4-5kms culminating in family activities and
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performances from the likes of Jon Stevens, Tim Rogers, John Paul Young, Steve Kilbey and John Jarrett.
struck a distribution deal with Warner Musicowned independent services agency ADA Worldwide, as well as with Select Music for bookings.
Up for this month’s Billy Thorpe Scholarship are alt-rock Jaguar Jonze, folkie Dan Baker, singer songwriter Harry Phillips pop-rock Hope D.
Venues Update: Openings & Closings
Wollongong ‘s Aodhan are now managed by Footstomp Music/ Kadence Group. Its 15year old singer/songwriter Aodhan (Aidan Whitehall) won Triple J’s Unearthed High Indigenous last year.
Ticketmaster Australia predicted ten artists to slam on the live scene in 2020:: western Sydney hip hop R&B act A.Girl, Melbourne hardcore DREGG, ex-Totally Mild singer Elizabeth, producer and multiinstrumentalist Jamo, Pitjantjatjara/Torres Strait Islander gospel and R&B singer Miiesha, Adelaide “sad pop” band Pinkish Blu, Brisbane neo-soul Pink Matter, Freo garage-pop Spacey Jane, Wollongong multiinstrumentalist Stevan and Canberra girl gang Teen Jesus & The Jean Teasers.
Melbourne’s latest venue The Leadbeater has been a runaway success. Owner Joe Downey says the 400-capacity room is booked out Fridays and Saturdays for the next couple of months. A new 770-capacity Brisbane venue, The Sound Garden, has opened on Brunswick Street Mall next to Fortitude Music Hall. Under manager Davor Djuric, it has free gigs every night of the week. Brisbane’s X Cargo Bar, was hit with a windup order in Brisbane Supreme Court.
Former Operator Please member Tim Commandeur inked a label deal with Risqué Music with his solo project Commandeur. Sydney inner-west 16-piece funk collective, The Regime, joined the New World Artist family. Caravana Sun signed an international deal with Berlin’s Embassy of Music outside of Australia and NZ where they remain self-releasing.
The City of Joondalup in North Perth have turned Whitfords Nodes Park into a live music mecca. EDM festival Castaway moved there after five years at Rottnest Island.
Finalists For Queensland Music Awards
Just months after going dark, Brisbane’s Lefty’s Old Time Music Hall re-opened under new owners Hallmark Group Australia, which owns a number of high profile clubs and pubs.
The 2020 Queensland Music Awards are held at The Fortitude Music Hall in Brisbane on Tuesday March 3 with sets from Cub Sport, Miiesha, Busby Marou, Jaguar Jonze and Order Sixty6.
Down In The Dumps?
Finalists for album of the year: Cub Sport’s Cub Sport, Hatchie’s Keepsake, Thelma Plum’s Better In Blak and WAAX’s Big Grief.
Spotify reckons February is the gloomiest month, because the songs chosen in Australia and Singapore were in the “sad and blues” category. The mood rises by 3% in July, while happiest month is December. All those blasted joyful Christmas carols...
New Signings 6 x Platinum Havana Brown is now represented by Lucky Ent. alongside Will Sparks, MaRLo, Tigerlily, Mashd N Kutcher and Joel Fletcher. Independent publisher Native Tongue’s latest roster addition is NZ singer songwriter Jeremy Redmore of the band Midnight Youth. Hardcore outfit Falcifier inked with Greyscale Records, releasing new EP Pain in March.
In the QMA People’s Choice Awards, up for metro venue aere The Fortitude Valley Music Hall and The Triffid while regional venue are Miami Marketta or Solbar. Festival category will be won by Big Pineapple or Caloundra Music.
A Few Other Things… Queensland singer songwriter Tia Gostelow’s 2018 crossover single ‘Strangers’ has gone Gold after notching up nine million Spotify streams. She was handed the Gold record during her headline slot on Brisbane’s Mountain Goat Valley Crawl.
UK full service, creative music licensing agency Big Sync Music has entered the Oz market. University of the Sunshine Coast hired Dr Lachlan Goold as a music lecturer – you’ll know him as double ARIA winner producer Magoo of Oils, Powderfinger and Kate MillerHeidke fame. Joining the Support Act board are Shihad drummer, studio owner and artist manager Tom Larkin, David Albert of the famous family which signed AC/DC and The Easybeats, and First Nations singer songwriter Alethea Beetson. The second Australian Festival Industry Conference returns to Coffs Harbour, NSW in an extended format due to last year’s success. Aussie DJ/producer What So Not – real name Christopher Emerson – is taking a break from music and shows to “reset”. Hobart music identity Charles Linley “Lin” Stanton, a radio presenter on Hobart FM and retailer (Aeroplane Records) passed away at 74.
SoundCloud’s new mobile upload feature allows creators to post their tracks. Artwork and new titles via their hone on the go.
Perth band on the rise, Great Gable, have
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MUSIC NEWS
Splendour In The Grass Announces 2020 Acts
Green Day, Fall Out Boy & Weezer Link Up For Huge Australian Tour
Splendour In The Grass is throwing a bit of an almighty bash to celebrate its 20th anniversary, nabbing none other than The Strokes, Flume and Tyler, The Creator to headline this year’s festival. Other notable acts include Yeah Yeah Yeahs, Glass Animals, Midnight Oil, King Krule, Denzel Curry, Mura Masa, Violent Soho, IDLES, King Princess, Tierra Whack and Grouplove, as well as tonnes of other hot local festival acts to catch as well. It all goes down at the North Byron Parklands from Friday 24 – Sunday 26 July: make sure to save those dates.
Now this is what we call a Holy Trinity! Live Nation have announced that they’ll be bringing The Hella Mega Tour featuring none other than the apostles of alt-rock themselves - Green Day, Fall Out Boy and Weezer – to stadiums around Australia. The tour is set to skeet its way between Perth, Melbourne, Sydney and Brisbane in November, with New Zealand indie trio The Beths also locked in to open each show. We can’t think of any better way to usher in the RAWR-ing twenties – visit Live Nation to secure your stubs today.
Groovin The Moo Reveals 2020 Lineup
Ed O’Brien Sets A Release Date For Earth
The Strokes Return With The New Abnormal
Groovin The Moo has really mustered up quite a herd of artists this year! Of course, there’s all the big Triple J festival names you’d expect - Mallrat, Gang Of Youths and Tones And I sit high up on the bill, while a smattering of contemporary internationals such as Clairo, Maxo Kream, Channel Tres, AJ Tracey and YBN Cordae help round things out. There’s also appearances from the likes of Kelis, Supergrass, The Sugarhill Gang and, uh, Darude. It might be its oddest lineup to date, but we’re into it.
Following months of teasers and tid-bits, Radiohead’s Ed O’Brien has finally confirmed the title and release date for his forthcoming solo LP. Earth is set for release on Friday April 17 under Universal Music, with O’Brien assuming the moniker EOB for his solo endeavours. The record features contributions from Radiohead bandmate and bassist Colin Greenwood, as well as Portishead’s Adrian Utley, Laura Marling, Wilco’s Glen Kotche and more. Judging from singles ‘Brasil’ and ‘Shangri-La’, it’s going to be a banger of a record: we cannot wait for this one.
Is this it?!? Indie-rock titans and Converse All Star connoisseurs The Strokes have confirmed that they’ll be releasing their first LP since 2013’s Comedown Machine later this year. The New Abnormal is slated for release on Friday April 10, with the band sharing synth-laced lead single ‘At The Door’ and new-wave follow-up ‘Bad Decisions’ to support the good news. It might be the boldest, most original sounding material The Strokes have put to tape in years, and we’ll get to see it live in the flesh at Splendour In The Grass this July. Can’t wait!
Faith No More Announce First Headline Shows Since 1997
Dream Theater Are Touring This April
Violent Soho Detail New Record Everything Is A-OK
To the delight of many, ‘90s rock luminaries Faith No More have detailed their first Australian headline tour in over 23 years. While the legendary alternative rock outfit, comprised of Mike Patton, Billy Gould, Roddy Bottum, Mike Bordin and Jon Hudson, previously headlined Soundwave back in 2010 and 2015, it’s been a long time since the band have taken their live show around the country without the aid of a festival. They’ll be performing in arenas in all major cities around Australia with none other than RVG locked in to support. Tickets are available now via Frontier Touring.
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Progressive metal behemoths Dream Theater have announced an Australian tour kicking off this April. The upcoming ‘Evening With’ shows will see Dream Theater perform cuts from their latest record Distance Over Time for the first time in Australia, as well as celebrating the 20th anniversary of their classic LP Metropolis Part 2: Scenes From A Memory. What’s more, the instrumental titans will be playing whopping three hour sets at each show, promising to be an unmissable occasion for any self-respecting prog nerd. Check out MJR Presents for all the dates and details today.
Jill Scott Announced For Vivid LIVE Sydney’s Vivid LIVE has given us a taste of what to expect from this year’s event by revealing the first artist to perform at the festival. Neo-soul queen Jill Scott will be performing four sets at the Sydney Opera House in May to mark the twentieth anniversary of her seminal debut album Who Is Jill Scott? Words and Sounds Vol. 1. While it might be too early to spill the beans on the full lineup just yet, we reckon this sets a pretty heavy precedent for some more huge names to come. Keep your eyes peeled for more news
Mansfield’s favourite sons are officially back in business! Violent Soho have confirmed today that they’ll be releasing their new album Everything Is A-OK this April. Recorded at The Grove Studios in conjunction with producer Greg Wales, Everything Is A-OK will be released on Friday April 3 via I OH YOU, and marks the first Violent Soho full-length since 2016’s WACO. The band confirmed that they’d be releasing new material in an exclusive interview with Mixdown last year, and performed a couple of sweaty sets around the country to help share the news – to sold out crowds, of course.
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PRODUCT NEWS PreSonus Introduce The Eris E7 XT Monitors LINK AUDIO | LINKAUDIO.COM.AU New from PreSonus, the Eris E7 XT 2-way studio monitors look set to make quite a splash in the prosumer market. Their 6.5” woven composite drivers and 1.25” silk-dome tweeters offer up to 104 dB of crystal-clear studio quality sound, while a new Elliptical Boundary Modeled waveguide ensures a wider high-frequency dispersion for optimised group listening and collaboration. These ones are expected to land in stores mid-March – get onto your local PreSonus dealer to get your order in today.
KRK Rokit V Series Monitors Out Now
Get Your Room Pod Ready With Primacoustic
ReAmp And Repeat With Radial
JANDS | JANDS.COM.AU
AMBER TECHNOLOGY | AMBERTECH.COM.AU
In the world of sound design and post-production, good monitoring is an absolute must. Thankfully, KRK Rokit offers a hot of nearfield options that bring professional quality reproduction into the home studio. The V series come in 4”, 6.5” and 8” variants, all featuring bi-amped class-D circuitry and Kevlar woofers and tweeters, meaning a smooth, detailed midrange free of additional colourisation and a tight, controlled perfect for crafting subterranean depth charges and proton blasts. The onboard DSP also allows for super easy room integration, which is sure to be of primary importance to anyone working in a critical field. Pop into your local KRK dealer today and hear for yourself!
In any audio field that relies primarily on dialogue (podcasts included) - ambience is definitely not your friend. Reflections can cause harshness, phase issues and flutter echo, sabotaging your audio before it even hits the mic. Luckily Primacoustic are onto it with a range of acoustic panel options for the home studio and more. Room kits like the London 8 and London 12 go a particularly long way towards taming any sonic nasties, meaning professional sounding recordings for you and yours. Contact your local Primacoustic dealer today to find out how best way to treat your space.
Take our word for it, ReAmping is fun as all hell and nobody does it better than the good folks over at Radial. The JCR Studio ReAmper is Radial’s premium ReAmp box and features the highly lauded John Cuniberti circuit found on the original ReAmp units of yesteryear, guaranteed to keep additional noise to a minimum on your way back through the signal chain. With the addition of an all important gain pot for level control and with switchable High Pass and low pass filters, the JCR ReAmper is ideal for heady production types and sound design enthusiast alike. Check in with your Radial dealer today and get creative.
AMBER TECHNOLOGY | AMBERTECH.COM.AU
Ernie Ball Adds 14 New Strap Designs CMC MUSIC | CMCMUSIC.COM.AU
Kyser Celebrate 40 Years With The Limited Edition Milton Capo CMC MUSIC | CMCMUSIC.COM.AU Kyser Musical Products are turning 40 this year, and to celebrate this milestone, they’ve released a Limited Edition Quick-Change Capo as a tribute to company founder Milton Kyser. Featuring a special power-coated chrome finish and insignia, the Milton Capo is limited to an exclusive run of 2000 units, and also comes in a nifty keepsake box with a hand-numbered certificate of authenticity. Check in with your local Kyser dealer to see if they’ve got one in stock.
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Any musician can attest to the importance of a good guitar strap. Ernie Ball’s Jacquard Strap collection is a popular choice for many a guitarist, and they’ve recently expanded the range for 2020 with 14 new designs, ranging from subtle tones to vibrant, psychedelic swirls. All new additions feature embroidered leather ends with durable polypropylene webbing, and boast an extra-long design for ease of application – whether you’re a low-riding riff lord or a high-strung strummer, you’re in safe hands with Ernie Ball.
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PRODUCT NEWS Zoom Debut New G11 Multi-Effects Pedal DYNAMIC MUSIC | DYNAMICMUSIC.COM.AU Ever the kings of the multi-effects world, the legends at Zoom have come through with the goods yet again, this time unveiling their new G11 Multi-Effects unit at the recent NAMM showcase. Boasting a dizzying array of features and tweakable parameters and more effects and amp options than you can poke a stick at. The new G11 is without doubt Zoom’s most powerful multi effects unit to date and should be reaching our shores very shortly. Contact your local Zoom stockist today to call first dibs.
EVE Audio Debut New SC3070 Studio Monitors
Phil Jones Bass Introduce The Cub II Bass Amplifier
IK Multimedia Announces Z-Tone Buffer Boost DI + Axe I/O Solo
ELECTRIC FACTORY| ELFA.COM.AU
EGM DISTRIBUTION | EGM.NET.AU
SOUND & MUSIC | SOUND-MUSIC.COM.AU
German Monitor specialists, EVE Audio, recently unveiled the newest member to their already steller product range, the conveniently sized SC3070 3-way nearfield montor. Incorporating Eve’s patented RS3 Air Motion Transformer and 100% designed and assembled in Germany, rest-assured these are high-quality speakers for any situation where detail is of the utmost concern. Get to your local Eve dealer and check ’em out.
Phil Jones Bass are looking to follow on from the success of the original Cub amplifier with the launch of the new Cub II, adding in extra tweaks to make it even more versatile for players.The Cub II features a new amplifier design to offer a superior transient attack, greater dynamic range and a reduction in harmonic distortion, with the loudspeaker cone acceleration also being improved to highlight a wider and smoother frequency response. To sweeten the deal, the PJB Cub II weighs a measly seven kilograms, and even includes a soft cover for whenever you hit the road.
Italian audio giants IK Multimedia have detailed a new trio of products set to hit the market this year, including a new take on the AXE I/O interface and two Z-TONE products. Drawing from their coveted Z-TONE technology, the Z-TONE Buffer Boost provides guitarists and bassists with a quality tone shaping solution for guitarists and bassists alike, functioning as a pretty nifty preamp/DI pedal, while a DI box is also available for those who need it. They’ve also made a downsized version of their popular Axe I/O interface – head online for details.
Audio-Technica Debut Their First Beer Collaboration AUDIO-TECHNICA AUSTRALIA | AUDIOTECHNICA.COM.AU
Phil Jones Bass Introduce The Cub II Bass Amplifier EGM DISTRIBUTION | EGM.NET.AU Phil Jones Bass are looking to follow on from the success of the original Cub amplifier with the launch of the new Cub II, adding in extra tweaks to make it even more versatile for players.The Cub II features a new amplifier design to offer a superior transient attack, greater dynamic range and a reduction in harmonic distortion, with the loudspeaker cone acceleration also being improved to highlight a wider and smoother frequency response. To sweeten the deal, the PJB Cub II weighs a measly seven kilograms, and even includes a soft cover for whenever you hit the road.
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Turntables, microphones, headphones... lager? Audio-Technica are adding yet another notch to their belt with the announcement that they’re commissioning a special run of lager with Yulli’s Brews. Brewed as a means of celebrating the art of karaoke - a popular past time in AudioTechnica’s homebase in Japan - the Karaoke Kingu Rice Lager is a limited-edition release for the company, and although we’re not sure about sound quality, we can attest to the fact it’s a pretty decent brew. They’re launching it at Yulli’s Brews HQ in Alexandria next month with a sweet party – head to our website for details.
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To find a dealer near you or for more information contact Ph: 03-9540 0658 www.innovativemusic.com.au
DEFTONES GALLOP ONWARDS 25 years ago, a group of teenagers barely out of high school took their love of bouncy, angsty alt-rock and metal to forge into a sound that was exciting and new – or should that be nu? – at the time. The name of the band was Deftones, and the album was fittingly titled Adrenaline. Although he teases incredulity at the fact (“25 years ago? But I’m only 28!”), drummer and founding member Abe Cunningham recalls the band circa their debut album as hungry and ambitious, but ultimately clueless. “We had no idea what we were doing,” he says. “We were handsome, innocent little babies – some might argue we’re still little babies, but that’s another story. It’s funny... a lot of how we operated back then is not that different to the way things are now. We’ve never really thought too much about what we’re writing, for better or worse. We just kind of take the ideas that we have and we go for it. “25 years is a long time, but we still get together in the same place that we’ve had for ages and it falls back into place. We get in the room, we argue, we fight, we laugh, we talk a lot of shit and we see what we can come up with.” Getting in the room is exactly what Cunningham and co. have been focusing in on of late, as they recently finished tracking what will be their ninth studio album. Currently in the mixing process, the album is slated for a potential release in the second half of 2020, if everything goes to plan. It’s an exciting time in the Deftones camp, which is something Cunningham is the first to attest to. “It’s cool, man,” he reports – as only a southern Californian can. “We did things a little bit differently this time. We stretched everything out over the course of a couple of years, rather than blasting through in one go. The process has been mixed with about a year-long break, that we all agreed upon. Being rested and taking that time off really made us appreciate what we’re doing even more. When we’re all laughing and smiling and coming up with stuff together, just like when we were 17... it’s a beautiful thing.” With no new album to sell to a captive audience (yet, at least), Deftones will spend this year playing shows as a celebration of their
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"WE GET IN THE ROOM, WE ARGUE, WE FIGHT, WE LAUGH, WE TALK A LOT OF SHIT AND WE SEE WHAT WE CAN COME UP WITH.” legacy – and it’s safe to say that there would be next to no legacy for the band to stake its name on were it not for their third album, White Pony. Celebrated upon release, White Pony is a ferocious melding of all that makes Deftones great, boasting anthems such as ‘Back To School’, ‘Digital Bath’ and the Maynard James Keenan-featuring ‘Passenger’. It’s still considered the band’s magnum opus, and its influence lingers in the fabric of many of today’s alternative metal acts. In May, the album will celebrate its 20th anniversary, and while Deftones albums have come and gone the impact of White Pony is still felt among both fans and the band itself to this very day. “We change the set-list every night, but White Pony is always at the core of it,” says Cunningham. “I remember everything about making that album. I’m so amazed it’s had the legs that it’s had.
into Around the Fur. When it came time to make White Pony, we were burnt out from all the touring – but we knew what we wanted.” Although White Pony – and Deftones themselves, by extension – were associated with the movement of nu-metal around the turn of the century, there was always something decidedly different about how both operated. There’s plenty of downtuned, goatee’d rage to be found on Around the Fur, certainly. White Pony, however, was the first album in which the band really began to assert their place within the musical spectrum – one so idiosyncratic that they’ve been near impossible to draw parallels with. “There was a lot going on at the time in heavy music,” says Cunningham. “We made the very conscious effort to go the exact opposite way that everyone else was. “At the time, what we were trying to do seemed impossible – it was like trying to carve our name in granite using a plastic fork. Still, if we hadn’t done that, I don’t think that we would be the band that we are now, in the position that we are now. I truly believe that, man.” Next month will see the band return to Australia as one of the marquee acts of the 2020 Download Festival alongside My Chemical Romance, Clutch and Jimmy Eat World. Cunningham says that you can expect to hear a healthy blend of songs from across Deftones’ entire career – truly, depending on when you see them, you may end up with something completely different. “People like our albums – and don’t like our albums – for lots of different reasons,” muses Cunningham. “We try to always make the shows be a ride. We have mellow songs, we have bangers, we have songs that are a journey to listen to... to get all of it out is exhausting, but we love it so much.” BY DAVID JAMES YOUNG Deftones are touring Australia for Download Festival this month, and are performing sideshows in Brisbane and Adelaide. Head to Live Nation for tickets and further details.
