Issue #329 by Furst Media

#329 – 2023

GUITAR SPECIAL ICONS OF BROADCAST, PRETTY GIRL, THE LYRICAL REVIEWED: GUILD SURFLINER DELUXE, SHURE SM7DB, HOTONE AMPERO MINI, FENDER TONEMASTER PRO MARSHALL ST20C + MORE

D FREE

E V O

HIGHLY DEVOLVED

FEATURING ADAM MELCHOR WITH THE HIGHWAY SERIES DREADNOUGHT IN SPRUCE

Vintage style for the modern era.

SCAN To Find Out More

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PRODUCT NEWS

DEVO

PRETTY GIRL

THE LYRICAL

GUITAR SPECIAL

ICONS OF BROADCAST

PRODUCT REVIEWS

MY RIG: WINTERBOURNE

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

MIXDOWNMAG.COM.AU /MIXDOWNMAGAZINE @MIXDOWNMAGAZINE @MIXDOWNMAGAZINE

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PRINT EDITOR Paul French CONTENT EDITOR Isabella Venutti

pg. 14

ASSISTANT EDITOR Lewis Noke Edwards GRAPHIC DESIGNER Kelly Lim

PRETTY GIRL

DEVO

GIVEAWAYS

THE LYRICAL

CONTENTS

ADVERTISING MANAGER Paul French PUBLISHING DIRECTOR Patrick Carr

pg. 16

CONTRIBUTORS Rob Gee, Isabella Venutti, Paul French, Steve Henderson, Christopher Hockey, Jarrah Saunders, Pablo Francois, John Tucker, Jack O'Shea Ayres, Andy Lloyd-Russell, Lewis Noke Edwards, Peter Hodgson PUBLISHER Furst Media Pty Ltd

pg. 18

FOUNDER Rob Furst

GIVEAWAYS

Nude Microphones Blumlein is a handy tool for every engineer, and it can be difficult to get right. Nude Microphones are happy to solve this for one lucky reader, offering one entrant a Nude Stereo Blumlein Ribbon Microphone; two capsules perfectly positioned atop one another for the perfect recording every time. Ribbon microphones are naturally dark and warm sounding, making them a great choice for electric and acoustic guitars, as well as room ambience and anything that requires a little high frequency control.

Fender Highway Parlour Guitar For your chance to win any of these prizes, head to our giveaways page at MIXDOWNMAG.COM.AU/ GIVEAWAYS/

We’re excited to offer one lucky reader the opportunity to win a Fender Highway Parlour guitar, one part of the new Highway Series from Fender. Building on the stellar Acoustasonic offering, the Highway Series invite readers to “throw away the map and get lost on the open road of creativity.” The Parlour guitar features a mahogany body and rosewood fingerboard, as well as Fishman Fluence pickups controlled by a Master Volume and Contour control.

Martin Luxe Kovar Strings Martin’s Luxe Kovar Strings are the latest in acoustic string technology. While some strings use various coatings to preserve the integrity of their strings, Kovar is a naturally corrosion resistant, while also being a low tension material. We’re excited to offer one lucky reader two packets of Martin Luxe Kovar Strings, as well as a Martin care package including Martin String Winder, Capo, String Gauge and more.

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PRODUCT NEWS

10 allowing you to remain focused on gameplay, or appreciate the full immersive sound experience of modern film. The MMX 200 wireless gaming headset features Augmented mode, for more environmental awareness, allowing you to experience world-class wound while still being aware of your surroundings. Hybrid mode enables multiple connections protocols to ensure optimal connection that won’t drop out, all supported by bluetooth 5.3. All of this is packaged into a comfortable, refined headset, prepared for extended use (as well as 35 hours of battery life!)

Three different integrated powered options of the Voodoo Lab Dingbat EX Small Series available now

pedalboard. A removable shoulder strap is included for easy transportation. Dingbat Power Packages offer the convenience and added value of a factory-installed Voodoo Lab isolated power supply. Just add pedals and audio cables and you are ready to go. In addition to convenience, a factory-installed Pedal Power ensures any pedal will sound and perform its best. Even under poor AC line conditions, you can always count on Pedal Power to consistently deliver the cleanest most reliable power possible. Bundle-priced Power Package options for Dingbat SMALL-EX include Pedal Power X8, Pedal Power 2 PLUS, or Pedal Power 3.

