Mixdown Magazine #318 by Furst Media

#318 – 2021

KORN

REQUIEM FOR A LOST YEAR MILAN RING, FRENZAL RHOMB, ED KUEPPER + RICHARD FORTUS ANNUAL GIFT GUIDE

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REVIEWED: FENDER ACOUSTASONIC TELE, PIONEER DJ XDJ-RX3, BEYERDYNAMIC PRO X, EARTHQUAKER DEVICES HIZUMITAS +MORE

MINI GO Series

PLAY ANYWHERE! Portable modelling guitar amps

• Available in 3W, 10W & 50W models

• 11 amp models and 8 on-board effects

• Lightweight, compact design

• Microphone input with effects send

• Powerable via USB-C mobile battery

• 33 built-in rhythms from many genres

• AUX Input & Headphone Output

• 45 second Looper (VMG 10 & 50)

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Yamaha Music Australia proudly distributes VOX

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Fuzz Sustainar

Hizumitas was designed for the one and only Wata from the legendary experimental band Boris, one of the heaviest bands to ever come out of Japan. This fuzz/distortion brings loads of heavy distortion and smooth sustain and an underlying grit that sounds like the speakers are on the verge of ripping apart while delivering amazing and unexpected clarity from such an aggressive sounding pedal.

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Yamaha Music Australia proudly distributes EarthQuaker Devices

Destination Tone

Available Now! POD Go and POD Go Wireless guitar processors get you on the road to ultimate tone via their ultra-portable and lightweight design, simple plug-and-play interface, and best-in-class tones. POD Go Shoulder Bag sold separately.

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SLX-D DIGITAL WIRELESS

THIS IS THE WIRELESS SYSTEM YOU HAVE BEEN WAITING FOR. SLX-D Digital Wireless continues the legacy of exceptional wireless technology from Shure. Flawless 24-bit digital audio for your presenters and performers. Rock solid RF that’s easy to set up for your staff. A complete selection of system configurations and microphone options. Docking rechargeability options that provide to-the-minute details. Easy to scale for small assemblies all the way to prominent live events, SLX-D Digital Wireless is the state of the art, high-value choice that simply makes sense. Learn more at Shure.com/SLX-D

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Scan Me

CONTENTS

8 10 12 14 15 16 18 20

Giveaways

22 44 46 48 74

Gift Guide

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

Product News Korn Milan Ring

PRINT EDITOR Paul French paul@furstmedia.com.au

The Darkness Frenzal Rhomb Richard Fortus Jones-Scanlon Monitors

Korn PG .12

ONLINE EDITOR Eli Duxson eli@furstmedia.com.au GRAPHIC DESIGNER Erica May EDITORIAL ASSISTANT Andy LLoyd-Russell

Guitar Column Ableton Tutorial

ADVERTISING MANAGER Paul French paul@furstmedia.com.au

Reviews My Rig: Ed Kuepper

PUBLISHING DIRECTOR Patrick Carr patrick@furstmedia.com.au

/MIXDOWNMAGAZINE @MIXDOWNMAGAZINE @MIXDOWNMAGAZINE MIXDOWNMAG.COM.AU

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

Milan Ring PG. 14

Richard Fortus PG. 18

CONTRIBUTORS Alasdair Belling, Andy Lloyd-Russell, Adrian Violi, Bridgette Baini, David James Young, Dylan Foti, Erika Fedele, Greg Long, Liam Mcshane, Lewis Noke-Edwards, Nick Brown, Rowena Wise, Niam Hegarty, Peter Hodgson, Pablo Francios FOUNDER Rob Furst

THE NEW HYBRID ACOUSTASONIC® PLAYER TELECASTER® Streamlined and stage-ready, this shape-shifting hybrid goes from acoustic to electric with something new at every turn. The ACOUSTASONIC PLAYER TELECASTER shown in Butterscotch Blonde. Iconic acoustic voicings. Big electric tones. One powerful Blend Knob.

©2021 Fender Musical Instruments Corporation. All Rights Reserved. FENDER (standard and in stylized form), ACOUSTASONIC and TELECASTER are trademarks of Fender Musical Instruments Corporation and/or its affiliates, registered in the U.S. and other countries.

GIVEAWAYS

ATH-M50xBT2 Headphones Our good mates at Audio-Technica have generously donated a set of their dope ATH-M50xBT2 Bluetooth headphones. They feature the same great sound and stylish looks we have come to expect from Audio-Technica, but with the kind of practicality and hands-free operation that can really brighten up the mundane, making the average commute, Zoom meeting, or domestic chore that much more of a critical, sensory stimulating auditory exercise. With proprietary 45 mm large-aperture drivers, a low-latency mode option, and dual mics with beamforming technology, it’s everything you need for your daily headphone use in any situation!

Minuendo Lossless Earplugs Have you been considering self-preservation with live music just about back in full swing? We may have just the thing for you with Minuendo giving away a few sets of their Lossless Earplugs. This set provides frequency-accurate, passive attenuation at varying volumes making them an awesome choice for any musician looking to engage in an act of self-preservation. With their patented magnetic locking system, 12 different multi-flanged silicone eartips, and an onboard lever allowing you to take the earplugs from open (-7dB) to closed (-25dB) and everything in between, they’re the perfect choice!

Complete RØDE Podcast Setup For those budding podcasters or those looking to upgrade their setup, RØDE is supplying the goods with their incredibly generous podcast set giveaway valued at over $1500! The set includes a RØDECaster Pro to record into, with two PodMic’s combined with two PSA1+ boom premium professional studio arms to allow you to aesthetically design your setup should you desire that look for your video. This setup is sure to satisfy all your content creation needs so get in before it’s too late.

For your chance to win any of these prizes, head to our giveaways page at mixdownmag.com.au/giveaway and follow the instructions. *These periscope giveawaysmixdown are for Australian only and one entry per person. For full terms and conditions visit mixdownmag.com.au/terms-and-conditions 2021.pdf residents 1 1.12.2021 15.51

CMY

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PRODUCT NEWS

The Little Mark bass amp has received its fourth iteration scheduled to launch in 2022 CMC MUSIC | CMCMUSIC.COM.AU Markbass’ Little Mark IV amp will drop in 2022 adding a range of features to its predecessor which has become the industry standard for tone, portability, and value. It boasts an updated EQ, a new bi-band limiter that responds faster and more dynamically to dynamic input than traditional limiters do, a handy mute switch, and a 3-way rotary EQ switch. The switch provides tonal flexibility with a footswitch option that can switch in both mute and the Scooped EQ via an optional dual footswitch. Read more on CMC’s website.

Tannoy Gold studio monitors now available in Australia TANNOY | TANNOY.COM The Tannoy Gold studio monitors are now available in Australia in 5”, 7”, and 8” variants, a modern take on an undisputed studio classic. They resemble the aesthetic design of their predecessors and boasts dual concentric drivers, titanium tweeters with tulip waveguides for accurate stereo imaging, controls for input trim, bass and treble, as well as dual class AB transducer-matched amplification. There’s also front-firing bass ports and a totally neutral sound reproduction, making them suitable for rooms of varying sizes and applications. Find out more about the monitors at Tannoy’s website.

Jones-Scanlon Studio Monitors announce world first partnership with Sonarworks

Faith Guitars have dropped a new finish for their iconic Venus shape

WAYNE JONES AUDIO | WAYNEJONESAUDIO.COM

CMC MUSIC | CMCMUSIC.COM.AU

Jones-Scanlon Studio Monitors have announced a world first partnership with Sonarworks to deliver ground-breaking and innovative technology with the Sonarworks SoundID Reference. The technology allows users to upload and store room calibration profiles directly into the monitors up to 10 thousand times, with seamless preset export from SoundID Reference. Boasting zero latency and improved workflow with more available DSP, this is a studio essential. Check out our review later in the mag for more!

Faith’s iconic Venus shape has received a makeover with its classy new Jet Black Eclipse finish. Pairing spruce and mahogany, the Eclipse models are finished with a black stain and a solid flamed-maple binding as well as using Macassar ebony for the fingerboard, bridge, headplate, and heel cap. It’s fitted with the low-profile Fishman INK3 preamp system with the Sonicore piezo pickup located under the saddle, while the preamp features a chromatic tuner, three-band EQ, and volume control - the ultimate stage guitar. Head to CMC’s website today.

The Bose L1 Pro Family BOSE AUSTRALIA | BOSE.COM.AU Bose Professional’s Bose L1 Pro portable line array systems continue to be the go-to on-the-go audio system for singer-songwriters, mobile DJs, and bands. The three new systems, the L1 Pro8, the L1 Pro16, and L1 Pro32 with its choice of two subwoofers, offer 180-degree horizontal coverage along with unmatched clarity and tonal balance. A unique RaceTrack woofer design provides extended bass response and less bulk, making the subwoofers much easier to transport, carry, and fit onstage. Check out Bose’s website today.

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THE REFERENCE – SINCE 1928

SOMETHING SMALL IS COMING. WE SHRUNK THE MIC, NOT THE SOUND.

For decades, passionate artists and musicians asked us to make the Neumann sound and quality available in its tiniest form: Close instrument miking for live productions. Rental companies also demanded more economic solutions, with better handling, more reliability, and more modularity. It took us a moment since we had to elevate the electret technology to Neumann standards. But now, it is ready: We are proud to introduce the Miniature Clip Mic System MCM. You can hear the true sound of any instrument. And you can rely on an ROI and on mounting options that last for a long, long time – not just one season.

Preorders start now Your Neumann sales rep has all the details, or you can find your Neumann distributor here: miniature-clip-mic.neumann.com

WWW.NEUMANN.COM

KORN With their 2019 album The Nothing, nu-metal stalwarts Korn were soaking in their renaissance. 2020, naturally, was expected to be more of the same. No doubt you know where this story’s going, as it’s the story literally every band you listen to has undergone the last two years. Still, it’s one that needs to be told in order to tell the story of Requiem, the 14th(!) studio album from the band – an album that promptly blazes even more of a comeback trail than The Nothing did before it. The Nothing was no slouch, either. Unable to tour, Korn reconvened in mid-2020 with hopes to forge new material in the studio. However, for guitarist James Shaffer – better known as Munky – it meant more than that. “It was truly such a great antidote for all the panic, the worry and the anxiety,” he says. “I was going crazy at home – I love my three kids, but I am not a good home-school teacher. When our band goes on tour, the world is our office – that’s where we go, we make our money, make our living, we took it all for granted. When that got taken away, the conversation turned to how we can do something local. Nobody had any riffs or anything recorded, it was just like, ‘let’s get in there and make a record’.” This approach was initially pushed back upon by fellow guitarist Brian Welch – otherwise known as Head. In his mind, Korn had earned time to themselves – which, while true, ultimately wasn’t what they wanted. “Part of me was like, ‘finally, these guys are being forced into a break,’” says Welch. “I thought that they were going to chill for a while, but about two months in they were like, ‘We have to go work’. I was like, ‘We just put out a record last year!’ They had to get out of the house. It ended up being really good for me, though. They can take away touring, but they can’t take away the band. It made everybody feel good to be able to get together. It was very healing.”

From Shaffer’s perspective, he and his bandmates effectively had nothing to lose. Regardless of if the sessions were fruitful or not, it still provided some muchneeded bonding. “If this thing opens up again, and the world is back to normal, people will get to hear it,” reasons Shaffer. “If not, we’re here for ourselves and one another. Either way, we were in that room because it was all kind of saving our sanity. Just to be in a room with your boys, joking and laughing, having some fun and writing some music. Even if we didn’t get anything done, that would have really helped us psychologically.”

deadline. There was such a sense of freedom in the creative process. There was this real sense that we could take risks here and try some different things that we haven’t maybe done or done in a while.” Overseeing the new record was Chris Collier, who served as its co-producer alongside the band themselves. Though Requiem marks his first time as a producer on a Korn record, it’s not his first rodeo with the band. Collier has served as an engineer and additional songwriter on the three previous Korn albums, which promptly strengthened his bond with the group and its members. “It was a natural progression to me,” says Welch. “There’s obviously a degree of risk, because he’s not a big-name producer yet. Once we started recording, though, we immediately felt good about it and just went for it. We could have wasted a lot of time and money trying to find someone else, but it worked with Chris right away – thank God.”

“Even if we didn’t get anything done, that would have really helped us psychologically.” Welch agrees, noting how different the environment surrounding Requiem was when compared to the process for any of their other studio albums. “We didn’t have any time restraints,” he explains. “We didn’t have a label at the time. We didn’t have anybody watching over our shoulders. There was no

For Shaffer, Collier’s presence on Requiem wasn’t just about playing to the band’s strength – it was about keeping them humble for good measure, too. “He’s got a great outside perspective, and he’s not afraid to hold back with us,” he says. “We’d be trying out riffs in the studio, and he’ll be like, ‘Yo, doesn’t

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that riff sound like early Metallica? Doesn’t that one sound like Prong?’ He’d always nail it, too. He’s like an encyclopedia of heavy metal. He’s got an amazing ear, and he can hear things that we don’t.”

Collier’s radar didn’t pick up on the album’s lead single ‘Start the Healing’ and nor should it have – there’s no mistaking it for anything other than Korn. It’s not as you quite know it, however – in the rare key of C-sharp, it allows for the band’s signature downtuned thrash to take a new shape through tension and release. “I really wanted to use the low register, but I didn’t want to go so low for it to just sound like every other Korn song,” explains Shaffer, who wrote the song. “I lifted the key a little bit and let the open D-string ring next to it, which we tend to do on the higher strings. That’s kind of our signature sound, which is that dissonant, bumblebee-sounding thing. We’ve never really experimented on those lower strings, just because it can get muddy especially playing more than one and especially on the lower end. I was able to come up with this riff that worked harmonically when I added a couple of minor notes. It was just something that we don’t normally do in that key, and that freed it up to later use the open A as somewhere else to go as a moment in the bridge.”

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When Shaffer showed the rest of the band what he’d been working on, the excitement was palpable. “It was just so different, especially the guitar thing he was doing,” recalls Welch. “Even though it doesn’t sound like it, he heard a guitar sampled by some electronic artist he heard and he thought it’d be cool to have something similar. That’s where he came up with it, and the rest is history.”

“On the first record, we had no fucking idea what we were doing.” Korn are a rare breed of two-guitar bands in the sense that neither of their players are set with the permanent assignment of lead or rhythm. The way that Shaffer and Welch work as guitarists is purely instinctual – which makes sense, given they’ve been playing guitars together on-and-off for the better part of 30 years. “We tend to see where songs are going early on,” says Welch. “We’ve played together for so long, y’know? We know who fits best in certain sections, and every song could be different. Maybe I’ll be playing something, and I hear something that James could do, like a cool lead part or whatever.

Maybe he’ll be doing something with his crazy, cool effects, and I’ll hear something there. Sometimes it’s just in the spur of the moment as we’re writing. We’re not in any sort of competition, and we don’t care who gets lead or whatnot. It’s just whatever’s best for the song.” With their 14th album set for release in their 29th year of being a band, longevity is the name of the game for Korn. What’s the key to still finding new ways to keep things fresh after all this time? For Shaffer, it’s a matter of adapting and evolving – even when you have a formula that works. “On the first record, we had no fucking idea what we were doing,” he says. “That’s why it’s brilliant. It’s just pure expression at its best. That’s why a lot of people like those first two-three records – there’s a naivete to it you can’t duplicate. I remember Ross [Robinson, producer] saying to us something like, ‘Play the chorus again ‘. We were like, ‘The fuck is that? What’s a chorus?’ We genuinely didn’t know.” BY DAVID JAMES YOUNG

Requiem is out February 4, 2022 via Loma Vista

Milan Ring Milan Ring: Real name, no gimmicks. On paper, this is merely a cheap adaptation of Obie Trice’s signature introduction from Eminem’s 2002 hit ‘Without Me’. Rest assured, it still very much is that – but it’s also pertinent given there’s probably no better arrangement of four words to get across what this prodigious Sydney-based future-R&B artist is doing. When you hear Milan Ring’s music, there’s no hidden agenda or algorithm to appease – it’s simply a burst of heart, soul and an unstoppable creative streak, all of which has culminated on her debut album, I’m Feeling Hopeful. It’s also worth noting that when you hear Milan Ring’s music, you’re literally hearing Milan Ring. That’s her singing every last vocal line (save for guest appearances), that’s her laying down every pristine guitar chord, that’s her beats, that’s her arrangement. If that wasn’t enough, that’s her production and that’s her mix. The amount of other artists working in this country right now with more agency over their songs and their sound, you could likely count on one thumbless hand. With such a variety of avenues to work within, Ring is queried on where her songs typically find themselves formulating – specifically, those that made it onto I’m Feeling Hopeful’s final tracklist. “There really isn’t a clear-cut method,” she responds. “If I’m starting a song with just guitar and vocals, which I do sometimes, I will be playing and singing and I’ll start to have an idea. I’ll start to envision backing vocal parts, and then I’ll maybe hear a bass riff. I just try to throw down a basic demo as quick as possible, so I’ve got it there as a memory. They usually sound really rough, but when I listen to it, I can hear all the other parts. I can hear the potential. I always hate playing people demos because they’re not hearing what I’m hearing. A lot of it is in the post-production phase, and even into the mixing phase. It’s trial and error, with a lot of experimenting and discovery as I go. Once I put in one part, it informs another, and so they end up sounding different again from how I first envisioned them.” Ring’s live shows are largely centred around a loop station, in which she builds up her songs from scratch into a dizzy concoction of sounds. This, however, is not a method that she translates into her songwriting – “That’s just a really hard task I have to figure out afterwards,” she laughs. “I rearrange completely for

live shows, and I don’t think about it as I’m creating. I feel like the record is its own thing. If I thought about that, I would be so limited. My music would sound super different. It would be less layered and textured, I think. “I am definitely that person who has hundreds of guitar and vocal layers on songs. I throw a lot down, and then it’s about the refinement when I make a post-production mix. I try to refine and like, strip things away from there. I’ll be like, ‘okay, you probably don’t need as many layers here,’ or what have you. That’s been something I’ve worked on for this album, just stripping away more. If that factors into the show at all, it’s in the sense of retaining the key elements.” You may hear multiple guitars ringing through I’m Feeling Hopeful, but the hall of mirrors reveals itself when you realise that Ring played practically every last one of them on her white Fender Stratocaster – the first guitar she ever owned, no less. For someone whose songs can often build into immaculate skyscrapers with resplendent, shimmering tones serving as an undercurrent to her yearning, heartstring-pulling vocal performances, the actual equipment with which I’m Feeling Hopeful was crafted is surprisingly minimal. “It was mostly done over at my old studio in Marrickville,” Ring explains. “It was soundproof, so I

could go there basically anytime I wanted and make as much noise as I pleased. I was running it through a GT100 Roland digital effects pedal, a Fender Blues Jr. amp and miking that up with a Studio Projects T3 vocal mic. I did swap over to a GT1000 at some point, but I couldn’t tell you exactly when. They’re very similar, but the GT1000 is obviously an upgrade on the 100. I was definitely going through and exploring on both, not just using the presets but creating my own chains and making my own sounds out of it. The amp is great, too – I don’t know how it manages to do this, but it manages to sound both warm and brutal at the same time.” Ring also notes playing a Gibson ES-335 on a selection of songs, although she confesses being unable to remember them firsthand. “Do you mind if I just play this back and see if this is it?” she asks. Shifting her focus to her computer, a gurgle of noise plays in the background of Mixdown’s Zoom conference. Even with such a small sample, however, Ring can immediately detect it: “That’s the 335,” she reports back. “That’s on ‘Hands Are Tied’, which closes the album. I’m pretty sure I used a little mini Maton acoustic guitar on that song, too. For the most part, everything was going through that amp – whatever guitar I was using, I wanted it to be that little bit noisier.” Ring will often be queried on her musical and lyrical inspirations, and rightly so. She’s shown love for the likes of SZA, whom she covered on Like a Version earlier this year, as well as openly discussing the emotional centre of the singles leading up to the release of I’m Feeling Hopeful. When asked about what inspired her as a producer on the album, however, Ring admits it’s not as immediately apparent as it would be for genre or lyrics. BY DAVID JAMES YOUNG

I’m Feeling Hopeful is out now via Astral People

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The Darkness It’s a bygone conclusion that in 2021, rock is dead. The likes of Ed Sheeran, Billie Eilish, Lizzo, The Weeknd and old rehashed Taylor Swift cuts rule the world of streaming and album sales (for better or for worse), with the world of guitar music firmly resettled in the underground. Unless of course, you’re The Darkness and filling arenas and theatres on both sides of the Atlantic with every new album of glammed up stadium rock-come Sunset Strip anthems. Having been founded in 2000, the smokey dive bar always seemed like it would be the limit for The Darkness, with their 80s-influenced quasi-metal sound seemingly more of a homage to an era long-gone. However, a signing from multinational Atlantic Records, which issued their seismic 2003 debut Permission To Land, catapulted the club band to theatres around the world - a standard progression for some, but a jaw-dropping achievement for a modern glam act. Nearly two decades later, things are looking as strong as they ever have for the outfit, with Hawkins chatting to us from the band’s tour bus shortly before taking the stage at Cambridge’s Corn Exchange, the 1600cap venue a testament to the band’s sustained cult success. “I’m going to come out with one of those waterboard hats with the tassels on - that’s how I’m going about the entire show,” laughs Hawkins. “The production stuff is understated for us on this tour - we can’t afford to cancel any shows - we used to fly over audiences, have the trapeze work that we usually do - COVID has wrecked the trapeze industry you know!” Hawkins is expectedly quick to drop in a sly wink and have a laugh about the travelling circus which he finds himself embroiled in. It’s the ruthless quality control that allows him and his bandmates to enjoy a career playing the heavy guitar music to audiences at a size that most teenagers can only dream of. Hawkins says they “would never settle for knowingly rehashing a load of old shite from before - we listen with a very skeptical ear to everything we do”.

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“The amount of bands that call themselves rock bands, despite hardly being able to hear guitars in their music, it’s quite disgusting really. I mean Coldplay, fucking hell. It’s just some guys with a producer and the guitars are right in the distance nowadays, you strain your neck to listen to it, but they call themselves a fucking rock band! How can you expect the genre to thrive when you can’t even hear what defines it?! “Maybe that’s what you need to do to maintain your status as a radio rock band, you need those synths so your songs sound like the advert which pays for the station in the first place, it becomes so corporate, and corporate rock is synonymous with that type of production. We don’t want to be on the radio if it means sounding shit.” It’s a strong statement from the frontman, but hard to argue with when one sees the fruit he and his bandmates have borne from sticking to their creative guns. Indeed, Motorheart takes its name from Motorhead and Heart - groups that were themselves outliers even in their hey-day due to their unwavering approach of being unapologetic about their influences and artistic direction. “The name came just from an e-mail, and that’s where this idea of the sex robot...I mean love robot…..I mean companionship cyborg - that’s where it all came from,” laughs Justin (a sex robot features as a main character on the record). “We didn’t pull anything out of the vault - this is all fresh, brand new stuff. “There’s a little bit more Guns N’ Roses in there than usual - maybe

that’s what you get when you combine No Sleep ‘Til Hammersmith and Dreamboat Annie.” Of course, due to the context surrounding the release it’s fair to assume that lockdowns would have played a part in the composition of the record, with the break from touring and unease in the world offering up some low-hanging thematic inspiration. However, Hawkins is quick to point out that Motorheart was conceived in the same manner as all other records The Darkness have put their name to from a love of writing music. It’s not a lockdown album. “At the beginning of the pandemic there was way too much ‘creativity’, people doing very much of-its-time Covidian music - that stuff won’t stand the test of time,” he says with a grimace. “How often do you listen to songs about SARS? Who wants to see videos of split-screen, people playing in their bedrooms or bathrooms - we waited until that had run its course and people were ready to rebuild something that didn’t look like that. “Some bands do it differently but we’re an albums band, and for it to have a vibe that’s consistent across 10 songs, you really need to put the time aside to do it, and capture it really quickly - we want to show people where we’re at, at that particular moment when you make the record.” Of course, The Darkness weren’t immune to the effects of the pandemic on the industry. Their final shows before the world shut down were here down under, with the group’s summer tour last year cut short. “We were there when the pandemic kicked off and started to be a real problem - when we played in Sydney, there was this sense that people were starting to get a bit worried. “We certainly have unfinished business down in Australia - we have to get back and finish off those shows I think.” If Motorheart is any indication of what kind of mood the band are in, we can expect one hell of a rock n’ roll storm, featuring all manner of ‘companionship cyborgs’, to blow down under in the very near future. BY ALASDAIR BELLING Motorheart is out now, via Cooking Vinyl.

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Frenzal Rhomb Frenzal Rhomb are getting ready for a doctorapproved summer announcing a slew of Australian tour dates including Full Tilt Festival, Spring Loaded, regional shows from Ipswich to Bunbury, with a bunch of club shows around Australia. The coronavirus and associated lockdowns have carved their torrid path throughout the country. In line with advice from Chief Health Officer Doctor Lindemans, Frenzal Rhomb have decided to take some concrete steps to tackle live music hesitancy, legislating a raft of new gig dates. Frenzal Rhomb are one of the most enduring bands in Australian punk and they’ve just reissued their second record Not So Tough Now on vinyl for its 25th anniversary, and booked a shittonne of shows around Australia including appearances at the upcoming ‘Full Tilt Festival’. On top of that they have a new album waiting to be recorded! Mixdown caught up with vocalist Jay Whalley to find out what is going on in the wild world of Aussie punk legends Frenzal Rhomb. With the Not So Tough Now 25th anniversary reissue record out now, do you have fun memories from that recording? What do you recall from that time? I wouldn’t say ‘fun’, we definitely have memories. We got Tony Cohen (Beasts of Bourbon, Nick Cave) who was a bit of a legend of that era so we really wanted to use him and he kind of pegged us straight away, ‘Here’s a bunch of kids from Sydney who think they’re tough and they’re actually not’. And we’re like, ‘That’s us dude’. 16

So he kind of had this idea to make the record really loud and distorted, but rookie mistake, don’t give 15 thousand dollars to a known heroin addict. He would go missing for days on end and we were kind of scrambling to get it done and I think he ended up mixing one song on that record but we mostly recorded with the studio engineer. It turned out okay, it’s hard for me to listen to those records because they sort of sucked but as I get older I’m like, ‘you know, it’s of the time and all that stuff’, and there’s some good songs on there but there’s not a lot of good songs. It’s kind of nice that people care more about it than I do. For that record I think I wrote the lyrics in the studio, like, sitting out the front with a longneck on the footpath whereas now I would be absolutely terrified if that was the recording situation. Was the band doing well at that point or was it kind of, like, you were still a new thing? No, we were doing pretty well, we would do a lot of all ages shows, like under-age shows in the evening and older ages shows later on in the night, two shows a night. There was a really big all ages scene at that time and that was the record that enabled us to grow and tour a bit more. I feel bad because Tony passed away I think last year or the year

before and he was a legend of his time and I think if we were more in his world then he would have stayed around for that recording process, y’know? But we were just sort of these young whippersnappers that he didn’t really know so as a result he would take off for days at a time, but he was a really special dude. It kind of made for good stories in the end and we were probably too drunk to realise how stressful it was. Why do you think you guys have endured for so long when so many other bands from that era are not around, not in the realm of popular culture or punk rock? What do you think has made you still relevant? I don’t know about ‘relevant’, but I think the live show just seems to be always a reason to do it. There’s an audience there that wants to go out on a Friday night and spend some money and have a super good time. The feeling in the room is always super positive and highly energetic and it’s kind of addictive. And the kind of camaraderie in the band, we never really see each other outside of that band context and it’s a very fun time. It’s a weird thing to do, you get to travel and have friends in different cities and see lots of other bands. It’s an exciting thing to do still.

different world over there but it’s fundamentally similar in that we try and get like-minded bands in and try and help them out to sound as good as they can. I have also learnt to leave at six o’clock in the evening because studios are notorious for late night sessions and it’s no way to conduct a life. With your recording studio, The Pet Food Factory, what’s your kind of general approach to recording and producing a record? I generally like to encourage bands to be themselves. Ideally bands will come in and have good songs and an exciting sort of vibe about them and you try and capture that as accurately as possible ,even if bands can’t play that great. Sometimes if there’s a spark you can just chuck four mics in a room and then there’s a record there. BY NIAM HEGARTY Frenzal Rhomb are taking their killer live show around Australia this summer. They are playing everywhere From Ipswich to San Remo, Melbourne to Bunbury – get on it.