“A first record is one thing... they say you have your whole life to write your first, and that’s absolutely true. We were so excited about making a second album, we rushed
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MUSIC INTERVIEWS Jennifer Lee’s production on Oasis Nocturno, the new album from her project TOKiMONSTA, exemplifies this notion unlike any other. Across its twelve track runtime, the record ebbs between immersive, psychedelic hip-hop beats and brooding electronica while maintaining a concise, oddly upbeat edge. Lee’s style is colourful, and it’s clear she committed more time to honing the palate of sounds this time around. ”I definitely had more of a vision. I wanted to create an album with more of a straightforward story to take me away to a different place,” Lee says. She notes that her underlying vision of Oasis Nocturno saw her dedicate much more finesse and detail to end up with a final product that reflected her initial ambition for the project. “I wanted the track listing to be a lot more concise and the mix between songs more similar throughout. I wanted a stronger thread through the album.”
Inside TOKiMONSTA’s Creative Oasis Any musician can attest to the fact that their experiences are intertwined within the music they create. The most mundane mishaps can be carved into the most important melodies, and even without lyrics, these songs can carry the most potent of messages stemming from the experiences of their creator.
On top of a tracklist that utilises the talents of EARTHGANG and VanJess to shape the album’s narrative, Lee also mentions the role of modular synthesis in shaping the overall tone of Oasis Nocturno. The janky ‘Renter’s Anthem’ is a direct product of knob tweaking, and several other tracks across the record are speckled and affected with modular bloops and drones. “I got really into the whole modular thing. You can hear it all over this album,” Lee says. “Whether it’s just little arpeggios or sound effects, or even just digital signal processing for crazy textures. I didn’t want to be too heavy handed with it because they can get really alien and weird, but I wanted to make it as musical as possible by assembling little modules to make sounds that no one else can have but you.” Rising to prominence in the LA beatmaking scene in LA alongside the likes of Flying Lotus and Shlohmo, TOKiMONSTA has always had a knack for making a beat knock - deep kicks and whiplash snares are a speciality of Lee’s. However, it seemed like the rest of the world didn’t catch onto her craft till the release of 2017’s Lune Rouge - the first full-length released by Lee after a life-saving brain operation almost nullified her ability to understand music.
“It’s been five or six years since I did it last. I am excited to talk about it, and sometimes it helps me think about it all.” Written during an overtly chaotic period in his personal life, Suddenly is like The Life Of Pablo for the introverts: while jam-packed with classic Caribou colour and flair, it’s also an extremely emotional and disjointed feeling release. Every song constantly jolts between sounds and ideas like a manic sketchpad of sorts, with Snaith confessing he adopted a much more laissez faire approach to crafting the LP. “Our Love had quite a coherent sound. It was probably the most polished, concise, maybe pop conception of my music without comprising anything too much,” Snaith says. “With this record, I didn’t think I could push that idea any further in that direction, so I’m did the opposite and let the eccentricities and idiosyncrasies about the way I make music flow and just emphasise those things.”
Caribou Seeks Peace Amidst The Chaos “I like talking to people,” Dan Snaith says over the phone from his studio in London. The celebrated Canadian producer hasn’t had to endure the wringer of a press cycle since the release of the last Caribou record Our Love in 2014, and he assures me that he’s got a much more on his mind this time around.
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In that sense, Suddenly could be one of the most scatterbrained projects of the year. One minute Snaith is dropping dancefloor ready stompers like ‘Never Come Back’ and ‘Ravi’, the next he’s channeling Madlib or the RZA to create chopped and slopped hip-hop on ‘Sunny’s Time’ and ‘New Jade’. Modular synths pepper various tracks across its run time, he refers to ‘Like I Love You’ as his ‘Red Hot Chili Peppers ballad’, and the unadulterated Gloria Barnes sample that surges through ‘Home’ might just make for the most unpredictable Caribou moment to date. “I’ve made a lot of albums that reference the past, but on Suddenly I realised that I wanted to engage with the music right now - not that I’m chasing trends or anything like that. But when I hear something exciting that’s resonating in our culture, that’s exciting to me, and I really want to contribute to that.” It’s not just the music of Suddenly that makes it an intense listening experience. Suddenly is easily Snaith’s most lyrical album to date: instead of being buried in textures, Snaith’s voice is mixed to the forefront for the entirety of the record as he attempts to come to terms with the calamities that befell those around him.
“The headspace was completely different,” says Lee of the two albums. “I created Oasis Nocturno knowing I’d already written Lune Rouge and established my ‘post-surgery voice’ in terms of everything I’d gone through. “It was a celebration of being alive and being like ‘You know what guys? I’m just going to make whatever the fuck I want to, because I get to live another day on this planet and I don’t want to waste my time doing anything other than what I want.’ Both of them were natural, but I think this one had a lot more of an intention behind it.” It’s obvious that Lee’s lust for life infects all aspects of her thought process behind making music. Despite the success of her treatment, she’s still incredibly aware of her condition - (Moyamoya, a rare affliction that limits blood-flow to the brain) and the realities it holds in the grander scheme of things. “I feel like it’s still not really in the past. In many ways, the vast majority of people are probably even more curious this time around,” she predicts. “There’ll be tonnes of people who didn’t know me back then and who will go back and be like ‘oh she went thought this thing’. I get people hit me up on the internet saying they wish me well, even though it happened at the end of 2015. “To be technically correct, I still have the disease – I always have to be positive about it. For the rest of my life I still have things that are involved with the condition. As far as the pressure from that, I’ve already created my celebratory album, but that story doesn’t go away. I just get to explore another one with this album.” BY WILL BREWSTER Oasis Nocturno, the new album from TOKiMONSTA, arrives on Friday March 20 via TOKiMONSTA Music.
“I had a lot more to say this time around,” Snaith acknowledges, explaining that the title of the record hints to both these events and the jagged sonic vessels that carry their stories. “In the last five years of my life, there’s been a lot of quite tragic, dislocating events that came out of the blue and changed everything in an instant. I hadn’t experienced like that in my life before: there were all these things I wasn’t planning for, and my musical life is intertwined with that. I can’t be in the midst of those things and then go and write something whimsical and made up and unrelated.” Despite this turmoil, Suddenly never delves into darkened territory. The ruddy glow you’d expect to find in a Caribou record still imbues the project in its full – album highlight ‘Ravi’ gleams like light upon water, while early singles ‘You and I’ and ‘Home’ blanket the listener in a gentle warmth. Snaith says that he finds it reassuring to listen back to the album and hear such a comforting response to the events that affected his loved ones so deeply. “I was usually the person there around those people being reassuring and comforting. But it’s also there in the music because the music is doing that for me,” he says. “Even if I’m not the central character in these events, they still took an emotional toll on me, and being able to process that and filter it through a lens to get through those emotions out. This music is like a journal or photo album. I like that it’s there alongside my life in the same place and time: it makes sense to me.” BY WILL BREWSTER
Suddenly arrives via City Slang/ Inertia on Friday February 28.
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MUSIC INTERVIEWS Incredulous as it seems, neither of us can seem to form a solid answer as to how many times Butler has performed at Byron Bay Bluesfest. Since his now-legendary debut at the festival twenty years ago, Butler and his band have notched up countless kilometers touring around the planet, treating millions of fans from all corners of the world to a show spilling over with passion, charisma and musicianship. This time, however, Butler is a man alone: for the first time since 2012, he’s embarking on his own solo tour. “It’s the first major journey I’ve done since Tin Shed Tales,” Butler explains. “I did about four shows about two European tours ago when my drummer got really sick, and either we canceled the shows or I played solo to about two or three thousand people who paid to see a band. “So, I did that, and it reminded me how much I love playing solo and how I can still make that many move and feel, even though it’s just one guy. So, it kind of seemed perfect when Byron and Grant left the band – I just said ‘You know what? I really wanna play solo for a while’.”
John Butler Finds His Groove “I feel like this must be the thirteenth or fourteenth time playing the festival – hold on let me Google it,” John Butler says, the clickclack of his fingers hitting a keyboard audible in the background of our conversation. “I’ve never Googled myself before. How else am I going to answer this question?!”
Butler is of course referring to the departure of longtime Trio members Byron Lutiers and Grant Gerathy, who left the group on amicable terms around twelve months ago to spend more time with their families. Although he’s rotated through several different iterations of the Trio in the past, Butler acknowledges that their departure did make him reconsider how he wanted to re-approach his strategy towards performing live. “After everything that happened when Byron and Grant left, which was so understandable after so many years of playing, I did feel a bit emotional,” Butler admits. “I just wanted to simplify things for a while. The JBT touring juggernaut is a massive entity; it’s a thirteen person crew and we do great work, but I just wanted to do that same kind of work by myself, and it feels right for now. I know I have plenty of band music still in me but right now solo feels like the most exciting thing.”
“People don’t get super excited about those things, but they are the quiet heroes. Let’s hear it for the quality cabling solutions,” Doyle says over the phone. Doyle is enjoying mundanity during a brief period of downtime amidst Hot Chip and his other band you might have heard of, LCD Soundsystem’s, winter (“I’m looking forward to the summer, but I’m also looking forward to not playing”). He’s been remixing Stevie Wonder’s Original Musiquarium – just for fun – and listening to “punishing” breakbeats. Hot Chip have also just returned from their first ever festival date in India (“There were some really big Indian bands playing that they seemed to be more stoked about”) and are about to arrive in Australia on their second festival season for 2019’s A Bath Full of Ecstasy. The record was a return and a departure for the band featuring an outside producer for the first time, the late Philippe Zdar. The result was painted on a broad technicolour canvas - mixing dance-psychedelia and bubblegum existentialism. The produced experience was one Doyle hopes to repeat in future.
Hot Chip: Wiring and Grief Al Doyle from Hot Chip is thinking about cabling and air conditioning. It’s a sign the English synth-pop band is reaching middle age, but mainly it’s ‘cause Doyle is bunkered down in construction on a new studio with his bandmate Felix Martin.
“It’s nice to have an external authority figure to appeal to; to have somebody cut through the convoluted decision making that inevitably ends up happening when you have five people in the room with big ideas,” Doyle says. Doyle doesn’t have a wishlist for collaborators but says “generally” he’d like to work with a female producer, or someone with a non-electronic background. However, the new studio wouldn’t necessarily be the recording setting for any new Hot Chip material if they bring in another outside voice. “The producers that I particularly like working with do have a very idiosyncratic grasp of studio craft. I want them to be very picky about those places, and ideally want them to have their own studio where we can go to,” Doyle says. Unfortunately, Hot Chip doesn’t have the chance to continue their producerial relationship with Zdar, who tragically passed away one day before the release of the record.
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There’s no doubting that John Butler is an above-adequate solo performer – anyone who’s witnessed him performing his signature instrumental piece ‘Ocean’ in the flesh can attest to that. However, given the more expansive and textural production heard on his 2018 LP Home, it’s hard to imagine how some of his more recent material will sound without the backing of his group. Butler of course, remains unflappable. “Finger-picking is an amazing technique,” he laughs. “I’m not trying to emulate Home, or any album for that matter, but a lot of the textures that I produce with or think about for drums and bass are already inherent within my right hand and the rhythms I’m making with my guitar and voice. “I do have a couple loop things that offer an extra shade, but I’m also not wanting to ruin whats really beautiful about the folk singer-songwriter aspect of what I do by making the set full of loops or by using backing tracks,” Butler says with confidence, gently ribbing on a growing dependence on backing tracks in the industry as he goes. “My attitude is ‘if you can’t play it, maybe it’s just better to have it a bit raw or rough’. That’s sometimes a good thing. If you really want it there, maybe just get someone to do it! To me though, it seems like the general population doesn’t give a shit about playing live or looping or using backing tracks as long as it sounds good. “I mean, I think ‘Ocean’ can sound as big as an orchestra with just one person, so if I can do that with one song without words, then I can make any other song as big or small as I want within my own physical realm.” BY WILL BREWSTER John Butler is performing at Byron Bay Bluesfest this April. Head online to cop your tickets today.
“That was just the start of an artistic relationship that we were all finding very fertile and productive. He was just an inspiring person to be around, so I think we would have definitely loved to have worked with him again and probably sooner rather than later, but it wasn’t to be,” Doyle says. Doyle tells us that Hot Chip are currently trying to book studio time in Zdar’s Motorbass Studios in Montmartre, Paris with two assistant engineers from the previous record. “It will be very very strange to go back without Phillipe in the room because that was definitely a prime example of somebody who was inseparable from his workspace. The way he used the facility was a complete extension of his creativity. We’re still going to try and do it, ‘cause I think he would have wanted that,” Doyle says. Studios are also on Doyle’s mind because he hasn’t had a consistent workspace for two and a half years. Hot Chip often appeals to gear-obsessed listeners because, as they have noted numerous times, they are inspired more by gear than other bands. The day after our phone call, Doyle lends Hot Chip frontman Alexis Taylor a Yamaha CS-70 to play with – a rarer model from the same series as the more common CS-80. “The psychology of it is weird, cause you always want to have something new and the fact of buying a new synthesiser, will inevitably, probably mean you get a new song out of it. Sitting down, with the excitement of a new tool can be very stimulating and productive. Then you get into this rich man’s game of never quite having enough. It’s a real affliction.” Luckily, air conditioning costs are slightly easier to manage. BY JOSH MARTIN
Catch Hot Chip on tour around Australia this month - tickets are available now via Secret Sounds.
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MUSIC INTERVIEWS “It’s funny because Prince first heard me through a video of me playing a Hendrix cover on YouTube,” Harts recalls. “He invited me to Paisley Park and he was always really complimentary and encouraging with my playing and stuff. We’d often talk about Hendrix. I guess it’s all come full circle now!”
“I’ve always played Stratocasters and for the tour I bought a left handed Strat and strung it in reverse as a bit of a nod to Hendrix,” explains Harts, who himself is a natural right-hander. “It’s actually insane the difference it makes sonically, with the pickup the other way, it just instantly sounds more Hendrix.”
Harts’ latest project Harts Plays Hendrix may well be his most ambitious project to date, taking one of the most beloved pop cultural icons and gifted players in rock music history and giving it the Harts treatment. So where does someone start when trying to do justice to what is arguably one of the most dazzling and technically adventurous songbooks in the rock music canon?
For someone with as much technical aptitude on the guitar as Harts, were there any moments he found difficult on a technical level?
“I think it all starts with trying to inhabit that bold playing style and the personality of it all. There is an attitude in the way he plays,” muses Harts. “His songbook is so solid that it can stand up all by itself, even separate from all the technical guitar stuff. There’s just so much to work with beneath the surface that you can really dive into it.”
Harts Plays Hendrix Darren Hart (aka Harts) is no stranger to walking in the footsteps of giants. The Australian funk rock wunderkind has consistently drawn parallels to pop virtuosos past and present, his technical skills and ability to navigate a tune have garnered praise from scene kings like Questlove and even The Purple One himself.
While Harts has been a longtime fan of the big man, the songs he seemed to connect with this time around were somewhat unexpected. Surprisingly the one that seems to kick off the hardest for me is ‘Spanish Castle Magic’ he recalls. “Growing up I was always drawn to the more mellow stuff like ‘Little Wing’ and stuff like that. Just the way ‘Spanish Castle Magic’ fills in with the drums and the bass, it just comes out really big and open and full of energy. I got a greater appreciation for that one now.” Perhaps one of the more intriguing revelations for Harts came in the gear domain.
He pauses for a second, with all the stoicism of a veteran, before emphatically stating “Anything beyond the fifteenth fret,” he explains, perhaps mysteriously. ‘‘With an upside down Strat you lose access to a lot of those higher frets. I knew Hendrix had massive hands, but they must have been huge to get all the way down there so easily with that cutaway where it is… It’s pretty ridiculous.” Tribute shows can be a daunting prospect, especially when you are dealing with one of the greatest instrumentalists and most recognisable pop cultural figures of all time. So how does Darren inject Harts into Hendrix? “It’s never been about making a carbon copy of the Hendrix experience. It’s never been about making about an exact replica. It’s about inhabiting that attitude and taking it somewhere modern while remaining true to that spirit.” BY PAUL FRENCH Harts Plays Hendrix kicks off this month in Adelaide, and sees Harts trek all the way around the country until June. Head to his website to grab your tickets today.
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GETTING TO KNOW: FINISHING MOVE INC Finishing Move Inc. are without doubt one of the most in-demand sound design/composition teams going at the moment. The LA based duo, made up of Brian White and Brian Trifon, have over time accumulated the kind of credit list that most can only dream of, having worked on some of the biggest titles in the gaming and film world. We recently caught up with Brian and Brian, to talk Halo, Hollywood and the hardware that got them there. Finishing Move are doing big things in the Film and Gaming space. Did you guys know each other prior to entering the industry? What is it about working together that makes it such a potent pairing? We were good friends before we started Finishing Move and had collaborated together on various projects at a commercial music house we both worked for in the late ‘00s. We noticed that we had very complementary skill sets, and whenever we’d collaborate on something, it would just turn out a lot better, so we decided to team up and form Finishing Move. Working as a team really suits our workflow, as it allows us to deep dive and try out new ideas or concepts that would otherwise take too much time away from getting work finished. A lot of times, one of us might be doing R&D on some new sound or technique while the other is writing, and we can trade off as needed. It can be hard to push the sonic envelope if you are always just trying to push stuff out the door and meet a deadline, so we both really enjoy the flexibility and support the team dynamic offers. From your perspective, was there a particular breakthrough moment for Finishing Move or was it more a case of chipping away for years and slowly building momentum?