Groove Synthesizers 3rd Wave: The Ultimate Wavetable Powerhouse

beyerdynamic announce MMX200 SOUND AND MUSIC | SOUND-MUSIC. COM EGM | EGM.NET.AU

BEYERDYNAMIC.COM.AU

beyerdynamic headphones are found in recording studios all over the world, they straddle reference-grade monitoring while still producing enjoyable sound – trustworthy for mixing, mastering and producing without being taxing on the ears for long periods. Now bringing all this to the gaming world, beyerdynamic now launch the MMX 200 wireless gaming headset. It features beyerdynamic’s world-class sounding playback, coupled with freeing, modern wireless connectivity, a META VOICE microphone with multiple modes to suit your workflow. The MMX 200 is closed-back and features a dynamic transducer for an accurate response for enjoyment and immersion into gaming, music and movies. The soundscape is unparalleled in the field, offering great spatial sound,

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Voodoo Labs’ Dingbat Small-Ex is large enough for a typical 6 to 8 pedal setup, but compact enough to stow in the overhead compartment of any commercial aircraft. With its 10” depth, SMALL-EX accommodates a fullsize wah, volume, or expression pedal. Installing Pedal Power with the included mounting hardware is quick and easy using only a screwdriver. Hook-and-loop tape is provided to attach pedals, as well as zip ties and 4-way tie mounts to secure cabling underneath. A key element in executing a flawless performance is a clean, organized pedalboard, and Dingbat’s innovative patented design helps you set up your rig like a pro. All supplies needed for securing pedals and cabling to the board are included. Dingbat SMALL-EX includes a heavy-duty tour-grade soft case that meets carry-on requirements for all commercial airlines. No bag checking required. Premium materials and construction ensure superior performance and long-lasting protection for your

The Groove Synthesizers 3rd Wave is a 24-voice polyphonic marvel, capable of serving as four autonomous synthesizers all in one. Each of its three oscillators per voice offers a choice of classic PPG-era wavetables, highresolution complex wavetables, or analog-modelled waveforms. To top it all off, you can craft up to 64 custom wavetables using the built-in Wavemaker, and with sample-to-wavetable capabilities, you can turn any audio source into a wavetable instantly. This synthesizer is not just powerful but flexible too. Its 24-voice polyphony makes it a perfect fit for note-intensive performances and its 4-part multitimbral capability lets you layer up to four independent parts or split zones, each with unique sounds and effects. The stereo parts offer independent panning, volume control, and dedicated stereo physical outputs. One of the 3rd Wave's other standout features is its mod matrix, a powerful tool for sound designers and composers. The Groove Synthesis’ 3rd Wave stands out as a powerhouse,

offering musicians, sound designers, and producers an unparalleled sonic playground. With its stunning capabilities and modern sound, it's poised to become a game-changer in the world of music production.

PRS SE new Left-handed range

ELECTRIC FACTORY | ELFA.COM.AU

PRS’s left-handed offering is growing. While historically some lefties have had to resort to restringing right-handed guitars, PRS are making moves to alleviate this. They’re expanding their lefthanded SE range, offering four new models in multiple colour combinations. The range offers a baritone, a Floyd Rose equipped model, a studio-workhorse Standard 24-08 and a classic Custom 24-08. The SE 277 “Lefty” is PRS’s baritone offering, featuring a 27.7” scale length, PRS’s 85/15 “S” pickups to handle the full frequency range and a Wide Fat neck to straddle itself comfortably between bass and guitar. The Custom 24-08 and Standard 24-08 both feature multiple switching options to toggle coils on and off, as well as 3-way toggle for a total of 8 possible pickup configurations. Finally, the Custom 24 “Floyd” is PRS’s classic Custom 24, a 24-fret electric guitar with a mahogany body, maple neck and ebony fretboard, frets denoted by PRS’s classic birds. The guitars are available in multiple colours and finishes, their own tonewoods, neck shapes and pickup configurations offering their own unique sound, as comfortable to play and perform with as any other PRS in the range.

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PRODUCT NEWS

Cordoba Stage Guitar now available in Australia

ZENITH MUSIC | ZENITHMUSIC.COM.AU

The Cordoba Stage Guitar has arrived in Australia. The worldclass guitar manufacturer now offers an amplified, acoustic solution, built for the stage or studio. Having years of experience producing world class acoustic guitars, Cordoba understand the construction, quality and sound of the very best guitars, though also understands the limitations of an amplified electroacoustic guitar. Co-developed with Fishman, the Stage Guitar features a revolutionary pickup that allows players to dial in authentic nylon string acoustic sound, allowing a true-to-source sound to be amplified. What’s more, the Cordoba Stage Guitar is now available in a Limited Burgundy Model, while also being available Stage Limited Amber. The Stage guitars features a 48mm wide nut and super flat 16” radius, coupled with a slightly thinner neck profile than a standard classical, offering a playing experience more like a traditional steel string guitar, appealing to a wider array of players.

