Issue #328

RECORDING SPECIAL INTEGRATE EXPO 2023

TJAKA, STEVE VAI

REVIEWED: DYSON ZONE HEADPHONES

MUSIC MAN KAIZEN, FENDER

JAGUAR BASS, NORD STAGE 4 + MORE

FROM HARAJUKU, WITH LOVE

INTELLIGENT

AV

30 August –

1 September 2023

ICC Sydney

See innovation come to life with the full power of AV, at Integrate 2023.

Cutting-edge AI-powered products and solutions are expanding AV’s potential to create fully immersive digital experiences. The rise in real-time video analysis and recognition is leading to increasingly intelligent displays. Access to faster networks is revolutionising how we engage with AV content - see it all at Integrate 2023!

Be part of Australia’s most immersive digital technology showcase, this 30 August – 1 September, and see how AV is evolving in this AI-driven era.

PROFESSIONAL DIRECT DRIVE TURNTABLE WITH DVS CONTROL

T O N E- A R M- F R E E D V S CO N T R O L

Never experience needle skipping in Digital Vinyl mode with the new MAGVEL CLAMP

FEELI N G ADJ U STME N T

Easily change the torque and choose from 3 deck stopping speeds

P E R FO R M A NC E PAD S Fire off Hot Cues, samples, and more in Serato DJ Pro or rekordbox

OLE D DIS P L AY

Keep an eye on various information and quickly access the utility settings

E V O LVE D, HI G H- Q U AL I T Y SO UN D Enjoy sound quality that’s even better than the PLX-1000

SE R AT O D J PR O A N D R E K O R D B O X CO M PATI B IL I T Y

Choose your favorite DJ software, plug in, and play

CONTENTS

GIVEAWAYS

PRODUCT NEWS

INSIDE FENDER FLAGSHIP TOKYO

INTERVIEW: TJAKA

INTERVIEW: STEVE VAI

FIRST LOOK: DYSON ZONE

INSIDE FENDER FLAGSHIP TOKYO

For breaking news, new content and giveaways visit our website.

MIXDOWNMAG.COM.AU /

PRINT EDITOR

Paul French

CONTENT EDITOR

Isabella Venutti

ASSISTANT EDITOR

Lewis Noke Edwards

GRAPHIC DESIGNER

Kelly Lim

ADVERTISING MANAGER

Paul French

PUBLISHING DIRECTOR

Patrick Carr

CONTRIBUTORS

David James Young, Rob Gee, Isabella Venutti, Josiah McRitchie, Christopher Hockey, Simon Lewis, John Tucker, Mark Hewitt, Paul French, Andy Lloyd-Russell, Winter McQuinn, Lewis Noke Edwards, Peter Hodgson

PUBLISHER

Furst Media Pty Ltd

FOUNDER

Rob Furst

pg.

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GIVEAWAYS

Sound Radix Auto-Align 2 Plugin

The Sound Radix Auto-Align 2 is a radical evolution of a modern classic that has become an indispensable tool in many studios around the world. It eliminates comb-filtering, minimises transient smearing, and spectrally optimises the phase of each mic to deliver the full and defined sound captured by the microphones.Auto-Align 2 takes an extensive step further by significantly speeding up the alignment workflow, introducing a new spectral phase correction module, refined algorithm, an intuitive user interface and much more. One lucky reader will download this beauty for free!

For your chance to win any of these prizes, head to our giveaways page at mixdownmag.com.au/giveaways/

KRK announces Scott Storch Classic 8ss Studio Monitors

the 8ss Classics are unique with their distinctive gold chrome electroplated baffles, making them an iconic addition to anyone’s studio. The Classic 8ss’ include high-frequency level adjust, lowfrequency level adjust, as well as a master volume with either balanced on unbalanced inputs. For more information, head to jands. com.au

Capital Vintage Guitars to host National Vintage Guitar Expo 2023

Maton Guitars Chooses Boveda

and software to begin your music making adventure!

The MiniFuse Recording Packs are bundled as a plug-and-play solution for producers and music makers, including a MiniFuse 2 audio interface, CM1 cardioid microphone, EF1 closed-back monitoring headphones, and cables, as well as Ableton Live Lite, Arturia FX software, Autotune Unlimited, Guitar Rig 6 LE and Analog Lab Intro. The Arturia MiniFuse Recording Pack is as ready as you to start making music!

JANDS | JANDS.COM.AU

The KRK Scott Storch Classic 8ss’ are available now. Scott Storch is an American record producer, having come up playing keyboards in The Roots from 1993-1995 before branching out into record production. Storch is known for his work with Dr. Dre, Beyonce and 50 Cent, while also being a four-time Grammy nominee.

The Scott Storch Class 8ss monitors are limited to 500 pairs, and build on the stellar reputation that the entire KRK Classic series have for controlled bass response and balanced imaging at an accessible price.

In addition to an 8" glass aramid woofer, with built-in amplifiers for a total of 100 watts of power,

CVGUITARS.COM.AU/THE-NATIONA/

Early October will see vintage guitar fanatics descending on Canberra to attend the National Vintage Guitar Expo 2023, an event organised by Canberra’s own Capital Vintage Guitars store. Having run for more than a decade, the National Vintage Guitar Expo is unique to Australia, bringing a wealth of experience and knowledge together for a weekend of fun, complete with the opportunity to purchase some of those holy grail instruments

The Expo will be a place for visitors to meet and greet makers and exhibitors, as well as demonstrations, performances and workshops. While this entertainment serves to inform and educate, most equipment exhibited and on show will be available for sale, along with a slew of other rare acoustic and electric guitars, amplifiers and accessories.

The National Vintage Guitar Expo 2023 will take place on the weekend of October 7-8, Capital Vintage Guitars taking over the Harmonie German Club for the weekend. There’ll be performances, as well as workshops and panel discussion from big names such as Dave Leslie, Ian ‘Doc’ Stehlik, Charles Cilla and more, with topics ranging from Australia-specific instruments to guitars of more international acclaim.

Tickets for expo entry, panels and performances are available now.

Following their own extensive in-house testing, Australia’s Maton Guitars has joined other leading guitar manufacturers around the world, including Fender, Gibson, Martin and Taylor in choosing to use and recommend Boveda 2-Way Humidity Control products as the ideal method to protect instruments by controlling the moisture content of their environment, and to prepare an instrument for any kind of maintenance.

Without proper humidity control, wood instruments will not perform at their maximum ability and can be damaged. To maintain their shape, wooden instruments should be stored at a stable 4555% RH (relative humidity). Wide fluctuations in humidity will cause wood to expand or shrink, which puts stress on the instrument and degrades its performance abilities. Boveda’s patented 2-way humidity control adds or removes moisture as conditions require to maintain the ideal humidity level in an instrument’s case.

Arturia launch MiniFuse Recording Pack

Baby Audio announce BA-1 Expansion Packs

Arturia have launched the MiniFuse Recording Pack, from the creators of industry-leading hard and soft synths, drum machines, MIDI controllers and sequencers. The package includes hardware

We’re big fans of Baby Audio here at Mixy, having reviewed much of their suite of plugins, as well as the more recently released BA-1 Synthesizer Plugin. The BA-1 encapsulates much of the famous synthesized sounds that we known and love from the 80s and 90s, whether they’re overt sawtooth sounds stealing the limelight or subtle, more subdued sounds that add texture, depth and space to an arrangement. The expansion packs build on the presets and sounds that are included with BA-1 already, each of the four expansions including an additional 64 presets. The Neon Black expansion was built in collaboration with film composer Matt Bowdler (The Unfinished) and is a “dark retro synth score” for fans of John Carpenter-esque horror soundtracks. City Pop Vol. 1 and Vol. 2 are the next two expansions, both paying homage to the unique Japanese synth sounds of the 80s and 90s. Electro Elixir is the ultimate 80s dance synth expansion, created by Bastiaan Barth and reminiscent of Kraftwerk inspired sounds.

BABY AUDIO | BABYAUD.IO

CMC MUSIC | CMCMUSIC.COM.AU

CMI MUSIC AND AUDIO | CMI.COM.AU

Ernie Ball’s Flex Cable Range Now Available In Australia

packages, both making them affordable and usable without having to drive a 100W tube head hard in an apartment to achieve that “era-defining sound”. The new series honours what would have been Jim Marshall’s 100th birthday with the amp that started it all: the JTM45. The Studio JTM head is switchable between 5W and 20W, with either a matching 1×12 or 2×12 cabinet to connect it to. A 20W combo is available as well, all finished in luxurious fawn fret, with the famous red enamel poured “coffin” Marshall logo.

CMC MUSIC | CMCMUSIC.COM.AU

Available in both 3m and 6m lengths, Ernie Ball’s new Flex cable range features quality design made with reliable components that are built to last. The Flex single conductor design provides crystal, clear tone, and extra flex for easy coiling and tangle-resistant performance. Flex Cables utilise 95% shielding to reject unwanted noise and preserve your signal’s natural frequency profile. The new compact connector design means easier access to crowded gear surfaces and less chance of accidental knocks , and the durable PVC jacket exterior ensures lasting performance, backed by Ernie Ball’s limited lifetime warranty. RRP: 3m $49.95, 6m $59.95.

For more information, head to cmcmusic.com.au.

Marshall launch Studio JTM series

For more information, head to elfa. com.au.

Ollo Audio release S5X 1.0 Binaural Monitoring Headphones

headphones. Joining a range of headphones, including the S4X 1.1 open-back mixing headphones and closed-back S4R 1.1 recording headphones, the S5X are reference-class headphones with an binaural/immersive experience. Specs aside, Ollo Audio pride themselves on spare parts being replaceable with tools you’ll likely have at home!

The S5X have hand picked, matched left/right transducers to ensure frequency accuracy and instrument separation. The transducers themselves are dynamic neodymium and respond from 15Hz to 22kHz. The headphones are specifically tuned for translation of an immersive mix between binaural and speaker setup.

Koala Audio now stocking PrecisionGaugeInstruments

passes through it. The ECM-47 comes with a briefcase and shock mount to protect it, all the while retaining audio quality. It offers a full frequency response, though has a warmth and presence to it, the source it’s pointed at appearing crystallised in audio, having space around it and a depth to its sound.

The ECM-47 is in good company with Gauge’s ECM-87, an 87-style clone with a virtual mic locker kit, as well as their ECM-80 dynamic microphone.

IK Multimedia Releases UNO Synth PRO X

ELECTRIC FACTORY | ELFA.COM.AU

The Marshall Studio Series, a growing range of tube-powered heads, combos and cabinets, expands today with the launch of the Studio JTM Head, Combo, 1×12 and 2×12.

The Studio Series packs everything great about some classic Marshall models into more accessible

KOALA AUDIO | KOALAAUDIO.COM.AU

Atmos and immersive audio is quickly becoming the norm in audio production. Stereo deliverables are still required for records being made, but an Atmos or immersive mix tacked on to the end is the new standard. Apple Music users might be used to seeing the ‘Dolby Atmos’ logo on albums and singles, letting you know you’ll be hearing an atmos mix, and even on stereo headphones or speakers, it’ll collapse into a deeper, more immersive, special experience.

For audio professionals, the rabbit hole of moving to an immersive workspace is a scary one, Dolby recommending a 7.1.4 system at a minimum to get started. For those of you who haven’t seriously considered this yet and done the research/math (and I’m excluding myself from that group), that’s 7 speakers around you, 1 subwoofer and four speakers in the ceiling. Even budget speakers are a huge investment, and that’s why companies like Ollo are offering more budget-friendly solutions like the Ollo Audio S5X 1.0 Binaural

The Neumann U47 is one of the most well known, as well as wellloved, used and revered, studio microphones in existence. A tube condenser, the 47 is versatile, reasonably robust, accurately representing character and tone of a source while adding some harmonic grit and saturation without noticeably distorting.

Original U47s are out of reach of most engineers, studios and producers, and even Neumann own re-issues still come at a rapidly inflating cost.

For this reason, Gauge microphones offer the ECM47, their “Stealth Multi-Pattern Tube” condenser. The ECM-47 is a multi-pattern mic, meaning you can tailor the pattern of the microphone via the external power supply. The internal tube offers the grit of the original, the subtle saturation from the tube offering depth and space as audio

SOUND AND MUSIC | SOUND-MUSIC. COM

IK Multimedia have released UNO Synth PRO X, a powerful analog synthesizer that invites its user to embark on a liberating sonic adventure, exploring a world of infinite possibilities where technology meets the timeless allure of analog warmth. From offering exciting new sounds to becoming the centrepiece of more complex rigs, UNO Synth PRO X represents the sweet spot between an expandable and versatile analog sound engine, hands-on controls, portability and price, making it the perfect choice for seriously fun sound design anywhere.

Inside UNO Synth PRO X, users will discover a unique analog sound engine that they can sculpt to be anything they desire. With a fresh layout, the new UNO Synth PRO X gives players immediate control over its dual-filter, 3-oscillator paraphonic design, 256 presets, 64-step sequencer and much more.

KOALA AUDIO | KOALAAUDIO.COM.AU

FROM HARAJUKU, WITH LOVE:

Inside Fender

Flagship Tokyo

There is a certain duality to the Fender guitar. Pausing to linger in front of one of the dozens of wall-mounted Stratocasters displayed in the brand’s inaugural flagship store, which has recently opened its doors in Tokyo, Japan, I’m struck by the instrument’s profound simplicity. From its clean, classic shape, so familiar, it’s often the first image that springs to mind when one hears the word "guitar", to the tonal clarity and rocksolid manufacturing that make it a utilitarian work-horse applicable to so many genres and playing styles. And yet simultaneously, the Strat is a cultural symbol of revolution – pictured slung across the chests of countless rule-breakers and renegades who’ve immeasurably changed the course of music history.

When you first enter Fender Flagship Tokyo, which finds its home in the iconic ‘Ice Cubes’, a building situated in the bustling fashion-hub of Omotesando-Harajuku, there’s a large mural with a quote from Leo Fender emblazoned on it behind the counter, reading:

“Artists are angels and our job is to give them wings to fly.”

For decades, Fender guitars have been just that: the strong, capable foundations that provide a conduit for the unwieldy, airborne creativity of artists, and the brand’s first flagship store is truly an extension of this dynamic. This is an environment in which musicians and music-lovers will find vehicles for their craft under the assured guidance of reliable experts. However, more importantly, it is an environment in which they are sure to feel inspired.

“The average person goes to a guitar store online six to seven times before they pick up a guitar – a lot of people, right? So if they're inspired, that actually helps them get very

focused on what they want,” Edward “Bud” Cole, Fender’s APAC President, tells me.

“So with the store, we knew the first floor would all be about what we believe in.”

With the aesthetically soothing, white-walled spaciousness of a modern art gallery, the first floor in question showcases newly released and featured products, including electric and acoustic guitars, basses, artist signature models, and accessories. Additionally, there is a space dedicated to the company’s brand new line of apparel, F is for Fender – a collection inspired by the history of guitar in music culture with a Tokyo-centric, clean-lined, urban aesthetic.

“We know that fashion does not drive music, music has always driven fashion,” says Cole.

“We thought that it was important that [F is for Fender] have a point of view, not only from our normal offerings and accessories, and T-shirts and things like that, but a more elevated and a more stylized product line. It’s about celebrating music, celebrating festivals, getting out and

going clubbing and seeing bands – stuff like that. And that’s really what we tried to capture in the design – in the fit and the sensibility.”

A particular guitar-related highlight on display in the store’s first point of contact is a limited range of Acoustasonic Telecasters featuring the iconic works “Thirty-six Views of Mt. Fuji” and “The Great Wave off Kanagawa” by renowned Ukiyo-e artist of the Edo period, Hokusai Katsushika. It’s a release that simultaneously celebrates Fender’s recent technological innovations and the singular legacy of Japanese design and craftsmanship throughout history – a legacy that overlaps with Fender’s own in myriad ways.

Being that the brand’s momentous first venture into brick and mortar retail is taking place in a country with which it has such a storied history, it is unsurprising to find that paying homage to Fender made in Japan guitars, which have been in production since the 1980s and have developed a devout cult following in subsequent decades, has been prioritised throughout the store’s design and layout. Take the second floor, for example:

“There's half of a floor dedicated to made in Japan,” says Fender CEO Andy Mooney.

“It is the biggest collection of made in Japan guitars anywhere in the world,” adds Cole. “They're amazing guitars. They’re unique, too, still very, very Fender, but very unique.”

Alongside a stunning display of made in USA models, this floor also features what is arguably one of the store’s most exciting rooms – a completely soundproof space in which customers can test out Fender amplifiers.

“We have the biggest collection of our line of Fender amplifiers here,” says Cole. “And we give people the chance to come up and try those amplifiers. We've got the pedal bar where they can sit and mess with all of our pedals, and they can crank it up. It's all soundproof in the room – which is wonderful. A lot of times, in stores, amps just kind of get mixed all up together, all different brands. And so we really want people to be able to walk through, you know, very systematically, and understand the whole line of amps – what they mean… how they sound, heavier and lighter, the tube amps, versus the digital amps...”

Speaking to the ways in which Japanese consumers specifically have been catered to within Fender Flagship Tokyo’s design, Mooney highlights the store’s basement floor, which, in the way of guitars, solely showcases acoustic models, and is also home to Fender’s first ever coffee shop, Fender Cafe.

“Specifically for the Japanese consumer… it's the acoustic floor, because of the limited spaces available in Japanese homes, I think it's going to be really important.

“This is the only place in the world where you’ll see a full floor dedicated to an acoustic presentation where, you know, you could sip a coffee, or a beer and experiment with a whole range of acoustic guitars.”

The basement floor also features a dedicated event space which is set to host a variety of immersive events for players and music lovers, the first of which took place at the store’s opening night celebration, with a host of talented Japanese performers, many of whom are also Fender affiliated – from Miyavi, to Rei and Kenji “Jiro” Hiro. Their portraits and signature models line the walls of the store alongside heritage icons of the likes of Cobain and Hendrix, evoking the universality of Fender guitars as an inspiring force for creatives across the globe.

A Fender affiliated artist based in Mixdown’s very own hometown of Melbourne, Australia also graced the store’s string of opening events – the Jaguar toting, ocker accented observationalist herself – Courtney Barnett. Sitting on a sofa in one of the store’s various cosy testing areas, equipped with what many will find to be a welcome addition –headphones for privacy – we speak about how many of Fender Flagship Tokyo’s design/ layout innovations buck convention in a way that ameliorates some of the aspects of guitar shopping that have historically made many prospective buyers feel intimidated.

“It's a stereotype for a reason… the scariness of a music store. And I think I've definitely experienced that. And even sometimes, like, these days, I go into a shop, and I don’t know if it's just that maybe musicians and people who are musically inclined are a bit more emotionally aware… but sometimes in music stores, people are just assholes. So it's obviously both ends of that.

“I think it's easy to be intimidated and unfortunately put off, which I think is a real bummer, because if anyone goes – and I'm thinking especially about younger people –if you go in to a guitar store, and someone discourages you, it could be monumental, like you might never do that again.

“So you know, unless you're on, say, Miyavi’s level, when you go in to try a guitar out, the staff tends to kind of look down on you.”

Mooney hopes that Fender Flagship Tokyo’s inviting spaciousness and diverse staff – 60 percent of whom are women, and many of whom speak multiple languages – will set a precedent within the industry for dealers to “open their arms up and embrace the new consumer.”

