Mixdown Magazine #316 by Furst Media

#316 – JUN/JUL 2021

ALFA MIST THE NEW JAZZ VANGUARD

GARBAGE, WOLF ALICE DANNY ELFMAN, YOU AM I DRUM SPECIAL REVIEWED: UNIVERSAL AUDIO UAFX PEDALS, ALESIS STRIKE MULTIPAD, PEARL PRESIDENT SERIES, FENDER AMERICAN ULTRA LUXE + MORE

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10" x 5" compact tom 13" x 5" matching snare drum

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20" x 8" small-footprint bass drum 13" x 8" floor tom with built-in snares

COMPACT IN SIZE. BIG IN SOUND. A unique set of all-birch drum voices paired with our ultra-lightweight Crosstown hardware — the ultimate kit for drummers on the move.

P OW ERF U L F ROM

T HE

COMBO

BIGGE S T

A MP S

N A ME

BA S S

Ampeg Rocket Bass combos deliver unparalleled performance, stunning ‘60s-style looks, and robust feature sets in lightweight and portable packages, making them ideal for everyone from practicing to professional bassists. Just like their famed larger siblings, the five Rocket Bass combos offer essential Ampeg features such as 3-band EQ, signature Ultra Hi/Ultra Lo switches (RB-112 and up), and the new Super Grit Technology overdrive circuit, all of which combine to produce legendary Ampeg tone. Plus, XLR line outputs (except RB-108), auxiliary inputs, and headphone outputs ensure that Rocket Bass combos are ready to rock anywhere—from the practice room to the stage.

• 5 models from 30 to 500 watts

• Super Grit Technology (SGT) overdrive

• Vintage styling with modern features

• Versatile enough for practice and performance

• Powerful yet lightweight

• Auxiliary inputs and headphone outputs

• Ampeg Legacy preamp

• XLR outputs (except RB-108)

a m p e g .c o m

‘ 6 0 s

S T Y L E

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The Lynx-inspired V90 is equipped with two soapbar-style pickups, while the S66 Bobcat reissue is equipped with three single-coil pickups and an independent volume control for the middle pickup so you can blend your tones, setting Bobcat apart from other semi-hollow models on the market. Newly added to the range are the ‘Bobcat with Bigsby’ models which include a Bigsby The VOX Bobcat and Lynx semi-hollow body guitars were produced in the mid-‘60s

B700 (Jet Black) or B70 (Chrome) bridge, while the standard Bobcat models feature

with unusual pickup configurations and a distinct look, which we’ve revived in the

fixed Tune-o-matic type bridges with trapeze tailpieces for easy string changes.

new Bobcat V90 and S66. We’ve kept the historic design, but brought them up to date with improved playability for today’s players — controlling acoustic feedback,

All models share a Maple ply top & body, with a weight-relieved, feedback-reducing Spruce centre block and a Mahogany set-neck with Indonesian Ebony fretboard.

and raising the performance of the pickups.

Aluminium knobs and open-gear Grover tuning heads add to the package that’s full of retro style with modern innovation.

IN STORE NOW! SCAN TO LEARN MORE

Yamaha Music Australia proudly distributes VOX

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CONTENTS

8 Giveaways 10 Product News 14 Alfa Mist 16 Garbage 17 Wolf Alice 18 Danny Elfman

Alfa Mist

20 You Am I

PG .14

22 Hamish Rosser 24 Dan Kerby 26 Beyerdynamic 28 Red Rock Drums 30 Ableton Live 11 32 Columns 36 Product Reviews 58 My Rig /MIXDOWNMAGAZINE

@MIXDOWNMAGAZINE @MIXDOWNMAGAZINE MIXDOWNMAG.COM.AU For breaking news, new content and more giveaways visit our website.

Danny Elfman

Wolf Alice

PG. 18

PG. 17

#315 – APR /MAY 2021

MADE BY MUSICIANS, FOR MUSICIANS ROYA

AD BOOKING DEADLINE: MONDAY MAY 24 ARTWORK DEADLINE: WEDNESDAY MAY 26 For more information on Mixdown Magazine contact us at: (03) 9428 3600 or email paul@furstmedia.com.au

PRINT EDITOR Paul French paul@furstmedia.com.au ONLINE EDITOR Will Brewster will@furstmedia.com.au

GRAPHIC DESIGNER Erica May EDITORIAL ASSISTANT Sam McNiece ADVERTISING MANAGER Paul French paul@furstmedia.com.au PUBLISHING DIRECTOR Patrick Carr patrick@furstmedia.com.au

OOD

REVIE WED: FEND ACOU ER AMER STAS ICA SSL ONIC N UF JAZZ WARM 8, MAST ER, UNIVE AUDIO WA RSAL AUDIO -67, + MO RE

EDITORIAL DEADLINE: WEDNESDAY MAY 26

PUBLISHER Furst Media Mycelium Studios Factory 1/10-12 Moreland Road East Brunswick VIC 3057 (03) 9428 3600

L BL

A ST ORM IS BR EWING PAUL DEMP TORI FORS SEY, LOND YTH STUD + LIZ ON GRAM MAR STRIN SPEC IO GER IAL

STREET / ONLINE DATE: WEDNESDAY JUNE 02

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CONTRIBUTORS Andy Lloyd-Russell, Nick Brown, Bridgette Baini, Brett Voss, David Tomisich, Benjamin Lamb, Liam McShane, Sam McNeice, Adrian Violi, Alisdair Belling, Jack Swann, Lewis Noke-Edwards, Phil Smith, August Billy, David James Young, Chloe Karis, Jake Mercer, Nathanial Jevins FOUNDER Rob Furst

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AMERICAN ACOUSTASONIC® JAZZMASTER® An otherworldly guitar that combines iconic acoustic voicings and big electric tones with one powerful Blend Knob. Unlock an impossible range of sounds – no matter how you spin it.

CRAFTED IN CORONA, CALIFORNIA

The AMERICAN ACOUSTASONIC JAZZMASTER shown in Ocean Turquoise. Iconic acoustic voicings. Big electric tones. One powerful Blend Knob.

© 2021 Fender Musical Instruments Corporation. FENDER, FENDER in fanciful script, JAZZMASTER and the distinctive headstock commonly found on Fender guitars and basses are trademarks of FMIC. All rights reserved.

ERY TURN. EV

THE SONIC SHAPESHIFTER

THING NEW A ME O

GIVEAWAYS

JVB Strings Guitar String Bundle Our good mates over at JVB Strings have graciously donated 12 sets of guitar strings for us to give away to one lucky reader for this issue. With four sets of Nickel, Bright Bronze and Phosphor Bronze strings available in the winner’s gauge of choice, you won’t have to worry about buying a new box of strings for a year or more, and your guitar will sound all the better for it.

Tuner Fish Lug Locks Essentials Pack Tuner Fish Lug Locks are a dynamic innovation in the world of drumming, ensuring that the tension rods of your drums don’t slip and put your drums our of tune. They’re super tough, incredibly effective and will ensure that your drums sound great even after hours of punishment, and we’ve got a few to give away for this issue thanks to our friends at Dynamic Music.

For your chance to win any of these prizes, head to our giveaways page at mixdownmag.com.au/giveaway and follow the instructions. *These giveaways are for Australian residents only and one entry per person. For full terms and conditions visit mixdownmag.com.au/terms-and-conditions

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LET’S PLAY It’s time to reconnect with your playing and your sound! Find the sounds and styles that fit YOU, with Zildjian. Zildjian is proudly distributed in Australia by Dynamic Music.

PRODUCT NEWS

Sterling by Music Man introduces the next step in John Petrucci’s Majesty series CMC MUSIC | CMCMUSIC.COM.AU 2021 marks two decades of ongoing, collaborative guitar design between Dream Theater’s John Petrucci and Music Man, the benefits of which are now flowing through to the Sterling by Music Man range of guitars. Featuring a set neck, a mahogany body, 25 ½” scale ebony fretboard, stainless steel frets, fully figured maple top, 12dB push/push boost on the volume knob, locking tuners, modern tremolo and John’s signature DiMarzio LiquiFire & Crunch Lab pickups, the Majesty is a perfectly built modern instrument. Pick yours up in Cerulean Paradise, Majestic Purple, and Royal Red finishes today.

Marcus Miller and Markbass Team Up to Create Dream Bass Preamp

PRS unveil the SE P20E Antique White parlour guitar

CMC MUSIC | CMCMUSIC.COM.AU

Whether you’re looking for a nice-sounding travel guitar or a nifty songwriting tool to accompany you on the couch, the new SE P20E Antique White parlour guitar from PRS ticks off all the boxes. Its all-mahogany construction and hybrid X/Classical puts tonal integrity at the forefront, while an inbuilt Fishman GT1 pickup delivers a dynamic tone for use onstage. These Antique White models are only limited to 3,500 units worldwide, so move fast to secure yours today.

Who better to help design the ultimate bass preamp than one of the world’s ultimate bass players? Based on the popular Little Mark Vintage, the Mark Vintage Pre is true bypass and includes a tube preamp, four-band EQ (with three preset EQ options) and a footswitchable 6dB boost and drive control with blend control, plus an aux input, headphone output, effects send/return, a true transformer-based DI output and digital RCA/TOSLINK outputs. Stay tuned for more news soon!

ELECTRIC FACTORY | ELFA.COM.AU

Beyerdynamic launch Limited Edition DT990PRO 80ohm Black Headphones BEYERDYNAMIC | BEYERDYNAMIC.COM.AU The original DT 990 PRO has been used for decades by professional and prosumers alike in the studio or at home for the most demanding of applications. Now, the new Limited Edition 80ohm offers more flexibility when it comes to using your headphones on the go. Their low 80ohm impedance make them more versatile for use with a wider range of portable devices such as phones, tablets, laptops and other music interfaces compared to their 250ohm version, and are now available in stores.

PRS Guitars team up with Joe Walsh for limited edition signature model ELECTRIC FACTORY | ELFA.COM.AU PRS have unveiled a new collaboration with Eagles guitarist Joe Walsh with the Joe Walsh Limited Edition McCarty 594 Singlecut. Limited to just 200 units worldwide, the guitar fuses a mahogany body and set mahogany neck with a vibrant flame maple top, while a pair of coil-tappable PRS 58/15 LT+ pickups let you explore a variety of tones. It comes shipped in a custom hard-case and even features Walsh’s signature on the backplate - nice!

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Now available

PRODUCT NEWS

Take the maple Vox Telstar drum kit for a spin today YAMAHA MUSIC AUSTRALIA | AU.YAMAHA.COM It might be one of the quirkiest releases we’ve seen all year, but there’s no denying the unique appeal of the Vox Telstar. With a design overseen by the Sakae Osaka Heritage team, this crazy kit features a bizarre 18”+12” x 13” bass drum, 12” x 15.5” tom and 14” x 5” snare, as well as a cymbal arm and kick pedal to get you started. It’s half Salvador Dahli and half space-age madness, which equates to 100% pure awesome - check it out now.

Ampeg debut the first official SVT Suite bass amp plugin

SSL release the sophisticated UC1 plugin controller

Yamaha’s DTX6 electronic drum kits land in Australia

YAMAHA MUSIC AUSTRALIA | AU.YAMAHA.COM

AMBER TECHNOLOGY | AMBERTECH.COM.AU

YAMAHA MUSIC AUSTRALIA | AU.YAMAHA.COM

Marking a company first for the long-standing amplification giants, Ampeg have released a plugin that bundles three of their most iconic bass amplifiers into one convenient software suite. The SVT Suite offers users with a choice of three classic Ampeg heads and eight speaker cabinets as well as six adjustable virtual microphone models to blend with them, with the ability to load up third-party impulse responses also being integrated. Download a free trial today!

Solid State Logic continues their growth in the hardware plugin controller market with the announcement of the UC1. Designed to control their brand new SSL Native Channel Strip 2 and Bus Compressor 2 plugins which are packaged free, this knob-per-function device emulates classic SSL workflow and design. The UC1 has classic SSL channel EQ, dynamics and bus compression controls readily accessible in addition to channel, routing and preset selection. Check it out in action at all good pro audio dealers.

Improving upon the success of their DTX502 Series, Yamaha’s new DTX6 electronic drum kit series is available in three configurations to accommodate drummers of every level: the DTX6K-X, DTX6K2-X, and the DTX6K3-X. Each configuration utilises the all new DTXPRO module, with expanded polyphony and lightning-fast triggering speeds to deliver an incredibly dynamic playing experience, while design and operation influences have been taken from Yamaha’s popular EAD10 for easy use and intuitive navigation of the 30 preset kits.

Sennheiser’s Evolution Wireless Digital range has arrived SENNHEISER | EN-AU.SENNHEISER Any musician who’s ever worked with a wireless microphone knows that they’re deceptively difficult to use, which is why Sennheiser’s new Evolution Wireless Digital range is such a breath of fresh air. Comprised of a range of wireless handheld, lapel and head mics, the series offers intuitive control via Sennheiser’s Smart Assist App, while the transmitters feature a whopping input dynamic range of 134 dB, eliminating the need for a sensitivity control entirely. Check out the range today.

Snag a deal with Beyerdynamic’s Drum Set M & DT770 M combination promotion BEYERDYNAMIC | BEYERDYNAMIC.COM.AU Beyerdynamic are running a promo this month offering a free pair of DT770 M headphones with their TG Drum Set PRO M. The DT770 M is designed especially for drummers in mind, featuring a 3m cable, in-line volume control and excellent ambient noise attenuation, while the TG Drum Set PRO M bundles seven microphones to provide you with all you need to record your kit. This one’s valid while stocks last only at participating dealers, so get in quick!

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Alfa Mist It’s arguable that the crop of contemporary jazz artists to spring up from the UK in recent years ranks among some of the world’s finest musicians currently going. A diverse melting pot of culture, style, history and sound, the scene sees artists like Yussef Dayes, Henry Wu, Jordan Rakei and Mansur Brown draw upon wonky hip-hop, neo-soul, alternative and electronic styles to create their lucid smorgasbord of vibe-heavy jams, breathing new life into jazz and laying down the blueprint for how the genre is perceived among the masses today. Sitting smack bang at the centre of this scene is Alfa Mist; the East London-based pianist, producer and rapper who might just be one of the most quietly influential acts to rise in recent years. His style - an uncanny fusion of liquid Rhodes licks and clever chord inversions, smeared atop of off-kilter contemporary grooves from an ensemble of seasoned session cats - is one that’s resonated loudly among listeners in recent years. After debuting his first record in 2015 with Nocturne, Alfa Mist has risen to become a locally acclaimed beacon of the UK jazz community. That debut was followed up by his internationally celebrated sophomore Antiphon - a dizzyingly good showcase of his sonic fundamentals - while 2019’s Structuralism only helped to further solidify his status as a rising titan as a producer, arranger and performer in his scene. Funnily enough, Alfa wasn’t compelled to pursue jazz until his late teens, spending most of his adolescence making grime beats on Fruity Loops and honing his craft as a beat-smith. This mightn’t seem immediately apparent when listening to his new album Bring Backs, which spills over with impressive technical nous and tasteful

instrumental sensibilities and paints Alfa as a performer with at least a decade’s worth of jazz noodling beneath his belt.

“(On the album) I’m talking about myself through a lot of the raps, but I think Hillary’s talking more about the parent’s journey, because one wouldn’t have happened without the other.”

Perhaps even more unique still, however, is that the album is all pieced together by a poem from Hillary Thomas exploring the notion of diaspora; a sentiment also reflected in Alfa’s own lyrical content across Bring Backs.

Mist says that he first started digging deep into jazz after hearing the likes of J Dilla and Madlib sample the genre in their productions, detailing the extent of which he’d practise piano to finesse his chops as a teen.

“All I did from the start was learn a song that my fingers couldn’t physically play, and once I did that, I learnt another song that my fingers couldn’t physically play, so you’re always getting better.”

“Literally, when I was at uni, it was just hours every day doing that. Then you get to a place where you can put some of the stuff you’re learning into your own music. I only kind of wanted to sharpen those tools for my own music, not really to show off about anything else.”

“My mum came from Uganda to London, and then I was born in London,” Alfa says. “It’s me asking myself what my journey is, and understanding what my mum’s journey is, because my mum’s had her own separate thing to go through, but our experiences are intertwining with each other.

Recorded at analogue haven Gizzard Recording in London during a slight gap between lockdowns last year, Bring Backs was entirely written and produced by Alfa, who recruited the likes of Jamie Leeming, Kaya Thomas-Dyke and Johnny Woodham to appear on the record. The record was largely tracked over the span of a single week, with Alfa also conducting additional sessions around the time with cellist Peggy Nolan and bassist Rocco Palladino - son of Pino, and every bit just as good as his old man. As if he wasn’t busy enough working on Bring Backs, last year also saw Alfa release a string of other recorded projects, including an album of solo piano compositions and a reissue of collaborative effort alongside R&B vocalist Emmavie. “I just make new ideas pretty much every day to keep myself creatively sharp,” he says. “I was making ideas with an album in mind basically, and just as that first little lockdown started to lift, I got a week in the studio and then just recorded it to tape and that was it.”

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PAGESTORY HEADER COVER

The making of Bring Backs also marked Alfa’s first time recording directly to tape without any digital backups, and it seems like the Londoner relished in the experience of working with the brittle (but undeniably brilliant) format. “I feel like it gives you the performance of when you’re on tour and you’re doing a live show, because you want to put on the best show for the audience,” Alfa says of the recording method. “It just gives you that extra pressure.” Despite opting for such a unique performancebased analogue recording process, Alfa notes that every song that appears on Bring Backs exists as some form of MIDI beat stowed away on Logic Pro, with those demos then being sent on to each bandmate to learn and vamp over. It might seem like an unorthodox transcription method to the average jazz session artist, but Alfa says it’s his prowess as a producer - both in and out of the box - that really helps to provoke stellar performances from such skeletal digital sketches. “I just put it all down and I’m like, ‘this is the groove and this is the feel I’m going for,” Mist says of his writing process. “Learn this groove first and then if you can improve on it, do your own thing and grow from it, but this is the intention’. “I bring that to the band, and kind of just let them do what they want. But as long as the intention of an idea exists beforehand, I think that’s a pretty easy way to get my point across, if that makes sense.” While the entire performing ensemble on Bring Backs feed off one another’s own musicality equally and trade solos in synchronous harmony, it’s difficult to not marvel at Alfa’s performances across the record.

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His knowledge of inversions creates for some of the album’s most striking moments, and his deft feel across the keys is sublime to hear in action. Moreseo to the fact, however, is the clarity of Alfa’s tape recordings and his choice of sound equipment, which are each crucial to the record’s overall ambiance. Alfa notes that although he once had near-daily access to an actual old-school Rhodes, many of the keyboard sounds on Bring Backs came courtesy of Yamaha’s range of keyboards. “I used to share a studio with Jordan Rakei and I’d use his Rhodes and my Montage, but then Yamaha came out with the Yamaha CP-88,” he says. “It’s got a really good Rhodes sound and it’s a lot lighter than the Montage, so I just tend to use that for everything. The Montage is good for when you want some other sort of synths, but then there’s the Yamaha Reface, which does really great synth stuff as well.” After rising to prominence organically and releasing all of his previous projects independently, Alfa took the plunge last year and signed with prominent indie label ANTIahead of the release of Bring Backs. While the match might seem a little peculiar on paper, it’s clear that the label’s corporate ethos perfectly aligns with Afla’s creative needs, and the two parties have each benefited from the other’s company. “It’s been interesting,” Alfa says, reflecting on the process of signing the deal. “It’s obviously been via lockdown, so there’s been a bunch of emails, but you’re seeing them work on a much bigger scale than you usually would, because I’m used to doing things myself.