Having your own studio, what have you learnt about music production and recording by working with people like Bill Stevenson and Jason Livermore at The Blasting Room? I’ve learnt that to have the same snare drum channel would cost me like 80 grand you know, they’re in some whole other

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If you’re podcasting If you’re working from home If you’re recording music If you’re creating anything at all The Tula Mic is for you The USB Mic with mobile recording

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Richard Fortus Taking a look at the development and specific processes involved in the creation of his signature Gretsch models Richard Fortus has been slinging enviably gorgeous guitars since his earliest days, and those of us who caught the Guns N’ Roses Not In This Lifetime tour a few years back saw quite a few of them throughout the night, from beautiful hollow-body Gretsches to boutique custom pieces. So when Fortus puts his name on a piece of gear, you know it’s not going to be some off-the-shelf product with his name stamped into the truss rod cover. Fortus’ new Bigsby-equipped G6636T and V-Stoptail-styled G6636 Gretsch signature models both feature chambered solid Spruce centre blocks in a departure from the Gretsch double-cut, informed by those decades of experience and tens of thousands of hours with some of the finest guitar designs in the world. Mixdown spoke with Fortus himself on the inception and creation of his signature Gretsch guitar. So Gretsch comes to you and says ‘what do you want?’ Where do you start? I actually went to Gretsch!. I was at a NAMM show and the product manager, Jason Barnes was there. We were speaking and I said, man, I wish you guys would do a double cut with a centre block, and he’s like, ‘sounds like a signature model!’ And I said, all right, let’s

do it! But I’ve always been very vocal about my desires and what I think would work for guitars, and usually the only time I’ve played modern guitars is when I’m able to build something with somebody, the smaller builders like James Trussart, and we’ll start talking and I’ll say, man, you know, it’d be cool if we did this. Oh so there were no other models that you considered. I’d imagined a process like ‘Hmm what should I pick?’ but apparently not! Yeah it was always going to be this shape. I wanted to double cut even though aesthetically, personally, I’ve always been more attracted to the single cut because Malcolm played one because Stephen Stills played one and Neil Young and Billy Duffy, and I just love the way a single cut looks, but the double cut is just so much more practical, especially with how the neck attaches now as opposed to the early double cuts. What went into developing these custom pickups? I think that really is what makes this guitar unlike anything that’s stock, that’s been, or is out currently, is the pickups. Gretsch was awesome working with me. They were equally as tenacious and diligent at trying to really find what would work for me and we spent a long time on these pickups. John Gaudesi from Gretsch came out to LA and brought his pickup winder and actually sat in rehearsals with us, and we had four prototypes guitars. When Slash and Duff came back to the band, I was experimenting in rehearsals

trying to find something that really supported Slash’s tone and, you know, Telecasters were okay, anything with P90s, but it just didn’t work with Slash’s tone. It was just way too much information for the frequency range you have in the midrange. And I’d gotten the Players Edition Falcons, and put a set of Arcane pickups in and they were fantastic, but when I put those pickups in the centre block prototypes it just didn’t work. So we started digging in and playing around with different things to make it brighter, to bring that chime back. So, we had four prototype guitars in rotation and John was winding with my Players Edition Falcons there as well for reference and listening on in-ears. We had our front of house and producer in the control room listening on reference monitors. So we really were able to focus under a microscope, so we would swap them out and say, oh, there’s just too much, too many mids, there’s not enough low wind thickness to it. And what we ended up doing is something very unique. John was like, ‘let me try something’, so in concept it’s a hybrid of a vintage PAF and a vintage Filter-Tron, with the output closer to a vintage PAF.

couldn’t get it with the B7. Finally I think it was John who said, ‘why don’t we just change the neck angle to accommodate the Bigsby you like?’ So that’s what we did. So it’s on the white ones, it’s a different neck angle as well as a longer scale, which also makes it a bit more ‘attacky.’ There’s just a thing that happens with the additional scale, like makes it a bit snappier. But I also wanted one too for if I’m doing a lot of string bends and fast lines, so that’s when I go for the stop-tail one. Pardon my language, but you are fucking fast. You’re so great at slipping into the pocket when needed, and then you get to a song like ‘Better’ and you shred your ass off. Knowing that these guitars are able to hold up to that kind of playing, I’m like, okay, maybe we’ll start hearing more heavy rock players shredding Gretsch guitars! I’m really, so thrilled with them, like touring doing this whole, this last three month tour with the finished product, they’re perfect. I’m absolutely thrilled with both of them. BY PETER HODGSON

I noticed you have different scale lengths for the Bigsby and the Stoptail models, and that’s the attention to detail I love. Originally the prototypes had Bigsby B7s on them with the tension bar and it just wasn’t working for me. There are so many subtleties in the gentle modulation I do with the bar all the time. It’s such a big part of what I do, and I

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AT2040

HYPERCARDIOID DYNAMIC PODCASTING MICROPHONE

Hypercardioid Perfect for recording in a group or in untreated environments

Podcasting, streaming or home recording, you’re guaranteed consistent, broadcast quality results with the AT2040 dynamic microphone. It’s the latest addition to Audio-Technica’s legendary 20 series – the first choice of content creators around the world.

Internal Pop Filter Protect your mic and minimise any ‘popping’ noises

Integrated Shock Mount Reduces vibrations and rumbling while recording

PAGE HEADER

Jones-Scanlon Monitors x Sonarworks “Forgive all this,” remarks Steve Scanlon, one of Australia’s most in demand mix engineers and onehalf of the world-conquering Jones-Scanlon Studio Monitor partnership, gesturing towards some bulk cartons of paper propping up one the brands’ premium 10” Jones-Scanlon 2-Way Powered Monitors in the control room of his beautiful Elsternwick studio. His business partner and long time friend, Wayne Jones was quick to explain, “the new technology is so phase coherent, that you inevitably find yourself tweaking monitor placements that you previously thought were ideal, even just by a fraction of an inch, hence the paper”. The ‘new technology’ that Wayne was referring to is a JonesScanlon exclusive and a very big deal among the global fraternity of monitor manufacturers and electro-acousticians who have foreseen such a development lurking in the future, but until now had never struck on the right combination of DSP and adaptable componentry to make it all happen. In a textbook example of Australian ingenuity, the duo have managed to become the first monitor manufacturer in the world to successfully integrate Sonarworks’ industry-defining SoundID Reference software into their line of highly touted studio monitors, coming through where others had previously fallen short and beating some very high profile manufacturers to the punch. “When Covid hit and our overseas plans were temporarily put on hold, we used the time to really focus on making this technology work,” notes Wayne. “Everything from the kind of firepower required at the DSP level, through to the way in which our speakers would interact with the pre-existing Sonarworks SoundID

Reference architecture, we really just doubled down and made this project our primary focus for a solid year,” he says. The implications these innovations have on the broader studio industry are massive, with the new Sonarworks SoundID Referenceequipped Jones-Scanlon Monitors proving the perfect marriage between software and hardware and pushing monitor performance that little bit closer to the idealised standard of 100 per cent accuracy at the monitoring position something of a holy grail for studio engineers worldwide. Even prior to these latest developments, the Aussie brand had been making some serious waves among the international audio community with their Reds, Baby Reds and Big Reds (and their Australian flavoured Kevlar impregnated eucalyptus pulp drivers) already proving a winner among some of the biggest names in studio. A sentiment echoed by the team at Sonarworks. Martins Popelis, CEO and cofounder at Sonarworks, Latvia said “our users have been asking for hardware capable of running Sonarworks SoundID Reference for years now, and we are delighted to say that we have found an interested and capable partner to do so. “The Jones-Scanlon monitors themselves are a premium quality product and deliver an unparalleled experience, but

it’s the rooms, even the treated ones that have always been the weakest link in the chain and this is precisely where we come in. “With the new Jones-Scanlon/ SoundID Reference partnership you can be completely sure that you’re getting the most out of your beautiful monitors, without even thinking about it. “I mean you don’t even have to bother with a DAW plugin anymore. I think this convenience and peace of mind will be appreciated by many engineers.” He’s not wrong. The ability to measure and then store calibration information directly onto the monitors themselves, and then have this correction occur at the speaker level is exactly the kind of technological advancement the studio community have been waiting for. Perhaps most fascinating of all is that this can all be achieved with zero latency, a bi-product of the incredibly powerful DSP found on the SoundID Reference-equipped Jones-Scanlon monitors. “These are constantly running at 192k and that’s coming directly from the monitors onboard DSP,” explains Steve. “That means that I might be running 96k in the box, but what’s reaching my ears is the highest quality and most phase coherent version of what I’m working with inside the system,” he says. Sitting in the mixer’s chair in Steve’s studio, the remarkable amount of clarity and precision afforded by this new collaboration is blatantly obvious from the very first notes. As we scroll through a diverse range of reference material pointing out certain details and performance characteristics, there is more than one occasion where all three of us notice a certain

panning or EQ decision that would have gone unnoticed at least a hundred times before. Steve points out the Helmholtz resonator situated under the couch that I have been sitting on and I gaze out at the various gold and platinum records lining the studio hallway, many of them from a time before such advanced room correction technology existed. I start to think about the baseline quality of the Jones-Scanlon boxes and how the quality of the room treatment and expertise in monitor placement alone would have likely made Steve’s studio a world-class listening experience, even prior to the Sonarworks SoundID Reference integration. Add Sonarworks SoundID Reference into the equation and you’ve got something truly pushing the limits of what is achievable in regards to accuracy at the monitoring position. It’s at this point where I come to the realisation that this may be the most accurate room for monitoring I will ever have the pleasure of being in, so I start rapidly flicking through a whole manner of different reference material eager to experience as much different music as I can in the short time I am in the mixer’s chair. More than anything, this experience has been a wake up call that the time has come to upgrade my monitoring setup and sort out these room nasties once and for all. What better way than by acquiring a set of premium quality midfields made by a local manufacturer who just happen to be on the cutting edge of software integration in the monitoring space and are in cahoots with the undisputed world leader in DSP-based room correction? Sign me up. BY PAUL FRENCH

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Introducing Duet 3

Legendary Sound Quality, Total Portability & Hardware DSP All Come Together in a Beautiful New Design Sounding Amazing Never Looked So Good In 2007, the original Apogee Duet shattered the expectations of what a home studio interface could be. The all-new Duet 3 brings next-generation Apogee performance and features to a beautiful, ultra-low profile design. Duet 3 includes on-board hardware DSP that powers the Symphony ECS Channel Strip for zero-latency recording with FX. Tuned by Bob Clearmountain, the ECS Channel Strip includes presets custom crafted by the legendary

Duet 3 delivers hardware DSP recordiing made easy with the

mixer so you can dial in a pro recording sound instantly. Ideal for music creation, voice recording, streaming and even gaming, you can use Duet 3 with your Mac or Windows workstation in your

ECS Channel Strip tuned by Bob Clearmountain

studio or on the go.

Featuring Built-in DSP with the ECS Channel Strip

www.linkaudio.com.au

www.apogeedigital.com

Line 6 Pod Go

Fender Acoustasonic Telecaster

DISTRIBUTED BY: YAMAHA MUSIC AUSTRALIA EXPECT TO PAY: $1,149

DISTRIBUTED BY: FENDER EXPECT TO PAY: $2,199

RECOMMENDED FOR: Tone hounds, shredheads, Johnny B Goode-types, guitarists of all types.

RECOMMENDED FOR:

Songwriters, folk-rockers, Telecaster completists, apartment dwellers.

FEATURES: Already a favourite

amongst the guitar-playing fraternity, the POD GO is the perfect all-in-one, amplifier/ cabinet/FX solutions for the six string inclined. Sporting an 11cm colour LCD display, the GO is prized for its intuitive onstage navigation, versatility of application, and quality of its amp emulations, but it’s really the ‘Snapshots’ feature which elevates this piece of gear to a higher plane, allowing seamless switching between tones without audio drop outs. The GO includes all of the classic guitar effects with amp and cabinet modelling as standard, which are all drawn from the award-winning HX stable of processors. It also has third party cabinet impulse responses available for unlimited cabinet options. Old school chorus and modern ambient reverb effects are nicely paired and the amp/

cab simulations are varied, warm, and believable. Likewise, the super crunchy overdriven tones available are extremely luscious and loud. The POD GO also comes with access to its own edit app for easy preset editing and backup. The unit also has a stereo effects loop and TRS expression foot pedal/dual footswitch input. For professional recording capability, the Go also includes 4-in/4-out 24bit/96khz audio interface. OVERALL: Compact and easy to use and navigate, while adding classic guitar tones to your performance, the POD GO is a tight, well thought out package of sounds and amp/cab models. The layout is simple, the versatility commendable, and the addition of some special user features makes it a winner.

FEATURES: Over the last few

years, Fender have slowly been rolling out their highly touted Acoustasonic range, and in doing so have really pushed the guitar forward from a flexibility/ workflow perspective. This, the new Acoustasonic Tele, combines all the awesome versatility of Fender’s previous Acoustasonic incarnations (the American made Acoustasonic Strat, the Acoustasonic Jazzmaster) into a more affordable offering, perfect for anybody looking for a multi purpose daily guitar with a familiar body and neck from which to translate their ideas from the bedroom to the studio and live stages. Boasting a robust and full acoustic sound from its slim mahogany body, loaded with the N4 magnetic pickup in the bridge position and a saddle-positioned

GIFT GUIDE 2021

Piezo, being designed for that authentic hum-free Fender electric tone. These can also be blended with an acoustic voice or even a mic on the body itself, in turn allowing players to create a whole array of new sounds and textures. OVERALL: Breathing new life into a familiar classic, The new Acoustasonic Tele is a masterclass in combining two existing guitar designs in the one unit and whether unplugged or amplified, is capable of mustering tones unlike anything else out there. It’s neither an acoustic or an electric – it’s the exact middle ground and in that regard is the absolute perfect songwriting/in-studio companion for the utilitarian player, or for the more experimentally minded - the perfect vehicle for weirdness.

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Fender California Mini Series

Vox SDC-1 DISTRIBUTED BY: YAMAHA MUSIC AUSTRALIA | EXPECT TO PAY: $309

DISTRIBUTED BY: FENDER AUSTRALIA | RRP: $399

RECOMMENDED FOR: Kid shredders, Angus Young wannabes, buskers, lonesome travellers.

RECOMMENDED FOR: Junior

guitarists, travelling folk, people of petite stature etc

FEATURES: With a healthy dose

FEATURES: The California Mini

series features an incredibly beautiful lineup of four guitars (featuring two distinct body shapes), designed with quality, stowability and convenience in mind. The Sonoran features a 24.1-inch scale length and is three-quarter sized, with a scalloped “X” bracing. Coming in both a clean spruce finish as well as an all mahogany finish, the natural neck, slim-taper “C”-shaped profile and a walnut fingerboard are a pleasure, both in the hand and on the road. The Redondo similarly comes in either a spruce top and mahogany back and sides but with an optional sunburst finish this time around. It’s even smaller, with a 22.75 inch scale length and features the same nato neck with slim-taper “C”shaped profile, walnut fingerboard and bridge, and six-in-line headstock. Each guitar comes with a Fender soft-case.

OVERALL: The ideal gift for the junior or aspiring guitarist in your life, as well as those experienced guitarists who are after some flexibility with their couch noodling or playing while traveling. The neck shapes and small scale makes them an absolute breeze to either fly around playing leads or to quickly switch between complex chord voicings.

Whether you’re looking for a good recording guitar, a daily whip to have around the house whenever inspiration strikes, or a guitar to take on trips without getting in the way, the Fender Californian Mini Series more than fits the bill.

Chateau Chenonceau CAS-80 Alto Saxophone

Social Butterflies, Music Lovers.

FEATURES: If you’re totally new (or

looking to dip a semi-serious toe) into the world of DJing, than look no further than the DDJ-200 from industry kingpins, Pioneer DJ.

FEATURES: One of Chateau’s

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OVERALL: Prepare for riff carnage when a SDC-1 in put in the right hands. A perfect gift for kids or adults that require all the goods a standard electric offers, but in one red hot, pocket sized package.

RECOMMENDED FOR: Budding DJ’s,

cats, orchestral types, serious saxophonists.

Boasting a high quality chassis made of 85 per cent copper, complete with a luxuriant full body engraving on the body adding a sense of regal class to proceedings. Mother of pearl finger buttons are another classy touch, keeping your fingers cool

Body, neck and fretboard are all top notch being poplar, maple and purple heart woods respectively, sporting 19 medium jumbo frets 42mm nut a singular mini

humbucker pickup and controls for volume and tone. A standard 1/4” output in exactly where it should be, and included accessories are wrench for neck adjustment and a soft gig bag, with the guitar being available in Red, Black and White finishes.

DISTRIBUTED BY: JANDS EXPECT TO PAY: $249

RECOMMENDED FOR: Jazz

This also means however, the construction process can be quite time consuming so numbers are limited. Best to get in quick!

No corners have been cut when it comes to hardware, with the specialised high gear ratio tuning heads allowing for accurate tuning every time, which are specially designed for a short scale setup and a bridge built like a tank to hold everything in place.

Pioneer DJ DDJ-200

DISTRIBUTED BY: KJ MUSIC EXPECT TO PAY: $2,295

more premium offerings, the limited edition Chenonceau 80 is beautifully crafted and machined, following a specialised process in which each instrument stays with one of Chateau’s master craftsmen from beginning to end, thus eschewing the kind of line assemblage so prevalent in the instrument making business. Rest assured the level of TLC and quality control on these instruments is second to none.

of miniature and traveller style acoustic guitars out there, it’s a treat to see that the electric guitar shredders haven’t been left out to dry. The Vox SDC-1 is every bit a riff monster as any full sized counterparts, all be it a little small, more portable and suitable for kids and adults alike. Its clever design allows for playing and tuning just like a standard size electric but in a 479mm small scale format.

and comfy for whenever you decide to take it for a walk! Internally, the Chenonceau CAS80 Alto also boasts the everreliable Pisoni pro pads to prevent air leakage, and Italian blued steel springs, thus ensuring attentive responsiveness from note to note. It also comes with a zippered backpack case, a mouthpiece, ligature, and cap. OVERALL: This Alto sax will be the perfect gift for the intermediate saxophonist in your life or anyone looking to invest in a quality, durable instrument that will give you plenty of joy for years to come. Its luxurious aesthetic matches its terrific sound quality, boasting great response from low to high and excellent intonation, all to go with its impressive durability.

Boasting connectivity with iTunes, Spotify, Deezer, Beatport Link and SoundCloud Go through apps such as Djay, WeDJ, Edjing and Rekordbox, the DDJ-200 offers vast media options, while the classic Pioneer 3-band EQ and two channel mixer layout (w/ crossfader and performance pads) is a crash course in Pioneer tactile functionality-something that will more than pay dividends as you move from booth to booth, onwards and upwards. Should you fall off the grid (and as a beginner, this is inevitable) the beat and phrase sync functions are always there to help keep things musical, while the eight performance pads allow you to trigger samples and FX, giving you a whole host of transition and mix options from track to track.

GIFT GUIDE 2021

OVERALL: With both Bluetooth and USB operability, the Pioneer DJ DDJ-200 is the perfect entry into the exciting world of DJ’ing and mixing for the floor.

Featuring the ubiquitous Pioneer layout, vast streaming capabilities and with built in FX and sample pads (all housed in a unit small enough to fit in your backpack), it’s the ideal entry point-perfect for honing your craft, whether at house parties, social gatherings or locked away in your bedroom while your family celebrate Christmas without you (don’t worry, we’ve been there too.)

Fender Noventa Telecaster

Numark Mixstream Pro DISTRIBUTED BY: ELECTRIC FACTORY EXPECT TO PAY: RRP $1,199

DISTRIBUTED BY: FENDER EXPECT TO PAY: $1,999 RECOMMENDED FOR: Rock dogs, guitar nerds and novice shredders alike FEATURES: The Noventa is stripped-back, simple design that does not compromise on having a fat, powerful sound, complete with that classic tele spank. It’s unembellished yet powerful, and can conjure some non-typical tele sounds due to its modern playability, midrange bite and splendid highs, characteristic of the all new Noventa pick-up. A dashing bonafide rock-machine, its tonal eclipse ranges from woody bell-like tones to throaty, lively harmonics. The Noventa Telecaster’s simplicity lends itself as the perfect vehicle for experimentation on clean or overdriven amps, making it a killer favourite go-to for any expert or budding player.

The components are straightforward, with one P90 single coil bridge pick-up, a master volume and a tone control. With the standard telecaster old-wood

RECOMMENDED FOR: DJ’s, DJ enthusiasts, music streaming gurus, DJ party fanatics

body, glossy polyester finish, neck profile and maple neck, it also has 21 medium-jumbo frets for easy bending and a “cut” telecaster bridge with 3 brass barrel saddles. The design is classic, combined with the minimalist electronics, the half pickguard and the eyecatching vintage colours such as fiesta red, blonde and a warm 2-colour sunburst. The Noventa Fender is the perfect gift for anyone who is a fan of the classic Fender sound laced with a whole lot of unique character. It’s also a great option for anyone who is a fan of sleek, simple user parameters and design, as well as a punchy punk-rock single-pickup experience. As a pure, honest instrument that delivers a powerful, dynamic performance, any lucky recipient of this axe is likely to fall hard and fast in love with it. OVERALL: A delightfully versatile take on a known classic

Peterson Strobo Clip-On HD Tuner

OVERALL: Mixstream Pro strikes the ultimate balance of professional features with intuitive functionality for an all-round DJ experience. The hardware is easy to use, nicely laid out and boasts modern features under the hood. A 3-month subscription for compatible streaming services gets owners off to a flying start and clearly stamps its place, ready for users in 2021 and beyond.

RECOMMENDED FOR: Synth kid virtuosos, those with a synth loving inner child, Bop It nostalgists

guitarists, but there’s no reason why you couldn’t utilise the Peterson Strobo HD Clip On Strobe Tuner on a cello, violin, mandolin or even an Oud or any other kind of pitched or stringed instrument.

lug around another PA speaker to a gig. Connectivity is plentiful and includes balanced XLR outputs, unbalanced RCA outputs, 1/4” and 1/8” headphone outputs as well as a 1/4” mic input with a variable gain pot. A full AV experience is provided by the included Phillips lights, which are fully controllable, not to mention full DMX light control is available via a micro DMX dongle and sound switch.

DISTRIBUTED BY: KOALA AUDIO EXPECT TO PAY: $329

RECOMMENDED FOR: Obviously

The ‘Sustain’ mode, which holds the display of your tuning image for three seconds, is also suitable for tuning instruments with a short decay, such as banjos or ukuleles.

packs in the features both on top and under the hood. Immediately noticeable are the two 6” touch sensitive scratch wheels, which feature outside edge pitch bend control when nudged. The 7” hi definition touch screen gives crystal clear visual feedback and quick menu diving. A full suite of pro effects is included in the middle section including echo, flanger, delay and phaser, as well as dedicated filter knobs for each channel. Effective three band EQ as well as gain control is also included per channel. Performance pads control four unique modes including cue, saved loop, auto loop and roll function and when pressed a second time an additional 4 additional performance slots are made available. The built-in monitors are specifically designed for effective personal monitoring, great for smaller gigs or events, potentially alleviating the need to

Blipblox After Dark Synthesizer

DISTRIBUTED BY: AMBER TECHNOLOGY EXPECT TO PAY: $119

FEATURES: With 50 sweetened tunings and alternate temperaments to suit an array of string and wind instruments, Peterson’s HD Clip On Strobe Tuner sets a high benchmark for the clip on tuner market. The rotating strobe allows you to tune your instruments within +/- 0.1 centimetre – which equates to 1/1000th of a fret, which is incredibly accurate for a tuner of any kind, let alone a clip-on tuner. If you’re picky about pitch, then this is the tuner for you.

FEATURES: The Mixstream Pro

FEATURES: Easy to use tactile

The soft rubber-lined jaws provide a nice snug grip on your headstock while protecting your instrument’s finish while simultaneously providing maximum signal tracking for optimum tuning performance. OVERALL: Everyone needs a tuner and it’s often said that once you go Strobe, you never go back to Chromatic. Peterson’s Strobos HD Clip on Tuner is the quickest and simplest method of getting your strobe on while keeping your stringed friends singing like a choirboy from hell. Christmas without you (don’t worry, we’ve been there too.)

controls safe for ages 3+ plus professional sounds to boot, the Blipblox After Dark Synthesizer is less of a toy and more of a legit synth, which the whole family can enjoy. Packed full of controls we’d expect, users can explore the 300 preset melodies packed inside, or alternatively dive right into crafting unique sounds. The two levers control tempo and filter, with sixteen oscillator modulation schemes (including wavetable synthesis) available, as well as two envelope generators and 2 LFOs. Adjustable multi-tap delay is also available, adding some time based depth and dimension to sounds if desired, whilst the hundred plus kick and snare samples are pitch adjustable. Stepping into pro synth land, 5-pin MIDI input port allows for keyboard, drum machine or DAW connectivity and a 1/4 inch output jack means you can

GIFT GUIDE 2021

connect the Blipblox to a speaker or PA if the built-in speaker just isn’t quite cutting it. OVERALL: Whilst it might present itself as a bit of a gimmick, the Blipbox After Dark is by no means a toy, but rather an impressive little synth.Its hands on tactility is great for the kids it’s clearly aimed at, but is also harnessed with features that even the most avid of synth heads will surely be impressed by. Perfect for living vicariously through your techno-offspring, or even integrating it into your own set up, for those looking for a left of center synth to keep the chin strokers engaged. Merry Christmas fam!

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Chateau Valencay CAS-22 Alto Saxophones

UDO Audio Super 6 synthesiser

DISTRIBUTED BY: KJ MUSIC EXPECT TO PAY: $1,395

DISTRIBUTED BY: INNOVATIVE MUSIC EXPECT TO PAY: $1,829

RECOMMENDED FOR: Beginner to intermediate saxophonists and students

RECOMMENDED FOR:

Experimental synthesists, Sound Designers.

FEATURES: The perfect

FEATURES: Classically styled but

introductory sax, the Valencay CAS-22 Alto boasts a ribbed construction which heightens the overall strength of the saxophone making it ideal for the daily haul from locker to school bag. Visually, it boasts a striking gold lacquer finish providing that classic brass look, an engraved bell and body with the Chateau logo featuring on the bell, and mother of pearl finger buttons to avoid your fingers heating up while playing as some plastic finger buttons will do. Internally the sax boasts the superreliable Pisoni pro pads to prevent air leakage, and Italian blued steel springs to ensure attentive response. This alto sax is in the key of Eb and features a high F# to extend the player’s range meaning even more versatility in the hand. Like Chateau’s equally cool Chenonceau Alto, the Valancay CAS 22 also comes with a zippered backpack case,

mouthpiece, cap, and ligature to attach the reed to the mouthpiece. OVERALL: This saxophone will be a great gift for intermediate saxophonists or music students looking to be introduced to the wonderfully slick instrument. Its playing features instills reliability to those looking to take the next step in their sax playing, while ultimately acting as the perfect introduction with its durability and strength with the playing quality a bonus.

If your child thinks they want to learn a different instrument to be ‘cooler’, just get them to check out saxophonists in any jazz ensemble, the coolest cat there!

Warwick Professional Guitar & Bass Maintenance Tool Set

OVERALL: UDO Audio’s Super 6 synthesiser is perfect for the experienced or budding synthesist in your life with an interface that is easy to read and navigate around once you get a feel for it.

Think hyper-modern versatility and scopy, with an irresistibly cool retro sheen, and you’re in the ballpark.

RECOMMENDED FOR:

Experimentalists, Gadget lovers, Fidget spinning musos FEATURES: Every so often, a

FEATURES: The Warwick

The pack will also boast a string winder and cutter for the on-the-

The sound engine of the Super 6 is also based around a state of the art hybrid FPGA platform with analogue voices, utilising 7-core super-wavetable oscillator with

Parameters for both channels of each super voice may be independently controlled, allowing the player to create rich and unique stereo images. The effect ranges from subtle to extreme stereo movement, creating an enhanced sense of spatial positioning relative to “conventional” monaural signalchains panned at their output.