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We still think we are slowly chipping away! Halo 2 Anniversary was a big break for us, as it was the first massive project Finishing Move took on as a proper company, and we had just come off a cancelled project the year prior and really needed a win. We score supervised and produced that whole soundtrack, in addition to lending our composing and sound design skills, which was a huge responsibility and really set the tone for Finishing Move as a “triple-A” team in game audio. From the high-octane synthiness of Crackdown 3 to the lush, orchestral driven work on Halo Wars 2, Finishing Move are well-known in the gaming world for their dense, narrative driven style of composition. Is there a particular type of project or sonic palette that you prefer to work with? We love to push the envelope of musical sound design and create stuff no one has ever heard before. For example, we developed our instrument Posthuman during work on Halo Wars 2 as a bridge between otherworldly synthetic sounds and the organic sounds from the live orchestra, because we didn’t feel like anything off the shelf was doing what we wanted. Our dream project is any project that allows us to blur the notion of what makes a sound feel synthetic or organic, and how unique timbres can support or convey the emotion of the project or scene in addition to the melodic and harmonic content of a cue. As well as all the gaming stuff, you guys are equally at home working in the film medium - Uncut Gems, X-Men: Dark Phoenix, Mad Max: Fury Road, just to name a few. How does designing audio for film differ to designing for the game-sphere? Does it require a different approach or do the same principles still mostly apply? A lot of our sound design work focuses heavily on theatrical trailer content, which is even more specific than just sound design for film or sound design for games. Trailers
have to convey the emotional impact of a two hour film in under two minutes, so the way they use sound and music is often very different than how it gets used in the actual film, TV show, or game it represents. The core tools and workflow of sound design remain the same; source/field recording, DAW processing techniques, etc. so it’s more about changing your mindset of where it is going to be used and how it needs to function in that context. For example, a gunshot or weapon in a film may be intentionally very realistic or only slightly sweetened for impact. In contrast, a gunshot designed for use in a trailer is purposely built to sound 100X larger than life, with a huge impact layered in and a super long reverb tail, because that one sound has to convey a whole film’s worth of energy and emotion in a very short window of time. I know you have a particular penchant for SSL Fusion stereo outboard processing. How did you come across this unit and what is it that makes it such an integral part of your signal chain? I think we read about the Fusion on Gearslutz initially. It took a few months to actually get the unit we ordered because it was brand new, and supply was short. The drive portion is worth the price of admission alone, and the rest of the box is just the gravy on top. Something about that drive circuit and how it inflates the signal really compliments the rest of the hardware chain we have cooked up. For example, when you’re doing really dynamic or cinematic stuff, it can be hard to get a lift out of the softer sections without killing the delicate envelope of your mix. A lot of times, a compressor even with half a dB of gain reduction just sounds wrong in this scenario, that’s where the Fusion’s drive circuit really shines. It has this way of lifting and adding density to the signal while retaining all the dynamics that just seems to work for our material. In our current signal chain, the mix goes into the SSL Fusion which has an SSL-style VCA compressor patched directly
into the insert. There is no patch bay, it’s all hard-wired in the same order for every mix, and everything generally stays set up in just one or two configurations to make recall easier. That way, we can gain stage into the chain from the DAW, and it just works its magic with very little fuss. With so much work on, do you still find time to experiment with new techniques when working or is your process fairly set at this point? Have you experimented with anything new on any recent that you wouldn’t have thought would work in the past? Yes! Experimentation is a huge part of our process. As we mentioned earlier, being a team allows us to build in time for that during any project. We even make a point to use any downtime to explore new creative techniques that we think up, even if it’s just checking out what new sample libraries or plug-ins came out recently. Most of our best production techniques are born out of experimentation with little expectation of how it might turn out. Plenty of these experiments end in failure, where you think you have an idea about how to approach something, and it just doesn’t work well in practice. But sometimes you surprise yourself with how well something works, and it’s usually things that are quite simple that yield the coolest results. Lastly, what’s next for Finishing Move? Any exciting new projects you can tell us about? Lots of stuff we can’t really share at the moment, unfortunately. The game gods tend to only let us talk about things after they ship or very close to the launch date. But we promise, we have some very cool stuff coming out in the first half of 2020 and you can follow our socials to stay up to date on what we are working on. Head to our website to read this feature in full, and check out Finishing Move Inc.’s website to find out more about their projects today.
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Talking Tech with AFTRS The explosion of the podcast medium has seen a whole new wave of on air talent, and despite being big on ideas, these people don’t always have the technical skills to bring their product up to industry standard. Enter Madeline Joannou, broadcast/podcast producer to the stars and the head lecturer of the Podcasting Fundamentals short course at the Australian Film, Television and Radio School (AFTRS). Mixdown recently caught up with Mads to talk pod, post and beyond. Podcasts are everywhere at the moment, yet not much is said about the technical aspects of what goes into making a successful podcast. How important is it for aspiring podcasters to have a solid understanding of the technical/practical aspects of their craft and how does this translate to better content? The truth of it is that anyone can make a podcast as long as you have a microphone and some editing software. And whilst we are somewhat forgiving of not-so-great audio quality in podcasts as long as the content is amazing, I think that now there are so many big-budget podcasts out there the standard is definitely getting higher. It’s so important to understand the technical side of audio production. You wouldn’t try to make a feature film without understanding cinematography and how to use camera
equipment and the same should be said for podcasting. Part of our craft is storytelling and you need to understand how to compel an audience to keep listening. Without a solid understanding of this, you’ll really struggle to make content that’s worth listening to. A lot of people are probably not aware of the amount of post-production and editing involved in producing a podcast. What kind of editing and post skills is a student likely to pick up in the Podcasting Fundamentals short course at AFTRS and how useful are these to the aspiring podcaster? Yes that’s one of the biggest misconceptions with podcasting… people always underestimate how long it takes to make one episode! In our course you will learn everything you need to make your own podcast. We cover the technical side of it with recording, editing, signal processing, how to host your podcast etc. but we also teach our students how to conduct interviews and get the most out of their guests and most importantly how to tell a story. Also featured at the end of the course is how to grow an audience and market yourself and your podcast brand which is half the battle really.. Your CV is about as legit as they come in the Australian broadcast space, having worked with a veritable who’s who in
Australian radio (Kyle and Jackie O, ABC). How did you get your start and have have you been able to maintain and sustain your trajectory in what is such a dynamic and competitive industry? I kind of fell into radio actually. My initial career goal was to be a print journalist but things happen and change your life path, and that’s exactly what happened to me. I met someone who was an audio producer and I visited their studio and saw a promo laid out in Pro Tools and it was literally one of those mind-blowing moments for me. I had never even imagined how radio promos were made and I was immediately fascinated and wanted to be a part of this world. I found out early on in my radio career that being a female audio producer set me apart from the boys club that it was. Whilst I may stand out in that regard, my work has always had to speak for itself. You’re only as good as your last piece of production and so I’ve always just strived to produce the highest quality work possible. As an Audio Creative, you have been involved in some pretty major re-brands (ABC Sydney, KIIS 1065). How important is it for aspiring podcasters to find their own voice as a means of building a ‘brand’.
promote that brand or nobody will even know that your podcast exists. For many, podcasts have become a marketing tool to help promote an existing brand or business anyway. Podcasters must find their own voice because being a copycat makes it really hard to succeed in this super competitive podcast market. Find your niche and your point of difference and build that brand to make it something that we all want to consume. We make podcasts for people to listen to so we need to get it into as many ears as possible! What would be the one piece of advice you would give to aspiring podcasters, looking to make their mark in the content-creation space? Find something that you’re genuinely interested and passionate about because making a podcast involves a lot of research, reading and talking about that topic and if you’re not authentic in your delivery, your audience will see right through it. Also, take some time to learn how to tell a compelling story… learn how to record and edit properly so that you’re making the best possible podcast you can. Find out more about AFTRS' courses online
Well once you create a podcast, you really should consider it as a brand. You need to
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POD, POST
BEYOND
PART 1: INTERFACES
ZOOM LiveTrak L-8
PreSonus StudioLive AR8c
RRP: $749 | INPUTS/OUTPUTS: 12X4
RRP: $699 | INPUTS/OUTPUTS: 8X4
MIXDOWN SAYS: Zoom have built a loyal following in the world of portable digital audio devices in recent years. While you could use the LiveTrak L-8 in a home studio or live music capture setting, its clearly designed with podcasters in mind. As the name suggests, there’s eight inputs (six of which can operate at mic level with phantom power) and there’s four headphone outs which really help to get a better performance out of guests not as accustomed to correct microphone technique.
MIXDOWN SAYS: PreSonus’s StudioLive is another option for podcasters looking for an all in one mixer/ interface. It features six channels of recording at 24 bit at up to 96kHz for high definition recording, plus the stereo mix. Channels 1 and 2 both have balanced mic inputs with XMAX preamps or unbalanced line/instrument inputs. Channels 3/4 and 5/6 both have mic inputs with XMAX preamps or stereo line inputs. The Stereo Super Channel can toggle between (or mix up to four stereo sources) various inputs including RCA, your computer playback, the SD recorder/player or Bluetooth - perfect for capturing phone calls.
All of these inputs can be recorded on individual tracks in to your DAW (up to 12) and also recorded to SD simultaneously; a perfect fail-safe to have up your sleeve. There’s six assignable Sound Pads to store your intros, outros or sound FX. There’s a TRRS cable included specifically for remote interviews via smartphone, with an inbuilt function to prevent echo and feedback for both you and the caller. This accompanies the
USB connection to route audio from digital platforms such as Skype. Swapping routings for different situations can be a stress when the talent is waiting, the LiveTrak saves some of this stress by allowing you to store your settings in a Scene (you can save up to seven) and recall them at the touch of a button. Ultimately the Zoom LiveTrak L8 represents a new wave of mixer designed especially for podcasting and the fact you can run it on Four AA batteries for two and a half hours makes this an ideal solution for podcasting on the go.
The Stereo SD Recorder works as a recording solution when you don’t have your computer and its playback is perfect for your intros, outros or other pre-recorded material. There’s latency free effects for musicians, a three band semi parametric EQ for fine tuning as well as a
Rode RodeCaster Pro
TC Helicon Go XLR
RRP: $849 | INPUTS/OUTPUTS: 6X2
RRP: $679 | INPUTS/OUTPUTS: 3X2
MIXDOWN SAYS: Hybrid interfaces/mixers provide a lot of routing options, but sometimes simplicity is king. The RodeCaster Pro is a compact solution with four microphone inputs, a TRRS input for phones, Bluetooth and USB input. There’s four headphone outputs so your guests can all hear themselves and eight programmable sound effects pads.
MIXDOWN SAYS: Maybe your live stream calls for more creative effects? TC Helicon’s GoXLR features a MIDAS preamp on the single XLR input, making this mixer best suited for live streaming applications like Twitch. In the world of audio production, motorised faders hold a certain allure and the four that the GoXLR boasts are a welcome feature. Instantly recall your various mix settings at the push of a button for a tactile command of your microphone, auxiliary line in, optical cable, USB or effects inputs.
The pads can be recorded to directly from any input, or you can assign audio files using the included software to the 512mb internal memory (so you don’t have to reprogram them every time you swap micro SD cards). Remote interviews are easy with the TRRS or Bluetooth connection, which uses mix-minus to automatically prevents echo or feedback. You can record stereo direct to the micro SD, or record each channel individually (as well as the main mix) visa USB to your DAW of choice. Those familiar with Aphex audio processors will be excited to see their technology included
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to give your productions some professional finesse. Multistage dynamics, compression, limiting and de-essing further help refine your inputs to help achieve a high production value recordings. The RodeCaster Pro suits those new to audio production, or anyone wanting a dedicated podcast interface, without the need for excess features more suited to music production.
The precise control over the microphone is the main draw of this simple mixer; there’s Real time EQ, Gate, Compressor and De-Esser to keep things sounding professional. Then you can get creative with the Reverb, Echo (delay), Pitch Shifting and the ever-essential Gender control. GoXLR also features an on-the-fly sampler which will appeal to broadcasters and there’s even a Cough button for a quick mute
high pass filter for each channel. The StudioLive AR8c comes with PreSonus’ Capture live recording software and Studio One Artist DAW to add effects or bumpers. The Stereo SD recorder, USB-C compatibility round out this impressive hybrid mixer/interface which has everything you need for recording podcasts or producing music.
when you’re wanting to curse off air. A GoXLR app accompanies the hardware to give you access to more advanced settings. Perhaps there’s creative autonomous podcast producers out there, but ultimately the GoXLR is perfect for gamers looking to level up their broadcast (it’s the RGB lighting that really drives this point home).
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POD, POST & BEYOND Steinberg UR22C Recording Pack
Apogee Duet
RRP: $449 | INPUTS/OUTPUTS: 2X2
RRP: $1099 | INPUTS/OUTPUTS: 2X4
MIXDOWN SAYS: Steinberg have a solid reputation for building quality audio interfaces. In this package, they’ve bundled the UR22C audio interface, STM01 microphone, ST-H01 Headphones and all the software you need to produce professional audio content. The UR22C audio interface records 32 bit/192kHz high definition sound from its two inputs, driven by class A D-PRE preamps for transparent, detailed recording.
MIXDOWN SAYS: The Apogee Duet was the first professional all-in-one audio interface for Mac back in 2007 and has held acclaim as delivering Apogee's renown A-D/D-A conversion in a compact device in the years since.
Steinberg are keeping with the times by featuring a speedy USB 3.1 USB-C output and inbuilt DSP effects, so you can monitor wet signals with zero-latency. MIDI I/O gives you control over virtual instruments or other
MIDI compatible hardware, which is essential for music producers, while a handy Loopback function lets you mix the interfaces output with your DAW to make live streaming easy. The ST-M01 is a highly sensitive condenser microphone with a wide frequency response, perfect for singing, interviews, acoustic instruments or intricate ASMR recordings. The Steinberg UR22C really works for producers looking for a dynamic sound recording solution without taking up too much real estate on their desk.
The Duet 2 has remained relevant thanks to the aforementioned legendary converters and 2 world-class preamps. It’s been a studio staple and helped elevate the sound of countless emerging home producers. Mic or line level inputs connect to the two inputs, which can also supply phantom power. Four analogue outputs provide balanced output for monitors or outboard gear while a headphone output lets you switch between signals; perfect for DJs. There's been three renditions over the years, the most recent supporting direct digital connection to iOS devices, making it an ideal choice for podcasters that incorporate an iPad into their studio setup. The original Apogee Duet built its brand on its Mac compatibility, but of course today full software control of the Duet 2 via Apogee’s Maestro program is supported across Mac, Windows and iOS devices. New digital audio technology dictates that most interfaces don’t last so long, but the Duet 2 remains a classic choice thanks to its professional sound in such a sleek, minimal design.
NT-USB Mini
STUDIO-QUALITY USB MICROPHONE
The NT-USB Mini is a compact, studio-quality USB microphone designed for easy recording direct to a computer or tablet. Offering rich tone and handy features like an in-built pop filter, zero-latency headphone monitoring, a detachable magnetic desk stand and 360-degree swing mount, and simple controls, it’s perfect for podcasting.
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STUDIO SOUND, SIMPLIFIED.
POD, POST
BEYOND
PART 2: MICROPHONES
RODE PodMic
Audio-Technica AT-BP40
RRP: $149
RRP: $499
MIXDOWN SAYS: Rode have been dominating the entry-level market of portable audio solutions for years now. In the portable camera world, their on-camera microphones are industry standard and now they look set to achieve the same for podcasters as the new Rode PodMic is built from the ground up for podcasting. It’s a broadcast quality, dynamic microphone with a rich, clean sound optimised for speech applications. An internal pop filter saves your podcast from sharp, unnatural plosives and its all-metal construction gives it the weight that denotes a quality tool that will serve your production for years to come. XLR output connects to industry-standard interfaces but it’s been designed to be used with the RodeCaster Pro we mentioned earlier.
MIXDOWN SAYS: While being the producer behind some studio classics, many offerings from Audio-Technica remain sleepers in the current market and this microphone in particular, is a prime example. The Audio-Technica AT-BP40 is a broadcast vocal microphone with a beautifully rich sonic depth that delivers condenser-like performance from a large-diaphragm design. This largediaphragm features a patented floating edge construction, maximising diaphragm surface area and optimising overall performance.
A cardioid polar pattern minimises unwanted noise coming from behind the microphone,
improving isolation to achieve the cleanest recording possible. All this equates to a lot of microphone (937 grams to be precise) for a very modest investment and the fact this produced by an Australian owned and operated company is yet another reason to get on board. The combination of the Rode PodMic with the Podcast Pro is sure to be a popular combination and this much attention to the unique demands of podcast producers is easy to see why.
The BP40 captures a commanding vocal presence, recording character and distinction even when your application separates your source from your mic, thanks to optimised capsule placement. Any broadcast application is bolstered by its stylish waveform design and its multistage windscreen offers internal pop filtering, delivering superior, articulate clarity. A switchable 100 Hz high pass filter
Blue Microphones Yeti Pro
Shure SM7B
RRP: $339
RRP: $729
MIXDOWN SAYS: Following on from the best-selling Blue Yeti USB Microphone comes the Blue Yeti Pro. The Yeti Pro combines ultra high definition digital audio recording with an analog XLXR output. The digital side of this hybrid microphone records at an unprecedented 24-bit/192kHz quality, making it the highest quality USB mic on the market. Add to this the convenience of a separate analog path for XLR output for use in a professional music or broadcast setting. Three condenser capsules and four patterns make this a highly adaptable microphone; there’s cardioid for vocals or podcasting, stereo for ASMR or acoustic instruments, omnidirectional for field recordings or AR/ VR sound design and bi-directional which is perfect for interviews or duets.
MIXDOWN SAYS: The Shure SM7B is famous for being the vocal microphone used on best-selling albums such as Michael Jackson’s Thriller, and more recently, being Joe Rogan’s mic of choice. It’s a dynamic mic with a wide-range frequency response engineered to deliver rich presence from both vocal performance and instrumentation.
Latency can ruin any performance but the Yeti Pro features a zero-latency headphone output to keep you on beat. A gain dial and mute button give you additional control as well as
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an included desktop stand, XLR breakout cable and USB cable, everything you need to get recording. The Blue Yeti Pro’s intelligent hybrid design occupies a unique position and I\m sure we’ll see more like this moving forward. An ideal solution for anyone needing a quality microphone to cover a variety of applications.
A pop filter and air suspension shock isolation eliminate harsh or mechanical noises while advanced electromagnetic shielding prevents unwanted hum from studio equipment polluting your production. Rich, natural sounding low end is captured with utmost distinction and clarity. A cardioid pattern rejects off-axis audio, so you can use the SM7B at whatever comfortable angle you desire, with minimal coloration. The sensitivity to the delicate highs of vocal performance can be further increased by removing the windshield in favour of a traditional pop filter.
further guards against unwanted noise and a humbucking coil prevents electromagnetic interference. At this price point, you’d be hard swayed if you’re just starting out with podcast production, but if you want to make an investment in your future or are a working studio looking at vocal microphones (as well as the other applications of a large-diaphragm mic of this calibre) you really can’t go wrong with such a well-designed quality studio piece.
Shure’s famous rugged construction protects the cartridge from the day to day stress of studio use. Being a dynamic microphone, it does require a high level of clean gain, so use with consumer grade preamps may not yield desired results. It’s a classic for a reason and in the right situation is hard to beat for capturing stunning vocal performance.
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POD, POST & BEYOND Electro-Voice RE20
Sennheiser MD-421 MKII Dynamic Instrument Microphone
RRP: $799
RRP: $635
MIXDOWN SAYS: For years the Electro-Voice RE20 has been instantly recognizable as a broadcast industry standard dynamic microphone. Its patented ‘Variable-D’ design minimises proximity effect, and its true cardioid design results in no colouration from off-axis sound sources, resulting in a neutral, accurate recording even in untreated spaces.