“Now, we’ve got to clear everything with four or five different people before it comes out, but they’re all good people. That’s what I looked for: that’s the only reason I signed, because there were good people. It’s a pretty short deal, to be honest, but I think this album has gone really well.” Alfa Mist, like many of his contemporaries, first rose to prominence on SoundCloud during the platform’s golden era in the mid-2010s, where artists like Tom Misch, Clams Casino, Kaytranada and Chance The Rapper all cultivated the communities that would help them to prosper today. However, there’s been a lot that’s changed in the music industry since those halcyon days, and Alfa is all too aware as to how the digital consumption of music has changed since. “There was something there during that era, man. There should be documentaries on what was going on there,” he says. “But yeah, that’s definitely got now. They put ads in it and stuff, and major labels got involved, but it was a good time. I think it gave a lot of people the drive to finish a project and put stuff out, instead of just practising your instrument all day. “I think that’s what’s helped me more than anything, you know, the DIY way of doing things: the internet, YouTube, everything there is. I think that’s what’s helped me more than anything else.” BY WILL BREWSTER

Bring Backs is out now via ANTI- Records.

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Garbage In June 2021, Garbage will release their seventh studio album No Gods No Masters. The veteran alt-rock act began working on it all the way back in the summer of 2019 – some three years removed from the release of their last album, Strange Little Birds, and less than a year after a commemorative 20-year anniversary tour for their second album, Version 2.0 - heading to the scenic surrounds of Palm Springs in California, where guitarist Steve Marker’s family had a house for the band to take up residence in. “We went there with nothing, with no songs, no templates, nothing,” recalls Butch Vig – primarily the band’s drummer, but also a producer, keyboardist and occasional guitarist. “For me, that’s sort of weird, because usually when we finish a tour I start tinkering in my home studio and I come up with sketches. That could be a chord progression, it could be a drum beat, it could be just a title. In this case, however, all four of us went in with a completely blank slate, and I was a little bit scared. Like, what if there’s nothing? What if we can’t come up with anything?” Thankfully, as Vig continues, the opposite happened in those sessions. “In two weeks, we wound up with probably between 35 and 40 pieces of music,” he says. This shifts the conversation into the band’s culling and deciding process – how to take the overwhelming amount of new music floating around in the

Garbage camp and whittle it down to what we’re soon to hear on the record itself. According to Vig, it came down to chiselling and tightening the extensive jams that the band had accumulated over the two-week period. “Most of the songs were up to 15 minutes long,” he says. “When we came back from those two weeks, for about several weeks back here in LA I went through all of the pieces. I’d pull out like 30 seconds here, a minute here, eight bars here... wherever I thought there was a focal point. You’d find them around [lead singer] Shirley [Manson]’s lyrics, around a riff that somebody played... they were everywhere. After about a month later, we went into our studio and we just started to work on the bits we had.” It was during this fine-tuning and recording process that Garbage began to notice a considerable dynamic shift in what they were creating – and the looming shadow of 2020 was starting to shape No Gods No Masters more than they had initially thought it would. “The interesting thing is the songs started out being sort of more expansive and beautiful,” Vig says. “It had sort of almost an orchestral feel, a kind of openness to it. As Shirley worked on her lyrics, we realised the record was going to be a lot sharper sounding and more in-your-face. It just had a lot more attitude. The last song, ‘The City Will Kill You,’ is kind of like a film noir soundtrack, but the rest of the record is much more of a reflection of the psychotic world that we live in.” No Gods No Masters is the latest instalment in a career than spans over 25 years, a dozen top 40 singles across the globe and endless multi-platinum accolades. To think that it’s come from a band that has never had a lineup change in that entire time is a testament to the connection that the four members – Manson, Vig, Marker and Duke Erikson – have maintained over the years.

“When Shirley joined us to make the first record, we didn’t really know her and she didn’t really know us. The four of us co-wrote a lot of the lyrics on the first record, whereas she has tonnes of confidence now. Shirley’s our MVP. We write the songs around what she’s gonna say. On the first record, though, we almost approached the songs like remixes. “A lot of the tracks had beats and things that we were taken from samplers, even the guitar riffs. It was a real experiment – we never even intended to play live. Shirley was the rookie and the newcomer in the band, and it took her a while It took us a while to sort of feel like we really had got a rapport together.” Vig goes onto recall the shows that Garbage played in support of their self-titled debut were the breakthrough moment in which they truly blossomed from being a project into a fully-fledged band. “We thought we would go on tour for six weeks,” he says. “We ended up on tour for 16 months. That’s what it really gelled. Honestly, one of the reasons that we’re still here is that we really like each other. We’re friends, and we also respect each other’s opinions. We share a lot of similar sensibilities. That’s not to say that we don’t have days where we get in each other’s faces and scream at each other. We’re like a dysfunctional family – or like a weird democracy. It works, man. We’re still here after 25 years.” Vig closes out his call with Mixdown to pay tribute to the late Michael Gudinski, who brought the band out to Australia several times over the years – most recently in late 2016 on the Strange Little Birds tour. “He was our champion for 25 years,” says Vig. “He was a mentor and a friend. It’s hard to imagine that he’s not here anymore. We want to come back down to Australia and put the hammer down for him.” BY DAVID JAMES YOUNG

When the band were first creating together in the mid ‘90s, however, none of this chemistry had been established. If anything, the four of them working together was somewhat of a risk – and none of them knew if it would ultimately pay off. “Creating this album and creating our first record were two completely different experiences,” says Vig when queried on the contrasts between No Gods No Masters and 1995’s Garbage.

No Gods No Masters is out on Friday June 11 through Liberator Music.

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Wolf Alice “Do you mind if my video’s off?” Wolf Alice’s Ellie Rowsell would rather not have her webcam judging her in this Zoom meeting – and really, fair enough too. Besides, she’s got bigger fish to fry right now – namely, talking shop on her band’s upcoming third studio album, Blue Weekend. Even without the accompaniment of facial expressions, Rowsell is excited to discuss the record – especially as her country slowly moves its way out of stage-four lockdown and the chance of getting to actually play these songs to a real-life audience grows increasingly prospective. Needless to say, a lot has gone into the build for the new Wolf Alice record – years between releases and pandemic delays among them. What’s most curious, though, is how truly blank the canvas was when the London band began piecing together the follow-up to 2017’s Visions of a Life. There were no grand directives to make an X-sounding record, or a song that sounds like Y – and even if there were, that notion was quickly abandoned by the four-piece. “We often start with specific intentions and then just kind of drop them along the way,” Rowsell explains. “We often find that they hinder us. We have so many influences, and we like a lot of different things musically. We tend to just do whatever’s best for that song individually. “If you start out with big intentions for an album, then you’ll then have to lose certain songs if they don’t fit. The problem is, that might be your best song. With this album, we had these songs that were quite simple. “We wanted to bring out the feeling and the emotion of the lyrics – regardless of what that meant for the music. Our sole intention was to capture how we felt playing these songs.” Said servicing of said songs took many different forms over the course of Blue Weekend’s creation, which the band undertook in the hallowed halls of a converted church. While some songs worked best with a pared back and refined arrangement, others

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truly took flight when they were allowed to be as exorbitant as the band pleased. Rowsell points to the song ‘Delicious Things’ as a key example of the latter. “We’d gotten to a certain point in the studio, and something just didn’t seem right,” she recalls. “I know people always emphasise the less-is-more approach – obviously, a song like Lorde’s ‘Royals’ does all these amazing things with basically just drums and vocals. For me, though, my first instinct is always to put loads and loads of stuff in the mix. “When we were making that song, I was like, ‘Okay, I know it’s not the done thing, but just allow me for a second to throw everything into song that I want to.’ It ended up with a real string arrangement, synth pads, trumpets, brass, harp... just so much stuff. “As soon as we did that, I just felt so much more confident. It’s a big song – there’s probably like 50 vocal tracks on it. I think that whole experience made me realise that maybe less is not more. Even if it is, it’s not how I like it.” Joining the band in the studio was producer Markus Dravs, a 30-year veteran whose CV spans indie giants like Arcade Fire and Florence + The Machine as well as more obscure names like Coldplay and Kings Of Leon. Wolf Alice have never worked with the same producer twice – 2015’s My Love is Cool was helmed by UK producer and songwriter Mike Crossey, while Visions of a Life saw longtime Beck collaborator Justin Meldal-Johnsen behind the boards.

When queried about what a producer brings to the fold insofar as the band is concerned, Rowsell muses that it comes down to ostensibly finding a fifth member of Wolf Alice – even if it is on a part-time basis. “It’s really valuable,” she says. “The four of us have lived and breathed those songs for so long by the time we’ve gone in to record them. You really need a fifth person so you can see the wood from trees. “All the producers we’ve had on board have different ways of working. Someone like Justin, he’s first and foremost a musician. He’s been in bands his whole life, and you can really see that in the way he works. “Markus, on the other hand, is a producer through and through – and you can see that as well. Both are really valuable, because it’s nice to have a pair of ears that’s coming from a completely different place to you.” For an album that often expands upon the band’s already-widespread take on maximalist indie rock, Blue Weekend is curious in the sense that it was primarily crafted with the band’s go-to equipment and live set-up. There were no lavish experiments with new pedals or obscure guitars to be found – instead, Rowsell and co. found a lot within trusting what utensils were readily available to them. “For the first time, we had a bit more confidence in the gear we always use,” she says. “Often when you first go into the studio, you’re like, ‘Oh my god, there’s so much cool gear here – I’m gonna use this and this and this.’ You end up not sounding like yourself, because you haven’t even used the guitar that you use every day. “We stuck to a lot of the stuff that we do know – my cheap Korean knockoff Telecaster, or our Line 6 DL4. They’re not expensive pieces of equipment, but they sound like us. We’ve definitely suffered in the past from doubting ourselves too much – always thinking ‘Well, if I can do it, then it mustn’t be very good.’ If you hear anything on this album, it’s us having more confidence.” BY DAVID JAMES YOUNG Wolf Alice’s new album Blue Weekend is out now via Liberator Music / Dirty Hit.

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Danny Elfman Summarising the almost half-a-century career of composer Danny Elfman in a few sentences is no easy feat. His countless scores for films like Spiderman, The Nightmare Before Christmas and Edward Scissorhands have helped to shape the sounds of cinema as we know it today, while his iconic intro theme tune to The Simpsons is without a doubt one of the most recognisable TV compositions of all time. Penned and recorded during the year that was, Big Mess functioned as a creative outlet for Elfman when the worldwide lockdowns of 2020 saw the music industry grind to a halt. While the ensuing boredom, frustration and anger throughout quarantine saw many musicians struggle to find a direction, it sent the two-time Emmy winner’s solo career into hyperdrive, with the construction of his upcoming solo album. “There was two separate things colliding in 2020,” Eflman says. “One is obviously the depression of being isolated, but the other side was the intensity of the American political landscape, which was brutally depressing in 2020. It’s changed in 2021, but hasn’t gone away.” Big Mess simply wouldn’t have come about in any other year: with jobs on the horizon pushed back or subsequently cancelled, Elfman had no choice but to work on music for himself. “I never sat down and went ‘I’m gonna work on an album.’ I actually was working on a commission for the National Youth Orchestra

of Great Britain, but I knew that wasn’t going to happen, so I thought ‘you know what, I’ll do a couple of songs, just for myself’,” he says. “I was feeling so much repressed anger and frustration, and I think it was kind of a therapeutic thing. Like pick up the guitar, use your voice, and don’t worry about whether it ever comes out, or if it’s ever a record, who cares!” This somewhat casual approach to production allowing Elfman to create music that was true to himself. In a career that’s seen him compromise his own creative vision to align his craft with a director’s own interpretation of a film, his musical direction has often fallen into the trap of putting others first. “As a film composer, I realised that it worked to my advantage because I could go from big, aggressive action films to a little quirky comedy, or from a drama to something totally stupid,” Elfman says. This experimental bug has always run deep within the legendary composer, but as you’d expect, Danny’s Oingo Boingo days didn’t allow him to flex this quirky writing muscle and veer outside the ordinary as he’s done on Big Mess. “It was tough, because Oingo Boingo’s faster stuff found its audience receptive right away, but the stuff that I was trying to experiment with would generally get regarded as ‘Not what we’re expecting from your band’. “Everything I wrote for the band was sarcastic, it was mostly driven by sarcasm, and the desire to irritate,” Danny laughs. “There is some sarcasm on this record, my single ‘Kick Me’ was as

close to anything that’d tap into that old sarcastic side of me, which has never really gone away.” The early incarnations of tracks like ‘Kick Me’ came to life during some solo sessions at Danny’s studio, where, somewhat surprisingly, a sparse array of gear helped him create the monolith journey we experience on this upcoming solo release. “I did all my initial demo recording not at my studio in Los Angeles, but at my second home north of L.A, where I have a little writing room,” says Elfman. “I had one little beautiful handmade guitar, one Neumann handheld microphone, and didn’t even have a pair of headphones that worked. Then my own synthesisers were all plugin / digital, I didn’t use any analogues for that.” One notable track written previously to these sessions was ‘Sorry,’ which Danny notes wouldn’t have come to life it wasn’t for one particular Australian music festival. “I had only written the song ‘Sorry’, I wrote it to be a long, experimental instrumental piece for Dark Mofo in Tasmania. I had been wanting to do Dark Mofo for a long time, so I reached out to them, but I couldn’t end up doing it, because that meant also putting together a whole set. I couldn’t go out with one song,” he laughs.

song or piece of orchestral music, I was really excited about people looking at me like; ‘What is this?’,” Danny laughs. Much alike the 18 tracks of Big Mess, the backing band Danny uses come from a variety of backgrounds and influences; Stu Brooks (Lady Gaga), Josh Freese (Devo), Robin Finck (Nine Inch Nails) and Nili Brosh (Paul Gilbert). Danny notes to Mixdown that this backing band of marvellous musicians came together through these plans to play Coachella. “Coachella (in 2020) was going to be the show that was half film music and half reinvented Oingo Boingo music, that is, have half live set, half film, and this was the band we put together for Coachella.” This supergroup of musicians coming together was a welcome addition to Elfman, after working with musicians from similar orchestral environments for so many years, working with these live musicians from different backgrounds helped reinvigorate the composer’s passion for the craft. “I was so happy to have them all there with me. They all made me so happy to be playing music again,” he beams. BY BENJAMIN LAMB

The veteran composer did, however, have ‘Sorry’ in his back pocket a year later when preparing to play a show at one of the world’s biggest festivals: Coachella. “I was really excited about opening the show with that, nobody is going to know what the fuck I’m doing, you can’t even tell if it’s a

Big Mess drops on Friday June 21 via Epitaph Records.

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DRUM & PERCUSSION MIKING

1 Website - 1 Page - 6 Videos In our 6 part video series we take a deep dive into drum miking; we explain what to look for and which mic is best for each instrument, along the way we also offer hints on mic positioning and other helpful tips. Episode 1. Basics of drum miking: The most important basics with hints and tips. Episode 2. How to mic a snare drum: How to capture your perfect snare sound. Episode 3. How to mic a kick drum: How to capture your perfect kick drum sound. Episode 4. How to mic toms: Dynamic or condenser and how to mount them. Episode 5. How to mic overheads: Different mics to complete your drum mix.

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Episode 6. Different home recording setups: 3 different setups for your home studio.

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You Am I You Am I have earned a place in the hearts of three generations of contemporary music fans. Formed at the turn of the 1990s by guitarist and lead vocalist Tim Rogers, You Am I have maintained a loyal international following while never straying far from their power pop and alternative rock roots. The band’s 11th album, The Lives of Others, is a 12song LP that positions You Am I not as a legacy act, but as one of the finest rock ’n roll bands working today. The album was made under unique circumstances, with Rogers and Davey Lane (guitar/vocals) working on demos in Melbourne before sending them to Andy Kent (bass) and Rusty Hopkinson (drums) in Sydney. Kent and Hopkinson then added their respective instrumental parts – essentially transforming their band mates’ demos into bona fide You Am I songs – before sending them back to Melbourne for Rogers and Lane to complete. This back-and-forth was happening in the midst of 2020’s COVID lockdowns, which prevented You Am I’s four members from ever being in the same place at once. But despite such fragmented production, The Lives of Others sounds as much like four guys playing in a room as anything You Am I have released this side of Y2K. “You can be apart and just rely on your instincts and I think we did that,” says Rogers. “I don’t think we did anything manipulative to fudge that. That’s four humans who have played a lot together.” The Lives of Others’ two immediate precursors are 2015’s Porridge & Hotsauce and 2010’s You Am I, both of which contain a number of stylistic deviations and complementary production embellishment. When held up against its antecedents, The Lives of Others is the leanest and most spontaneously animated of the band’s recent releases. “We do individually have interest in making recordings that aren’t just us in a room, but we get together and think, ‘Well that’s probably what our strength is, that we’re a rock n’ roll band and we’re supposed to make trouble,’” Rogers says. “With the circumstances, we had to think about, ‘Do we want to make something that is very studied and contemplated?’ And we thought, ‘Well, as a group, no.’ We know each other inside and out, we’re very

familiar with each other’s playing and so it’s exciting to work that way.”

me being miserable around my best friends, and I’m feeling beleaguered by these songs and by being a performer.”

The bare bones of several The Lives Of Others tracks emerged while Rogers was living in southern New South Wales, around Ulladulla, Mollymook and Rosedale (all places referenced in the album’s first single, ‘The Waterboy’.) Rogers had moved there following a particularly rocky time on tour with You Am I in 2019, which had him questioning whether he’d ever return to music.

“Going out and playing and needing to get so obliteratingly drunk to even get on stage, I just had to walk away and go, ‘Well why is that happening?’ It’s definitely nothing about the trajectory of the band, but I just wasn’t appreciating it.”

This desire to escape reveals Rogers isn’t immune to selfdoubt, nor is he cushioned by the numerous accolades he’s received over the years. To recap, You Am I have won multiple ARIA awards, landed several songs in triple j’s Hottest 100 and seen each of their last nine LPs debut in the ARIA top 20. Rogers is also a well-established solo artist and boasts an impressive CV away from music. He hosts Double J’s Friday arvo program, Liquid Lunch, and previously presented the ABC TV series, Studio at the Memo. In 2017, he published his memoir, Detours, and in 2014, Jason Benjamin’s oil on linen portrait of Rogers competed for the Archibald Prize. Rogers has also acted in a number of theatre productions and in 2015, the Melbourne Theatre Company produced a stage adaptation of his 1999 solo album, What Rhymes With Cars and Girls. But despite all this, Rogers was urgently seeking a change of scenery. “I just became acutely blue, almost to the point of black,” he says. “So, I thought, I should just be honest about it. There’s no use

Rogers was interested in building a simpler life for himself and so he got a job working behind a bar. But making music has been his primary hobby and vocation for more than 30 years, during which time he’s become something of an automatic songwriter. So, at the same time as he was doubting his future in music, the foundations of The Lives of Others started spilling out. “[Songwriting] is the only way of making sense of things,” Rogers says. “The chaos of living, even in peaceful moments, write a song about it kids, make sense of it. Speaking with other songwriters who say, ‘Well, it helps me make sense of the world,’ I understand that. Writing songs that will get on the radio, that as a raison d’etre just seems fucking absurd to me.” Generating radio classics was certainly the furthest thing from Rogers’ mind when the early versions of the band’s newest songs started taking shape. “These songs all started as fingerpicking folk songs,” he says. “And then when I changed them all to band songs, it was all about, ‘Can I hear Russ here? Can I hear Andy? Can I hear David?’ And I just started really enjoying that again.” A tangible feeling of delight suffuses every track on The Lives of Others, helping to make it the most cohesive You Am I record in more than a decade. Rogers couldn’t be more chuffed with the outcome. “There were a number of times, and not for the obvious reasons, we didn’t think it’d be completed or come out or there’d be anyone wanting to release it. So it’s a thrill. It’s equal to any other time, even getting first EPs out and things. I’m as excited as I was when I was 20.” BY AUGUST BILLY You Am I’s new album The Lives Of Others is out now.