DISTRIBUTED BY: KOALA AUDIO EXPECT TO PAY: $169

RECOMMENDED FOR: Gigging guitarists and bassists, more frequent guitar and bass players

The pack features a 60ml spray bottle of guitar and polish cleaner for cleaning, polishing, moistening, flavoring, maintenance, and strengthening the depths of the colour tone of wood. Made from natural ingredients it contains liquid silicone oil and natural orange oil with the latter acting as a natural cleanser and nourishing the wood. A polishing cloth will also be provided.

Featuring 12-voice polyphony, this stereo analogue-hybrid synthesiser features a true stereo signal path in which the instrument’s 12 voices are then twinned to form six ‘super’ stereo voices. I guess that accounts for the name choice?

‘Waveform Download’ as its main oscillator while a second DDS oscillator offers FM, sync, X-Fade, and sub-oscillator modes.

Artiphon Orba

DISTRIBUTED BY: AMBER TECHNOLOGY EXPECT TO PAY: $99.99

Professional Guitar and Bass Maintenance Tool Set comes stacked with all the necessities in a compact and easy-to-handle 90x50mm compartment to take with you to your gig, jam session, studio session, or to keep tucked away neatly on your coffee table!

with a forward thing th Super 6 is an instrument that is borne of a long-held passion for synthesisers and is somewhat reminiscent of the classic polyphonic Juno and CS units from the ’80s, boasting a rich sound with plenty of knobs, faders and buttons to interact with each parameter. Where it differs is in it’s crazy binaural routing abilities, perfect for Sound designers or those with an ear of the eccentric.

fly repairs if required, along with a Rock’n Ruler string action gauge by Framus and Warwick for setting string action, neck relief, and string spacing. OVERALL: Guitar and Bass Maintenance is an absolute non negotiable, which is what makes The Warwick Professional Guitar and Bass Maintenance Tool Set such an awesome stocking stuffer that the guitarist or bassist in your life will find use for a lot more than you think. There is something for every player in this pack from cleaning, to repairs, to adjustments, you can’t go wrong with this set!

musical product will break onto the market that really makes a splash – and not just among musicians. Audio units that are compact, feature-packed and quirky in their delivery generally tend to captivate the attention of mainstream consumers, and thus serve as an affordable gateway for many young minds to first experience the joys of musical creation. It mightn’t look exactly like a conventional musical instrument, but the Orba by Artiphon could very well be the next biggest thing on the market. This pocket-sized device functions as a synthesiser, looper, MIDI and MPE controller, and heavily incorporates motion sensitivity into its operation; like a Wii remote, but far more musical. Eight capacitive-sensing pads are placed on top of the unit to control the Orba’s internal synth sounds and drum pads, with velocity control allowing you to create

GIFT GUIDE 2021

more organic sounding loops with ease. Obviously, the Orba’s biggest drawcard is its motion sensitivity, which is performed via its accelerometer and inbuilt gyroscope. By making one of ten simple gestures – including tap, press, spin, radiate, tilt, shake, slide, vibrato, move, and bump – you’ll be able to modulate parameters such as volume, filters, envelopes and LFOs, as well as a number of other effects such as tremolo and pitch-shifting. Definitely one of the most hands on and tactile synth experiences you will come across. OVERALL: One of the funnest products in this years gift-guide, the Orba is both an extremely powerful and haptic instrument for serious composition and a cool little nic-nac to keep on your desk when you need something to fiddle with. Incredibly addictive.

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At Home.

Anywhere.

BUILT FOR BIG THINGS Jacob Stibbie | Lead Guitar | Abstract Feedback

INTRODUCING THE NEW ZOOM G6 MULTI-EFFECTS PROCESSOR With state of the art amp modeling, powerful multi effects, and a touch screen interface, the G6 delivers what you need to take your sound with you, anywhere you go.

We’re For Creators

Martin Luxe Contour Pick

Rock N Roller Multi-Cart

DISTRIBUTED BY: ELECTRIC FACTORY | RRP: $29.99

DISTRIBUTED BY: AMBER TECHNOLOGY EXPECT TO PAY: $239

RECOMMENDED FOR: Martin guitar enthusiasts, plectrum aficionados, lavish accessory lovers

RECOMMENDED FOR: Gigging Musicians, Logistics experts

FEATURES: A fancy pick indeed,

FEATURES: Rock-N-Roller are

the Martin ‘Luxe’ Contour Pick is by no means just your average plectrum. Designed and manufactured in-house by the same folks that bring us some of the world’s finest acoustic guitars, this luxury pick features an asymmetrical design, which appears slightly flared and wider at the top, not unlike a bass pick. The precision-machined contour bevels pair nicely with the polymer chosen for this lavish plectrum, bearing exceptional resistance to wear and warping, provides lower friction on the string, a pristine attack, reduced pick noise, and tone for days. The beautiful Martin logo all adoring fans know and love has been meticulously etched upon the front, providing additional grip (accompanying the carefully designed grip on the back) and a professional feel and look. Being a 1.0mm thickness, there’s a fine balance of flex and rigidity, feeling well balanced in the

fingers and ready for long playing sessions. To complete the package, a pouch and pick tin are included. A perfect gift for any adoring Martin guitar owner or for those who appreciate luxurious guitar accessories. OVERALL: Whilst it might seem a little over board, there are certainly many who will appreciate the finesse and attention to detail that’s gone into this pick design and are sure to enjoy longer than average playing and enjoyment. The pouch and pick tin are a welcomed treat and complete this neat little accessory package nicely.

Artiphon Instrument 1

With its clever ability to change its dimensions and layout, providing

OVERALL: In practice, the Rockn-Roller is one of those products that might not always be front of mind, but after exactly five 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. The perfect gift to make someone’s life that little bit easier.

DISTRIBUTED BY: DYNAMIC MUSIC | RRP: $359

RECOMMENDED FOR:

Experimentalists, sliders, strummers, tappers, tweakers, lonesome travellers

Introductory guitarists, Trailblazers. FEATURES: The Cort CAP810

FEATURES: MIDI/audio

Boasting an ant like ability to support up to 226kg from its diminutive 9kg frame, the Rock-nRoller Multi-Cart is sure to impress in its ability to overdeliver in the strength department. Rock-nRoller themselves say it reduces time and effort by 50% per cent or more, which means 50 per cent more time to focus on the task at hand (playing an awesome show).

everything from basic dolly’s, 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.

Cort CAP810

DISTRIBUTED BY: KOALA AUDIO EXPECT TO PAY: $469

connectivity, a 12 fret fingerboard with a total of 78 note locations, built-in arpeggiator, built-in capo are just a handful of features the Artiphon Instrument 1 has to offer. Not simply a MIDI controller, The Artiphon Instrument 1 is a tactile instrument that connects its user closer to their chosen virtual instrument, offering the ability to play a chosen software instrument in seemingly endless amounts of ways. String bends, hammer on/off just like one would on a guitar is easy and accurate, being able to strum, pluck, slide or tap for a variety of playing styles. Pressure-sensitivity makes modulating effects a breeze, even after you’ve triggered a note. Whether you’re a left or right handed player doesn’t matter as the orientation of the instrument is automatically registered or can be locked into either mode if desired. For those on the road, battery life

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.

can last a solid 4-6 hours (at 50% volume) and the built-in speakers make jamming possible, and the analogue 1/8“ headphone and microphone jack make for simple yet effective connectivity. Four factory presets for drums, guitar, piano and violin make getting started easy, with a further four customizable presets are available too. Being iOS, Mac and Windows compatible is great and can be used in Ableton and Logic Pro X with ease. OVERALL: Whilst at a glance, the Artiphon Instrument 1 may appear somewhat gimmicky, but in reality it offers up some real world production tactility, with an array of playing style versatility, with room for experimentation and DAW connectivity and useful virtual instrument control.

Trailblazer Acoustic Guitar Pack is the ideal starter pack for the beginner guitarist. It includes Cort’s popular & well made AD810 dreadnought acoustic guitar, gig bag, picks, a strap, and digital guitar tuner. Cort’s ‘Standard Series’ defines superb performance and value for the money. The Standard Series guitars are affordable but offer good solid performance for beginners and hobbyists alike in a variety of models with different types of features for any playing situation. The AD810 boasts a spruce top providing an ideal balance between strength and flexibility, the mahogany back and sides gives it that bright yet natural strong and warm midrange, with a merbau fingerboard, and advanced X-bracing. The 25.3” scale length contains 20 frets and dot inlays, with a high-quality coating on the strings boasting humidity, dirt, and sweat resistance for long string life and improved playability.

GIFT GUIDE 2021

The gig bag allows your budding guitarist to transport their guitar safely and efficiently between their lessons or between their jam sessions once they indulge in all the fun they can provide. The strap is a nice touch so they can show off their newlylearnt song in the lounge room (remember, no ‘Stairway’), with the digital tuner saving everyone’s ears with its ease of use for beginners! OVERALL: The Cort CAP810 Trailblazer Acoustic Guitar Pack is the ideal starter pack for the beginner guitarist with its handy inclusions of a gig bag, a strap, picks, and a digital tuner.

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Electro-Voice EV 30M

Black Mountain Ring Slide

DISTRIBUTED BY: JANDS EXPECT TO PAY: $2,322

DISTRIBUTED BY: AMBER TECHNOLOGY EXPECT TO PAY: $59.95

RECOMMENDED FOR: Masters of

Ceremonies, Buskers or anyone looking for the highest quality in portable audio solutions.

RECOMMENDED FOR: Slide guitarists, those complaining about bulky and loose slides!

FEATURES: Boasting an eight-

channel digital mixer, studioquality onboard effects and with some incredible remote capabilities via Electro-Voice’s cutting edge QuickSmart Mobile application, the Evolve 30m is a convenient and full voiced column setup, for those who like to take the party with them. Featuring a powerful 10” woofer and a column array composed of six 2.8” neodymium drivers, all adjoined via a lightweight aluminium sub pole, the 1000w Evolve 30m stands as one of the most portable units in its class, being nearly seven kilograms lighter than its predecessor, the Evolve 50. But don’t think for a second that this means any less in the way of firepower. With its eight-channel mixer, 30 in-built effects and DSP based adjustable EQ, the Evolve 30m is an awesome candidate for small scale PA applications like acoustic

FEATURES: The Black Mountain

ensembles or public speaking. The Evolve 30ms ability to provide phantom power brings a host of mic’ing and sound reinforcement options to the makeshift stage, and its Bluetooth streamability and the flexible control (via the QuickSmart mobile app) means a seamless transition between live performance and house music, adding production values where you least expect it. OVERALL: The perfect gift

for those keen on intimate, performance, busking or other applications where portability/ stowability are key. The Evolve 30m is an awesome sounding, endlessly mobile solution that never ceases to come in handy on stage or around the home. Especially great at barbecues, where it also doubles as the loudest Bluetooth speaker around.

Steinberg UR22c Recording Pack

Given its super versatile, plug and play operation, the UR22c also doubles as an awesome smale scale Content Creation option, perfect for all those budding podcasters and streamers out there, giving you all you need to get your thoughts and feelings out on the information superhighway. FEATURES: Steinberg’s UR22C audio interface offers 32-bit audio quality, letting you enjoy crystal clear recordings of guitars, keyboards and other audio sources, while the included ST-M01 condenser microphone is quite clear in the midrange and boasts a distinctive character best suited for vocals; if you’re into ASMR, you’ll vibe this one. The ST-H01 headphones aren’t too bad either!

A common problem with slide rings is that there isn’t enough weight so the Black Mountain Slide Ring has an egg shape with extra mass on the top of the finger to add that weight. 50 grams of metal, depending on the size, offers as much weight as a bulkier and looser slide. Meant to be worn on the middle segment of your middle finger, the Black Mountain ring slide enables

you to take full advantage of being able to play normally with four fingers, but with the option to play both conventional voicings or slide run, depending on the intended effect. Given its unique shape and the interesting resonances it brings with it, the Black Mountain is an awesome gift for any slide completists out there, or for anybody looking for an array of textures from which to draw from. The Black Mountain BMSR-50 Steel Slide Ring is the ultimate slide guitar companion for guitarists with fingers of any size! It’s stylish and affordable, featuring two arm colours of red and black. OVERALL: The perfect engagement

ring, if your engagement is playing slide guitar.

Shure MV7X DISTRIBUTED BY: JANDS EXPECT TO PAY: $289

DISTRIBUTED BY: YAMAHA MUSIC AUSTRALIA | RRP: $499 RECOMMENDED FOR: Comprising an audio interface, microphone and pair of headphones, this one is ideal for beginners looking for an affordable entry into the vast world of laptop recording without compromising on sound quality.

BMSR-50 Steel Slide Ring features a spring fit that keeps the slide securely on the finger, giving the normal feel of the slide and allowing the slide to be used at any time in between. The spring clamps the slide around the player’s finger, creating a perfect balance between comfort and stability, fitting comfortably on any size finger with small, regular, or extra large options.

RECOMMENDED FOR: Content creators, podcasters, broadcasters, singers FEATURES: A clear inspiration

It’s worth reading the manual if you’ve never operated or set up an audio interface or microphone before, but once you’re acquainted with its features, the UR22C recording pack is super straightforward. USB-C connectivity ensures that the interface is swift in operation, while the Loopback function is great for pairing high quality audio with a video source for streaming. OVERALL: Being a Steinberg product, you just know the build quality and intuitiveness of the feature set are going to be high on the priorities list here and the UR22C Recording Pack does not disappoint in this regard. Whether podcasting, streaming, recording or mixing, the UR22C Recording Pack is one hell of a Christmas gift.

Mum, I hope you’re reading this!

from Shure’s legendary SM7B dynamic microphone, the MV7X is a modern take on this classic mic, with its elegant broadcastlike design and integrated shock mount, but also sporting features specific to the requirements of current content creators and alike. The simple, convenient, no-frills XLR connection located at the base of the mic allows for easy connection to any audio interface, without the need for whopping amounts of input gain and seamlessly makes itself at home in any recording setup. For those recording in non-ideal acoustic environments, Shure’s voice isolation technology helps keep the MV7X focused on the user’s voice, reducing the banes of external noise and interference being picked up and recorded by the microphone. This makes recording hassle free with its great rear rejection and unidirectional pickup, which is especially

GIFT GUIDE 2021

advantageous when recording a podcast with multiple voices in the same room. OVERALL: Content creators and alike can rejoice with the simple elegance of the Shure MV7X. Delivering quality design, sound and connectivity in one podcast friendly package, which is easily integrated into any studio setup. Sporting the same distinct look and vibe of the converted industry standard SM7B, many will be familiar with its distinct aesthetic quality, making the MV7X a welcomed gift for any content creator, podcaster, broadcaster on a more reserved budget but requiring the professional look, pedigree and features this mic has to offer.

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jones scanlon studio monitors

Jones-Scanlon Studio Monitors: a new level of innovation together with SoundID Reference from Sonarworks Proudly announcing a world first, with ground-breaking innovative technology achieved in partnership with SoundID Reference

Big Reds: Drivers 10” / Midrange 6.5” 2000 Watts / Quad Channel (per box)

Reds: Driver 10” 650 Watts / Twin Channel (per box)

Baby Reds: Driver 6.5” 650 Watts / Twin Channel (per box)

Upload and store room calibration profiles directly into

Experience world leading transient response, allowing

the monitors up to 10,000 times

hyper accurate compression settings within the mix

• Seamless preset export from SoundID Reference

• Relentless frequency response at all levels

• Measure and save as many room profiles as needed

• A new level of “sensory perception” and accuracy

• Upload your room profiles into studio monitors directly

• Unbeatable accuracy of phase & time alignment

• Zero latency and improved workflow (more available DSP)

• Faultless Frequency Reproduction

• Streamlined signal path for outboard gear

• Experience a cleaner signal path

w ww.j o ne sscanl on.com

@ way n e j on e s au di o f c y t

Sound Particles Space Controller plugin

EVO by Audient SRB (Start Recording Bundle)

DISTRIBUTED BY: SOUND PARTICLES ENQUIRE FOR PRICING

DISTRIBUTED BY: STUDIO CONNECTIONS ENQUIRE FOR PRICE

RECOMMENDED FOR: Immersive audio mix wizards, virtual and augmented reality necromancers

RECOMMENDED FOR: budding producers, podcasters and streamers

FEATURES: Who doesn’t love remote control panning of a sound source with your phone. Wait. What? Hold the phone! Yep, you heard. For those at all familiar with immersive audio plugins and workflows will feel instantly at home within the UI of Space Controller, with Cube mode for a more traditional layout and workflow or Sphere mode for full blown 3D immersive workflows such as Ambisonics and VR. Within the plugin, channel control ranges from a single mono sound source through to controlling multiple channels simultaneously, being able to move entire sound fields seamlessly with incredible accuracy and smoothness. The accompanying app is where Space Controller really takes off, with remote control panning from a connected phone iOS and android compatible) via Bluetooth or Wi-Fi (in the studio version featured here). Multiple devices

FEATURES: The SRB (Start

can be connected simultaneously, breaking the creative bounds of immersive audio completely, for seamless positioning of things like Dolby Atmos objects, all of which can all be written and automated to the sound source/s within a session. OVERALL: The processing that’s involved within Space Controller is absolutely mind boggling, particularly as it is so smooth and seamless; this is no novel bit of code. This plugin and app have earned some serious kudos from pros in the immersive space and for good reason, the overall level of control, accuracy and endless creative possibilities make this a must have for those working in the immersive fields but also for those who want to explore the boundless creative panning possibilities simply within the stereo realm as well.

Marantz Professional USB Microphone with Stand

RECOMMENDED FOR: Morning commuters, Zoom callers, content creators

content creators, vloggers, vocalists

With the EVO 4 interface comes the SR1 condenser microphone and shockmount, which is perfect to capture vocals and acoustic instruments for those first few podcasts and stripped back recording projects.

OVERALL: Handy, decent quality and a fair bang for your buck, the Audient EVO SRB is a brilliant gift idea for anyone that might want to start podcasting, making music or streaming content. This intuitive, fun starter pack will surely enable some awesome future audiophile enthusiasts to start their journey and follow their dreams.

DISTRIBUTED BY: TECHNICAL AUDIO GROUP RRP: $349

RECOMMENDED FOR: Podcasters,

features and effortless plug and play functionality at this entry point, the Marantz Professional MPM4000U USB condenser mic is a bit of a no brainer for content creators, podcasters and alike. Convenient controls and connectivity immediately present themselves on the front of the chassis including variable gain control, headphone volume and a conveniently located mute button. USB-C interface connectivity (ala no external audio interface required) with Windows, MacOS, Android and iOS operating system compatibility for easy, plug and play operation and a 1/8” headphone output jack is located on the bottom of the mic for pristine headphone monitoring. The pure-aluminiumplated condenser capsule is a unidirectional cardioid polar

Its hardware is straightforward, with a singular knob for gain, monitor and headphones volume, two combo XLR/jack inputs and a singular line input on the front panel, two quarter inch outputs for stereo monitoring and a quarter inch headphones output.

The pack also comes with comfortable, fully-enclosed lightweight SR2000 headphones to minimise sound leakage, as well as free audio software (Cubase LE for Windows and Mac) and iOs compatibility. The kit also includes all the cables required to hook it all up means it’s foolproof and super accessible - any budding creative is going to be recording podcasts or music quickly with this easy, consolidated set-up process.

Audio-Technica ATH-M50xBT2

DISTRIBUTED BY: ELECTRIC FACTORY RRP: $189

FEATURES: Packing quality

Recording Bundle) is the ultimate starter pack for budding producers who demand quality, but aren’t quite yet ready to break the bank on a premium setup. Inexpensive, solid as and incredibly userfriendly, it’s awesome for honing your audio recording and mixing skills with plenty of room to grow.

FEATURES: Three years is a

pattern, providing an accurate pickup of the sound source and minimizing spill and room ambiance. The included tripod, mic clip and USB cable make this package quick and easy to setup on the go and the included MPC Beats software gets users recording their content quickly. OVERALL: A slick aesthetic, convenient set of features, robust design, great set of accessories and bundled software package tick all the right boxes for those looking to get creating their content with minimal fuss. Direct connectivity via USB-C keeps this mic package streamlined and immediately accessible to who will be using it. Bridging quality and convenience, the MPM4000U USB mic is a gift worthy of any upcoming content creators looking to get started with ease.

long time in tech and the new M50xBT2 is testament to just how much the playing field has changed in the interim, with features like a vastly superior battery life, better connection stability and various other improvements pertaining to DAC, Codec and mic quality all serving as a considerable level up to an already quality product. The new models are reportedly capable of over 60 hours of continuous play (compared to the previous gen’s 40 odd hours). There is also a 10-minute fast charge feature which allows for three hours of use, perfect for anybody looking to quickly charge up before a run or daily commute. The dual mics and beamforming technology are a considerable improvement in terms of conversation intelligibility and call quality, while the low latency mode for gaming and

GIFT GUIDE 2021

video is an awesome addition. It is controlled through an accompanying app, which also has the option to select your voice assistant of choice as well as allowing for simple EQ and frequency customisation. The ATH-M50xBT2’s foam pads are replaceable and the headphones are collapsible to save space. In addition to these features, the ATH-M50xBT2 also has Touch Control technology on the AudioTechnica logo for Voice Assist to be used with Siri, Google Assistant and Amazon Alexa. OVERALL: The sheer versatility of application, the intuitiveness of the handheld interfacing and the practical upside of features ensure that Audio-Technica’s new M50xBT2 will be a valued addition to the daily ritual-for work, rest or play.

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NEW PRO X SERIES

M 70 PRO X

M 90 PRO X

TRUSTED SOUND IN EVERY RECORDING Our new PRO X microphones helps us to meet the requirements and needs of today’s creators Their sound features modern clarity and classic warmth. Their unique design and comprehensive range of accessories make PRO X microphones genuine all-rounders.

R CREATO

beyerdynamic.com.au/pages/pro-x

Hercules 2in1 Tablet & Phone Holder

beyerdynamic DT 700 Pro X

DISTRIBUTOR: ELECTRIC FACTORY RRP: $79.95

DISTRIBUTOR: SYNTEC RRP: $369

RECOMMENDED FOR: Gigging musicians, accessory lovers, security enthusiasts

RECOMMENDED FOR: Studio pros, content creators, audiophiles

FEATURES: Phones and tablets

X headphones are not just a simple, fresh aesthetic update on the modern studio staple DT 770 Pro, but rather a complete redesign with new transducer technology, whopping frequency response, more user friendly impedance and features aimed for the on-the-go user. The new STELLAR.45 transducer driver pumps out massive sound (as one would expect from a pair of beyers), with a frequency response of 5Hz – 40kHz, producing extended, defined low end and crystal clear highs, with plenty of midrange in between. The 48 Ohms impedance will be welcomed feature for many, playing very nicely with consumer audio devices so users can enjoy these headphones comfortably on the go. Speaking of comfort, the infamous beyerdynamic velour pads are as comfortable as ever, paired with the robust spring steel adjustable headband makes

have very much secured their respective places on the stage, but their own security when attached to stands of all different types, shapes and sizes can be compromised if not properly latched in place. Thankfully, Hercules has the muscle and the flexibility to handle the job, keeping these precious devices safely in place when it comes to gig time. The TightVice locking mechanism ensures phones and tablets ranging from 6.1” – 13” are locked in place to whatever stand they are attached to, whether it be round or square tubes or even a desk. This alleviates the stress of being stuck with an accessory which only attaches itself to certain types of stands, but instead can comfortably secures itself to mic stands, keyboard stands, sheet music stands or drum hardware alike. The load capacity of the DG307B is up to 3kg, providing

FEATURES: The DT 700 Pro

eons of effortless support of an attached phone or tablet. OVERALL: There’s nothing worse than having a phone or tablet come tumbling to the floor in the middle of a set, so why take the risk. Having a device that supports such a wide range of phones and tablets that it can securely handle is an absolute thumbs up. The known quality of Hercules can’t be understated and the flexibility the DG307B provides in its clamping capabilities is impressive. A gift worth its weight for those who frequent the stage with a phone or tablet in hand. I wonder if it could handle holding a beverage? One can only dream…

Audio Technica ATM510

OVERALL: A gift worthy of

those working professionally in the studio, creating a variety of content at home or on the road or for those simply looking for some accurate, high quality professional headphones.

Tula Microphones Tula USB Microphone

DISTRIBUTED BY: TAG EXPECT TO PAY: $129

DISTRIBUTED BY: STUDIO CONNECTIONS EXPECT TO PAY: $375

RECOMMENDED FOR: Live performers, engineers, those who like their vocals smooth and natural

RECOMMENDED FOR: Zoom fulltimers, content creators, fervent verbal note-takers

FEATURES: The ATM510 is Audio

FEATURES: With Burr-brown op

Technica’s entry level dynamic handheld microphone within their artist series range. The rugged all metal design, rounded multi-stage grille and internal shock mount make it an instant hit for those needing a sturdy, reliable live workhorse mic,and let’s face it, who exactly is looking for a fragile and delicate live handheld mic?

not feel like it’ll crumble from the guaranteed live stage beating.

The unidirectional cardioid polar pattern keeps a tight directional pickup, with solid rear rejection and resistance to feedback, with a rare-earth magnet producing a respeible output. A frequency response of 90Hz - 16kHz is ideally suited for the stage environment, with a suitable presence peak between 2kHz - 5kHz, a little dip around 9kHz and a little bit of added air between 10kHz - 12kHz. Weighing in at 258g it’s a little lighter compared to some others in its category but still enough heft to

OVERALL: As with anything Audio Technica, the ATM510 is designed and engineered to excel in its specific area of use, and in this microphones case, is a reliable live stage workhorse. Being an affordable handheld with a rugged enclosure it’s a no brainer for a venue or live mic kit fit out or individual singer. Its frequency response is well suited for a wide variety of voice types and would surely fare quite well in front of a guitar cabinet or even a snare drum if push came to shove.

for extended listening sessions a breeze. Finally, the detachable mini XLR cables (1.8m and 3m cables included) round out the new design and with all parts replaceable for a sustainable design, clearly reach the demands of modern users.

amps and a TI audio codec, it has a frequency response of 50Hz 20kHz and records WAV format at 16bit 48kHz quality with uni and omnidirectional noise capsules making it versatile for podcasting, conferences, and studio settings. Zero-latency monitoring comes through the 3.5mm headphones jack on the side of the capsule meaning your microphone will not result in you talking over whoever you’re chatting with or losing track of your voice-recording. The jack also conveniently doubles up as a lavalier mic input. One of the microphones’ best features is its active noise cancellation, which comes in handy to block out location noise spill when recording out and about, though it’s best suited to blocking out air conditioners in enclosed environments.

GIFT GUIDE 2021

It has the option of being either a USB mic or a standalone mobile recorder with 8GB of memory (up to 12 hours). It’s a neat little piece of hardware that weighs just 185g, perfect for portability with its easy plug-andplay use. With a USB-C port on the back, a 3.5mm jack and 13 buttons, the capsule manages to pack a lot in a small amount of real estate. OVERALL: The Tula mic takes an unassuming but solid position in the writing studio, office, or backpack of any content creator, due to its quality and portability. Considering how compact it is, this microphone feels like it’s dipping its toes into many different realms of usability and functionality. This means it’s perfect for people that work and play in that murky inbetween.

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Audio-Technica ATH-M70x

512 Audio Academy Headphones

DISTRIBUTED BY: TECHNICAL AUDIO GROUP | RRP: $449

DISTRIBUTED BY: STUDIO CONNECTIONS ENQUIRE FOR PRICING

RECOMMENDED FOR: Studio heads, mixers, musicians, DJ, personal listening

RECOMMENDED FOR: Content creators, budding audio operatives.