Alice Cooper, George Benson and Olivia Newton-John. The new Luke IV celebrates 30 years of collaboration between Steve and Ernie Ball Music Man, honoured in a seriously spec’d out guitar. It’s a triple single-coil guitar, though harnessing custom Music Man pickup technology allowing for ultra high-output and dynamic response, while retaining clarity and headroom even at low levels, allowing you to roll back the volume for a cleaner tone without losing articulation. Like Steve’s previous models it’s a double cutaway, a roasted figured maple neck with 22 nickel frets, adjustable 12dB boost and a Music Man vintage floating tremolo. An internal trim pot allows you to adjust the boost up to 12dB. The Luke IV 30th Anniversary joins a range of Ernie Ball Music Man guitars honouring the legend that is Steve Lukather. Decades of innovation and loyalty to Ernie Ball Music Man brand, culminated in a beautiful, highly spec’d guitar matched perfectly to the man himself.

Ernie Ball Paradigm range now includes Primo Slinky, Ultra Slinky and Burly Slinky

30 Years of Steve Lukather at EBMM

Steve Lukather is a legend among legends. Most famous for his work with Toto, Lukather was also a session guitarist for Michael Jackson and the Bee Gees while also writing songs for the likes of

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The Paradigm range covers acoustic and electric strings, the electric offering expanding to their Primo Slinky, Ultra Slinky and Burly Slinky gauges. Paradigm Primo Slinky are a very light gauge set, with the six string set containing .9.5-.44 gauge strings, Paradigm Ultra Slinky offer .10-.48 gauge strings for a more standard playing experience, while the Burly Slinky are .11-.52 for lower tunings or players who like to fight for their vibrato.

Ernie Ball’s range of Paradigm strings take the latest tech, innovation and design principles and package them in the now classic colours associated with Ernie Ball’s strings. Ernie Ball’s Paradigm range of strings elevate this further, doing away with the coating and instead using a wire wrap via a plasma enhanced process to remove defects, before

power. The combo jack accommodates stereo jacks (6.35 mm) and XLR cables for the input signal, while the 3.5 mm stereo jack headphone output guarantees crystal-clear audio. For musicians seeking precision and convenience, the RockBoard HA-1 In-Ear Monitoring Headphones Amplifier is the perfect ally for achieving that nextlevel performance.

Tone City’s Blues Man, Dry Martini and Tiny Spring pedals have just landed

RockBoard HA-1 In-Ear Monitoring Headphones Amplifier: Your Perfect On-Stage Companion EGM | EGM.NET.AU

In exciting news for current and prospective fans, three fantastic new options from Tone City Pedals have just landed. AMBER TECHNOLOGY | AMBERTECH. COM.AU

In an era where musicians demand precision and control over their monitoring, the RockBoard HA-1 In-Ear Monitoring Headphones Amplifier emerges as the ultimate solution. This versatile device is designed to cater to the needs of singers, keyboardists, drummers, guitarists, bassists, and every musician who seeks an elevated audio experience. With user-friendly operation, the RockBoard HA-1 bridges the gap between your monitor signal and your headphones, offering seamless integration on stage, in rehearsal rooms, or even at home.

CMC MUSIC | CMCMUSIC.COM.AU

their Everlast nanotechnology is applied once the strings are wound, changing the way the strings react to moisture and oils.

The HA-1's flexibility extends to its stereo/mono source switch, allowing musicians to adapt to the input signal effortlessly. Its sleek and lightweight aluminum housing features a handy clip for belt or waistband attachment, ensuring you're always ready for action. One notable feature is the status LED, which changes color based on battery voltage. With two AAA batteries, this amplifier provides up to 12 hours of continuous

The Blues Man pedal is a classic British style overdrive. Touted to boast good, clean head room, this little number can also work excellently as a booster. The overdrive timbre is quite sensitive, and full of dynamics, flowing out very smoothly and naturally. Benefiting from its transparent timbre, it can keep working in most effect links. The Dry Martini is a versatile drive pedal, perfect for use as a solid boost to push the front end of your amp. However, its settings cranked to their extremes, the Dry Martini can also serve as a powerful and punchy medium gain drive that verges on full-blown distortion. As its name suggests, the Tiny Spring is a compact reverb pedal, offering a realistic spring reverb tone. The layout on this pedal is super simple – there’s just one control that adjusts its level and depth. That’s it! The Tin Spring Reverb has a great response and its reverb tone ranges from subtle, to drawn out. The Tiny Spring can be used for almost any playing style out there. For more information, head to egm. net.au.