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DRUM SPECIAL

Hamish Rosser In 2002 The Vines were Australia’s rock idols, taking their debut album Highly Evolved to the biggest stages around the world. It was at the peak of their powers that they arrived on the set of The Late Show with David Letterman as musical guests - a holy grail slot for American talk-show TV. The band proceeded to deliver one of the most controversial, polarising and legendary performances in television history, with their electric execution of ‘Get Free’ upended by frontman Craig Nicholls’ wild antics. The start of the performance has classic rock style behaviour and it appears to be like many other TV appearances. It’s not until halfway through that Nicholls is missing chords, floating on and off the mic and you get the sense something is brewing. An enduring image from the performance comes at the end of the song, as Nicholls hurls his guitar towards the back of the stage, missing drummer Hamish Rosser’s head by inches, before his kit is subsequently trashed. It’s a moment that Nicholls is happy to laugh about in retrospect, despite the optics for the band at the time. “We spent all day in that studio and the producers wouldn’t let us leave - it was like a 10 hour day just to play a two minute song”, he tells us. “We were flying straight from New York to the UK where we were gonna be playing at Leeds and Reading Festival … We got to the airport and were telling staff there that we had just been on Letterman.” “Then we saw the performance and it looked like such a disaster! Unfortunately it’s been remembered for the wrong reasons now!” Rosser’s tenure with the band kick-started a dream career in rock ‘n’ roll, with the drummer subsequently having the opportunity to session for the likes of Art Vs. Science, The Holidays and The Potbelleez. After this he scored a gig with Wolfmother, and you can spot him on tour with them, if you can see behind the ever expanding afro of Andrew Stockdale.

It’s an incredible resumé, and one which has been earnt through years on the grind.

“I was in Sydney for a few days off. From touring with the 60’s show, and I ended up auditioning for the band on Christmas Eve.”

“I started playing in punk bands in high school- my first gig was at a school talent show with my first band The Warthogs - we covered Blitzkreig Bop by The Ramones, Should I Stay or Should I Go by The Clash and God Save The Queen by the Sex Pistols” he recalls.

“When the offer came through to join there was some buzz about the band already - but I literally played four shows with them in Australia at venues like The Annandale Hotel … and then we jetted off to the US.”

“We didn’t win … Eventually I got to a point with the original band thing where I thought ‘look, I think I’m good enough to get paid for this’, and that was when I decided that I wanted to start looking at the covers thing.” “I fell in with this showband called Sixties Mania, which was a ‘60s show complete with dancing girls and costume changes … They were Australian, but they mainly worked in casinos in the US and Asia, so I started gigging with them six nights a week.” Like many great session musicians, years of constant work and learning large swathes of songs on short notice were instrumental in setting Rosser up for an acclaimed career in the originals’ world. “That definitely geared me up for working with The Vines, because my playing improved so much, given how much I was working at the time,” he says. “The Vines gig came because I used to read classified ads in music magazines … I saw an ad posted by the bands’ management, and straight away I was like ‘wow, management, that sounds serious’.”

“Then that first record came out, and things just completely lifted off.” While drumming on multi-platinum records, and past memories of playing to tens of thousands of people every night is enough to satisfy most musicians, Hamish has notably kept himself active since his live shows have cooled off. “I think it’s always important to be trying to push yourself to new areas and taking yourself out of your comfort zone as a musician,” he says. “It does reach a point though where you want to do what you’re doing really well … I had an offer come through to audition for the Hoodoo Gurus a while ago, and I decided to knock that back because I had enough going on.” “If I was single and didn’t have a family maybe it would be different - but also, I love the music I get to play at the moment, and feel really lucky to be able to still do it at this level.” Now living in the Byron Bay hinterland, Hamish offers his collection of vintage Ludwig and Gretsch Kits out for hire - drums that also regularly feature in his live dates. “I’ve always loved the sound of those old drums especially that nice rounded warm tone from some of those old Ludwig drums,” he notes, before adding “the only thing that sometimes lets you down is the hardware!” Leaving a large imprint on the alt-rock scene coming out of Australia in the early 2000s, The Vines’ legacy wouldn’t be where it is today without their drummer Hamish Rosser. BY ALASDAIR BELLING Hamish Rosser plays and endorses Ludwig Drums and Zildjian Cymbals, distributed in Australia by Dynamic Music.

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DRUM SPECIAL

Dan Kerby In 2011 acclaimed hip hop trio Bliss n Eso embarked on a huge national tour in support of their acclaimed Running On Air LP. It was a victory lap for the ages, with the crew performing to crowds in excess of 10,000 around the nation, in what would become the highest grossing hiphop tour by an Australian artist. For drummer Dan Kerby, who held things down on the skins for the tour, it was a far cry from his roots as a small-town drummer performing at Ballarat’s Karova Lounge. Of course, like any story real this wasn’t a matter of overnight success. Kerby had spent years touring with the likes of Behind Crimson Eyes and 28 Days - but as he tells us, nothing can quite prepare you for stepping out on stage with MC Bliss “I went from playing pub shows at the likes of Ferntree Gully Hotel to sold-out shows at The Riverstage in Brisbane, and The Domain in Sydney,” he recalls. “I learnt so much as a drummer and a performer heading out on that trip - from things like how to deal with nerves, feeling comfortable playing on bigger stages, using smaller cymbals that had more of an ‘effect sound’... down to things like basic tour etiquette. “It was seriously the dream gig for me - I can’t think of anything better within Australia that I could have done.”

Growing up with a drum-teaching father, percussion was always going to feature in Dan’s life. “I was two years old when I started playing, and I never stopped”, he says.

In addition to putting in the hard yards to secure work at the audition phase, Dan notes the importance of staying across the electronic side of things - a crucial area often overlooked by budding session drummers.

“When I first started, dad would show me stuff by session guys he was into, like Steve Gadd … but high school was when I really started to get into my own stuff, like Travis Barker (Blink 182).

“For the recent Bliss shows, I put in about 15-20 hours of work on my DAW doing things like mixing and mastering stems, assigning triggers to my trigger pads, assigning backing tracks to my Roland SPD that stuff is so important, and I’m going to continue to go deeper on it, because it’s the best way to stay in the game.”

“It has always been really important to me to play with artists that I really like - I didn’t ever want to be playing for an artist that I wouldn’t want to listen to.” From there, Dan recalls years of gigging around Ballarat, his hometown, and eventually scoring a gig with 2000s emo stalwarts Behind Crimson Eyes, a job that allowed Dan to begin touring the country. “They were coming to town and didn’t have a drummer at the time, so I reached out to them and showed them some videos that I had filmed. “I think a big part of me getting the job was that I had made these really quality videos of me playing, so they knew right away where I was at, and that I could perform on their level. It taught me early on that if you create good content and have a good portfolio early on, then you have such an in.” The combination of visual content and initiative paid off in spades for Dan, who credits the Bliss n Eso gig as a result of his online content. He’s quick to point out, however, that he had to chase the job to get the opportunity. “I had a mutual friend with the guys…. And they showed Bliss a video of me playing. There was a position going for a drummer and they liked what I did, so they gave me four songs to audition with … I filmed them, made it sound exactly like the record, and sent it off - but I didn’t hear back. “After that, I decided to have another crack, so I redid the songs with a bit more energy, threw some extra fills in and played it more like how I would if it was up to me. “It was between me and another guy for that gig … he didn’t send over any video content, I sent over eight videos, and included some extra songs, so they knew that I was across the set. That taught me the importance of always pushing and taking the initiative in this world.”

Dan’s advice to drummers looking to go down the electronic / drum hybrid route? “Get your head around the literacy of it all - learn what stems are, how to pull the stems out of tracks in sessions on Ableton or whatever your preferred program is, get your head around building loop tracks and backing tracks and editing triggers - all of that stuff is so crucial if you want to work with artists.” “From there, I’d recommend getting Roland hardware - so a Roland SPD-SX trigger pad setup. If you want more inputs, I’d recommend the Roland TD-17, which is what I’m currently running.” “There’s lots of different drum trigger brands you can use - but I would really recommend Roland first and foremost. They are by far the most user-friendly and simple to use.” To people looking in on his musical life, it would appear that Dan is living the dream. However, behind the big stages and amazing gigs are years of gruelling work, earmarked by a constant drive to improve and seize opportunities that are available. “I’ve done so many shit gigs over the years to absolutely no one,” says Dan. “Use those good gigs to give you the motivation to keep going - an amazing opportunity might be right around the corner.” BY ALASDAIR BELLING Dan Kerby plays and endorses Pearl Drums, Zildjian Cymbals and Vic Firth sticks, distributed in Australia by Dynamic Music.

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DRUM SPECIAL

Recording drums with Beyerdynamic Looking to snag a set of mics to use with your drum-kit in the studio or on stage? Don’t fear - Beyerdynamic are here. To find out more about their TG microphone range, we chat with Kamal Mahtani (Sales and Marketing Director for APAC) to get the scoop on why the range is perfect for the needs of the modern drummer. Beyerdynamic’s TG drum microphones are a tantalising offering for drummers, particularly when considering their pricing, compact design and tonal versatility. What was the primary design focus when the Beyer team went about creating these mics? Were there any particular influences or inspirations throughout this process? The primary design focus was on the perfect sound and handling for their application; while giving them an updated look and feel to make them most appealing to users. The influences and inspirations were from the users of our previous models. We had a long run with them and we inhaled everything our users had to say. The new models translate exceptional sound performance as per our previous microphones, while upgraded with sonic audio performance, materials and mounting features. The appearance of units like the TGI51, TGD35D and TGD70 is quite different from that of most other microphones we’re used to seeing from Beyerdynamic. Why do these mics feature the aesthetic design that they do? Are there any sonic benefits from this? The designs follow common shapes and form factors used in many other Beyerdynamic products. The lozenge-shaped opening is also found in products such as the FOX USB Microphone or the DT 1990 headphone. At the same time, the look and materials have been updated to match the microphones acoustic performance and the likings of modern music creators. Expanding on the above, mics like the TG D57c and D58c both feature goosenecks and clip-on mounts, which really go the distance to make life easier for sound engineers or drummers setting up their own gear. Not many drum mic manufacturers opt for gooseneck designs today - why did Beyer choose to pursue this? Well, if we couldn’t get it right, we would not have pursued this. We knew we had a great system to keep the mic in place. Gooseneck Designs can be challenging. Not every Gooseneck in the market provides optimal durability. The mechanical design of the D57 and D58 proved to be very reliable over many years. The housing, capsules, and goosenecks are specifically designed for this application; hence delivering the best sound and performance from these microphones, recording after recording, saving studio time! I noticed that the range consists of both dynamic and condenser transducer types. For those who mightn’t be familiar with these terms, can you explain what both transducer types are best suited for

recording, and how that pertains to drumming in particular?

The design of the capsule and cage aids in keeping the pick-up directional.

Dynamic microphones are more suited as a sturdier option for use on stage or for miking loud amplifiers or other loud instruments. You could drop it and it wouldn’t break. It would be best used for Snare, Kick and Toms in a live environment.

Our mics are versatile tools, some of these models are created with keeping in mind the utilitarian who would use them for bass, horns and other loud instruments. We keep them practical with multiple uses adding value to any microphone arsenal.

Condenser microphones on the other hand are sensitive microphones that require an additional 48v (Phantom Power) to power up. They are best suited for studio work where nuances need to be picked up easily and articulated in details. What’s interesting is our TG D71 which is Boundary Condenser Microphone for Kick Drums. It sounds crazy to shove a Condenser into a kick drum but this model clearly is a winner. Condensers on a drum kit would excel when placed on Hi-Hats, Toms, under a Snare, Beater and Over Heads. Our Snare/Tom mics TG D57c and 58c are condensers too. A real game changer. Further to that, how do these microphones hold up when put to the test in a live setting? Are there any genres or applications that they really seem to shine in? What about when they’re used for other sound sources, like bass cabinets or horns? Even though most of our drum mics are condenser microphones with the exception of the TG I51 and TG D70 which are dynamic, they hold up extremely well in a live setting.

For a drummer who might be purchasing these microphones to record themselves with at home, what kind of tips or advice would you provide them with to make sure they achieve a quality sound within a less-than-ideal recording environment? Putting microphones aside, the first thing I would suggest is to place the drum kit in the biggest room they have. Smaller rooms are harder to treat acoustically, bigger rooms are more forgiving. Get microphones that offer a clamp and a gooseneck, that gives you one less thing to worry about and neatens up the set up. It also offers consistency in sound with every recording. Keep moving the mic around to get the optimum sound, but ensure its away from potential hits from sticks. Tune up the kit nicely and replace seasoned drum heads. Last but not least, a good pair of the trustworthy DT 770 M headphones, designed for drummers to monitor themselves with guide tracks. Finally, what’s next up on the Beyerdynamic front? Do you have anything over the horizons you’re particularly excited about? There sure is! We’ve got some exciting gear lined up, but I shall not spoil the surprise. Apart from that I am most particularly excited about the “How-To Drums” Video we have put up recently for drummers to excel in their recording techniques at home. Beyerdynamic is distributed in Australia via Synchronised Technologies.

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DRUM SPECIAL Introduce us to the Red Rock Drums team. Who’s involved, and what’s the history? Red Rock Drums Australia is me – Mat Duniam, and our master craftsman – Roger Terrill. We met in January 2001 during a summer program I instructed, for which Roger provided beautiful African percussion instruments he had made.

Red Rock Drums Did you know one of the world’s best bespoke drum manufacturers resides right here on our doorstep? We catch up with Mat Duniam from Red Rock Drums to find out all about the business, working with Indigenous timbers and why their unique designs are a cut above the rest.

In 2003 we built our first snare drums, and in 2005 our first refined instruments were commissioned for a customer. After formalising the business in 2008, my visions for our shell design was formed in 2012, and have remained in production to this day – four hundred and fifty drums later. What series of drums does Red Rock offer, and what kind of drummer or style are they best suited for? Our shell construction and design (with the exception of our Hybrid snare drums) remain consistent irrespective of the series; it’s our hardware that provides the differences between each series. Our Heritage series features long

skinny tube lugs down the depth of all drums, ideal for drummers who wish to explore more extreme tuning ranges. Our National series features more chunky single point lugs on toms and bass drums and then we are also proud to now offer our shells in collaboration with Welch Tuning System’s (USA) cable and pulley system, that can be tensioned up or down with the simple turn of one key. You use a lot of native Australian timbers in your products. Tell us about them? Roger has an exceptional eye for great timbers and has become increasingly open to sourcing timbers far and wide, some of which are not available to the general public. Roger has also been responsible for introducing us to some exceptional local timbers such as Gippsland Wormy Chestnut, Victorian Spotted Gum, Otway Blackwood and Southern Silky Oak, among others. Can you describe the sonic qualities of these native tonewoods in relation to drumming?

Whilst the timbers are considered tonewoods, it is our shell design which allows these timbers to speak. Our thin stave shell construction allows vibration from the struck drumhead to efficiently travel the vertical grain direction of the shell, and our round bearing edges facilitate this most effectively. Our thin shells are activated easily and resonate impressively. A byproduct of this is sustain, in addition to the incredible qualities of the timbers which then colour the tone with more warmth, or meaty crack, or more wet openness, or more dry clarity. Where can we try or buy Red Rock Drums? Contact me through our social media, or our email address (info@ redrockdrums.com.au) for more information. Head to Red Rock Drums’ website to find out more.

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MUSTANG™

THE AMP THAT GOES ANYWHERE. mixdownmag.com.au

DRUM SPECIAL

Ableton Live 11 Drum Editing Spotlight Since the launch of Live 11, audio editing has received a large bump in audio functionality, for a traditionally MIDI/Sample heavy software. From track linking to multiple track lanes, the new Ableton Live 11 is hot on the heels of some of the more traditional, linear DAWs when it come to drum editing and multi track workflows. In aid of this issues drum focus, we thought it was a perfect time to go through some of these new features and how to implement them into your production repertoire.

Head to Ableton’s website to find out more about Live 11. BY SAM MCNIECE

RECORDING Getting multiple takes from a drummer is absolutely essential to ensure you record the best performance. Sometimes, however, the best take features a section that is sub par compared to the rest of the recorded audio. If it was the ‘70s, you’d just do another take until you got the perfect one on tape, but now, there are other options at your disposal. Using the record function on Ableton 11, you can record your first take as normal. You’ll now have to link your tracks by selecting then right clicking on the channels and choosing link tracks. After this, right click again to show take lanes on your drum channels and use the shortcut SHIFT+OPTION+T to create a

track lane for each channel. Drag your audio down onto the track lane, and you’re ready to go. From now on, all audio recorded on your main track will create a new track lane for each pass. This lane stores the audio from the specific takes which can be edited later once you’ve finished recording. Using the loop functionality, track lanes will be automatically created and recorded, so you can ignore the past couple steps if taking this route.

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DRUM SPECIAL

COMPING So, you’ve got your recording all wrapped and you’d like to splice together the best takes to make your drummer feel - and sound - like a star. It’s important to think of phase alignment while editing drums as all of your microphones pick up the whole kit. Even the kick mic that is inside a ported bass drum will pick up some rumbling of the hi hats and cymbals. As a general rule of thumb, if you’re going to replace a section because the snare drum is a little out of the pocket, you should replace the whole take with another to maintain phase coherency. So, while you have all drum channels still linked, using the pencil tool is a great way to get parts you know are the best on the main channel.

QUANTISATION Many modern records contain quantisation as our ears have become extremely used to the perfect 4/4 kick drum beat of dance music. With Live 11, quantising drums is an efficient process for creating consistent beats that fall on the grid. Again, we’ll be utilising the track linking function for this, and the first thing to do is consolidate all the audio cuts we did in the last section. It’s important that all clips you quantise are of the same length, as creating warp markers might alter the audio in a non consistent fashion. Now while playing the track (if not recorded to a click track) use the tap tempo function while your track is playing and it will change the grid to better represent your drum recordings.

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Enabling the pencil tool (B on your keyboard) while having track lanes open allows you to select a portion of audio from a take lane and it will automatically copy it to the main channel. Using this with the snap to grid feature will help you get the drum hits comped quick. For fine editing and listening to your separate takes, you’ll want to use the regular cursor and some keyboard shortcuts to get you moving. Selecting a portion of a track lane you want to audition and pressing T on your keyboard will enable that track to take priority over the main channel when you press play. To audition other takes, simply press DOWN or UP and T again to select that track. Simple.

Once that’s done, we can double click on any of our channels and the clip view will pop up. In most cases I’d select the kick for mapping to the grid. Using the warp functionality on beats mode (because drums are beats obviously), we can inspect which parts we’d like to edit. Ableton will automatically detect transients represented by greyed out markers just below the grid divisions. With these transients already identified, we can get to quantising! While aligning out of time drums it’s important to create warp markers around the section that you will be quantising. Without doing this, the whole track will stretch and shrink based on each edit which is not ideal. You can create a warp marker by double clicking on the aforementioned markers or anywhere along that section of clip view. Now the section is

Now that you’ve found a replacement for the mess up on the great take, simply press ENTER. Ableton will move your selection to the main track lane and add crossfades automatically. In most instances it’s less obvious to listeners when you’re changing takes to edit based on kick or snare drum hits. For an even more in depth edit, unlinking your drum tracks and individually moving the cross points to where the snare falls on each track will provide a fantastic sounding edit in a lot of cases.

outlined, get your transients on the beat. I find it sounds more natural when using quantisation over a bar or two bars as opposed to every single transient. You might end up with a drum track that sounds like a robot if you do this and it’s best to let the drummers feel ring through. If you’re displeased with any of your quantisations, select the portion you’d like to get rid of in the clip view and press delete. Simple. With all this information I hope you can get your drum tracks sounding clean and in time with ease. These new features of Live 11 make the process of drum editing more intuitive and are a huge time save from previous iterations and put them further in the forefront of digital audio workstations.