FEATURES: The ATH-M70x

FEATURES: 512 Audio have landed

is the flagship product of the M-series and are premium studio headphones boasting a flatter frequency response with large 45mm drivers. These closed-back over-ear headphones are perfect for monitoring and tracking providing an incredibly-defined upper midrange for all your guitar, snare, and extensive tracking needs. Professional-grade earpads and headband provide excellent durability and comfort, and detach for easy replacement, with circumaural design contours around the ears provide that much-needed sound isolation in loud environments for all you FOH engineers and DJ types. A rigid zippered carry case houses the headphones for when they’re not in use and a separate zippered pouch within the case contains not one, but three different cables. Included is a detachable 1.2m –

3.0m coiled cable, detachable 3m straight cable, and a detachable 1.2m straight cable, along with a ¼” screw-on adapter. Two different lengths of straight cables and one flexible cable take care of every environment you might wish to use these headphones in, not requiring you to purchase extra accessories. OVERALL: The luxurious ATHM70x headphones are ideal for studio mixing and tracking, FOH, DJing, mastering, postproduction, audio forensics and personal listening. Crafted for lasting durability with spacesaving design, the headphones provide excellent sound isolation and are equipped with 90-degree swiveling earcups for easy, one-ear monitoring.

Right from the word go, these headphones just ooze class in a black and silver motif and are worth every cent of the asking price.

Audio Technica AT-LP60XBT

in the professional audio scene with style and their Academy headphones continue this trend with their sleek appearance and comfortable usage.

The comfort comes from their fully adjustable headband and soft, plush ear cups. The closed-back earcups rotate up to 90 degrees to be as versatile and ergonomic as possible in any situation for any user. Academy’s custom-tuned 45mm dynamic drivers deliver a frequency response that covers the full audible spectrum, while allowing for precise control over the specific frequencies that produce a remarkable listening experience for speech and vocals, including more clarity in the low end. Their natural, balanced sound and exceptional low-frequency clarity allow you to hear every nuance, which makes them perfect for the critical listening of speech and vocals.

DISTRIBUTED BY: SYNTEC RRP: $369

RECOMMENDED FOR: Old and new school vinyl lovers, wireless audio addicts

RECOMMENDED FOR: Podcasters, broadcasters, content creators, studios

FEATURES: Whilst some may

FEATURES: In true Beyerdynamic

Having fully automatic 33-1/3 and 45 RPM playback speeds available on a sturdy, anti-resonant die-cast aluminum platter, a redesigned tonearm base and headshell makes for an improved tracking experience with reduced resonance. Featuring an Integral Dual Moving Magnet™ phono cartridge (with replaceable diamond stylus) and AC adapter which handles AC/DC conversion outside of the chassis helps reduce noise, making for crystal clear playback, whether connected hardwired or wirelessly. Adding to its versatility is the in-built switchable phono pre-amplifier, which conveniently allows for 36

OVERALL: The Academy headphones are tailor-made to bring out all the details you need for podcasting, recording, streaming, broadcasting, and all your content creation needs

From a fully adjustable headband to plush, closed-back earcups, you’ll enjoy a superior acoustic seal for cleaner audio capture and a perfect fit for all-day listening in comfort. Academy headphones are a true studio essential for any creator, producer, or listener.

beyerdynamic M 70 Pro X

DISTRIBUTED BY: TAG EXPECT TO PAY: $349

think owning a vinyl player is more trouble than it’s worth, it’s nice when something like the AT-LP60XBT marries the worlds of wireless and vinyl together into one rather stylish vinyl player.

The headphones also come with a stylish hard shell case to protect your headphones, while including an interchangeable 9.8ft straight and 4.9ft coiled cables with the option to lock into place, coming with a 3.5mm to ¼ adapter.

phono or line level output to make it compatible for a wide range of playback systems. Detachable RCA output cables, a 45 RPM adapter, and removable hinged dust cover make for a great overall package and the compatibility with aptX codec sums up the true versatility of this player. OVERALL: Being able to enjoy the joys of vinyl playback but with the added option of hardwired or wireless functionality is massive, particularly with the massive resurgence of vinyl over the last five or so years. The AT-LP60XBT brings vinyl into the modern era, more than satisfying the needs of those new to vinyl or those with a long and lustrous existing collection. A marvellous gift for those who pine for their old player back, but with the perks of modern functionality.

style, the M 70 Pro X certainly looks the part, with a sleek matte black chassis, hardy steel mesh grille and weighing in at 320g, feels like it could comfortably handle the inevitable drops it will experience in its lifetime. A dynamic end address capsule is hidden within the enclosure, featuring an inbuilt pop filter, protecting a large diaphragm capsule. Delivering crystal clear audio, the M 70 Pro X is optimized for capturing speech and the nuance and detail of the human voice, ala definition and clarity. Its cardioid polar pattern offers a supreme unidirectional pickup with fantastic off axis rejection. These features particularly lend the M 70 Pro X to be used in non idea acoustic environments, where external noise capture needs to be minimal and detailed capture of the sound source is key. Frequency

GIFT GUIDE 2021

response is broad ranging from 25Hz to 18kHz, with gentle 4kHz and 8kHz bumps for enhanced clarity and more refined not over bearing proximity effect when addressed up close. OVERALL: It’s exciting when a new microphone design presents itself to the broadcast, podcast and content creator worlds and the M 70 Pro X is a mightily contender to becoming a staple in these respective domains. The combination of a sleek yet rugged, professional design, boasting detail enhanced for the human voice makes this new mic a real winner. Your content creative pals are sure to lap this one up!

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Bose S1 Pro

Audio-Technica AT2040 Microphone

DISTRIBUTED BY: BOSE EXPECT TO PAY: $1,079

DISTRIBUTED BY: TECHNICAL AUDIO GROUP | RRP: $199

RECOMMENDED FOR: Buskers,

Portable DJs, Presenters, Education, Bose fanatics

RECOMMENDED FOR: Podcasters,

content creators

FEATURES: An all-in-one compact

PA system that packs all the right features. The S1 Pro features a simple, user-friendly 3-channel mixer, with 2 feature-packed with combo XLR / 1/4“ connectors for mic, line or instrument input sources, switchable Tone Match tone control, bass and treble EQ control and reverb. The third channel features an 1/8“ aux input for hardwired connection or Bluetooth connectivity from a compatible playback device. A dedicated 1/4“ line output allows for system expansion if required and the micro-USB connector is dedicated for servicing requirements. Most notably, the S1 Pro is lithium-ion battery powered (or can be powered by mains if required), providing up to 11-hours of play and is recharged relatively quickly. An impressive 67Hz - 17kHz frequency response produces a punchy low end, with balanced mid range and sparkling tops to match. That classic Bose

FEATURES: If you are at all

sound. An impressive max 103dB SPL rounds out this portable PA system, with several positions available depending on the application. The logo even swivels to match the orientation, a nice touch. OVERALL: For such a small footprint, the Bose S1 really packs a punch and delivers professional quality sound in a compact design with just the right amount of flare and features. It’s simple yet elegant layout and design make this portable PA system incredibly versatile and worthy of use in a multitude of applications ranging from busking, portable DJing through to business and/ or educational presentations and more.

Sound Particles Panner Collection

A doff of the hat to broadcast mics past, the Audio-Technica AT2040 comes with a mount attached to the mic for easy maneuverability. This will also screw onto basically

For transporting this microphone, there’s an included soft protective pouch to ensure your AT2040 stays in good nick while on the move, and at 615g, it won’t weigh down your microphone stand, while still being solid enough to take a knock due to its all metal enclosure. OVERALL: With content creators likely wanting to have an all in one solution available and not have to purchase extra accessories, this fits the bill.

With its affordable price tag, robust construction and great sounding, noise rejecting qualities, the AT2040 is sure to be a hit for online content creators – keep your eyes peeled for it in the next YouTube thumbnail!

DISTRIBUTED BY: TAG EXPECT TO PAY: $699 RECOMMENDED FOR: Audiophiles, vinyl junkies, lounge room lizards

RECOMMENDED FOR: Virtual

and augmented reality sorcerers, immersive audio addicts

FEATURES: Being a straight up no

FEATURES: The Panner Collection

There’s an integrated shock mount present here which reduces noise travelling through the mic stand, as well as a multi stage wind screen consisting of a nonwoven filter and foam mesh to tame plosives (think boomy p’s and b’s) from reaching your recording.

all microphone stands courtesy of the 5/8”-27 to 3/8”-16 threaded adapter.

Audio Technica AT LPW50PB

DISTRIBUTED BY: SOUND PARTICLES EXPECT TO PAY: $50

includes the Brightness Panner and Energy Panner, both plugins boasting seemingly endless possibilities in the immersive realms of audio production. The UI’s of each plugin are visually elegant and intuitive considering their algorithmic complexity. The top of the UI’s are identical with controls for specifying the start point, movement, mix knob (wet/dry), master gain control and output options ranging from stereo through to Ambisonics. The bottom of Energy Panner features parameters typically found on a compressor, ala threshold, ratio, attack/release, as well as an external sidechain, epic! The Brightness Panner allows panning control from brightness (of the source audio) pitch or MIDI notes. Both plugins feature invert and randomize buttons for quickly inverting the direction

interested in the above applications, it’s hard to look past the new AT2040 podcast microphone from Audio-Technica. It’s a dynamic, large diaphragm, end address microphone with a hypercardioid polar pattern, that comes housed in a sleek, all metal enclosure. It uses a professional grade XLR output and requires no phantom power to run on account of it being dynamic.

of the panning or for throwing some unpredictability into the processing. The pan and sliding modes control the panning going back and forth or moving forward respectively. OVERALL: What was incredibly complex processing and routing has literally shaved down to two plugins. The seamless processing of both plugins is actually insane, being able to throw sounds around the 3D soundfield with such ease and immediate visual feedback on the UI is something that all immersive audio wizards will enjoy. Either directly on sound sources or effects busses, both plugins give new possibilities of depth, dimension and movement unlike anything that’s come before them.

frills belt-driven player, users can enjoy simple, reliable operation with a 30mm MDF anti-resonance medium density fiberboard plinth finished in high-gloss piano black, which looks really gorgeous. This paired with the die-cast aluminum platter (with accompanying rubber mat) and straight carbon-fibre tonearm (boasting hydraulically damped lift control and lockable rest) keeps playback smooth and steady. As for the finer details, the AT LPW50PB sports a AT-HS4 universal ½”-mount headshell and AT-VM95E Dual Moving Magnet phono cartridge with a 0.3x0.7mm elliptical stylus made for razor sharp contact, and with the ATVM95E cartridge (compatible with any VM95 Series replacement stylus), it offers a massive range of options suitable for essentially any budget or application. Whilst some purists may snub at the in-built switchable phono preamplifier,

GIFT GUIDE 2021

this will be a welcomed feature for many who may not have a souped up amplifier with a variety of source input options. The dual RCA male to dual RCA male stereo cable rounds out the elegant simplicity of this turntable, which also comes with a 45 RPM adapter, rubber mat, and removable, hinged dust cover for options of how this player matches the aesthetic of the room it is placed in. OVERALL: Like all things Audio Technica, the AT LPW50PB turntable is meticulously engineered to deliver the smoothest, most reliable of 33-1/3 and 45 RPM wax playback. The phono preamp will be welcomed by those requiring the option of phono or line-level output options. An elegant option sure to find itself in many lounge rooms.

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PreSonus Revelator io24

Presonus Eris 3.5 studio monitors

DISTRIBUTED BY: LINK AUDIO EXPECT TO PAY: $299

DISTRIBUTED BY: LINK AUDIO EXPECT TO PAY: $229

RECOMMENDED FOR:

RECOMMENDED FOR: Content creators, home video producers, gamers, bedroom producers, compact monitor enthusiasts, casual listeners

Audiophiles, streamers, content creators, podcasters FEATURES: This two-channel

audio interface is pocket-sized and unassuming at first glance, but its intuitive and versatile processing gives you limitless possibilities for your recording and streaming ventures. The Revelator io24 can serve as a standard USB Audio interface for Mac and PC with a sleek, straightforward design, which provides superior, condensed functionality. With two dual combi XLR quarter-inch inputs, midi input and output, and multi-parameter controls with minimal buttons and knobs, it’s a no-brainer for content creators that require a seamless audio/streaming workspace on the go. It captures highly polished audio with its PreSonus XMAX-L mic preamps and superior onboard processing. It also features a simple looping mixer which lets you easily manoeuvre backing tracks into

that virtual co-write, zoom call or podcast recording. With two dedicated channels for loopback audio, it allows for simultaneous recording and streaming as you mix and record audio from two different applications. The Revelator 24 i/o also comes with PreSonus’ Studio One software, which has professionally-crafted presets, diverse plugins and a smooth drag-and-drop workflow. Overall: Let’s admit it - we’ve all said at one point in our lives that we’d like to start a podcast or stream our most intimate musical creation processes. As the first audio interface designed specifically for boh recording and streaming, the Revelator io24 enables seamless online collaborations for content creation - this makes it a one-of-a-kind gift that is going to make your hybrid audio engineering-gamerpodcaster pal froth.

AVID Pro Tools MTRX Studio

With its premium quality analogue inputs, outputs and mic pre’s, it features versatile and seamless connectivity, monitoring and routing functions between audio gear, Dante, MADI, AES3, Digilink and more. It expands the capabilities of your existing Pro Tools | HDX or HD Native system while enabling you to marry up other monitor interfaces and single-format I/O that take up precious real estate in your racks. The MTRX base unit has a modular design that allows for the configuration of all eight of its card slots, so you can link up whatever gear takes your fancy. Its innovative Digilink enables the attachment of up to 64 Pro Tools channels (with mixdownmag.com.au

The front panel presents the power button, as well as volume control, a 3.5mm aux input and headphone output for instant connection for headphones or playback devices. Balanced and unbalanced connections are found on the rear panel of the primary monitor (left), which consists of left/right

1/4” TRS balanced and left/right RCA unbalanced connections. Also on the rear are the acoustic tuning knobs for high and low frequencies, allowing a boost or cut of +6dB or -6dB respectively. Weighing in at a minimal 2.9kg for the pair, the Eris 3.5 monitors can be easily transported if required. OVERALL: Fitting for a wide variety of users, as well as practical and casual applications, the Presonus Eris 3.5 monitors get a big thumbs up, being some of the finest in their category, fitting up-and-coming producers, gamers, content creators alike, or simply placed next to the living room turntable for casual listening.

DISTRIBUTED BY: RØDE MICROPHONES | RRP: $130

RECOMMENDED FOR: Pro Studio types, multi-device overlords, fans of customisable workspaces

at the forefront of the pro audio industry, it’s no surprise that Avid’s Pro Tools MTRX is nothing short of a perfect all-in-one centrepiece for any working studio.

Active Media Reference Monitors bring a wealth of features into a compact design, producing a tight, accurate sound with intuitive control and connectivity, all in a humble sized footprint. Boasting 25-watts per monitor with a frequency response of 80Hz – 20kHz, they produce an impressive 100dB SPL (peak) at 1m, a respectable figure given their 3.5” woofer and 1” soft dome tweeter configuration.

RØDE Microphones RØDE AI-Micro Interface

DISTRIBUTED BY: INNOVATIVE MUSIC ENQUIRE FOR PRICING

FEATURES: Delivered by the folks

FEATURES: The PreSonus Eris 3.5

RECOMMENDED FOR: Nomadic broadcasters, Zoom frequenters, content creators

the option to have either one HDX 64 channels system, or to split and share audio between Pro Tools A and Pro Tools B). With built-in MADI, DigiLink and AES3 I/O, it also has two mini Digi-link ports, Dual 8-Ch AES/EBU, Pro | Mon 2 Eucon monitoring capabilities, and the DADman app for configuration and remote control from a Mac or PC.

FEATURES: The newly released AIMicro is a USB audio interface that boasts plug and play connectivity with Mac, Windows, iOS and Android devices. The interface can be used with the entire RØDE app suite including RØDE Connect, RØDE Central and RØDE Reporter and is compatible with any 3.5mm TRS or TRRS microphone (including their own VideoMics).

The Pro Tools MTRX will be a highly coveted gift option for any pro audio pals that crave the kind of versatility needed for a smooth, consolidated workflow when deep in the waters of their sonic temple. It is the sleekest of missing puzzle pieces, and a backbone of support when working with any ensemble of artists or audio gear.

It features an ultra-compact dual-channel audio interface for computers and mobile devices, high-quality headphone outputs for zero-latency audio monitoring and playback, and it connects seamlessly to computers, smartphones and tablets via the universal USB output (USB-A, USB-C and lightning cables supplied).

OVERALL: The perfect centre of operations for any functioning studio.

High-quality microphone preamps and high-resolution (24-bit/48kHz) recording ensure crystal-clear

GIFT GUIDE 2021

audio capture on any device, with a headphone output for echo-free audio monitoring and playback. Weighing less than 20 grams, the AI-Micro is extremely compact and lightweight. Just add two lavalier microphones and you have a complete, studio-quality recording setup that fits in your pocket. Perfect for interviewing in the field, on-the-go podcasting, and making video calls or live streaming at home. OVERALL: Whether you’re interviewing, podcasting, presenting, or live streaming, record incredible audio anywhere with the AI-Micro.

The compactness of the AI-Micro is a marvel for content creators on the go, as you can record audio to your mobile device from literally anywhere. Weighing less than 20g, you’ll barely notice it in your hand or travelling with you, which is a good thing.

RØDE Microphones RØDE Lavalier Mic II

Presonus M7 DISTRIBUTED BY: LINK AUDIO EXPECT TO PAY: $99

DISTRIBUTED BY: RØDE MICROPHONES | RRP: $149

RECOMMENDED FOR:

Vocalists, podcasters, High SPL enthuecialists

RECOMMENDED FOR: Content

creators, producers, and participants

FEATURES: When it comes to

FEATURES: RØDE’s lavalier

microphone has been updated with a stylish and sleeker lowprofile design and broadcastgrade quality audio and it’s certainly making waves in the Creator community. On top of being an awesome Lav mic for general use, the new Lav II pairs perfectly with their newly released AI-Micro interface as well as the Wireless GO system which makes it the ultimate companion for your content creation setup whether it is strictly audio or if it incorporates video. If it’s the latter, the low-profile design and ultra-compact mounting clip makes it incredibly discreet and easy to conceal in the frame, utilising state-of-theart capsule technology and a unique form factor, allowing it to sit flush against clothing and other mounting surfaces. Its flat cable ensures it’s neat and unobtrusive while it comes with a high-quality

pop filter and mini furry windshield for recording outdoors, the compact mounting clip (which includes easy cable management slots), and a set of coloured identification rings for keeping track of microphones in multi-mic setups. Its omnidirectional polar pattern picks up crystal-clear sound from all directions, meaning the Lavalier II is also very forgiving when it comes to placement, while featuring a 3.5mm locking connector for use with professional wireless microphone systems. OVERALL: The RØDE Lavalier Mic II is the ultimate addition to a content creators’ setup with its compatibility with the company’s AI-Micro interface and Wireless GO systems. Its affordability is perfect for those already in the scene or those wanting to try their hand in it.

Bose L1 Pro8

bang for buck, those seeking professional features that some of the industry’s microphone titans can’t match, need look no further than the Presonus M7 large diaphragm condenser. Featuring a 1” back electret capsule, uniform cardioid pickup pattern and high SPL handling of 134db SPL, this incredibly affordable condenser is suited for numerous recording applications. Feeling equally at home in front of any singer, podcaster or content creator, the M7 also excels at various instrumental tasks, from capturing guitars (both acoustically or amplified) through to snare drum and beyond. It’s broad frequency response of 20Hz - 18kHz makes for a wide, full spectrum capture and remains relatively flat in frequency response up until around 5kHz, where a gentle peak is present which rolls off around 13kHz. Its 75dB signal to noise ratio and equivalent noise level of 19dBA and -38dB

DISTRIBUTED BY: INNOVATIVE MUSIC | EXPECT TO PAY: $1,949

RECOMMENDED FOR: Singersongwriters, buskers, wedding bands, portable DJs

RECOMMENDED FOR: The primarily in-the-box DAW user who craves the tactility of multiple faders for mixing and automation tasks with lightning fast workflow.

FEATURES: When playing

OVERALL: Presonus’s M7 large diaphragm condenser brings robust design, high SPL handling and ultimate versatility into one affordable microphone. So what’s the catch? Other than clarity and warmth, nothing, that’s just the Presonus way. Packing a lot of features and ticking a lot of boxes it’s hard to think of a reason why one wouldn’t pick up an M7 for that special someone this Christmas.

Avid S1

DISTRIBUTED BY: BOSE EXPECT TO PAY: $1,969

smaller venues such as cafes and coffee shops, having a PA system that reinforces sound effectively without taking up valuable real estate is integral to any gigging singer-songwriter, busker or portable DJ. Throwing out a max SPL or 118dB SPL and a frequency response of 33Hz 18kHz, the L1 Pro8 immediately impresses. The ayout of the eight 2” speakers within the array is able to produce a 180-degree horizontal dispersion, which is really quite impressive, producing a wide dispersion pattern, ideal for smaller spaces. The unique 7” x 13” RackTrack driver keeps the low-end thumping, despite it being a much smaller footprint compared to traditional round driver designs. The three channel mixer sports 2-channels with XLR / 1/4“ combo connectors for mic, line or instrument input sources, with both channels able to provide phantom power if required, and the third channel

sensitivity figures place the M7 in a competitive spot when put up against other mics in its class, making it a worthy choice for a wide range of users and applications.

FEATURES: The Avid S1 brings a

featuring 1/8“ input, 1/4“ line input or Bluetooth connectivity. An XLR line level output is provided for system expansion and the system effectively packs down and weighs a manageable 17.4 kg. System EQ, ToneMatch presets and reverb are available for tweaking tones of connected sound sources, with more connectivity and control available via the RJ45 connector. OVERALL: If portability, full range sound, projection and connectivity are your thing the L1 Pro is sure to impress. Classic, elegant Bose design and feature set are all packed in here, aimed to meet the pro requirements of even the most demanding of singersongwriters, live performers and smaller venues alike.

sleek, elegant, and ergonomically designed compact control surface, boasting supreme build quality to be easily united into any DAW user’s setup. Featuring seamless control with instant physical and visual feedback, the S1 boasts eight hi-res motorised faders and rotary controls (assignable to control multiple parameters), OLED displays for instant visual feedback and matching colour coded button at the bottom of each fader to match track colours in sessions if so required. There’s dedicated buttons for EQ, dynamics and more for quick operation, assignment and control. Mute, solo and record enable buttons are above each fader allowing one to zip around any session without the need to jump for the mouse or keyboard.

GIFT GUIDE 2021

This not only frees users up to be more “hands on” with their mix, but alleviates getting bogged down with arduous click and drag tasks. Those wanting to setup with a tablet can take advantage of Avid’s Control app, taking the tactile nature of the S1 to new heights with even deeper integration and gorgeous visual feedback. OVERALL: A truly versatile compact control surface, the Avid S1 offers unparalleled hands on control over a DAW session (with particular attention to detail in ProTools), allowing users to utilise and customiSe the many physical elements of this professional control surface, enhancing workflow and speeding up hefty mix sessions.

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Scope Labs ‘The Periscope’

Smart Acoustic Transporta 10 V1

DISTRIBUTED BY: SCOPE LABS ENQUIRE FOR PRICING

DISTRIBUTED BY: AUSTRALIS MUSIC EXPECT TO PAY: $1,199

RECOMMENDED FOR: Tracking engineers, steampunks, fans of industrial drums.

RECOMMENDED FOR: Social butterflies, party starters, town criers

FEATURES: Looks aside, The

Periscope is an awesome and beautifully unorthodox microphone, perfect for running as an ambient drum mic, mono overhead, or room mic for live full band tracking or any other application requiring ample colour. Handcrafted in Finland and looking like something out of the Life Aquatic with Steve Zisssou, The Periscope is unlike any other microphone you’ve encountered before, both in aesthetics and in sonic charm. An omni condenser mic with a built-in compressor (and not the limp wristed kind), The Periscope is capable of pulling sounds in the open air that other microphones simply can’t. Whereas one might think that this may only be suitable in certain contexts, you’d be surprised how often it’s pumping, tweaked out capture is absolutely the perfect antidote for an anemic sounding track or source.

Perfect for providing glue over the kit or creating some rekt industrial vibes up close, The Periscope is sure to peak the interest of anyone with even a passing interest in electro-acoustics or sound design in the open air. It’s omni nature (and lack of proximity effect) and of course the aforementioned compressor also make it an awesome mic for ragged, close miked vocals, if that is your vibe. Already highly touted by a murderers row of recording royalty Butch Vig (Nirvana, Garbage, The Foo Fighters), The Chemical Brothers and Joe Barresi (Queens of the Stone Age, Tool, Kyuss), it’s one of the most interesting and exciting things happening in mic land at the moment. OVERALL: TURN DOWN FOR WHAT

AIAIAI TMA-2 Studio Headphones

FEATURES: Quite simply one of the finest portable PA’s out there at the moment, The 10” variant of Smart Acoustic’s highly acclaimed Transporta series is the perfect gift for the socially inclined.

With a frequency range of 60Hz – 20kHz, pushing out a more than respectable 118dB SPL, from its nimble 17.5kg footprint, the Transporta 10” is the perfect size for carting across parks and outdoor sporting events, with its inbuilt casters and its impressive throw capabilities and quality drivers providing enough coverage for most civilian parties. Of course, connectivity is plentiful on this forward thinking PA,with a balanced XLR/TRS combo jack, two 1/4” unbalanced TS jacks and another L/R unbalanced TS connection. Stereo 3.5mm input jack is also available, as well as USB (MP3) and Bluetooth connectivity, just in case you needed any more

DISTRIBUTED BY: AUSTRALIS MUSIC EXPECT TO PAY: $249

RECOMMENDED FOR: Studio stalwarts, DJ’s, Electronic Producers

RECOMMENDED FOR: Literally anyone interested in studio of any kind. This thing is sick.

companion, the TMA-2 boasts a slew of features to ensure the greatest quality and comfort for the long evenings on the tools. The over ear closed-back headphones contain a large 40mm driver perfect for capturing broader frequencies while also being loud enough for DJ’s to accurately hear their mixes. They’re lightweight and breathable for those long studio sessions, but it’s the bio-cellulose diaphragm that really sets these headphones apart. The bio-cellulose speaker diaphragm in S05 is made of a bacterial cellulose, an organic compound grown using certain types of bacteria. The biodegradable diaphragm differs from their stiff counterparts as it moves less like a piston and is less susceptible to flexing and harmonic distortion. In saying that,

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OVERALL: A thoroughly thought out, well designed all-in-one compact PA system, the Transporta 10 V1 is one of those products that you’ll have forever and will always find new ways for it to come in handy.

With the included wireless microphones for easy plug and play operation combined with its ability to power up via mains or the built-in batteries, it’s versatile enough for speeches and MC applications, while the audio quality is such that it makes for an awesome listening experience even just as the soundtrack to some social interaction.

Aston Microphones The Element Bundle

DISTRIBUTED BY: INNOVATIVE MUSIC EXPECT TO PAY: $279

FEATURES: The ultimate studio

input options for your park party. The standard reverb and two band EQ also allow for some sculpting and tasteful vibes in the music context - for anybody looking for some small scale reinforcement for voice or acoustic guitar.

it is stiffer and lighter than regular PET speaker units. These modular, professional grade headphones are designed to last featuring super soft and resilient Alcantara ear cushions which offer an unrivalled combination of sensory aesthetic and functional qualities. OVERALL: A match made in heaven for the studio head in your life, these over ear closed-back headphones have had equally as much care put into the audio quality as the extreme comfort, resulting in the perfect studiograde headphones.

If sustainable living is at the forefront of your product purchases as well, the 100 per cent carbon neutral Alcantara ear cup material is perfect for your environmentallyconscious choices.

FEATURES: The product of an industry-wide survey in which over four thousand producers, engineers, and musicians, gave their feedback after a series of blind tests, listening sessions and peer reviewed A/B shootouts with the very best of the competition, it was only after 18 months of critical listening tests, data collection, and voluntary feedback that the final design and voicing of the Element was settled upon. The result is one of the most forward thinking studio mics we’ve ever encountered here at Mixdown, irrespective of price point. It’s a microphone that couldn’t be better suited to the modern guerilla style of recording, with its novel RidyonTM capsule technology, intriguing powered moving coil topography and Robin Hood pricing.