The shop’s storey layout is indicative of the wide web Fender’s current product offering casts, ascending from beginner acoustics on the basement floor, up what Cole refers to as “the stairway to rock and roll heaven” – the heaven in question being the most comprehensive Custom Shop presentation on the planet, flanked by gallery walls of instruments so intricate and awe-inspiring they could stand alone as works of fine art.

“We want this to define the future of retailing,” Mooney says.

“To be discouraged by that, because you don't know enough about it. Yeah. It is so sad. And that should never happen. So it sounds like, you know, especially in this space, that everyone's hyper aware of that. Mixing that encouragement with obviously, like, a retail space… It could only be a positive outcome for more people to feel encouraged.”

“I describe it as a club that you only get to join if you're already in it,” Mooney says when asked about the potential for music stores to breed hostile environments.

“The goal here with this store is to demonstrate to people, and to inspire people, not just musicians, but people who are in the industry as well, to think, wow, things could be different, and that this could be profitable too,” Cole adds.

“Yeah, so we wanted to make everything kind of… accessible, touchable,” Mooney concludes. “The customers will tell us if we got it right or wrong in time, but we're hugely interested.”

WORDS BY ISABELLA VENUTTI

“This is the only place in the world where you’ll see a full floor dedicated to an acoustic presentation where, you know, you could sip a coffee, or a beer and experiment with a whole range of acoustic guitars.”

GENERATIONAL LOOPS: An Interview With Geoff of Tjaka and his Father Tjupurru

Tjaka, the musical outfit made up of brothers and proud descendants of the Djabera Djabera tribe Geoff and Jake Fabila and family friend and guitar virtuoso Felix Fogarty, are generating some serious buzz within the Australian music industry.

Hot off of a festival appearance at Splendour in the Grass, Tjaka connect to their Indigenous roots through their music, crafting a contemporary experience influenced by hip-hop, reggae, funk and sounds from their ancestral Aboriginal culture. Mixdown was lucky enough to to sit down with Geoff and his father Adrian, aka Tjupurru, an esteemed performer and musician who has largely influenced the work of his children, and chat about go-to gear, generational exchange and their respective innovations as Didjeribone and Face Bass pioneers.

Geoff, I’d love to ask you about your lifelong musical background. What would you say are the key influences throughout your journey thus far that have led to the development of your genre-transcendent, richly layered sound?

Geoff (Tjaka): I was very fortunate to be born into a family where being creative is encouraged. My dad and his siblings have been involved in the performing arts including music and dance over the years and they still are to this day. After learning circular breathing on the didjeribone at age 8, I was pretty much on stage with Dad from that point whenever I could be. Being on stage is a comfortable place for me and I owe this to these early experiences I had with dad always encouraging me to perform with him.

I was very fortunate to grow up meeting world class musicians and continuously hearing rehearsals of everything, and I think this set a foundation and influenced me a lot. The didjeribone and facebass were created to

reinvent the sound of the didjeridoo, and I think what I am doing in Tjaka is just the next extension of what Charlie McMahon (Didjeribone and Face Bass Inventor and Didjeridoo pioneer) and Tjupurru had started, except with my own tastes an influences. Their pioneering formed the basis of what we do so there would be no Tjaka without Charlie McMahon and Tjupurru.

Talk me through your recording workflow from demo to track completion. Do you begin in the bedroom or head straight to the studio? Any preference of DAW/special demo set up that goes the extra mile?

Geoff: I’m an Ableton user through and through. I can’t claim to be an expert as there is much to learn, but I have to say my mindset when creating a completed track is to squeeze out every idea, variation or sound that I have as possible. Much of the band’s focus has been on our live performance and we have sat with songs for a long time before recording a demo. For us, this helps us think of some new parts to add, parts to take out and evolve the song before we record it. We try our best to demo the song ourselves using Ableton so we can play with it before jumping into the studio. This gives us more time with the track and play around with ideas.

Which pieces of equipment are the most integral to you when it comes to translating the project’s essence from a recorded to a live context? Are you trying to replicate your studio sound when you perform, or do you prefer to let the songs breathe and find their own live groove?

Geoff: Magoo, a legendary producer (Midnight Oil, Regurgitator, Kate Miller-Heidke, Powderfinger) gave me some very good advice when it came to translating a recording into live permanence. Initially, I thought that I should be using the music software to re-create the songs to make them sound exactly like the recordings. However his advice to me was, as long as the message and the energy of the song remain consistent, it is okay to have some variations between the two. We definitely try keep the primary parts which make the song, however we aren’t afraid to change some aspects up. I think this also keeps it fresh for us and the audience as well.

Do the two of you find that there has been a generational exchange of wisdom between yourselves as far as your creative process and musical output goes? What have you learned from each other?

Geoff: Yes I think that technology rapidly changing from when I was born has played a big part. The way music is made digitally has changed a lot. That being said, I’m still learning from dad even though the way I am writing music may be different to his process. Our band is still young and whilst we have a lot of ideas all the time, experience trumps age every time so dad is always giving us good pointers on what he thinks and we try to utilise this in rehearsals and in the studio.

Adrian: In our culture there is a rich tradition of passing down knowledge and techniques from one generation to the next. I frequently drew inspiration from those who came before me, learning from their successes and failures, and incorporating those lessons into my own work. I learnt from my own experience that collaboration and interaction between artists of different generations can lead to a crosspollination of ideas and a broader creative palette. This made it easy for me to include

Geoff from age 8 and beyond to share our musical space on many stages, recording studios and rehearsals.

I've proudly watched Geoff gain fresh perspectives and insights which are more attuned to current trends and technological innovations. What similarities do you see between yourselves as artists? What do you share, and where do your practices diverge?

Geoff: Both being Didjeridoo/Didjeribone players, I think we both consciously and unconsciously use the time we play as our connection to our culture. It’s a big part of who I am and I think dad would feel a similar way.

I think we also share the same thought process when it comes to trying new ideas when writing music. I have this thought process because I’ve seen dad utilise this way of thinking as I

art is made and I’d say that shows through the different music styles we play.

Adrian: Similarities come from the exposure of music sources, genres and our cultural background. Musical techniques, because of our instruments and looping technology. Shared themes, such as nature, identity, social issues, indicate a similarity in our artistic concerns and messages and the ability to collaborate on projects with other artists. Are there any pieces of gear you’ve acquired, be it something cheap that punches massively above its weight, or a less-wallet friendly splurge, that have tangibly influenced the way you write and record music to this day?

Geoff: A little bit of bias on this one, but the didjeribone punches well above its weight with the way it can be used. For the price, you have so many different notes compared to a wooden yidaki which the length, diameter,

and music production projects. It's important to note that while gear can be influential, my creativity and musicality are at the core of my work. The right gear can provide tools and inspiration, but my vision and skill remain central to my music-making process.

How do you recharge your creative batteries? What in your life inspires your music that isn’t music? It could be as logical as watching a film or listening to records, or as obscure as gardening or taking a long walk.

Geoff: Time with my family and friends is my recharge. It can be very busy trying to juggle music and a full time job and my girlfriend is a huge supporter of what I do and as soon as I’m not busy it’s all about spending time doing life things. Space away from writing and music can form the basis for new ideas when I’m back in the studio. It also lets me get excited about starting to write music again if I have taken some time to relax.

was growing up and always been encouraged to think this way. Always pushing the limit creatively to see what’s possible is something I try to do and hope to continue to do.

In addition, I think the way I perform and interact with crowds is a result of watching dad do it over many years. I have my own style but much of it was from how he has done it over the years.

Where we diverge is the styles of music we listen to and how we make music. I’ve grown up on hip-hop, reggae and electronic music influences and also with easier access to all music via internet and streaming services, which weren’t around when dad was my age. Different life experiences influence the way

and type of wood can determine the note. The didjeribone enables us to tune into any key and also actively play between keys (like a trombone). Second to this is a pen and notepad – this will never leave my instrument bag!

A bit less wallet friendly was my Ableton Push 2. In 2017, I was on my uni budget of 2 minute noodles and ham sandwiches to save for my first Push 2. This has formed the basis of how I can write songs effectively and get them ready to perform to the level I want quite quickly.

Adrian: I'm old school so I still use pedals that were made in the 1980's that can't be replicated by modern technology. I will admit that I am enjoying the challenge of the new Push 3 and using Ableton with my educational

Adrian: Spending time in nature, whether it's going for a walk, sitting by a river, or simply taking a walk in the park or on a beach, helps recharge my creative battery. This connection to the natural world often inspires new ideas and fresh perspectives.

The simple things in life inspire my music that isn't music. I do enjoy gardening, figuring out how things work, windsurfing, snow skiing, taking long bike rides and lately, being a drone Pilot.

Top of the list is watching my family grow and live their best lives!

What’s on the horizon? What exciting things can we expect from you for the remainder of the year?

Geoff: We have an exciting end to this year. We have a few more singles coming out and we are very excited to share them to the world very soon! We have Big Sound in September along with some headline gigs in Newcastle, Coffs Harbour and at home in Brisbane – I’d say the boys and I will be getting Tjupurru up for a song or two at one of these!

WORDS BY ISABELLA VENUTTI

I’m an Ableton user through and through. I can’t claim to be an expert as there is much to learn, but I have to say my mindset when creating a completed track is to squeeze out every idea, variation or sound that I have as possible.

So how do you even amplify something like the Hydra, in a way that doesn’t send the entire tour bankrupt? The technology didn’t really exist until recently. “The amplification of the Hydra is a bit of a technical marvel,” Vai says, “because the Hydra itself is a very technical instrument. It has the bass neck, the 7-string neck, the 12-string neck and the harp, and those are four analog outputs. And then there's the MIDI for the guitar synthesizer. So the way that [Ibanez parent company] Hoshino designed it, all the outputs go into a CAT5 cable, so it's one little connector, and everything goes out to the Hydra Brain. It’s a gold

STEVE VAI

Every Steve Vai tour brings with it some sort of unusual guitar upon which Steve makes some kind of jaw-dropping musical and aesthetic statement. On the Fire Garden tour it was a ridiculously tricked-out Stratocaster (belonging to his guitar tech, the legendary tinkerer Thomas Nordegg). Ultra Zone? A tripleneck, heart-shaped Ibanez and a freaky alien-looking thing that defies categorisation.

Other tours have featured a mirrortopped double-neck fretted/ fretless Ibanez and a triple-neck Jem with 12-string and fretless necks along with a sustainerloaded 7-string. When Vai visits Australia as part of his world tour in November, he will be bringing a beast that makes all of these instruments look like toy ukuleles. Enter the Hydra. You can see it on the cover of Vai’s latest album Inviolate. You can hear it on the track “Teeth of The Hydra”. It’s a triple-neck instrument with a 7-string guitar, a 12-string guitar and a 4-string ¾-scale length bass. There are 13 sympathetic harp strings; strings added that aren’t necessarily there to be played, but instead resonate with the principle of sympathetic resonance.

There are MIDI, sustainer and piezo pickups. Floating and hardtail bridges. The 12-string neck is fretted only up to the 8th fret. The bass neck? It’s partially fretless too, but only underneath the lowest two strings. There are lights. There are decorative tubes. It looks like a steampunk weapon. Making music on this thing must be a challenge, right?

“The biggest challenge with the Hydra is getting it from one place to another,” Vai jokes over Zoom from a hotel somewhere in Canada. “Originally, on the first European tour we did on this run, I couldn't bring it because I couldn't play it. I was recovering from shoulder surgery. It took me a couple of weeks to get into it. But now it's pretty natural.”

box on the floor, and the signal splits out the back. So the way that we amplify it is the seven string neck goes to my main rig, so that's like as if I was plugging in my guitar.”

“Actually, let me back up a bit: once we come out of the Hydra brain in mono, all of those four outputs go into the Fractal AxeFx, which has four stereo outputs. So each one of the necks is stereo. The 7-string goes to my main rig in stereo, the 12-string comes out panned hard right with effects on the left, so when I hit it, it goes ‘KK-TIIIIN!’ then the bass comes out in stereo and goes to the front of house. The 12-string and harp neck, same thing. The stereo outputs go to front of house. And I’m listening through in-ear monitors to all of it. It’s really difficult to mix it because there's so many strings. You have to be careful that the stereo sonic real estate isn't too congested. So you gotta get it panned properly and effects properly … and then the parts have to actually be played.”

Vai says the Hydra has other songs in it too, once it’s done serving its current purpose as a vehicle to bring “Teeth Of The Hydra” to life.

“Once I finished “Teeth of the Hydra”, I had a visual for another piece of music. It was very, very different. See, [in] “Teeth of the Hydra” everything I play is linear. It's like this, then that. Then this, then that. It took a long time for me because it requires you to rewire your guitar playing instincts. What I have in mind for the next

one is much more challenging. 'Cause it's not linear, it's multiple things going on at the same time. With “Teeth of the Hydra” I didn't want to use looping or delays to compensate. I wanted it to be very honest. But now I think what I would like to do is something that involves more effects and stuff … but I don't know when!”

The Inviolate tour isn’t just about the Hydra though. In addition to the expected classics and some deep cuts, the tour features plenty of tracks from its namesake album. That’s something Vai had in mind while making the record, after the pandemic shut down his initial plan to make a trio of albums (a clean one, a regular Vai one and a super heavy one).

“[Inviolate] was made for touring, really. So usually when you put a set list together, you are pulling favourites. You're pulling songs that maybe you haven't played before from the catalogue, and then a good smattering of new stuff. But in this set, a lot of the new stuff, there's a lot of music from this album that we play and they’re really made to be great live songs for me.”

“You feel the honour of being a service provider to an audience. I feel like I have a job and I love that job of being an entertainer. That has deepened for me on this tour. And you can see it and feel it in the show.”

WORDS BY PETER HODGSON

“The biggest challenge with the Hydra is getting it from one place to another”

FIRST LOOK: Dyson Zone Noise-Cancelling Headphones

There’s a good chance that by the time you read this, you will have already seen pictures of the Dyson Zone Headphones circulating the internet – and for good reason. Given their futuristic appearance and the fact that Dyson are the first company to combine the seemingly disparate worlds of air purification and high end consumer headphone, and all within their first foray into the audio market no less-it was inevitable that these were always going to cause a stir.

Dyson are a company who specialise in taking product design into interesting and innovative new places, and just one look at the Dyson Zone more than reiterates this. A large over ear headphone with what can only be described as a reflective, detachable mouthpiece – these immediately stand out, simply by virtue of there having never been a product like this available to the public before. Then again, until now, there has never really been a need for one. Designed to tackle the dual threats of noise pollution and air pollution that plague our increasingly urbanised environment, the Dyson Zone headphones are a wearable, multi-purpose solution to an unfortunate modern reality.

While that alone is worthy of praise, what probably isn’t as obvious at first glance is the lengths to which Dyson have gone at the R’n’D stage to ensure that the Zone is taken seriously as a legitimate audio product. Suffice to say, in terms of providing a stellar listening experience, I am happy to report that they have more than succeeded on this front.

One thing that jumps out immediately on first listen is the purity of output, particularly in regards to upper mids and diction. At 16 ohm, and boasting some of the lowest distortion properties out there for a headphone of this type (0.08% at 94 dB at 1 kHz), the clarity and precision on hand here is striking to say the least, a feat made even more impressive when we take into account the fact that the 40mm neodymium drivers are positioned in very close proximity to the Zone’s dual air compressors, which draw air through the double-layer filters and project two streams of purified air to the user's nose and mouth.

While you might be forgiven for thinking that this could serve as an obvious compromise

to general audio quality, rather, this is precisely where Dyson’s expertise as an industry leader in air purification comes to the fore. The state of the art motor is whisper quiet and the insane level of isolation afforded by the onboard active noise cancellation, along with the Zone having some of the best designed earcups on the market, work in cahoots to cleverly offset any potential mechanical noise that could affect the overall listening experience.

This aforementioned active noise cancelling is undoubtedly one of the Zone’s strong suits, and with a total of 11 microphones, 8 of which are used to reduce noise pollution by up to 38dB, the quality of the ANC system on display here is some of the best you’ll encounter in the consumer headphone space. These onboard mics also work in conjunction with the MyDyson app to monitor ambient sounds 384,000 times per second, simultaneously checking and amending surrounding noise levels in real-time.

In terms of audio quality, the 40mm neodymium drivers also provide some seriously impressive low end extension (all the way down to 6hz) and the quality of these sub frequencies is particularly noticeable across classic sonic film tropes like depth charges and big budget explosions.

This ability to accommodate a broad range of program material is also evident in the breadth of the soundstage and the singularity and space afforded to instruments and objects in the stereo and immersive fields.

Dyson’s emphasis on providing minimal distortion at the drive stage also has the added upside of giving the Zone headphones some lightning fast dynamic recoil properties, with transient information being reproduced accurately and efficiently across the frequency

spectrum. For those with a particular voicing preference for their everyday listening, the MyDyson app also offers Dyson EQ (‘enhanced’), Bass Boost and Neutral settings, as well as a built in limiter and real time air quality information to gauge ambient NO2 levels.

On the topic of the air purification system, this was perhaps one of the biggest surprises of all and one of the biggest takeaways from some time spent with the Dyson Zone.

As a civilian who has limited experience with air purification, I was legitimately taken aback at how instantly refreshed and energised it felt, breathing in this new and improved air.

If I was to liken the experience to anything, it would be like having a Vitamin B12 shot or an extra few hours of sleep. Ten minutes of listening/breathing and I felt like I had found my second wind. In that respect, I could definitely see myself running them during marathon late night drum and vocal editing sessions, tucked away in the comfort of the studio.

Now, Mixdown is an audio technology publication first and foremost, and in that regard the Dyson Zone more than qualifies, at least as it pertains to being a high quality headphone for everyday listening and general content consumption purposes. In terms of audio quality, the headphones themselves are a cut above what you would normally expect from your average consumer headphone product. Even the complimentary ‘Explorer’ hard case has more in common with something from the professional sector than it does your standard run of the mill headphone.

The headband, cup design and onboard features are all extremely well engineered and executed, particularly for a company so relatively new to the audio space. The advanced active noise cancellation, purity of voicing and the obvious health upside of the filtration apparatus all combine to make a set of headphones that are both enjoyable to listen to and successfully help to introduce the idea of wearable air filtration to a world that so desperately needs it.

WORDS BY PAUL FRENCH

The Australian Chamber Orchestra on harnessing Universal Audio technology

The Australian Chamber Orchestra (ACO) is one of the top tiers of orchestral music in Australia. World-class musicians are assembled to perform in their own right, as well as support bands, musicians and artists who need a real orchestra behind them. Melding genres, as well as artistic mediums. The Australian Chamber Orchestra’s performances are transformative, though they’re always looking to push boundaries and integrate sounds (and therefore equipment) that you may not traditionally hear in an orchestra. We spoke to keyboardist, producer and member of ACO Underground, Paul Beard, about the ACO incorporating Universal Audio Device’s (UAD) equipment into their live performances and rehearsals.

“ACO Underground is an avenue for us to explore and experiment with our music, and we want to bring our audiences in on the experience. The aim is for audiences to encounter the unexpected – beautiful at one end and shocking at the other – but where the music is always at the forefront.” - ACO Principal violinist and vocalist, Satu Vänskä

While touring the US, Paul happened upon a 1955 Fender Deluxe amplifier, and in a moment of magical inspiration, amplified Artistic Director of the ACO, Richard Tognetti’s electric violin through it. Some time later, Paul was introduced to the Universal Audio Devices (UAD) UAFX Woodrow '55 Instrument Amplifier pedal - a faithful reproduction of the same amplifier that’d inspired him in the US.