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PERCUSSION

A Balancing Act

I’m sure you’ve heard someone tell you that everything in life is about balance. Food, work, play and yes, the drums also! By the very nature of its name, the drum ‘kit’ is made up of multiple instruments, sounds, textures and sources. So naturally, balance would be important, wouldn’t it? There are many different types of balance when it comes to playing drums and these can often be overlooked as we learn, regardless of our age or level. Instead of concentrating on chops, brands of snare wires or which skin is the best, I wanted to touch on two particular types of balance. To be a great drummer, you need to consider more than just shiny cymbals or snares. Disclaimer before we get into this – neither of these concepts are quick fixes and in fact, are quite difficult to master. But hey, there’s balance in that too and whilst challenging, they are worthy causes and worth the consideration.

Choke hold Concept numero uno looks at the idea of the awareness of balance of volume/power vs tone and why it’s important to be aware of velocity and the resulting effect. Believe it or not, there has to be a limit for how much volume the drums can give you. Yes, this comment is very subjective I suppose, and the limit can vary significantly depending on the kind of drums you have, the

construction material and so forth. A vintage drum kit tuned fairly low and ‘phat’ for example, will never project like a modern drum kit and hitting harder won’t actually yield extra volume. It will, however, affect the tone produced. The scenario usually goes like this. When a drummer just hits as hard as possible because they can, regardless of the environment, style or kit they’re playing, things can begin to just sound worse. There is a limit for every drum at which point, tone disappears and the drum just sounds choked. I suppose the holy grail is a drum kit that just keeps giving, no matter how hard you hit, the tone doesn’t choke. Projection for days. A kit with limits higher than yours. Brass snare drums often tend to have pretty high limits!

Mix it up Concept number two relates to balancing of the limbs. Yes, we have multiple drums and tones available but actually considering how to balance each of the hands and feet to create a unified sound on the drums is a very important thing. This balance can, however, differ depending on the style of music you’re playing. For example, a hip-hop or RnB groove might have a subtle hi-hat but emphasised kick and snare, whereas a rock groove would have a much more pronounced hi-hat pattern. Furthermore, the tuning of the drums will naturally cause the drums to speak differently. A highly tuned snare will cut through the mix more than a detuned, lower, ‘thuddy’ one. This does

mean however, that the player needs to be able to adjust their velocity and how hard they hit to balance the sound and suit not only the song and style, but the environment in a musical way.

I’ve fallen victim to a naturally loud snare drum with a rim shot that could take people’s faces off. The sound guy had to turn off the mic and asked me if I could hit quieter. Yikes.

So, what’s the plan then?

The toms are generally the lowest in volume, dependent on size and how they’re tuned. Low tuning can equal fatter tone but less projection. Tuning up a little to where the drum naturally ‘speaks’ can give you more cut here. In general, I find you need to punch the toms out a little more to balance them with the snare. However, don’t be afraid to bring the snare drum down a touch to meet the toms. Practicing accenting helps here.

Being aware of the sound you’re producing is the start. Try to understand the natural responses from each part of the drum kit. Lower sounds (generally) don’t speak as loudly as higher ones. When you play/practice, listen constantly and try to adjust your balance accordingly. The bass drum should be pronounced and clear. Usually, it can take a bit more of a thump. You can adjust further by playing ‘off’ the bass drum or digging in, which usually gives you more attack and a shorter sound. If you are going to dig in and you still want a round sound, you may need to consider tuning the batter head a little higher to get less ‘slap’. Hi-hats have a naturally piercing timbre. In turn, these can easily overpower your whole sound. Practice playing using the shank of the stick but also the tip. This alone provides epic differences in tone and projection. You then choose the sound you want and when you want it. The snare drum is, for me, a signature of any drum kit. It should be present but not overpowering – balanced with the bass drum and hi-hat. There’s always more there if you need it so think carefully about this drum and how you strike it. Dead centre, no rim shot? This will be warmer but not as loud. Rim shots will cut more but beware – use these for good instead of evil.

Keep listening The key is obviously experimentation but also, open ears. Of course, depths of drums, materials, head choice, dampening and tuning will all be huge factors in overall sound. But it’s then up to you to find the limits of the drums. At what point are they no longer sounding musical? If you aren’t mic’d up, you might need to consider a re-tune and re-think about how to get more projection out of the drums before just hitting harder. Oh, don’t forget the cymbals – they can be brutally hard to modulate. Make sure you do your research on the masters too. Gadd, Weckl, Vinnie – all masters of touch and feel. I did say it wouldn’t be easy. It’s a good mission though. A balanced one. BY ADRIAN VIOLI

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GUITAR

Rhythm Is King

This issue we’d like to focus on the rhythmic side of guitar playing. Of course, a combination of rhythm, harmony and melody is needed to be a competent guitarist but an understanding of rhythm and its applications in guitar can really help your feel and sound. Players such as SRV, Prince, Joe Pass, Guthrie Govan and Tommy Emmanuel all display strong rhythmic sensibility in their playing. Whether it’s chordal ideas or lead lines they all have a serious handle on groove and utilising rhythm. Figure A is a bluesy triplet type lick (think of this over an E blues with a shuffle rhythm). Triplets can be counted/verbalised/felt as ‘Pineap-ple’, ‘Ham-bur-ger’ or ‘Di-nosaur’ (amongst others!) and notice the first bar starts with two groups of quaver triplets (Beats 1 and 2). Then for beats 3 and 4 the first note of the triplet group is a rest. Still count this however and mime the stroke with your right hand (without actually playing any

notes), this helps to keep the triplet feel. All of these two note chords would typically be played with downstrokes (providing the tempo isn’t super fast) and the final run could be alternate picking, economy or a combination of picking and pull offs. Figure B is a chordal/walking bass line idea. These types of sounds can be great to add the feeling of extra movement and the pseudo sound of a bass player into your normal comping/rhythm playing. The chord progression is a 1-6-2-5 in the key of C Major (so C-AmDm-G7) but intersperses the chordal hits with a walking bass line. Either thumb and fingers or pick (for the bass notes) and fingers in a hybrid picking style is the go here. Combine the first C bass note with the chord on the 1+ and you get a CMaj7 voicing. Beats 3+ create an Am7 and so on. In between these is a chromatic note one semitone away from the target bass note/ chord. This creates movement and some extra harmonic flavour.

How about a shreddy single note line? Figure C is based on A Dorian and moves between quavers and quaver triplets. This can create a few picking challenges as Alternate Picking works nicely in even groups (2s and 4s) but a triplet means you would end the group of 3 on a down and that might cause feel problems starting the next beat on an upstroke. So perhaps try alternate picking for the first 4 notes and then look at angling the pick to help with moving across strings to get the feel happening.

One last general comment – subdivide! Even if you don’t physically count every beat out loud (and of course there are different scenarios depending on tempo) but subdividing with quavers/semi quavers is so important for feel and good timing.

due to the amount of self taught guitarists, and/or a general lack of notation reading skills. Conversely though, (most) drummers eat this stuff up as it’s integral to developing a solid understanding of time and feel. In my experience brass and woodwind players too have great subdividing skills – being taught this early on in their development and then using this technique in large ensembles, sectional playing and lead lines. So don’t be afraid to get your 1+2+3+4+ and 1e+a2e+a3e+a4e+a happening to really solidify your feel. BY NICK BROWN

I really don’t think this process of subdividing is given enough focus by guitar players. Perhaps this is

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BASS

Odd Time Grooves

Want to develop some new ideas? Want to stretch your abilities (and perhaps your drummer’s too!)? Want to work on your independence and time feel? Odd Time Grooves aren’t just fodder for prog rock or modern jazzers. Whilst they might take some time to get your head around if you haven’t experienced them before, they can become just as comfortable as 4/4 (and are more common than 4/4 in many cultures). Let’s take a look at 7/8 as a start. This is often felt as two bars of 4 with one less beat in the second group (so 1-2-3-4-1-2-3). It feels like it’s changing early (which it is in comparison to 4/4) but can still really groove. Remember we’re counting each quaver as 1 beat so 1-2-3-4-5-6-7 quavers in a bar. If we use semi quavers these then become 1+2+3+4+5+6+7+ (*hint – count beat 7 as ‘Sev’, not ‘Se-ven’

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which has two syllables. Obvious I know, but you’d be surprised how many people do this and are then actually adding an extra beat!). Figure A essentially runs through a progression of E-G-A-B and always plays on beat 1 of each bar, a good way to state the time and encourage you to lock into a groove. Bar 1 starts with E on beat 1 and then another tied E note played on the 4+ (remember, 7 quavers in a bar so semi quavers are counted as 1+2+3+4+5+6+7+ like quavers usually are!). Bar 2 then plays on beat 1, 4+ and 5+ whilst Bar 3 returns to the same rhythm from Bar 1. Bar 4 plays on 1, 3 and 4+ to add some rhythmic variation. Put the metronome on, start slow and get used to playing and hearing this groove as a start. A few more notes and subdivisions (and slightly more syncopated), Figure B could work well with the drummer accenting the root notes

(E-G-A-B-D) between the kick and snare. Bar 1 plays on beat 1 and 5, Bar 2 is 1, 4+, 5+, 7+ and Bar 3 plays 1+2, 5+, 6+, 7+ with the last Bar playing B on 1 and then a tied D on beat 5. Figure C then gets a little more involved. Filling more of the subdivisions this type of sound can work really nicely with a drummer playing a more simple groove OR them matching your line and accents. For some, this exercise is easier to read/play as it is busier and has less gaps (it can be easier to read as there are less rests and if you’re subdividing/counting properly 1+2+3+4+5+6+7+ you can see those rests fairly easily!).

vernacular) followed by the same voicing on Bb, C and F. So we’ve got groups of 3 playing across a 7 feel which creates a polyrhythm and almost feels like that lick has momentarily changed time signatures. This can be a great chance for the drummer to move the backbeat and imply another feel. Go slow, put the metronome on…or even better, bash them out with a drummer! More next issue…. BY NICK BROWN

Assuming then Bars 1, 2 and 3 are cool, Bar 4 again is busy but the groupings of the notes might feel a little different. The first 3 notes G-D-G are the Root/5th/ Octave (a power chord in guitarist

PRODUCT REVIEW / MI

LUDWIG

Classic Oak Series Drums DYNAMIC MUSIC | EXPECT TO PAY: $4,899

It wouldn’t be a conversation about the GOATs of drum manufacturers without Ludwig’s name being thrown in the ring. In this regard, Ludwig are basically the Fender of drum kits, both being industry standards and producing consistently quality products time and time again. Hell, Ludwig themselves say they’re “The Most Famous Name on Drums” and with their legacy, how could you not?? Dating back to 1909, Ludwig has produced some of the most iconic pieces of drum related equipment, including their Black Beauty Snare Drum, first released in the 1920s, which are still produced to this day. By 1923 Ludwig were the biggest drum manufacturer in the world and they hit the masses in the ‘60s as The Beatles’ Ringo Starr performed on live TV bashing on a Black Oyster Pearl Ludwig kit. Ringo was so proud of owning this drum set that he pasted the Ludwig logo upon the skin of the bass drum (something not common at the time). From this success Ludwig grew exponentially and bolstered their place at the top of the market with quality, durable drum sets that have stood the test of time. Continuing this legacy, Ludwig have released the Classic Oak Series, a combination 5-ply 6.5mm cross-over shell with 3-ply maple core and American red oak inner and outer plies. A reasonably thin yet dense shell capable of handling a lot of stress and still leaving the drum sounding tight with an even decay over time. This line of drums is made using Ludwig’s Radio Frequency Shell Technology, a unique bonding system which cures shells evenly and a historic bladder model from the ‘60s to create that ‘Ludwig Sound’: a sound most people will know all too well from famous drummers including Led Zeppelin’s John Bonham and Keith Moon from The Who. Using a 6.5mm shell thickness places this drum set smack bang in the middle of kits out there. It has good resistance to energy transfer between shells and has a greater stiffness than ‘thin’ kits, which means it’s suited for all purposes

including both studio recordings and gigging on the road. These shells feature double-45 degree bearing edges, in which the skin will hit the aforementioned maple core. Maple is common among high quality kits for its boost in the low frequency range while remaining smooth on the mids and highs. The result of this is even head to edge contact which provides longer sustain and a wider tuning range than standard bearing edges. When the sound waves travel through the drum, the oak outer core maximises attack while the maple inner adds more control and low end, with the result being a well rounded tone. Volume, attack and control were forefront to the design of this kit and upon hearing it, it sounds as you’d want the drums to sound from the other side of the recording studio glass. This series ships as a shell pack without Snare which means you get a Kick Drum with Rack and Floor Toms, featuring all the hardware necessary to get you on your way. I could see this pairing well with a classic Ludwig snare like a Black Beauty or Acrolite, but when the general tone of the kit is this good, you’d have a hard time sabotaging the overall sound. Just no St. Anger snare sounds please.

The Rack toms feature ATLAS PM0048 hardware designed to reduce vibration loss and let the drum resonate all the way through. Floor tom’s have low-profile Triad brackets to decouple them from the floor resulting in a cleaner and deeper sound response. Both Toms give users the choice between Ludwig’s Large Classic Lugs which give an old school feel to embody the namesake and Mini-Classic Lugs for a more contemporary vibe. Speaking of choice, there’s plenty of it with regards to sizing. Bass Drums are available in 20, 22 and 24 inch diameters with the 22 inch version featuring an option for extra depth, from 14 to 18 inches. Rack toms come in at 10, 12 and 13 inch diameters, again with more choices for depth available, while floor toms come in with 14, 16 and 18 inch diameters. For most drummers I’d say there’s a kit here to suit your style of playing, whatever it may be. Drummers who like to keep it stylish, or match your Ludwig snare to the rest of the kit there are a tonne of variations. From the new Tennessee Whiskey finish, which has gorgeous deep brown streaks through a mahogany looking base, to the Blue Olive Oyster finish, which has teal and

army green flowing graphics over a cream background which almost resembles a camouflage print. Overall there are 23 different finishes available and there’s enough here for just about everyone! This kit would be perfect for hard rock and gospel drummers alike where more accentuation won’t affect the overall sound. Large, bold and punchy tones shine true here and drummers of many other genres will definitely feel right at home playing these both on stage and in the studio. In most instances, you can’t go astray choosing a Ludwig kit, and this Classic Oak Series is no exception. With so much flexibility allowed to customers in diameter, depth and colourway, there’s something for everyone here and from the trusty hardware, stylish designs, combination wood shells and Ludwig proprietary design, this one’s surely a winner. BY SAM MCNIECE

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PRODUCT REVIEW / MI

YAMAHA

Stage Custom Hip Kit YAMAHA MUSIC AUSTRALIA | EXPECT TO PAY: $1,799

Let’s set the stage for this scenario. You’ve finished playing a gig at a small bar, on a cramped stage, with the bass guitar basically shoved in your mouth, and the absolute last thing you want to think about is moving your full drum kit through the crowd, down the narrow stairwell, and squishing it into your dad’s sedan. Sound familiar? For most band goers, this is just an accepted fact about gigging, you’re not The Rolling Stones, so you’re gonna have to move your own gear. If only there was a smaller kit that appealed to the small audience environment that still had enough punch to come through potentially without even micing it up. Well here comes the Hip Kit, a part of the Stage Custom range that has been a staple in Yamaha’s product line over the past 20 years. This addition adds a portability factor to their stunning line of affordable kits boasting long lifespan and a variety of uses. Compact drum kits have a large variety of implementations, from home practice to unamplified performances, and they don’t get the amount of coverage they should. Yamaha’s Stage Custom Hip Kit features a 20”/8” bass drum, 10”/5” rack tom, 13”/8” floor tom and 13”/5” snare drum, this kit is both compact and robust, with ample depth and presence for such a small kit. Gorgeous 6-ply birch shells create a lively attack with warm and clear overtones, and they’re extremely rewarding when paired with dynamic brush strokes. There’s a balanced mid range sound achieved here that resonates in an expressive manner. The Hip Kit comes standard with Reno UT coated heads, chosen to amplify the sweet, woody tones of the birch shells. Out of all the things in this review, the one thing I bet you want to know is how this shallow bass drum performs. Typically, when one thinks of a shallow drum, the last thing that’d be on their mind would be a booming kick - in fact, it’d be much more akin to a battered tambourine, which makes this example all the more fascinating.

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The answer? Against all expectations, the kick is punchy and tight. It’s kind of wild that a drum only eight inches deep can generate a tone like this, which is likely due to it maintaining a 20 inch diameter for a lower resonance. The die-cast claw hooks on this drum piece have rubber inserts to make sure you stay locked in even on smooth surfaces, minimising the need to lug around dirty carpet or flooring to place beneath your drums at each gig. The sound that emanates from the snare drum is both controlled and articulate, providing plenty of gusto to whatever you throw at it. It’s worth noting that this kit comes with a snare drum but no stand, but most drummers will have a few lying around and in any case you’d want to purchase a hardware pack to add hi-hats and crash cymbals to the mix. Rack toms on the Stage Custom Hip Kit come with Yamaha ball clamps which allow you to move the drum to whatever angle you desire, holding tightly and with ease. This feature is another inclusion that decreases the amount of floor space required for setting these up. The floor tom on this kit is more like a deep snare drum as it is

fitted with an engageable 20 strand snare strain. Popularised by modern neo-soul and hip-hop drummers, this sound is interesting to say the least, but after a while you’ll be wondering why all your friends’ floor toms are missing that sizzle and crack of your set at home. All pieces on this kit are easy to tune and come in three different finishes. There’s a classic Raven Black, Natural Wood and my personal favourite the Matte Surf Green which actually errs on the side of a light blue finish. All kick drums have a Natural Wood finish in rings around the edges which is a nice touch. This compact kit has wide usage ranges and is perfect for gigging at small venues where stage sizes can make you feel squished in a box. It’s also incredible for unamplified performances, within a small jazz quartet for instance. It’ll help you get in and out quicker too as the whole kit can fit in a 20” bass drum case and 14” floor tom case which can easily fit on your two shoulders.

module to create a pleasant environment for your seven housemates to sleep while you play through your favourite Megadeth album at two in the morning. Music education studios will benefit from the Stage Custom Hip Kit’s design allowing you to fit a couple drum kits in a small space. Now both you and your student can jam out concurrently in close proximity so you can view their technique more easily. With this in mind, you’d have to be insane to not find a use for this drum set. From the portability, range of utility and high quality production due to Yamaha’s large brand name, the Yamaha Stage Custom Hip Kit is guaranteed to get you moving. BY SAM MCNIECE

Even better yet, because of it’s small form factor, it makes a perfect home practise kit. Add some mesh heads, low volume cymbals and pair with Yamaha’s EAD10 electronic acoustic drum

PRODUCT REVIEW / MI

PEARL

President Series DYNAMIC MUSIC | ENQUIRE FOR PRICE There’s only a select few drum companies that hold the level of prestige and pedigree as Pearl. If Ludwig are the Fender of tubs, then it’s surely Pearl who get to assume the role of Gibson in this power play: they’ve created some of the most iconic kits of time and have aided in providing a platform for the greatest drummers to let loose their chops. Whether you think of Toto’s Jeff Porcarco, Red Hot Chili Peppers’ Chad Smith, Dennis Chambers or even Omar Hakim, you can bet your buck that they’re busting it out on a Pearl. The Japanese drum luthiers have been crafting drums since 1946, thus celebrating their 75th anniversary in 2021. It’s only natural to expect something big and breath-taking from one of the world’s leading drum companies, and thankfully they haven’t disappointed. How does the expression go, with great power comes great responsibility? In the case of Pearl, they have been responsible for some of the most powerful drum sounds in recorded music history, not to mention gracing thousands of stages the world over. Boasting several landmark periods in their drum making history, Pearl have decided to wind back the clocks to what most drum scholars would consider the golden era of drum manufacturing, the ‘60s and ‘70s, with modern takes on two classic Pearl designs, the President Series Phenolic and President Series Deluxe.