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E V O

HIGHLY DEVOLVED

WORDS BY PAUL FRENCH

Five decades is a long timespan for any project, let alone for a band as profoundly disciplined and committed to the bit as Devo. But for bassist and principal songwriter, Gerald Casale, intestinal fortitude has always been part of the seminal art-punk’s broader MO.

“W

e were the pioneers who got scalped.” he explains from his Californian home.

“All the things that are expected of bands today, we were doing back then and being maligned for it. We were marketing ourselves, branding ourselves… controlling everything about it, textwise, visually and sonically. People were either blown away or they wanted to kill us.” “We were original and we weren’t ashamed of being original.” Suffice to say, Devo are one of the true originals. A band defined by dichotomies, who frenetically balance high and low culture in a way that would make Roy Lichtenstein blush, their eventual success is the story of something truly subversive kicking in the door to the mainstream and taking up permanent residency therein, claiming squatters rights and refusing to budge. That is, until now. The inherent catchiness of mainstream singles like ‘Whip it’, ‘Gates of Steel’ and ‘Girl U Want’, coupled with a formidable canon of bonafide cult classics, have afforded the band the right to leave on their own accord, whenever they damn well please. Sadly, this current world tour (which will see them perform in Australia as part of the Good Things festival) is said to be Devo’s last, at a time in which their theories of de-evolution could not be more relevant, nigh

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or necessary. It’s a revelation not lost on Casale. “After 50 years, there is no doubt that deevolution is real.” he remarks, in a satirically camp voice that instantly recalls the product videos of corporate America. “The world is getting exponentially more nuts every moment, even more than it was in 1973 when we started this band… Deevolution is in full swing.”

Eno produced Q: Are We Not Men? A:We Are Devo!) the band had already spent the previous four years tucked away in their little mid-western incubator, toiling away at demos and short films with the same military-like discipline that would serve them so well over the ensuing years. This early period of gestation proved an extremely formative one for Devo, who have always felt somewhat out of step with the rest of humanity, whether they are ahead of the curve, or often, at right angles to it.

“We bought a TEAC 4-Track because Hailing from the musical we read somewhere the (non) hotbed of Akron, “It was the very foundation Ohio, Casale has been Beatles recorded Sgt. Pepper on of Devo, as we know it’”, with Devo since its explains Casale. one. We figured if it was good inception, with the “We were isolated up there band originally coming enough for the Beatles then it in northern Ohio. Nobody together as a conceptual paid any attention to us. We art project - music only was good enough honed our concept and our making up one slice of the playing for nearly four years so broader Devo multimedia pie. for Devo.” that when we finally went public For Casale and his merry band of weirdos, Devo was, and always has been, their way of kicking against the pricks.

“Akron back then was a depressing, right wing, religious place.” he explains. “Devo was our only form of defence. We would go into the basement and create and we would be protected.” By the time their debut album dropped, (1978’s

we couldn’t be compromised.”

“We bought a TEAC 4-Track because we read somewhere the Beatles recorded Sgt. Pepper on one. We figured if it was good enough for the Beatles then it was good enough for Devo.” When Devo finally did emerge, they did so as a fully formed unit, with a sound and aesthetic that shared little in common with anything that had come before it.

DEVO

“Chuck had a lot of camera equipment and we had the idea to make these film shorts where the songs would lead the narrative. The plan was to put out one a year every year-because LaserDisc was going to take over in 1974.” While LaserDisc never did quite find its rhythm, Devo certainly did, with the band garnering a reputation amongst musician circles for metronomic tightness, both in their live playing and in the angularity of their compositions. As an integral part of one of the tightest rhythm sections of the 80’s, you would expect Casale to be at ease with his competence as a player, but these kinds of accolades don’t appear to sit well with our boy from Akron. “Calling myself a musician would be an insult to real musicians,” he remarks in a deadpan tone, before adding, “I’m definitely an artist using music.” Much more forthcoming is his praise for former Devo drummer, Alan Myers, Casale’s rhythmic running mate during Devo’s halcyon days, who sadly passed away in 2013 after a battle with stomach cancer. “Alan was a true technician, a wizard. He was a Jazz player when we found him and his technique was impeccable - like a robot.” When he is donning his musician hat (or rather, dome), Casale has traditionally opted for oddball body shapes on his basses, even donning a Gibson Ripper with the horns obnoxiously hacked off back in the early days of Devo.