With a maximum SPL rating of 132dB and an equivalent noise

GIFT GUIDE 2021

level of 3.8 dbA (A-weighted), the Element can handle both ultraloud and ultra-quiet recording scenarios without introducing noise or distortion. The Element’s unique topography, ability to tame harsh rooms, and flattering but detailed frequency response means that it is sure to go down as a highly influential, evolutionary cornerstone for years to come. OVERALL: The real MVP here is that awesome RidyonTM capsule and the extremely unique voicings that come with it. Both strangely familiar and yet at the same time, something completely new, it’s an awesome one to have in the inventory.

If you are someone who is at the point in their audio journey where they can hear differences in mic choice, you’ll get years of fun and use out of this guy.

Zoom PodTrak P4

Mackie CR3-XBT Multimedia Studio Monitors with Bluetooth

DISTRIBUTED BY: DYNAMIC MUSIC RRP: $449 RECOMMENDED FOR: Podcasters, mobile broadcasters, travelling musicians,

DISTRIBUTED BY: DYNAMIC MUSIC EXPECT TO PAY: $279

FEATURES: This compact and affordable number is capable of carrying your podcast to new heights with its mobile flexibility and professional audio quality.

Featuring four XLR inputs and four individual headphone outputs with individual volume control, gain control knobs, and mute buttons for each input, all in an extremely compact footprint. The P4 is also a two-in and 2-out audio interface, allowing you to record directly to your computer, Android or iOS device. Additionally you can stream your podcast. Accounting for mics of all denominations, there is phantom power for all XLR inputs, with all input sources having the ability to be recorded on separate tracks to give you that bit of freedom in post-production. If you can’t use your Zoom P4 in person and need to rely on the online Zoom call, you can connect your phone to the P4 with a TRRS

RECOMMENDED FOR: Content creators, home office types, those after a small scale monitoring solution. FEATURES: The Mackie CR3-XBT

cable (adapter may be required), or connect to your computer via USB. The P4’s built-in mix-minus feature means distracting echo and feedback will automatically be eliminated Additionally, you can trigger sound effects using four assignable sound pads with 11 preset sounds. You can export in 16-bit /44.1kHz audio WAV, as you record directly to SD, SDHC, and SDXC cards up to 512 GB. It boasts up to four hours of use with just two AA batteries or a USB power supply. OVERALL: The PodTrak P4 is your one-stop-shop to record your podcast whether your setup is stable or mobile, boasting all the features you need to tidy up your recording and editing process.

Multimedia Reference Monitors are the 3” variant of Mackie’s CR-X series. A small footprint offering for the Multimedia set, these monitors are perfect for everyday listening and budding Content Creators alike, finding their stride in various civilian applications, but with enough clarity anfd to make them a handy tool for any mix environment. The 3” driver is swift and nimble enough to provide ample transient response and speed for whatever small scale applications you require them for. This also has the added bonus of making them an awesome speaker for crossreferencing final mixes. Featuring a specially designed waveguide for clarity and proper dispersion of high-frequencies.

GIFT GUIDE 2021

The monitors feature an all-wood cabinet with a brushed-metal front panel, and a built-in Bluetooth receiver that enables wireless music streaming from your smartphone, tablet, or Bluetoothenabled computer. Consisting of one passive speaker and one powered speaker; the CR3-XBT’s connect to each other via the included speaker cable. Each monitor also features a customtuned rear port that works to smoothly extend the low end. OVERALL: The Mackie CR3-XBT gives you a pair of 3” Bluetoothenabled creative reference series monitors. Offering a compact yet effective solution for mixing, gaming, and casual listening. Powered by 50W of amplification driving 3” woofers and 0.75” tweeters; your CR3-XBT monitors will deliver adequate sound whether you’re creating content or just want high-quality audio.

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ADVICE COLUMNS

GUITAR

My solos don’t sound right – more.

Last time we talked about Diatonic chord progressions, these would only use chords from one key and technically you could use one scale to play over them. This can be handy for the less travelled improviser as it’s possibly less to think about. What happens when a non-diatonic chord pops up though? Well firstly you need to be able to identify the non-diatonic chords (which we could talk about for the next four columns! ha), but essentially if you’ve worked out the key (let’s assume G Major) and you know the theory behind it, the diatonic chords are G-Am-Bm-C-D-EmF#dim (or Gmaj7-Am7-Bm7Cmaj7-D7-Em7-F#m7b5 if you add the 7ths in). For those that are already lost just consider all of these diatonic, so if something appears in the song that isn’t from this list (F for example) you can consider it non-diatonic.

So, our chord progression is this (Figure A) but what notes/scale can I play that fits?

chord progression really helps to reference the changed note (F# to F natural).

The G Major scale (the key that we know the song is in) will work for the first three bars. To understand this a little further, all the notes from the G, D, and C Major chords (G-B-D, D-F#-A, and C-E-G) are found in the G Major scale. Some of those notes might sound more ‘correct’ over each chord but they do fit/come from the key of G Major. An F Major chord is F-A-C however, so the F natural doesn’t fit with the F# of the G Major scale (A and C are found in G Major though). Changing this one note (F# to F) makes the scale G-A-BC-D-E-F-G, which is G Mixolydian. Figure B shows a common fingering for this scale/mode. Try it for yourself and then try it over the F chord in the progression – how does it sound? Hearing it and plying it in the context of the

So to recap, play G major over the first 3 chords/bars but then play G Mixolydian (or just think of changing the F# to F nat) for the F chord in Bar 4. This group of notes (G-A-B-C-D-E-F) can be thought of as a few different scales – C Major if you start from the C note or F Lydian if you start from the F, I don’t want to get too deep into that for now though (more at a later date!). For now, you should have some tactics for getting around that pesky F chord when the G major scale doesn’t quite fit/ sound right.

A couple of further hints for those that are interested. With the diatonic chords above (G/D/C), play the notes of the G Major scale starting your phrase on the root note of the chord

as they change. This could give us something like the following (Figure C). In a sense, you are then actually playing different modes/ scales using this method and guaranteeing some chord tones. Playing/targeting/emphasising chord tones are a great way of outlining a particular chord as you are literally playing notes from the chord in your solo so they fit beautifully! Remember, ‘right’ is a subjective term in music as you might not always like what someone else does, and we can be biased by what we’re used to hearing even if it’s technically correct or not. However, a knowledge of theory can really help with the issue of ‘my solos don’t sound right’ and understanding why things sound like they do and the potentially better options to try. Have fun with it! BY NICK BROWN

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PAGE HEADER

FROM THE STUDIO, TO THE STREET, NO COMPROMISE.

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The new ATH-M50xBT2 harnesses the legendary M50x studio sound and adds updated features and functionality to set the new standard in wireless audio. For more information on the M-Series go to audio-technica.com.au

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BLACK 45

TUTORIAL

Ableton Live 11 Sound Design Tutorial

WITH GREG LONG

Without looking to start a DAW war, Ableton has some unique functionality, simply not possible in other DAWs. This tutorial leverages some of these features to create a unique routing and effects processing setup that will make it possible to add variations to short drum loops that sound like fills, without the need for more drum programming or loop splicing. The tutorial requires a basic understanding of the functionality of Ableton Live.

Greg Long is an audio educator at RMIT University and is one of Australia’s leading Ableton experts. To download Ableton head to www.ableton.com.

FIRST STEPS Grab a short drum loop and drag it into one of the clip slots in the Ableton session view. If you don’t have a loop at hand use CMD/ CTRL + F to enter the browser and search box. Once there, you can enter the text “Blueprint Kit 01 88 bpm” and drag that clip into a MIDI clip slot in ‘Session View’. Click the launch triangle to start the clip playing.

ROUTING Remember, Ableton only has two track types: Audio and MIDI. The Audio Tracks can also function as auxiliary busses and multiple channels can be routed to an audio track for group processing, automation, and printing stems. In this instance, however, we’re going to use Audio Track routing, for a technique known as “dummy clip” automation. The technique will allow control of effects using empty, or “dummy”, audio clips to fire automation commands. 46

The channel with drum loop should now be named “Blueprint Kit”. Reveal the I/O section in Live that sits above the track sends. This can be done using CMD/ CTRL + OPTION/ALT + i. Using CMD/CTRL + T, add a new audio track. Right click on the header of the track , select “Rename” and type in “FX Router”. Send the

output of the track with the drum loop to the new track named, “FX Router” by changing the dropdown beneath “Audio To”, at the bottom of this section to read, “FX Router”. (Figure 1). Look at the “Audio From” section of the new channel “FX Router” in the I/O section. In the “Audio

From” dropdown select the channel with the drum loop. (Figure 2) Assuming you renamed the channel that is playing the loop, it should read “Blueprint Kit” Lastly, set the monitor section to “In” (Figure 3).

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TUTORIAL With the routing setup complete, starting playback should allow us to hear the audio playing back from the drum loop via the “FX Router” track, and the fun can begin. Again, using the search function, CMD/CTRL + F, type “Beat Repeat” and drag the Ableton audio device onto the FX Router track. Beat Repeat is a unique Ableton device that chops audio into quantised chunks, based on the settings of the various parameters, and plays back the chunks in time with the set you are working on. It is great for adding

on the fly variations and fills to drum loops. (Going from the subtle to insane, Beat Repeat warrants a whole explainer in its own right!) For this example, just copy the following settings as a starting point but feel free to experiment once you have the basic setup working. Be sure to select insert mode, labelled “Ins” from the “Mix, Ins, Gate” buttons. This will put the Beat Repeat into “insert mode” and mute the original audio when the effect is active. (See image right). Experiment with the Grid parameter. Depending on the tempo 1/8 may work better than 1/16.

DUMMY CLIPS To create a dummy clip, record a 1 bar loop of audio into the first slot of the “FX Router” track by clicking the record enable button in session view, and hitting the record button in the corresponding clip slot. (As we have the monitor section set to “In”, the audio from the track will not be heard when the clip is launched).

Once recorded, right click on the clip and rename it “B-Repeat”. Double click this clip to reveal it in “Clip View”. Drag the gain parameter down to “-inf dB” so that no audio waveform is shown.

Now use SHIFT + TAB to switch from “Clip View” to “Device View”. Click on the “Repeat” parameter button and use SHIFT + TAB to jump back to Clip View. Assuming you are using Ableton 11, OPTION/ALT + 2 will reveal the Envelope Tab. (On 10 and below click the Show/Hide Envelope button at the bottom of the first Clip View column). The top two dropdown boxes, directly under the Envelopes text, should read “Beat Repeat” and “Repeat” (Figure 1). The Sample Editor to the right should show a single, unbroken red automation envelope. Double click the line and drag the automation breakpoint to the top of the Envelope Editor (Figure 2). When you click launch on the clip labelled “B Repeat”, the Beat Repeat jumps into action. Nice! To complete the technique, a bypass clip is required. Click on the clip labelled “B Repeat” to select it, then use CMD/CTRL + D to duplicate it. Rename the duplicated clip to “Bypass” and select the “Repeat” parameter again, by clicking it once in “Device View” and jump back to “Clip View” using SHIFT + TAB. In the envelopes section, if it’s not visible, use the technique described above, grab the break point and drag it down all the way to turn the “Repeat” parameter off.

“B Repeat” and “Bypass” clips will turn the Beat Repeat on and off by clicking the two clips. If you want to take it one step further, you can assign the clips to a keyboard command using CMD/CTRL + K. Try assigning the clips to the numbers “1” and “2” on the computer keyboard. You can now launch the clips using the keyboard! And yes, it is also possible to map them to a MIDI keyboard or controller.

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This technique can work with any Ableton audio device or VST and you can build up a whole column of dummy clips to provide variation to any source when playing live or producing. Filter sweeps, fade outs, and reverb washes can all be triggered using dummy clips, and multiple parameters and devices can be triggered from a single clip.

PRODUCT REVIEW / MI

FENDER

Acoustasonic Player Telecaster FENDER AUSTRALIA | RRP $2,199

The Fender Acoustasonics have managed to bridge the gap between acoustic and electric guitars, offering players a key into newly explored tone territory, and the new range of Ensenada-built Acoustasonics are no exception. Traditionally, Acoustasonics have been a super high-end, US-made guitar out of the Corona factory in California, but the new range of Acoustasonics in the Player Telecaster brings the tonebending, genre-transcending sounds to the market at a much more accessible price point. Straight out of the box, they feel, look, and sound very similar to US-made originals, and the deluxe padded gig bag ensures it arrives safely into your hot little hands. The body is mahogany, as is the bolt-on neck and it’s matched nicely with a rosewood fretboard. The body itself is a kind of pseudo-acoustic, not quite chambered solid-body, and not quite a full-blown acoustic either. The magic of the Acoustasonic is that it’s neither an electric or an acoustic guitar, but it’s also not simply a combination of both, but an entirely new amalgamation in and of itself. In the hands, the Acoustasonic Player Telecaster is very resonant and loud enough to be played acoustically, and sounds great even without delving into the N4 Magnetic pickup in the bridge position or saddle-positioned Piezo. Plugged in and amplified, the piezo is articulate and

controlled, much like you’d expect from an undersaddle pickup on a more conventional acoustic guitar. The N4 magnetic offers dark, woody overtones like an old jazz guitar or archtop. The blend of both? It’s really something else, much like the Acoustasonic itself, the blend of the N4 and piezo pickup is woody, mid-present but articulate, really pulling the best of both worlds into one tidy tone. The knobs allow control over a master volume and a blend, and a threeway switch to toggle between different combinations of both pickups. The knobs are well within reach while playing, and are made from wood that compliments the mahogany and, in this case, Fender’s classic Butterscotch Blonde finish. The body is about as deep as a standard Telecaster, and the rounded edges of the body allow it to sit comfortably against you. The shape and weight are comfortable like an electric and it isn’t as cumbersome as some larger-bodied dreadnoughts can be. The cutaway is comfy and again features a rounded edge, as well as the ever popular access heel that is becoming increasingly common across Fender’s newer ranges. The classic rectangular neck block is shaved away at the high E side, allowing players access the whole way up to the twenty-second fret and beyond if required. The Acoustasonic Player Telecaster is an electro-acoustic guitar with a 25.5 inch scale length, so most Fender fans will feel right at home.

The body and neck are both constructed of mahogany, the body topped with a Solid A Sitka Spruce top and Polyester Satin Matte with four different colours available – for now! The neck is a modern “Deep C”, and features a Rosewood fretboard and 22 narrow tall frets for a particularly ‘acoustic’ playability. There’s a Graph Tech TUSQ nut at one end and a Modern Asymmetrical bridge on the other, holding down tuning stability on the belly of the guitar. It comes strung with Fender 11s and the tuning machines are staggered Fender Standard Cast/ Sealed tuners. The sheer weight, or lack thereof, of the guitar itself will shock you every time, contrasted by the big, punchy tone that the pickups offer once plugged in. The mahogany of the body imparts a particularly pleasant tone across the whole instrument, doing away with the brittle brightness of alder or basswood, and the chambered design softens the muddy darkness of a big slab of mahogany into a perfectly balanced and entirely new guitar design. The Fender Acoustasonics have been turning heads for some time now, and I truly feel their impact might have been limited by the price point of the American Series, which has now branched into the Stratocaster and Jazzmaster. This isn’t to say that the Corona, California-made Acoustasonics aren’t worth it, because that couldn’t be further from the truth.

What it is to say though, is that the Acoustasonic Player series will put more of these guitars into the hands of players, creators, and artists. Somehow Fender have made an incredibly high quality instrument at a much more accessible price point, without compromising on much at all. The Ensenada-made Acoustasonic Player Telecaster is primarily constructed from mahogany and features a Solid A Sitka Spruce top to help absorb and amplify all the right frequencies, while the rosewood fretboard imparts its own warmth into the notes you’re weaving up and down the modern “Deep C” shaped neck. There’s subtle hints to both the acoustic and electric guitar worlds with the combination of the classic Telecaster body shape and narrow tall frets, and not to mention the piezo undersaddle pickup combined with a very Tele-like bridge pickup in the N4. What’s more, it comes with a Deluxe bag to store it away when not being played, which believe me, won’t be often. The Acoustasonic Player Telecaster is a glimpse into what’s to come in the future of guitars amongst an industry that is often focused on re-issues, clones, and emulation. Fender may very well be the only ones able to buck that trend because they’re the company everyone looks to for inspiration and innovation. BY LEWIS NOKE EDWARDS

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PRODUCT REVIEW / MI

EARTHQUAKER DEVICES

Hizumitas Fuzz/Sustainar YAMAHA MUSIC AUSTRALIA | EXPECT TO PAY $299

I don’t know about you but I love a pedal that doesn’t tell you what it’s for. Think about it: if you see a green overdrive pedal, a blue chorus, a purple flanger, you plug in to that pedal with certain expectations about the sound. It’s just built in to the way we assimilate information about our gloriously noisy calling. But … what’s a Hizumitas? Why are there Jackalopes on the graphic? What do controls labelled simply ‘V’,S’, and ‘T’ even mean when neither the pedal itself nor the packaging tell you what the pedal actually does?!? So, before even reading a single word about the EarthQuaker Devices Hizumitas, I turned every dial to 12 o’clock, plugged in, closed my eyes, and hit a note. Ooooh, so that’s what this pedal does. It slams you across the room like Marty Mc Friggin Fly. Let’s back up a bit. The Hizumitas was designed for Wata from the band Boris, and it actually has a bit of a pedigree. Its design is inspired by the sound of her Elk BM Sustainer, a Japanese version of the Big Muff. EarthQuaker designers got their paws on a whole bunch of such pedals to see what made them tick and what exactly Wata was responding to in those monstrously powerful

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overtones. Even that was not enough to nail the exact tonality, response, and frequencies, so Wata sent her pedal halfway around the world to be recreated. Now we have some context for those controls. ‘V’ is ‘Volume’ (okay, that one was pretty easy to figure out), which is at unity at around 9 o’clock, so anything beyond that is a volume boost. Good to know if you want to slam the input of a clean tube amp for even more saturation, or just to do boring stuff like set your lead volume. ’S’ is the ‘Saturation’ control, and because of the idiosyncrasies of the circuit, is extremely sensitive to adjustment. The ’T’ control is ‘Tone’, but in this case we’re not talking about a basic treble roll-off; turn it clockwise to boost the bass frequencies, or counterclockwise to boost the treble frequencies. Let’s get the other tech stuff out of the way before we talk more about the sound. The pedal uses a relay-based true bypass, meaning that while it is definitely true bypass, it does require power to pass signal. It uses a standard 9V DC power supply (no battery) and EarthQuaker recommends pedal-specific, transformerisolated wall-wart supplies or isolated-output supplies, warning against switching-type, daisy

chain, or non-pedal-specific power supplies because of the extra noise they can introduce (it’s also not designed to run at higher voltages so don’t even try, bucko, there’s enough gain in this thing already). Okay, so back to the whole Marty McFly thing. This pedal sounds huge. No really, it’s almost overwhelming how big your guitar will sound through this little stomper. The treble-enhancing side of the ‘T’ control can do the whole Iommi treble-booster sound (or at least a passable enough version of it that you’ll find yourself playing ‘The Wizard’ for a solid half an hour), with chewy pick attack and plenty of bark. Turn it more towards the centre and you’ll be rewarded with a mid-boosted voicing that works great with bass (and my Bass VI), especially for those who play very bass-led music. Turning the ‘T’ control to the low-end side can make your instrument sound stupidly fat, and the circuit is robust enough that frankly it doesn’t give a crap if you hit it with an active or passive pickup, a six, seven or eight-string, or a bass while you’re boosting that low end. It can handle it without a sweat. For this reason it’s also lots of fun to use as a recording preamp for distorted bass parts.

But those extremes, as fun as they are (and each could form the basis of a tone that could carry you through an entire set), the sound really comes alive at that ‘all on 12’ setting. We’re talking aggressive saturation yet smooth sustain. We’re talking midrange that punches through the mix and adds an almost ethereal, threedimensional, ‘different frequencies bouncing back at you from all points in the room’ kind of aura. We’re talking the kind of lead sound that draws attention to itself and inspires you to play more adventurously. The voicing of the fuzz itself is a great selling point for this pedal, but that unique tone control really caps it off, and there’s a world of variety between the pedal’s gain levels and the flexibility of the tone pot. And while it’s definitely going to be a hit with Boris fans, I’m kind of glad I didn’t know anything about this pedal’s background until after I’d played through it a bit, because while this might be Wata’s signature sound, it has the flexibility and uniqueness to be your signature sound too. BY PETER HODGSON

PRODUCT REVIEW / MI

HOTONE

Hotone Ampero II AMBER TECHNOLOGY | RRP: $949

The Ampero II Stomp by Hotone is an exciting new iteration of their much-loved amplifier modelling and effect processing pedal line, but it is so much more than just a simple update. Hotone have gone above and beyond this time around, curating an impressive array of tones and sounds that are both customisable and easy to tweak, resulting in one of the finest amp modelling experiences out there. Loaded with improved conversion technology such as the much lauded AD/DA from ESS Sabre Series which is a high-tech digital to analogue converter, and has up to 2048 IR sampling points - which is twice as many as the original Ampero. Not only this, but Hotone has collaborated with Celestion to provide 20 impulse responses that are tuned to a range of classics like the Blue, Anniversary, Creamback, and Vintage speakers. Encased in a compact, road-ready, light-weight aluminium chassis is a plethora of amp, cab, preamp, and pedal models. The Ampero II Stomp has 87 amps, 68 cabs, over 100 “legendary pedal models”, and more than 60 Hotone original effects, along with an 8 in 8 out USB audio interface. It has a max 127dB (DA) dynamic range, a new generation tri-core DSP platform as opposed to the earlier Dual DSP platform, 24v internal voltage, and a dual - rather than single effects chain with multiple serial and parallel signal routing support which blasts open the realms of opportunities to customise

a sound that goes beyond the expectations of digital emulation. It has 218 more effects types with a total of 460, 23 more amp models (total of 87), 68 cab models, and a whopping 50 third-party IR models - 30 more than previous models. Its looper function is now stereo 60 seconds with an undo/redo function, another very welcomed upgrade. It’s intended to be used in live settings though, so you can’t pre-record the loops then take them to a performance. However, the function in itself has a lot of really cool customisation options, for instance, you have the options for half-speed, reverse, easy loop-clearing, and you can set your record and loop levels. You can choose whether you want the loop to be pre-signal chain or post, and you can also select which signal chain. There’s a lot going on within this stomp box, yet it weighs 1050g, 358g lighter than the Ampero I. The omission of the expression pedal is an excellent change, giving pedalboard curators the freedom to place the Ampero II in more nooks and crannies than before with the dimensions 185mmx145mmx58mm. Not to worry though, you can still plug in your choice of expression pedal. By just selecting the control/ expression dialogue and ‘EXP settings’, you can calibrate the pedal and set the range through the Ampero II. The touch screen was an awesome inclusion and is incredibly easy to navigate which is something

that can’t always be said with Modelling pedals like this one. While the presets are awesome, the edit window is where all the fun happens. There, you can edit your tempo, volume output, signal path, edit any of the 12 customisable modules, and move it around in the signal chain by simply selecting and dragging. If you want to delete it, just click and drag into the bin. Truly, I cannot stress enough the ease of use-it’s off the charts. Simply click on a module to edit the pre-set, the parameters and such. A bar pops up from below to show you your options instead of having to dip in and out of screens. Its signal path options are a very notable feature with the choice of parallel, split to mix, A/B to Y, Y to A/B, and serial. Yes, a built-in A/B Y function for massive heavies! Parallel mode for two completely different signal chains so you get two in one, but also get some cool stereophonic effects! There’s not much Hotone hasn’t considered. The rotary encoder to the right of the screen doubles for easy selection on the fly and a lock button if you’re worried about fiddling with a touch screen in live situations! The footswitches are customisable and assigning their functions is as simple as the turn of a knob. The global EQ is applied to the output of the Ampero II. Again, another extremely user-friendly function that comes with a reset button if you’ve found your tweaks have gotten a little out of hand. As far as software goes, it is definitely worth mentioning the

improved editor software. Any one of its settings and parameters can be adjusted through this on your computer or laptop. This is definitely where you want to be for creating your presets especially, even though the touchscreen on the stomp is great, this is even better. For anyone considering moving to digital amp simulation but might be apprehensive, the Ampero II will have you wondering why you didn’t make the switch sooner. The consideration that has gone into this pedal is obvious, with organic playing qualities that really do influence your performance in terms of haptic feel. The speed of the processing, ease of navigation and quality of the audio engine all combine for an extremely intuitive and natural playing experience. The plethora of instrument, mic, and line level inputs, on board effects and awesome CDCM HD and F.I.R.E audio engine combine for a thoroughly enjoyable playing experience, in sound, setup and feel. This little Hotone Ampero II Stomp is a breath of fresh air with its user-friendly interface, array of sound combinations, hifi DAC, customisable mic position options for cab sims, compact size, and versatility. As far as its function as a digital amp emulation, with all the parameters you can tweak, it’ll be highly unlikely that you won’t find a tone you absolutely love. Kudos to Hotone, this one’s a ripper! BY BRIDGETTE BAINI

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PRODUCT REVIEW / MI

YAMAHA

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 Wireless also acts as a four input,

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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 is 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 pre-amp 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 are not on stage, the Line 6 can double as a USB recording interface for home. You can record through it, using world-class 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.

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 would 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 popular Relay G10TII wireless, with

PRODUCT REVIEW / MI

GRETSCH

G2622T-P90 Streamliner Centre Block Double-Cut FENDER AUSTRALIA | RRP: $1,349

Gretsch is a company known for big, resonant hollow body guitars. Their famed 6120 is as well known as the dreadnought or Les Paul, and is as synonymous with rock as any of the aforementioned shapes. A lesser known body shape is Gretsch’s double cut centre block guitars, namely the Broadkaster in their Pro Series range or its little sibling, the aptly named G2622T Centre Block Double-Cut in their Streamliner range. Marketed towards a larger audience at a more accessible price point, Gretsch’s Streamliner range features the same classic stylings, design, and intuitive features of their much, much more expensive Pro Series and Custom Shop creations. This Streamliner guitar specifically features a laminated mahogany body, thinner than the bigger 6120-style guitars, Gretsch’s new FideliSonic P90 pickups as well as a licensed Bigsby B70 vibrato. Gretsch’s take on the classic P90 is a warm and fat concoction of low mids and a clear high end, taking a more DynaSonic-style approach to the P90. While P90’s are generally approaching mud territory in the most glorious way, the FideliSonic offers the brittle high end that made the DynaSonic so famous for finger pickin’ and rockabilly slapback style playing. Their controlled sound is also further refined by the centre block running along the middle of this semi-hollow electric guitar.