A snapshot in time - Phenolic To truly appreciate the 75th anniversary of Pearl, we need to take a trip back to 1966, when the Pearl Phenolic line was born. Pearl have cut no corners here, reintroducing their original Hermetically Pressurized, thermolayered solid Phenolic shell. Put simply, this process involves the extreme heating of each layer of the drum shell and once formed, allows the shells to respond more like a single solid shell, as opposed to the traditional ply-shell construction. What this allowed these unique drums to do is cut through, speak and project much louder, which is particularly desirable in

this era in which crowd volumes often compete with that of the bands playing (we’ve all seen the footage of screaming Beatles and Shadows fans). A true rarity and most desirable in vintage drum collecting circles. The 75th anniversary President Series Phenolic has brought this incredibly unique set of drums into the modern era with all the advantages of modern durable hardware, while still looking every bit as vintage as the originals. Such features include the gorgeous Battleship lugs, claws with T-handles, a shell mounted cymbal arm and internal adjustable mufflers for true vintage style control of attack and sustain. Of course, this wouldn’t be a Pearl kit without the classic Pearl script badge on the shells and iconic vintage logo on the bass drum, and it goes without saying that these design touches look a treat: they’re trim and tidy, and act as a neat throwback to the manufacturer’s earliest days. These drums truly look and sound the part, with every element and detail of the original shells maintained in true Pearl precision. Being produced in a single configuration featuring a 22”/14” bass drum, 13/9” rack tom and 16”/16” floor tom, they ship with the classic Oyster White finish. An optional matching 14”/5.5”

snare is available for purchase to complement this kit. With only 100 of these drum sets being released, they are an absolute must for any lover of classic vintage drum tones from the ‘60s or ‘70s, a true collectors item and a player’s dream.

The Deluxe suite If it wasn’t enough for Pearl to give us a modern taste of their famed Phenolic shells, the President Series Deluxe drums are yet another tip of the proverbial hat to some of their most celebrated drum shells in their 75-year history. Special to the President Series Deluxe are the beautifully crafted 6-ply Lauan Shells. Lauan, part of the mahogany family, is known for its exquisite depth, sonic size and rich, dark tones, all attributing to that original made in Japan sound. The origins of these shells and the use of Lauan dates back to 1961 in Pearl’s lustrous history, giving these drums a colossal vintage sound, that is both commanding but never harsh, subtle or buttery. The President Series Deluxe also features all of the same rugged and vintage styled hardware of the Phenolic, including the aforementioned Battleship lugs, claws with T-handles, shell mounted cymbal arm, and internal adjustable mufflers.

These limited edition shell kits are being offered in two configurations, a 20”/14” bass drum, 12”/8” rack tom and 14”/14” floor tom pack, or a 22”/14” bass drum, 13”/9” rack tom and 16”/16” floor tom pack for those needing a louder and more pronounced low end. Two truly vintage inspired finishes are on offer, Blue and Desert ripple, both of which offer a matching 14”/5.5” snare.

Final Thoughts Pearl has stopped at nothing to achieve the perfect balance of vintage tone and aesthetic paired with modern playability and reliability in these 75th anniversary President Series drums. They sound great when recorded and deliver a snappy, resonant tone, and their cool vintage looks really help to put the cherry on top. Of course, it would be nice to see an option of some vintage styled flat based stands to be offered with these kits, but that’s likely me just chasing the whole vintage package. Afterall, as they say, all good things come to those who wait, and it’s certainly been worth the time waiting for this anniversary to feast on these magnificent works of drum craftsmanship. I’ll take one of each, please! BY ANDY LLOYD-RUSSELL

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PRODUCT REVIEW / AUDIO

ALESIS

Strike MultiPad ELECTRIC FACTORY | EXPECT TO PAY: $1199

In this day and age, being a live drummer is a bit more complicated than it used to be. Within the electronic music scene, where beats are king, you might be asked to not only perform, but also cue backing tracks and even (God forbid) play a synth line. To be a drummer now, it’s important to be versatile, and create opportunities for yourself to perform with electronic acts and forward thinking bands looking for a consistent sound show to show. At the heart of a modern drummer’s performance arsenal is some form of sample pad or music player. Used to play instrumentals for solo acts while you hit the 808 kick or to add sounds usually only recreatable in the quiet space of a recording studio without introducing feedback to your audience, they mark an important step in live performance evolution. With this said, Alesis has been no stranger to innovating the electronic drum experience. The Alesis Strike and Strike Pro electronic drum kits deliver an authentic drumming experience with incredible responsiveness and the exceptionally realistic replication of many well-loved acoustic drum sounds. Evolving further with the demands of the modern drummer, the Strike MultiPad is designed to allow you to sample, edit, loop and perform seamlessly. Even better, it can act as a soundcard with two inputs and outputs of USB and MIDI. The Strike MultiPad offers over 8,000 built-in sounds, 32GB mixdownmag.com.au

of storage and the ability to record samples from any source; smartphone, mic, off the internet, via USB, and from virtually any other audio device. That’s right, you can even record vocals and room recordings into it. Its nine velocity-sensitive pads have customisable RGB lights that are easy to configure for optimum efficiency, and a distinguishing feature of this nifty new device is its gorgeous 4.3 inch colour screen that makes checking your system status or making edits a breeze.

I appreciate not only the customisable colour coordination with 20 different colour variations, but also the several animation modes. This includes the ‘fill’ mode that creates motion on the light strip of the selected pad, indicating the progress of the sound playing! The screen gives a comprehensive but clear overview of your kit which really assists with editing on the go. Everything you need to know is displayed on that screen and it certainly eases the pressures of performance with its concise visual communication.

Have you ever wanted to EQ your drum sound on stage? The Alesis Strike MultiPad boasts five built-in effects processors; three kit effects, one master effect, a compressor, and an equaliser. It offers exceptional effects control with its two customisable Alesis ‘A-LINK’ infinite rotary knobs which you can assign to dozens of effects and mixing controls allowing you to alter your parameters in realtime.

For instance, in ‘perform’ mode, you can see information about your kit including the name, assigned sounds and the BPM of your session. On each of the files, you can assign a function such as loop or alternative play which is for when you want to hit a sample once, have it play on repeat, and then hit it again to have it stop. The panic function is particularly useful as it can be customised to turn off all playing sounds and effects with a single button press. For cases where this isn’t applicable, you can assign the key to function as a tap tempo. Really the options are seemingly endless and unbelievably easy to use.

It has easy audio routing with your choice to send the metronome, or any sound to separate outputs. Other cool features include the ability to load in samples and loops via USB drive, back up your kits and expand your interaction with the Multipad via external trigger and pedal inputs. These allow you to expand the Strike with up to three drum/cymbal triggers, a hi-hat pedal, and two dual foot controls (not included). This percussion pad is overwhelmingly awesome.

The sampling function is out of control! You can upload or record directly into the device using digital or analogue audio sources, assign, crop and edit the file right there on the colour screen via the WAV editor. The flexibility doesn’t stop there though. While in looping mode, you can loop not

only the pads and internal sounds, but also include external sources such as microphones. You can loop these sources for up to 16 bars in playback or overdub mode. The loop is then easily saveable with the simple press of a button. Another notable feature of this Multipad is that the external triggers and foot controls are all easily accessible via the perform button and can be viewed on the bottom right of the screen. You can expand your kit with the MultiPad, as it connects up to 5 external triggers, via drum pads or attached to acoustic drums and you have full access to trigger parameters and pad behaviour on that incredibly useful screen. There’s no denying the Alesis Strike MultiPad is a cut above the rest, and really takes into account all the needs of the modern drummer. As its name suggests, it’s multi-functional which means it’s a space saver, and can be used for live, on-stage performance, practice, or studio recording. It’s hard to find a single fault with an exceptional product such as this. The sounds, the usability, the expandability, it’s all amazing and could fit seamlessly into any drummer’s setup. BY BRIDGETTE BAINI

PRODUCT REVIEW / MI

ROCK-N-ROLLER

Multi Cart Range AMBER TECHNOLOGY | ENQUIRE FOR PRICING

If you’ve ever had the (dis)pleasure of having to move a full drum kit from your jam room, to your bandmates’ sedan, then on to the venue (and the backstage labyrinth of loading bays,side doors and narrow hallways that lie between you and your natural habitat - the stage), then you’ve probably found yourself occasionally daydreaming about Roadies. Nothing to be embarrassed about. Perfectly normal. Especially considering the backbreaking logistics and immense physical toll that comes with even the most perfunctory of pub gigs. It’s no surprise that for most gigging musicians (but especially for drummers, who undoubtedly have it the worst), the dream of having actual road crew-employees who specialise in the bump-in/bump procedure-is the kind of practical luxury that most would probably trade the Bass player for. Suffice to say, Bass players can now breathe a little easier thanks to the the awesome new Multi-cart by American cargo experts, Rockn-Roller-a clever little product designed to alleviate some of the stresses of the itinerant drummer, touring muso, mobile DJ or any musical undertaking requiring load in/load out, and the dreaded carting of gear. Rock-N-Roller are award winning designers of small scale porter solutions and transformable utility carts, with an eye clearly on the Music and Events industries. They are the leading innovator and manufacturer in the field, combining flexible design with road-ready efficiency and durability as well as a bunch of handy, muso-adjacent features that (quite literally) take the weight off your shoulders. Portability and functionality are at the forefront of the Rock-n-Roller design brief and it shows, with eight different shapes you can create by folding and expanding different parts of the cart. Boasting an ant like ability to support up to 226kg from its diminutive 9kg frame, the Rock-n-Roller MultiCart is sure to impress in its ability of overdeliver in the strength department. Honestly, you’ll have a hard time getting your head around how such a lightweight, foldable unit is performing this

kind of trickery. With ease, the Rock-n-Roller can carry a band’s worth of gear, including the full drum kit. The frame itself can also fold flat for easy transportation between gigs, or for easy storage when not in use. With it’s clever ability to change its dimensions and layout, providing everything from basic dollys, right through to semi enclosed, high stacker style setups and platform/luggage options, the Rock-n-Roller covers plenty of ground in terms of application. Like anything with this many options, you will likely fall into a couple of regular modes, but in all honesty to find the limits of it’s handiness would probably take a lot longer than we have time for in this review. There are also a whole host of other thoughtful features included on the Rock-n Roller, designed to make your life a little safer/easier. If you get stuck on an incline, the caster brakes can be engaged to make sure your gear stays in the right place. Couple this with the built in stair-climbers and you’ll save your time and energy to perform where it really matters. Rock-N-Roller say it’s used by ‘major TV networks, news crews,

pro-sports teams and Fortune 500 companies’ and it’s easy to see why. There is something very ‘road crew’ about it’s design and execution. You could easily envision it being a perfect addition to an outside broadcast rig or being pushed around by a lanyard wielding soundie on set or backstage at a music festival. In practice, the Rock-n-Roller is one of those products that might not always be front of mind, but after exactly 5 minutes of using it, you will be wondering how you ever got by without it. Guitarists and Bass players have been expounding the virtues of casters on cabinets for years. The Rock-n-Roller is that concept cranked up to 11 and the obvious upside is sure to put a smile on any musician’s face. For people who busk, the Rockn-Roller is an absolute no brainer. Having to transport your gear through the hustle and bustle of the city can be draining and challenging at the best of times, using the traditional methods. A product like the Rock-n-Roller, makes light work of such a task, and the four wheel design ensures better stability and safer passage for your expensive equipment.

Rock-n-Roller themselves say it reduces time and effort by 50% or more, which means 50% more time to focus on the task at hand (playing an awesome show.) I can see this product being a big hit with the mobile DJ market as well. Having to relocate speakers and DJ gear between gigs can be time consuming and you might not want to ask your clients to help as it can look unprofessional. The Multi-Cart can easily hold all of your gear and even a subwoofer if the gig demands it. The combination of the high quality components and the extremely intelligent design make for an extremely trustworthy transport solution. Designed with musicians in mind, the Rock-nRoller proves an absolute natural when it comes to gig logistics and in terms of bump in/bump out procedure, you’d be hard pressed to find anything more suited to the task. An absolute back saver and a worthy addition to any mobile or touring rig. WORDS BY MIXDOWN STAFF

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PRODUCT REVIEW / MI

FENDER

American Ultra Luxe Stratocaster & Telecaster FENDER MUSIC AUSTRALIA | RRP: $ STRATOCASTER - $4,449, TELECASTER - $4,699

The American Ultra range was Fender’s flagship, electric solid body range as 2019 turned into 2020. For the uninitiated, or for those on the periphery of Fender’s various product lines, The American Original range handles vintage specs, designs and colours while the Ultra range surged forward, further improving on every success that the American Elite range had ushered in. The American Ultra range was the best of both worlds, featuring modern playability and fret access, with embellished and revised classic colours coupled with Ultra Satin Urethane neck finishes adorned on Fender’s “Modern” neck shapes. It was an awesome way to inject some modernity onto those classic Fender body shapes we all know and love. Now for 2021, Fender have pushed the envelope once again in releasing the American Ultra Luxe range. Further building on the forward-thinking and contemporary wants and needs of the modern player, while adding a little extra class and design aesthetic. The Luxe series is traditional Fender stylings with a modern touch, more stylish trimmings and elevated modern appointments, such as a rounded neck heel, unique compound radius fingerboards and S1 switching. Fender have taken every success that was the American Ultra Range and augmented it, featuring a literal “Augmented D” neck shape across the range that feels extremely fast and ergonomic in the hand. The whole series comes complete with a premium molded hardshell case and a few different pickup combinations for singlecoil devotees or humbucker

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enthusiasts across the different models. Here we’ll be discussing the seemingly classic Stratocaster, with a maple fretboard and two-colour burst, and a doublehumbucker Telecaster with a Floyd Rose Original. The American Ultra Luxe Telecaster Floyd Rose HH features a Floyd Rose Original bridge, locking nut and custom DoubleTap Humbuckers. Classic Tele aesthetics converge with modern appointments to make a modern, genre-defying rock machine with classy binding and a slightly tinted maple neck and fingerboard to offset against the metallic Mystic Black finish. A deeper body contour and exaggerated cutaway allows easy access to all of the 22 Stainless Steel Jumbo Frets and beyond. In turn providing some of the largest freedom of movement I’ve experienced on a Tele. For a body type often unfairly criticised for its lack of ergonomics, these subtle adornments really do add to the feeling of refined, updated design found throughout the American Ultra Luxe range.

Tremolo with Pop-In Arm for timeless vibrato and expression, while also being available in a HSS configuration. Both of these guitars feature Fender’s new Augmented “D” shape, a super fast 10”-14” radius fingerboard, which features a slightly more filled out neck shape that tapers out beyond the 12th fret. This, coupled with the choice of fingerboard radius, satin finish and access heel, provide a playing experience that feels both familiar and at the same time, fresh and modern. As playing guitars go, the Luxe series is hard to beat. The neck shape and aesthetic might bear a certain familiarity, but the new feature sets (specifically revised for 2021) and modern appointments, give them a contemporary yet classic feel that is sure to appease both super-Strat players and vintage spec-heads alike.

The American Ultra Luxe Stratocaster features a classic 2-Tone Sunburst reimagined with a black 3-Ply pickguard. While the the ‘60s-style painted headcap puts a cool spin on a Fender classic and the Master Volume doubles as a push/pull S1 Switch to add another layer of tone. Fender’s S1 switch is an inconspicuous addition that, in the case of the Ultra Luxe Strat, adds the neck pickup into positions 1 & 2 (usually just bridge pickup and bridge/middle respectively).

The Noiseless pickups manage to harness the best of both worlds, offering classic Strat tones without 60 cycle hum introduced in single coil pickups. The Augmented “D” neck shape feels almost like a ‘50s baseball bat-style neck shape, without the discomfort sometimes associated with these necks. The 10”-14” radius of the fingerboard isn’t something that you notice so much as you realise how effortless fretting, bending and expressing yourself is across the Medium Jumbo frets. The Medium Jumbo frets are a nice middle ground that sits between super modern Jumbo frets and more vintage Narrow Tall-type fretwire. Stainless Steel will ensure minimal wear and tear for the life of your instrument.

The Luxe Strat features three single-coil Ultra Noiseless VintageStrat pickups, a TUSQ nut and a 2-Point Deluxe Synchronized

Despite the absence of that particularly baseball-bat feeling neck shape, the American Ultra Luxe series from Fender is a

home-run, and Fender only has to outdo themselves in the market at this point. For some players, the American Elite and then American Ultra ranges were too contemporary in feel, design and looks, but the American Luxe bridges that gap. Here we’ve explored two specific models within a huge range of guitars, all with the same classy, deluxe appointments. They feature top-tier electronics, components and ingredients that make them the clear choice to fly the flag for Fender’s consistent, forwardthinking designs. The guitars look and feel classic Fender at a glance, but under the hood, contain a lot more to really give you bang for buck. These are top-tier US-made Fender instruments, designed with the player in mind, as Fender always manages to do. The Ultra Luxe series is everything you want and need with a few extras thrown in for good measure. The Strat is assembled from classic designs, but features a few extras to make playing such an iconic instrument a breeze, and the Noiseless pickups help you in always sounding your best whether gigging, recording or writing. The Telecaster, while admittedly featuring a very un-vintage Floyd Rose Original, still harks back to classic Telecaster design and aesthetic while featuring modern access and playability. The Ultra Luxe series is every forward thinking design from Fender in their 70-odd year history, coupled with the classic designs and construction that have kept them a market leader. BY LEWIS NOKE EDWARDS

PRODUCT REVIEW / MI

UNIVERSAL AUDIO

UAFX Golden Reverberator CMI MUSIC AND AUDIO | ENQUIRE FOR PRICING

It’s official, Universal Audio have gone all in on the stompbox front, by way of their awesome new UAFX line of DSP-based, instrument level floor units. This is an exciting development in gear land for a variety of reasons. As most studio savvy instrumentalists would probably be aware, the Californian company are heralded as one of the best, if not the best in creating digital replications of real world analogue hardware units, emerging from the 2010s as the ubiquitous interface/ DSP choice for a whole generation of chin stroking studio types and home recording enthusiasts. The new UAFX line, takes this same modelling/DSP expertise found in UA’s professional studio products and transplants it into the comparatively traditionalist, low-brow world of pedals, in term bringing the brands incredible understanding of analogue/digital workflow, state of the art gain/ dynamic response algorithms and peerless ability to provide uncannily accurate emulations of real world auditory events and distills it all into a hardware unit that you can fit in your hand. First cab off the rank is the awesome new Golden Reverberator Pedal, which makes awesome use of UA’s 20+ years in reverb modelling expertise, serving as a kind of style tour of sorts, taking you through some of the most highly coveted reverb units ever assembled. Straight out of the box, it’s easy to see that the build quality will never be an issue here. All knobs, buttons and connection points are extremely solid and well built. Weighing in at just over half a kilo, with it’s professionally fabricated steel chassis, there is no questioning that it’s built to last. On first glance, the Golden Reverberator has a reasonably standard layout for a pedal of this type with switches for on/off and preset, pots for decay, pre-delay, eq, dry/wet, modulation aswell as a couple of switches to change the style and tone of reverb applied. There are two inputs and outputs at the rear which allow the pedal to be used in various configurations including mono-mono, mono-

stereo and stereo-stereo. The stereo processing is separately run which means you could technically have two different input signals with two dedicated outputs. An indication of their strong ties to the digital audio space, the Golden Reverberator allows you to connect your laptop or phone via the USB-C and Bluetooth connections to register and add new effects as they become available, much in the same way as the brands Apollo and Satellite units serve as the centre of DSP operations/registrations in the plugin domain. The emulations that come preinstalled are nothing short of beautiful and are based on such classic amp and studio units as the Fender ‘65 Deluxe spring reverb, the EMT plate and the era appropriate Lexicon 224 digital unit of the late ‘70s. These three emulations sound absolutely stunning and UA’s ‘whole amp’ approach (delving into specifics like the subtle effect of the driven tube preamp before the spring reverb stage in the ‘65 and extra harmonics that this draws out are particularly awesome touches.) Each style has three different tone settings which are subtle but definitely alter the sonic character in a noticeable way. On the spring reverb for example there is an alluring character to the A setting which is described as ‘Bright DI’, perfect for an in your face tail, whereas the B setting ‘Smooth Show’ has a more subdued feel indicative of a sound you might want to push back in the mix. The modulation on this pedal is also quite interesting and performs differently depending on the style of reverb. On the spring setting it introduces wow and flutter while on the plate and hall settings, there is modulation similar to a chorus effect which can be dialed in to taste. EQ on this device operates as you would expect on the spring and plate settings but UA went the extra mile on the hall setting to more accurately model the fabled Lexicon 224 unit. On this setting, the bass and treble knobs actually affect the decay times of those

respective frequency bands while the standard decay knob affects the mid frequency band decay time.