In the past Paul had used UAD’s hardware and software to record and produce music, with the brand's Unison plugins allowing users to capture great preamp emulations before their DAW, and the Console software having powerful routing options available.

The quality of sound from the Woodrow pedal specifically inspired a turning point in the ACO’s performances, allowing them to harness the sound of a loud vintage amp on stage without the upkeep of tubes or the sheer volume of it all. And after bringing in a UAD pedal - he thought, why stop there?

Thanks for taking the time Paul! How did the ACO get involved with UAD? Was there a problem that resulted in Universal Audio equipment needing to be involved? Or were you just looking to augment your sound and experience?

During a U.S. Bryan Ferry tour I’d found this gorgeous 1955 Fender Deluxe in Arkansas. We tried it as an amp for Richard Tognetti’s electric violin and it sounded magic. He adored it and threatened to steal it on several occasions! The issue we had was that, amazing as it sounded, it was severely acoustically challenging for the rest of the orchestra - especially the violas! How did Universal Audio specifically come up?

I’ve been using UAD plugins to make records for years. I was recording The Seasons album by Alexz Johnson at my studio, Aviator in Sydney. The guitarist Ollie Thorpe was loving my Fender Deluxe. He told me about the clone version he’d bought. It sounded almost identical and was road worthy too. Then he pulls this Woodrow pedal from his backpack and tells me “and this just changed my life. It plays as good as the real thing. I can’t tell the difference, the crew can’t tell the difference and the audience can’t tell the difference.” It’s a total game changer. We realised that this could be the perfect solution to using a loud amp on stage with the orchestra.

What UAD equipment are you running? How is it being run?

For anything to do with triggering samples and playback tracks, we are running an Ableton Live setup through the Universal Audio Console software. The flexibility with the Virtual tracks for monitor routing has been invaluable in Rehearsals for sending the desired headphone mix is to the Drummer. In fact it worked so well that we stuck to using it for the band monitor mixes and it worked flawlessly

Richard Tognetti’s electric violin setup has been revolutionised by the Woodrow guitar pedal. It effortlessly achieves the classic tone of the Fender Deluxe without the sonic issues of having a live guitar amp on stage with orchestral instruments. Everyone is so much happier, especially the violists!

Has any of the UAD stuff surprised you? Maybe sounding less digital etc. than expected?

The tone of the Woodrow pedal has literally blown our minds. All the sonic satisfaction of the real thing, without the stress of transporting a vintage guitar around the country. Has the UAD equipment inspired anything new?

Whenever we have a Satu In The Beyond concert, there’s a period of rehearsal beforehand. This is time we try out new sounds and ideas.

What has made the UAD technology such an integral part of Australian Chamber Orchestra concerts?

With something as fundamental as violin tone, the Woodrow pedal has redefined Richard’s approach to his electric sound. We’d love to try the other amp pedals and of course the new Galaxy 74 Tape Echo pedal. And personally, I would love to see something like the Moog Filter as a pedal!

How does modern technology like UAD fit into more ‘traditional’ music like a chamber orchestra? Are you using traditional sounds or does it inspire more modern effects and sounds?

The electronic part of the band tends to focus on sounds from a more modern palate, although I do get a bit indulgent with the vintage [Roland] Space Echo!

WORDS BY LEWIS NOKE EDWARDS

IN FOCUS: Pioneer DJ Headphones

I can say with confidence that Pioneer DJ has been the most influential company in the DJ industry over the past 29 years. My first interaction with a Pioneer DJ product was the DJM-500 mixer, it began appearing in a number of clubs and at warehouse events, when vinyl was still very much the go-to medium. It wasn’t long before the CDJ started appearing in venues alongside turntables, and eventually in place of them. But that was only the beginning of Pioneer DJ establishing itself as the world leader in both the professional DJ and music production industry. Much more was in store for the years to come.

Founded in 1994, Pioneer DJ had a hard road into a market that wasn’t wanting change, and didn’t know what it looked like either. So, innovation was the key, as the development of cutting-edge products that delivered what professional DJs were asking for became the focus. CD players, mixers and eventually software/ hardware integrations have kept Pioneer DJ at the fingertips of the world's best DJs for the very best part of three decades.

However, there is a lesser lauded hero in the Pioneer DJ product range, one that has been on the very forefront of a DJ’s mix – the headphones. For many years Pioneer DJ have complimented their range with headphone monitoring options that, like all their innovations, are built from professional user feedback. With that in mind, this offering of monitoring headphones has grown to compliment a range of uses in the DJ/Producer arena. So, there are distinct models that take in the needs of live performance, studio production and rehearsals at home.

From the aspiring DJ to the touring professional, there is a monitoring solution in the Pioneer DJ range to suit your needs. So, let's take a look at some of these.

Pioneer DJ CUE1

When you want a set of headphones that sound great, but

are easy on the hip pocket, the Pioneer DJ CUE1 is an excellent option. They have a sleek style that is very much in line with models up the range, yet is subtly refined. These are the perfect headphone for aspiring DJs who need a set of professional headphones for practice at home and starting out with smaller gigs. They offer plenty of low end kick and deliver an impressive SPL to allow you to clearly hear your mix in loud rooms. These are one of the lighter models in the range, so they are great for use as an everyday listening tool also, with little fatigue over extended listening sessions.

Pioneer DJ HRM-6

If you’re serious about your production as well as performance, you will want a set of headphones for creating studio mixes that can be taken to the club with confidence. The Pioneer DJ HRM-6 are a professional studio monitor headphone designed for just this purpose. When you’re recording, editing or mixing, these headphones have been designed to ensure you hear the critical differences in your mixing choices. With a frequency range that goes up to 40kH, the HRM-6 deliver well beyond the range of the human ear, so the sounds that can be heard are balanced and precise. Backed by a 40mm HD driver, in an over-ear construction, you find yourself fully immersed in

the sound, with every nuance being presented clearly. If you’ve allowed any unwanted frequencies to stray into any part of your mix, you’ll be able to hear, and correct, them with the HRM-6. These are an essential tool for the DJ and producer who wants to take control of every part of the music making process. Before it even gets heard in the club, the HRM-6 allows you to ensure your music sounds its very best.

Pioneer DJ HDJ-X7

For the gigging DJ who needs a tough set of cans, the Pioneer DJ HDJ-X7 is an excellent offering. These slick looking headphones not only look great, but sound brilliant too. And at high volumes, they deliver clean and precise reproduction with a newly designed driver that has been created for use in loud environments. A clever initiative in the cable separates the ground wire from the audio cables to ensure amazing definition between left and right channels with no crosstalk or interference.

These headphones have been designed to swivel to achieve the perfect fit and ultimate comfort in long DJ sessions. You can find the configuration that suits your style with the adjustable headband and moving arms. The padded section of the headband is designed for improved grip, so less pressure is required on either side of your

head, improving comfort and stability in one.

Pioneer DJ HDJ-X10

If you’re like me, you’ll want the best of the best when it comes to your work tools. And as is the way, we’ve saved the best for last in the Pioneer DJ HDJ-X10. These precision DJ headphones are the essential monitoring tool for DJs who want to give their best performance every night. You need to hear the mix first, and the HDJ-X10 ensures you hear every finite detail.

These are Pioneer’s flagship headphones that set the standard of monitoring for which DJs demand. With 50mm drivers, they deliver big bass, snappy high frequencies and a mid-range that stands up to be counted in the mix. These have been designed to ensure you can hear every element of your music, even at extremely high volumes, when the room isn’t conducive to critical listening. Further to that, they offer a comfortable fit and undergo rigorous testing to ensure they can handle anything the touring DJ is likely to throw at them on the road.

As you can see, it would be remiss to simply think of Pioneer DJ as a name in CD players, or DJ interfaces. They offer a complete solution for the modern DJ, and understand that quality monitoring is the very key to a good mix. After all, the DJ needs to hear the mix first. If you’d like to hear the difference with Pioneer DJ, you can find these and the rest of the range of professional headphones at your local Pioneer DJ authorised dealer. Go and have a listen for yourself.

WORDS BY BY ROB GEE

Handhelds at the Studio: SHURE’S DYNAMIC LEGACY

Without doubt one of the most respected and revered audio brands around today, Shure have provided engineers, musicians, producers and audio enthusiasts alike with some of the most recognisable and widely used microphones for live, studio, broadcast applications and everything inbetween.

Even if you didn’t know it, you would have likely seen or even used a Shure microphone already – they’re everywhere, and for good reason. It’s with this in mind that we’re going to crack open the mic locker and take a look at four iconic Shure dynamic microphones, breaking down their unique features and best uses for recording and live applications.

Before cracking into each of these mics, let’s first take a look at the dynamic microphone, and why one might be compelled to choose a dynamic, say, over a ribbon or condenser.

A primary benefit of a dynamic mic lies in its rugged design and resistance to heavy handling – a quality synonymous with Shure mics. Dynamic mics also enjoy an extended frequency response (particularly compared to their ribbon counterparts) and this response can also be tailored to specific needs or intended sound sources. What's more, dynamics don’t require batteries or external power for operation, nor do you need to be particularly careful not to feed them external power – a sure fast way to do serious damage to a ribbon mic for example.

First up, the PGA48 is a staple entry level handheld microphone. Few others in the same range can tout such bullet proof design – in short, it’s classic Shure. Perfect for those with a limited budget but still needing a reliable, clean and clear sound, the PGA48 is a stellar choice for beginner musicians

who are looking to perform live or record demos, with a nice, crisp vocal capture.

The PGA48’s frequency response ranges from 70Hz to 15kHz and nicely emphasises the presence range in the human voice with a gentle rise between 2kHz and 5kHz for added clarity. Its cardioid pickup pattern helps reject unwanted noise from the back of the microphone and as well as potential feedback from a foldback wedge on a live stage. Its on/off switch is convenient particularly when recording or between songs on stage. Accompanied by a good quality mic cable, carry pouch and mic stand thread adapter – the PGA48 is a great way to enjoy the benefits of a Shure dynamic mic without breaking budget.

We mentioned before that most will already be familiar with Shure microphones whether knowing it or not and the next mic we’re looking at is hands down that microphone. Arguably the most recognisable handheld mic on the planet, the SM58 is the definition of reliability. Initially released in 1966, the SM58 is based on the famous Unidyne III element design developed in the late 1950’s, producing a clear, open sound, ideally matched for vocals. Producing a warm, rich sound compared to numerous other mics in a class, the SM58 has a frequency response of 50Hz to 15kHz with a nice presence boost between 3kHz and 6kHz and another gentler boost between

8kHz – 10kHz. Its uniform cardioid polar pattern provides excellent feedback rejection and reduction in unwanted noise.

Built to withstand the rigours of live performance and touring, the SM58 is also a great choice for recording, offering a superbly natural sounding capture of vocals, without being overly boomy in the bottom end, nor bright or brittle in the high end. Aside from vocals, the SM58 can comfortably handle the high sound pressure levels (SPL) levels of brass and woodwind instruments and its frequency response caters nicely to these instruments also. A superb allrounder and a go to for engineers and musicians alike for good reason. It’s a mic built to last.

The Beta line of Shure microphones represents some subtle (and not so subtle) upgrades to the SM range of microphones and offers numerous benefits for those looking to step up the sound of their productions, recordings or live performances. The Beta 58a (the upgrade to the legendary SM58) boasts a neodymium magnet for higher signal to noise ratio (higher output), a frequency response of 50Hz to 16kHz, with a natural bass roll off and gentle attenuation below 500Hz helping control proximity effect – the increase of low frequencies the closer to the diaphragm a sound source is. The two presence peaks at 4kHz and 10kHz make for a more polished, professional sound quality that musicians and engineers have come to rely upon in live and studio settings time and time again. The enhancements of the Beta 58a don’t come at the sacrifice of reliability, as it can comfortably handle a beating from energetic performers. Its advanced pneumatic shock mount system

effectively reduces handling and mechanical noise and unlike the SM58 and PGA48, the Beta 58a has a supercardioid polar pattern – for effective isolation and reliable feedback rejection in its respective 120° and 240° null points. A go to microphone for those looking for a more professional vocal mic on a slightly higher budget.

Lastly, Shure’s flagship handheld dynamic mic, the KSM8 really is a thing of beauty. Its patented dual diaphragm Dualdyne cardioid design inverts airflow and is a revolutionary design. In typical Shure fashion, this technological development isn’t for mere show but rather is absolutely practical in application, helping control proximity effect and presence peaks like few other microphones in its class can. It sounds both incredibly natural, gorgeously hi-fi, and three dimensional – needing very little if any EQ or additional processing. Its extended frequency response ranges from 40Hz to 16kHz and is remarkably flat. The KSM8 is the hallmark of Shure’s legendary legacy of microphones and is a go to for those needing high-end results in the studio or in crucial live situations where consistency and quality are paramount.

To say the legacy of Shure microphones is legendary isn’t mere hyperbole, but based on tried and true user experience, rugged, reliable design and true innovation. Whether you’re looking for something entry level or the pinnacle of dynamic handheld mic design, the range of Shure mics has something for everyone, with an assurance of reliability and trust within the industry like few others can offer.

WORDS BY ANDY LLOYD RUSSELL

Kicking and Clicking with AUDIX MICROPHONES

Audix microphones have well and truly earned their way onto stages and into studio spaces big and small. The American microphone manufacturer offers a broad range of individual instrument, studio and handheld microphones in both dynamic and condenser design as well as a wealth of carefully thought-out mic packages. The Audix range is both plentiful and scrupulous in its detail.

Being responsible for such modern classics as the D6 instrument mic and OM5 handheld and leading mic packs such as the DP7, it should come as no surprise that Audix are a go-to mic choice for producers and engineers both live and studio alike. The brand’s range blurs the lines between the live and studio domains seamlessly, and even more so with the release of some more studio focused products in recent times. But what’s perhaps most understated about Audix is the brand’s ability to cater so well to all levels of user, from the seasoned pro to engineer/producer novice. Audix is one of the few companies that still works off of the ethos of not just designing, but also manufacturing and assembling their equipment in-house, rather than outsourcing overseas. Not just exclusive to their top tier microphones like the A231 large diaphragm condenser or Studio Elite 8 mic pack, even their entry level OM2 handheld and mic packs such as the FP5 are designed, tested and assembled in their facility in Wilsonville, Oregon. What makes this even more significant is that this doesn’t immediately hike up the relative price points of their products, which in this current financial climate is a bit of a big deal. Both live and studio environments are tough on gear, it’s just the nature of the beast. Whether it be a commercial or home studio space, an arena-sized or small local live music venue, microphones are inevitably going to cop a proverbial beating. It’s with this in mind that one of the most invaluable attributes (although not one of the most glamorous) a microphone can have is reliability. No matter

what the scale of a production, there is nothing more frustrating than a microphone carking it, bringing a session or live event to a grinding halt. Ruggedness and dependability is something that Audix have prioritised in their range and designs across the board, for both the studio and live environment. I’d confidently throw the Audix D6 under the bus in any live or studio environment, knowing full well it’ll only throw back at me its iconic robust low-end and well defined upper-mids every day or the week. It’s bulletproof and an absolute go-to for damn good reason. The same can be said for Audix’s range of handheld mics as well as studio workhorses. From the entry level OM2 handheld to the newer A231 large diaphragm condenser, in true Audix fashion, these mics exude ruggedness and reliability like few others can.

One of the biggest challenges for the up and coming engineer or producer is knowing what to fill their mic locker with. Whilst temping as it is to jump on the bandwagon of famed named models found in commercial studios and labelled as a holy grail mic, being screwed across the various forums by self proclaimed experts, the reality of budget and real world studio and live scenarios will more often trump having that one microphone in your locker. The importance of being able to cater for a broad palette of instruments and singers can’t be understated, and having the right amount of options on hand, or a couple that are really solid all rounders, is key to a successful session no matter how big or small.

Audix have tackled these types of quandaries head on, with a meticulously, well thought-out range of dynamics, condensers and mic packs. Few stones left unturned, the large majority of recording or live scenarios being comfortably

covered by at least one of their mic packs, particularly when taking on the challenge of a live drum kit. This in turn takes thinking out of the equation, leaving room for the important stuff: the recording. From their Fusion line of mic packs, like the aforementioned FP5 suit a more conservative budget, right up to their DP Elite 8 or Studio Elite 8 packages (which both tout the coveted Audix D6), there really is something for everyone. Where otherwise one might find themselves lost, swimming in a pool of choices, a mic package and perhaps one other mic like a large diaphragm condenser or trusty handheld (depending on the scenario at hand) will keep the majority out of trouble.

The scenarios we find ourselves in as engineers these days continually blur the lines between the studio and live environments, with the increase of live and remote recording sessions and less-than-ideal environments being more and more commonplace in what it means to make music. Having a range of microphones at one's disposal that can effortlessly jump between these varying environments has never been more paramount.

Being less likely to take out the vintage condenser or ribbon to a remote or live environment, a handheld of more modern, steadfast mics seems logical, particularly when achieving the desired results and keeping a session rolling. It’s brands like Audix that seem to really have a handle on the needs of the modern engineer and producer, continually pushing forward and evolving their line, very much in alignment with the pro audio world of today.

WORDS BY ANDY LLOYD RUSSELL

Meeting of the Minds: INSIDE UNIVERSAL BOCK SERIES

Universal Audio (UA) have their fingerprints all over the workflow of the modern studio, having grown to become one of, if not, the biggest names in the production space.

David Bock is known for top quality vintagestyled mics, sourcing parts to make them as close as possible to the originals without the price tag or seemingly constant maintenance required of a vintage mic.

It seems a likely pairing then, that someone of Bock’s ethos should pair up with a company of UA’s standing, with the ability to access the ‘real deal’ mics as well as presenting the opportunity to develop these on a larger scale.

Universal Audio’s recent foray into the transducer world has no doubt been indicative of a brand that has come to define the maturing nature of the prosumer audio boom, for the better part of the last decade. From their revolutionary Satellite and Apollo series, through to their industry leading modelling algorithms in the plug-world, recent high quality, small footprint interface offerings like the UA Volt series and now with their new range of microphones, they are a brand that has always seemed to be a step ahead of market expectations, both in concept and in execution.

Sphere DLX modelling microphones. Sphere harnesses UA’s unrivalled abilities in providing accurate software models of classic equipment to provide near perfect emulations of 20 of the most coveted microphones in recorded music history. Each UA mic release has something new to bring to the table, catering to an entirely different subset within the broader recording community.

The new Bock range of microphones, which include the UA Bock 167, 187 and now the 251 are an ode to classic analog mic design, albeit with the kind of modern day reliability and build quality required of today's engineer. While it’s easy to figure out which classics these mics are paying homage to, their accuracy in doing so is startling.

Throughout the 60s, studio recording moved forward in leaps and bounds. Thanks in part to some trailblazing engineers, producers and studios, quality microphones became the standard, offering improved depth, focus and clarity in their response. A handful of renowned German-made microphones pushed the envelope, some known for their unparalleled versatility, making whatever they were used on sound sweeter, clearer and larger than life on playback. These mics are still considered the gold standard for studio recording to this day and are a familiar sight in studios worldwide (vintage, re-issues and clones alike).