A centre block is, as its name suggests, a block of wood that runs along the centre of an otherwise hollow body. Entirely acoustic and hollow body instruments alike have their advantages and a unique sound, but with a little gain they can feedback easily, as the sound bounces around inside the body and back into itself, causing feedback loops and unwanted noise. The centre block creates a break in the hollow body, offering two separate ‘wings’ of space inside the body, and prevents the sound from bouncing too much and progressively accumulating into feedback. Gretsch’s history of experimenting with bracing such as centre blocks has a long history of chasing the perfect balance of tone and resonance while combatting feedback with more modern gain and amplifiers. When you start to discuss bracing you hark right back to violins and string instruments, as well as the mandolins that Gretsch produced around the 1920s. These kinds of instruments often used parallel bracing, or sound post bracing, the latter of which was a simple wooden post that connected the front of the instrument to the back to support the string tension and bridge, while leaving the body as hollow as possible. With the introduction of modern guitar strings, tunings, and the Bigsby, Gretsch required a little more support when they branched out

into more modern electric guitars in the 50s and 60s. Trestle bracing was used from the late 50s into the early 60s, and utilised two bridge-shaped struts to support the neck and bridge of the guitar, before “ML” bracing was used to further eliminate feedback and retain the acoustic quality of these hollow body guitars. “ML” bracing is a hybrid combination of trestle and parallel bracing, featuring just one post beneath the bridge to support the strings and vibrato. The idea of a centre block was introduced around the same time, and further eliminated the feedback problems associated with hollow guitars and further pushed them into a more modern sound. This is where the design for the G2622T comes from; a modern player with the acoustic and resonant qualities that made the guitar what it is. It can handle modern amplification, pedals and gain without feeding back, and offers modern tones, sounds and playability without the risk of huge amounts of noise on stage or while recording. The body of the G2622T is laminated mahogany, and this particular model is finished in a retro ‘Brownstone’ stain that’s coupled with cream-coloured knobs and nickel hardware. The centre block is spruce and runs along the length of the body between the F-Holes. It has a 24.75-inch scale length, so most players will feel right at home,

and the neck is Gretsch’s classic “U” shape and a 12-inch fretboard radius. There are 22 frets in the laurel fretboard, a wood seen more and more commonly because of its similarity both aesthetically and physically to rosewood. The body is just 1.75 inches (44.45 mm) deep, and the curves of the body’s hips and slight arch sit nicely against a player’s body. The G2622T-P90 Streamliner Centre Block Double-Cut P90 is a classic guitar for all intents and purposes. Gretsch’s affinity for world-class hollow body guitars is untouchable, and even their most accessible and affordable ranges feature these classic designs and stylings. P90s are new territory for Gretsch, and the FideliSonic P90s are somehow both an instant classic and an entirely new sound. The decision to design a double-cut electric with a centre block brings another tool to the player and artist, providing a sound largely different to what competing brands are offering, but still a comfortable play that most guitarists will feel at home on. The Bigsby is classic Gretsch, as is the classic hardware with “radio arrow” knobs and the Brownstone stain, harkening the guitar back to its roots: jazz boxes and mandolins. The G2622T-P90 Streamliner is simultaneously a nod to Gretsch’s beginnings, as well as pushing the brand and guitar design forward. BY LEWIS NOKE EDWARDS

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PRODUCT REVIEW / MI

MUSIC MAN

Sterling Axis AX3FM Flame Maple w/ HH Pick Up Trans Gold Electric Guitar CMC MUSIC | EXPECT TO PAY: $999

The Music Man Sterling Axis AX3FM in a transparent gold flame maple top is a modern iteration of a historic staple. Likely named after the 3 Axis CNC machine used to recreate the asymmetric neck profile of Eddie Van Halen’s favourite Kramer, this model shares the iconic comfort and versatility found in high-end Music Man guitars. This includes the original one they made for the late great Eddie Van Halen himself. Unlike the Sterling Sub Series and more akin to the original licenced product (OLP), the Axis AX3FM has a matching headstock that has ‘sub series’ in a far smaller print right below ‘Sterling’, arguably making for a far classier aesthetic! At such an affordable price, this guitar is exceptionally sturdy and well-crafted, making it great value for money. It’s nice to see the gorgeous flame maple top back in production through a warm and vibrant transparent gold finish. The first thing that strikes you when you see the Sterling Axis is its beautiful appearance, fit, and finish. A noticeable extra attention to detail that highlights the nicely figured maple veneer, with a golden yellow finish that sits seamlessly atop its poplar body, tied together with a classy binding-like effect. It has a maple neck and fingerboard both with a mild matte finish, and a black gloss back. The AX3FM has a vintageinspired fulcrum tremolo bridge, a 5-way pickup selector, and what are described as HH pickups. I’m not sure what can be attributed to the mystique of these pickups mixdownmag.com.au

but they do sound great! When the top neck pick-ups are selected and the tone knob is rolled up through a clean setting, you get a not-too-bright, not-too-warm, but not cold, jangly tone. On just one neck pickup, you can get a really nice warm, mellow tone especially with the tone knob rolled back. The tone control reacts really nicely with these pickups. When all pickups are firing, what you get is a full, warm but clearcut voicing that sounds distinct and lovely. Select just one bridge pickup, and you can get a really nice jangle with slightly less presence but just as much bite as the neck. Finally, for both bridge pickups it’s the perfect amount of presence and bite to give a very full and supporting sound, perfect for rhythm playing. For my personal favourite application to the Sterling Axis, grit! It pairs perfectly with high gain amps. You can find a number of variations of full-bodied chords and seamless soloing thanks to its hard maple asymmetric neck. It’s more rounded where the bottom strings sit and thinner at the top. A perfect combination for a comfortable feel across an assortment of playing styles. Dare I say, the best of both worlds. Through a high gain amp and across all its pickup selections is where I think this guitar can really show off its versatility and nuance, but I was very impressed with its clean and crunchy sounds. The chords when on the bridge pickups are full-bodies, can even

be on the fuzzy side with the tone rolled down - which I certainly prefer, all while maintaining definition with its top strings. On just one bridge pickup it’s similar, but a little less all-encompassing which is perfect for creating dynamics in your playing. On all pickups, the beast is roaring! It’s hot, warm, punchy, a little fuzzy, and defined. With both neck pickups, I get reminded of an iconic, heavy rock sound. It has only one volume knob and one tone knob but fear not, the coilsplitting options really do offer a plethora of sounds and all can be tweaked to your preference. Its hard maple neck has a 5-bolt attachment which attributes to sustain and the scale length is a comfortable 25.5”, with a width that spans from 42mm to 57mm. Its 12” radius in combination with its asymmetric neck makes it great for playing chords and its 22 nickel, narrow frets of medium height allow for easy movement across the fingerboard. Just the right amount of gloss for smooth or shredding solos. Not to mention all the wails and dives you can do thanks to its fulcrum tremolo. The .009 - .042 strings work well, but depending on your style of playing, preference and tuning, I really do think it could sound even better with a slightly heavier gauge. In the meanwhile, I enjoyed all the expressions I could apply with the out-of-the-box setup. It has diecast tuning machines which are a solid staple, a single action truss rod, and minimal but

stylish black dot fret markers. Of course, tuning stability is reliant on the material of the nut, due to the inherent friction of the chosen material. The Sterling Axis AX3FM does sport a very sturdy yet plastic variation of a nut; however, this can easily be worked around and is a small concession for such a decently priced and well-made guitar! Overall, I was really pleased and impressed with this affordable, extremely well-built, and considerately designed Music Man Sterling Axis! I can always really appreciate when a guitar company makes the effort to really weigh up what needs to stay and what has to go in order to make quality more accessible and it seems Music Man Sterling have certainly achieved that here. It looks great, sounds great and is an all-rounder for playing. It definitely can inspire different voicings and styles of performance and writing simply from its many varying assets such as its asymmetrical neck and it’s 5-way toggle switch/ pickup options. If you’ve been eyeing off this range, this release is the one to pull the trigger on! BY BRIDGETTE BAINI

PRODUCT REVIEW / MI

FENDER

Tone Master Super Reverb FENDER AUSTRALIA | RRP: $2,099 Most upsides have a downside, a compromise or a fee. Tube amplifiers provide classic tones that are now not only nostalgic but so deeply ingrained in the sounds we seek that it’s difficult to use anything else. Even the most accurate, practical, and precise amplifier emulators are still in a constant pursuit of that ‘classic tube tone’. Where they struggle, however, is that they’re built and designed to emulate hundreds or thousands of amps, cabs, and effects, as well as the rooms you may want to play them in. Fender’s Tone Master series of amplifiers aim to emulate some of their most famous amplifiers, using monstrous processing power to focus on emulating one signal chain in exacting, unparalleled detail. Their most recent addition is the Tone Master Super Reverb, a 4x10” combo amplifier featuring dual ‘Normal’ inputs and dual ‘Vibrato’ inputs. The Tone Master Super Reverb is a combo amplifier featuring four 10” Jensen P10R speakers with Alnico magnets. It’s important to note that the speakers are 10”, so they don’t sound quite the same as a more standard 12” speaker. Smaller speakers roll off the low end in a subtle way, and these Jensens in particular really help the Super Reverb to sing. Originally an all-tube circuit, the Super Reverb was known for its guts and low-mid punch, and the 10” speakers prevent it from becoming overwhelming or muddy. The cabinet is covered in classic black textured vinyl, and the sparkling silver grille for those classic Fender looks. This combo amplifier as a whole weighs about 16kg, approximately half the weight of the original. Two channels are available, one with access to a dirtier signal and the other with reverb and tremolo available, meticulously tuned to be vintage-correct for this particular model of Super Reverb. Both effects can be pushed to their limits or subtly layered over your playing. As if the weight, price, and classic good looks weren’t enough, it’s important to remember that the Tone Master Super Reverb is solid-state so it can be played at a variety of volumes without sacrificing quality of tone, i.e. there’s no tubes that need to be pushed to their limits. On the back panel you have 54

access to a selectable ‘Output Power’ control, ranging from 0.5W (barely bedroom volume depending on how much you like your neighbours) all the way up to the full 45W, well and truly loud enough to gig. You can also run the amp silently, and record or monitor via the ‘Balanced Line Out’ with your choice of two cabinet simulations, or none at all if you want to use your own. There’s a handy ground lift and an XLR out to get the signal to where it goin’! Even compared to all-tube Fender amplifiers, the Tone Master Super Reverb really shines. While being a digital amplifier per se, the Super Reverb from the Tone Master series does away with all the digital distortion and fizz that digital amps can introduce, as well as giving the body, saturation and subtle attenuation that we love tube amps for. What’s more, carting the Tone Master Super Reverb is a breeze as there’s no actual tubes on board, so for all you who are committed to retaining that tube tone no matter the cost (sore arms pre-gig, regular maintenance and a few minutes of standby before you can start playing), the Tone Master series as a whole are for you. The

onboard vibrato and reverb can be as dreamy or as subtle as you like, thanks to Fender’s super powerful processors dedicated to precisely replicating the famed reverb that gives this amp its name. The reverb, an accurate convolution reverb of the original amp’s tank, can move from subtle stabs of space behind a note to wide, dreamy and wet reverb. Black panel Fender amps are some of the most sought after for their distinctly beefy, 60s rock sound. While earlier amps were designed with jangly rock ‘n’ roll guitar in mind, the growing hard rock and blues scenes screamed for something more. If the preamp circuit weren’t enough, four Jensen Alnico speakers push a huge, albeit controlled, amount of low mid energy out of the cabinet. The biggest compliment a solidstate amplifier can receive is how well it compares to its tube counterparts, and the technology Fender have harnessed, refined and utilised to make the Tone Master series what it is, is what really makes the difference. Accurately replicating the imperfections (that make them oh, so perfect) of reverb tanks

and tremolo units is no mean feat, as they’re effects that’ve shaped and influenced countless songs and tunes, Fender’s commitment to the cause, and the lengths they’ve gone to harness the sheer processing power is hard to believe, yet here we are discussing them because they’ve done it. The Fender Tone Master Super Reverb is half the weight and a fraction of the cost of an all-tube Super Reverb, with no sacrifice in quality or construction. The back panel debuts some super handy recording, monitoring, and power options for the modern player, while the front panel handles recreating the classic tones that’ll fool even the most discerning vintage spec-head. What’s more, there’s an entire range of Tone Masters to try, but not all are quite as good looking as the almighty Super Reverb, with four speakers packed behind that sparkling silver grille. BY LEWIS NOKE EDWARDS

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PRODUCT REVIEW / MI

MEINL

Meinl Classic Custom Dual Complete Cymbal Set ELECTRIC FACTORY | EXPECT TO PAY: ENQUIRE FOR PRICING

For those new to the drum world whether it’s in the physical, playing sense, or in the not so physical, recording acoustic drum kits sense, one of the steepest and most blatant learning curves of all is when you start to come to terms with the logistics of the drumset, and the justified expense of good quality drum equipment. Probably more so than any other instrument, the drum 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 close eye 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.

while also complementing the rest of the ensemble, a truly versatile set. While they are only a medium weight, they definitely pack a punch when you need them to.

This is where Meinl comes in with its versatile usage for those who are budget conscious.

First let’s talk about the Dual hi hats. These have a great washy, smooth, and dark sound to them and also feel amazing to play. In terms of size, 14’’ hi hats are the perfect size for all types of drummers whether you are a beginner, intermediate, or an expert. These hi hats don’t ring out too long when you hit them and would perfectly match the desired sound in all types of music that range from metal to R&B, with the hammered hats giving a dark but powerful feel to your playing. They have such a tight feel towards your playing and transitioning from an open to closed hi hat never sounded so trashy...but in a good way!

Meinl’s founder Ronald Meinl first started producing cymbals in his basement in 1951. He grew up an entrepreneur and always had a fine ear for high quality sounding instruments. Now having reached the third generation of family ownership and being a staple in the game, Meinl continues to make great sounding cymbals for all unique players. Meinl cymbals are coated with a thin layer of lacquer that is only 6-8 micrometers thick and are made in Germany with 100 per cent renewable energy, great for the environment for those who are more environmentally conscious. The Meinl Classic Custom, dual complete cymbal set comes with a 14’’ Dual hi hat, 16’’ Dual crash and a 20’’ Dual ride. The look of these cymbals have a cool, slick pattern that goes around the centre and you are definitely going to stand out playing them at a gig or in your studio session, they have a dark and powerful warmth to them. With reliability and durability in mind, they have a B12 bronze alloy for added warmth which is 88 per cent copper and 12 per cent tin. This adds that bit of flexibility to take charge in a track whether recorded or live,

Next up is the 16’’ Dual crash. This cymbal could cut through quite about anything (just don’t keep Jo Jones and Charlie Parker in the same room!). When you really lay into this cymbal, the tone is great and unique. Playing it soft also gives you a nice washy sound which can sound great in any circumstance. The response to the attack of this cymbal is loud, bold, and gives a dark punch without being so glossy or overwhelming. Meinl has come up with a cymbal that is super versatile to all types of playing techniques and genres of music.

Last but not least is the 20’’ Dual ride. The bell on this is brilliant in appearance, but more importantly in tone so it is sure to cut through any sound in the room. Crashing on this ride sounds and feels amazing as it lets off a huge, dark, and explosive sound. The ring on this is perfect and gives off a great washy feel as the hammered element to it definitely makes a difference. Playing the ride gives you the ability to take control as there’s such a great intensity when playing. The dual ride gives a very clean crisp tone and is great for crashing on. The Meinl classic custom dual pack is great for all types of drummers that are looking to get into drumming or even drummers that have more experience in drumming. These cymbals look very elegant and sophisticated but when hit, they let off a dark, warm, and powerful sound. Lathed and highly polished edges soften the feel and create a flash of clean, high frequencies to round out the sound. These cymbals can fit very well into your kit with just one cymbal or even using the whole dual classic custom range. Meinl have provided a pack of cymbals that come in great sizes for a really great price range so you will definitely stand out with these unique cymbals whether it be in your band or just jamming in your living room. BY DYLAN FOTI

PRODUCT REVIEW / MI

PIONEER DJ

XDJ RX3 JANDS | EXPECT TO PAY: $3,249

For those familiar with the RX3’s predecessor, the RX2, will immediately be comfortable with the size and format of the RX3, with a near identical chassis. However, the brushed metal decks contrasted with the jet black mixer section immediately stands out, looking slick and pro. Firstly, we have to talk about the most glaringly obvious, the newly designed 10.1” touch screen. Not only does the colour, depth, and dimension of the screen immediately impress, but how it sits at the top of the mixer commands attention and entices the users into getting hands on straight away. Diving into the menus and scrolling through playlists is an absolute breeze, with the clear layout and formatting taken directly from the CDJ3000, keeping things familiar to existing Pioneer DJ users. The screen is now able to show more information of each track, being able to display 12 tracks on screen, opposed to the previous 8 tracks on the RX2. With a deep and bold waveform display, the overview section of the screen is lush and packs in all the relevant track info one would expect to see, with the waveform displayed on the top of the screen showing the 3-band EQ waveform, also taken from the CDJ-3000. This can of course be changed back to the old school blue waveform or RGB setting if required. For those who have analysed a song with the phrase feature within rekordbox, will be able to have this info displayed on screen too. The overview part of the screen can also be used as a 56

needle search, which then displays on the waveform above, making searching through a track quick and concise. A standout new feature of the screen lies with the status or beat FX modes. When in status mode, the dedicated part of the screen corresponds to the selected performance pad modes (more on these shortly) and are conveniently displayed on screen, such as hot cues or beat jump divisions. Jumping across to beat FX mode is where things get particularly interesting. Scrolling through the beat effects within the mixer section and landing on a favoured effect, this can be tweaked and then saved to one of the four available banks on the left of the screen. In essence, this saves effects presets which can be accessed with a tap of a finger. This is worth its weight in gold when needing to apply favourite effects on the fly, perhaps in quick succession in a track, it’s pretty dope! Lastly, in beat FX mode, on the right side of the screen lies the X-pad, much like that of the DJM900’s, which feels great, is nice and responsive and conveniently located on the screen. Diving through playlists is lightning fast with a new playlist feature, ‘Playlist Banks’. This allows playlists to be saved into the four available banks and are able to be navigated between with speed and ease. This is super useful if scrolling through endless folders and playlists on a USB during a set isn’t your thing. Instead, you can quickly scroll, find your desired playlists,

save to an available bank/s and are then immediately accessible directly on the left of the screen. A tiny gripe with this feature is that the banks aren’t named after their corresponding playlists, so you either need to remember what playlist you put where or quickly select a bank to see what playlist it is. Four playlist banks are available for each of the two USB slots, but playlists from each USB slot can’t be moved over to the other USB bank. Again, a minor inconvenience but perhaps something that could be updated in the future. The freshly upgraded performance pads bring some tasty new features and functionality. Being slightly more protruded than previous iterations with bold coloured rims, the eight performance pads per channel each have an additional mode each, making an epic 16 modes per channel available. These modes include hot cue/gate cue, beat loop/beat loop 2 (triplets, odd time signatures), slip loop (traditional roll)/release FX (for additional builds and energy into sets, beat jump/beat jump 2. There’s heaps of performance options here, allowing for a tonne of creative ideas, builds, and transitions at the hit of a pad. Seeing a feature such as gate cue come into a Pioneer DJ product like the RX3 is a welcomed addition and one Serrato DJ Pro users or DJ’s who enjoy using performance pads to finger drum, will surely find this new feature most appealing.

The updated mixer section is comprehensive, concise and really nicely laid out. Within the headphone section is a dedicated cue button, allowing for auditioning of tracks within headphones super fast and easy. Other new and updated features in the mixer section include a handful of additional beat FX and two new sound colour FX, taken directly from the club-standard DJM-900NXS2 mixer. The metering displays look great and also and the overall layout is really easy to navigate. The brand new jog wheels have some flashy new features including in-built displays. The displays on each jog wheel can display custom images from tracks taken from the root directory of a connected USB stick, a nice feature allowing users to really make the XDJ-RX3 uniquely their own. The jog wheels themselves are beautifully smooth, elegant and are the same size as its predecessor, essentially being the same as those found in the DDJ800. As expected, the jog wheels are not mechanical like CDJ’s, but are rather capacitive controller jog wheels and can be adjusted between heavy and light weight and feel. Overall the XDJ-RX3 packs some serious punches and brings professional and classic Pioneer DJ class to one of the most highly anticipated DJ products of the last few years. BY ANDY LLOYD-RUSSELL

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PRODUCT REVIEW / MI

ALESIS

Alesis V49 MKII ELECTRIC FACTORY | RRP: $259

When shopping for a MIDI Controller, there is a significant step up in quality and cost between entry-level and professional-grade keyboards. Cheaper models either feel unsatisfactory or are dysfunctionally compact, while professional models can represent too great an investment for those testing the remote control waters. Enter the Alesis V49 MKII, sitting bang in the sweet spot for those wanting to balance performance and affordability with a controller that feels like a synthesiser. The V49 MKII has the in-demand features that producers and creators need from a USB MIDI keyboard. With a sleek, modern design consisting of rounded corners and a matte black finish, the V49 will look right at home in your studio. In a world of overstimulating, online-gamer connoting RGB lights, the minimalism of the ice blue and black colour scheme is refreshing. At 2.75 kilos, it is portable enough to take anywhere you’ll take your laptop, but built with a reassuring sturdiness that it can survive the inevitable bumps of regular transportation. A single USB cord both supplies power to the V49 and transmits MIDI information, saving clutter in your setup. There is even a Kensington Lock Detector for theft protection, in case you get rolled for your gear on the late-night tram home. The 49 keys have a decidedly springy and synth-like action to them. This is perfect for beginner

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to intermediate players that either don’t want to be intimidated by a highly sensitive piano action style controller or want something that feels closer to most synthesisers, as full-weighted actions are mostly reserved for flagship models and digital pianos. At 49 keys, you will need to use the handy octave buttons to open up the full range of your MIDI-controlled instruments, but most users will be happy to save the valuable desk real estate. The arpeggiator features six modes that play the notes in the corresponding orders: up, down, up/down inclusive of top/bottom notes, up/down excluding top/ bottom notes, the order you press the keys and random order. You can latch the arpeggiator, choose how many octaves it travels across, add swing, choose timing divisions, and clock it to an external source. There is plenty here to get you going, to inspire you to write melodies and build songs. There are four assignable knobs to control MIDI ‘Control Change’ messages, adding further tactile control over software or hardware electronic instruments, meaning you do not even have to take your hands off the unit. The velocity-sensitive pads also have a satisfying response, perfect for programming rhythm patterns. The pads are accompanied by ‘Note Repeat’ and ‘Full Level’ buttons, which will be familiar to anyone that’s previously used an MPC.

Speaking of MPCs, the V49 comes with the MPC Beats DAW software, meaning you can hit the ground running producing music with just the addition of a Mac or PC to connect it to. Seven MPC Beats Expansion Packs are included, covering a variety of genres providing you with a great starting point for creating music, ensuring all tastes are covered. The free V49 MKII Editor software covers controller settings such as velocity response for the keys and pads and the MIDI ‘Control Change’ settings for the four customisable knobs. The editor also features 60 free piano lessons from Melodics, which offer an intuitive way to learn or practise the piano at any stage in your playing career, especially if you are on the move. In use, the V49 was fun to use. In an age of ever-advancing complexity and having to learn brand-specific workflows the simplicity of the V49 was notable. Being class-compliant, there was no need to install drivers, one USB connection and my computer recognised the device. I could instantly play VSTs using the silky touch of the keybed. The free editor came in handy to assign the knobs to generic CCs that I could direct my VST to control filter cutoff and resonance, feedback, and envelope depth. The arpeggiator made writing techno basslines easy work and the pads were a treat to trigger samples. It

connected just as quickly to my MPC One where it could play the internal sounds with ease. The main change from the popular MKI model of the V49 is changing the layout to a more conventional one with the buttons, pads and knobs above the keys as opposed to next to it. This is undoubtedly more ergonomic and intuitive to use as it will avoid crossing hands over or adjusting your line of sight, but it does make the controller deeper in terms of its footprint. The MKI featured smaller pitch and modulation wheels which have been upgraded to full-sized on the MKII. Alesis have long represented reliable quality and performance at an appealing price and the V49 MKII typifies this. Its minimal design saves time reading the manual from front to back so you can focus on what matters; the music. A highly portable and robust design makes it a nobrainer for anyone looking for a solid 49-key MIDI controller at this price point. This versatile MIDI controller keyboard comes equipped with everything needed to take your ideas from concept to final production. The MKI has been a popular model and the MKII is sure to build on this success. BY DAN NICHOLLS

PRODUCT REVIEW / MI

MOD DEVICES

MOD Dwarf KOALA AUDIO | RRP: $799

MOD Devices are a reasonably new company on the stompbox scene. Their concept, however, is a forward-thinking and technologically advanced look into the future of sound and music gear. Where amp modellers have dipped their toe into the waters of storing settings in the cloud, and downloadable and exchangeable ‘rigs’, MOD Devices’ model is an open-source forum for plugin development and programming. With an ever-growing collection of effects, amps, and processing tools available, the MOD Dwarf brings this technology to the stage. Designed as a 3-switch stompbox unit that serves as a host for the hundreds of MOD plugins, as well as being open to third-party plugin developers. At a very high level, the MOD Dwarf is able to toggle between settings via ‘Banks’ that contain pedalboards, which then contain snapshots - all of which are storing your settings for different sounds, and are accessible via some tap dancing on the three main switches. The MOD Dwarf works standalone and straight out of the box, but also features USB connectivity for uploading, downloading, and tweaking effects on a computer. The concept of emulating amplifiers is not new, but MOD Dwarf have managed to create an ecosystem that supports both developers and players alike. They have a forum that’s

open to ideas, suggestions, and feedback, and in recent years have announced they have a dedicated team of developers implementing your changes! The MOD ecosystem, including the Dwarf, is not limited to just plugin switching. They can also be used to hit playback of a backing track, start sequencers or other similar, transport based functions. This means that regardless of what gear you may be upgrading, replacing or moving around to make space for the Dwarf, it can absolutely do everything those other pedals can - and more! Because of the flexible nature of the hardware itself, as well as MOD’s ever-growing, evolving, and expanding technology, the MOD Dwarf is more than just a guitar tone emulator. The MOD Dwarf can serve as the backbone of your tone, a controller for your live show, or a quick and easy way to lay down great sounding demos direct to your mixer or audio interface. The MOD Dwarf is a standalone audio processor designed for guitar and bass. It features two 1⁄4-inch instrument inputs, MIDI in and out, ethernet for their ‘Control Chain’ system/protocol, USB (your choice of USB A or USB B), two 1⁄4-inch instrument outputs as well as a headphone output. The Dwarf comes stocked with amps, cabinets and effects, and you can quickly begin using them to

shape tones and build snapshots for live shows. The ‘Snapshots’ change instantaneously while the pedalboards take a moment to load. The Dwarf is designed to be used like you would a pedalboard, switching effects on and off during songs, but pedalboards may be toggled between songs unless you can time your switching just right. What’s more, the MOD Dwarf is open to continuous improvements, updates, and changes that are available on the MOD Dwarf ecosystem. The MOD Dwarf can be integrated into an existing pedalboard, used as an entire rig, or anything in between. The dual lineouts can be routed direct to a DI Box or mixer and sent to FOH and monitors for a tidy stage setup. The controls will feel familiar to pedal users, as will the tones produced. While some digital amplifiers can sound tinny, thin or lifeless, the MOD Dwarf’s plugins retain the character of your sound while adding crunch, fuzz, delay or modulation where it’s needed. Amplifiers, effects, pedals, and MIDI switches are great, don’t get me wrong, but they can be a lot of stuff. The MOD Dwarf collates all of this stuff into one tidy pedal, and with the growing MOD Ecosystem, you can have even more gear without extra cabling, speaker cabinets, pedal boards or switchers on stage, in your backpack, or wired into

your studio. Amp emulators are great for demos, re-amping, and playing live, especially when it is all in the one unit without needing to upload and download patches across different systems. The Dwarf is small enough to fit on a pedalboard or be used as a standalone music maker onstage. There’s handy routing options for different types of time-based or modulating pedals, as well as stereo in and out for space and width. The plugins themselves respond in a super familiar way, so they can be integrated into signal chains with other pedals and amps if you’re so inclined. While the MOD Dwarf doesn’t mean you have to do away with all of your other gear, it’s difficult to justify lugging around anything more than this unit after some quick setup and a browse through the list of available sounds, effects, and uses for the pedal. As either a standalone pedal board or a sequencer, the MOD Dwarf is worth the price you’ll pay - but for both? Now that’s an easy decision. The beauty of the Dwarf is while there’s literally limitless possibilities, it allows you to quickly save and store effects so you can build your board and stick with it, gig after gig. BY LEWIS NOKE EDWARDS

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PRODUCT REVIEW / MI

ELECTRIC FACTORY

Numark MIXSTREAM PRO ELECTRIC FACTORY | EXPECT TO PAY: $1,199 The DJ controller space is booming right now, with beginner and experienced DJ’s alike being lured away from traditional decks and CDJ setups, in favour of the convenience, portability and simplicity these powerful USB devices afford. This makes a tonne of sense, especially when we take into account how far DJ controllers have come over the past few years, with touch screen beatmatching, built-in WiFi for song library access, and a vastly improved tactile experience becoming the norm. The new Mixstream Pro by Numark, is a perfect example of the state of the art, bearing all of the above, while also adding a bunch of input flexibility, elite processing power, and a featureset designed to make it the ultimate all-in-one standalone solution for the budding DJ. As one of the founding fathers of DJ specific equipment, Numark have forever etched their name in the culture with their storied history in turntables and Mixers and it is awesome to see how well they have navigated the gradual shift from traditional hardware, to the modern laptop inspired workflows. Notice that I said ‘laptop inspired’? That’s because the beauty of the Mixstream Pro is that its internet connectivity, deluxe, king-sized touch screen, and ease of navigation emancipate it from the laptop, making it one of the simplest setups out there for the budding DJ (and that’s before we even mention the built-in speakers for at home practice!). With a name like ‘Mixstream Pro’ you can probably guess exactly the kind of workflow this one is concerned with and suffice to say, it comes through in a big way in regards to streamability and library access. Featuring in-built WiFi and with easy onboard access to streaming service like TIDAL, Beatport LINK, Beatsource LINK, Soundcloud GO+, and your own personal Dropbox cloud, the Mixstream Pro is possibly the most flexible controller out there at the moment for streaming tracks directly from cloud or streaming services. The manner in which tracks are buffered into the internal memory