So you found a cool sound you like that you want to come back to later? Save it via the preset function. The Golden Reverberator has one preset which you can store by holding down the middle flickswitch and recall it by the labeled footswitch. Connecting via the aforementioned ways you can change the bypass setting from ‘true bypass’ which kills the tail instantly to ‘trails bypass’, which lets the reverb tail ring out when you change to your preset or switch the effect off. While the lack of endless saveable presets might steer you away from using this pedal over the course of an entire set, as a primary reverb for the end of your chain or as a means of introducing studio quality effects into your rig, you would be hard served to find anything with more sonic potential than the Golden Reverberator. The quality of the audio engine and

its ability to produce exceptional sound quality across a broad number of reverb categories makes it an extremely powerful tool for the modern musician with an ear for audio quality. Surprisingly, it also held up extremely well over synths and bass sounds as well, giving that same shimmery quality found on records produced in well equipped studios. Whether you’re looking for a pedal for home or studio use, the UA Golden Reverberator excels in both. With it’s sharp design, beautiful sounding emulations and with it being a networkable pedal (with the tantalising prospect of future updates and tone libraries at its disposal) the Golden Reverberator could well be the only reverb pedal you ever need moving forward. BY SAM MCNIECE

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PRODUCT REVIEW / MI

FENDER

Jason Isbell Custom Telecaster FENDER MUSIC AUSTRALIA | RRP: $2,799

Since hitting the market 70 years ago, the Telecaster has constantly found a warm welcome in the hands of country players around the world thanks to its workhorse design and distinctive twang, and that relationship remains steadfast to this day. Country, as a genre, is currently experiencing something of a critical reevaluation among mainstream audiences, and it’s arguable that it’s more popular than it’s ever been, making the need for a country guitar virtuoso greater than ever before. Jason Isbell, while perhaps not being a household name (but again, how many guitarists today actually are?), is one of the scene’s hottest players, and you can bet he’s got the chops to back it up. A four-time Grammy Award winner off the back of his work with seminal alt-country act Drive-By Truckers and his current fling with The 400 Unit, he’s become a titan of the Americana guitar circuit by blending the idiosyncrasies of the genre with Mark Knopfler-like picking flourishes, with one of his primary weapons of choice being you guessed it - a trusty Telecaster. As such, it shouldn’t come to any surprise that Fender have extended their signature range in 2021 to include the new Jason Isbell Custom Telecaster. Based on the specs of a battered ‘60s Telecaster Custom, the guitar features a warm Chocolate Sunburst finish, while the alder body is adorned with a double cream binding for an incredibly classy look.

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The neck, meanwhile, boasts a vintage spec mid-‘60s C profile that’s full to grab but easy to navigate, with the maple build being joined by a 7.25” radius 21-fret rosewood fretboard. Fender have used these specifications on many a model in recent years, and it’s one that’ll feel immediately familiar by default; there’s plenty of grip up the high end of the fretboard for tearing out lead lines, and if being a singer-songwriter is more of your vibe, you’ll feel right at home down towards the cowboy chord regions of the neck. Potentially aiding in this familiar feel is the fact that the Jason Isbell Telecaster is treated to a Road Worn finish, as well as being coated in vintage-inspired nitrocellulose lacquer. This gives the guitar a rough-and-ready vibe that seeks to emulate the mojo of picking up an aged beauty from Fender’s golden era, with the body, neck and hardware of the guitar all being pocked with artificial scuffs and scrapes for an added touch of ‘authenticity’. Sure, tough sticker finishes aren’t for everyone, but it’s hard to argue that it doesn’t suit the vibe of this guitar: you’d be hard pressed to find a superior tool for all your noodlin’, choolgin’ needs than this boot-scootin’ barn raiser. A unique addition to the Jason Isbell Custom Telecaster is that of a custom-modified bridge with three solid brass barrel bridge saddles. Typically, vintage-spec Telecasters feature a bridge that somewhat resembles an ashtray,

but on this model, Isbell’s opted for a modified version that tapers the slanted edges of the metal. This effectively allows for greater access for your fingers to pick over the top of the bridge pickup, and it’s a modification that makes utter sense for a country player of his ilk: after all, there ain’t nothin’ that goes better together than chicken pickin’ and country western. For the Jason Isbell Custom Telecaster, Fender enlisted the services of their in-house guru Tim Shaw - an unsung hero in their recent successful endeavours to design the pickups of the guitar, and boy are they something to behold. They’re wound hot, but not gritty, and almost possess a funky bell-like tonality that errs on Stratocaster territory. The lipstick tube in the neck position is rich in character, producing a mellow, scooped tone that just screams for soulful leads and emotive chordal embellishments. The guitar’s middle pickup boasts a quacky tonality that’s actually surprisingly useful, particularly with the tone knob rolled off a bit to add in a little woolliness. Pair it with a sputtering fuzz pedal for a Warm Jets-like lead, or even plug into a clean amp to toy with some suitable tones for funk, jazz or neo-soul. However, everybody knows that the Telecaster’s main attraction particularly in the world of country - is the bridge pickup. Chances are, when you think of twang, you’re thinking of this bad boy,

and the Jason Isbell Telecaster’s bridge pickup packs it in excess. The bright, razor-sharp nature of the bridge pickup pair wonderfully with fingerpicking and jangly strumming alike, and when you stomp on a splash of chorus and overdrive, you’ll enjoy a stream of ‘80s rock, new-wave and alternative tones in abundance. Of course, the Jason Isbell signature model is geared up to suit the needs of a country instrumentalist, but a Telecaster is the kind of guitar that’ll lend itself to any genre, and that’s a truth that’s solidified with this signature instrument. The Fender Jason Isbell Custom Telecaster is a satisfyingly responsive, comfortable and unique build to play, highlighting the efficiency and attention to detail from the company’s Mexican production plant. The custom pickups of this guitar are plentiful with character and pair wonderfully with pedals, while the modified bridge makes for a unique playing experience to differ from the hordes of other Telecasters on the market. And sure, Road Worn finishes mightn’t be for everyone, but you can’t deny the vibe it gives this guitar: you’d have to shoot up the whole saloon to find a better partner to ride off into the sunset with than this bad boy. Yeehaw! BY WILL BREWSTER

PRODUCT REVIEW / MI

UNIVERSAL AUDIO

UAFX Starlight Echo Station CMI MUSIC AND AUDIO | ENQUIRE FOR PRICING

If you are reading Mixdown, chances are you are probably already very familiar with Universal Audio. The world conquering purveyors of processing have dominated the studio hardware market since their 1958 inception, continually adapting to the ever changing needs of the recording landscape and remaining at the very top of their game throughout. From their iconic 610 preamp to their current gold-standard plugin suites and recent forays into the DAW world, the brand have a knack for continually nailing the modus operandi, providing creative tools that have a tendency to work their way into your daily workflow and never, ever leave-be it in the analogue domain, the digital domain or any combination of the two. This ideological middle ground has been UA’s bread and butter for a number of years now, as one of the pioneers of analogue emulation in the digital realm and as the undisputed masters in hardware modelling for the studio, they have come to personify the modern professional workflowfrom outboard DSP,and premium componentry and conversion in their interfaces, through to hyper realistic preamp emulation/ saturation, peerless reverb and effect modelling and the overall quality and sound of the UA Audio Engine are all part of the fabric of modern music production. This incredible lineage and reputation in the analogue/digital Studio world is just one of the reasons why the new UAFX line of stompboxes is so intriguing. The Starlight Echo Station is really three delay pedals in one and features classic controls including Feedback, Mix and Delay knobs. The delay parameter works like a time knob, but I get the feeling there’s some magic happening under the hood. The Starlight also has a few extra controls to allow the user to tweak the three onboard delay emulations accessible via a toggle switch: the Echoplex EP-III (Tape EP-III), ElectroHarmonix Deluxe Memory Man (Analogue DMM) and a modern, clean digital delay (Precision). There’s also a fourth Delay mode,

the Cooper Time Cube, available when you register your Starlight. In use, the Starlight Delay pedal is an awesome one-stop delay unit, with enough tonal variance in the modelling and enough tweakable parameters to relay allow for a broad array of sonic flavours. The Delay, Feedback and Mix knobs will have you dialing in a delay almost instantly, allowing you to move into the Division, Colour and Mod controls with confidence. The Division mode offers different delay times and sub-divisions, providing different rhythmic effects and scattering echoes and repeats throughout. Colour acts like an intelligent Drive knob that reacts based on your input and playing dynamic, as it smears, saturates and clips like a real analogue delay might, and as we all know, saturation is very rarely an unwelcome addition! Mod adds modulation to the tails of your delay, allowing it to sink back into your playing and feedback onto itself, providing thick, pitchy, chorus-like warmth. This is especially helpful when trying to make the Precision setting more gritty. The other two delays offer their own colour and tone and the ABC toggle offers three presets for each model of delay. The EP-III sounds particularly ‘tapey’, as it should, but feels like the delay may not quite catch up with itself like tape delays seem to. It offers some grit exclusive of the Colour knob and provides a dark, thick repeat that can be utilised to great effect (pardon the pun) for slapback or short delays. The Analogue DMM offers the swirling, coloured delay that helped push EHX to the forefront of stompbox brands in the ‘90s when grunge, shoegaze and postrock bands created mammoth walls of sound by generating delays that engulfed both the notes and players themselves. The Precision mode is a modern, glassy sounding delay that gives the player articulate repeats, and is probably the setting that reflects the pedal’s settings the most. The Precision mode is absolutely the most customisable, as each knob seems to affect the sound a little more than the other two

emulations. You can leave it cleaner or push it harder, and all can be saved and stored into a preset via the ‘Store’ toggle switch and recalled via the ‘Preset’ switch that doubles as a Tap Tempo control. All-in-all, the Starlight is a wellbuilt unit, solid without being too heavy. At a glance, it features six knobs, three toggle switches and silent switches to turn the effect on and off or tap away to customise your tempo on the fly. It features stereo input and output, allowing for either mono in/out, true stereo in/out and mono in, stereo out operation or vice versa. This makes it a great stompbox for live, but an equally formidable tool in the studio. Between the four 1⁄4” ins and outs, there’s a standard 9VDC power input and a USB-C input to update software, and recall and save presets. There’s also a small LED and ‘Pair’ button that will be used to connect via Bluetooth to UAD’s UAFX Control for even more customisation options.

The Starlight emulates two historically significant delays in one unit, further customisable than the originals via the ABC toggle, as well as including a modern, very customisable delay in the Precision and further updates as their firmware advances. What’s more, all of this is saveable and recallable via the silent switches so it’s a difficult pedal to beat for live use. There’s a long list of delays to try out there and it can be difficult to pick just one, but the UA Starlight Echo Station makes the decision easier for you. Straight out of the box, the Starlight features three professional sounding delays, as well as three presets for each of them. If you’re not sure where to start with delay, you’d best start with the UA Starlight, because you may never need another delay pedal. BY LEWIS NOKE EDWARDS

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PRODUCT REVIEW / MI

ZILDJIAN

K Sweet Cymbal Pack DYNAMIC MUSIC | ENQUIRE FOR PRICING

For those new to world of drums (be it in the physical, playing sense, or in the not so physical, recording acoustic drum kits sense), one of the steepest and most apparent learning curves of all is when you start to come to terms with the sheer logistics of the drumset, and the justified expense of good quality drum equipment. Probably more so than any other instrument, the live kit bears with it a particularly unique set of design considerations, often at odds with each other and completely independent of those found in practically all other instrument types. For one, with drums, our baseline intention is to religiously beat this beautifully crafted instrument with a stick until the stick (or the replaceable component, or the drummer themselves) inevitably break, at which point we replace said component and keep on hitting. It really is a life of abuse on the road and thus there is a certain level of investment required just to weather the rigours of continuous daily playing. The second reason is purely sonic. Drums (or all membranophones for that matter) are one of, if not the most acoustically sensitive of all instruments, with the tiniest differences in tuning, bearing edge or beater having a massive impact on overall sound, especially under the microscope of recording. It’s universally understood that in the studio with eight to ten microphones draped around the

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kit, unpleasant resonances sound even worse, ratty hardware rattles even harder and cheap, shitty cymbals cymbals sound, well… Cheap and shitty. Historically, most drummers have carried with them a couple of sets of cymbals, either for gigging or recording, but rarely one pair for both and this is where the awesome new K Sweet series from Zildjian comes in. Zildjian are the preeminent name when it comes to cymbals, and for good reason, the beloved Turkish brand have been around for nearly 400 years. Yes, you read that correctly. Since 1623, Zildjian have been making some of the world’s finest cymbals, passing down the alloy recipe from generation to generation and making Zildjian one of the longest running businesses in the world. The beloved K series, is possibly the most well known of their famous product lines and the K Sweet variant (the ideological middle ground between then brands K and A series) have been quietly garnering a stellar reputation amongst drum aficionados since they came on to the scene a few years ago. The K Sweet Cymbal Pack extends the rich sounds of the K Zildjian Series in a sweet new direction that’s versatile enough for all differing types of music, from Rock and Jazz to live hip-hop and more. The traditional finish and slightly unorthodox choice in sizing makes for a slightly darker but

exceptionally balanced cymbal set, at a price-point that is sure to keep gigging drummers on side. The oversized 15” HiHats feature a thin top and an extra heavy bottom, creating a noticeable wash while maintaining rock solid transients and accented notes throughout. In terms of volume, I found these to be particularly nicely balanced in most kit setups, sitting naturally in the overheads without the need for a designated hat mic. The 15” diameter makes for massively accentuated open hat catches, perfect for hip-hop and R’n’B and other genres using syncopated open hat work. The heavy bottom also brings with it an added sense of durability and hardiness and not at the expense of tone. In fact the sound on these hats had me rethinking why I hadn’t thought to move to 15” hats earlier. As far as crashes go, the 17” and 19” options included in the pack are more than enough to work with, being pitched differently and with a slightly darker vibe than one might expect. Being extra thin in weight makes for a lightning fast response and in terms of volume, they too sit nicely balanced in the overall kit sound. Being slightly thinner than I was used to, I was pleasantly surprised at their musicality, eschewing the two second white noise drownout that normally accompanies a hard crash strike when played on thicker, more resonant cymbals.

The unlathed bells created a nice balance in the pitch and wash frequencies, making for an extremely musical sounding crash - if there ever was such a thing! Given that the Ride is usually going to see plenty of action, it was nice to see that it was not only extremely sturdy, but also thin enough to double as a third crash if need be. At 21” and full of life, it provided bell-like upper harmonics and was a sound engineer’s dream at capture. The general low profile of the cymbals and mounting points makes it all the more crashable, while the richness of the bell tones cut through a busy mix like a hot knife through butter. All in all, the Zildjian K Sweet pack is a perfect utilitarian option for those looking for that middle ground between tried and tested durability and unbridled sonic expression. The versatility of the ride and crash profiles, and the interchangeability of both allows for a whole manner of interesting textures and approaches to cymbal work. The 15’’ hats with their extra inch of travel make for an explosive open hat sound, and the overall darkness of the traditional finish pairs well with all kinds of mic setups and recording applications in the studio. If you were looking for a set of cymbals that can do it all, the K Sweets are a damn good bet. BY PAUL FRENCH

PRODUCT REVIEW / MI

MARKBASS

Kilimanjaro 5 Richard Bona Signature Bass CMC MUSIC | EXPECT TO PAY: $6799

Markbass are undeniably one of the most formidable forces in the bass amplification industry, with over 20 years in the business honing their craft. Their endorsees include the likes of funkmaster Joe Dart and fusion mainstay Tom Kennedy, who are regularly seen donning Markbass gear on stage. However, as if mastering the art of bass amplification weren’t enough, the Italian company – led by impresario Marco De Virgiliis – have been spending a considerable amount of time designing and manufacturing their own range of bass guitars. Their fastidiously crafted Kilimanjaro 5 Richard Bona Signature is a real gem of an instrument – one glance and you’ll realise how palpable Markbass’s attention to detail and design truly is. The Kilimanjaro 5 features a twopiece swamp-ash body with a selected AAAA solid flame maple top, while the same maple can be found on the headstock as well. The neck is bolt-on quarter cut Canadian Maple, and measures out to around 22mm in thickness. The flame maple fretboard spans out to 34” long, with 24 frets which make for a pleasantly accessible upper register. In terms of pickups, the Kilimanjaro sports two Bartolini MK5CBC pickups at the neck and bridge, which work incredibly well to bring out the tonal purity of this bass. There’s a volume control for each pickup, allowing you to mix and blend the sounds of your neck and bridge pickups as you wish.