MIXDOWN SAYS: While not the most obvious choice, the MD-421 originally cut its teeth as a large diaphragm dynamic for the broadcast crowd and if this list has taught us anything, it’s that broadcast style large diaphragm dynamics make incredible podcasting mics (surprise, surprise).
A low-frequency roll-off and condenser-like response make it ideal for capturing presence and clarity in speech or vocal performance, but it also works well in capturing bass-heavy instruments such as kick drums. It features a large diaphragm and heavy-duty internal pop filter making it shine at close range which is part of why it’s so celebrated for voice-over work. Its iconic grey shell is 21 cm long and weighs 737 grams so it can require some careful positioning in certain applications and does benefit from a spider shock mount, but the outstanding results it delivers make it well worth this minor inconvenience. Podcasting is the radio broadcasting of today, so if you’re looking for professional results for recorded speech than the consistently good results and solid construction are what you’ll get from upgrading to an Electro-Voice RE20 and any music studio could benefit from its versatility.
The MD-421 has many of the same robust tonal qualities of mics like the Shure SM7b and Electrovoice RE20 (with a slightly more defined top end than the aforementioned mics).
Its iconic five-position roll-off switch ensures that excess boom and proximity effect can be reigned in on the spot. As well as making an awesome pod mic, the MD-421 is a bona fide classic in the music domain, lending its versatility to sources like bass cab, kick, toms, vocals and guitar amps (and anything else you want to chuck it in front of.) An absolute classic.
ADVICE COLUMNS ELECTRONIC MUSIC PRODUCTION
So, You Wanna Make A Podcast? This column may be called Electronic Music Production, but in this issue we’re gonna expand that a bit to be a more audio production related as we’re talking podcasts. Recording people talking isn’t rocket science, but there’s definitely a few considerations to keep in mind when aiming for a high quality recording. USB Microphones There are a number of affordable table-top USB microphones on the market aimed squarely at the booming amatuer podcast market, like the new AKG LYRA mic and mics from Blue and Audio-Technica. These mics are wide-range condenser mics, designed to pickup audio from around the room ideal for recording multiple people in an impromptu location. However you should absolutely do some test runs, as they’ll likely pick up things like chair squeaks, room reverb or a person mucking about in the room next door. Here’s a lesson I learnt the hard way with tabletop mics, you absolutely need to instruct your speakers not to touch the table or get yourself an isolated shock mount, or better yet, a boom arm that raises the mic off the table surface. Otherwise your
mic will pick up every slight knock or tap on the table’s surface. A podcast project I worked on had a guest in that liked to firmly tap the table when he was making a point. This resulted in some extremely annoying ‘donks’ in the recording that I had to spend hours repairing in software. Multi-track Recording One big downside of a single mic setup is the inability to adjust a single speaker’s volume in a multi-person scenario. This is especially relevant in editing. You may have been smart and got everyone’s levels right in your test run, but what if your lovely chat develops into debate and speakers talk over one another? That don’t make for good listening. Ideally you’d want to lower one person’s volume while another speaks their points in the editing stage - not possible with a single microphone’s worth of recording. If you think that could be a possibility in your podcasts, you may want to think about a multi-mic setup with each mic recording to its own track. Obviously this complicates your setup somewhat, but it’s still very doable with a standalone recorder or an iOS device with an audio interface if you’re looking for a more portable setup than a permanent studio location.
Condenser vs Dynamic Mics Without getting bogged down in the technicalities of how microphones work, we can summarise that condensers require power and are highly sensitive, while dynamic mics do not require power and record sounds that are in close proximity. The USB condenser mics previously mentioned are easy as the USB port provides the power required, but a more pro-level mic with an XLR cable connection will require an audio interface or mixer with phantom power.
acoustically treated, as they’ll only pick up audio in close proximity. The downside being that the speakers will need to be more conscious of their distance from the mic, which might interrupt the natural flow of conversation. So there’s a few considerations before you get started, I’d encourage you to do some further reading and a number of test runs before you start inviting your idols in to have a chat. Preparation is key! BY MICHAEL CUSACK
Dynamic mics are certainly worth considering if you’re opting for a one mic per person setup and your recording environment isn’t particularly quiet or
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ADVICE COLUMNS GUITAR
BASS
Creating A Mood
The Chameleon
Guitar in film, TV and gaming is a beautiful thing. Capable of a huge range of sounds, tones and emotions, the guitar has been utilised in a wide range of genres. Guitar can be a great composing tool for both single note and chordal ideas and the ability to add effects opens up many more doors when creating a mood. There are genre specific situations with classical guitar, flamenco, country, metal and so on but there has also been a huge influx of ‘hybrid’ styles - blending metal with orchestral music for example.
FYI, we’re not talking about Herbie Hancock’s uber funk jam (although that does deserve to be regularly talked about in great detail… perhaps another issue). More so, we are going to have a look at bass as a musical chameleon. An instrument that can fit into a plethora of genres making it a great instrument for music, screen, TV, film and video game production alike. Playing the timekeeper, informing the listener of the harmony, creating a groove, creating a mood and controlling the low end are just some of the roles for bass guitar. The following are some typical bass parts/feels/styles/grooves that you might hear/use in music for screen.
One of the great things about composing/creating screen music on guitar is the fact that it’s typically easy to get started with ideas. Arpeggiating chords, rock licks, muted picking, funk rhythms or big spacey voicings are all fair game. The many flavours of electric and acoustic guitars also come into play. Let’s check out some ideas to get you started, these are just simple phrases that (hopefully) evoke a feeling or emotion that might be seen somewhere on screen.
Figure A – Walking Bassline
Figure A – ‘Contemplation’ Essentially an Em-C-D chord progression play this at a slow tempo using a glassy Strat sound with some reverb and delay. You could use the tremolo arm to give the chords some vibrato/pitch movement too. To set the scene think of man leaning against a wall looking up at the sky or a blank stare out into space.
Based around an Am sound, play Figure A with a swing feel at a slow-ish tempo. Walking basslines should be a staple of any capable bass player and this example could be played on double bass or electric with flat wounds to really emphasise the round, thuddy sound. Can be used for anything from a sophisticated sound (wine bar, upmarket party, expensive car) to mysterious sounds for Police/Detective shows or incidental moods. Figure B – Root and 5th
Figure B – ‘I hear footsteps’ A combination of quavers and semi quavers this idea uses faster phrase and space to create a feeling of movement. Try a clean sound (or perhaps something slightly dirty) and play at a medium tempo. You could try palm muting to add dynamics and open up on the last three notes. The whole melody could also be doubled with some tuned mallet percussion for contrast. Think a ‘70s mystery show with someone creeping down a hallway or a mouse scurrying along a kitchen floor.
Country music (along with rock/blues/funk etc) often utilise the root and 5th sound. It adds some movement and variation rather than just staying on the one note and is a great tool to be familiar with. This example starts on C, moves to D and then finishes on G (so uses the 1, 4, 5 but in a different order). You could try slow and dirgey or up tempo for more rollicking sounds. Lots of modern pop has used this sound too thanks to the acoustic guitar/DJ type electronic genre. Figure C – Ambient semiquavers
Figure C – ‘Parking lot’ You might try a Tele or SG on the bridge pickup with a little bit of breakup. Play the riff with a slightly raw and loose feel but not too messy. Picture a classic hot rod pulling quickly into a carpark or a close up of someone turning the ignition to start a car. The idea is just stock rock/ garage/punk but played with a little attitude and placed in the right scene it could work a treat.
Figure D uses a repetitive rhythmic figure that descends harmonically and ends with eight semiquavers. This could be double with percussion or mallets for a subtle sound or doubled with more raucous instrumentation to contrast the tied notes and space. Plaintive, reflective scenes or slow motion effects might be appropriate or even quicker tempo electronic soundscapes with pulsating synths and digital noises.
Now, none of these ideas are groundbreaking compositions. But, they don’t need to be to create a mood or convey a feeling. These ideas could be solo guitar or built up with a rhythm section, ensemble, band and of course effects can be utilised to taste (there are also some sounds that instantly call up a specific mood – wah funk, ambient delay, tremolo country/folk etc). Pay attention to your favourite TV show or movie, or even a random ad on YouTube, and see what you can garner in terms of sound and composition. Chances are you’ll hear some tasty uses of guitar and latch onto plenty of ideas that aren’t super difficult.
Bass can be a very useful starting point for building screen music. As mentioned earlier it can state harmony or pedal through changes, it can be static or syncopated rhythmically and it can be laid back and unobtrusive or abrasive and gnarly. Don’t be afraid to combine genres and sounds and dig into your tonal palette also to really get creative.
BY NICK BROWN
BY NICK BROWN
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ADVICE COLUMNS PIANO
Inversions III 5
9
Dm7
Dm7 2nd
Am7
G7 2nd
G7
CM7 2nd
D7 2nd
Hopefully by now you’ve all heard the 13‘Autumn Leaves’ and are familiar song with the ii-V-I chord progression. By using the circle of fifths as a reference I’m going to teach you a simple method to transpose the chord progression into all 12 keys.
Above you will find the seven chords of the song in the key of D Dorian - which, if we think in terms of its relevant major scale is the same as C major.
The17 characteristic Dorian sound you will have heard in music from the modal jazz era of the 1950s. Artists began to construct songs and improvise over them using the notes from a single mode, often switching between them for different sections. This is in contrast to the typical harmonic approach where melodies take notes from the relevant chords being played. Perhaps the best example of a modal jazz album is Miles Davis’ Kind of Blue, released in 1959.
21
For Miles and many others this approach expanded their respective improvisation tool kits by giving them a whole scale to play over a chord instead of just its harmonic parts. Overall you get a similar sound to a natural minor scale but with a major sixth twist. The flat third and seven are the reason it sounds ‘blue’ and is often what musicians are referring to in track titles.
25
30
29
CM7
GM7
FM7 2nd
Bm7(b5)
Bm7(b5) 2nd
FM7
CM7 2nd
E7 2nd
F#m7(b5)
E7
Am7 2nd
B7 2nd
Especially listen to some of John Coltrane’s work from the same time – i.e ‘Giant Steps’ – you will really hear the difference between the two approaches.
To play this you continue the exact same fingering pattern but replace any F’s with F#. Try it a couple of times and your fingers will begin to pick up the pattern.
I digress, playing the first line of chords above you hit each chord change by first moving your top two fingers down one note in the major scale, followed by moving your bottom two fingers down. Here we alternate between root position and the second inversion of a seventh chord - don’t forget the dominant third chord uses a note outside of the Dorian scale.
Once you have that down try and take another step around the circle of fifths.
Now as you finish on Am7 at the end of the top line first we’ll jump up an octave so its easier to read – you can continue moving your fingers down in the same pattern and you will play the whole chord progression again, except, now the inversions are swapped as you see on the second line above. After playing through you will ultimately resolve back on a Dm7 in its root position.
But here’s where it gets interesting. I want you to instead jump to the third line above and take one step clockwise around the circle of fifths – now you’re in the key of A dorian which is the same as G major. Notice the chord you previously finished on now becomes the first chord in the progression.
Am7
Am7
You’ll have finished on an Em7 – which of course becomes the first chord when playing the progression in E Dorian. i.e. D major. Now you replace any C’s with C#. You’ll just need to jump up an octave every now and again when the chords begin to sound muddy.
Em7
In any case, ‘Autumn Leaves’ is a really great song to hear the use of the flat 5 and dominant third chords; they really stick out and create tension for listeners, as well as opening up new paths for improvisation – an effective way to ‘jazz up’ lots of other songs too without strictly needing to know too much about jazz. BY JACK SWANN
Also, if you learn these chords in both hands you can begin to play them in the left and improvise with the Dorian scale in the right hand, or, play in the right and make up walking bass lines in the left by following the right arpeggios. Perhaps a better exercise is to start playing the progression from about Eb major, and work your way from there clockwise around the circle of fifths. This way you drop flats until you reach C and then begin to add sharps from then onwards. It’s much easier to play six or seven keys before you really start to get lost in double sharps or flats. Also, most people tend to play the song in one of these keys so you’ll find you can play along quite happily.
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ADVICE COLUMNS PERCUSSION
The Modern Drummer
This month got me thinking about the vast amount of drum and cymbal options we have available to us these days and the huge array of subsequent sonic options. But I also started thinking about how we can often forget about our stick bag and the very thing that makes the sound happen. Yep, how we actually pull sounds! Everyone is a little different here but here are some of my non-negotiables that I can’t live without on a gig to cater to a variety of genres or musical applications. It’s pretty standard really but all important. I remember having a lesson as a teen with my first drum teacher. Along I came to my lesson with the one pair sticks I owned (and had trashed) but I actually happened to have a cheap set of nylon brushes in my bag – white bristles, black handles, little use. Sticks were the preferred weapon. When my teacher saw the brushes, he grabbed them, fanned them out and had a play on the drums. He commented, “…these are pretty cool”. I replied with a typical inexperienced and undignified response. “I don’t reckon, they’re just something I never use. Not very loud. Why are they cool?”. The reply came with a little grin, “you’ll understand when you’re older”. I clearly didn’t get it then, but as we know, experience is a wonderful thing and I did get it when I was older. Brushes aside, it
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took me a while to truly understand the sonic variations available from using the same instrument but different stick options. My stick bag has changed many times over the years but here’s what’s getting the job done these days. Drumsticks Every stick offers a different playing experience, every player is different but for me, feel and weight are fairly consistent amongst my sticks. The key difference though is in the tips. Really, the shape of the tip is the first thing that gives you an instant contrast in sound. Small round tip, larger oval, wood or nylon you can get a vast amount of different tones. Cymbals can be vastly transformed with a different stick. Take a jazz ride for example – light and washy. You can find additional stick definition from a small bead type tip and great control to accompany. I’ve literally bought a cymbal based on how it sounded from one stick to another. So, for me I have at least two pairs of different tipped sticks that cater for general playing and more delicate jazz type applications. Ball tips provide clarity and are my preference. Mallets/Brushes Orchestral background or not, having a set of mallets in the bag is never a bad idea. The obvious use that comes to mind is cymbal rolls and these are great in ballads,
delicate endings, build ups etc. Sometimes however, we need to recreate orchestral type instruments on the drums – think Timpani or bass drums and a couple of mallet types is useful for this. I have a softer, more woolly set that have a very soft attack and another that are slightly harder that are great for cymbal rolls and allow the cymbal to open up a little faster when required. Versatile. Brushes are another highly underrated sound creator on the drums. Perhaps a forgotten art, sometimes sticks just don’t cut it and brushes offer something more – something extra. But not all brushes are created equal. Whether it be my old nylon vibes or the steel variety, there’s thicker and less flexible option, which yield more attack and projection or super light for the opposite. Both are in my stick bag. Brushes also offer the unique ability to create a sustained sound with one hand that can fill in the space around the notes, creating a platform for everything else to play over. Brushes can also be loud when used correctly and as such, a lighter variety can be useful in the right setting. You can also get creative and go down the wooden/reed type variety of brush too – think small broomsticks. These give a wonderfully fat, warm vibe and I’ve used them on many recordings. Hot Rods or dowel type sticks offer a lower volume experience and allow the player to hit at a normal velocity without the hassle of being too loud but for me, the clarity that comes
from a stick is never matched so the advice during my youth was to, “learn to play softer.” Each to their own though! Auxiliary By far the most commonly used things I carry in my bag that isn’t a stick, brush or mallet are my ‘sizzle’ options. Recreating rivets in a cymbal, I use a metal of chain for opening/closing blinds. Creating a loop at one end enables me to quickly place on a cymbal to create a great sizzle sound that performs in a similar way to the sustained brush sound. I suddenly have a layer I can work under. You can experiment with thicker chains – the old cabasa chain trick works well or different lengths gives shorter or longer sustain. This sound works great too on cymbals that aren’t as light as you’d like. This is the tip of the iceberg but what works for me most of the time. Of course, there are so many other options – music dictates variation, but a good selection of sticks, brushes mallets and accessories is a solid foundation to be gig ready. BY ADRIAN VIOLI
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PRODUCT REVIEWS ZOOM
LiveTrak L-8 DYNAMIC MUSIC AUSTRALIA | DYNAMICMUSIC.COM.AU | EXPECT TO PAY: $939
One of the more interesting developments to emerge from the digital revolution has been the rise (and continued rise) of the podcasting medium. For a generation weened on smartphones and the unprecedented viewer sovereignty afforded by streaming services like YouTube and Netflix, podcasts provided a breath of fresh air, a departure from the played-out tropes of drive-time radio and ENG broadcast that had previously dominated the airwaves in the decades prior. But there is more to the podcasting movement than just a gradual shift in how we consume content, the emergence of podcast as a legitimate force has also brought with it a demand for specialist tools in what is, a relatively new trade. Zoom have been on the cutting edge of this kind of stuff for years. The companies continued dedication to location recording and portability have seen them emerge as something of an industry standard for anyone working in the video/sound design/ content space. If it involves audio and a location, chances are you will find a Zoom product somewhere in the vicinity, such is the companies omnipresence in the field. Zoom’s new LiveTrak L-8 takes this same ‘go-anywhere’ ethos and applies it to the relatively terrestrial world of studio/podcast peripherals, and the results are liberating to say the least. In order to review the LiveTrak L-8 properly, its important to note that it is really two mixers in one. For the musically inclined, the L-8 has all the makings of an extremely portable and
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flexible recording set-up, with six hybrid line/XLR inputs (each with 48v phantom power), an intuitive layout and a selectable three-band EQ; more than enough to get things down with a minimal amount of fuss. I would of loved to have seen a simple compressor/limiter included on the unit, but in terms of standard DAW workflow, this is something that can easily be amended in the box. Perhaps one of the more impressive aspects of the LiveTrak L-8 (and one that definitely impressed this reviewer) is when you realise that all of the aforementioned features are powered by the USB Bus alone, something that would have previously been inconceivable a few years ago. I’m still scratching my head as to how they managed to pull this off, as the amount of processing on offer (not to mention the ability to run 6 phantom powered mics simultaneously), would normally render the need for a wall mounted power supply, completely inescapable. The fact that the L-8 manages to do all this with bus power and batteries alone is really quite a remarkable achievement and one that only adds to the units elite level of portability. For a mixer that looks to be more geared towards the content creation crowd, the L-8 really has no business being as musical as it is. The plug-and- play convenience, along with the L-8’s unique SD storage capabilities and diminutive size that combine to make it an obvious choice for rehearsals, location recording and demoing on the fly, and all with enough i/o flexibility to make traditionally cumbersome tasks like laying
down drums and recording live shows a relative breeze. The fact that it fits so easily into a backpack, makes the L-8 an absolute must-have for anyone lacking a dedicated recording space or for the itinerant producer looking to take their recordings outside the bedroom. The other side of the coin (and perhaps where the L-8 really reaches its stride) is as a workstation for podcast. With various nods to the world of professional broadcast peripherals/AMU’s (assignable pads, phone-in capabilities and onboard transport controls just to name a few), the LiveTrak L-8 sits firmly at the top for the heap for those looking for an all-in-one solution for podcast. The fact that it can record to both DAW and SD card simultaneously also gives the LiveTrak L-8 a level of redundancy seldom afforded in the prosumer space. The assignable pads allow for ongoing SFX gags (if that is your vibe) and the onboard faders and multiple headphone outs do a lot to keep everyone in check from a volume/ monitoring perspective. Perhaps one of the remarkable aspects of the Livetrak L-8 is how seamlessly it integrates these broadcast standard features into a mixer for the home studio. Designing a mixer/interface that caters to both music and podcast types in equal measure is by no means an easy feat. Both disciplines bring with them their own unique set of conventions and production requirements and it’s hard to please everybody. Thankfully, Zoom have done a more than commendable job of integrating enough of both worlds to make the L-8 a