Photo Credit: Jay Spencer

“We had no distractions. We would get together and have these unfiltered ideas and we would experiment with them and turn on the recorder.” These recordings, which would eventually make up the Hardcore Devo Vol. 1 and 2 compilations, are a seminal document of a band literally inventing the colour palette of what would eventually become Punk and New Wave, as well as being an early example of the kind of DIY recording ethos that has since become standard in the modern musical underground. Of all of the pioneering sounds that can be heard on the Hardcore Devo tapes, perhaps there is nothing more DIY and groundbreaking than the presence of original drummer Jim Mothersbaugh’s homemade electronic drum kit-one of the earliest documented uses of electronic drums anywhere in the history of recorded music. “There were no such things as Electronic Drums back then” explains Casale. “Jim would be building new prototypes and bringing them to rehearsal and we would watch his ideas develop… attaching various contacts to Remo practice pads and then running that through a bunch of different effects and processing to create trash can sounds and other weirdness.” “He took his contraptions to a custom car place in Akron that specialised in hot rod exhausts and had them build an elaborate frame for his electronic drums, so he sat inside this throne of bent exhaust pipes. I’m sure he still has it somewhere.” This combination of organic and synthetic instrumentation would come to characterise the Devo sound, and would follow the band out of their small town basement and onto their official releases after being ‘discovered’ by David Bowie and falling in with the burgeoning CBGB’s/Proto-Punk scene of the mid seventies. When 1982’s ‘Whip It’ became a surprise MTV hit, partly due to its iconically hokey, faux BDSM video clip, it provided validation to a band who had already been making art films to accompany their music for the better part of a decadebefore music videos were even a thing.

More recently, he has exhibited a love for Steinberger Basses, which given their unorthodox body, futuristic graphite neck and lack of headstock, almost seem like they were designed with Devo in mind. For Casale, who runs his vintage L2 directly into the board with no amp, the choice of Steinberger is much more than merely an aesthetic one. “I fell in love with the original Steinberger bass and I still haven’t found anything better in terms of tone, playability… the action on the neck. I don’t have big hands but I can play it like a bass player with big hands. We can run into each other on stage and it will never go out of tune. I just love the thing.” Similar is his love for vintage analog synths like the Minimoog and Arp Odyssey, which Devo have specifically rebuilt, and in Casale’s words, ‘fortified’ to withstand the rigours of international touring. With 2023 and the current world tour marking the 50th anniversary of the Devo project, you can’t help but wonder if Casale and band feel a sense of validation at the notion that something so weird could have this much staying power. “When we started out, we were laughed at in our home town. We have been pleasantly surprised since 1978.”

Devo will be appearing nationally at the Good Things Festival as well as undertaking a run of sideshows, dates are below.

DEVO AUSTRALIAN TOUR 2023 Sunday 26th November - ICC Super Theatre, Sydney Wednesday 29th November - QPAC, Brisbane Wednesday 6th December - Palais Theatre, Melbourne PRESALE: Wednesday 18th October @ 9am local time GENERAL PUBLIC ON SALE: Friday 20th October @ 9am local time

“Early on, myself and my good friend Chuck Statler really pushed the idea of Devo as a Multimedia project,” remembers Casale, fondly.

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Unpacking the Process with Ableton x Naarm Producer

Pretty Girl

"Honestly, the Ableton Push is such an integral part of my writing process." I think I’ve always had an innate need to make music. In childhood I would write songs using my mum’s Casio keyboard, and then when I was a teenager I spent hours messing around on Garageband, making songs that I would post to Soundcloud. So when I started clubbing and immersing myself in the world of dance music, the transition to more club-ready productions, and to Ableton Live, came very naturally. Along the way I met some great people who passed on a lot of knowledge on production – I got to meet some producers through The Push (a community music program), and also a friend Jack McAllister (Willaris. K). I also learned via Youtube tutorials, but also just through a lot of trial and error with Live. I’m still learning and improving every day. How has Melbourne’s rich live electronic music scene influenced your work? Has building a network of like-minded creatives impacted your music making process in any significant ways?