There’s also a tone control that lets you toggle between active and passive, while the smaller controls behind the volume are your EQs: one each for bass, mids and treble. The first thing that really struck me about the Kilimanjaro is just how light it is. It’s not uncommon to see some bassists (primarily fusion ones) performing whilst sitting down, due to the weight of their five or six stringed active instrument. This is generally due to the electronics inside, but can also pertain to the type of wood used. However, knowing how much emphasis Markbass place on the portability of their bass cabinets, it’s no surprise that they apply the very same philosophy when it comes to their basses. The weight is distributed evenly across the maple neck and the body – inside the neck lie two graphite truss rods, which provide a robust yet lightweight spine that runs through the instrument. The 38mm thick body is meticulously designed, with the cutaway which makes for easy access to frets 18 and beyond. You can also elect to have a ramp installed between the two pickups, assumedly for players to rest their thumbs on when playing fingerstyle. Going through my trusty Markbass Nano + Traveller 102P cab, I was instantly taken aback by the commanding boom of the Kilimanjaro. If you’re like me and tend to dig into the strings when playing fingerstyle,

you’ll find that this bass offers a simply unparalleled level of tonal percussiveness. Play slightly closer to the bridge and you’ll get that Jaco-esque ‘bite’, and if you’re after that Geddy Lee sound with the strings hitting the fingerboard, just move closer to the neck. While this five-string is both active and passive, I spent the majority of my time on active, due to the array of tonal possibilities. I wanted to put the Kilimanjaro’s funky percussiveness to work, and decided to go through some of the late, great Paul Jackson’s bass parts with Herbie Hancock’s Headhunters. ‘Actual Proof’ sounded a treat – the sonic definition offered by boosting the mids and treble ensured that those insistent 16th notes cut through the mix perfectly. Next up, I sought to test the bass’s low end dynamism – and if we’re talking groove and thud, is there any better player to turn to than Pino Palladino? I wound down the treble and mids, turned the bass EQ up a smidgen, then ran through ‘Chicken Grease’, off D’Angelo’s emblematic Voodoo LP. What’s perhaps most impressive is how unobtrusively well the Kilimanjaro sits within the mix: it’s easily discernible, and while providing the ideal rhythmic and harmonic bedrock to the track, it doesn’t tend to overpower any of the other instruments.

relative to other basses I’ve played where they tend to decay rather quickly. Moreover, the ‘popped’ notes sound bright as ever, without even the slightest hint of tinniness. Seeing as active basses tend to pack noticeably more spice than passives, I’d suggest applying some compression if you plan on really cranking it up on stage – this adds some dynamic stability, and works to cancel out any harmonic overtones that might creep in. The Kilimanjaro’s action is set to perfection, while the string tension gives off just enough resistance for those choppy fingerstyle lines, but also plenty of give for those who like to slap. If you’re predominantly a four-string player, you may need some time to get used to the neck width of the Kilimanjaro 5. But not to worry: the ultra-smooth finish on the neck assuredly makes lefthand positioning that much easier. At its current price point, it’s safe to assume that not everyone will have the dough to splurge on a high-end model such as this. However, if you’ve been keenly saving up for something with guts, versatility and longevity, then the Kilimanjaro 5 may well be the bass for you. BY DAVID TOMISICH

Slapping is also a breeze on the Kilimanjaro – the low end slapped notes sustain remarkably well,

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PRODUCT REVIEW / MI

FENDER

Mustang Micro Headphone Amplifier FENDER MUSIC AUSTRALIA | RRP: $219

While it may never be the kind of study that receives any kind of legitimate, university funding, I’d be very interested to see the kind of influence that things like the state of the economy and the ever-booming property/rental market have on musicians and their playing habits, particularly at the technical level. While this may sound like a bit of a long bow to draw, rest assured the proof is all around us, as sharehouses become more packed and the cost of square meterage is at an all-time high, design considerations like physical footprint, low volume dynamics, direct outs and overall scalability (things that guitarists have historically treated with scant regard) have become extremely important given the current zeitgeist. Nowhere is this more evident than in the current glut of affordable, high quality practise amp/ modelling pedals with headphone out/micro headphone amplifiers available at the moment, as aimed at providing guitarists with the most organic and flexible small scale options available for practice and recording. At the very forefront of this movement is Fender’s awesome Mustang amplifier range, with the brand legitimately breaking new ground in the quality of the modelling and IR found on their combo offerings like the GTX 50 and GTX 500. The new Fender Mustang Micro Headphone Amplifier takes this same approach and applies it to an even smaller footprint: the often

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overlooked world of headphone amplifiers, and the result is some of the most satisfying and housemate/neighbour friendly playing experiences we have found for an amp of this type. The Mustang Micro provides you with 12 amp models for a wide range of clean and dirty tones, 13 effect models with parameter modify control, and adjustable EQ, Bluetooth audio signal, and onboard DSP. This tiny pocket rocket is obviously a no brainer for anyone studying guitar performance or with a strict practice regime, but its as a low volume songwriting vehicle/ late night idea generator where it really pays dividends. Its USB rechargeable lithium-ion battery allows for four hours of continuous playing time, making it perfect to fit a few nights of practice, or a day of classes. When you’re practising guitar and especially studying guitar performance, hearing the same riff or lick over and over again can give you fatigue. In fact, it can begin to feel a little bit like torture. One thing that would hinder me when being restricted to the amplifier situation in any given room, was the unfamiliarity with the settings, the time wasted having to manipulate those settings to accommodate for my sound and then further to that, the fact I’d be jumping from jazz to metal and more. The ease of setup, limited cable requirements and the naturalness of the touch sensitivity makes the Fender Mustang Micro one of the best solutions I’ve found for this kind of daily low volume playing.

It uses impeccable self-contained signal processing to power crisp, clear signals to provide you with some truly impressive modelling,ranging from classics like the ‘65 Twin and ‘65 Deluxe through to more general ‘vibe’ type presets like Studio Preamp, ‘90s American and even a Metal 2000. You can then pair any of these 12 basic sounds with any of the 13 effects provided, including a vast array of reverbs, delays and modulation: Large Hall Reverb, Chorus and Mono Delays, Triangle Flanger and Large Hall Reverb, Tape Delay aVintage Tremolo and even a Sine Chorus. You’ll be hard pressed to find yourself squirming with any of these settings, especially because you can then use the EQ to finetune them even more. Of course, for such a small amp Fender have kept it quite simple so there isn’t infinite tweakability of the parameters, but the quality of what is on offer is impressive to say the least. Just being able to access hyper-accurate approximations of the vintage sounds and effects we know and love, packed into something so portable, is already a cut above so many of the other practise amps out there. I could see this being a perfect little mate to chuck in the guitar case for a tour or interstate trip: you really can just visualise it being a handy little acquisition for a variety of different playing scenarios.

you can sync up any MP3/MP4 playing device straight to the mini amplifier and play along with any tune or instructional video. Other handy tech fittings are the USB-C which allows you to record out to MAC/PC, update firmware, and recharge the internal battery. If your headphones don’t happen to have Bluetooth, you can still connect wired headphones through the headphone output. The rotating input plug is also a nice touch for compatibility with most guitars and basses: It’s got a ‘no-fuss’ appearance to it with a classic black casing with rounded edges, and has considerate features like colour-coordinated LEDs The Fender Mustang Micro Headphone Amp accommodates so many diverse playing situations and is so incredibly sturdy and compact that it could fit quite easily into any player’s arsenal or cramped living situation. Its ability to provide quality recreations of some of the most coveted (and less than compact) amp setups out there make it a perfect option for anybody looking to play more often and more loudly than their living situation may always allow. After all, with everything turning into apartments and sub-divisions of sub-divisions, us guitarists need to plan ahead! BY BRIDGETTE BAINI

We haven’t even mentioned the Bluetooth compatibility yet and it’s in these slightly more consumer features that the appeal of the Mustang Micro really sells itself. With the Fender Mustang Micro

PRODUCT REVIEW / MI

PAUL REED SMITH

PRS SE P20E Parlour Acoustic ELECTRIC FACTORY | EXPECT TO PAY: $1,139

Is there anything much greater than the concept of the couch guitar? Personally, I’m a sucker for conveniently sized acoustics that are well-constructed and have a big, beautiful voice. Parlour guitars, which were all the rage back in the early days of the acoustic (as we know it, anyway) in the late 19th and early 20th century, yet fell out of favour with players some time in the ‘40s as the need for ‘parlour’ performances was nullified by the invention of the guitar amplifier. Fast forward to now, however, and the idea of the parlour guitar is once again piping hot - particularly as the world returns to normal after the pandemic. After bunkering down with their first-ever guitars to learn the instrument during quarantine, there’s a whole bunch of new players out there looking to bust out their skills in public arenas, and when you’re looking to get out on the road and enjoy the world again, there’s nothing like a parlour guitar to accompany you on your journey. For applications like these - yet so much more - the Paul Reed Smith SE P20E Acoustic Guitar does not disappoint. The SE P20E is an allmahogany, pro-grade parlour-sized acoustic that delivers gorgeous tones thanks to its clever hybrid bracing and intuitive design. If that’s not enough, the PRS P20E even comes fitted with Fishman

GT1 electronics to transform it to a performance-ready guitar, making it an absolute acoustic powerhouse that’s perfect for any application. You can take it on stage, the campfire, or busking on the streets with its classy Antique White top, herringbone binding, and teardrop tortoiseshell pickguard against its uniquely PRS headstock. It’s visually suited for just about any performance to my eyes, and that’s not to mention the sturdy and comfortable padded travel bag it comes with, making this compact instrument easily transportable. The guitar’s classy Antique White finish is contrasted by a beautiful ebony bridge and matching fingerboard that displays classic Paul Reed Smith bird inlays to boast that the SE P20E is proudly part of the family. This is complemented with its genuine bone nut and saddles, that are fitted for optimal tonal support and resonance: whether you’re playing flat-picked chords or delicate finger-plucked passages, the fretboard will bounce alive with character, and makes for a gorgeous playing experience. This resonance is supported and sustained by its solid mahogany top, joined to laminated and reflective mahogany back and sides through an X-brace/classical hybrid bracing method which

blends a collection of legendary acoustic luthier techniques. The tone created is beautifully rich but crystal-clear, allowing for all the intricacies of your guitar playing to shine through. The neck is deceiving and doesn’t feel like you’re playing a particularly small guitar thanks to its Paul Reed Smith Wide Fat neck shape, carved from choice mahogany. I’m of smaller stature, so larger acoustic guitars can be quite cumbersome. Plus, for as long as the dreadnought shape is the standard, you can easily be fooled into thinking that you’re too small to play acoustic guitar however, it’s models like this that really prove you wrong. On that note, if you’ve struggled to find a guitar that works well with your hand or body size, you should definitely try this one! It’s ultra comfortable, and has a really large and loud presence, easily competing with other acoustics without compromising in any field. Straight out of the box you can already tell that it’s ready to take on whatever you throw at it. The tension feels just right, and almost buttery to play while the construction feels sturdy, and its intricate reflections of notes and tones makes it an excellent studio partner. Moving onto the live performance aspect of the guitar, and we have the PRS SE P20E’s Fishman GT1 pickup system, which is found

under the saddle and naturally senses all kinds of acoustic vibrations. The result? A clear and strong voice with good feedback rejection. Discreetly placed under the sound hole are the tone and volume controls so you can tweak your sound to suit you. Plug it in or mic it up, the Paul Reed Smith SE P20E is ready for the task. It feels beautiful to play, the neck fits in hand extremely comfortably and allows for free movement through its satin-like finish on the back of the neck. Nimble movements across the fingerboard allow for more intricate playing and that’s exactly what the SE P20E is for, accentuating delicate notes while capturing bellowing chords. Overall, I was pleasantly surprised by the big but nuanced sound that was able to come from this compact guitar, but I was certainly not surprised by the astounding quality of its build. I love an Antique White finish but especially paired with an ebony fingerboard and tortoiseshell pickguard, so this acoustic parloursized guitar really ticks all the boxes. Right down to the gig bag it comes with, the PRS SE P20E Acoustic Guitar is quality and class through and through. BY BRIDGETTE BAINI

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PRODUCT REVIEW / MI

LINE 6

POD Go Wireless YAMAHA MUSIC AUSTRALIA | EXPECT TO PAY: $1,149

Line 6 is synonymous with a handful of products. You mention the name and instantly people fondly remember the Line 6 PODs: large, kidney-shaped amp modellers that, at the time, we all thought sounded undoubtedly like a real amp. Some musicians will think of the G-Series wirelesses, now a staple for live bands all over the globe, their battered and road-tested G50 receivers a badge of honour. Line 6 is reliable, forward-thinking and accessible for working musicians and hobbyists alike. The new Line 6 POD Go Wireless combines these two designs into one simple, intuitive, floorboard style design. It features Line 6’s award-winning amp and cabinet tones, effects and a Line6 G10TII transmitter to pair with the receiver inbuilt into the unit. Ready to play are Line 6’s professional-grade HX effects, as found on their HX Stomp and Helix models, as well as a long list of classic amp tones at the push of a button. The POD Go is designed to be as plug-and-play as possible, allowing for tones to be tweaked and dialled on the fly, as well as on first use. Like a normal amp, it features an effects loop in and out, and if HX’s cabinet models weren’t enough, you can capture your own Impulse Responses and load them into the amp profiles. While obviously designed for the stage, the Line 6 POD Go

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Wireless also acts as a four input, four output audio interface for recording and re-amping through world class sounds. Specifications wise, it’s important to break the POD Go Wireless into what it really is: three products. As an amp modeller, HX sounds are unparalleled. Without going too much into trying to describe how good the long, long, long list of tones and amps sound, clips and sound samples of the HX sounds can be found on the Line 6 website. The unit features six stompbox style buttons to toggle between either preset buttons or stompbox buttons via the MODE button and an independent tuner button. The POD Go Wireless also features an expression pedal, which can be toggled between either wah or volume pedal, or can be used to control other parameters within your effects. A large, bright screen will be easily seen from a dark or bright stage alike, the latter sometimes offering less visibility. In addition to stellar amp tones, the Line 6 POD Go can be used as a multi-FX, also featuring an ‘Amp Out’ (that pulls signal before the amp/cab block part of the signal chain) for use with a traditional amplifier. For those not paying attention, this means you could easily use both amp and cab simulations and a real amp. Alternatively, the unit can make up your whole rig, where you would use the ‘Main

Out’ direct to PA; with either mono or stereo capabilities. There’s also a connection for an extra expression pedal, or alternatively, a place to connect an extra footswitch for two extra stompboxes. The amp sounds are that of the HX family and are tweakable to the nth degree, from preamp and power amp saturation to tube bias and power sag. You can really tweak your tones into a unique voice for your own sounds. Not only can you perfect your tones, but you can tweak the layout of your parameters so you can access the adjustments you need more easily. For when you’re not on stage, the Line 6 can double as a USB recording interface for home. You can record through it, using worldclass amp sounds and effects, or use it for re-amping after the fact. The Line 6 also features enough interesting effects that these could easily be printed back into a DAW as reverbs, delays or modulation. Simply send signal out of your DAW, into the Guitar Input, through whatever effects or sounds you like, and back out via the Main Out into your DAW. The POD Go Wireless can record and play back at a maximum or 24-bit/96kHz, and features a headphone out for monitoring, or you could use the Main Out for monitors, but you would lose the outputs for re-amping.

popular Relay G10TII wireless, with a handy storage compartment in the unit itself, and the Guitar In acting as a charger for the transmitter. The Relay G10TII will work for both active and passive instruments via the 1⁄4” jack connection. To keep the unit more affordable, Line 6 has done away with any XLR ins and outs as the POD Go is designed for live use where these connections are much less common amongst guitars and basses. All in all, the Line 6 POD Go Wireless has managed to pack just about everything you’d need in a unit with a much smaller footprint than its larger siblings. Without sacrificing too much, the POD Go features amp sounds and emulation to satisfy even the most anti-digital players, and houses it all in a small steel chassis that screams convenience, portability and ease of use. For a product that can be used on professional levels and does away with the need for three separate purchases, the initiative and value for money can’t be beat. Line 6 has always had the busy musician in mind, and the POD Go wireless continues this trend in style in a value packed, road-ready construction. BY LEWIS NOKE EDWARDS

As a wireless unit, the POD Go Wireless features Line 6’s ever

PRODUCT REVIEW / AUDIO

SONTRONICS

DM-Series DrumPack Plus FEDERAL AUDIO | EXPECT TO PAY: $1,599

When pulling together a microphone arsenal for your studio, often the most critical (and typically most expensive) venture is a family of mics dedicated to drums. Whilst you can certainly go down the road of scouring the interwebs for individual mics, often a far more practical (not to mention cost effective) approach is to invest in a dedicated drum mic pack. Whilst there are numerous options available, from many of the big names in the mic world, one relatively new name to this round table has a particularly enticing pack on offer, which is what I have the pleasure of reviewing here; the Sontronics DM-Series DrumPack Plus seven-piece drum pack. Sontronics may not be a name that all audio aficionados are familiar with (and not to worry, all is forgiven), but since their founding by musician and audio enthusiast Trevor Coley in 2004 and debut to the market in 2005, Sontronics have been responsible for some of the most innovative, gorgeous and silky smooth sounding mics available to date. From the breathtaking and iconic looking Mercury valve condenser to the Apollo 2 stereo ribbon mic, it’s easy to see why these mics are fast becoming modern studio classics, not just in Britain (the company being based in the

quaint and cosy county of Dorset), but in studios across the globe. The Sontronics DM-series microphones were released in 2011, after three years of painstaking research and development, with three mics in the series, the DM-1B (kick drum), DM-1S (snare) and DM-1T (toms). It wasn’t until 2019 that the mics became available as dedicated mic packs; the standard 5-piece DrumPack which includes 1x DM1B, 1x DM-1S and 3x DM-1T, and the DrumPack Plus, which includes an addition of 2x STC-10 small diaphragm condensers - more on them in a bit. Interestingly, all the DM-series mics are condensers, sporting cardioid polar patterns and each meticulously designed for their respective sound sources, not a one shoe fits all affair. On initial inspection, the craftsmanship and attention to detail is immediately evident, each of the mics are striking to look at, guaranteed to appear great on any drum-kit, especially under cameras, a point worth noting given the amount of filmed studio sessions happening in the past year. Each mic is solidly built, with a robust weight to them, a design definitely worthy of the studio or to be taken on the road. As mentioned before, each of the mics are condensers, and

personally I’m always a fan of using condenser mics on a kit where appropriate and capable of handling higher SPL. Thankfully each mic has a built-in switchable pad of -15dB for the DM-1B and -10dB for the DM-1S / DM-1T and STC-10. This is obviously a welcomed feature and the SPL handling of each mic is very impressive, with DM-1B taking a whopping 155dB SPL and 135dB SPL for the DM-1S and DM-1T and the STC-10 handling a respectful 130dB SPL. All of this thankfully means a reduced need to gain down preamps or worry about damaging capsules. I found the DM-series mics to be incredibly accurate and complimentary to their respective sound sources, with a wonderful flat response, due to their condenser design and innate frequency response, being a full range of 20Hz-20kHz for the DM-1B, and 30Hz – 20kHz for the DM-1S / DM-1T and STC-10. The DM-1B is a particular highlight of the range, with its end fire design making placement in or out of a kick drum easy, or being equally comfortable placed in front of a bass cab. The mic captures low end with superb clarity and detail, without blowing out or becoming uncontrollable, instead sitting beautifully in the mix, with minimal, if any processing required.

As for the DM-1S and DM-1T, both mics produce a very detailed response, again being very flat and honest, boasting classic condenser vibe and character. Lastly, the STC-10s yield pleasing results as overheads, capturing a fast, nuanced detail of the cymbals, and having the 75Hz filter in place nicely controls some low end if required. Given their relatively fresh history, Sontronics have undoubtedly earned their place in the highly competitive microphone market, bringing true innovation, British design and quality. It’s no wonder they have the likes of big time producers such a Flood, Paul Epworth and several engineers over at Abbey Road Studios pitching in their expertise in the laborious beta testing process; not to mention countless other big time names using their microphones on sessions everyday. Producing a truly professional sounding set of mics in the DMseries DrumPack Plus, I’d have absolutely no qualms in throwing up these mics on any session, knowing I’m going to get honest, full and fat tones. Thoughtfully designed, beautiful sounding, elegant and affordable, say no more! BY ANDY LLOYD-RUSSELL

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PRODUCT REVIEW / AUDIO

APOGEE

Symphony Desktop 10 x 14 USB-C interface LINK AUDIO | EXPECT TO PAY: $2,299 As the home recording boom continues its ascent into the stratosphere, the propensity for small, single or dual channel interfaces has reached critical mass, which is great for anybody working track by track, or relying on samples and drum machines for their groove requirements. For those working in the context of a full band or with live drums, the small desktop interface is seen as more of an overdub machine, ideal for putting toplines on pretracked audio or for recording final vocals in the comfort of your own home, but as a primary interface, is probably better suited to those who don’t play so well with others. After all, the modern drum recording usually requires a minimum of eight inputs all by itself. Overheads, that’s two, close mics on each piece of a five piece kit (often with multiples on the kick), then we add our stereo pair for the room plus any other character or ambient mics we might have in mind. Things can get out of hand pretty quick. Thankfully, gear manufacturers are finally starting to understand the plight, having found a solution where you would least expect it-in the often overlooked world of ADAT expansion. If it’s an ADATequipped desktop interface you are looking for, there are few as scalable and sweet sounding as the new Symphony by revered studio stalwarts, Apogee. For anybody with even a passing interest in professional studio equipment, the name Apogee is one that is steeped in prestige, particularly as it pertains to high end, analogue to digital conversion. Since the company’s inception in 1985, they have brought cutting edge technology to the audio world. After starting out producing revolutionary antialiasing filters, Apogee released their first outboard A/D-D/A converters in 1991, the AD500 and DA1000. Ever since, Apogee have maintained a stellar reputation for their converters, picking up dozens of awards at NAMM shows along the way. Needless to say, Apogee’s reputation in the field is borderline unparalleled, having been the insiders choice since the earliest days of digital studio workflow they have forever earned their 52

place at the table of the and now with the new Symphony desktop, they may have landed on the perfect crossover interface, capable of handling both professional and home recording workflows with exceptional audio quality to boot. Apogee’s Symphony line represents the company’s very best in conversion technology, with the Symphony Desktop being part of Apogee’s mission towards allowing anybody to achieve studio-quality recordings in a home environment. The Symphony Desktop features the same AD/DA converters as the Symphony I/O Mk II, Apogee’s flagship model, packed into a small, brushed aluminium unit that will fit into even the most compact of recording setups. About the size of a science fiction novel (or decent sized book of your choice), the face of the unit seems to be made out of anodised aluminium a la Apple, with a touch screen and a scrollable/clickable control knob for controls. The front of the interface has a quarterinch headphone jack and a DI input, with the two hybrid XLR/ TRS inputs found on the back of the device, along with monitor outputs, optical expansion ports, and a 3.5mm headphone out for driving low-impedance, consumer level headphones - a nice touch for those who like to reference audio with their old iPod earbuds, especially considering 3.5mm to quarter-inch jacks have the habit of growing legs and walking right off the face of the earth.