Of all the classic microphones released in this era, one particular microphone introduced in 1960 has proved particularly timeless, offering detail and clarity across a larger frequency spectrum, with an inherent musicality that has seen it become the yardstick to which others are measured— the legendary U67.

Having seen countless versions of these German-made mics across his desk over the years, David Bock knows what makes them tick, as well as fail, and uses this knowledge to inform his modern designs.

David Bock worked as a chief technical engineer at the world’s top studios, so he knows the original circuits back-to-front, as well as their shortfalls; all of this is refined and built upon in the UA Bock 167. Building on from the original’s onboard controls, the UA Bock 167 includes three High Frequency EQ options, cut @ 5 kHz, cut @ 10 kHz, flat response or a boost at 10kHz. The UA 167’s “Fat” switch also provides a low end boost between 10 Hz and 400 Hz, as well as a -10dB pad.

The polar pattern is continuously variable, offering traditional omnidirectional, cardioid, and figure-8 polar patterns and anything in between. Modern additions aside, albeit welcome ones, the UA 167 also employs a NOS EF732 tube just like the original 67s, and a Lundahl transformer.

Other mics in the Bock collaboration also include the UA Bock 187, their take on the classic 87, and the Bock UA 251, a version of the ELA M Telefunken 251 with equally helpful modern additions adding to the otherwise mostly vintage-correct design.

All in all the UA Bock 167 is a meeting of the masters of sorts, David Bock, a seasoned engineer with an unparalleled technical knowledge of one of the most famous circuits in history, and Universal Audio, whose own history is scattered throughout the time that made this circuit so famous.

From the base model SD-1, designed for podcasting and streaming, through to their SP-1 pencil condensers, as well as their more recent (and truly groundbreaking), Sphere LX and

Take the UA Bock 167 for example, Bock’s version of the famed German mic, which, as we’ve discussed, is commonly used on detailed sources like vocals, drums, acoustic instruments including strings and orchestras, as well as for use as a voiceover mic with depth, clarity and a balanced, honest tone.

UA’s Bock series of microphones acknowledge the benefits of the designs of the originals, but re-appropriate them for the modern day, adding EQ options and contemporary reliability to a tried-and-true design. Sonics are one thing to consider, but reliability in the studio, especially in the middle of a take, are another. Perfect sonics aren’t much help with an artist interrupted by a failing vintage mic, and the UA Bock Series offer you the best of both worlds, plus a few extra tone shaping options. Building on an already stellar range of microphones from UA, the UA Bock series forge ahead with the flag held high.

WORDS BY LEWIS NOKE EDWARDS

It’s difficult to know where to begin when two names like this team up in the pro audio world.

The Secret Life of... SOUND DEVICES MIXPRE II SERIES

If you’re reading this, you’re probably creating, generating, recording or effecting sound of some kind. Whether you’re into music, film, broadcast or content creation, each has its own set of nuances and technical considerations requiring slightly different tact at both the workflow and device level.

The logistics of recording music in a traditional studio often requires expansive, heavy, hulking equipment by virtue of the stationary nature of the environment that studios inhabit; the kind of channel counts and open microphones required to accurately capture a band playing in a room. Recording for film and Television on the other hand, is a much more nimble affair, with recordists often employing on location devices and field recorders – mobility, build quality, redundancy and speed of workflow being paramount to a successful shoot.

For over 20 years, Sound Devices have been on the cutting edge of these kinds of mobile professional solutions, becoming one of the most trusted names in the space and developing a reputation for build quality and technical innovation that has pushed the product category into exciting new territory. Where things get particularly interesting, is the way in which many of these innovations parlay seamlessly into mobile band recording, with Sound Devices’ MixPre Series offering 5, 8 and 12 track iterations that double as awesome, small footprint recording options for ensemble tracking – even beyond their obvious capabilities in the field and on the film set.

The MixPre-10 II, with its eight XLR inputs, is a great option for both film professionals and itinerant musicians/recording engineers in need of a simple, high quality remote recording solution. With eight onboard preamps, 12-track recording functions, 32-Bit float combined with bombproof professional build quality (a hallmark of equipment in the film and TV industry), it’s one of those products that will endure for years to come, simply due to its ability to constantly redefine its appropriateness across multiple applications and disciplines.

The robust chassis has control for the eight preamps on the front panel, as well as a record/ play/next/previous control in a dazzling metallic red. The front panel communicates input and

output information via a (sunlight-readable) colour touch screen. The left and right sides feature four inputs a side, Neutrik XLR/¼” combo jacks no less, and a USB-C output for connection to a computer. The back panel however, has space for an SD Card to record directly to. The unit also features a USB-A connection for use with control surfaces. It’s this aforementioned ability to record directly to an SD card or other storage device (combined with the MixPre-10 II’s ability to run on AA or Sony L-mount batteries) that distinguishes this product from traditional band recording workflows, making for an incredibly adept mobile solution for live recording.

The onboard pres on the MixPre II series are Sound Devices’ own ultra-low-noise Kashmir preamps, which offer crystalline clarity and lightning fast transient response to go with their impressive 142dB of dynamic range. It’s these qualities that make them equally adept at capturing diction and foley as they are guitar amps and ensembles in the open air. With built-in limiters to prevent clipping as well as onboard adjustable low cut filters (40hz-160hz), there is an impressive amount of control at the hardware level, serving as a handy ‘set and forget’ solution for quickly laying down a rehearsal or demo track. Not notably colourful, but far from clinical or cold sounding, the Kashmirs serve as a great way to capture audio quickly and easily, without the risk of overcooking it.

For film and TV more specifically, the MixPre-10 II also has multiple syncing and clocking options either via BNC word clock, HDMI or by the default internal timecode. All the major protocols are represented, with free run, ToD, Rec Run, Ext LNC and Camera TC options easily selected from the MixPre-10 II’s onboard screen. It is this flexibility of application that is undoubtedly one of the MixPre-10 II’s strong suits. By combining the utilitarian build quality and versatilityS required within the film

industry, with the expanded I/O commonly seen in multitrack recording, the result is something that liberates the band (or production crew) from the studio or soundstage; ideal for capturing on-location sound, band rehearsals or even live performances.

The MixPre range extends to the MixPre-6 II and MixPre-3 II, offering 4 preamps/8 tracks and 3 preamps/5 tracks respectively. Both the 6 and 3 have the same capabilities to record direct to SD Card as the 10, while also having similar USB connectivity and timecode connections for film and TV.

Perhaps one of the more coveted features of the MixPre II series is the presence of 32-bit Float, providing ample headroom for the kinds of large fluctuations in dynamic range that one normally encounters in full band recording, field audio, sound effects and the like. The primary drawcard with 32-bit Float is its ability to exceed the 0dBFS limit, free of distortion. This is particularly handy for applications with wild, fluctuating dynamics, from a quiet whisper to a loud roar on a film set or a guitarist with poor gain staging across their pedalboard. The beauty in 32-bit Float is in its ability to accommodate and capture these kinds of audio events in as truthfully and usable a manner as possible for post, which makes a tonne of sense when you consider on-set workflows and what’s at stake for missing that perfect take.

Whether you’re recording those demos, or finding foley and ambience to add texture to your music, Sound Devices have something for you. Their products effortlessly straddle the line between mediums, being designed and built around the standard for film and TV sound recordists, but packed full of features that make it really easy to have well-recorded sound at the end of a session for all applications, be it film, music or something else.

WORDS BY LEWIS NOKE EDWARDS

INTEGRATE EXPO 2023

Sydney’s ICC Building is soon to be bustling with world leading Audio Visual tech as this years Integrate Expo gears up for a massive expansion of exhibitors.

With such a wide range of brands and products tee’d up for this year’s Integrate Expo, anyone remotely involved in the AV industry is sure to find something tantalising. With a massive focus on AI technology and integration across both the Integrate and Security Expo’s numerous specialist guest speakers, this year’s combined event promises to deliver plenty of engagement.

To help us gain some valuable insight into what to expect this year at Integrate, we caught up with Soren Norgaard – Commercial and Event Manager of Integrate, as well as a couple of main exhibitors for their take on this year's event.

Integrate 2023 has attracted an interesting array of new stakeholders and exhibitors from previous years, as Soren explained:

“I guess society has evolved, industry has evolved, particularly with what’s happened over the last three or four years during Covid and that whole remote situation, there’s a lot of focus within industry on those technologies and we’re actually seeing that translate onto the show floor as well.

“There’s more ICT companies that are playing in the AV space as well now.”

The merge of Integrate and Security Expo for the second year running is an important one, with a lot of crossover between the two in

2023. As Soren highlighted, “any big venue will have CCTV, a lot of big retails and venues will have control rooms, which is a hybrid between the surveillance and the monitors within the room, so it’s a combination of AV and security product and a lot of the consultants and integrators operate across both industries.” There’s no better example of this than Axis Communications, as Clare Levine from the company alluded.

“Axis Communications enables a smarter and safer world by creating solutions for improving security and business performance. As a network technology company, Axis offers solutions in video surveillance, access control, intercom, analytics, and audio systems.”

“Exhibiting on the Integrate side of the floor in order to effectively engage with customers,” Clare elaborated, “our booth will have an array of innovative solutions including network video surveillance, audio, intercom, and analytics suited to businesses of every size and industry; designed to address cybersecurity challenges head-on.”

The sheer number of exhibitors between both Integrate and Security Expo is nothing short of staggering this year, with something on display for everyone. Soren gave us an idea on what visitors can expect.

”There’s a lot going on, not just on the show floor, but also on levels three and five. We’ve got fifteen demo rooms, showcasing, for example, the capabilities of an audio system. From last year to this year, we’ve more than doubled the footprint on the showroom floor. We’re looking at about 100 exhibitors, which is about 750 brands on the Integrate side of things.Then adding in Security, which has 200 exhibiting companies, so about 1200 brands represented. This takes up the whole bottom level of the ICC in Sydney,” He continues.

One such exhibitor is Sennheiser Australia, who have been involved with Integrate for 10 years.

Their exciting EW-DX wire range is sure to capture attention, as Lois shared – “Sennheiser’s digital wireless system, the EW-DX is a scalable, reliable and easy to install solution. Integrate 2023 attendees can see first-hand how Sennheiser’s Control Cockpit allows the microphone system to be effortlessly controlled and monitored remotely.”

Another of their exciting products which is being showcased for the first time in Australia, is the Sennheiser TeamConnect Family.

“With powerful built-in microphones, loudspeakers, a 4k Ultra HD camera, and Dante integration, Sennheiser’s TC Bar Solutions have options for small (TeamConnect Bar S) or mid-sized (TeamConnect Bar M) meeting and collaboration spaces.”

With the massive integration of AI into the AV space, it wasn’t surprising to hear from Soren that there was a big AI focus for both sectors this year.

“Yeah, well AI has been built into the Security industry for some time. A lot of the software that they use for their CCTV is identifying colours, profiling, if you’re looking for someone in a crowd for example. And on the AV side of things, there’s a lot of AI being incorporated in what we’re doing now with online meetings, such as online dictation, which is, voice profiling, so a board meeting will be done, the dictation will be done based on your voice. Things like real time translation too, so there’s lots going on in that space and in the live production space with things like auto cue.”

For an exhibitor like Axis Communications, AI has been an integral part of some of this product. As Clare elaborated,

“AI based solutions such as Axis Object Analytics provide customers with a proactive approach to security, allowing for better resource allocation and preventative measures to mitigate potential threats. In future, customers can use solutions such as Axis Object Analytics to provide insights into industry patterns and trends, enabling predictive analysis of security risks.”

So the benefits of attending Integrate 2023?

Soren revealed, “obviously it's free to attend, so if you just want to come and check out what the products are on display, have some conversations and network, that’s free as long as you’re from the industry. We have Tech Talks on the Integrate side of things which is a packed program and is a ticketed event.”

Lois shared his thoughts too.

“Integrate is an opportunity to uncover all the latest and greatest innovations in the AV industry and connect with the very experts that pioneer such cutting-edge technology. Visitors can see firsthand the products that are debuting in Australia, and better yet, test them for themselves to understand the technology that best suits their unique application.”

Be sure not to miss out on Integrate Expo 2023 and register at integrate-expo.com

WORDS BY ANDY LLOYD RUSSELL

Exhibitor

Focus:

SENNHEISER EW-DX

Sennheiser’s EW-DX has been referred to as “the future of wireless” and it’s easy to see why. Evolution Wireless Digital (EW-DX) really does announce the range as a second coming of wireless tech, built to be as user friendly, reliable and modular as possible.

Building on decades of advances in wireless technology itself, while also harnessing technology like Bluetooth, as well as increasingly helpful additions like app control, the Sennheiser EW-DX system needs to be heard and used to be believed.

In use, the Sennheiser EW-DX is a system that is entirely scaleable, from a single, handheld vocal mic to multiple sources all feeding a front of house system. The receivers are rack mountable and available in either four channel 1U units (EM 4) or single half-racks (EM 2), so you can fit multiple units into a compact road case.

You can connect via your choice of connectors like Dante network audio or Ethernet, with PoE (power over Ethernet) available on certain pieces, and encryption that allows the EW-DX to be used on IT networks if required. Dante is available on the dual channel half racks (EM 2) Dante and EM 4 Dante receivers, with connection via either single cable mode, split mode or redundancy mode (a combination of single cable or split mode that ensures there’s always signal flowing!)

UHF transmission is enhanced by the best dynamic range available from any RF system, ultra-low latency and Sennheiser’s own SePac (Sennheiser Performance Audio Codec) technology helping deliver maximum audio transparency. The SePAC allows more channels in a more compact bandwidth.

For touring professionals, the EW-DX system has worldwide usage, so you won’t run into problems connecting anywhere in the world, with the ultra-wide bandwidth of 88 MHz and having 12 hours battery life available on transmitters, that can keep you confident for an entire show, with network-enabled charging available as well.

Keep track of all this in the Sennheiser Cockpit app, allowing you to control your entire system or dive deeper into individual pieces. The Cockpit app has updates available as Sennheiser refines the experience, with EW-DX being at the forefront of this. Cockpit shows you, at a glance, wireless receivers available, as well as batteries in use and batteries charging. Moving through into more macro details, you can see all of your devices, their location and the quality of signal, as well as individual device control for troubleshooting, sound profile and more. Cockpit can also send you messages and notifications of your system and devices, adding more control to your wireless environment for jobs of any size; from smaller, single-mic presentations to full stadium style gigs.

Receivers in the EW-DX range such as the EM 2 and EM 4 have also remote mute controls available, so if a presenter, speaker or singer forgets to unmute their mic from their end, you can quickly adjust this remotely.

Packages begin with simple setups like the EW-DX 835-S Handheld Set, including the dual-channel EM 2 rackmount receiver, two SKM-S handheld microphones, with different capsules available depending on your needs. From here, you can add more receivers and more microphones, for example lavalier mics, or additional body packs. The beauty of the EW-DX system is the total control as you scale up, with top-quality audio the whole way through.

The EW-DX builds on the EW-D system with the addition of Link Density, which, at a high level, offers more channels for the system to Auto-Connect to when setting up your wireless system, without risk of interference between channels.

With your system powered on, the EM 2 has a “Scan / Auto Setup'' function that scans and connects quickly to your available receiver, displaying available frequencies before allowing you to assign them. The transmitters pair and communicate back end data over Bluetooth Low Energy (BLE) instead of infrared (BLE being able to be sync’d from up to 20 metres away), a connection designed to use minimal power to maintain connection and ensure consistent, long battery life.

The EW-DX features OLED screens as opposed to LED on the EW-D. What’s more, the displays use E Ink, that stores and displays the last known settings of the transmitter, even when the transmitter is powered off or has no battery. When using Sennheiser BA70 rechargeable batteries, the OLED display will communicate estimated battery life down to the remaining minutes (though hopefully you won’t need that feature!)

Nestling itself comfortably between the flagship Digital 6000 series from Sennheiser and the EW-D series, the EW-DX represents all that’s great about Sennheiser’s flagship products, but at a more accessible price.

Engineered with the end user first and foremost, the EW-DX offers advanced tech specs, while also having small design additions to ensure you can wire them up however you want, while also preventing spaghetti needing to be tucked away at the end of every gig. There’s redundancy routing available to use if you need it, with technological advances like BLE, E Ink and Link Density tech available to make small work of those little hurdles we all face when using a wireless system. There’s plenty of battery life, all of which can be monitored via smart control apps, or on the receivers themselves, whether powered or not! You can remotely control audio, mute and channel info, while also having a bird’s eye view of your system across multiple rooms, connections and channels. Designed to be as transparent as possible, both sonically and physically, the EW-DX system has enough on board to keep you across the state of things, all the while providing crisp, clear digital audio, routed just about wherever you want it. Sennheiser are a company that pushes the envelope, harnessing their own tech and the capabilities of advancing technology from every industry to create their industry-leading solutions.

WORDS BY LEWIS NOKE EDWARDS

Exhibitor Focus: CMI MUSIC AND AUDIO

Representing and distributing some of the worlds most prestigious pro audio brands within the Australian market, CMI Music and Audio and their respective pro audio team are set to impress at this year’s Integrate Expo, promising an innovative audio experience as they take over one of the main demo rooms at the expo, located in the ICC Building, Sydney.

Having been in the pro audio distribution game since the 70’s, CMI Music & Audio has continued to grow its impressive pro audio brand portfolio, which now includes the likes of JBL, AKG, Adamson Systems, Tascam and Pan Acoustics to name but a few. But all of the brand names in the world means nothing without the right team behind them. This is something the company has always valued, with their pro audio team’s collective industry experience spanning decades –not just within Australia, but across the globe.

One of the handful of returning pro audio exhibitors at Integrate Expo, CMI is renowned for putting on a great show, which includes an impressive array of gear to discuss with the team, talks from key personnel directly from the brands, as well as impressive demos showcasing the latest and greatest in this wide span of brands that cater directly to the specific needs of AV integrators, consultants and so on. This year’s CMI demo room promises to showcase a plethora of pioneering audio solutions, as well as launch some brand new products to the Australian market. The line of JBL products available to get up close with this year includes the much anticipated launch of the new SRX900 series of loudspeakers. This new family of line array from JBL brings about some massive upgrades from the previous (revered and ever popular) SRX800 line, including new components across the range as well as new sophisticated DSP processing. This is JBL’s

most exciting entry yet into the world of line array systems and assures to impress on the demo floor for a variety of potential AV applications.

The new PRX900 series will also be exhibited this year, which again brings some impressive new technology. Also on demo in the PRX family will be the PRXONE, JBL’s most sophisticated all-in-one portable column speaker system, with a massive 7-channel mixer with-high-level DSP processing and onboard effects. The PRX family is ever expanding and fills a gap in the AV market where hi-end features and innovative control features meet affordability. For even more affordable portability, and suited for a variety of applications, both the EONONEMKII and EONONECOMPACT are going to be worth checking out, both boasting impressive integrated mixers with solid feature sets and I/O.

Lastly, for the world of installed immersive sound, the Intonato is JBL’s dedicated monitor tuning and control system, which can comfortably handle a simple stereo system right through to full immersive formats. With a wealth of analogue and numerous digital format connectivity including networked audio, Intonato comfortably covers off numerous installed applications from studios, educational facilities, museums and more.

The Adamson Systems products on displays in this year's CMI demo room, put simply, are

guaranteed head turners. The Canadian company is renowned for designing and manufacturing some of the most respected line array and point source speakers on the market found on countless production riders around the globe. But the installed and network enabled lines of speakers are every bit as Adamson as one would expect.