WORDS BY ISABELLA VENUTTI

Naarm producer Pretty Girl is on the precipice of a meteoric rise, with word continuing to spread, within the underground electronic dance music space and beyond, about her transcendently emotive live show.

inding her calling in dance music early on, having cut her teeth making soft bedroompop on her school laptop with Audacity and Garageband, Naarm’s prolific club scene provided fertile ground for the young creative to develop her sound in her early twenties, honing her skills with Ableton Live, analog gear, and sound design, pairing everything with her delicate vocals. Mixdown was lucky enough to sit down with PG and take a peek at the production workflow that informs her bleedingheart breed of dance music; as applicable to the club as it is a moody Sunday morning. To start things off, we’d love it if you could tell us about how you found your footing in music production – I read elsewhere that your journey started on your laptop in high school on garage band, and expanded as you began to cut your teeth in the Melbourne/Naarm club scene?

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Melbourne’s scene is really beautiful, or at least in my experience was really beautiful, in terms of young musicians supporting each other. I got a lot of opportunities just from meeting likeminded people, whether that be gig bookings in the early days, or invitations to record mixes, etc. I think just having people around me who believed in me, and then also wanting to pay it forward myself, was so inspiring and always made me feel like I was part of a bigger network, a bigger scene, rather than feeling isolated and competitive. In terms of inspiration, I try to make an effort to regularly attend more underground events with live electronic music rather than seeing DJs at clubs. There are artists in Melbourne who do incredible live sets – Sleep D, OK EG, Jennifer Loveless, to name a few. I think this “live” element is a lot more prevalent in the underground scene, and that’s something that was so exciting for me as an aspiring live act. Tell me about your songwriting process – do you begin with a skeleton and build? What are the key tools/workflow practices that help you get in the zone creatively? Normally I’ll start by opening up a project file and using it as a sketch board for ideas, not having any significant process except just jamming until something clicks. I find if I start writing a song with the intention of “writing a song” I get stuck in the wrong part of the process at the wrong time – I don’t think I can make a unique song if I begin the song with the structure. I just write melodies and chord progressions, then add percussion and samples (I have a bank of my own vocal samples to sketch ideas quickly), then just spend a bit of time moving stuff around until I get the right feeling and everything locks into place. Once

INTERVIEW: PRETTY GIRL I have the key idea, maybe a 16 or 32 bar loop, I’ll move to the structure of the song, which I try to do quickly. I think working quickly and intuitively is the best way to do it. If something isn’t working, I just keep the rough idea and then move on to a new section. Talk me through your recording workflow from demo to track completion. Do you begin in the bedroom or head straight to a studio space? Any preference of DAW/ special or demo setup that goes the extra mile?

Honestly, the Ableton Push is such an integral part of my writing process. As mentioned above, I think working quickly is the best way to write ideas. I use the scale function to write melodies, add layers of chords, add percussion using drum racks, and then play with automation and effects. It makes the writing process much more hands-on and I can actually play with an idea rather than getting bogged down by the production process. It’s great for producers like me who don’t have any formal music background.

"When I started clubbing and immersing myself in the world of dance music, the transition to more club-ready productions, and to Ableton Live, came very naturally."

I’ve learned that the best demos come from an emotional place, when I have intense feelings and I just need to put them into a song, rather than starting a song for the sake of it. If I don’t have a microphone handy, I’ll just sing into my phone and Airdrop the recordings to my laptop to get the vocal ideas in. Because of this, I’ll always start a song at home in a relaxed, private environment, where I feel really connected to the music. I struggle to come up with good ideas in a studio, or a session with other musicians, where the pressure is on. The most important part is the idea, then I’m less deep about it as I turn it into a song through the arrangement and processing stages.

Are there any pieces of gear you’ve acquired, be it something cheap that punches massively above its weight, or a less-wallet friendly splurge, that have tangibly influenced the way you write and record music to this day?

What does your current touring rig look like/ comprise of – does your recorded material undergo any tweaks to suit a live context?

Every song I play live is a live rendition of a released song! I really enjoy making edits of my songs to play live, where I can bring new energy to a song and make the sets much more enjoyable in a live setting. The live edits are generally 2-7 bpm faster than the originals, with much heavier percussion. I love doing this, I think it’s really fun and exciting for the crowd, and for myself as I’m able to bring more energy into the set. I use a mix of hardware and software live, running stems from Ableton and then layering loops, synthesisers, and my own vocals on top. I also use the Roland TR-8 for my percussion, running it through a Strymon Compadre compression pedal to beef up the signal. All the sends go through a Pioneer mixer, so I can use the inbuilt FX and EQ.