more than capable mixer on all but the most high end of applications. Musicians will be drawn to it by its simplicity and minimal power requirements, podcasters will be impressed by its technical thoroughness and ease of use. While this kind of versatility is alone worth the price of admission, it’s the ability to have a dual-purpose, eight channel interface/pod studio that you can put in a backpack and power from your laptop, that really sets the LiveTrak L-8 apart from its contemporaries (and in many ways echos the same sentiments that have made Zoom’s handheld and field offerings such a massive hit). The positive effect this kind of portability can have on your workflow cannot be overstated. After all, when it comes to the creativity, be it musical, content or other. Convenience is always king. BY PAUL FRENCH
HITS: ∙ Super Versatile ‘2-in-1’ mixer ∙ Insanely portable MISSES: ∙ No Dynamic Processing
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PRODUCT REVIEWS STEINBERG
UR22C Recording Pack YAMAHA MUSIC AUSTRALIA | AU.YAMAHA.COM | EXPECT TO PAY: $449.99 Home recording is an endlessly growing market. As it becomes more and more accessible, more and more amatuer musicians record their own stuff at home, while professionals are able to work from home more and lower their overheads. Steinberg has been at the forefront of both professional and amateur audio for some time, producing variations of Cubase and Nuendo, as well as branching out into interfaces and sound cards, again, offering products for any level of profession. In a bid to encourage more people to record at home, Steinberg offers the UR22C recording pack, an updated package that contains everything you need besides a computer to start producing hit records at home via USB-C. The pack contains a great and very usable microphone for a variety of sources in both the studio and at home, and would be a great first microphone for podcasting and streaming, of course coupled with the sleek-looking and great-sounding ST-H01 headphones. The UR22C itself is a 2-in/2-out audio interface that connects via USB-C, offers phantom power to both combo XLR / 1/4” jack inputs, peak metering, gain control and a Hi-Z input for connecting a guitar direct to the interface for use with plugin amplifier emulators etc. It can record at up to 32-bit/192kHz, which absolutely matches (and admittedly exceeds realistic use) professional grade interfaces and sound
cards. The included condenser microphone, the ST-M01, is a reasonably sized condenser that responds with an even and honest voice. Even for seasoned professionals, the ST-M01 is a handy mic to have around, while the ST-H01 are a great headphone with better than expected isolation and a balanced yet pleasing response. While recording, it’s important that monitoring is honest but doesn’t fatigue the ears, and the ST-H01 fulfill this brief. On the subject of monitoring, the UR22C interface features a mix knob to blend between input signal and DAW playback, for latency free monitoring if need be. There’s MIDI in/out for connecting a MIDI controller and main monitor outputs for external speakers with a volume control independent of the headphone mix. In use, the UR22C recording pack is great. It really does contain everything you need to start recording, including a mic cable and mic stand clip for the ST-M01. I was up and running in minutes, and the pack also contains a download of Cubase’s streamlined Cubase AI, a complete DAW for recording and mixing, as well as WaveLab LE, a mastering and finishing software package. What’s more, Cubase AI includes a bunch of plugins to tweak and hone in on your sound once it’s recorded. There’s channel strips, time-based effects for space and ambiance, as well as a suite of guitar and bass amplifier plugins for direct-recording and re-amping. The interface connects easily
and, where USB-C is available, data transfer is phenomenally fast. Monitoring is crystal clear through the ST-H01 headphones, and the ear cups sit comfortable against the head, even for extended periods. Cubase is fairly easy to navigate, even for beginners, and Cubase AI is even more so. Steinberg provided a great product in the first of their recording packs, and continue to do so in every revision, now in the UR22C Recording Pack. The UR22C interface itself is a stellar and worthwhile investment, providing both a great first interface for budding music producers, and a great solution to on-the-go or home recording when away from a bigger studio, as it is bus-powered when using USB 3.0 and USB-C, so no external power is required. Even for seasoned veterans with mic lockers full of vintage colour and taste, the ST-M01 will find its way onto recordings in one way or another. The UR22C recording package is
a no-brainer for anyone either already in, or getting into recording, whether that be professional or just at home. BY LEWIS NOKE-EDWARDS
HITS: ∙ Contains everything to start recording ∙ All products will be useful even as experience grows MISSES: ∙ N/A
PRESONUS
StudioLive AR8c LINK AUDIO | LINKAUDIO.COM.AU | EXPECT TO PAY: $699 PreSonus just keep pumping out top quality mixers at affordable prices! Whilst similar to its predecessors, the new StudioLive AR8c offers improved gain staging, EQ design, the addition of digital effects and - as the name suggests, USB-C compatibility. There’s freedom to mix on the fly before recording everything from podcasts to live sets and studio sessions, and you’ve got the option of tracking each individual channel alongside the main mix. As always, PreSonus make sure to provide a logical and compact workflow with each button or knob having only a single function. The sizable fader knobs gift -80dB to +10dB range for each channel as well as independent FX and aux mix control. The StudioLive AR8c comes with four XLR mic inputs each with a high-gain XMAX-L mic preamp and 48V phantom power – perfectly designed for podcasters that frequently have additional guests and are in need of multiple microphone setups. The interface itself delivers 24-bit/96 kHz audio, and you have an initial 12dB to 55dB variable gain knob before a responsive threeband EQ. Every channel has its own AUX, FX, pan and mute control as well as a PFL (pre-fade listen) button. This is excellent for figuring out how much headroom you’ve got on a channel before fading in with the AUX, FX or rest of the mix– note that it does not bypass the channel’s EQ. 34
For musicians, inputs one and two also have an instrument/line in. You’ve got low cut and a substantial gain boost added at the press of a button without sacrificing quality sound. You can really crank up the volume after tracking and hear how crisp and clear the recording is with such little noise present. Inputs 3/4 and 5/6 can instead take dual 1/4” jacks for stereo or mono recording. These inputs also feature a +10db gain at the press of a button. Channel 7/8 provides you with a stereo 3.5mm jack or dual RCA input – ideal for playback through samplers, record players or synth modules. Furthermore, Bluetooth wireless connectivity is also included so you can remotely play music off your choice of device. The list of 16 onboard digital effects is tastefully included, with reverbs and delays as well as a slick tape echo and chorus. You’ve got complete control over the blending of these effects into each channel, which is a nice touch for a live setting and PreSonus have done well not to overdo it with token effects that you’ll never want. USB-C connectivity means you can hook up the interface to nearly any computer and record through your choice of DAW – PreSonus’ Studio One Artist is included with the purchase of the mixer. Alternatively, using the onboard stereo recorder you can record the main mix straight to an SD card without the need of a computer. Simply press the USB/SD button to swap
between playback sources. I can see why this may appeal to some people and it’s definitely a good back up plan to have. However, you’ll tend to need a laptop at some point during the production process anyway, and everyone seems to have one on hand these days, so I don’t see this as being a huge drawcard. Despite being one of the smallest PreSonus StudioLive products, this unit is a bit bulky overall, although, when you weigh it up against the quality of the preamps it shouldn’t be a problem. It would probably best suit musicians, particularly in small bands, that are often playing in different locations, as well as home studio artists that want to upgrade from a simple two channel interface. The analogue/ digital hybrid gives you much better control over the tracking process and the option of playing live. Also, for monitoring purposes you can playback up to four streams of previously recorded tracks. But as I mentioned, you’ll
need to find a good bit of extra desk space. In any case, I am yet to see PreSonus sacrifice quality of sound in any of its products, you cannot be unhappy with what this unit can deliver. BY JACK SWANN
HITS: ∙ Crisp quality with very low noise levels ∙ Four top quality XMAX mic preamps MISSES: ∙ A bit bulky
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PRODUCT REVIEWS RØDE
NT-USB Mini RØDE | RODE.COM | ENQUIRE FOR PRICING If you want to buy a USB desktop microphone, you could be spending anywhere between a $3 op shop find to the lofty heights of the nearly $500 Apogee HypeMiC. The yellowed-plastic gooseneck variety everyone seems to have in their shed may get the job done, but what if you want something higher quality without breaking the bank? Røde arrived on the scene last year with their impressive NT-USB microphone, jam packed with accessories and features. It was a great mic, although it seems Røde wishes to expand their audience even further with the new NT-USB Mini, at around three quarters of the price. When you purchase a Røde, you’re not just buying a microphone. The heritage of a proud Australian brand comes along with it, and this is immediately evident upon opening the box. There are no corners cut, and not a single penny pinched. The solid steel chassis of the NT-USB Mini gives it a marvelous heft, weighing 585 grams without even considering the sturdy base. Paired with the remarkably strong magnetic mounting system, once planted on a desk or attached to a stand this beast isn’t going anywhere unless you make it so. When it comes to the sound quality, there are a few takeaways. Before any treatment whatsoever, the frequency response comes across as quite flat. The positive of this, is that it in no way suffers from harsh sibilance that a lot of cheaper condenser microphones
do. However, as this particular Røde offering is marketing itself as professional studio quality, I can’t help but feel it falls a little short of its regular big brother the NT-USB. If you are the fiddly type and are happy to do some post-production, some tactical EQ cuts at 300-400Hz and boosts at around 10-12kHz will really work wonders for this microphone, bringing it up into the leagues of the legendary Blue Yeti, but with arguably improved build quality. The inbuilt pop filter does do its job well, and considering the NT-USB Mini was never designed to be right up close to the mouth for something like live vocals, plosives are not something to worry about here. When placed more than 50cm away from the voice however, perhaps a bit further back when using on top of a desk, the noise rejection begins to show its limits. The slight roomy echo is a calling card for USB desktop microphones, and unless your room is very well treated with acoustic foam or the like it is more than likely that this will always be the case. I tested the noise rejection further by turning on a moderately noisy fan a few metres behind the microphone. It was definitely audible, but didn’t distract too much from the main vocal signal other than the low rumble which can easily be abated with the help of a high-pass filter.
to put in a little work to get it sounding the way you want to, it can punch above its weight impressively. For the entry-level podcaster, or the singer/songwriter looking to record their first tunes, you need something which will last a lifetime and not take years worth of busking to pay for. The NT-USB Mini does just that. BY FERGUS NASH
HITS: ∙ Flawless construction ∙ Impressive mounting system ∙ Bang-for-buck MISSES: ∙ Inconsistent noise rejection.
The Røde NT-USB Mini is by no means a poor choice for the budget, especially considering its quality of craftsmanship. If you’re willing
AUDIENT
EVO 4 By Audient STUDIO CONNECTIONS | STUDIOCONNECTIONS.COM.AU | EXPECT TO PAY: $199 Since the dawn of solo artists making their own DIY EPs, two things have always rang true. You need to have songs to play, and you need to have researched the very basics of audio engineering. With the release of the EVO 4 by Audient, songwriters have no excuses not to make their presence known and get recording. Grabbing the EVO 4 out of the box, it’s no hassle at all to get the interface set up with a computer. The four-step instruction leaflet has you operating the unit within minutes. Impressively tiny at only 14x6.7cm, there’s no need for bulky AC power adapters either. Plugging in with a single USB-C cable, the EVO 4 makes for a highly portable solution should you want to quickly record that flash of genius you have in a hotel at three o’clock in the morning. One of the features which differentiates this interface from many of its competitors (other than the low price for the 24bit/96kHz quality) is the Smartgain technology. Just select which channel you’re using, enable Smartgain mode, make some noise and the input gain will adjust itself. This method seemed to be quite foolproof, making sure that absolutely anyone can get great gain structure and avoid harsh digital distortions or piercingly loud noise-floors which can often be a hallmark of home studio rookies. I decided to try recording one of the most unpredictable elements out
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there, an acoustic guitar pickup straight into the direct input of the front panel. As long as you don’t set the Smartgain by strumming a soft folk song and then smash your strings with a rendition of your favourite punk band, you shouldn’t run into any issues as those spiky transients can clip even the lowest gain settings. The preamps are as they should be in this price range, clean and unnoticeable. If you are so inclined however, you can of course set the gain manually with the monolithic control knob at the unit’s centre. If I had to nitpick one issue with this device, it’s that the detents of the knob feel quite slippery and hard to really ‘lock’ into for that satisfying click we musicians seem to crave. A smooth rotation may have been the better solution, but this complaint is truly grasping at straws. Some may argue that for any modern piece of equipment, USB 3.0 connectivity is a must. However I had absolutely no issues with latency, either with headphones plugged into the unit or through my laptop, so the USB 2.0 seems to be pulling more than its fair share of weight. My favourite feature of the EVO 4 is the Loopback function. If you’re wanting to use the EVO as a way to record podcasts over Discord, or maybe gaming content for YouTube or Twitch, it is so easy to get your computer audio routed through alongside your microphones.
The lightweight nature of a small USB device is something to be noted as well. If you view the EVO 4 as a portable, quick and easy solution to recording ideas or even full songs at good quality, then the 360 gram interface is definitely something to admire. However, if you plan to use it in a dedicated home studio setup, you may wind up finding that it doesn’t like to stay put once it has a few cables plugged into it. Especially the stiffer breeds of speaker and instrument cables can easily push the EVO 4 off a desk. All in all, Audient have clearly put a whole heap of thought into this thing. Nothing has been left to chance in terms of its ease of use, and it assumes nothing in the expertise of its end users. For a budding songwriter signing up to Soundcloud, or
a touring rockstar needing to capture the flashes of genius, you cannot go wrong with the EVO 4. BY FERGUS NASH
HITS: ∙ Low latency ∙ Beginner friendly ∙ Impressive Smartgain MISSES: ∙ Control knob is a little slippery ∙ Very light
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PRODUCT REVIEWS FOCUSRITE
Scarlett 2i2 USB Audio Interface INNOVATIVE MUSIC | INNOVATIVEMUSIC.COM.AU | EXPECT TO PAY: $289 Focusrite essentially revolutionised the home recording market with the Scarlett USB interface series, and with their third generation, they’ve only further asserted themselves as an industry leading brand. This new generation of the red classic features improved preamps, and the ultracompact and lightweight unit features 24-bit/192kHz converters, which give you exceptional clarity and detail with next to no latency. It will slot into any bag pocket for on the go recording – simply power it up by connecting your Mac or PC via USB. The instrument inputs feature very high impedance and headroom, essential for plugging guitars or basses straight in. The responsive Gain Halo function lets you easily adjust to avoid clipping, overall giving you a crisp and accurate recording without unwanted distortion. You have the option of connecting XLR or instrument jacks to either input, with an individual gain control knob for each and 48V phantom power available for microphones that need it. Also for recording you’ve got a choice between ‘instrument’ and ‘Air’ modes. The Air function emulates Focusrite’s original ISA preamps - ideal for miking up instruments or recording vocals. This tends to deliver a much brighter and open sound, especially handy for vocals. However, as with any new interface it will take a little fiddling to find the right settings for your own needs. Adjust
the independent monitor and headphone volumes, and you’re ready to record. The 2i2 offers independent recording and playback of both channels. For any new artists looking to fully harness their musical talent or those of you wanting to explore new degrees of in the box music making, the 2i2 interface also comes with a whole range of recording software, sounds and plug-ins. This includes a starter version of both of the industry standards, Ableton Live and Avid Pro Tools, as well as a three-month subscription to Splice Sounds. The bank of royalty-free one-shots, loops and presets are added to daily and already feature millions of high quality releases. Finally, there is access to the Softube Time and Tone Bundle, and a range of Focusrite plug-ins packed full of mixing and mastering tools. That said, these do get a little overwhelming at times. Companies love giving consumers an outrageous list of add-ons and extras, and it’s easy for them to chew up so much of your time sorting through them and figuring out what works for you - often at the expense of creativity. If you’re up to date with the tech and committed enough, Focusrite continue to release free downloads every couple of months, so you really never know what you might come across. Keys players will also be aware of a lack of dual instrument inputs, as well as MIDI I/O (although larger models boast these
features). If you’re looking to split an instrument to its left and right during recording you need to use both inputs and pan them in your DAW. This can be frustrating at times if you’re recording several instruments or playing with other people, as you’re only able to do things one at a time and then have to readjust your gains to swap back and forth. However, the Scarlett has always tended to lure in solo performers or producers, so I’m sure they won’t be too fussed about this. Overall, the third generation of Focusrite’s iconic interface still proves that these guys are the rightful rulers of their market. The Scarlett 2i2 is still best suited to home studio artists looking for an easy way to get their songs recorded and to begin playing around with digital workstations. At the end of the day you cannot knock the 2i2 for
any possible limitations; for the price you are paying, you’re receive the best possible quality of sound on the market. There aren’t many brands that are preferred over Focusrite when it comes to USB interfaces. BY JACK SWANN
HITS: ∙ Ultra-compact and lightweight ∙ Affordable with excellent quality preamps MISSES: ∙ Not suitable for multi-tracking ∙ No MIDI
RØDE
PodMic RØDE | RODE.COM | ENQUIRE FOR PRICING If you’ve been following filmed podcasts and radio for any amount of time, chances are you recognise the Electro-Voice RE20. It’s an absolute classic for recording narration, and has also found much love in studio circles recording anything from voice, to guitar and even kick drums. They say imitation is the highest form of flattery, and if this is the case then Røde has been flattering the RE20 for years. From the Podcaster to Procaster, the Røde team have put their own spin on the legendary dynamic mic, even making one a condenser, but always bringing it down to a more affordable price point. The most affordable so far - the PodMic. Affordability however is never an indication of quality when it comes to Røde products, with everything from accessories to the body of the microphone itself being of the utmost quality of engineering. With reassuring weight and solid XLR pins, the PodMic is easily positioned within its bracket. Even without the two year warranty, this tank of a microphone should handle all the knocks and scratches which could be possibly thrown at a studio microphone. The sector-cut chassis is of course evocative of RE20-type microphones, but the sleek black steel modernises it significantly. The shorter length helps this too, as well as compacts setup space. While it may sound silly, being able to see the faces of the people talking in a filmed podcast is another boon of the
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17.2cm length. It really is an attractive microphone. This style of microphone must excel in two things. Crisp, clean, yet slightly pokey high end, and warm, bellowing bottom end. All this and more arrives in droves with the PodMic. Some may say that to compare a sub-$200 microphone with one that is more than triple its cost would be unfair, but it is a testament to the PodMic at how close it comes to the RE20. At close proximity the two are nigh indistinguishable. The booming low end can make even the squeakiest of voices sound like melted butter dripping down Optimus Prime. Hyperbole aside, the PodMic’s frequency response graph may look like the mountains of madness, but the characteristic bumps at 120Hz, 900-1000Hz, and more speckled between 5-10kHz are exactly the kind of EQ sculpting which would occur in postproduction anyway. The dip in the low-mids are the icing on the cake as far as plugand-go recording is concerned, making the PodMic near perfection for anyone wanting to chat away without worrying about tedious EQ processing. The sound quality is only impacted by two things. Firstly, proximity is paramount for this microphone. From even 10cm away there is a noticeable loss of low end, even with a loud bass-registered singer. Secondly,