The IS series speakers including the AD-IS5C – AD-IS7C are purpose designed for install, specifically aimed at architecturally designed spaces, where blending into surrounds is paramount. Plenty of boxes ticked there. The CS series including the CS7P –CS10 – CS119 models will give visitors a taste of what Adamson’s networked audio speaker family is capable of, future proofed for all matter of networked audio installation requirements.

Probably the most anticipated product to be demo’d is the brand new Adamson Fletcher Machine. The AFM represents the brand's bold exploration into the world of immersive and spatial audio being a hardware based renderer with a powerful accompanying app and bucket loads of DSP processing power. This new box is sure to impress and prove itself worthy for an abundance of immersive audio scenarios in live and install applications.

Renowned Japanese pro audio brand Tascam have some really exciting products that can be seen in the CMI demo room this year, with the brand going deep into networked audio territory.

The rather impressive Sonicview digital recording consoles just released this year are a must see, being Dante enabled and boasting pristine, incredibly high-end digital audio conversion, these consoles lend themselves nicely for networked audio applications. Other exciting products include the MM-DANTE converters, taking analogue signals and converting to networked DANTE format, with both Euroblock and XLR connector configurations available.

The MZ-Mixers Multizone mixers are bound to capture the attention of installers and integrators designing for hotels, restaurants, cafes and the like. Versatile routing and mixing of signals with announcement capability, plus Bluetooth enabled. Say no more. SS Series Networkable recorders are a fantastic solution for live recording and events where high channel count and pro audio digital I/O including MADI and DANTE are in use. A SSD drive caddy and up to 64 channels of recording plus dual PSU for redundancy, the SS series of recorders are purpose built for critical recording situations in the AV sector.

Lastly, Pan Acoustics will have an array of their digitally controlled beam steering speakers on the demo floor. The German company offers unique and technologically advanced loudspeaker solutions for an incredibly high level of control and response, particularly for rooms that are challenging acoustic environments with long reverb time and where speech intelligibility is integral.

With their products supporting audio formats from simple analogue, through to digital formats ranging from DANTE, AES67 as well as supporting transmissions over AoIP network connections with POE+, the potential for Pan Acoustics across the AV sector is near endless and a must see at Integrate 2023.

To enjoy the wealth of products being exhibited by CMI Music & Audio this year, as well as one off presentations on immersive and spatial audio and more, be sure to book a session here.

WORDS BY ANDY LLOYD RUSSELL

HOW TO: DIY record a live band

Reproducing this feeling in the studio or in a home recording situation is one of the greatest challenges of recording - whether it’s the absence of a crowd, the robot-like chops required to be able to play to a click track, or the disorienting experience of hearing yourself isolated in headphones, some musicians struggling tremendously to find their groove, especially if they don’t have a whole lot of recording experience.

These days, the conventional wisdom is to separate instruments as much as possible so that you can go back and fix things later on. To this end, amps are sequestered off in a separate room or cupboard somewhere and bass is DI’d. The musicians play either in the same room as the drummer or in the control room, with each wearing headphones, ideally with some way of managing their own headphone mix so that they can control how much of each instrument they hear.

Having line of sight brings back some of that intangible live feeling, producing better energy and cohesion, plus tracking everything at once means you can finish songs quickly without spending days on overdubs. There is, however, a very obvious drawback - we don’t have access to a studio with a bunch of rooms to isolate amps, or half a dozen sets of headphones with artist mixers.

The solution? Get rid of the headphones, the click, and the multi-room set up. Chuck everything in the same live room, but do it carefully - if you get the setup just right, the band will be able to hear each other perfectly without any headphones whatsoever, and the spill between drums and guitars will be minimal.

I was first introduced to this technique by a mate who read that it was favoured by legendary engineer Vance Powell, who in turn credits Glyn Johns, but it seems as though it was relatively common practice in England in the 60s. The basic principle involves setting the guitar and bass amps up in line with the resonant head of the kick drum, separating them with gobos. This mimics the setup of a band performing live on stage, enabling the musicians to hear each instrument and have a clear line of sight with one another.

At first glance, you’d be forgiven for questioning how such a setup could possibly hope to minimise bleed, with the drums placed so close to the guitar amps - the gobos might help a bit, but surely the overheads will still be more like guitar room mics...?

The first thing to consider is the dispersion pattern of the amps. Without going into too much detail about the physics behind it all, the speaker of your guitar amp doesn’t disperse sound evenly in all directions, with most sound directed out towards the front and less at the top and sides. This is especially true at higher frequencies, which are more directional, with lower frequencies dispersing a bit more omnidirectionally.

Ever noticed how when you stand right on top of your guitar amp at practice, it’s super hard to hear yourself clearly? This is the reason why.

Positioning the amps this way means the majority of guitar sound is directed out into the room, towards the musicians and away from the drum overheads and spot mics. Another thing to think about is the size of the amps you’re using. It goes without saying that the quieter you can make the guitars, the less bleed you’ll have into the drum mics. For this reason, you’ll want to go with smaller ampsI’ve found that little 5W tube practice amps are perfect because you can hit the ‘sweet spot’ at

a much lower volume, rather than running big amps quietly and not driving the valves enough. What’s more, the smaller speakers on these little amps produce less of those pesky omnidirectional low frequencies that find their way into the drum overheads.

I’d even go so far as to recommend using a practice guitar amp for the bass - try filtering out the low frequencies, pushing the midrange, and blending the result with the DI’d sound to beef out the low end.

The last consideration is the directionality of your microphones. While cardioid microphones are what most people tend to have an abundance of in their mic locker, and can still produce some decent results in a pinch, for the best isolation you’ll want a handful of mics with a figure-8 (bi-directional) or hypercardioid polar pattern so that you can make use of their rejection points. For best results, use figure-8 mics on the amps (ribbons work great!) as the null points will be directed towards the drum kit, minimising bleed from the drums.

Tracking in this way will save you a fortune on recording gear and/or studio rates, and is a great option for recording bands in less-thandesirable locations - I tracked a punk band in a storage unit the other day and we came up with some great sounds. You’re never going to eliminate all of the bleed; you’ll likely hear faint drums in the guitar spot mics and definitely a healthy dose of riff in your drum overheads. But part of tracking live is about learning to embrace spill, which occurs at studios and at home recording - it’ll glue your track together and impart some of that palpable excitement, energy, and ‘vibe’ intrinsic to a band performing live in a room.

WORDS BY JARRAH SAUNDERS

A guide to recording studio quality drums with only four microphones

Consider this a brief guide, compiled over the course of some serious, super late night YouTube research – for those of you who have always found the process of drum recording at home to be a head scratcher.

The Interface

I settled on getting an Audient iD44 – a four channel interface with high-quality preamps from Audient’s larger consoles, dedicated guitar DI inputs, USB-C and expandable ADAT connectivity (for extra channels later on).

Yes, the only issue was that it was just four channels, but after much talk with people in the know, the advice was that I work on being able to get a decent sound with just four mics.

Yes

DAW, I do need mics

There’s a bunch of DAW options available, but you do need one. I went with Logic.

The only mics I had were a Rode NT2 large diaphragm condenser, an Audix D6 that I use in my bass drum when playing live and a couple of Shure staples – an SM57 and Beta57 as well as a Sennheiser 935 vocal mic.

I figured I could get something happening with these microphone selections then a great producer friend of mine Mitch Cairns mailed me out a matched pair of MXL 603S mics pencil condensers and I was suddenly in the game.

I decided to use my vintage ‘60s Ludwig Super Classic and to try applying some of the recording techniques I’ve learned over the years.

I thought it would be easier to go with a dampened, deader sounding kit – tape/tissues

on the snare. Toms too, applying dampening where needed to get a note but keep it controlled. It’s really an experimenting game here. But where do I place the mics?

Glyn Johns the recording man?

My first attempt at recording the legendary Glyn Johns method, as it is only technically a three-mic affair. It’s a fairly live sound and generally relies on a larger, great sounding room – which I don’t necessarily have.

The first is approximately 1-1.2 metres directly above the snare drum and the other measured equal distance from the snare drum 90 degrees just past the floor tom. The distance from the mics to the snare drum is crucial so that the loudest sound on the kit hits the mics at the same time and this avoids phase issues.

The idea with Glyn Johns is to achieve a simple but balanced ‘image’ of the drumkit in the mix. The snare drum should sound in the centre of the image with the rack and floor toms at even volumes.

I actually found that the floor tom was usually louder than the rack tom, so the second mic often required some moving. I always maintained that equal distance from the snare. Speaking of the snare drum, I decided to cheat here and actually close mic it because I really loved the idea of being able to manipulate the sound individually from the overheads. I experimented with different mics but an SM57 usually got the gong.

Likewise, because I didn’t have two large diaphragm condensers, the matched pair pencil mics were substituted for the overheads and they worked well. I actually tried using the Rode NT2 on the bass drum for a more natural sound but generally anyone I recorded for preferred the scooped vibe of the D6 on the kick.

The thing is, the more I experimented with mic placement, the more I moved that floor tom side mic and really, it ceased being the Glyn Johns technique. I didn’t love my room sound/ ceiling reflection that much and wanted to bring the overheads closer a little for more toms, but then I usually got more hats. Then I stumbled on another technique called Recorder Man. Place the first overhead straight over the snare or even pointing directly between the snare and the rack tom at a distance of two drumsticks high. Place the other overhead the same distance but behind the right shoulder –if you’re right-handed – pointing back at the snare drum.

Now, even though that mic is behind you, the hi-hats can’t bleed through that second overhead as much and because it’s a little higher, the floor tom isn’t automatically louder than the rack. It’s a great compromise overall!

Overall

There are many other techniques including a simple XY configuration, but I did like the idea of being able to independently move those overheads. At one point I even just close mic’d the toms with the pencils and had no overheads! With towels on the drums, that was actually awesome.

In Logic, I’d apply some basic EQ on the mics – usually a gentle high pass filter and then just pulling out nasties here and there. I’d apply some compression and experiment with parallel compression.

Overall, the technique/s above yielded a natural sound overall, a good base to play with and definitely got me in the recording game. I’m hooked!

WORDS BY ADRIAN VIOLI AND PAUL FRENCH

MIXDOWN EXPLAINS: 32-bit

Float

32-bit Float is a term that’s becoming more and more common in the audio industry, it having been added as a feature to a lot of film, TV, streaming, podcasting and content creation equipment. Reviews, ads and announcements boast about how it makes recording easy, being free of the risk of distortion, with unparalleled dynamic range. But what is it? And how does it float? Do you need it? And if so, why?

Bit depth refers to the capacity of the converter to capture amplitude information between silence and 0dBFS (full scale), a.k.a. the point of digital distortion. It’s important to delineate digital and analogue distortion, as driving into analogue components produces a pleasant warmth and grit, while digital distortion is a series of harsh noise, pops and clicks.

8, 16 and 24-bit recording

Let’s clarify 8, 16 and 24-bit sound. Bits are strictly a digital recording equation, referring to how the digital converters capture dynamic range of an analogue signal.

With bit depth on a y-axis, and sample rate on the x-axis, a sound wave is sampled at varying points over time. The vertical y-axis captures amplitude information, while the horizontal x-axis captures frequency information over time.

The more often the analogue waveforms are sampled, the closer they are to the original waveform. Sample rate is usually split up into 44.1kHz and 48kHz, or 88.2kHz and 96kHz, meaning that over one second of time, the waveform is monitored 44,100 times per second at 44.1kHz, 48,000 times per second at 48kHz etc. While sample rate refers to samples taken over a time, bit depth refers to the total dynamic range available for the converter to capture it.

8-bit audio is almost comically low-quality, 80s video games often featuring 8-bit soundtracks to reduce storage space on the games. It sounds the way it does because the audio is being forced through just 8 steps of dynamic information, the nuance and subtle shifts being lost.

24-bit audio has been the standard for some

time, offering enough amplitude information for converters to capture to be reasonably accurate recording of a sound in a physical space. While sample rate refers to how many samples are being taken over a fixed period of time, varying bit depth allows more values to be captured before the point of distortion.

16-bit allows for 65,536 amplitude values between silence and distortion, 24-bit allows for 16,777,217 values and 32-bit allows for 4,284,967,296 amplitude values.

The digital audio is captured with a series of 1s and 0s, the converters turning audio into waveforms that fit the possible values of their set bit depth. The waveform is being quantized to fit either value, creating a noise floor as the converters attempt to capture the audio as accurately as possible. The noise floor is the low volume white noise you might’ve noticed when turning audio clips up too much!

While admittedly, 24-bit and even 16-bit audio is reasonably hi-fidelity to human ears, the expansive difference between this noise floor and distortion in 32-bit Float is what makes the difference, allowing us to capture a massive dynamic range.

32-bit Float

Setting your gain levels for an incoming signal make sure the source you’re recording is far away enough from the noise floor, as well as leaving headroom before distortion for maximum clarity. 32-bit recording creates much more space for that source to exist about the noise floor, with a massive amount of headroom before distortion, or 0dBFS. 32-bit Float is referred to as ‘Float’ because instead of allowing a set amount of samples to be taken per ‘bit’ of bit depth, it instead uses information encoded in a binary variation of scientific notation. The

notation, as opposed to a fixed value, allows 32bit Float to convey much larger representation of amplitude values than 16 and 24-bit.

For a little comparison, 16-bit audio allows for 96dB of dynamic range, while 32-bit Float allows for 1,528dB of dynamic range. 32-bit Float captures beyond what we define as sound on Earth.

Why?

32-bit Float allows you to capture clear, distortion free digital audio, mostly without the need to set gain. Even the quietest sounds, like a whisper on a film set, will be well above your system’s noise floor, while the roar of a motorbike is well under the point of distortion. This gives you the freedom to adjust levels of individual sounds after the fact, so as long as you’re recording, you’ll be able to turn things up and down for a cohesive mix without bringing up the noise floor.

Who?

For this reason, content creation and streaming products are shifting to implement 32-bit Float converters. Podcasting and YouTubing are generally created in a controlled environment, but you can be confident that you can capture (and adjust after the fact) all the audio from each of your guests.

For film and TV, performances can be dynamic, with foley, effects and other sounds sometimes being very quiet compared to dialogue, and these quiet sounds have traditionally been too close to the noise floor to bring up too loud. 32-bit Float solves this problem, allowing you to capture audio that’s supremely flexible after the fact.

32-bit Float affords you the freedom to automate more extreme dynamic changes, or flatten them out if need be. 32-bit interfaces and converters also allow you to dip a toe into the film and TV world, giving you the ability to accept work across different mediums without risk of handing in low-quality audio!

WORDS BY LEWIS NOKE EDWARDS

Nord Stage 4

ELECTRIC FACTORY | STARTING FROM $7099.00

I have been using a Nord Stage since the first model was released way back in 2005. Before that, I was breaking my back lugging a Hammond with Leslie cabinet to gigs, and sometimes even a Rhodes Stage piano. I could just squeeze it all into my trusty 1986 Volvo 240 wagon! To try and ease the lug, at some gigs I tried using controller keyboards with plugins on my laptop, which sounded pretty good at the time, but could be unreliable and often distracted me from just playing the music.

I still remember the first time I gave the Nord Stage a test drive and fell in love instantly. Everything was laid out on the front panel and it actually felt very close to using the real thing. I purchased the Compact 73-key version and I loved the fact that it could fit in a backpack case, and I could even get to some gigs by tram! No Volvo required. I had a hard case made that could fit the keyboard while inside the soft case, which allowed me to easily take it on interstate or international flights. At the other end I could move around with just a backpack needed. I had the case made with some extra room so I could fit two expression pedals, sustain pedal and all the leads I needed in the one box. If there was an 88 keyboard in any backline I could easily run a two keyboard rig using just the sounds from my Nord. Too easy!

To cut a long story short, over the years I went through all the models and in 2017 found the Nord Stage 3 Compact to be my favourite of them all. Finally, it had the physical drawbars plus C2D organ along with a long list of amazing features. The only downside for me was the

new file format which meant that all the sounds I had programmed on my previous model were not compatible with this new beast. I could either complain about it, or just get to work setting up my new Stage 3 from scratch so I could be ready to gig. To my delight, the new improved workflow meant that I could set it up super fast and had everything ready in no time. Nord announced the release of the Stage 4 in February of this year and the new feature list was incredibly impressive. I put my name down to buy one from the first shipment when it arrived. Along with all the excitement was a fair bit of moaning about, you guessed it, another new file format, and the omission of the much loved ‘Song List Mode’. The workflow had been substantially improved yet again, which makes setting up your patches a dream and lightning fast. Even though I did really like ‘Song List Mode’, the new enhancements with presets and patches allowed me to easily find a new way to be organised.

The front panel has been redesigned with the introduction of ‘mixer style’ sliders to adjust the level of each of the sound engines which include two organ, two piano and three synth engines, all with their own fully dedicated effects. In the past you had to decide which engine would use a particular effect section. Now you have the ability to use all available effects on everything in any combination which really opens up your sound design options massively. Both organs share the same effects layer, but everything else is fully independent. The new triple sensor keybed feels fantastic

to play and gives you a more expressive experience and more control over the nuances of the sounds when you play.

The piano library has been updated and enhanced to make use of the new keybed and the result is a truly beautiful and realistic playing experience, with details such as dynamic string resonance and pedal noise adding to the vibe. The new Unison feature and dynamic compression gives you even more options to quickly layer or fatten up your sound to cut through.

The Synth section is based on the Nord Wave 2 and now includes three independent layers with plenty of polyphony to handle some massive sounding patches. The synth engine features Virtual Analog synthesis, FM, Wavetable and Samples. The new arpeggiator features Polyphonic, Gate and Pattern modes, so the creative potential is huge. Imagine three separate synth patches with their own unique arpeggiator patterns working all in perfect sync, then layer this with two different pianos and organs on top!

Even the organ section has been enhanced with the addition of physical drawbars on all models as well as the LED indicators which provide an optimal hands on playing experience and make it easy to get an overview of drawbar settings when changing patches. B3 Tonewheel, B3 Bass (new), Vox, Farfisa and Pipe Organ have you covered for all your organ needs.

The new Effect section is very impressive indeed. All the tasty effects from the Stage 3 are there with the addition of a new Pump

effect that simulates the classic ‘side-chain’ effect. There is a new Spin effect and new variations of Reverb, Delay, Amps and Modulation effects. Having all this available for every sound engine offers a huge amount of flexibility and allows creation of some truly massive and expressive sounds.

The Stage 4 now enables you to save presets from all of the three engines complete with all effects. In previous models, the synth presets would only save without effect settings. This update is a game changer for setting up complex patches with splits and layers in no time at all. The sample memory has doubled in size and polyphony of the synth section expanded to 48 voices. The Nord Sample Library is huge, and with a steady flow of new additions over the years, has you covered for everything. If you need something unique that is not in the library, you can easily create your own samples using the Nord Sample Editor. There are many other upgrades and improvements that I haven’t even mentioned here. The Nord Stage 4 really is a wonderful instrument with an impeccable build quality and style. It does come with a fairly hefty price tag that may deter some but just like my old Volvo, it will serve you reliably and faithfully in all musical situations for years to come. Those that do make the leap will not be disappointed.

BY SIMON LEWIS

Fender Player Series Jazzmaster

FENDER MUSIC AUSTRALIA | RRP: $1599.00

The Jazzmaster legacy was born in 1958, and was designed with the intention of it taking out the top spot as “the guitar to have” after Fender’s success with the Telecaster and Stratocaster.