How do you recharge your creative batteries? What in your life inspires your music that isn’t music? It could be as logical as watching a film or listening to records, or as obscure as gardening or taking a long walk. I find stillness, or rather nothingness, to be really inspiring creatively. I have to get away from distractions and just be and do nothing in order to recharge. I’ve learned over the years that inspiration comes from just being open and being a vessel to your world, rather than hunting it down or desperately reaching for it. I have to feel relaxed and safe to really connect with my creative side. Dancing really helps, whether formally or informally, to help me get out of my head and into a more creative energy. I also like to take walks without my phone, either leaving it at home or driving to a beautiful place and leaving it in the car. Everything can inspire you, it’s just about the right intention and being in the right zone to receive that inspiration. What’s on the horizon? What exciting things can we expect from you for the remainder of the year? I’ve actually just come out of some of the most exciting and intense months of my life doing my first UK/EU tour, so I’m taking the rest of the year to recuperate and just have fun making music. I wrote my third EP while on the tour, so I certainly have lots of music coming, which I think is my best so far. I’ll be DJing at Strawberry Fields, and also bringing my live set on the Laneway tour in early 2024. So there are some exciting things happening, but I am currently just enjoying being back home in Melbourne and taking it easy.

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18 make some sort of hybrid art form, but more because I just want to be seen as a professional and an entertainer involved in the two worlds openly because that's a thing I think should happen more.

Full Stream Ahead: A chat with multifaceted creator

What does your streaming setup look like? Are they meticulously planned or mostly improvised? My setup has five screens (one of them is a tablet and one of them is essentially a TV monitor wired from across the room for my consoles), a whole bunch of consoles - I have a few camera angles, and my guitars, amps and keyboards are usually within reach as I like to keep everything close, just in case things go in a direction I don’t expect.

The Lyrical

The only relative plans I have are: video games on Tuesday, music on Wednesday... the rest is up to the universe. And I like to just be ready.

WORDS BY LEWIS NOKE EDWARDS

The Lyrical is, for lack of a better word, a multi-faceted creator. Karl is a musician and gamer, but his use of tech to tie all this together means he needs the right gear to make everything interface with each other.

e’s incorporating together USB mics, more conventional XLR and analogue microphones, requiring the very best from his gear to reliably and consistently get the job done. Jumping between stations in his studio, while also demo-ing his own original music requires a reasonably complicated array of gear to get the best result, something that he thinks helps him to engage with his audience as he’s focused on the content, not the tech. He’s always been a musician, but began streaming his gaming in 2017 before 2020 made performing live impossible. Pushing him to streaming, Karl picked up his old Twitch account and began streaming his music live, quickly finding a community of like-minded musicians and fans online. His love for gaming, art and podcasting hadn’t stopped, so his channel began to involve everything he was doing creatively, requiring a

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more complex set-up with more hi-fidelity audio to produce highquality streams. A quick look through his socials reveals he’s relying on some AudioTechnica equipment to get the job done, namely the AH-M50xSTS Streamset for streaming, as well as some 40 series and 20 series microphone for his music, their ability to capture multiple sources well making them a great solution for someone so involved in multiple disciplines. We sat down with The Lyrical about his process, passions and the equipment he uses to make it all happen. We understand your journey started with music, but how do you define yourself now? I love music so much. But gaming is where my passions lie. It was as big a part of my upbringing, as were the trees on the beach in the Solomon Islands. How I define myself has been a challenge for so

many years haha. I'm a musician professionally, and creatively I will always connect with music when it comes to making art, but at the same time being part of the gaming community/industry has been (and continues to be) one of the most fulfilling parts of my life. So... short story long, [I’m] a musician who doesn't just love games, but believes in the art and importance of video games - this was a much bigger question than I expected to start with haha!

Do you find you use microphones for dedicated specialist jobs or are microphones generally useful for anything and everything? What kind of mics are you using for different tasks? Absolutely adore my AudioTechnica AT4033a - I think it's my favourite mic I have ever owned. Primarily for singing, but I've started using it instead of my Audio-Technica BP40 for streaming and podcasts because [of] the way it captures my voice. And that actually changes the way I project and perform. My BP40 is actually currently micing up my Fender Deluxe amp, and I'm in love with the warm tones it gets that I wouldn't normally get from a normal instrument mic.