the inbuilt pop filter leaves a little bit to be desired, especially with sung vocals instead of spoken word. For music recording, a balancing act may be required to introduce a seperate pop filter whilst still keeping enough proximity for that gorgeous low-end to gather around the capsule. The results though, are more than worth that slight effort. Whether you are using the Røde PodMic for recording spoken word or sung vocals, there is very little out there which can beat it in its price range. It clearly comes from a place of great planning, and Røde’s long history of knowing how to ace a vocal microphone. It may not be the right choice for recording instruments, placing it outside the versatile realms occupied by ‘jack-of-
all-trade’ microphones often found in this price range, but its the decisive and specific nature which makes the PodMic so incredible at what it does. BY FERGUS NASH
HITS: ∙ Solid build quality ∙ Fantastic sound ∙ Looks and feels great MISSES: ∙ Sensitive to pops ∙ Needs close proximity to retain warmth
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PRODUCT REVIEWS SAMSON
Satellite USB Microphone ELECTRIC FACTORY | ELFA.COM.AU | ENQUIRE FOR PRICING Samson are a market leader in workhorse microphones, and they continue to design and produce affordable, consistent and reliable products. Upholding this reputation requires Samson to go where the market is heading, and the Samson Satellite is the perfect example of that. The Satellite is a 3-pattern condenser microphone, connectable via USB and features a headphone output. Designed for broadcasting, podcasting, live streaming, basic recording and impromptu inspiration capture, the Satellite literally stands in a field of its own, thanks to the three legs that fold down from the main body of the mic. This makes the Satellite a phenomenal solution for live-streaming and gaming, both for influencers and content creators, or as a podcast and interview microphone. The Satellite looks classy and serves its purpose professionally. The Satellite doesn’t require any drivers, and the handy little mic can begin recording at 24-bit/96kHz instantly via either the included USB cable or lightning cable. This ensures you can have your iPhone or iPad ready with your Satellite for when news or inspiration strikes. Monitor latency-free via the 3.5mm headphone output on the chassis on the Satellite itself, or mute the headphone out and monitor from your computer. The Satellite features a 3-colour LED to signify power, clipping and a muted mic, and weighing in at just 0.34kg, it can
be stowed away and taken anywhere, ready when you need it to be. The rubber feet that complete the legs isolate sound from table bumps that inevitably happen, especially when podcast guests get passionate, but be weary that at more precarious angles the Satellite is prone to toppling. It can, of course, be used with a universal shockmount and mic-stand. Samson have produced an endlessly usable microphone. The Satellite records high quality audio, and the unit itself can be tweaked to fit a variety of needs and situations. Three sturdy legs fold out from the body of the mic, and can be repositioned individually to allow precise positioning of the mic capsule. The mic responds from 20Hz-20kHz, so podcast guests with even the deepest voices can be captured. Be warned though, that because of the full frequency range of the dual electret condenser, the Satellite is susceptible to capturing bumps, traffic noise, air conditioning and low city rumble, so filtering out this noise could be required after the fact. Ironically, such a broad range microphone may hinder the sound more than help it. There wouldn’t be many scenarios besides capturing foley where 20-40Hz would be required, and the Satellite doesn’t feature a high-pass filter or low cut. The Satellite features three switchable patterns, designed for use with a single speaker in cardioid, two speakers in figure-eight and
multiple speakers in the omni position, designed for when the Satellite is positioned in the centre of the table and surrounded by guests and voices. All in all, the Satellite is a great buy for podcasters and live streamers who want improved and professional sound for gaming, streaming and recording. The Satellite captures a broad frequency range, which can hinder it a little bit by letting in excess noise, but that can admittedly be easily filtered out later. The Satellite was designed to be as easy to use as possible, and Samson have achieved that in this little condenser that offers three polar patterns, as well as latency-free monitoring if you need it, as the headphone out can also be muted. The Satellite is light, robust, and malleable both sonically and physically, as well as being fully-compatible with iOS for recording to iPhone or iPad. As an on-the-go mic it’s difficult to beat, as it can serve its purpose whether handheld or quickly placed on a table with its moveable legs as well as being compatible with a smartphone or tablet. The Satellite is as ready to work as you need it to be. BY LEWIS NOKE-EDWARDS
HITS: ∙ Three-polar patterns for different scenarios ∙ Moveable legs allow for precise positioning MISSES: ∙ Broad frequency capture can introduce noise as you would never need sub lows for streaming, gaming and podcasting
NEUTRIK
NA2-IO-DPRO Dante Interface AMBER TECHNOLOGY | AMBERTECH.COM.AU | EXPECT TO PAY: $599 While audio school was for the most part, a particularly hazy period for me, I do have some pretty fond recollections of a unit called ‘Managing Audio Control Networks’. Compared to the studio stuff we were accustomed to, this unit felt like something from another world, as we dragged and dropped animated icons of audio periphery on to a blank screen apparently representing the paging system of an airport. I specifically remember my web-dog lecturer making the proclamation that Dante was ‘the greatest Australian invention of all time’ (a claim that at the time I refuted, after all we have the lager-phone). As the years passed and my audio CV grew I soon started to realise that maybe he wasn’t that far off the mark. I mean as producers, we are pretty quick to think of audio through the artful lens of record making, yet there is a whole other (albeit drier) segment of the audio world that exists right under our noses, in the ceiling speakers above and the XLR wall inputs at the local rec centre. It’s the world of network audio, and in network audio, Dante reigns supreme. In network audio, interfaces like the Neutrik NA2-IO-DPRO are important in that they serve as entry points to a much larger system, taking analogue signal and converting it into system friendly information protocol (in this case Dante), in turn giving said signal cart blanche to all the ridiculous routing options afforded by AoIP. This means 70m+ cable
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runs with little to no loss of signal, insanely large channel counts (via a single cable) and all with next to zero latency, making Dante absolutely ideal for complex, large scale installation projects like schools and airports and AV heavy applications like museums and art galleries. In short, an interface is a portal into a much larger world. So what makes a good Dante interface you may ask? Well basically the same criteria that applies to almost all other audio hardware. Build quality, choice of components and above all else - sound. Upon unboxing the NA2-IO-DPRO, the first thing that you notice is the moulded rubber exoskeleton surrounding the unit (almost like a tradie radio or one of those old Nokia’s designed to not break when dropped). This makes perfect sense when you consider the kind of life a Dante interface is likely to live. It’s an industrial product to be installed on site, so it only makes sense that it would bear these kind of heavy duty, commercial adornments. Some Dante interfaces feel like a cheap modem with a couple of XLR inputs attached. Suffice to say the NA2-IO-DPRO is not one of them. Everything about the unit has a look and feel of quality and the four Neutrik connectors allow for good, clean signal in and out of the unit. For a company that made its bones as
purveyors of the finest quality connectors out there, it comes as no surprise that the input and outputs on the NA-IO-DPRO are a cut above what one would normally see on an interface of this type. Two in and two out with Primary and Secondary Ethernet ports on the back that also provide power to the unit (with the help of a PoE switch or injector) it’s a very practical layout for a very practical product. People new to this kind of thing may be wondering why there are no controls or pots to be found anywhere on the interface itself. As is the norm in network audio, all features on the NA2-IO-DPRO are controlled via the very intuitive DPRO controller software that comes with the unit. Input gain, Phantom Power, Filters and Pads can all be controlled in the box, while output channels can also be muted and unmuted within the software. For someone who works primarily in the world of music production, this feels like a particularly novel workflow and makes for a refreshing change from the world of hardware mixers and preamps.
Dante or Digital Audio Network through Ethernet is in many ways the final frontier for the budding audio geek. Already an omnipresence in the Broadcast and install world, its flexibility, near zero-latency and minimal cabling have made it the de-facto audio protocol for any application that values new school efficiency over gear fetishism. The NA2-IO-DPRO takes that famous Neutrik utilitarianism that has come to define the brand and applies it to what is an extremely robust and quality interface for the install market, a perfect entry point to the unlimited possibilities of the Dante universe. BY PAUL FRENCH HITS: ∙ Outstanding build quality ∙ Incredibly useful MISSES: ∙ Not much
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PRODUCT REVIEWS SHURE
MV51 USB Microphone JANDS | JANDS.COM.AU | EXPECT TO PAY: $299 Shure has been a trusted industry name for years, renown for unrivalled durability and performance. The MV51 is a USB powered condenser microphone aimed at podcasters and home music producers looking for a simple solution to capture audio. USB mics are becoming increasingly popular as users can avoid the need for audio interfaces by having a microphone that connects directly into your Mac or PC. It’s Plug and Play and that’s what we love – no messing about with drivers. Connect it via micro USB and its lights indicate it has come to life. The included USB cable is on the shorter side, but a longer replacement is only around the corner at your local electronics store. The design harks back to the immortal design of the Shure Super 55 Deluxe, a beautiful vintage look that feels as sturdy as you’d expect from such a notoriously durable microphone producer. It’s 2020 however so where you might expect tact switches or rotary pots you’ve got a touch panel controlling the gain, a mute/unmute button, headphone volume button (the dial changes colour so you know it’s the headphone volume and not the mic gain) and the DSP mode selector. It features a small kickstand so it can sit comfortably on your desk, otherwise you can remove the rubber foot of the stand to reveal a standard mic stand thread. In use, we preferred the recordings where the mic was
on a stand closer to the performer’s mouth so a stand could be an ideal additional purchase. Like most vocal microphones, the MV51 shines at close range. The manual advises a distance of five to 30 cm for speech and we found it worked best at the closer end of that scale, though this was in a home studio not on a professional sound stage. It’s worth noting that there’s no internal pop filter so you’ll want to get one if you’re wanting to avoid harsh-sounding plosives from close range use. The large diaphragm is best suited to vocal applications but the five DSP settings offer alternate uses; Speech, Singing, Acoustic Music, Loud Music/Band and Flat. It’s a cardioid pattern and this doesn’t change with the five settings which are controlling the EQ, compression and limiting. These options are ideal for those new to the world of audio recording and are looking for a quick, easy solution to capture alternate sound sources. Alternatively, there’s the flat setting if you’re looking to dial in your own EQ and compression down the chain. The microphone gain accompanies these settings well, with the lowest being suited to the Loud Music/ Band setting and the highest ideal for Speech.
Shure has been making microphones a long time and to see what they’ve achieved with the MV51 at such a modest price point is impressive. To save the need for an audio interface will surely suit the demands of an ever-growing entry-level market. BY DAN NICHOLLS
HITS: ∙ Sounds great at close range ∙ Awesome vintage design MISSES: ∙ No inbuilt pop filter
The downfall of early USB mics was cheap A-D converters and poorly designed capsules.
ASTON
Stealth Microphone LINK AUDIO | LINKAUDIO.COM.AU | EXPECT TO PAY: $599 Aston is a relative newcomer to pro audio and after launching the Origin a few years ago, the brand has quickly risen as a leader in affordable, workhorse microphones used by a huge range of top-level engineers and musicians. The newest addition to this range is the Aston Stealth: a robust condenser microphone with multiple voicing options that run both with and without phantom power. In the box is the Stealth itself, a cutesy little Aston logo pin and an innovatively designed mic stand clip. It took some fiddling before understanding how it works to support the weighty microphone. Aston microphones are built in Britain, and their intuitive design makes them a true workhorse that will be heard on countless records for years to come. Sincerely, they are a legend in the making. When first opening the box, the Stealth is much bigger and weightier than I expected. The Aston’s Origin is quite a small microphone, whereas the Stealth, with its slick black finish and elegant purple lighting, is about 20cm long and weighs 700g. While the mic feels like it could take a beating, the microphones diaphragm is only covered by foam at the top end, unlike the steel mesh pop filter and wave form spring head protecting the capsules on the Aston Origin and Spirit models. The box also contains the new mic clip that slots into the bottom of the microphone’s housing. In any other mic, this would create rattle
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and leave the mic open to rattle and room sounds, however the Stealth is intuitively designed to isolate the capsule itself and prevents this. The Stealth is mostly a conventional condenser microphone, but it can be run with and without phantom power (but you lose the cool lights without phantom, ugh). The highlight of the Stealth is its different voicing options, all vastly distinct. Many companies claim that their products are ‘4-in-1’ with some vaguely different settings, but the Stealth really lives up to this. Voices V1 & V2 are designed for vocals, with V1 offering a super transparent, clear and honest reproduction of the sound it’s capturing. V2 is the second voicing for a vocal, but with a much more pronounced high end, some shimmer and a very forward and present sound. This is ideal for a lead vocal, a hi-fi pop vocal, rapping, or any instrument that needs to sit forward and shine. The remaining voices, ‘G’ and ‘D’, are designed for guitar and the darkest and most vintage sounding of the four voices respectively. This replicates a much more colourful, harmonically rich sound with a high end roll off and generous lower-mid bump without being overbearing. This works best for a more vintage vocal and dark room sounds on any instrument you need it for. The ‘G’ setting is a really useable and handy setting. Similar in some sense to the famous Shure SM57, but with the response and
size of a condenser microphone, it retains the rawness of a live guitar mic, like a Sennheiser e609. While it’s not a Swiss Army knife guitar microphone, it’s a nice blend of all the sounds you’d have in your toolkit. Though the names of the voices hint at their purpose, don’t let them hold you back. V1 as a mono overhead on a drum kit produces a crushed, almost overloading kind of room sound that would sit well beneath an array of spot mics. All in all, if you’re looking for one Aston microphone or any new microphone, the Stealth should be your next addition. It’s a great introduction to Aston’s products and values, while sporting an incredibly versatile list of uses (that only increases with a stereo pair!). The different voicing have their own purposes and uses, but this really shouldn’t hold you back either. The microphone could be thrown up in front of any instrument or sound source and you’ll find a sound that sits nicely amongst an arrangement or that pops out to take centre stage if that’s what you need. The mic itself is sturdy, the clip is solid and the backlit voicing switch is classy. Aston mics are the workhorses of our time. BY LEWIS NOKE-EDWARDS
HITS: ∙ Different options ∙ Robust, solid build ∙ Easy to switch between voices MISSES: ∙ N/A
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PRODUCT REVIEWS TC HELICON
Go XLR Mini AMBER TECHNOLOGY | AMBERTECH.COM.AU | EXPECT TO PAY: $429 TC Helicon has taken the brains and functionality of their extremely well selling Go XLR and cut both the size and price in half. How does it compare? Go XLR Mini is an audio interface made for streamers. Boasting four faders for audio control, mute buttons & censorship buttons for keeping your broadcast accessible, this hybrid piece of gear makes mixing on the fly a breeze. A dedicated optical input for your console plus a MIDAS preamped XLR input to ensure high-quality audio from the get-go. The Go XLR Mini also has four 3.5mm plugs for line-in, out, mic in and headphone out. One thing that makes this a must-buy for live streamers is the headphone out is exactly what is outputted through to OBS or your streaming platform of choice. No messing about with the stream to find out the mix is wrong or worse, that there’s no audio on there at all! Via the app, you can change the device to function in any way that suits your needs. Want to route audio from a program on your computer to one of the faders on the app? Apply EQ, compression and gating to all audio sources? Reprogram the mute buttons to other uses? The Go XLR Mini does it all. The best part of all is that all processing is done in the physical domain which means there’s no tax on precious computer processing power and no risk of a stream being cut off by the software crashing.
A huge advantage over using virtual audio routing for streaming. Also through the app, you have the ability to save presets, say for use with different consoles or games which makes using this interface a seamless experience. The Mini loses all the physical effects and motorised faders from the larger Go XLR for housing that’s half the size and weight. Personally, this is not a big loss as the effects on the larger Go XLR weren’t up my alley and the LED’s on the side of the faders indicate when you’ve loaded a preset, bringing the fader to that level allows the use of it again. The faders, although losing the motorised effect are now smoother and easier to use. The interface for the app is a breeze to navigate. The EQ, gate and compression settings are enough to achieve a professional sound but withholding all the extra features most people won’t use or miss. The EQ is a simple low, mid and high which is quite analogue in its approach. The gate has threshold, attenuation, attack and release controls, while the compressor has threshold, ratio, attack, release and make-up gain. The ratio control allows the compressor to become a limiter with ease. The Midas preamp on the XLR input sounds gorgeous and extremely clean, with phantom power switchable via the app for use of condenser microphones or any other input
requiring 48v. The audio quality for input processing and digital mixing is done at 24bit/48khz, more than appropriate for online broadcasting. Unfortunately, there is no MAC application for the XLR Mini yet. Sorry Apple devotees. The Go XLR and Go XLR Mini are possibly one of the only dedicated consumer audio interface built for streamers, podcasters and content creators. From the optical input on the back for direct input from gaming consoles to the inbuilt EQ/compression/ limiting, TC Helicon has both the professional and beginner streamers in mind.
HITS: ∙ Quality hardware components ∙ Ease of use ∙ Suitable for professionals and amateurs MISSES: ∙ No iOS support
BY SAM MCNIECE
PodMic
DYNAMIC PODCASTING MICROPHONE
The RØDECaster™ Pro is the world’s first fully-integrated podcast production studio. Whether you’re just starting out or a seasoned broadcast professional, the RØDECaster Pro is all you need to bring your podcasts to life.
The PodMic is a broadcast-grade dynamic microphone designed for podcast applications. With an in-built pop filter and a rich, even sound, it will give your voice a silky, professional quality. The PodMic can be used with any XLR interface, RØDECaster Pro
but is optimised for use with the RØDECaster Pro™.
PODCAST PRODUCTION STUDIO
rode.com
P R O F E S S I O N A L P O D C A S T I N G M A D E E A S Y.
Staz Lindes of
The Pa ra noyds plays the Lead III in Metallic Purple.
The
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g it h scre am in rs . w t s a p r colo m ou t r ic new A b last f ro c le e & s p u hot pic k
LEAD II in Neon Green
LEAD III in Metallic Purple
PRODUCT REVIEWS SHURE MICROPHONES
MV88+ Video Kit JANDS | JANDS.COM.AU | RRP: $345 The Motiv MV88+ Video Kit is a professional companion to iPhone recording, providing an excellent digital stereo condenser microphone with accessories to make you a pro out of the box. No instruction manual is needed with the MV88+, sticking to lightning cables and USB-Cs to link everything up. A roll-up pouch houses the microphone, phone clamp, mic clip and cables, though the mini tripod is separate. It’s compact and lightweight enough to fit in a deep jeans pocket. There are four different configurations of the tripod and clamp to serve videography, self-recording, audio capture and desktop recording functions. The clamp and mic were exceptionally sturdy and housed both the phone and microphone comfortably without leaving residual marks. The mini tripod took some getting used to when positioning its legs, however it never slipped during recording. All recording is done via the free app ShurePlus MOTIV Video, downloaded from the App Store (iPhone only). It’s a highly intuitive interface that would offer more control for mobile recording even without the condenser microphone. The option for quick-change settings on the recording screen allows you to toggle through audio format, resolution, frame rate or sound quality without having to divert through
menu screens. The accelerometer function also lets you ensure your recording is evenly set, particularly helpful for self-recording without the mini tripod. The application was seamless, occasionally stalling on a loading screen here and there, something likely to be patched up. The audio recording can be formatted into WAV, AAC up to 256 kbps or Apple Lossless. Some might bemoan the lack of 320kbps and FLAC, but Apple Lossless is arguably near equivalent. The 48kHz quality recording however is truly exceptional - output to Audio-Technica M50X monitors, it’s almost surreal to hear the fidelity out of an iPhone recording. If you’ve encountered the MV88 microphone before you won’t be shocked at its performance more generally, as it contains the same electronics per specification. It does purport to receive less radio and cellular interference, though I was not able to qualitatively witness this. In theory, it would benefit live streamers. The microphone is principally designed for music, a fact made obvious when I recorded my speaking voice. Although the quality of recording is uniformly excellent, I found that unless speaking directly into the microphone I had to crank up the gain to for the desired clarity and balance. Otherwise, broadcast quality of podcasting could be achieved.