The Jazzmaster featured unique switching capabilities to give players lead and rhythm shaping options at their fingertips, as the pedal industry was only just beginning.

The Fender Player Jazzmaster is reminiscent of this era, harnessing modern hum-bucking capabilities of Player Series Alnico 2 humbuckers, as well as a Modern "C" neck shape – a big deviation from the bigger, vintage style necks of the late 50s.

While the Jazzmaster didn’t immediately knock Tele and Strats out of their top-tier status in the late 50s, what it did do was carve a niche for the uniquely offset electric guitar. The Jazzmaster become the go-to for the growing world of surf rock through the 60s, before it became the weapon of choice for alternative and grunge that exploded out of the 90s. The 90s styles of music were ripe for reinvention, seeing players switch out the fat-sounding single coils for humbuckers and using the Jazzmaster for higher gain sounds.

The Jazzmaster was adopted by genre benders like J. Mascis, My Bloody Valentine and Thurston Moore of Sonic Youth, and continues to be used by artists like Neige of Alcest, Troy Van Leeuwen and Jim Root of Slipknot. The trend flowing through all these

artists is that their bands transcend genre, pushing boundaries and using the Jazzmaster to do it.

The Fender Player Jazzmaster is an alder-bodied electric guitar, coated in Gloss Polyester, this specific one finished in a Candy Apple Red. The neck is maple with a Pau Ferro fretboard, white dots indicating the 22 Medium Jumbo frets. Complete with a 6-Saddle Vintage-Style adjustable with “floating” tremolo tailpiece. The dual Alnico 2 pickups give an even and balanced response, alnico offering a lower output than ceramic pickups. Doing away with the complex lead/rhythm wiring circuits, featuring master volume and tone control and three-position toggle. If single coil tones are your forte, coils of the humbuckers can be split via a push-pull pot.

The Player Jazzmaster has been a success the last few years, and it’s easy to see why. Melding everything that makes the Jazmaster great into an accessible, revised package is a no brainer. The most recent offering of Player Jazzmasters from Fender boast some great new colours, while retaining modern playability. The Modern "C" feels familiar but easy to grapple, the 9.5" radius nestling nicely between more vintage radiuses closer to 7”, but not as flat as more modern highperformance fretboards that boast 12” or so.

The synthetic bone gives a little brightness and snap, articulated by the clear pickups, as does the

Pau Ferro fretboard. Pau Ferro sits somewhere between ebony and rosewood, and was a favourite of players like Stevie Ray Vaughn for its bright attack that helps with note separation. Notes of a chord sound full, each string being articulate enough to be heard independently. The neck pickup has the classic thickness and heft of the neck position, but the Jazzmaster’s build gives it some extra snap, the bridge having a more brittle, bright tone conventionally, but it sits well amongst what you’d expect from a Jazzmaster. The split coils harness that classic Fender ‘snap’, while rolling off the tone warms things up a bit.

A Jazzmaster just feels good against your body, the offset curves sitting comfortably, and the Fender Player Jazzmaster is no exception. It’s well weighted, feeling solid when strung across your shoulder without bearing down on you over a long set, and the layout of the controls helps you focus on the playing. The guitar feels solid, the spring-y tremolo system giving the whole guitar some life, as well as the tremolo arm being available for a little extra expression if and when you need it. Tuning stability is no problem, even when wailing on the trem, or doing your best Kevin Shields impression.

A great purchase for players of all levels, the Fender Player Jazzmaster has its own voice, not quite traditional Jazzmaster, but still a warm, vintage-esque take on more modern sounds. The

coil split makes the guitar tenfold more versatile, adding to an already impressive list of specs and offerings.

All in all, the Fender Player Jazzmaster is a modern take on the classic design. Used by a more niche group of artists, albeit one that’s been growing since 1958, the Jazzmaster is the alternative cousin of the Tele and the Strat. Aesthetically the offset body is iconic, and sonically the Fender Player Jazzmaster sits somewhere between the vintage single coils of a classic Jazzmaster and more modern high performance guitars — the hum well and truly being bucked. The layout is simple, allowing you to toggle between humbuckers or switch them to single coils for more twang, without multiple circuits and switches getting in your way! The Fender Player Jazzmaster is refined, modern and reliable, a fresh take on a tried and true design.

BY LEWIS NOKE EDWARDS

Fender Player Stratocaster HSS

FENDER MUSIC AUSTRALIA | RRP: $1599.00

The Stratocaster is a classic design, released in 1954 and continuously produced since then. Building from the Telecaster, the Stratocaster is a double cutaway electric, traditionally with three single coil pickups for that, now world renowned, clarity. The Player Stratocaster HSS, pardon the pun, bucks that trend, featuring a Player Series humbucking bridge pickup and two Player Series single-coil Stratocaster pickups in the middle and neck positions. Available in a variety of colours, we sat down with the Sea Foam Green model, the greeny blues offsetting while complimenting the maple fretboard. Different colours are available with different freatboards, both Pau Ferro and maple being available.

The Player Stratocaster HSS encapsulates a lot of what has made Stratocasters so famous, from Fender’s bolt-on designs being highly modifiable, to the constant innovation instilled in the company by Leo Fender, the Player series are built for just that: the players. They’re affordable, well-built and feature both familiar and new specs. The Player series is Fender acknowledging that they know what works, while introducing new ideas and innovations in accessible packages to the masses.

Traditionally, Strat bodies are built from alder or ash, and the Player Stratocaster’s alder body is finished in a Gloss Polyester that shines while being more hardy than vintage finishes. The neck is maple with a maple

fretboard, black dots signifying the 22 medium jumbo frets and a Modern "C" shape, the Satin Urethane finish on the back of the neck helping you glide around the fretboard, the double cutaway design offering no hindrance at all; quite the opposite. The Player Strats do away with the fiddly, vintage style tuning machines, offering a simple way to restring with Standard Cast/Sealed complete with a classy ‘Fender’ engraving on the back. The bridge is a 2-point tremolo with bent steel saddles, offering stable tuning and vintage good looks, and enough expression when needed via the tremolo bar. A synthetic bone nut supports things at the other end, Fender’s tried-and-true dual-wing string tree guiding those higher strings into place.

While the Player Stratocaster HSS didn’t come with a bag or case, they’re shipped safely in well-built boxes, and Fender has a huge catalogue on cases available. The Player Stratocaster HSS is, for lack of a better word, a ‘standard’ shape and it’ll fit easily into any ‘Strat’ style case you might find!

Amplified, the Player Stratocaster HSS sounds great. The neck and middle pickups give classic Fender twang and bite, while the humbucker gives more modern, full and controlled rock sounds. The five-way switch still offers the ability to split the coils of the humbucker, helping you achieve those out-of-phase positions that are unique to the Stratocaster. Traditional master volume is on hand, and two tone knobs

control the neck/middle and bridge pickups respectively. The humbucker is alnico, so it lends itself to all those cliché terms that we can’t help but use: musical, warm, rich and sweet. These offset the twang and brightness of the single-coils beautifully, providing The weight is good, the Player Stratocaster HSS feeling solid enough to withstand the rigours of the road, while not weighing you down literally nor figuratively. The Strat built on what the Telecaster lacked, its curvy body nestling comfortably against the player, whereas the sharper edges of a Tele sometimes really does feel like a slab of wood sat under your arm!

The Player Stratocaster HSS is well-built, feeling solid and tuning stability is no worries. The tuning machines are accurate, with a reasonably high ratio without requiring seemingly endless turning to reach pitch, but quality enough to be confident in your tuning; there’s a fine line! The tremolo system and bridge don’t rattle, the tremolo arm itself feeling solid even when really goin’ for it. I found myself switching between classic rock sounds that I expect from a Strat and bigger, albeit boisterous humbucker tones with ease, the Player Stratocaster HSS offering a versatile array of sounds. It can give classic Fender tones and more modern sounds with a literal flick of a switch!

The Player Stratocaster HSS builds on decades of innovation from Fender, culminating in one well-built, solid and frankly

affordable electric guitar. It’s tough believe the value you get when you break down the specs, let alone hold one in your hands, the Player Stratocaster HSS offers a bunch of different sounds via three pickups, a five-way switch and dedicated tone pots. The playability of the satin finish of the neck, Modern "C" shape and medium jumbo frets feel familiar to Fender fans, while also modern and renewed, provide a great platform for playing, the body shape and comfortable weight designed to be gigged or used for extensive writing sessions. Tuning is stable, there’s an array of colours available depending on your preferences, with maple and Pau Ferro fretboards available to offset different finishes. While the Player Stratocaster HSS isn’t strictly Fender’s flagship model, it’s definitely flying their flag with pride.

BY LEWIS NOKE EDWARDS

Ernie Ball Music Man Kaizen

CMC MUSIC | SEE YOUR LOCAL ERNIE BALL MUSIC MAN DEALER

The Ernie Ball Music Man Kaizen is, literally and figuratively, a lot to unpack. Designed in conjunction with Tosin Abasi, of Animals As Leaders fame, the Kaizen is a streamlined, modern design that harnesses Abasi’s contemporary take on guitar overall. Building off of Abasi’s expansive catalogue of music that pushes music, guitar, syncopation and rhythm forward, it only makes sense to equip him with an instrument that can keep up, and who better to collaborate with than Ernie Ball Music Man, who’s artist roster spans the entire world of guitar. If anyone can deliver, it’s them.

Tosin Abasi started Animals As Leaders and the debut, self-titled album was recorded in 2009 by Periphery’s Misha Mansoor, and Animals As Leaders exploded onto the international scene. Their sound expanded beyond metal, incorporating Abasi’s experience with jazz, fusion and rock, and Abasi is widely known as an avid player of 7 and 8-string guitars. This gave way to a range of uniquely spec’d guitars, experiments and successes, with all of this culminating in the Ernie Ball Music Man Kaizen.

The Kaizen is an alder-bodied electric, featuring a “decidedly contoured” body, multi-scale fretboard and unique “infinity radius” fretboard that is intended to provide better visibility of the fretboard from any playing position. The Kaizen includes a pair of Music Man humbuckers, Music Man multi-

scale bridge and Steinberger gearless locking tuners.

The Kaizen is a multi-scale electric, meaning the fretboard has varying scale lengths for a more ergonomic playing experience. The closer to the low E side of the fretboard you get, the more your hand splays out, and the multi-scale helps to place frets in a position that feels more natural to an open (or closed at the higher strings) hand. The multi-scale fretboard shifts from 24.75" on the low side to 25.5” on the high-side for six string versions, and the 7-string version we’re reviewing here is 25.65 on the low B string. To ensure everything tunes and intonates correctly, the Kaizen has an angled (and covered) multiscale Music Man tremolo bridge, while the neck pickup is a slanted mini-humbucker to help keep the tone balanced. The bridge pickup is a Music Man designed custom HT (Heat Treated) humbucker, notably one of the hottest pickups on the market, while managing to retain startling clarity in the low end. Perfect for emulating Tosin’s unique ‘thump’ technique. A three-way switch controls the two humbuckers, switching between either, or a custom middle position gives a split coil of each pickup wired in parallel. The electronics are isolated thanks to a graphite acrylic resin coated body cavity, and coupled spring dampeners in the bridge, do their bit to keep the entire guitar hum, resonance and overtones free for a truly clean and clear tone.

The alder body is covered in a satin finish, in this case Apollo Black, and a roasted figured maple neck and ebony fretboard complete the bulk of the construction. The Kaizen is also available in a metallic Indigo Blue, Mint or Chalk White. Steinberger Locking Gearless tuners make for a smooth and super accurate tuning experience. Similar to banjo-style tuners, the mechanism and tuning itself felt stable, even with repeated expression on the tremolo bridge.

The body carve, shape, cutaways and multi-scale design all speak to the ergonomic focus of the Kaizen. It all feels very easy, notes from any fret just spilling off the fretboard, the infinity radius somehow seeming to bend space and time, allowing you to see what you’re doing from just about any angle. Even for those unfamiliar with multi-scale guitars, myself included, all of a sudden the multiscale design makes sense. Guitars with straight, normal frets (boring) feel clunky and difficult to wrap my hands around. The multi-scale design makes fretting complicated chords, bigger stretches and intervals easier, with lead lines easily leading from one note to another.

The pickups themselves offer clarity and depth, the low-end feeling controlled and teetering on the edge of being too much, but settling themselves into a comfortable position. Even for six string players, the seventh string didn’t go astray, the

Kaizen inspiring much more than just bottom-string riffs. Little additions like the satin finish, gunstock oil and hand-rubbed special wax blend neck finish and stainless steel frets make for subtle but welcome additions to playability, and the multiscale design, robust Music Man tremolo and Steinberger locking tuning machines keep the whole instrument in tune.

The Kaizen is a meeting of minds of sorts, Abasi’s forward thinking designs, contemporary style and a technique that pushes guitar playing forward, while Ernie Ball Music Man are steeped in history, with the tools at their disposal to create something like the Kaizen. Taking some classic designs like mini humbuckers, tremolo bridges and … well that’s about it for the Kaizen. But then combining those assets with modern technology and innovation like stainless steel frets, multi-scale fretboards, an “infinity radius” and ergonomic thinking behind the body shape and layout, Music Man have truly broken new ground with the Kaizen. It’s a futuristic looking guitar that somehow feels familiar, comfortable, and refined all at once, harnessing the best of decades of electric guitar innovation, and a sprinkle of whatever magic Tosin Abasi manages to impart onto everything he does.

BY LEWIS NOKE EDWARDS

Fender Player Jaguar Bass

FENDER MUSIC AUSTRALIA | RRP: $1549.00

The Jaguar Bass is a unique take on a few of Fender’s more famous designs and concepts. The Precision Bass took the world by storm in the early 50s, while the Jaguar revolutionised electric guitar in the 60s. Feel like you need an instrument that harnesses both of these forward-thinking designs? Look no further than the Player Jaguar Bass. The ‘Jag’ Bass is available in a variety of colours, this one in particular in a classic Seafoam Green with a Maple fretboard, the Player Jaguar Bass is available with either a Pau Ferro or Maple fretboards depending on your preference of colours.

The Jaguar Bass is the choice for a growing list of musicians, including Troy Sanders of Mastodon with a recently released signature ‘Jag’ bass, Justin MeldalJohnsen, Mark Hoppus of Blink 182 and Eva Sanders of The Mars Volta to name a few.

The Player Jaguar Bass rounds out Fender’s stellar range of bass guitars, built to Fender’s exacting specifications, but at a more accessible price. The Jag bass has a subtle offset, its curves and belly sitting comfortably against you, whether sitting or standing. It’s built from an alder body, the Gloss Polyester finish feeling robust as well as looking great. The neck is Maple, with a Modern "C" neck shape feeling familiar to those of us acquainted with traditional Fender feel, but with modern playability. The neck shape is complimented by a 9.5” fretboard radius. A 4-Saddle Standard bridge, Synthetic Bone nut and Standard Open-Gear Fender tuners keep everything in tune. The balanced, even notes

allow you to easily be the anchor of your band, or a funky lead rhythm driver.

The electronics are a take on the ‘PJ’ style pickups, featuring a split single-coil Precision pickup in the middle position and a Jazz pickup in the bridge, each of which has an independent volume control to blend them together, and a master tone control adjusts high-end roll off overall.

The beauty of the ‘PJ’ design is that it’s not an amalgamation of multiple designs, but offers the best of each in their totality. The growl and presence of a P bass, but the deep, smooth lows of a Jazz bass, all at your fingertips.

In use, it’s easy to get a great tone out of the Player Jaguar Bass. The offset body offers a physically well-balanced weight, feeling comfortable, and it’s easy to play. The pickups are classic Fender, and in being that, they offer a huge range of tones from more modern sonic weight, clarity and attack to subtle, mellow jazz or blues tones. The master tone control helps you settle into, or poke your head out of, a mix or arrangement easily, the high frequency roll retaining string attack but doing away with any harsh top-end that may be present. This kind of tone control is equally handy for driving your bass through a fuzz or other grit pedals!

The neck shape, Modern “C”, feels great – there’s not much more to say. The best part of it is how little I thought about the neck shape, I simply began fretting notes without feeling encumbered, unlike some more vintage, baseball bat necks feel, or on the other end of the spectrum, particularly

flat, modern neck shapes without much to grab onto. The neck is also finished in Satin Urethane Finish on the back, so it won’t stick or grab onto your fingers, while the front of the headstock and fretboard has a gloss finish, a classic Fender aesthetic.

Tuning is accurate with the Fender tuners, the classic clover-style tuners in all their glory. The Synthetic bone adds a little clarity to the sound, as well as being a more robust material, both huge benefits over plastic nuts usually found on basses in this price range. Best of all, they keep tuning solid even over a few sessions, requiring only a little adjustment here and there, and definitely nothing major shifting too much over the length of a gig or so!

The Fender Jag Bass is a combination of a whole lot of Fender’s decades of innovation, with some tried-and-true designs. Their ability to re-imagine their own classic designs speaks to their confidence in their existing catalogue, pulling the best of it all together in products like the Player Jaguar Bass. The Jaguar was Fender’s flagship from the early 60s, as was the Precision bass, so what better way to play bass in the modern day than a melting pot of all this dedication to the craft?

The Player Jaguar Bass is priced for just about everyone, with no compromise in quality. It has great specs, and that speaks to the physical build of the body, neck and hardware, as well as simple electronic routing and a versatile pickup selection with Fender’s increasingly popular ‘PJ’ design. The PJ design takes cues from the Precision Bass’s classic tone,

while harnessing the deep, rich sound available for a Jazz bass, and offering them both. Can’t decide between sounds? Use the independent volume controls to blend between the pickups, then shape them with the master tone control.

The Player Jaguar Bass is, in a sense, a lot of Fender’s innovation personified. It’s innovation at an accessible price point, but with workhorse reliability and modern playability. It would be a welcome addition to a collection of instruments for anyone.

BY LEWIS NOKE EDWARDS

Jamstik Classic Midi Guitar

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The realm of MIDI instrumentation has undergone remarkable advancements in recent years, and included amongst those was the incredibly innovative Zivix Jamstik MIDI Guitar.

Merging the charm of traditional guitars with modern digital controllers, the Jamstik offered an innovative solution for musicians who wanted the feeling of a traditional, albeit modern looking guitar in their hands with all the power of MIDI at their disposal. Now, the Jamstik itself has undergone an incredible advancement in the form of the new ‘Jamstik Classic’, a new design that takes inspiration from the past whilst moving firmly into the future.

Featuring a familiar ‘S Style’ body shape rather than the more modern look of its previous iteration, The Jamstik Classic boasts an elegant design that effortlessly blends tradition and innovation. Unlike its predecessor, the body is full-sized rather than scaled down, which adds an element of familiarity and comfort for traditional guitarists transitioning into the digital realm. Featuring the ergonomic cutaways one would expect from this body style, the Jamstik Classic provides a familiar playing experience for players who prefer a sleek, vintage aesthetic.

The comfortable roasted-maple neck features a traditional headstock for easier tuning, a welcome addition for those who find headless guitars a little unbalanced. Including a familiar bolt-on design, 22 frets, a 25.5 inch scale length and a nut-width of 42mm, fans of S-Style guitars will feel right at home on this

instrument despite its immensely powerful digital capabilities.