The Symphony Desktop’s touch screen gives a visual indication of input and monitor levels, which are easily adjusted by pressing the input/output of choice and turning the control knob to the desired level. The control knob’s click function can be assigned to a function of your choice, be it muting the monitors, selecting different inputs/outputs, or even to do nothing at all. The Symphony Desktop gives you a choice of three different inbuilt preamp settings, the default is an ultra-clean setting with 75dB of clean gain, but clicking the input icon on the touch screen allows you to choose between faithful emulations of a rich and full Neve 1066 preamp and a lush, tubesaturated Ampex 601 preamp. Bundled with the Symphony Desktop is Apogee’s ECS channel strip plugin, offering DSP powered EQ, compression and saturation tuned by none other than Bob Clearmountain. Apogee have recognised the need for realtime monitoring while recording, and as a result, the Symphony Desktop has been designed to accommodate different workflow needs, offering a Direct Monitoring option that utilises the Desktop’s onboard DSP to monitor the recording in real time.

Condensing such powerful features into such a small unit has the added effect of challenging traditional ideas of what a recording studio looks like. While an obvious option for home recording and mastering setups, 8 additional I/O slots via ADAT expansion make the Symphony Desktop appropriate for recording all but a symphony orchestra; a strong contender for spaceconscious studios and mobile drum recording setups. With a listed I/O of 10 x 14 (once you’ve paired the Symphony with some ADAT friendly rack pres) you are well on your way to awesome drum recordings and the fact that this is completely scalable from the desktop unit (not to mention the Symphonies’ modest physical footprint) makes the Apogee unit almost like the interface equivalent of a Mac Mini - an exceptionally powerful, exceptionally flexible solution that you can fit in your backpack and break out when require. What’s truly mind-blowing is that all this workflow flexibility is not for one second at the expense of audio quality: something that very few desktop interfaces can lay claim to. Top marks all round. BY LIAM MCSHANE

Direct Monitoring also allows you to shape your recordings to your liking using the Print FX feature, which allows you to use up to 6 Apogee FX plugins directly on incoming recorded sounds, all powered by the onboard DSP.

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PRODUCT REVIEW / AUDIO

SHURE

Beta 98 AMP/C JANDS | EXPECT TO PAY: $499 Shure has a rich history of delivering amazing audio products. From humble beginnings started as a company selling AM kits and components in 1925. From there, Shure have grown exponentially in all facets of the audio industry to the point where Shure microphones can be found in almost every microphone locker worldwide, from the live rig, to broadcasting/professional studio, and of course, in the hands of musicians, expert audio engineers and as a rite of passage for a beginner who is learning the tools of the trade. From supplying the Allied Forces with headphones and microphones in the forties, before emerging from the fifties and sixties as the dominant microphone brand for the stage and studio, the brands exceptional reputation for producing incredibly durable dynamic mics has made the brand and their iconic SM57, the de-facto standard for drums (but particularly snares) since the birth of multi-track recording. While the SM57 boasts a ludicrously impressive resume to date (literally everything from White House presidential addresses, John Lennon vocal takes and an impossible number of canonical, high profile snare and electric guitar recordings), there are still a number of awesome under the radar mics in Shure’s catalogue that have the ability to provide a perfect point of difference to really make your recordings stand out from the pack (especially on drums). The Shure Beta 98AMP/C is one of those microphones, possessing all the qualities to make it one of the best kept secrets in drum micing, exemplifying Shure’s tagline of “Sound Extraordinary” - and at an affordable price. The Shure Beta 98AMP/C may look familiar, if you’ve handled or used other Shure Beta microphones – it has the same greyish blue matte finish that is typical of the Beta range and has that same rugged, bombproof feel as Shure products past and present. If you have ever seen the video of the Shure employee dropping the SM58 out of the helicopter, you’ll know what I’m talking about. The emplarary build quality of their releases is one of

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the defining characteristics of the Shure brand and a particularly important consideration for a drum mic. The Shure Beta 98AMP/C is a small diaphragm electret condenser microphone with a flexible goose neck which is rigid and pliable enough that allows for precise microphone placement or adjustment on your sound source, it also comes with the A75M Universal Microphone Mount which can be mounted on the hardware of your instruments, drum rims or any other surface that the mount can be clamped on. This mount allows for great manoeuvrability around your sound source without the need of a cumbersome microphone stand and with the reduced stress of cable management and because of its compact design, the Shure Beta 98AMP/C can be attached almost anywhere! As you would probably expect for a microphone designed for these sorts of applications,the Shure Beta 98AMP/C has a cardioid polar pattern with some impressive off-axis rejection, particularly handy for nullifying hat spill and isolating the mic from other parts of the kit.

Its frequency response of 20Hz20kHz is particularly notable for a small electret condenser, and its slight roll off at 400Hz goes a long way to ward off some of the dreaded woofiness that comes with close-miced drum sounds and the inherent proximity effect that comes with. The subtle bump at 6kHz gives it some nice definition without over emphasising the wires, and the fact that it’s a condenser further aids in giving drum sounds a slightly more natural capture than you would usually hear with a slower, dynamic capsule. The Shure Beta 98AMP/C has a maximum SPL of 157.5 dB at a load of 2500 ohms and decreases to 153 dBL SPL at a load of 1000 ohms. The Shure Beta 98AMP/C also has an integrated preamplifier which gives it a high output for such a small microphone. Those new to drum micing might be intrigued by its tiny footprint, but this is actually a good thing: given the forest of drum hardware and loose arms, this microphone is likely to be placed. The sound itself is of a much bigger microphone, with a balanced low end and adding plenty of size to drum and percussion recordings.

These sounds translate with a notable transient response and have a similarly aggressive sound to the SM57 but with a slightly brighter sonic character, placing them toms makes them sound larger than life and can produce the same ‘crack’ on a snare as a SM57. The Shure 98AMP/C is also agile enough to take on other instruments such as electric guitar and bass, serving up impressive sounds on both. With Shure’s history, research and development behind this microphone, it’s only fair to say that big things definitely come in small packages with the Beta 98AMP/C, it is compact, packs a punch and can be highly versatile if given the chance. This is not a replacement of Shure’s flagship microphone, but a microphone that can stand on its own as a reliable tool for audio practitioners. BY TRINSKI LAWANG

PRODUCT REVIEWS / AUDIO

AUDIENT

ASP880 STUDIO CONNECTIONS | EXPECT TO PAY: $1,899

Ever tried to record drums at home? Yep, it’s not easy. Between all the woes of sound proofing and acoustic isolation (let’s not even border on that), recording drums at home is made redundant for many of us due to the fact that we’re only likely to own an interface with a limited array of channel strips. While some might label your lack of channels as a ‘deliberate creative tool’ or even ‘a steadfast recording trick’, let’s not trim the fat: although possible, it is very hard to get a good recorded drum sound without using more than four microphones. Sure, there’s an abundance of mic’ing tips and engineering hacks that can pull out some half-decent takes (albeit in a well-treated room) to use as demos, but every professional drummer knows that when they’re chasing the real deal, you’ll need a whopping array of microphones to do the job. Even more pertinent still, you need a recording solution with decent enough preamps and A/D conversion, either in a standalone unit, or as two seperate entities. After all, what’s the use of setting up eight microphones, just to run them through subpar circuitry? For tasks like these, you need a unit that’s packing both quality and quantity: and you’ll find your match in the Audient ASP880. Packaged in a 1RU module, Audient’s ASP880 exhibits a dense functionality, and boasts a high-end performance, all at a price point that may be welcomed by those looking to not break the bank. To users operating in a home set up, this price point is accordant

with Audient’s catalogue of products available, especially in their recent history; Audient’s high standard of audio interfaces, and application of world class features all within an affordable and accessible unit, being evident of that. Audient’s ASP880 unit is a solid state eight channel microphone preamp and analogue to digital converter, which gives potential buyers a cost effective option for expanding/ bypassing their pre-exisiting interface’s number of inputs, especially desirable if recording input demanding drum or full band set ups, while being easy to operate, and ultimately enhances the user’s preexisting gear. Boasting a frequency response of 10Hz to 100kHz, ASP880 ensures a roundedness to its end user’s setup and impresses with robust packaging, and will serve as an ultimate addition to any highend or middle tier home setup. There’s no less than eight pristine Audient microphone preamps, which immediately packs out your channel count and lends a touch of clarity to any recording, be it drums, bass, guitar or vocals. These preamps are matched by eight ADC line inputs / instrument points and two additional JFET instrument inputs, allowing you to record DI’d bass or electric guitar with ease, while an array of ADAT, SES and S/PDIF outputs unlock a whole range of possibilities for expansion. It’s worth noting that those two JFET preamps are absolutely killer to work with, and deliver a subtle spanky crunch that’ll add flavour to any track - no need to worry about

re-amping these bad boys. As far as its visual design is concerned, the metal face plate evokes durability, each channel and their respective controls are well defined, and users operating in minimally lit environments shouldn’t have too much issue deciphering what does what. Additionally, the preamp’s LED light display, with its varying intensity, proves to be as much of an aesthetic consideration as one that is helpful, with the light range indicating signal and peak levels. For instance, when the ASP880 lights up red it signifies the status of phantom power, while amber lighting indicates whether or not the pad, filter or polarity of each channel is applied. Finally, blue illumination is used to determine A-D input mode, making for an incredibly nuanced - yet oh so practical addition - to such a wellthought product. Located conveniently on the first two channels are those Class-A JFET D.I inputs (designed to replicate the input stage of a valve amp) for instrument leads as well as pad buttons, which were tested with both bass and guitar, and proved to be very clean and rich.

conversion: this is a noticeably satisfying interface to use and listen to in action, and any seasoned audio professional will be able to note this straight off the bat. For those using ribbon mics, the variable impedance should prove to be an attractive feature, which is controlled on each channel through a switching that toggles between low, medium and high, and can deliver those desired accurate and warm qualities. Audient have been a leading name in the pro audio sector for more than two decades now, and if there’s anything they’re renowned for, it’s the clarity and construction of their preamps. The ASP880 is truly consistent with the high standard pedigree of Audient and Dave Dearden’s collective 20+ years of output. Between its pristine sound, intuitive set of features and pragmatic design, it is a notable contender to some of the pricier, similarly packaged alternatives on the market, while also supplying its users with a greater functionality and pliability. BY JACK MERCER

The channel features performed well and demonstrated to be useful, especially the variable high pass filters and their corresponding control knobs. These work wonders when using sound sources with a little more going on in the high range - for instance, a chorus-drenched Juno or jangly electric guitar. Meanwhile, the Burr Brown AD converters perform great, are accurate, and ensure high quality

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PRODUCT REVIEW / AUDIO

KRK

KNS-6400 Closed-Back Headphones JANDS | EXPECT TO PAY: $149 The good people at KRK Systems have been working hard since 1986 to establish themselves as a household name in affordable, professional-quality monitor speakers. The ubiquitous yellow speaker cones of their legendary Rokit range are synonymous with delicious sound representation the world over, a beacon of reliability for both bedroom and studio producers alike; and now they have made a confident step into the dynamic headphone market with the release of the KNS-6400. One of the big selling points here, besides the ultra-competitive retail price, is the compatibility of the KNS-6400 with the aforementioned Rokits. Designed to have the same girth frequency response and singular voicing (10 Hz to 22 kHz) as the world’s number one selling monitors, these headphones serve as a sonically analogous, portable alternative to a Rokit setup, perfect for any travelling producer who doesn’t want to miss a beat when they are away from their beloved studio setup. This kind of thinking is a relatively new thing given the leaps and bounds that home recording has taken in recent years, but as far as workflows go, it’s an extremely beneficial one. By streamlining your headphone and speaker setups, you have the luxury of optimal efficiency at the listening position, whether in front of the monitors at the studio or in transit, working in the airport departure lounge (if and when that ever happens again). No more wasted hours revising and remixing tracks to account for listening discrepancies across different setups. This is obviously a huge point of appeal for anyone looking to save time and maximise their productivity (who isn’t??). The tasteful black/yellow aesthetic that is consistent across the KRK product range doesn’t hurt the eyes, either. The closed-back ear cups and snug, high quality acoustic foam cushioning ensure great sound isolation (up to 26 dBA ambient) whilst avoiding being bulky or overweight. Whilst not completely noise-cancelling, they provide more than sufficient isolation and volume for live sound purposes and are wellsuited for live mixing and DJing.

The 40mm neodymium drivers are smackbang where you would want them to be size-wise for a monitoring headphone, providing a workable soundstage and reasonably quick recoil for detailed playback. These are really comfortable headphones too, with well constructed adjustable headbands and rotatable cups that can adapt to fit all manner of skulls. An impact resistant plastic coating and soft travel bag add extra durability points if you ever have to stow them away during a commute, as does the removable 2.5 metre cable that is engineered to detach if it gets yanked (as it inevitably often does!). It’s worth mentioning here that the KRK Systems monitor range is known for having slightly enhanced low-end: not egregious enough to give a really deceptive mix, but enough to avoid sounding completely flat and sterile like many of their competitors. This approach carries over to the KNS-6400. Is it a totally honest frequency response? Hard to say. But there is much to be said for

adding a touch of bassy warmth to the listening experience, and it’s also worth acknowledging that the world is not flat: most home and club systems will likely have enhanced bass frequencies in line with these headphones anyway. Having headphones that are actually pleasant to the ear is certainly not referencing heresy, but purists should take note that these are not, by design, the absolutely flattest sounding headphones on the market, what they are is an awesome way to parlay your KRK equipped studio meanderings into an awesome onthe-fly workflow. A handy side effect of this streamlined, 360 approach to monitoring (especially for those working solo between a dedicated control room and live room) is that the KNS6400 serves as an awesome way to place mics in the room, with the consistent voicing found between the KNS6400 and its sister speakers and the relatively good isolation allowing for consistency between the two different monitoring environments. I found this to be particularly

useful, especially when using something like Avid Control for Pro Tools or other forms of control protocol from within the live room. Another handy side-effect of this workflow comes in the form of ear training. By using the KNS6400 as daily headphones, you are constantly listening to reference sound through this perceived lens, inadvertently training your ear to this particular sonic voicing, which is no doubt sure to pay dividends on your mixing ventures moving forward - even just as a controlled variable. These are altogether an excellent set of headphones for a very agreeable price, with the added appeal of being able to seamlessly integrate with an industry standard monitor brand. We wouldn’t be surprised to see these quickly becoming a dominant feature on the audio production and DJing landscape, only further adding to the esteemed heritage of KRK Systems products. BY NATHANIEL JEVINS

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ELEVATE YOUR AUDIO

Shure drum mic kits are designed to offer a complete core package of microphones for professional drummers for use in most applications including on stage or in the recording studio.

Distributed by

www.jands.com.au

MY RIG:

Luke Holland Luke Holland is a drum virtuoso for the digital age. His YouTube channel offers some of the best drum related content on the web right now, while his dazzling displays of technical proficiency and genre bending remixes have been earned him a reputation as one of the most expressive drummers going at the moment. When it comes to his overall kit, Luke likes to keep it simple, save for a few custom touches to his mostly stock DW collector series kit (see: Rose Gold hardware!). His cymbals, on the other hand really have a life of their own. We recently caught up with Luke on tour, where he was more than happy to show us his secret sauce to covering so much stylistic ground, so effortlessly.

SNARE 14 x 6.5 DW Maple Snare w/ Remo Powerstroke 77 (coated) heads “With DW, I’m one of their guinea pigs for stuff they’ve never done before. For the last couple of years, I’ve been playing my one of a kind maple DW Collector Series snare. It’s the only one in the world with rose gold hardware. With most

14 x 6.5 DW Maple Snare w/ Remo Powerstroke 77 (coated) heads

sessions that I’m playing these days, they are after my feel more than anything and that’s why I tend to go with maple, it’s versatile enough that I can tweak it to get basically any sound I need. I can really tighten it up or I can loosen it for a fatter sound. Maple just seems to be the most versatile for that kind of thing… It’s also 2020, so that snare sound will often be sample-replaced to fit whatever the song needs.”

TOMS DW Collector Series w/ Rose Gold hardware (custom) “If it’s clear toms, I’m normally running Powerstroke 4’s and for coated it’s always vintage Emperor. I kind of change between clear and coated depending on what I’m doing or whatever sound I’m going for at the time.”

14” Meinl Pure Alloy Traditional Hi-Hats

KICK DW Collector Series Kick Drum w/ Rose Gold hardware (custom) “22 x 18 for the Kick, always. I pretty much never stray from that size. I’ve always ran a single kick…. never had any temptation to run two. The idea of tuning two kicks so they sound good together… fuck that. Also, I just personally think it looks retro as fuck.”

HI-HATS/CYMBALS 14” Meinl Pure Alloy Traditional Hi-Hats “I use so many different Meinl Hats, but more often than not it’s the 14” Pure Alloys that I’m running when we are filming. I’ll occasionally switch it up if I’m doing rap stuff or something with a different vibe, but more often than not it’s the Alloys. They are just my first point of call during set-up.”

for in that particular moment. I’m primarily running a 18” Byzance Foundry Reserve Crash and a 19” Byzance Traditional Medium Thin Crash. At the very least. I’ve also got a 10” Byzance Dual splash that also been getting a lot of use lately.”

Meinl Artist Series Luke Holland Bullet Stack “I love this guy. Abrasive but musical. Perfect for when you need to cut and make a point. I use it to accentuate grooves or fills, or as a time keeper. It’s as quick as a bullet and hurts like one too. What I love about the Bullet Stack is that no matter how quickly you need it to be present it’s there and then it disappears. Always delivers.”

Check out Luke Holland’s YouTube channel for more. BY PABLO FRANCOIS

18” Byzance Dual Crash “My kit has a lot of different crashes one which I use depending on what the song calls for or what effect I’m going

Meinl Artist Series Luke Holland Bullet Stack

18” Byzance Dual Crash

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ELEVENNPIECE PROFESSIONAL ELECTRONIC DRUM KIT WITH 5 CYMBALS

ELEVENNPIECE PROFESSIONAL ELECTRONIC DRUM KIT WITH 5 CYMBALS Latest-generation mesh heads for fastest, most natural response ever | Patented Enhanced Articulation System | Full-sized 20-inch kick drum | 14-inch movable hi-hat system Strike Performance Module with 4.3-inch colour LED screen Latest-generation mesh heads for fastest, most natural response ever | Patented Enhanced

Articulation System | Full-sized 20-inch kick drum | 14-inch movable hi-hat system Strike Performance Module with 4.3-inch colour LED screen alesis.com Alesis, distributed, supported & serviced for over 30 years in Australia by Electric Factory Pty Ltd elfa.com.au