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serve as the perfect insurance policy for mixing in the heat of the moment. Of course, there are also USB and SD Card inputs for DJing with existing native music libraries, just in case you are sitting on some dope underground stuff. Only a DJ knows how stressful load times can be in a performance context and suffice to say the processing power on the Mixstream Pro is nothing short of impressive. Tracks buffer and load extremely quickly and this, coupled with the streamline nature of the menu navigation and track selection, really goes a long way to saving you valuable seconds in the lead up to a transition. Operating on the awesome Engine DJ OS, the Mixstream Pro takes full advantage of the ever-evolving embedded software platform, in turn resulting in an incredibly intuitive navigation and an elite system of organisation. Equipped with intuitive and familiar touch screen workflows, lightning fast library navigation and song loading, expanded connectivity, plus a multitude of other performance features, Engine DJ provides DJs with the tools they need at the creative level. To be perfectly honest, the wi-fi connectivity, navigation, and buffer speed alone would have been enough to impress me. What I wasn’t expecting was the quality of the tactile components and the smoothness and reactivity of the 6” scratch wheels and the naturality of the ‘Smart Scratch’ feature. Whether this

is a bi-product of the advanced processing power, the choice of components or any combination of both, I found this to be one of the most memorable and enjoyable hands-on controller experiences I’ve had in recent memory. The ‘platters’ on the Mixstream Pro themselves are a cut above, eschewing the lacklustre responsiveness of other lower spec controllers and providing an extremely satisfying tactile experience for anyone coming over from the world of ‘physical’ DJing. The same can be said for the faders, EQ section, and effects pots. All moving parts were sturdy, well indexed and above all else, just incredibly responsive. One particularly fun feature of the Mixstream Pro, is its ability to connect directly to the Philips Hue Smart Home. As someone not fully familiar with the Philips Hue Smart Home (I’m neither smart nor a home owner), I was actually quite blown away with the reality of what this meant in practice. After a bit of digging, it became apparent that the Mixstream Pro actually has the ability to integrate with the Philips Hue Smart Home software and hardware adapters, thus allowing house lights and dimmers to be controlled from within the actual DJ unit itself. Mind-blowing stuff!

from the console itself. With the summer coming, there is little doubt that this will come in handy, particularly for house parties. Given their prevalence in the performance space, we are at a point in the product’s evolution where today, there is a DJ controller to fit every lifestyle and to suit every occasion. For anybody looking for an all-inone solution for house parties and semi-regular gigging, the Numark Mixstream Pro is an awesome choice. The power of the processing, the onboard wi-fi capabilities and ease of navigation make it one of the most user friendly controllers out there. The quality of the user experience, especially in regards to the scratch wheels really takes it up a notch, with a responsiveness on par with some of the finest controllers of its type. Whether you are just starting to DJ, or an old vinylhead looking for an easy entry point into the world of all-in-one controllers, the Mixstream Pro is without question one of the funnest options out there. BY PABLO FRANCOIS

This visual functionality is only further expanded when you take into account the fact that the Mixstream Pro also features full DMX functionality, with the ability to arrange and trigger light shows

PRODUCT REVIEW / MI

FENDER

Fender Player Plus Nashville Telecaster FENDER AUSTRALIA | RRP: $2,049

Nashville, Tennessee is a place synonymous with Country music, and rest assured, there is no guitar more closely aligned with Nashville Country Music than the mighty Fender Telecaster (apologies to the Gretsch 6120 and Country Gentleman who are running a close 2nd and 3rd respectively). More than any other guitar, the Tele has established itself as one of the defining sounds of the genre - it’s instantly recognisable, cutting cry and expressive, downhome twang proving the perfect instrumental adornment to the kind of world class songwriting the area is known for. Knowing full well the special place that the Tele holds in Nashville lore, the brains at Fender have been trotting out Nashville Teles for a while now in various incarnations drawing inspiration from the kinds of tonal flexibility required by the in-demand session guitarists of the area, whose rigorous recording schedule requires extreme onboard flexibility, given the amount of work coming their way. This latest offering, the Player Plus Nashville Telecaster, looks to put this kind of Professional versatility in the hands of budding newcomers. The Player series is often seen as the entry point to the Fender brand, a thoughtfully spec’d, wellfinished, great-sounding way to get on the Fender train. The Player Plus series takes this a step further with new necks, new pickups, a series of eye-catching finishes and plenty of vibe. Take this Nashville

Tele for instance, from a distance it looks like a pretty traditional Tele with a Stratocaster single coil added to the middle position. But get a little closer and you’ll start to see just how fancy this little belter is.

Fender is particularly great at nailing those neck shapes and finishes that feel accessible to everyone, rather than doing something hyper-specific like, say, an Ibanez Wizard or a Wolfgang neck shape.

your rightful place in the mix. The ‘neck+middle’ setting is great for complex semi-dirty chords, while the ‘bridge+middle’ setting offers a super flexible clean sound that can stand on its own or maintain its identity when covered in effects.

Let’s get the materials out of the way first: this guitar is rocking an Alder body, a wood traditionally more associated with Stratocasters than Telecasters (which are perhaps most famous in their ash incarnation). But worldwide ash shortages mean we’re going to see less and less of this wood, unfortunately, and alder is a damn fine alternative, capable of warm midrange and complex overtones. The body is finished in gloss polyester, while the maple neck is finished in satin urethane that practically feels like oiled bare wood.

The electronics consist of a trio of Fender noiseless pickups specifically designed for this series: two Tele pickups and a Strat single, tied to a five-way pickup selector switch, a volume pot and a push-pull tone pot which engages the neck pickup in addition to the bridge pickup, giving you all the traditional Tele sounds as well as the more Stratinfluenced ones. It’s a very elegant, intuitive system, and the push-pull pot is easy to engage in the heat of battle.

Oh and distortion? Go nuts. There’s no buzz or hum here to hold you back, and there’s something super liberating about dialling in a superdistorted Telecaster tone with single coils and not having to deal with that cursed racket.

The bridge is a 6-saddle design with strings through the body and passes the strings over block steel saddles (which always remind me of the Strat Plus and Tele Plus of the late 80s and 90s). The tuning machines are deluxe cast/sealed locking units with short posts, perfectly designed to ensure a good break angle over the synthetic bone nut. The frets are medium-jumbo, there are 22 of them, and the fretboard radius is 12”, flatter than the 9.5” radius found on earlier Fender Mexico guitars (and much flatter than the vintage-correct 7.25” which can cause issues with bending, especially with vintage-correct thin frets). This is a guitar that is clearly made to be played, and

Sonically, this is your classic Tele, but without the buzz. It’s very bright-sounding, but not harsh and brittle. Think ‘LA in the 70s, Laurel Canyon, sunshine and tequila’, that heavenly almost pedal steellike bridge pickup lyricism that sounds extra evocative through a little reverb or vintage delay. Flip to the neck pickup and you’ll notice that unlike traditional Tele setups tend to be, the volume balance from pickup to pickup is dialled in perfectly, and the traditional Tele neck darkness has been reeled back to reveal a very detail-rich but still distinctively Telecaster neck tone. As for that middle single, it’s absolutely Strat City, and it combines with the other pickups in really interesting ways, dipping out the mids a little but not so much that you’ll lose

The neck is so comfortable that I swear I picked up a little more speed on this thing (that doesn’t mean I sounded more tasteful, ha!), but more importantly, after a good two-hour session getting lost in playing along to the radio, my hands felt as relaxed as they did before I started. The rolled fingerboard edges, thoughtful neck shape, easy radius and silky finish all play different roles in reducing the tensions that can build up in our hands on an unfriendly guitar neck. Is this the ultimate Tele? Well, maybe you’d prefer something more traditional, and Fender still makes plenty of those. But traditional Tales can be absolute bears to play, whereas this is a very ergonomic, comfortable guitar that practically plays itself, and it sounds like a Tele should, even when you blast it through levels of gain that would make Dimebag tremble. BY PETER HODGSON

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Distributed by Koala Audio

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PRODUCT REVIEW / AUDIO

PRO TOOLS

Carbon INNOVATIVE MUSIC | EXPECT TO PAY: $6,070

ProTools | Carbon is the newest incarnation of the ProTools line and a significant release for Avid. Within every significant product release there are usually a few key areas of focus that underpin a particular product and its intent, and it’s clear from the outset that Avid have officially declared war on recording latency (especially the kind that seems to rear its head with plugins enabled), making it of primary concern for ProTools | Carbon. Thanks to some clever use of hybrid architecture, Carbon is capable of achieving less than 1ms latency which is in itself a massive breakthrough, but it’s the way it is able to do this that is sure to have tongues wagging (and set the wheels in spin for a whole new subcategory of audio interfaces moving forward). By craftily offloading the demanding tasks to the DSP processors within the interface itself, while augmenting responsibility between your computer and interface for less CPU taxing applications, in turn translating to some of the most natural and pleasant performancebased monitoring out there. All without the need for delay compensation or time stretching after the fact. This is particularly handy when tracking drums or vocals, or any task requiring microphones to be placed in the open air without the aid of a dedicated control room or second engineer. From a performance standpoint, I found the Carbon to provide an incredibly intuitive and enjoyable monitoring experience, while keeping annoying distractions like monitoring flam or click offset to an absolute minimum.

mic, headphones, and hard drive completely independently of one another? What is time anyway? Who even am I? Philosophical crises aside, the ability to monitor faithfully in a near latency-free environment is a very big deal and as a feature, is something that the Carbon does better than practically any other interface out there at the moment. Another handy bonus of the Carbon’s unique setup is the ability to track with plugins engaged, without adding anything in the way of latency, giving you the added bonus of being able to place mics relative to how they interact with your effects (rather than placing these mics dry, and saving the processing for after the fact).

To be perfectly honest, it was borderline scary just how much of a tangible improvement the Carbon’s low latency properties had on my own playing and timekeeping abilities.

I found this reversal of workflow to be of particular use for auditioning potential mix ideas at the tracking stage, which in turn went a long way towards helping refine the complex relationship between mic placement, frequency response, and effect processor. I feel like my recordings on the Carbon were better as a result of this.

The ability to have latency down to a near unnoticeable level, not only meant better accuracy at the playing position, but it legitimately made me question why I hadn’t thought about a low latency interface earlier? After all, what is time if it’s hitting the

Boasting eight HDX DSP processors, the Carbon is part-way to being as powerful as a dedicated HDX Core card – but replacing the extensive HDX systems that you find in big budget studios is not the raison d’être of the Carbon,

rather it’s feel more like a holistic approach to bringing this kind of processing power (and the kind of performances it can yield) into the context of the home studio. Avid’s Carbon has well and truly cleared the hurdle of latency, allowing the relationship between performance and its commitment to the eternal to be symbiotic, instead of confusing and disheartening.

headphones to go round (or even worse, have had to use a crappy dongle type device) this is sure to bring a sigh of relief. Couple this with the carbons additional I/O options like ADAT and optical outputs and it definitely adds to this feeling of heightened scalability usually exclusively reserved for the world of high-end studio.

In no mood to cut corners, Avid has decked the Carbon out with top of the line hardware. The 1U rack design of the interface is another nod to the increasing sophistication of the home studio market and the eight preamps on hand are of excellent quality. The A/D conversion is stellar, bearing the same level of excellence we have come to expect from Avid’s premium product lines.

All in all, ProTools | Carbon is a triumphant return to the interface market for one of the true titans in the space. By focusing their attention on what they do best – refined workflow, high octane processing and seamless DAW integration – Avid have all but completely closed the gap between Pro and Prosumer with the Carbon, a product that is just as likely to find favour in the home as it is in the professional studio.

Of particular note is the quality of the direct inputs on the front of the interface. This is generally an area where many similarly priced interfaces fall short, but not the Carbon. With their switchable impedance and high quality circuitry, they are some of the best I’ve encountered on a stock interface, really bringing synths and DI’d bass to life. Another obvious and notable aspect of the Carbon is the presence of four headphone jacks. This might sound minor in essence, but to anyone who has ever struggled with having enough

Its use of hybrid processing and combination outboard/native DSP to eradicate many of the latency and performance issues that generally plague small scale recording is impressive to say the least and is sure to find ProTools | Carbon many fans from both ends of town. BY LIAM MCSHANE

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PRODUCT REVIEW / AUDIO

APOGEE DIGITAL

Apogee Duet 3 2x4 USB Audio Interface LINK AUDIO | RRP: $999

Apogee are market leaders in converting analogue signal to digital and back again. Their range of Apogee Duet, Ensemble, Element, and Symphony interfaces are not only used world wide, but they’re used by professionals and amateurs alike. They range from 2-input Duets to 32-inputs and outputs for larger analogue systems and studios. What they share, however, is Apogee’s forward-thinking and professional design, as well as features that make your workflow easy. They allow the work to continue and keep momentum flowing, and that’s the ideal function of interfaces or solely converters. The Apogee Duet 3 2x4 USB Audio Interface is Apogee’s latest offering, a 2-in, 4-out audio interface for Mac and Windows. Designed to be easy to use on the go, the Duet is a powerful interface to have handy for world-class playback as well as crystal-clear pre-amps and clear, accurate metering options. Apogee’s growing collection of products focused on a professional working environment speak volumes of their reliability, crystal-clear sound and company values, and the Apogee Duet 3 2x4 USB Audio Interface is a great entry into this world. It can be integrated into an existing set up or used as your only ticket from the analogue into the digital realm and back again.

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In use, the Apogee Duet 3 is up and running very, very quickly indeed and is literally plug and play. A lot of modern products claim to be plug and play, but usually take a little bit of work, such as plug, download, install, restart, then play. Audio playback from the Duet 3 is clear and full range, and the clear metering on the unit’s scratch-resistant screen is accurate and handy to help you keep incoming and outgoing levels under control. The pre-amps are transparent and honest sounding, designed for any colour, grit or noise to be added to a stellar signal after the fact rather than on the way in. For external pre-amp users, the breakout cable features line-in options. The headphone output is a 3.5mm connector, and again is crystal clear and very full range. All of these ins and outs are controlled by the large backlit knob which allows you to precisely set input gain, as well as speaker output (or any output!), and headphone level by softly depressing the knob to toggle between them. The Apogee Duet 3 interfaces with Apogee’s Control 2 software and allows you to use the onboard DSP processing/plugins while you record with little or no discernable latency. On paper, the Apogee Duet 3 is a USB interface with two inputs and four outputs via the handy

(included) breakout cable. The Duet 3 also features a travel case and USB cable to get you working immediately. It features onboard DSP processing to run Apogee’s Symphony ECS Channel Strip Hardware DSP FX plug-in (tuned by Bob Clearmountain, husband of Apogee’s CEO Betty Bennett and mix engineer for up-and-comers The Rolling Stones, Bon Jovi, and The Church). Available separately is the Duet Dock that serves as an I/O for mics and outputs as well as a little stand to angle the Duet 3 slightly for comfort. You can record at a maximum of 24-bit and 192kHz, and the unit is bus powered so there’s no need for unsightly power cables. Both preamps have independent phantom power, phase switch, and gain controls, but these can also be linked in the Control 2 software for stereo recording. It’s compatible with macOS and Windows 10, and features on board DSP processing for ultra low-latency recording. All in all, the Duet 3 takes everything we’ve loved about Apogee’s long line of stellar AD/ DA conversion and packages it into an even more usable package than the original Duet or Duet 2. It includes everything you need to get working, and even a handy travel case to keep your Duet 3 safe while travelling or on the road.

Apogee are professionals, and they make products for professionals, so they address the wants, needs, and requirements of professional sessions to make sure you’re ready to capture whatever an artist, be that clients or yourself, may be ready to put down. You can record at up to 192kHz and 24-bit, so high-fidelity recordings are not an issue, and you can monitor yourself with low latency, even when using some plugins. Unlike some smaller interfaces with coupled controls such as phase switch or phantom power, the Duet 3 features two completely independent preamps, controllable either from the unit’s sleek face or within Apogee’s Control 2 software. Apogee are an underdog of pro audio but they’re quietly found in an increasing number of top-tier studios for their unparalleled audio conversion. Some companies use glitz, glamour, marketing and crafty hardware ecosystems to lock in, while Apogee need only rely on their stellar products, their long history or professional-grade releases and the trust that working professionals put into them every day. Some equipment may fail, tubes may blow and drumsticks may clip microphones, but you can rest assured that if you own a Duet, it will not let you down. BY LEWIS NOKE EDWARDS

PRODUCT REVIEW / AUDIO

SONARWORKS

Sonarworks SoundID Reference FEDERAL AUDIO | EXPECT TO PAY: $499 Sonarworks’ latest offering, SoundID Reference, sees the industry leaders in reference software up the ante yet again, this time by way of integrating several features found in the brand’s personalised listening products and combining them with the unrivalled feature set of the industry-leading Reference series, achieving the most powerful Reference suite yet (and also bringing the gap between perfectly calibrated, acoustically treated studio space and budget headphone monitoring into as close a proximity as they have ever been). To cater to the highly personalised world of monitoring, Sonarworks have made SoundID Reference available in two separate versions, the first being for those using both headphones and speakers, with a second version available just for the standalone headphone users. The system itself is divided into three separate and distinct entities: the system-wide app known as ‘standalone’ mode, the plug-in version, which can be thrown on a master bus or insert chain, and a separate room calibration app, SoundID Reference Measure, which is ideal for calibrating speakers in the open air. As one would expect, open air calibration does require a reference mic of some kind, and Sonarworks’ own XREF20 microphone (which comes bundled with the full version) is as trustworthy and reliable as one is ever likely to encounter, particularly when used in conjunction with the company’s proprietary software. There’s about 15 minutes of setup time required all up for SoundID Reference to work its magic and collect enough information from your setup to find the appropriate EQ curve, but once that’s all sorted, it’s off to the races we go. After you’ve successfully calibrated your room, the standalone version will no doubt see the most action of the three aforementioned applications. The plugin version can be useful for cross checking at the end of a mix, but you really want to be mixing with SoundID reference from the start, and the Standalone app is definitely the best for that, with minimal latency and no chance of leaving it engaged on the master bus. 64

Using SoundID Reference in conjunction with an industry standard pair of monitoring headphones (like Beyerdynamic 770s or Audio-Technica AT50Xs), the difference is obvious and immediate, bringing problematic areas to the fore and providing an accurate indication of exactly what needs to be rectified. Whereas most home setups so often struggle to accurately replicate low frequency and lowmid information – often resulting in too much or not enough of either – Sonarworks’ SoundID Reference provides an instantly workable, transparent vantage point from which to mix from, not only providing accurate frequency information, but also excellent recoil and transient decay. The effect this instantly has on overall mix quality is nothing short of astonishing. I found that simply by integrating SoundID Reference into my standard mobile setup, I was able to locate and incrementally attenuate masking frequencies with a higher level of detail than ever before. Notoriously tricky tasks like finding the perfect amount of mid cut on a kick, or where to set the low-pass filter on a band-passed snare were made infinitely more manageable thanks to the SoundID software. When cross-checking previous mixes through the SoundID Reference software, broadband, overarching frequency issues, and buildup were made immediately obvious and once attenuated, maintained these changes across

multiple systems and listening environments. While the automatically generated frequency curves are worth their weight in gold, there is also the ability to tweak from within the app as well. The new ‘Target Mode’ in particular is a doozy of a feature, allowing users to choose between ‘Flat’, ‘’Custom’ and ‘Translation Check’ modes, in order to give as many cross-checking options as possible before printing your final mix. Within ‘Custom’ mode there are adjustable low and high shelves, adjustable EQ points and bell curve inputs to allow for maximum personalisation. While these can be handy for anybody with the specific game plan in mind, I found myself generally opting for the algorithmically generated curves. Using the ‘Translation Check’ features is amazing for checking how it’s going to sound in real world environments. You can emulate a bunch of classic devices including car stereos, phone speakers, TVs, and both in-ear and over-ear headphones. These provide an invaluable checklist for final mixdown and are alone worth the cost of entry. With speakers in the open air, it’s important to note that SoundID Reference cannot correct everything. When used on cheap speakers in a unworkable sounding room – like if you wanted to mix in a hall of mirrors for example, which nobody in their right mind would ever recommend – the amount of EQ correction required

for something like this would most likely create some subtle but audible distortion, as the speakers would be working overtime to reproduce and attenuate the extreme shortcomings of your room. This is why it’s recommended to first do some research on the space you’re using and treating existing standing waves and first reflection points with sound treatment before using this software. Just like anything to do with monitoring, a little bit of optimisation can go a long way to getting the most out of your chain, so for those using speakers, be sure to put a bit of time into setting up your listening environment and give SoundID Reference every opportunity to do its thing, unimpeded. Using SoundID Reference by Sonarworks will give any audio setup a leg up in terms of clarity and translation. The combination of rock solid room calibration, speaker/headphone emulation and flattening of the acoustic issues associated with on-ear and over-ear headphones is one of the quickest and simplest ways to level out the playing field, and for that, there is simply no better product on the market than Sonarworks and the the latest incarnation of SoundID Reference. It’s simply one of the defining studio technologies of the current era. BY SAM MCNIECE

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PRODUCT REVIEW / AUDIO

ASTON MICROPHONES

Aston Stealth AUSTRALIS MUSIC | RRP: $599 Aston Microphones have been a favourite around the Mixdown office for a while now and for good reason. As a brand, they seem to just have a knack for landing on something new, vital and tastefully priced every time they hit the drawing board, genuinely breaking new ground in a product category that is so often set in its ways. The Stealth bears all the signifiers of other Aston releases - the excellent R’n D and reliance on the Vox Populi that made the ‘Element’ such a fun and considered project from start to finish, the professional quality audio capture and egalitarian price point that made the ‘Origin’ one of the best life hacks in Pro Audio and the sheer curiosity and moxie that made the ‘Starlight’ such an exciting prospect from the get-go. This time around it’s the world of large diaphragm broadcast mics that are getting the Aston treatment and make no mistakes The Stealth more than delivers on the hype. This UK-made mic even snagged the coveted award for Best Microphone (Sound Reinforcement) at NAMM’s Technical Excellence Awards upon release last year and when you break it out in use, it is easy to understand why. The Stealth is a hefty broadcast style mic and at about 20cm long and weighing in at 700g, it requires a decent mic stand to keep it stable, but once attached to the custom fitted clip, it’s an absolute pleasure to use. While it is (at least in theory), a large diaphragm moving coil microphone in the broadcast tradition, it also introduces a whole host of new tech that separates it from practically everything else out there. Most obvious of these is the four switchable voices two vocal settings optimised for different vocal tones, a guitar setting which is equally suited to Spanish guitar, electric guitar cab and steel string acoustic, and a dark, vintage setting, reminiscent of classic ribbon mics. This latter replicates a much more colourful, harmonically rich sound with a high end roll off and generous lower-mid bump without being overbearing. This works best for a more vintage vocal and dark room sound on any instrument you

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need it for. The ‘G’ setting is a really usable and handy setting. It’s worth noting that these voice settings aren’t just EQ filters either, they’re intricate (one would assume passive) contour networks with their own pure signal paths, which really goes to show just how dedicated Aston are in their dedication at the electro-acoustic level, because it must not have been easy integrating this much tech under the hood. Thankfully though it’s in that forward thinking versatility that so much of the appeal of the Stealth lies. Whereas most mics in this category tend to be voice specific (occasionally finding their way onto other high SPL sources like kick and bass cab), the Stealth is so versatile that it can be both a first choice vocal mic and a first choice for critical instrument miking at the same time. How does it pull this off? Well like an electro-acoustic amphibian, the Stealth has the nifty ability of operating as both a passive and active mic, meaning you have varying choices in sensitivity and response, resulting in a whole manner of potential applications and sonic decisions at the mic end. In another major coup, the Stealth also features the world’s first built-in autodetect function

which senses the presence of 48V phantom power and will automatically switch the mic to active mode to utilise the onboard class A mic pre.

V2, the Stealth shines in the vocal department, with the latter even sharing similar qualities to the sound of a U-87, which really is the ultimate compliment.

This inbuilt Class-A gain stage is no shrinking violet either, being capable of boosting the signal by a whopping 50dB!

The microphone could be thrown up in front of any instrument or sound source and you’ll more than find a sound (or super interesting, left of centre vibe if that’s your thing). It’s one of those mics that just continually redefines its appropriateness.

With a maximum SPL of 140dB and a frequency response of 20Hz – 20kHz, and with passive and active sensitivity varying in accordance to what voice mode you’re using, it can go for quintessential ‘Fatten and Flatten’ broadcast vibes, to delicate open LDC capture on a whim, which truly is a feat. If you’re looking for one Aston microphone or any new microphone for that matter, the Stealth should be your next addition. It’s a great introduction to Aston’s products and values, while sporting an incredibly versatile list of uses (that only increases with a stereo pair!). The different voicings have their own purposes and uses, but this really shouldn’t hold you back either. The G voicing on acoustic guitars produces a crisp tone with plenty of definition, while the D mode delivers a mellow tone that’s great for twangy guitar amps. Whether you’re using V1 or

Such is the vision and versatility of the Stealth that I’ve made it this far into the review, without even mentioning the price point, which seems to be oddly weighted in favour of the consumer, especially for a mic with this much technical and creative upside. It’s truly hard to believe. An affordable, versatile, and essential addition to any intermediate producer or engineer’s arsenal of microphones. I also love that the Stealth produces a purple glow when you feed it phantom power – sometimes, it’s the little things that matter the most. BY PABLO FRANCOIS

PRODUCT REVIEW / AUDIO

SOUND PARTICLES

Sound Particles SOUND PARTICLES | ENQUIRE FOR PRICING With CGI animation, interactive VR/game design and fold-down 3D immersive sound going through something of a golden age at the moment, it should come as no surprise that we are seeing some incredible products popping up centred around this incredibly fertile growth area. On top of this, we are also seeing a lot in the way of cross-pollination between what has traditionally been quite diasporic disciplines. Music is being specifically recorded with immersive in mind, gaming soundtracks are becoming increasingly interactive, integrating various VR principles into their playback and end user experience, forever blurring the lines between soundtrack and gameplay, music, and storytelling devices. But of all these areas of growth and blue sky innovation, it is perhaps sound design or more specifically, sound design for the immersive environment that is providing the most exciting forum these days, especially for us engineers. At the forefront of this groundbreaking new tech is Portuguese developer Sound Particles and their awesome software of the same name. For those of you not familiar with visual effect terminology, ‘particle systems’ are a computer graphics technique first popularised in films like Star Trek II, but which have since evolved to encapsulate so much of what we see in CGI animation and visual effects, especially in regards to organic movement and the depiction of real world physics and cluster formations in the digital domain. If that sounds complex, it shouldn’t. Particle systems are found in almost every kind of CGI production, providing the heavy lifting on such ‘randomised’ earthly events like fire, meteor showers, falling rain, smoke, schools of fish, you name it. Sound Particles successfully translates these same visual workflows, taking them from their CGI homebase and transplanting them into the cutting-edge world of immersive 3D sound design and the results are simply out of this world. To put it bluntly, Sound Particles is an immersive audio software

quite unlike anything we’ve really encountered in the broader studio/audio space before. The GUI bears a passing resemblance to some other object-based immersive platforms but unlike these other immersive tools that primarily deal in 3D panning alone, the implementation of advanced particle systems in the audio domain means that Sound Particles can perform certain tasks that we just simply haven’t ever heard before. Granular delays endlessly dissipate and dissolve in the immersive soundfield, with a cool unpredictability and a lushness that is both evocative and extremely cinematic. Predetermined filter sweeps combine with some insane immersive panning and reverberation, serving as the perfect tool for world creation and atmospherics. It truly is something to witness and the possibilities are endless. For anybody working in the film industry, Sound Particles’ basic Doppler effect alone is worth the price of entry. Being such a commonly used effect in the post space, it’s clear that a lot of care has been taken to ensure that Sound Particles’ Doppler is one of, if not the best sounding in the industry and I personally think they have nailed it. It’s not just post-production types who can benefit from Sound Particles’ unique processing capabilities. Importing a simple stereo synth pad into the ‘Space Detuner’ template is a recipe for crazy textures and musical movement around the soundstage. The way in which modulations and short delays react with the chordal information and the kind of depth this is capable of producing is beyond remarkable, it’s literally something other wordly. In terms of standard workflow, the templates are definitely a handy and liberating starting point, especially for a sound design program with this much power at its disposal. Probably one of the biggest challenges with a product like Sound Particles is that for many people coming into it from a purely stereo background, it might take a bit of time to get your head around the smorgasbord

or creative tools on offer here, especially if you haven’t put that much thought into the possibilities of immersive or progressive sound design. It can be hard to even know where to start. Thankfully though, the ability to demo different working templates and hear the way the sound was being altered across multiple axes served as an awesome primer for what was to come in the main program.