The first standout feature of the Jamstik Classic is its incredibly organic and touch-sensitive feel. Without doubt the most tactile and functional MIDI guitar experience on the market, the Jamstik replicates the touch sensitivity of a traditional guitar with great success, making its endless sonic possibilities all the more enthralling.

Having the familiar touch sensitivity of a real guitar in your hands whilst creating a myriad of every kind of sound imaginable is a surreal and powerful musical experience. Moving through synth sounds, orchestras and even percussion on a set of six strings is something that could even be disconcerting if Zivix hadn't done such a great job of anchoring those it all in such a familiar physicality.

Another standout feature of the Jamstik Classic lies in its impeccable connectivity to various devices, thanks to its MIDI compatibility and Bluetooth capabilities. Establishing a connection between the Jamstik Classic and smartphones, tablets, and computers is incredibly seamless, and the accompanying Jamstik app offers a user-friendly interface suitable for beginners and experienced players alike. This compatibility expands creative horizons for music creation and collaboration, as it integrates seamlessly with popular digital audio workstations (DAWs) and virtual instruments.

The Jamstik Classic is also the first ‘MPE’ compatible guitar controller on the market. Described as the

biggest change in electronic sound since the invention of the synthesiser, MPE, standing for Midi Polyphonic Expression, allows digital instruments to behave more like their acoustic counterparts in terms of spontaneous, polyphonic sound control. This allows players to modulate parameters like timbre, pitch, and amplitude simultaneously for the first time on a digital instrument.

In other words, MPE is an extension of the established MIDI protocol that sends and receives additional control messages along with each note, adding multiple dimensions of expression along with the note’s basic pitch. The future is now!

The Jamstik Classic MIDI Guitar's fretboard is equipped with sensors that very accurately detect finger placement and strumming, converting it into MIDI data. This innovation makes it an invaluable tool for both guitarists looking to explore new creative avenues and beginners eager to embark their first musical journey.

Featuring a HSS pickup configuration, the Jamstik Classic not only improves upon its predecessor’s MIDI technology but brings something else quite magical to the table. Its full size and traditional design makes this model an instrument that demands to be taken on stage.

A perfectly viable live instrument, this guitar is perhaps the first instance of a tool that successfully combines a seamless, latencyfree MIDI experience with the attitude and old school charm of a classic guitar.

While it doesn't produce sound on its own, the MIDI capabilities of

the Jamstik enables users to access an almost infinite range of virtual instruments, synthesisers, and digital soundscapes, making it an exciting experience for guitarists and producers of all stripes looking to expand their horizons. The MIDI data captured by the Jamstik maintains an unparalleled level of accuracy, preserving the player 's performance dynamics and nuances.

The Jamstik Classic MIDI Guitar is much more than a device for recreating guitar sounds; it serves as a gateway to boundless sonic creativity. Its versatility and adaptability to various musical contexts makes it one of the most exciting innovations in the world of guitars for a long time. Whether you're composing, recording, producing, or performing live, the Jamstik Classic seamlessly integrates into your MIDI workflow. Zivix’s forward-thinking approach to merging traditional guitar playing and design with contemporary digital interfaces reflects their commitment to pushing the boundaries of musical technology and speaks well of their future as a company.

As digital technology continues to shape the landscape of music creation, the Zivix Jamstik Classic MIDI Guitar emerges as a pioneer. Its ability to effortlessly blend the tactile experience of a guitar with the limitless potential of MIDI opens doors to uncharted musical territory for veterans and beginners alike, offering an experience that harmoniously marries tradition and innovation.

BY CHRISTOPHER HOCKEY

Zoom UAC-232 Audio Interface

DYNAMIC MUSIC | RRP: $399.00

The Japanese effects and recording gurus at Zoom are no strangers to home recording solutions, having pioneered desktop recorders with their R-16 and subsequent models. Of course, they have also offered direct DAW recording hardware options for longer than I can remember, utilising the recording technology used in Zoom portable and desktop recorders to create up-to-date audio interfaces. Not only do these offer excellent quality, but with shared R&D costs from Zoom’s other recorder lines, they deliver on value too. So, it goes without saying that the Zoom UAC-232 USB audio interface is one that delivers on price and features in a way that many others don’t. Let's see what it’s all about.

We’ll start by putting this out there: this is the best looking interface Zoom have ever created. That’s not just an opinion, it’s a fact. The UAC-232 looks stylish, it looks sleek, it looks like it is a cut above. And with that, it backs it up by providing a quality of audio capture that you’d expect from such a sharp looking piece of kit. Zoom’s UAC-232 is the first dedicated 32-bit float technology audio interface and one that is going to set the standard for future devices. So, what exactly is 32-bit float technology, and why did the engineers at Zoom exclude gain controls on the inputs for the UAC-232? All good questions worth looking into.

One way of looking at 32-bit float recording is that it’s batting well above its average. What this means is the converters are capturing audio beyond the

ceiling that has previously been a limitation on digital audio - the cut-off point that causes clipping. This allows you to record with an amazing dynamic range and capture just about everything, far beyond what normal digital recording allows for. From the quietest breath to the loudest crash, the audio is captured clearly and without distortion, so that it can then be adjusted in post-production. It’s like having an almost infinite dynamic range, where huge amounts of audio are captured for every second of recording, but only at the expense of about 1/3 extra recording space.

In most current digital recording formats, with a limited dynamic range, you end up clipping if a signal goes too high. On top of that, you don’t hear a lot of the quieter sounds if you adjust the gain to counteract loud signal sources. This results in a recording that invariably ends up missing something. 32-bit float recording ensures it’s all there and can be recalled how you need, with gain adjustments in your editing software.

So, looking at the front panel of the UAC-232, there are two combination XLR/TRS balanced inputs that allow for microphone or line level signals. Neither of these have an input gain control knob, as it simply isn’t needed. The 32-bit float

recording captures the sound from the lowest setting on the gain control right up to the highest setting all in one. Input on has the option for a Hi-Z level if you wish to go direct with a guitar or similar instrument, and both have switchable phantom power options. A headphone out, and volume control, with direct monitoring switch are also found on the front panel, along with the master volume, which controls output levels. Speaking of outputs, there is a pair of balance TRS connectors on the rear of the UAC-232, along with 5-pin DIN MIDI in and out. Because, let’s face it, there are still a lot of hardware applications that require that old MIDI connection format, so it’s nice to have that there as an option.

Looking closer at the input side of things, Zoom have included the same preamps on this interface as those found in their F-Series recorders. They offer very low noise and a lovely clean boost to the signal level that allows the subtle nuances of your microphone to shine through. These preamps can happily handle high SPLs, so you’re set for just about any application with the combination of preamp and 32-bit float recording. Guitars, vocals, pianos, drums and pretty much any instrument you can think of - it’s like a ‘plug and play’ solution as you switch from one to

another with no need to fuss over input gain settings. The same goes for live streaming and podcasting. You don’t need to constantly monitor input levels and adjust for variations in levels between speakers and other sound sources. It all gets captured and you can edit, if needed at a later stage. With the Zoom UAC-232 Mix Control software, you have a simple, dedicated input bridge between the hardware and your DAW video or streaming software. It has two modes, one for music to integrate with the input options of your DAW and a separate mode for streaming that combines all inputs to a single sound source for your streaming software. The Mix Control panel also allows you to use the Loopback feature to allow you to add the playback of music from your computer, separate to your DAW or streaming software and bring it all in as one.

There’s not a lot going on here, because there doesn’t need to be. With the use of 32-bit float recording, Zoom have taken a lot of the worry of setup out of your hands and just allowed you to get into recording. In a nice little touch, a pair of cable ties are included in the package to enable you to fasten input and output cable to the rails on the side of the UAC-232 to act as strain relief in the event a cable is kicked or pulled accidentally. In delivering possibly the most user friendly USB audio interface to date, they’ve thought of everything.

BY ROB GEE

CALIFORNIA PLAYER PLAY SOMETHING DIFFERENT

Antelope Audio Galaxy 32 Synergy Core

ANTELOPE AUDIO | ENQUIRE FOR PRICING

Having pioneered some of the most revered audio clocking devices on the market, as well as having left a considerable mark on the rapid evolution of modern audio interfaces as we know them, it should come as no surprise that Antelope Audio’s new Galaxy 32 Synergy Core is an interface that is categorically packed to the brim with features, but also bears the kind of forward thinking approach to routing and integration that is sure to see it become an obvious choice across multiple disciplines within the broader audio space. A studio product through and through (but with more than a passing nod to the world of install audio and AoIP, where integration, scalability and flexibility of routing are paramount) the Galaxy 32 Synergy Core combines the kind of pristine audio and conversion quality one would expect from a brand as closely aligned with the professional studio as Antelope, but with an additional layer of practical application that sees it surpass many of its contemporaries – particularly in regards to ATMOS and immersive integration. This wealth of connectivity is immediately apparent the minute you glance at the rear of the Galaxy 32’s demure 1U chassis, with the majority of professional protocols and connections being represented here. The eight 25 pin D-sub connectors take care of all 32 analogue I/O (that’s 32 in / 32 out) for easy connection of D-sub snakes to external pres, outboard racks and/or analogue console, or whatever analogue I/O one might have in a given setup. An additional 8 channels of ADAT

are also available, for even further expansion, and of course, for a company so steeped in clocking and synchronisation, the obligatory BNC word clock connections. Where this particular unit travels to a galaxy far far away from other interfaces (it’s called the Galaxy 32 – a Star Wars reference was a must) is in its sheer amount of digital connectivity. The 64 channels of optical MADI might not come as a complete revelation to some, but where this unit really finds its stride (and where it effortlessly blurs the line between Studio and Network Audio) is in its ability to transmit 64 channels of DANTE (with redundancy) and 64 channels of Avid’s proprietary HDX via two Digi Link ports for running and controlling Pro Tools. All-in-all a whopping 598 channels of I/O are available to run simultaneously which is just nuts! Not only this, but the enhanced workflow flexibility and scalability that this level of connectivity affords is nothing short of astounding. In fact, you may never need to unplug anything ever again.

This is particularly apt when we take into account the increasingly sophisticated immersive and atmos setups currently finding their way into the broadcast and post production space worldwide. For these kinds of applications, the Galaxy 32 is the perfect centre of operations, with enough scalability and flexibility of routing to handle even the most complex of monitoring applications, simultaneously future-proofing users for whatever multichannel setup might be required down the line.

It’s not just those working in immersive who benefit from the Galaxy 32’s onboard flexibility and foresight; for the music makers, the extensive I/O and miraculous control and routing capabilities naturally allow for a whole host of new and highly optimised workflows and technical configurations, designed to make life that much easier.

Take, for example, the ability to connect to Pro Tools via the HDX ports and then another DAW via Thunderbolt, in turn allowing for seamless, streamlined workflow between say, a songwriting session in Logic Pro X, and a main mix session in Pro Tools. Or simply being able to quickly bounce out sessions between DAWs, without having to close one, reopen the other and bounce out a missing track (we’ve all been there). It’s little timesavers like this that are the hallmark of the Galaxy 32 and believe me, they accumulate quickly!

With six dedicated DSP chips and two FPGA processors housed within its brushed metal chassis, the Galaxy 32 handles this and then some, also allowing for 128 synergy core effects to run simultaneously, either via hardware inserts or via the software control panel.

The plugins themselves are both powerful and highly musical, with the added bonus of being utilised in real time with ultra low latency whilst tracking, enhancing production workflow and allowing sounds to be committed to on the way in. An abundance of hardware modelled EQ, dynamics

processors and effects are all available and sound fantastic.

The aforementioned virtual patch bay needs some discussion, as it’s by far one of the most sophisticated integrated software control panels in any interface I’ve come across. I’m sure existing Antelope Audio users will appreciate how good they have it here, with the ability to route signals to multiple places via a virtual patch with ease – allowing for near endless ways to configure a system.

To think that we have come this far in a review of an audio product without actually mentioning the sound of the product might seem remiss to some, but in the case of the Galaxy 32, its essence really lies in its seemingly effortless ability to imply (and enable) smoother creative workflow. That’s not to say that its clocking, conversion and audio engine are anything less than stellar – on the contrary, the pristine sound quality of the Galaxy 32 stands alongside the very best in the space. Rather, it’s the remarkable level of physical connectivity, and the ability to configure it quickly, that launches the Galaxy 32 into the stratosphere. With the addition of the new surround tab, you’d be hard pressed to find a scenario and system configuration that this slick interface won’t be able to handle.

BY ANDY LLOYD RUSSELL

Cranborne Audio Carnaby 500 Harmonic EQ

MIXMASTERS PRO AUDIO | RRP: $1042.00

Cranbourne Audio are an increasingly popular company for engineers wanting top quality equipment at an accessible price. They’re not budget by any means, but they harness vintage-style designs, grit and usability without the hefty price tag associated with some other museum spec pieces on the market. Making huge waves in the 500-series world, Cranbourne Audio produce a plethora of preamps, EQs, compressors and channels strips, as well as the power supplies to bring them into your workflow.

500-Series

500 Series refers to a growing market of audio equipment that fits a universal ‘500’ module size and wiring configuration. Originally pioneered by API in its early consoles and powered by an external power supply, this allows the user to create signal chains of 500-series preamps, compressors and EQs, or use the modules separately. Cranbourne Audio push the envelope further than anyone in their 500R8 and 500ADAT power supplies, connected via USB or ADAT respectively if needed, or standard XLR to your converters. Cranbourne’s power supplies are unique in that they have summing and metering available, as well as the option to use their power supplies as a monitor controller and interface if needed. If you don’t have a need for this, the analogue (XLR and ¼”) connectors work fine, for example if you want to build a signal chain of preamp and EQ, like the Carnaby 500 Harmonic EQ. You wouldn’t be the first to wonder

what the addition of “harmonic” in the Carnaby’s name really means, as Cranbourne have pioneered this technology, in the “world’s first Harmonic EQ”. While more traditional EQs boost or cut a selected frequency, sometimes with control of the shape of the Q, the harmonic EQ boosts and cuts the selected frequency, as well as progressive harmonics of that selected frequency. On the surface, the Carnaby looks like a traditional parametric EQ, with selectable frequencies and a boost and cut control. Under the hood, the Carnaby is doing something different. The three bands are, while selectable, affecting different frequency ranges because of how they saturate and add harmonics. The Lo band uses hard clipping from 420Hz down to 20Hz to extend sub harmonic frequencies for a thick, warm bottom end using a shelf. The Mid band is a peaking filter with a fixed Q that affects 200Hz up to 6.2kHz, while the Hi band saturates for smoother high end from 5kHz to 25kHz, also harnessing a shelf to affect everything above the frequency that’s been set. You’ll notice the

bands all overlap, allowing you to shape different areas of a sound in different ways. What’s more, the Carnaby allows stereo-linking via their OPTOSYNC feature, chaining two units together and controlling them both via the left module. This is especially handy for making sure stereo settings are matched, though the stepped controls allow very precise adjustments to be specified and recalled!

In use, the Carnaby functions well and sweetens sound, but my expectations of an EQ weren’t immediately transferable. It’s not as simple as boosting and cutting frequencies, instead requiring you to drive frequencies into saturation for a gentle effect. In saying this, even driving frequencies hard yields a more cohesive sound than a traditional EQ, the Carnaby slowly introducing changes rather than a sharp Q at a specific frequency. The Carnaby is not particularly precise, but it’s not made to be so, it can be a soft sheen across a mostly finished sound, or to drive and bolster a signal without overloading it audibly (though even driving the input of the Carnaby quite hard sounded great). What’s more, the Carnaby arrived very well packaged, giving you a little unboxing moment, as well as being securely bagged to ensure they arrive safely to you.

The input control on each channel harness more or less saturation across the board, with the universal Input and Output knobs controlling the overall signal flow. For example, you can back off the mids (up to +/- 10dB for each band), and drive the module

overall to saturate the highs and lows but leave the mids somewhat unaffected. The opposite works as well, pushing the mids would make them hit the threshold of saturation earlier than the lows and highs if left at +/- 0dB.

All in all, the Carnaby is an interesting take on something as universal as an equaliser. The Carnaby is a colourful, saturated and modern take on something we’ve been harnessing for decades. While more traditional EQs are used to sculpt and refine a sound, the Carnaby is the finisher, a piece that adds the air at the top end and weight at the bottom, all the while driving and warming the mids. Coupled with one of Cranbourne’s range of preamps or compressors, the Carnaby can be used to add a subtle, magical something to recorded tracks, or to add the finishing touch while mixing.

The Carnaby offers great results as a stereo EQ on your mix bus, as well as on a separate stems here and there (which currently has me needing at least four Carnabys per mix, uh oh), the Carnaby is a great tool to have in your arsenal. It offers driving, roaring grit or subtle sheen, and Cranbourne’s well built, well priced ethos will have you wondering how you mixed without a Carnaby.

BY LEWIS NOKE EDWARDS

NUDE Stereo Blumlein Ribbon Microphone

NUDE MICROPHONES | RRP: $499.00

The role of tracking engineer is a multi-faceted one, existing in the overlap where art and science meet. On the one hand, you are the person responsible for ensuring that the dry, technical requirements of a recording are met. Things like phase coherence, mono compatibility, translatability at playback, room acoustics as well as a whole host of electroacoustic decision making and troubleshooting all contribute to what we hear as a fundamentally sound recording at the scientific level— the meat and potatoes so to speak.

The other, more ethereal component comes by way of the various creative decisions we make along the way to enhance a song's artistic meaning. When it comes to this kind of creative approach to micing instruments in the open air, one of the most powerful tools in a tracking engineer’s arsenal are the various stereo micing techniques used to manipulate one’s perception of instruments in the stereo field.

You’ve probably heard of the various go-to, cardioid adjacent stereo techniques like A/B, X/Y and ORTF, but beyond these standard configurations lies a world of interesting and powerful stereo micing techniques, with the ability to provide just the right je ne se quois to your recordings—the most famous of these techniques being the legendary Blumlein technique.

Invented by Alan Blumlein, the Blumlein uses two figure-8 microphones on a 90° axis to one another, meaning that each of

the capsules is facing out in an ‘X’ shape. This is seemingly simple, though to position the mics, usually with one upside down and doing your best to avoid them bumping or audibly ‘clacking’ together isn’t so easy. For this reason, Nude Microphones have produced the Stereo Blumlein Ribbon Microphone, two perfectly matched ribbon microphone capsules mounted as close as physically possible to each other: housed within the same unit.

The Nude Stereo Blumlein Ribbon Microphone is known as their "Swiss Army Microphone" because of its ability to accurately and easily capture whatever source it’s placed in front of. The microphone itself features two capsules on top of one another, in that ‘X’ pattern discussed earlier, with a single (included) 5-pin cable connecting the microphone to a passive splitting box for you to record both capsules.

Creatively speaking, the unique flavour afforded by recording instruments in Blumlein is liberating to say the least and the ease of setup afforded by the Nude Stereo Blumlein Ribbon Microphone facilitates this in the easiest way possible. The Stereo Blumlein Ribbon Microphone requires one mic stand, and the included, single 5-pin cable is long enough to get the splitter box out of the way.