Catapulting the MV88+ kit into brilliance is its stereo image optioning. Choose between raw mid-side, mono cardioid and stereo to suit your recording needs, with stereo offering different widths of its recording field (60, 75, 90, 105, 120 & 135 degrees respectively). Recording home demos is obviously best suited fiddling with the stereo settings; the different widths gave me more than enough versatility to record a home band set up with almost impeccable clarity. The mix was as balanced as any high-fi recording mic could hope to attain and is simply unbeatable for guitar or gear demos filmed for YouTube. The sensitivity of the gain and compression ranges is equally excellent, giving you an unexpected amount of control over your unmixed sound. For journalists like myself, it is giddily useful; high fidelity interviewing via mono bi-directional stereo image and then dual-options for field recording through raw mid-side and mono cardioid. Videos and audio recordings are saved into their usual Apple file slots via the app, making it easy to export them onto your computer or iCloud quickly. It’s a shame you can’t name the files easily, but that’s an Apple OS stipulation. Short of prescribing this as essential, the Shure MV88+ Video Kit is a vital beginners package for music, media and podcasting professionals. The MV88+ is an unimpeachable
condenser microphone for the price, and matched with an astutely designed tripodclamp and iPhone app system, it provides simple and intuitive control of quality audiovisual recording from your pocket. BY JOSH MARTIN
HITS: ∙ Multiple phone-mic configurations ∙ Intuitive app control ∙ Excellent stereo image options ∙ Highly compact and affordable MISSES: ∙ Nothing
AUDIO-TECHNICA
AT-BP40 Dynamic Microphone AUDIO-TECHNICA / AUDIO-TECHNICA.COM.AU | EXPECT TO PAY: $499 Most people would look at this microphone and assume it was a condenser due to the large size of the housing and subsequent size of the capsule inside. But what Audio-Technica has done with the AT-BP40 is deliver an end-fire large diaphragm dynamic microphone that has the natural characteristics of a dynamic microphone mixed with the clarity of a condenser microphone. This is a really clever design and one that is sure to make its way into more and more recordings in the future as engineers and artists alike discover what it has to offer sonically. This microphone instantly conjures up the idea of a broadcast situation, where an overhanging mount allows it to be moved around a radio studio for vocal work. And yes, that is an ideal use for the AT-BP40, as it is perfectly suited to broadcast operation for both radio and television work. The hypercardioid capsule offers excellent side rejection and a very direct pickup pattern to isolate one individual voice from others in the room. Furthermore, being a dynamic microphone, it picks up more sound from close range and doesn’t tend to capture much of the unwanted room noise that is often a problem with more sensitive condenser microphones. Take all this and consider the addition of a humbucking coil in the schematic to ensure further rejection of noise from electromagnetic interference,
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and the result is a microphone that lets you hear what you want and leaves the rest of it out. But it isn’t just a broadcast interview microphone; the AT-BP40 has so much more to offer. In the studio, this microphone delivers on all fronts. For vocals, especially in loud rock and metal applications, the AT-BP40 produces a sound that is very much reminiscent of a warm condenser microphone, but without the distortion that high sound pressure levels can create. This makes it ideal for a range of instrument uses too. Put it in front of a guitar amp and you’ll understand why it’s good to experiment with different microphones and positions. You’ll get so much more from the large diaphragm of the AT-BP40 than what you get from just sticking a 57 in front of your amp. With that in mind, it will work a treat for big, booming floor toms on a drum kit and even delivers the goods in front of a bass amp when the DI just isn’t giving you the natural characteristics you want. There’s very little this microphone can’t achieve and I can pretty much guarantee you’ll want to experiment with it to see just how you can change or improve certain sounds within your mix. BY ROB GEE
HITS: ∙ Big sound from the large capsule ∙ Very direct pickup pattern ∙ Great noise rejection MISSES: ∙ Bulky housing reduces placement options in some applications
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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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PRODUCT REVIEWS VOX
Cambridge 50 Amplifier YAMAHA MUSIC AUSTRALIA | AU.YAMAHA.COM | EXPECT TO PAY: $549.99 For decades, Vox has maintained an excellent reputation on all their amplifiers ever since their conception. The company’s latest foray into the world of digital modelling aims to convey that same legacy across the globe in a lightweight, feature-rich amplifier that won’t break the bank. Vox is no stranger to the realm of digital modellers, having released a variety of miniature and retro television-esque amps in the past. Their latest release, the Cambridge 50, bears the most similarity with the VX50GTV, but with a number of changes under the hood. Like its older cousin, the Cambridge is a 50-watt digital modelling amplifier powered by NuTube technology, but now equipped with a custom Celestion VX12 speaker compared to a smaller eight inch speaker in the VX50GTV. Aesthetically, it’s unmistakably Vox: the amp bears a classy elephant-black tolex exterior, covered with a matching diamond-hatched grille cloth and stamped with a silver Vox logo. The Cambridge 50 also features an open-backed design, eliminating the undesirable “boxiness” of similar-sized digital amplifiers. However, the main attraction of the Cambridge 50 is its wealth of beautifully rendered amp models, in addition to a variety of effects and miscellaneous features. There are a total of 11 preset programs, eight effects, and even two customisable user programs to choose
from. You’ve also got access to a cab simulated headphone output, auxiliary input, footswitch, and even a USB audio interface for direct recording. A handy power attenuator and onboard tuner caps off the exhaustive list of features for this amp, making it a true plugand-play experience. The attenuator itself is an interesting design – it’s not a standard toggle switch, but rather a potentiometer that allows you to go from a mere one watt all the way to 50. This flexible feature allows the Cambridge 50 to double as a practice amp for the quieter hours of the day. The preset amp models span decades of guitar amp history. The Cambridge 50 offers tones referencing glassy Fender and Dumble cleans, to electrifying higher-gain Marshall and Soldano amplifiers of years gone by. While the manual doesn’t directly name which amp each program is modelling, the subtle hints left behind are more than enough to identify them. The clean tones offered by the Blackface and Dumble amp presets are astonishingly fluid and lush. There’s plenty of depth and warmth to be found within the two, and sound especially potent when paired with the onboard tremolo and reverb. Cross over to the Plexis and the snakeskin covered Soldano, and you’ve got an overwhelming amount of distortion on tap. Push the gain control past noon, and you’ve got an incredibly satisfying rock and roll chug at your disposal. Crank it past three o’ clock
and add a phaser in, and now you’ve reached the era of ‘80s heavy metal. If there’s one thing you should take away from this review, it’s that this amp sounds massive for its size. Special mention has to be made for the Cambridge 50’s pair of AC30 presets. While these are the only two unadulterated Vox amp models, they’ve absolutely nailed it in terms of tonality. Even through all its different iterations throughout Vox’s history, the venerable AC30 is most well known for its jangly, inimitable top end, further supplemented by a secondary top boost channel. I’m very pleased to report that the Cambridge 50, even with its lack of traditional preamp and power tubes, has nailed the sonic brief here. All in all, the Cambridge 50 is another excellent showing from the British company.
Its generous variety of gorgeous-sounding presets, range of modulation and time-based effects, and veritable arsenal of additional features can effectively cover every need of the modern guitarist. BY EDDY LIM
HITS: ∙ Excellent sounding amp models Crazy number of features Extremely portable MISSES: ∙ It’d be nice to have a choice of colour!
STRATOCASTER
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©2020 Fender Musical Instruments Corporation. FENDER, FENDER in script, TELECASTER & STRATOCASTER and the distinctive headstock commonly found on Fender guitars and basses are registered trademarks of FMIC. Acoustasonic is a trademark of FMIC. Stringed Instrument Resonance System (SIRS) is U.S. Patent Pending. All rights reserved. Fishman is a registered trademark of Fishman Transducers, Inc.
PRODUCT REVIEWS GRETSCH
G5222 Electromatic Double Jet GRETSCH GUITARS AUSTRALIA | GRETSCH.COM.AU | RRP: $1,149 Just a few weeks ago, Gretsch unveiled a huge range of new products at NAMM, and are including additions to every range, including this double-cut Jet, the G5222. Gretsch Jets are synonymous with a bunch of players, including George Harrison and Malcolm Young, who is maybe the most famous double-cut Gretsch player in history. The G5222 is classic Gretsch, with a chambered mahogany body and maple top that provide traditional rock tones with that great Gretsch midrange that somehow amplifies everything. Iconic Broad’Tron pickups, simple pickup switching layout and a stylish hard-tail make for a comfortable play and great looker in a few different colours. While admittedly a more affordable Gretsch, the G5222s aren’t a sacrifice in playability, sound or specs, offering a comfortable play, versatile sound and classic look. These guitars would sit nicely in a myriad of bands and groups, offering super crisp cleans to harsh grit and wompy-jazz tones. Many guitars claim to be all-rounders, but it’s not often that you find something like the G5222. Head to toe, the Electromatic G5222 is fairly standard Grestch, with specs to match even their more high-end guitars. The Electromatics sit in the middle of the Gretsch range, above the Streamliners but below the Pro Series, so these may very well be the best bang for buck you’ll get. The
G5222 has a 24.6” scale length, similar to a Les Paul style guitar, and features a 12” neck radius and thin “U” shaped neck for fairly modern feel and playability. The net is set and bound, and the laurel fretboard features 22 medium jumbo frets which sparkle against the arched maple top that covers the mahogany body. Dual blacktop Broad’Trons offer that ‘great Gretsch sound’, and provide a great base for a variety of playing styles and tones. From super bassy, jazzy cleans to bright, gritty rock tones, they can do it all. Aesthetically, they’re styled like the more famous TV Jones and Filter’trons, and yes, a set of either will slot right in if you choose to upgrade. A ‘V’ stoptail and anchored Adjusto-Matic bridge keep all your tuning stable. Overall, these guitars play great. Compared to their single-cut counterparts, the double-cut allows better access to the 15th fret and beyond, whereas notes up that high can be difficult on a single-cut style guitar. The tuning remains very stable, and the chambered body provides a bright resonance that you simply can’t get with a solid body guitar or even a full-hollow body. The weight relief makes these great live guitars, as they’re comfortable to sling over a shoulder. The blacktop Broad’Trons seem more versatile than TV Jones and Filter’tron pickups that, while sounding phenomenal, do have a more iconic sound. The Broad’Trons are tuned for the modern
player, and while that classic country twang is accessible, they can respond with a more contemporary voice, as well as anything in between. The G5222s are wired with Fender’s treble-bleed circuitry straight from the factory, allowing high-end to bleed through as you roll your master volume down, whereas with more conventional wiring you would lose high end as you lose volume. The guitars also feature independent volume controls for each humbucker and a master tone, so you can create a blend of both Broad’Trons and control the overall output with your master volume. As standard, there’s a three way pickup selector. Gretsch have nailed the G5222 Electromatic: it’s a more affordable version of their higher-end double cut Jets, without losing too much in terms of specs. Dual Broad’Trons offer a huge range of tones and allow the player to seamlessly slip between jazz, country, rock and pop with ease. Crafty
wiring preserves your sound even at low volumes thanks to the treble-bleed circuitry, and the lightweight body makes for a very comfortable play whether sitting or standing. The G5222 is now available in a few different colours, so you can fulfill your country chicken-pickin’ dreams at a much more affordable price. BY LEWIS NOKE-EDWARDS
HITS: ∙ Very versatile Broad’tron pickups ∙ Double-cut allows for easier access to higher frets ∙ Chambered body provides iconic tone MISSES: ∙ N/A
FENDER
American Original '70s Telecaster Custom FENDER MUSIC AUSTRALIA | FENDER.COM.AU | RRP: $3599.00 The Fender Telecaster is, without doubt, one of the most widely used guitars of the last half-century. It has undergone many incarnations over these years — none as creatively retrograde as this one, however. The Original ‘70s Telecaster Custom harks back to the custom model released in that said decade when renowned humbucking pickup designer Seth Lover engineered a distinctive, wideranging humbucker for the Fender Custom. The magnets that Lover had used in his humbucking pickups were manufactured with copper, iron, and nickel (known as CuNiFe). The combination of these elements made for a warm, full sound that was simply not obtainable on any other electric guitar at the time. The Custom was discontinued in 1979, as were the authentic CuNiFe-magnet pickups that came with it. Fortunately, Fender were recently able to locate a forge that was willing to reproduce the CuNiFe hybrid once more, for the purposes of this Telecaster Custom reissue. The ‘70s Custom’s revived CuNiFe humbucker is accompanied by a Tim Shaw-designed ‘70s single-coil bridge pickup — this makes for a rich variety of tones, ranging from crunchy and present, to more mellow and subdued. Specs-wise, the ‘70s Telecaster Custom boasts an alder body, a mid-sized ‘60s C-shaped maple neck, six Fender Vintage F-stamped tuners, a ‘70s style three bolt neck plate, a three position pickup selection toggle, as well
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as volume and tone controls for each pickup. Just by looking at it, you can recognise the amount of time and effort that has gone into cultivating this delightful vintage reissue. In your hands, the Telecaster Custom is absolute bliss to play. I personally prefer to play my instruments sitting down, whether it’s bass or guitar, and I found the ‘70s Telecaster Custom ideal for this. While I’ve never really been a huge fan of glossy guitar/bass necks, this doesn’t detract from the playability of this guitar in the slightest. Playing this Telecaster Custom for the first time reminded of the time I walked into a Steinway & Sons shop and asked to play the most expensive grand piano there. The action, the even tone, the impeccable design of the instrument: everything was flawless; everything felt easy. I got that same feeling with the Telecaster. The action is beautifully set, and the string tension is ideal for both plectrum players and fingerpickers. All of this, and I hadn’t even plugged it in yet. I decided to run this guitar through through a range of amplifiers on Logic Pro X to see what it had on offer. I racked my brains to think about some of my favourite Telecaster players, and Graham Coxon from Blur immediately sprang to mind. By playing along with some of those ingeniously intricate lines from Modern Life is Rubbish, I appreciated the multifaceted role the Fender Telecaster played in sonically molding that album. I found that
switching to the single-coil bridge pickup (with a bit of edge off the tone control) helped me to highlight some of those weaving countermelodies on songs such as ‘Chemical World’. Conversely, the humbucker was perfect for some of the fuller, more rhythmic layers. For something more bluesy, I intrepidly attempted some Cream-era Clapton. I set the pickup toggle in the middle - so as to get the best of both pickups - plugged it through a crunchy amp with some wah, and ended up with some utterly outrageous tones. While Eric may not have used a Telecaster on those Cream records, the Original ‘70s Custom does an outstanding job at replicating those dulcet tones of his. I found that phrasing my solo lines was near effortless, due to the sheer resonance and sustain that this guitar has to offer. Fender have clearly been tenacious in their approach to crafting this superb ‘70s Custom reissue. It is a tonal chameleon, and excels at providing a wide range of sonic landscapes that other guitars just can’t. At this stage, it’s probably not within everyone’s price range. But if you are looking to spend big on a nice long-term musical investment, look no further than this all encompassing, versatile gem of an instrument.
HITS: ∙ Wonderfully crafted guitar that is comfortable to play for hours ∙ Can acquire virtually any type of tone, whether it be for lead or rhythm parts ∙ Humbucking pickup is the star of the show ∙ Stays in tune remarkably well
BY DAVID TOMISICH
MISSES: ∙ None whatsoever
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PRODUCT REVIEWS FENDER
Player Mustang PJ Bass FENDER MUSIC AUSTRALIA | FENDER.COM.AU | RRP: $1,299 Fender had no reason to make the Player Mustang Bass PJ. They’ve been the definitive name in electric bass since its introduction and now, combining their PJ pickups with the player friendly Mustang form factor it seems they have created an instrument that, to at least some extent, could render their classic basses obsolete. The Mustang bass was first introduced in 1964 as a student model to join their Fender Precision and Jazz basses (denoted as ‘P’ basses and ‘J’ basses respectively among musicians). Never reaching the immense popularity of it’s older siblings it did, however, draw a niche following thanks to it’s percussive sound and easy playability, both thanks to it’s short scale (30 inch) neck. After first being reissued in 2002 after a 20 year absence it has gone through a minor renaissance as an appealing alternative to bassists looking for something different to the ubiquitous P and J, or just needing an instrument that doesn’t call for hands the size of dinner plates. This all brings us to the Player Mustang Bass PJ. In terms of changes, most notably gone is the svelte split single coil exclusive to the original Mustang Bass. In its place we are greeted with the Tonka truck aesthetics of the P bass split coil and Jazz Bass single coil, in middle and bridge positions respectively, slammed in to the guitar
sized body. Aside from the pickups, the Pau Ferro fretboard departs from the classic Mustang Bass formula. Although lighter in appearance and with more figuring than the classic rosewood, it is a close sonic match. Feel is drier than the familiar oily texture of the rosewood but combined with the satin finish neck this certainly gives then sense of a faster playing bass than the original. Gone as well is the large string-through bridge of the original with a modern top mount in its place. Purists will lament the perceived loss of sustain and it’s hard to argue that this choice by Fender is anything other than a financial one but considering the price and overall quality of the instrument it’s only a minor detail. In terms of quality, this Mexican made addition to the Mustang Bass line up is a definite jump from its Squire stable mates. Build quality is solid, as expected of all contemporary Fenders, but maybe most notable is the quality of hardware for an instrument of this price range. Tuning stability is exceptional and volume and tone controls a perfectly linear throughout their rotation. This is matched with above par tonal flexibility thanks to the two pickups, although individual volume pots as found on the J bass would be a welcome addition. As far as playability goes, the Mustang is, as ever, a joy. The overall smaller size gives
a definite sense of fun to the instrument although, like all Mustang Basses, it lends its self to a neck heavy balance. The short scale also brings with it a decreased string tension, requiring less fret pressure even with the good-not-great factory setup. This is where the Mustang PJ’s true character comes through as the perfect instrument for the low frequency curious. In fact, it’s hard to think of a better choice for someone who plays bass as their second instrument or a bassist wants to move on from a beginner’s instrument to something that will serve them well across a variety of genres. You really can ballpark, if not nail, the majority of tones required and, especially for guitarist, the short scale makes for a less punishing learning curve.
Get it in cheetoh-dust orange or gold to prove to your detractors the you can be practical without being boring. BY TRISTAN PRICE
HITS: ∙ Swiss army knife flexibility ∙ Short scale playability MISSES: ∙ Neck dive will call for a wider strap ∙ Blend between pickups would be nice
MARKBASS
New York 122 Ninja CMC MUSIC | CMCMUSIC.COM.AU | EXPECT TO PAY: $1750 This Richard Bona signature model bass cabinet was released back in November 2015, and has been a popular fixture on the live circuit worldwide ever since. It features 2x12” custom loudspeakers, alongside a custom tweeter driver. It is an 800W piece running at 8 Ohm, weighs in at 18.5kg, and measures 72 x 38.5 x 36.5cm. Depending on your age and stature, you probably won’t need a trolley to cart this cab around, but compared to other Markbass cabs, it’s not exactly easy on the back muscles.