The microphones play an important role in illustrating what could be a pretty complex visualisation otherwise. The minute you start thinking from the mic perspective, Sound Particles stops being at all daunting and starts really becoming a vehicle for creativity, as you plot your particles’ predetermined flight path, movement parameters and effects processing.

The visual monitoring found on Sound Particles is definitely an important factor in its ease of use, particularly in the way it depicts mics and particles in the immersive soundscape.

The audio engine and the sound quality of these rendered effects is undoubtedly pro quality, with an exceptionally guttural low end, perfect for the modern ‘depth charge’ school of post-production.

As anyone with any experience in foley or sound design in the open air will happily tell you, choices in microphone and their placement are absolutely crucial to proceedings in this kind of work and this same approach is accurately replicated in Sound Particles’ various mic options. With choices of omnidirectional, figureof-eight, cardioid, hypercardioid for mono mics, and mid/side, XY, Blumlein, AB, ORTF and Decca Tree options available, each providing their own nuanced approach to spacing in and around the sound field. There is plenty on offer here and it is certainly a powerful parameter with which to play with.

With so much innovation taking place in the gaming, CGI and immersive audio space it’s difficult to stand out, but what Sound Particles brings to the table is unlike anything else out there at the moment. Its unique approach to workflow and peerless audio engine combined with its ability to allow for endless experimentation and customisation makes it an incredibly powerful and forwardthinking tool for the modern sound designer. A prime example of a perfectly executed, great idea. BY ERIKA FEDELE

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PRODUCT REVIEW / AUDIO

BEYERDYNAMIC

beyerdynamic DT 700 and DT 900 Pro X Headphones SYNTEC | ENQUIRE FOR PRICING The DT 700 Pro X, is the closedback monitoring option and is everything that you have come to expect from beyerdynamic in regards to build quality, comfort, and performance but with some new practical additions that only broaden their appeal as a go-to, everyday headphone. Sonically, the DT 700 has all the famous midrange clarity and detailed separation that have made beyerdynamic such an ubiquitous presence in professional headphones, but with a newly extended LF response that really adds a sense of openness in the low end that differs from beyerdynamic’s previous closedback offerings. This refined voicing not only makes the DT 700 a more than adept monitoring headphone for standard tracking and mix work, but this ability to reproduce low frequencies also lends itself to a whole host of non-musical applications like SFX balancing and full frequency sound design, perfect for the kind of diverse program material encountered by the modern content creator. Other handy additions like the presence of a detachable cable and a reduced impedance, combined with their excellent isolation and comfort, make the DT 700 Pro X a great headphone for casual listening also, pairing well a whole host of handheld and tablet devices and providing hours of comfortable listening. With so many people mixing on headphones these days, it’s no surprise that there is also an openback offering in the Pro X range, in the form of the awesome new DT 900 Pro X. The breathability of the openbacked design not only drastically reduces any chance of listening fatigue, but the broader sound stage and naturalistic sonic reproduction make them absolutely ideal for tonal work and placing objects in the stereo field. On first listen, one thing that immediately jumps out is the impressive transient speed and reference quality of the DT 900’s output in relation to the time-domain. This speed of reproduction is present all the way through the low frequencies and from a mix perspective, is mixdownmag.com.au

worth its weight in gold, in terms of minimising masking effects and hangover frequencies. In musical applications especially, I found this to be particularly handy for surgical EQ and compression on sources like snare and bass guitar, where the DT 900’s proved a massive timesaver, allowing for confident and accurate-decision making without the hours of tweaking and mix revision. Just like the multi-faceted approach of the DT 700, in the case of the open back DT 900, the cross-over comes by way of their broad expanded soundstage and the way in which this translates into highly accurate immersive 3D; scary accurate ASMR playback and various other entertainment/ content creator/post applications. Now I’m not an electro-acoustic engineer by any stretch of the imagination, but I like to think I have enough experience in headphones to notice a good quality driver when I hear one, and the new German designed Stellar 45mm drivers found on the DT 900 are exactly that. Exuding quality at every turn, the reproduction these afforded was innately professional, with a crisp top end sheen, exquisitely accurate midrange, and ample bass that translates well between different playback devices. The diaphragm itself is comprised of three layers, an internal one for dampening, with two polymer

layers on either side. The polymer is a high-grade material called PEEK (Polyetheretherketone) that is commonly found in medical and aerodynamic applications, renowned for its stable performance across a wide range of temperatures and its resistance to chemicals and general wear. The build quality is what we’ve come to expect from beyerdynamic; solid and smooth. The detachable cable is a welcome upgrade from the fixed cable of the Pro range models (DT 990, DT 770 etc), and beyond the cable all components in the DT 900 Pro X’s are replaceable, ensuring long-term function. At 350 grams, they are reassuringly middle weight, which I found comfortable even during long use sessions. At 5.3N of headband pressure on both models, I found them to be comfortable enough straight out of the box, the disclaimer here being my skull is probably narrower than average (craniologists come at me). When compared to the DT 990’s (which are lauded for their comfort) which sit at 3.5N, they may be initially tighter than some people might be used to, I expect this would be eased once the break in period has subsided. The comfort of the whisper-soft velour pads (something that beyerdynamic is renowned for) and the replaceable nature of the components are bonuses on top of a great headphone experience.

Working with the DT 900’s, I was struck by the present bass and overall clarity. I worked on some troublesome mixes until they sounded balanced in headphones, before cross-referencing the finished mix with my monitors and was impressed with the results. Inside Premiere Pro, EQ’ing dialogue recordings and balancing music beds gleaned far greater results than I’ve found in recent times using exclusively headphones. When we’re talking about studio-grade open-backed headphones, usually you expect you’d need the accompanying hardware (an audio interface or a headphone amp) to make full use of their sound reproduction. The fact a laptop can drive the DT Pro X’s is one of the key selling points here, for me. All in all, both the DT 900 and the DT 700, despite bringing very different strengths to the table, are both a delight to use. They inspire confidence in the audio reproduction you’re perceiving, while also being extremely fun headphones to enjoy recreationally after the work has been turned in and it’s time to relax. Regardless of whether you are creating the content or consuming it, the new Pro X line from beyerdynamic seamlessly floats between the two, hitting the proverbial bullseye throughout. BY DAN NICHOLLS

PRODUCT REVIEW / AUDIO

TULA MICROPHONES

Tula USB Microphone STUDIO CONNECTIONS | EXPECT TO PAY: RRP: $375

The Tula USB microphone is the semi-new kid on the block that drifts confidently between the pro and domestic sides of the road. Since its release in late 2020 it has been making waves as a decent portable USB microphone that’s excellent for high quality podcasting, music demos, content creation, and conferencing. With a fun, sophisticated design and hardware, it’s a step up from the other usual portable USB microphones with a range of features such as noise cancellation, onboard storage, two microphone capsules, and more. It has the option of being either a USB mic or a standalone mobile recorder with 8GB of memory (up to 12 hours). It’s also cute, slick, and eye-catching, which adds to its character as a potential everyday companion. While it wouldn’t be the first choice for industry standard studio productions, it’s definitely a superior pocket knife at $199 for any content maker that requires both quality and flexibility in their workflow. The Tula mic is the flagship product of Tula Microphones, founded by David Brown of Soyuz Sounds. Boasting the high-end boutique functionality of Soyuz microphones, the Tula mic itself is the fruit of Russian engineering and Western manufacturing prowess. With Burr-brown op amps and a TI audio codec, it has a frequency response of 50Hz - 20kHz and records WAV format at 16bit 48kHz quality. Its uni and omnidirectional noise capsules make it versatile for use on singular sound sources (podcasting, conferences, studio settings) or the whole environment (band rehearsals, atmos recording, interviewing). Real-time monitoring is enabled via the 3.5mm headphones jack on the side of the capsule, which conveniently doubles up as a lavalier mic input. When it comes to audio quality, the Tula has an impressive sound with a fairly level midrange, satisfying low end without being ‘boomy’ and an open top-end without being too harsh. If you play it to its strengths the Tula sounds especially good when closemiking in cardioid mode. Here is where you get the most richness out of it, but it may require a pop

filter if you’re recording your vocals anywhere closer than four inches to the grille. The omni mode is decent but it doesn’t capture as much body, however it does allow you to move around the mic flexibly when using it to record interviews or a live band rehearsal. One of the Tula’s best features is its active noise cancellation using the revolutionary Brusfri algorithm from Swedish software company Klevgrand. This comes in handy to block out location noise spill when recording out and about, though it’s best suited to blocking out air conditioners in enclosed environments. This, it does incredibly well, leaving the main sound source uncoloured and isolated, even when the aircon is relatively noisy and under half a metre from the mic. When the Tula records with noise cancellation, it also automatically saves a version of the file without noise cancellation. This comes in handy if you want the choice between both versions in post production, but it will inevitably chew up more memory as you’re recording. However, its built-in USB-C port allows for quick data offloading to your mac or PC, so when the 8GB of memory fills up it’s easy to free it up again. When you first pick up the Tula mic you instantly get the feel of

its neat, ergonomic usability. It’s a neat little piece of hardware that is compact and handsome in design, fitting snugly in the palm of your hand at 185g. With a USB-C port on the back, a 3.5mm jack and 13 buttons, the capsule manages to pack a lot in a small amount of real estate. Its subtly backlit buttons utilise the side panels, evenly spaced along the smooth, solid silicone. The buttons give it a look and feel that references other portable bluetooth speakers, which is a nice touch to imply its everyday use as a portable recording device. It also has a USB-C rechargeable internal 3.7 V 700 mAh lithium ion battery for standalone use. The desktop stand is designed to fit snugly against the capsule, folding out easily to make a slanted ‘L’ to stand on any flat surface. The stand is also detachable, meaning you can make the quick switcheroo to a boom stand in the studio using the included adapter piece. Its aesthetics are spunky and modern with its stamped steel, silicone, nickel-plated zinc and plastic parts, built for easy repair and end-of-life recycling. It’s also reminiscent of days bygone, with a soft-curved, flattened cylindrical grille, logo-embossed detailing and sturdy-ish build. The matte bronze-rose coloured zinc

plating adds a bit of class with the vintage colour selections of cream, red, black, and seafoam. If you whipped this one out at a Zoom meeting or writing session on the go, it would give the impression of a fun, stylish and intelligent little recorder. They advertise easy repairability with recyclable parts at the end of the microphone’s lifetime. Taking a step towards more environmentally-friendly measures does make them a smarter business to align yourself with. All in all, the Tula mic takes an unassuming but solid position in the writing studio, office, or backpack of any content creator, due to its quality and portability. Considering how compact it is, this microphone feels like it’s dipping its toes into many different realms of usability and functionality. This means it’s perfect for people that work and play in that murky in-between. Though it may not have as much recognition in the field, nor attention to detail as other premium industry standard mics, the Tula is a worthy solution for people that just need a little bit of both worlds. BY ROWENA WISE

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PRODUCT REVIEW / AUDIO

BEYERDYNAMIC

beyerdynamic M 70 and M 90 Pro X Microphones SYNTEC | ENQUIRE FOR PRICING When beyerdynamic announced the release of their highly anticipated Pro X line of headphones and microphones, it was significant for a number of reasons. Given the brand’s rock-solid reputation as purveyors of all things transducer in the professional space from their much loved, highly touted instrument and live mics, to their era-defining popularity in the broader headphone market, few manufacturers were as well poised to enter the comparatively consumer-driven world of content creation, with both their integrity and professional legacy in tact. The new beyerdynamic Pro X series has been designed from the ground up, and the result is some of the most versatile and malleable products around in terms of intended application and ease of use. While the Pro X Series 900 and 700 model headphones offer clean monitoring at both the tracking and mix stage (as well as being a more than adept everyday listening headphone), the M 90 Pro X and M 70 Pro X microphones are for capturing natural, detailed audio for creators of all disciplines. Much like the yin-yang approach of the open and closed profiles of the headphones, the Pro X Series microphones offer two mics that contrast each other in functional design whilst sharing the same familiar aesthetic that typifies the Pro X Series. Both mics feature high-quality aluminium in a sleek, minimal matte black case that oozes class and professionalism. A durable steel mesh grille offers protection for the internal components and much like the headphones in the series, the microphones are comprised of replaceable elements, allowing for ecologically conscious performance for years to come. At just 296 grams for the M 90 and just 320 grams for the M 70, they inspire confidence without introducing the issue of dreaded microphone stand droop. Both mics come with a pop filter to reduce sharp plosives and an elastic suspension microphone holder to actively minimise unwanted noise from physical movement and mechanical

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vibration. Pair one of these mics with either of the headphones from the Pro X Series, grab a microphone stand and an audio interface and you’re in production. The M 70 is a dynamic, speech-optimised mic aimed at podcasters, streamers and those creating content on the go. The M 70 features a cardioid pickup pattern to record assertive, intelligible sound even in challenging recording environments and maintains consistent clarity across a wide range of performance distances thanks to a finely tuned proximity effect. It’s ready for capturing the full gamut of speakers in this diverse age of content production. The frequency response captures audio from 25Hz (when closemiked versus 40Hz when miked at one metre) up to 18kHz, with slight peaks at 4kHz and 8kHz to accentuate vocal clarity and detail. In use, we found the M 70 excelled at recording clean, present speech in a home studio, with awesome off-axis rejections properties that make it an excellent choice for anyone operating in a less-thanideal recording environment. Its lightweight, front address design makes it an awesome plug and play option for mobile recording applications, allowing you to use it where it suits you most, as opposed to having to build your ergonomics around your microphone’s limitations. The fact it eliminates so much of the ambient room noise champions its use for streamers

and vloggers looking to keep the vocals hi-fi and detailed without capturing unwanted keyboard and movement noise or podcasters that have an exaggerated, tactile performance style, such as comedians. The M 90 is a condenser mic created for capturing the subtle details of vocal performance or delicate instrumentation capturing audio from 20Hz up to 20kHz. With a 34mm true condenser capsule and low signal-tonoise ratio, it shines in studio applications where precise and intimate recordings are the goal, or for voice-over artists seeking a solution to showcase the rich presence of a vocal performance in treated spaces. The minimal design doesn’t feature a high pass filter or pad, focusing on capturing a full spectrum recording and leaving the acoustic shaping to other studio equipment. Trialing the M 90 in the studio produced a naturalistic, open capture-perfect for offering maximum flexibility at mix. The vocals captured were clean and accurate, allowing the finishing touches such as accentuating breathiness or building mid to low warmth to be done at other stages of the signal chain. A little adjustment to the signal went a long way, leaving the distinct impression there was a lot of detail to work with. Close-miking had an intimate and almost cinematic quality, highlighting its suitability for voiceover work and without having a cello on hand to test its

use for stringed instruments, its sensitivity inspires confidence in a wide variety of instrument recording applications. As their names suggest, both mics sit firmly in the professional use category, whilst their affordability dictates they hit a significant sweet spot for content producers looking to level up from the more entry-level options out there. Both mics punched well above their weight performance wise, providing low noise, professional quality capture that excelled in civilian style recording setups. The M 70 in particular had a pleasantly simplistic functionality, with it’s awesome tolerance of plosives and tendency to minimise diaphragm distortion, while the M 90 had that precisely accurate, top end sheen that you tend to only hear in gear of a certain price point (to which the M 90 still comes in considerably cheaper than), making it an extremely good investment, particularly for vocal applications. In summary, the Pro X Series continues to impress, offering flexible recording tools for a myriad of modern content creator and musical workflows, as well as providing an optimal balance between investment and performance. Expect to see the beyerdynamic M Pro X microphones pop up as staples in both home and professional studios soon. BY DAN NICHOLLS

PRODUCT REVIEW / AUDIO

MASTER TONES

Stage Package Plugin Suite MASTER TONES | ENQUIRE FOR PRICING The art of spatial placement is one of the hardest skills to master for the budding mix engineer, and is one of the marks of a true professional. As important as compression and equalisation are to the playback quality of your track, the ability to manipulate the stereo field is a crucial tool in solving the threedimensional audio puzzle that is a well-mixed song. Master Tones are a relatively new face in the plugin market, but are already carving out an identity of their own for developing forwardthinking, user-friendly plugins, with a particular focus on thickening, saturation, and front to back/ spatial processing. The new ‘Stage Package’ bundle comprises two of the brand’s flagship plugins, the ‘Deepener’ and the ‘Widener’. The Widener is a no frills affair, offering a width adjustment control, an EQ section to control what frequencies are affected by the widening, and input and output gain controls. The Widener seeks to do one thing and one thing extremely well; to offer stereo width control without the nasty artefacts and hollow artificialness that are so commonly associated with widening plugins. Master Tones have achieved this with their innovative Ariosa software, which uses machine learning in combination with AI to model an organic sounding width control. Master Tones haven’t given away too many details about how this works, but I assume that the Ariosa technology uses machine learning to smooth over the widening artefacts in a similar way to how image upscaling AI works. Speculation aside, The Widener does an awesome job of widening a host of source material. The Widener’s ability to pave the cracks of audio artefacts gives it the ability to add significantly more stereo width than you might ordinarily achieve with a widening plugin. This gives it the ability to add even more width to a song already mixed in stereo, offering unique applications in sound design and post-production, such as widening background music underneath dialogue for a more immersive sound with the comfort of knowing that the audio will fold down to one channel on mono

sources without compromising the overall mix. Input and output gain can be controlled using the faders in the gain section - you can even get a taste of the analogue saturation modelling featured in Master Tones’ British Kolorizer (released earlier this year) by turning the input gain down and driving the output gain to taste. The Deepener works in a more subtle manner, with its purpose being to change the perceived depth of a sound source by exploiting the psychoacoustic properties of our ears. Because our ears can’t see how far away a sound is, they have to work it out themselves - part of this calculation involves the comparative loudness of different frequencies of the sound being listened to. A key way that you can perceive a voice as being very close to your ear is the large amount of high frequency content, much of which will dissipate over a larger distance. Savvy engineers can exploit this knowledge to position elements at different distances in a mix, rather than just left to right in the stereo field. For example, a key part of the Abbey Road Reverb trick involves cutting frequencies above 10kHz so as to not let high-end reflections from the reverb distract the listener from more prominent elements of the mix. With this in mind, Master Tones have put their Ariosa AI technology to work to model equalisation curves

that mimic the proximity of the source material to the listener. The Deepener works best used subtly, especially in tandem with The Widener for maximum control over the stereo sound image, but used carefully, like layers of paint, can bring an awesome sense of space and depth to your mixes. The Deepener’s gain controls work similarly to those in The Widener, the more you drive the output gain, the more analogue modelled warmth will be applied to the signal. The awkward early years of audio plugins featured some questionable user interface designs. This is not to the discredit of plugin manufacturers, every technological advancement has to make it through an awkward getting-to-know-you phase before concerns of design and user experience can be properly addressed - case in point mobile phones, electric cars, every piece of software ever. But fear not, because the reign of plugins trying to look like hardware is over, and the time of plugins designed to optimise user experience is here! Master Tones’ Stage Package flaunts exactly the kind of user-focused plugin design that helps so much to counteract reduced attention spans and overall patience in the information age. Both The Widener and The Deepener, both sporting a deft embossed/engraved finish, offer a

streamlined interface with intuitive controls that are immediately usable without tutorial. The sliding circular control that occupies the majority of the GUI controls the effect that is also the namesake of each plugin, the wheel on The Widener widens, the wheel on the Deepener deepens. Master Tones’ design approach seems to question the concept of a user manual entirely, the design of the plugin itself becoming the manual, the process of learning to use the plugin becoming simply using the plugin. This is an intelligent move on the part of Master Tones; audio engineers both new and experienced consistently reach for plugins with a more gentle learning curve and a faster workflow. Master Tones’ dedication to user focused functionality is a perfect complement to their adeptness in applying AI concepts to the realm of audio, and as a result, launches them right into contention with the very best plugin manufacturers around. The use of AI technology appears to be the way of the future in plugin development, and it will be very exciting to see what Master Tones have in store for us next. BY LIAM MCSHANE

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GET BACK TO GIGGING. L 1 P R O P O R TA B L E L I N E A R R AY S

With an L1 Pro, you have a system that’s both uniquely portable and surprisingly powerful. Light, so it’s easy to pack. Loud, so it easily satisfies any audience, inside or out. Premium sound on stage. Practical portability everywhere else. It’s the power to sound your best, connect with your music and audience, and simply perform.

REACH YOUR AUDIENCE, NEAR AND FAR Every L1 Pro system delivers wide 180-degree horizontal coverage, delivering full-range sound, consistent tonal balance, and supreme vocal and instrument clarity.

PRODUCT REVIEW / AUDIO

SAMSON

Samson CON 288M-AU-D ELECTRIC FACTORY | EXPECT TO PAY: $1,149

Whether you’re looking to up your stage presence or simply host a small conference, the world of wireless microphones can be quite an intimidating one to enter. Pairing the different transmitters, receivers, and microphones from a variety of brands may provide some headaches. Samson’s CON 288M package is specifically designed to remove those headaches for the average consumer, and it certainly succeeds. The main selling point of the CON 288M is the updated receiver, which both looks and feels a lot more impressive than the old black-box unit which came with the discontinued Concert 88 and similar packages. While it may not seem like much to get excited about, the ease of use and build quality makes the difference between money well spent and disappointment. Thankfully, it is both robust and intuitive. The two buttons on the front panel are for each of the receiver’s twin channels, automatically selecting the best wireless channel for communicating with the microphone transmitters. The device uses two antennae in a diverse design, which helps reduce the risk of interference along with its auto-mute technology. The volume knobs have a satisfying click as they move out of the ‘off’ position, so you can be sure when a microphone is muted if you’re

adjusting it during an event, and the I/O is really kept simple with XLR outs for a mixing desk and 3.5mm/6.5mm jack connectors for other solutions. It may not be as clean or pretty as a rack-mounted unit, but the portability is perfect for a smaller event or nonpermanent setup. The CB88 belt-pack transmitter is also a solid piece of kit, with a wide steel clip that holds it firmly in place. It’s got a little bit of weight to it, but not enough to be overly dangly or at risk of pulling your pants down. Opening the battery compartment reveals the gain control, which can be adjusted with the little screwdriver that’s included directly above it. The slot for the screw also has a tiny arrow and markings for reference, which is a really helpful bit of attention to detail. The mute button is easily accessible at the top of the pack, without being at risk of accidental bumping. Of course, this transmitter is to be used with either the headset or the lavalier microphone. The CH88 handheld wireless microphone should feel quite familiar to anyone who’s used something similar before. With a thick handle made of plastic, it doesn’t necessarily feel as particularly high quality as the other equipment in this box does, and it’s also rather front-heavy

even once the batteries are loaded in. That said, the sound itself is just what you’re after out of a versatile live-audio microphone. It has a stronger mid presence compared to the ubiquitous Shure SM58, but that’s an easy enough EQ job if you find yourself looking for a flatter response. When unscrewed, the battery compartment reveals the same screwdriver-adjusted gain system as the CB88 transmitter. As far as lavalier microphones go, the LM7 is pretty much spot on what you want, with a great tone for capturing speech whether clipped to the chest for full bass resonance or attached elsewhere for a bright yet accurate directional sound. The clip feels solid and strong, attaching to every kind of fabric I had lying around without any issues. The wire is very thin, making subtle routing quite easy if you’re hoping to hide any cable messes. The rubber band that acts as a spring between the two ear-rests takes a bit of elbow grease to adjust if your head is on the larger side of average, but having a bit of pressure clamping the wire to your head is reassuring when fitted properly. I kept the headset on for a while and it started feeling a bit tight after half an hour, but it would definitely be bearable over the course of a gig. If the pressure does become an issue, you could always just snip the rubber off and

use the wire in a traditional style, purely hanging on from the ears alone. Visually, the HS5 is a lot bulkier than most popular headset solutions. The pop filter is about the size of a walnut, and the gooseneck wire is fairly thick. Personally, I see this as more an effort towards durability than lazy design, as I do feel like this could be dropped and whacked around quite a bit before breaking. Wearing this during a performance is definitely a strong style statement, so why not let it be seen clearly? Plus, at the end of the day, we do also care about the sound quality, which can’t be faulted. The condenser microphone is as crisp and clear as you could hope for, and the gooseneck is both long and agile for a good variety in mic placements. The bleed rejection is pretty impressive, mainly due to the proximity you can have with the microphone itself. I can see this being a platform for taking extreme EQ well, if you’re in a particularly tricky feedback situation but don’t want to leave the vocals sounding flat or thin. BY FERGUS NASH

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MY RIG:

Ed Kuepper

“I’ve been alive forever,” Ed Kuepper laughs from his regional Queensland home consumed with torrential rain as he recounted the many bits of gear he’s owned over the years. The pioneering and incredibly important guitarist from seminal band The Saints, Laughing Clowns and an abundance of other smaller ensembles over his near five decades of music prominence is finally hitting the road with the Dirty Three’s founding member Jim White. Most of the tour was cancelled but with dates set for next year, Kuepper is set to dust off his range of guitars and gear admitting it’s been a while since he’s actually played live. For the swarms of Ed Kuepper fans and gear heads out there, this one’s for you as Mixdown decided to chat rig setups with the man himself!

GUITARS 1961 and 1972 Gibson SG “I bought an early 60s SG second hand and that wasn’t cheap, that was about six or seven week’s wages for me, it was my guitar goal. I think three of the four first records that I bought featured an SG prominently (Paranoid – Black Sabbath, Live at Leeds – The Who, Get Yer Ya-Ya’s Out! – The Rolling Stones) so I thought ‘I’ve got to get some of that sound’! I think the body is very comfortable, very sleek, they’re not too heavy, they have a nice way of taking off if you’re playing really loud which I don’t do all that much of anymore. That was actually stolen so I bought a Fender Stratocaster, I wanted to kind of change the sound but that was a little while later. “I’ve bought dozens of guitars but this century I’ve introduced the Gibson 345 and 335 semi-hollow bodies which I use in smaller ensembles. I do acoustic shows and use Martins in the studio but use Matons live, I think they’re

good in terms of their built-in electronics and they’re kind of built like furniture in a way which is important because I do drop guitars!”

AMPS Eda Transistor Bass Amp “After a bit of time with The Saints I got a bigger setup which was an Eda bass amp. Eda was a sort of PA company in Brisbane but they made these transistor bass amps, they had phenomenal volume and absolutely no tone, but I got them really cheap! When I swapped to these, it was nice because I could just black out the ‘a’ and the amps would be called ‘Ed’.”

Fender Twin Reverb “When I wanted to kind of clean The Saints’ sound up a little bit I went with the SG direct through a Fender Twin Reverb with no overdrive which is an easy effect anyway, it’s kind of immediate power. That was the third and last album I did with The Saints and

MXR Distortion Plus

1961 Gibson SG

it was a similar kind of thing with Laughing Clowns too, I continued that kind of sound for a while but then the guitar was stolen!”

PEDALS MXR Distortion Plus “I stopped using pedals when the quality of my amps sort of improved in a way, but with The Saints I bought this pedal which must have almost been a prototype - the MXR Distortion Plus. None of the collectors I know have seen one quite like it but I bought it because it was advertised as being able to turn your transistor amp into a valve amp or sound like one. Now, it didn’t actually do that but it did something else and I really liked it.” BY ELI DUXSON

Fender Twin Reverb

1972 Gibson SG

mixdownmag.com.au

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