The microphone itself is wellbuilt, with the included cradle and accessories also being of high quality for a microphone at this price point. Speaking of price point, this is one area of particular

note, particularly when we take into account the major players in the ribbon market and the comparative cost of their Blumlein offerings. Coming in at AU$499, it’s an accessible and simple way to get into both figure-8 and Blumlein micing, with minimal investment, which makes it a great mic for experimenting with new placements and applications beyond your standard setup. Sonically, the Nude mic doesn’t feature a roll off as noticeable in the high end as other ribbons, and because of this, makes for a much more versatile mic to have handy. Electric guitars have clarity, retaining depth and warmth, and you can always just use one capsule if two feels like overkill. On a guitar amp, the speaker-facing capsules capture detail without harshness, mids without mud and space without echo and flutter, while the side-facing capsule can serve as a subtle room sound offering a bandpassed sounding response with a little ambience to round out a guitar tone. Drum rooms feel complete, and you could find yourself using the Nude sound alone for most of your mix, using spot mics here and there to build on the solid foundation that a pair of ribbon mics offer. The low end is present without being boisterous, and harshness from cymbals is rolled off in a smooth, pleasing way. Place the Nude Stereo Blumlein Ribbon Microphone in an adjacent room if you have one, and the slight delay of your drums has your room recording sounding huge without being cavernous. You can record in a cave for that!

Obviously not relegated to just loud, rock sources, the Stereo Blumlein Ribbon Microphone captures a great sense of space in larger theatres or recording studios for strings and the like. An acoustic guitar, and just about any acoustic instrument like strings or other orchestral additions, feels balanced and well-treated. The Nude mic gives depth to the stereo field, the main source popping out in a pleasing fashion, all the way producing a true-tosource response.

Being able to play ball with ribbon mics ten times its price, let alone a pair, the Stereo Blumlein Ribbon Microphone can serve as a single ribbon on a guitar, vocal or balanced drum overhead if you wish, while adding the second serves to add depth, width and clarity to a recording.

Nude’s "Swiss Army Microphone" is referred to as such for good reason, you’ll find it being the right choice on more sources than you expect, and for the price you might as well incorporate it into your regular stock of mics! The beauty of the mic design being that you can capture both capsules every time, and do away with whatever you feel doesn’t work, or toggle the sound in and out of focus. The Nude Stereo Blumlein Ribbon Microphone is a recording, mix and production tool for the masses.

BY LEWIS NOKE EDWARDS

IK Multimedia AXE I/O One

SOUND AND MUSIC | RRP: $279.99

The AXE I/O One from IK Multimedia is, simply put, one of the best tools available for a guitarist or bassist. Interfaces are a dime a dozen, all featuring reasonably similar specs, as are reamp boxes required to send signal out of your interface into an amp to adjust and build on later. Both of them in one box though? That’s not as common, and it’s why we’re here to discuss the AXE I/O One. The AXE I/O One is a 1-in/3-out audio interface, the third output (in addition to the standard stereo left and right outputs) is a dedicated Amp Out. The single input is a PURE Class-A mic preamp, with phantom power available and accessible via a combo XLR/1/4” input, as well as some tone shaping options on the way in.

The PURE Class-A mic preamp is suitable for either mic or instrument level, handy lighting indicators letting you know what kind of signal the AXE I/O One is ready to receive. Once you’ve got signal, you can toggle between either PURE or JFET input stages, the JFET adding midrange focus, warmth and harmonic clarity for a well-rounded guitar tone, while the PURE option is more transparent. For guitar players and bass players alike, the AXE I/O One also has an active/passive switch that serves to ensure you’ve got a healthy signal no matter what you play. EMG devotees rejoice!

A welcome addition is the AXE I/O One’s Z-Tone control, which sharpens or emboldens your tone by adjusting ohmage between 1 MOhm (“sharp”) down to 2.2

kOhms (“bold”) of resistance. This tech is patent pending for IK Multimedia, so you won’t find it anywhere else! This can subtly begin to shape your tone so it sounds its best when it hits your amp via the Amp Out.

The Amp Out has a groundisolated design and zero-latency routing, so you can record direct signals and refine later if need be. This is particularly useful for guitarists, meaning you can record a great sounding, direct take, and then route that signal out of the AXE I/O One into an amplifier. From here, you can focus on mic placement and tone, and record your guitar back into your computer. This allows you to edit and comp the perfect take, then record it with an amplifier’s tone! Once you’ve got that great take, bolster it by re-amping through multiple amps and sounds for the ultimate, finished sound. This kind of work usually requires an interface, as well as a re-amp box to convert the line level signal out of the interface into instrument level that the amp would be expecting to receive. The AXE I/O One having this functionality on board is a game changer!

Now we’ve clarified the input

stage, the AXE I/O One also has a stereo headphone output and two line outputs, most likely to be used with stereo monitors. The ‘Master’ control adjusts the line out volume, while the dedicated ‘Headphones’ control adjusts your headphone level. Finally, the AXE I/O One includes a DAW/Direct toggle to allow you to monitor the incoming signal latency free, or hear what your DAW is playing back.

Besides all of these features, the AXE I/O One can record at up to 24-bit/192kHz audio, and also features MIDI I/O for connection to an external controller. Not content with one, IK Multimedia have packed two controller inputs for switches, either expression pedals or single/double switches for controlling AmpliTube and other software. The interface comes included with AmpliTube 5 SE tone package, TONEX SE, that serves as either a Standalone application or plug-in in your DAW, and Ableton Live Lite to record into an arrangement from. All of this is controllable via the standalone AXE I/O control software, assigning controllers, volume and send levels.

While well-priced for beginners to digital recording, the AXE I/O

could be equally handy for the working professional who needs an interface solution on the go. The AXE I/O being small enough to fit into a case along with your pedals or guitars! The well-built chassis ensures there’s no knobs or controls protruding, while the solid plastic sides ensure it can take the inevitable bumps that occur with travel.

The AXE I/O One packs a lot of handy features into a tidy, robust package. It’s a product aimed at guitar and bass players, the active/passive switch, PURE/JFET toggle and IK’s Z-Tone control allowing you to begin to shape and refine your input as overtly or subtly as you like, and has a handy Amp Out directly on the unit so you can re-amp without the need for additional equipment or complex routing. What’s more, your signal will sound great once it is re-amped due to the AXE I/O One’s PURE Class-A mic preamp. Whether you’re recording the direct signal or micing an amp up later, it’ll sound great. The AXE I/O One is robust, road-ready and well-sized to be easy to travel with, making it a great solution for a more permanent setup at home or having it on the road with you. It offers great, high quality conversion, high-quality headphones outputs and lowlatency monitoring if you need it. The AXE I/O One joins a long line of robust, practical products from the masters of the space: IK Multimedia.

BY LEWIS NOKE EDWARDS

sE Electronics BL8

SOUND & MUSIC | RRP: $ 499.99

sE Electronics are the specialists in affordable, expert-quality audio gear. Novice or professional, live or studio engineers alike will have come across their reliable range of products. The sE Electronics BL8 is the new boundary layer microphone for any audio enthusiast looking for a versatile option. It is rare that a boundary mic, like the BL8, addresses so many common needs.

There is always room for error in live audio, and no engineer can prepare for everything. Thankfully, the BL8 is designed to come in handy in a variety of live and studio sound situations. The microphone has three separate EQ voicings tailored for kickin applications, as well as two low-cut options and three pad options. Its built-in mounting brackets are easily accessible, allowing the microphone to be mounted to any flat surface in a pinch. The low-cut options allow conferencing, speech and piano applications, going far beyond use as a kick-in microphone. The BL8’s versatility makes its appeal clear: a multi-purpose microphone that can act as backup or the main star in a variety of scenarios. The BL8 is tailor-made for the road. Its hand-crafted, all-metal build makes it perfect for busy stages and tours. Its internals are housed in a red, dent-proof grille designed for placement in a kick, on a piano or on the ground. Weighing in at just over half a kilogram, it will stay sturdily in place on any flat surface. Compatible with the Kelly SHU FLATZ Isolation System, it can be mounted in any kick drum for peace of mind and stay there all tour.

A robust, gold-plated XLR connector ensures reliable signal transmission for decades of demanding use. The BL8’s halfcardioid polar pattern is typical for boundary microphones, suiting it to capturing the low-frequency energy of a kick drum. The BL8 features a hand-crafted, specialized diaphragm to enable excellent transient response. On top of that, the capsule can be swapped with an omnidirectional capsule, allowing a level of versatility that will flatter any microphone collection.

The transformerless, Class-A circuitry of the BL8 allows ample headroom with minimal distortion. It is the heart of the versatile design of the microphone, allowing low-noise applications such as grand piano or room micing while still capturing low frequencies with utmost accuracy. Neither application of the microphone compromises the other, providing a solution for various use cases. The BL8’s frequency response, pad and lowcut options take full advantage of its hardware.

The BL8 features three low-cut settings: flat, 80Hz, and 160Hz. Enabling the low-cut in ambient, room and piano micing settings will cut unnecessary bass and sub-bass frequencies to maximise

headroom and gain. A 10dB or 20dB pad can be enabled to switch the maximum SPL of the microphone.

These options make the BL8 the professional engineer’s best friend. The Modern and Classic EQ profiles are borrowed from the sE V KICK microphone. The sE V KICK is a kick-out microphone at a price point over $100 more expensive than the BL8, so including these EQ profiles at a lower price-point is a touch consumers will appreciate.

If your clients are looking for a punchy kick in the studio or live, the Modern EQ setting is the way to go. The Modern EQ profile boosts high and low frequencies for a “scooped” sound. For a different client, achieving a warmer sound is as simple as switching the microphone to the Classic setting, which rolls off high frequencies and emphasises low-end punch. As a result, the appropriate kick tone can be dialled in to suit any client’s demands.

The BL8’s range of uses can cover the role of another, more limited microphone in an emergency. If an ambient microphone malfunctions at a live event, the BL8’s low cut options allow it to become a detailed ambient or room microphone in a pinch. If a venue is too small for a more

conventional setup, the BL8’s form factor allows it to be placed on the ground, walls or even the ceiling.

The sE Electronics BL8 is designed to replace many of the tools in the working sound engineer’s toolkit, and boasts a competitive price point. It boasts the trademark craftsmanship and build quality of any sE Electronics microphone, with internals enabling its use in a wide range of cases. Its handmade, ultra-thin capsule allows accurate transient response. Transformerless Class-A circuitry captures low-end detail and offers plenty of headroom with minimal distortion. The BL8 is a versatile microphone designed to address a variety of situations, whether meeting an emergency need in live sound, or achieving the perfect tone in the studio.

The BL8 reduces the risk of coming up short in a professional audio situation. The all-metal build and included pouch ensure its reliability as a touring microphone, while its metal brackets enable it to be easily attached as a fixture in any venue or studio. Audio enthusiasts of all disciplines will find a myriad of uses in the BL8. The omni capsule is sold separately, so the stock half-cardioid polar pattern can be seen as a limitation in some scenarios. Still, it is about the best thing an engineer could ask for in a boundary microphone at this price point. sE Electronics have succeeded in building a quality, long-lasting product and offering it at an affordable price.

BY JOSIAH MCRITCHIE

Audio Technica AT2020USB-XP

TECHNICAL AUDIO GROUP | RRP: $ 349.00

Content creation is a growing market, with more and more makers earning some of their income through videos and podcasts, as well as branching out their network – now having an excuse to meet, interview and liaise with other industry professionals. We can all appreciate the importance of having equipment that is A) mobile and B) reliable for this kind of work, an especially important point when you float in circles that have the technical know-how to understand what you’ve done wrong when something fails!

To help us along, Audio Technica have consistently produced products for music makers of all levels, and while the AT2020USBXP is an all-in-one solution for content creation, it does act as a great solution for recording music or other content on the fly. The 2020USB-XP is a cardioid condenser mic, but connects via USB, and includes latency-free monitoring on board. Can’t travel with a mic, preamp and interface? Take the 2020USB-XP and you’ll be covered for all of this, with a stand and pop-shield to boot!

The AT2020USB-XP connects via USB-C (cable included!) and has both a headphone control and computer/microphone mixer control to blend between either sound from your computer or direct from the mic, and any blend between the two! This allows you to hear computer sounds, albeit with some latency, as well as monitoring your own voice latency free. Buffer size and latency can be an instant session killer, so the AT2020USB-XP does away with this risk entirely! The headphone output of the mic is a 3.5mm output, so will fit most standard

headphones. The mic itself has a cardioid pattern, capturing a true representation of whatever it’s pointed at, while rejecting whatever is behind it. This is especially helpful for music, as well as podcasting when multiple sources might be facing each other. The rejection helps reduce ambience, phase issues and improves clarity and directionality of the sounds!

The AT2020USB-XP joins the 20 Series family that include the AT2020 wired cardioid condenser, AT2031 end address condenser and AT2050 multi-pattern condenser microphone. The AT2020USB-XP encapsulates this entire series in a complete bundle that connects via USB rather than XLR, making it ideal for recording and creating on the fly. When diving into creating on the fly, your surroundings can be less than ideal. The AT2020USBXP has three levels of noise reduction available, including no noise reduction at all for a full-range, untreated recording. The AT2020USB-XP includes a mute button that dims to red when muted, or returns to blue when unmuted, also indicating the mic is receiving power from your computer. Being an all-in-one solution, the AT2020USB-XP has automatic gain control available. This means you can record consistent, well-balanced audio

without having to watch your input levels or use bulky compressors and limiters.

In use, the AT2020USB-XP is a breeze, connecting quickly and being recognized by a DAW, the blue light letting me know the AT2020USB-XP was ready to go when I was. The noise reduction is transparent, offering a subtle shift in room ambience for a speaking voice, but no noise reduction at all makes for a great music recording and demoing solution for a band on the road. Sophomore slump be damned, the AT2020USB-XP helps you record fleeting ideas quickly and easily, even on a bus, in a car, waiting at an airport or in a hotel room. Toggling between computer and microphone sound is easy, the blend control feeling robust and well built, allowing you accurately set (and forget) the settings so you can focus on the incoming sound without any delay introduced from the round trip to your computer. The headphone output offers plenty of volume, easily controlled by the volume slider. The mic also, pleasantly, has no ‘click’ or ‘pop’ when the mute is engaged, which can sometimes be the undoing of a podcast listening experience, the pop going against everything a mute button is intended for.

In the box, you’ll find the AT2020USB-XP itself, as well as cables to connect it all up. As it’s intended for use with content creators, streamers and podcasters, it includes desktop stand to isolate it from bumps, and the included windshield protects the microphone’s diaphragm from picking up to much wind or air from plosives, i.e. the blast of air from sounds like ‘p’, ‘t’, ‘k’ and ‘b’ words. The AT2020USB-XP is

built to capture great sounding audio no matter the situation, each of these little additions to either build, design or additional accessory playing its part to keep quality high.

All in all, the AT2020USB-XP is a great solution for a creator of any level. Those delving into their first microphone will always find a use for this, either as interviewer, music producer (and eventual interviewee after your first Grammy nomination), while it’s also great for musicians wanting to easily demo at home or while on the road. Recording typically takes a few pieces of kit that need to work together to capture sound, while also occupying more space in your baggage than you may have to spare – but the AT2020USB-XP is a microphone and audio interface in one. It’s robust, includes everything you need to start recording, while also having measures and technology in place to ensure every recording you make with the AT2020USBXP is a good one. Even if they’re throwaway ideas, or recordings of magic as you stumble over placeholder lyrics – they’ll always sound great.

BY LEWIS NOKE EDWARDS

MY RIG

Jay Watson of GUM

Many fans first became acquainted with Jay Watson through his earlier work with the now megalithic-ally famous Tame Impala. However, if you haven’t heard the wonderfully scuzzed out pop-psychedelia of his solo project GUM – you’re severely missing out. Ahead of the release of his forthcoming album Saturnia, Jay sat down with Mixdown for a chat about everything from his live rig to his go-to studio gear picks.

Talk to me about your studio space?

There’s a lot of stuff packed in here! It’s 3 metres x 5 and a half metres, it’s really crammed in here. It’s good though, more than I’ve ever had before.

I feel like you have such a signature drum sound across your records. What’s your mic/ plugin setup for recording drums?

For this one, I used an SM57 on the snare. I’ve got this AKGD12, that classic Beatles kick drum mic. It’s an 80s one though, so it was cheaper. It’s great, although I can’t tell if it sounds really good or if I just think it sounds really good because it’s the one that everyone used. It sounds like a finished kick drum, I just do a tiny bit of EQ and don’t compress the kick drum really.

I’m not really good at phase stuff, I usually just use some kind of Ribbon mic, like above it all. Then I’ll put a mic close to the rack toms. I like close rack tom sounds and having a Ribbon mic as an overhead. They have a natural squish / compression / softness in 1-5k. I don’t have to scoop out the harshness of cymbals, I can leave it bright. I’m not a big condenser guy, I own one but I don’t really use it. I like Ribbons and dynamic mics.

I feel like you have such good tom moments in your previous single ‘Race To The Air’. Oh cheers, that’s all a bit over compressed, not because of compression just cos I put that through a tape machine. It’s like a TEAC, not hi fi, just a quarter inch. Medium FI. If it was any nicer sounding I wouldn’t bother. It’s crusty enough that you’ve gotta send it in treblier to get it back out normal. Basically that really flattened it but I liked the overall texture. What would you say is your fave piece of gear at the moment?

I’ve got a problem. It’s not like I hoard stuff, I buy and sell at almost the same rate. If I don’t use it in a year I sell it. I’ve got this old rack thing, which are two old 70s CARLSBRO pedals, one was a delay echo and one was a ADT (Artificial Double Track). They sound really good but they were super bulky and needed an adapter. So I went to sell them but realised they weren’t worth that much and thought they were too good to sell for cheap. So I got this real good tech here in Perth to put them into a rack setup and put in a bypass switch for each unit and a link so I can join between the two and a mix knob! It’s kinda amazing that I’ve met this guy, it means I can buy gear that’s kinda broken and I know there’s a fairly good chance he’ll be able to fix it.

…I’m a bit gross with music gear, I’m like what some people are like with clothes. I mean you don’t need any of this shit, you can sit there with your Macbook. For me, it’s kinda like the fun and inspiration of it. On the other hand too, if you use a tape echo and make it go all fun and squiggly, you can do that with a plugin, but it would take you ages and be weird. For some things it seems redundant but for things like that, I couldn’t be bothered using Ableton Echo and drawing in the waves.

I’ve got heaps of stuff that’s broken, like this old Volume Wah pedal, neither section works properly but the distortion on it is really cool.

Me and Gin (From Pond) do remixes together and run stems through it, it’s really cool. It kinda sounds like a Big Muff Pedal.

What’s your live setup for this upcoming solo tour?

It’s Drums with SPD SX, Bass and Keys on a KORG Kronos which I’vem making all the patches for now. They’re really cool because they have six outputs which you can split to make it sound massive on stage. I’ll just play guitar and sing.

Cool thing about that KRONOS is, say you have three different sounding patches in your right hand, you can send them out as separate lines to the FOH person and suddenly you’ve got 6 keys sounds on separate stems. My idea is that it sounds quite big but there’s only three people with minimal backing track. The less people you are the easier it is to improvise too. My music hasn’t been very improvisational for a while but when there’s only 3 people you can make stuff up on the spot, we’ve been making live versions of the tracks.

I’m just tryna make it as stress free as possible. You know, use what I’ve learnt from touring over the years. You just get all these grand ideas about all this crap you’ll bring and set up on stage. Half of it doesn’t work haha. I’m just tryna make it fool proof and easy. People don’t actually care what gear you’ve brought, just how it sounds.

BY WINTER MCQUINN