Meanwhile, the picked bass parts I played cut through like a hot knife through butter. I wanted to test the Ninja 122’s high frequency capabilities, so I hooked up my Boss Chorus pedal and dished out some New Order-era Peter Hook for my lovely neighbours. The cab captured the swirling frequencies that makes the Boss Chorus as renowned as it is, and I definitely began to appreciate the role of the tweeter driver in facilitating this. The highs are crisp, but not harsh or brittle in any way.
Aesthetically, the New York 122 Ninja is a well-designed bass cabinet, with the familiar felt exterior and a metal grill to protect the speakers. The ports are located on the back, so your cords and cables won’t be in the way when you’re on stage.
Soon thereafter, a bass student of mine came around for his lesson and gave me a perplexed look as he spotted the New York Ninja 122 right beside my very own Markbass Traveller 2x10 cab. I explained that I was tasked with reviewing this beast, and asked if he wanted to play his new American Fender P-Bass through it. We put a mute under the strings and worked on some Jamerson lines. I encouraged him to crank the gain up to 12 o’clock, and he gladly obliged. As I made my way to the other end of my house, the unmistakably sumptuous “Ain’t No Mountain High Enough” bassline warmed every square inch of my home, and it was superb. The tone, despite being dampened as per tradition, carried so evenly around the house. Being a good 15 metres or so away from the cab only allowed me to better ascertain its capacity for sustain,
I paired it with my trusty Nano Mark 300 amplifier, and was in awe of the brute power of this thing. Even with the Master at 12 o’clock and Gain at 9 o’clock, I’m fairly sure most of my street would have been privy to some of my bass grooves over the ensuing couple of hours. I jammed for a bit using my Ernie Ball MusicMan Stingray, and felt that this cab really captured the tonal definition of the instrument in its entirety. The fingerstyle grooves were boomy without sounding muffled in the slightest, and the trademark percussiveness of the Stingray really shone.
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and get at least some idea of what it would sound like in a live setting. There’s no doubt that the Markbass 122 Ninja is very reasonably priced for a cabinet of that power and size. The thing is, it is an incredibly loud piece of equipment, and unless you’re a semi-professional bassist consistently gigging in large — and I mean properly large — venues, then I would probably suggest starting with the similarlypriced Markbass Traveller 2x10, which is 4 Ohm but has more than enough grunt for a cab of its relatively diminutive stature and is perfect for smaller venues. But if you are looking for something with guts that will consistently do justice to every bass guitar you ever put through it, look no further than the Markbass New York 122 Ninja.
HITS: ∙ 8 Ohms means plenty of booming frequencies ∙ Treble comes through really nicely thanks to the tweeter driver ∙ Terrific for (semi)-professional musicians playing large events, i.e. weddings, corporate functions etc. MISSES: ∙ A little bulkier than some Markbass cabs ∙ Not necessary for smaller venues
BY DAVID TOMISICH
mixdownmag.com.au
PRODUCT REVIEWS ASHDOWN
Phone-Box PRO MUSIC AUSTRALIA | PROMUSICAUSTRALIA.COM.AU | EXPECT TO PAY: $229 The Ashdown Phone-Box is a working bass player’s product. Designed to sit between your head and cab, it can turn an amateur rig into a professional one with style and ease. The Phone Box is a personal “monitoring exchange system” that allows for extra routing without multiple units and cables. At its core, the Phone-Box splits your signal before the speaker cabinet and offers the player a balanced D.I., line out and two headphone outputs (both ¼” and 3.5mm) on top of their normal tone from their cabinet. The signal is intercepted by speakON inputs, and the robust, solid chassis of the Phone-Box will be equally prepared for touring and constant studio use. The headphone out can also be used for more accurate practice and rehearsal, offering the player a direct feed of their playing in conjunction with their speaker sound. The Phone-Box offers a great solution to bands wanting maximum control of their rigs. A standard head and cab can be used, while a line out can be sent to a mixer that is feeding a wireless in-ear-monitoring system, or IEM. This offers a bass player complete control of their IEM system, which is often controlled by either a venue’s sound engineer, or forking out for a more expensive monitoring system. In the studio, this unit offers an easy way to split out a bass signal and record a speaker cabinet,
effected line out, as well as balanced D.I. (albeit post-amplifier) from the single unit. While a D.I. is most commonly used before pedals and the amplifier, this simply offers even more solutions for ready-to-mix bass sounds. Use both the D.I. and Line Out, and you’ve got plenty of options for a mix of any genre, to either blend together and commit, or to pick-and-choose the ideal tone for any section of a song or record. At a glance, the Phone-Box features two speakON inputs, a balanced D.I. via an XLR, a 1/4” line out and both 3.5mm and 1/4” headphone outs. The Line Out can be used to record direct to an audio interface, as can the balanced XLR D.I. The speakONs offer no attenuation, and are simply a way to split up your signal for either wet effects or monitoring. Unfortunately the unit doesn’t feature any volume controls, so your headphone outs are at the mercy of the volume of your amp, or vice versa. Obviously this would make the unit much more complicated and costly, but an external mixer or similar would be required to lower the gain on your amp, monitoring or D.I. The metal chassis protects the circuitry inside, and all the ins and outs would be safe from the rigours of the stage or studio, be it coffee, beer, sweat, condensation, vibrations and stage-moves gone-awry. The Ashdown Phone-Box is a tidy and compact solution to a bunch of routing
that often requires multiple units. While the Phone-Box admittedly isn’t reinventing the wheel, it’s placing a bunch of commonly used routing into one, well-made unit. The ins and outs are clearly labelled and well laid out, ensuring it stays out of the way and serves its purpose: opening doors to new tones. The Phone-Box can be used to pave the way to clear and concise IEM monitoring for bands, without the hassle and expense of massive rigs for this purpose. Bands can also retain more control of their mix, intercepting the signal before it hits front-of-house. The unit, as is everything from Ashdown, is well made, designed for a specific purpose and really nails the task at hand. So well, in fact, that I’ll take two please! BY LEWIS NOKE-EDWARDS
HITS: ∙ Well-built; robust ∙ Inconspicuous size ∙ Well-laid out nicely organised face-plate MISSES: ∙ All outputs controlled by amplifier in level; no internal gain control
MARKBASS
Compressore Pedal CMC MUSIC | CMCMUSIC.COM.AU | EXPECT TO PAY: $495 The Markbass Compressore is a state of the art bass compression pedal that allows you to control your gain, threshold, ratio, attack and release. It features true bypass to keep your signal nice and tight, as well as six standard compression control dials, an input jack, output jack, and a DC 12V power jack. It also comes with power adapters for every corner of the globe, so if you happen to make it big as a touring bassist, buying an adapter for your compressor is one less thing you’ll have to worry about. It’s a bit larger and slightly more cumbersome than other compression pedals on the market – probably due to the valve that lives inside its chassis - but still trim enough to fit inside your gig bag. For those who need some compression refreshin’, I’ll dive into that first before going into some of the Compressore’s features. If you’re already familiar with the ins and outs, by all means skip to the next section. Basically, you have your Threshold: that is, how loud the signal has to be before compression is applied. Next there’s the Ratio: how much compression is applied to your signal. If the ratio is set for 4:1, the input signal will have to cross the threshold by 4dB for the output to increase by 1dB. The overall effect here is that the signal is reduced by 3dB. The Threshold and Ratio are the two most important components of audio compression; reducing the threshold signifies that compression will be applied
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to more and more of your tone. Increasing the ratio means more compression to your signal. The make up gain simply helps you to recover any volume lost here. Admittedly, all of this is a lot easier to figure out once you’ve actually got the pedal in front of you. One of the great things about the Compressore is that it really allowed me to get the most out of whichever bass I used with it. I started by running my 1985 Yamaha Precision Bass through it, then into my Nano Mark 300 Amplifier, which is twinned with my Markbass 2x10 cab (being half Sicilian, I try to be loyal!) If you’re predominantly a pick P-basser like me, the Compressore is awesome for getting maximum punch throughout your bass grooves. In this case, you want to set your Threshold dial at around 12 o’clock, and your Ratio at 2 o’clock. Leave the Gain, Volume and Attack dials all in the middle at 12 o’clock, while the Release is wound down completely. The resulting sound is so much more rhythmic and, when cranked up, exceptionally punchy. This compression setting is especially favourable if you’re delving into bass lines crafted by the likes of John Paul Jones of Led Zeppelin, and Andy Rourke of The Smiths, for example. Another strong point of the Markbass Compressore is its ability to not only smoothen your bass tone dynamically, but also drastically reduce the annoying
overtones that can sometimes seep through when playing loud. This was evident with my Yamaha Precision, but even more so when I plugged in my Fender Aerodyne Jazz. Typically, Jazz basses tend to be brighter than their Precision counterparts in the treble department; this is where compression becomes extremely useful. If you’re a slap player, then dial your Threshold to around 9 o’clock and your Ratio to 11 o’clock. You’ll hear just how well the Compressore takes the edge off of those popped notes, while making sure the slapped notes down-low come through just the same. The Markbass Compressore is a wonderfully crafted piece of machinery. With a bit of know-how, you’ll realise the potential it has to take your bass playing to the next level sound-wise.
HITS: ∙ True bypass; ideal for gigging musicians who want to switch between utilising/bypassing the compressor ∙ Ratio is gradated, and not fixed i.e. 6:1, 20:1, etc. ∙ Is ideal for many types of bassists and basses MISSES: ∙ It’s a bit big
BY DAVID TOMISICH
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PRODUCT REVIEWS TC ELECTRONIC
Hall of Fame Reverb Pedal 2 x4 AMBER TECHNOLOGY | AMBERTECH.COM.AU | EXPECT TO PAY: $549 TC Electronic is known for quality pedals, with 4 times the options, the Hall of Fame 2 x4 adds extra flexibility to their great sounding reverb pedal. So let’s get this straight. With the HOF2x4 you can create your own custom reverb sounds on a mobile app, beam it from your phone to the pedal through your guitar pickup, create six custom preset banks with eight per bank and play this reverb pedal like a wah-wah pedal, all while sounding as airy or as dark as you could get a reverb pedal to go. Crazy. The HOF2x4 is a gorgeous pedal. Its shiny red finish contrasted with black knobs is a bold look. The knobs all feel nice to touch, the flick switch snaps into place with ease and the footswitches feel sensitive but durable. This pedal feels like it could take a year on tour and come back in working order. The HOF2x4 has ten reverb algorithms built into the pedal, with the ability to adjust the decay, pre-delay, tone and level of each via the knobs. Using the flick switch you can access each of the algorithms plus the additional six TonePrint slots. You can modify each of the parameters using the knobs and store them in any of the eight available preset slots. The sound of the pedal is very versatile. Ranging from the subtle Ambient and Room reverbs to the more extreme LoFi and Shimmer reverbs, the latter a brand new algorithm to
this pedal boasting an otherworldly tone. Switching between effects on the buffered bypass setting allows the tail of the reverb to ring out while changing the sound of the new input. While sounding great on guitar, I found the pedal also functioned well with synths, drum sounds and effects, especially the shimmer setting. Out of anything aboard this pedal, the MASH feature really sets it apart. Built into all four footswitches, MASH makes them touchsensitive. While applying more pressure to the footswitch, in most cases opens up the reverb sound and closes it when taking pressure off. I had a lot of fun during testing using MASH to create swells and lulls in my reverb sounds. This feature really adds another level to the functionality of this pedal. Input routing on the HOF2x4 is also versatile, supporting line and guitar level inputs and outputs in both stereo and mono. Along with this, the kill dry switch can be used to only output the reverberated signal. This allows for its use as a send/return feature, a great option for studio and live sound use. The level setting, which is basically a dry/wet knob, even at the maximum setting does not achieve a 100% wet sound which seems like possibly the only drawback from this pedal. Utilising TC Electronic’s TonePrint, which is an app available for PC, MAC, Android and iOS, you can customise the parameters for the
extra six TonePrint slots allowing you to tweak to your heart’s content. TonePrint lets you alter any and every part of the onboard reverb effects, not to mention you can change up to three parameters that MASH alters to achieve a unique sound in a matter of minutes. All in all, this reverb pedal from TC Electronic is world-class. Utilising innovative technology to create customisable sounds with a userfriendly design that has flexible uses, the HOF2x4 is a welcome addition to a guitar players arsenal and studio engineers effect chain.
HITS: ∙ High-Quality Reverb Sounds ∙ Excellent Build Quality ∙ Extremely customisable via app MISSES: ∙ No 100% Dry/Wet Control
BY SAM MCNIECE
Mixdown 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
S E C U R E
Y O U R
P L A C E
EASTGATE MUSIC
THE AUDIO EXPERTS
VINYL REVIVAL
KOALA MUSIC
(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
(Audio Products Distribution) A | Brookvale, NSW P | (02) 8090 6508 E | koalaaudio@outlook.com W | koalaaudio.com.au / koalaaudio
DAMIEN GERARD STUDIOS
KEYNOTE STUDIOS
SOUNDS EASY PTY LTD
SOUNDS ESPRESSO
GLADESVILLE GUITAR FACTORY
BINARY MUSIC
CONWAY CUSTOM GUITARS
STONEHOUSE MUSIC SUPPLY
(Music Instruments Retailer) A | 1131 Burke Rd, Kew VIC P | (03) 9817 7000 E | sales@eastgatemusic.com W | eastgatemusic.com.au /Eastgatemusic
(Recording Studios) A | 19 Grieve Rd West Gosford NSW P | 0416 143 030 E | bookings@damiengerard.net W | damiengerard.com.au /damiengerardstudios
(Music Instruments Retailer) A | 280 Victoria Rd, Gladesville NSW P | (02) 9817 2173 E | mail@guitarfactory.net W | guitarfactory.net / GladesvilleGuitarFactory
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T O
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FROM THE STUDIO NO COMPROMISE. The award winning ATH-M50xBT harnesses the legendary M50x studio sound for an exhilarating wireless listening experience, with exceptional clarity and deep, accurate bass response - truly bringing the sound of the studio, to the street.
For more information on the M-Series go to audio-technica.com.au
FAST FIVE: TAL WILKENFELD It’s the usual story. Young upstart picks up the guitar and takes a shining to it. Within two years she’s moved from her native Sydney and to the bustling metropolis of LA, pursuing music full time, immersing yourself in the local club circuit and dazzling audiences at every turn.
One of said audience members happens to be in the Allman Brothers, who immediately recognises your jaw-dropping technical ability and asks you to join them onstage, setting off a chain reaction that sees you playing alongside some of the most legendary names in rock. If this sounds like a normal career trajectory, than your name must be Tal Wilkenfeld. The curly-haired Aussie wunderkind has played alongside a veritable who’s who of the rock ’n roll pantheon, culminating in a stunning turn debut vocal album, the excellent Love Remains. We recently caught up with Wilkenfeld ahead of her upcoming Bluesfest appearances (and sideshows) to get the hot scoop on which music legends really lived up to legendary status in this month’s Fast Five. The Allman Brothers Band “Definitely the Allman Brothers. It was my first time on a real stage and just changed
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my life in such a positive way and their audiences are just so loving and fun, I just absolutely loved their audience. There is such a good vibe at their shows that it is so easy to bounce of that energy and really come up to that level. I just love playing with them.” Jeff Beck “He’s just hands down one of my favourite musicians ever and also in many really kind of game me my career owe so much of my career to Jeff Beck. The video of us playing Crossroads in ’07 and the Ronnie Scott DVD really allowed me to have a career. I’m just so grateful.” Herbie Hancock/Wayne Shorter “Two of my favourite musicians, there is just nowhere they can’t go musically. I also love the way in which they adhere to a spiritual practice. Just the way that they live their lives, both musically and spiritually is just so inspiring to me.”
Leonard Cohen “Although I never performed with Leonard, we did spend some time together. He’s just one of the greatest lyricists and songwriters to ever live. It was so great to talk to him about life and songwriting . He’s just so inspiring on so many levels. He also has a spiritual practice that just inspired me. We really connected on that.” Jackson Browne “He has just given me so much of his time, he’s just been so generous. If I’m having trouble with a song I’m working on, I’ll talk to Jackson just to get a sense of perspective. He ended up executive producing my record. He’s had a really big impact on my life.” Tal Wilkenfeld is touring Australia for Bluesfest this April. Head online to check out all the dates and details.
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MY RIG: LUKE HOLLAND Luke Holland is a drum virtuoso for the digital age. His YouTube channel offers some of the best drum related content on the web right now, while his dazzling displays of technical proficiency and genre bending remixes have been earned him a reputation as one of the most expressive drummers going at the moment. When it comes to his overall kit, Luke likes to keep it simple, save for a few custom touches to his mostly stock DW collector series kit (see: rose gold hardware!). His cymbals, on the other hand really have a life of their own. We recently caught up with Luke on his recent Australian tour, where he was more than happy to show us his secret sauce to covering so much stylistic ground, so effortlessly.
SNARE:
KICK:
18’ Byzance Dual Crash
14 x 6.5 DW Maple Snare w/ Remo Powerstroke 77 (coated) heads
DW Collector Series Kick Drum w/ rose gold hardware (custom)
“With DW, I’m one of their guinea pigs for stuff they’ve never done before. For the last couple of years, I’ve been playing my one of a kind maple DW Collector Series snare. It’s the only one in the world with rose gold hardware. It’s also 2020, so that snare sound will often be sample-replaced to fit whatever the song needs.”
“22 x 18 for the Kick, always. I pretty much never stray from that size. I’ve always ran a single kick….never had any temptation to run two. The idea of tuning two kicks so they sound good together… fuck that. Also, I just personally think it looks retro as fuck.”
“My kit has a lot of different crashes one which I use depending on what the song calls for or what effect I’m going for in that particular moment. I’m primarily running my, a 18” Byzance Foundry Reserve Crash and a 19” Byzance Traditional Medium Thin Crash. At the very least. I’ve also got a 10” Byzance Dual splash that also been getting a lot of use lately.”
TOMS: DW Collector Series w/rose gold hardware (custom) “If it’s clear toms, I’m normally running Powerstroke 4’s and for coated it’s always vintage Emperor. I kind of change between clear and coated depending on what I’m doing or whatever sound I’m going for at the time.”
14” MEINL PURE ALLOY TRADITIONAL HI-HATS
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18’ BYZANCE DUAL CRASH
HI-HATS/CYMBALS: 14” Meinl Pure Alloy Traditional Hi-hats “I use so many different Meinl Hats, but more often than not it’s the 14” Pure Alloys that I’m running when we are filming. I’ll occasionally switch it up if I’m doing rap stuff or something with a different vibe, but more often than not it’s the Alloys. They are just my first point of call during set-up.”
Meinl Artist Series Luke Holland Bullet Stack “I love this guy. Abrasive but musical. Perfect for when you need to cut and make a point. I use it to accentuate grooves or fills, or as a time keeper. It’s as quick as a bullet and hurts like one too. What I love about the Bullet Stack is that no matter how quickly you need it to be present it’s there and then it disappears. Always delivers.”
MEINL ARTIST SERIES LUKE HOLLAND BULLET STACK
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PRICES STARTING FROM $235.00
Headrush is proudly represented in Australia by Electric Factory Pty Ltd 51 Northgate Drive Thomastown VIC 3073 sales@elfa.com.au