"Absolutely adore my AudioTechnica AT4033a – I think it's my favourite mic I have ever owned." What are your goals for your career? I started off determined to keep them separate, but the more I thought about it and the more honest I was with myself as a person, the more I have been determined to mesh the two worlds of gaming and music together. Can you explain this answer a bit? I want to combine the disciplines because it's the way my mind works. Less because I'm trying to

Do you record and produce your own music as well? If so, what gear are you using for this kind of project?

I do very little recording at home outside of demos/random story videos/note taking for my producer, when I do I usually use the AT4033a for vocals and the BP40 makes it very good and kick mic for my Cajun, I plug my guitar straight in. The AT2040USB actually comes in very handy to just record my vocals and keyboard on occasion as well!

Guild Guitars are distributed in Australia by ZENITH MUSIC

GUITAR SPECIAL you having the option to monitor directly or use an amplifier if you wish. Fender have also announced the Tone Master FR-12 powered cabinet, a full range, flat response (FRFR) cabinet used to amplify the passive signal from the Tonemaster directly. These are daisychainable for stereo rigs. In use, the Tonemaster Pro is unbelievably easy to get up and running. While initial startup takes a moment before opening in Preset Mode, pedals and amps appear on the scrub screens and LCD screen. I felt a little overwhelmed for a moment looking for a menu to scroll through, before remembering the touchscreen touch screen nature of the workflow had me quickly adjusting settings like I would any other pedal or amp.

FIRST LOOK:

Fender Tonemaster Pro WORDS BY LEWIS NOKE EDWARDS

The Tonemaster range of amplifiers was launched in 2019, and has expanded to cover some of Fender’s most famous amplifier designs. They harness the cutting edge of modelling technology to accurately reproduce the amplifier circuit as well as the reverb tanks, input stages and gain stages that make the amplifiers unique. FENDER MUSIC AUSTRALIA | RRP : $2799

This year, we see the culmination of this in the Tonemaster Pro; a floorboard style modelling unit with all of this tech under the hood and then some. After years of research and development, refinement all the while with advances in technology, the Tonemaster Pro packs over 100 of the world’s most famous amp tones into. In addition to amp sounds, there’s cabinets, microphones and effects. The Tonemaster Pro has Fender’s proprietary modelling process across all its models, offering players a slew of amps from classic vintage to super modern amps. The Tonemaster Pro harnesses a 7" colour touch-screen, coupled with a supremely usable interface. We say supremely because of the touch-screen nature of it all, allowing you to quickly and easily navigate amps, effects and tones. It features 10 foot switches that double as encoders, allowing you to make adjustments on the floor as well as silently switch effects, patches and banks in and out and up and down. Each of the encoders has an LCD scribble strip to communicate its current state. There’s XLR and ¼” inputs and outputs, with four effects loops in addition to expression control jacks, available for use with the Fender/ Mission Engineering expression pedal if you wish. The XLR input is intended for us with a microphone but is a combo XLR/TRS input for

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a line input (for those playing at home, you can reamp through the Tonemaster Pro without a dedicated box to get the line level out of your DAW to instrument level). The routing of the Tonemaster Pro is unbelievably well laid-out. The input stage has the aforementioned XLR/line input and an instrument input. From here there’s four effects loops which can be routed internally wherever you want them in your chain, i.e. additional pedals to be inserted at different points in the chain. There’s two sets of stereo outputs, one with XLR and ¼” outputs, the second output offering stereo ¼”, being situated below a headphone output for silent recording or practice, or for use as an extra stereo routing option if you need it! Beyond this there’s expression pedal connections, MIDI in and out/ thru, as well as USB and a microSD slot. All of this is powered by a robust power cable, not a dinky adapter, the unit being complete with a ground lift switch to alleviate hum in any venue or studio. The Tonemaster allows you to use it as comprehensively as you wish, either as a world-class multi effects processor adding routing and patch options to an existing rig, or to replace it entirely. The XLR outputs allow you to send your amp tone direct to FOH (front of house), the cab sims and amp tones providing a great sound for the audience,

There’s a massive amount of presets available, easily navigated via the screen, and quickly jumping through the screens allows you to select and adjust the presets, customising them for your own hands, guitar and rig. I was quickly able to jump into switching pedals in and out, as well as wandering through the menus to find the first EVH 5150 III Stealth model that responds with that spongy, tight bottom end of the head itself, much like the original 5150s from the 90s. Dialling the tone is tangible, the touchscreen allowing me to tweak easily and quickly. Jumping quickly into more classic British style amps, I found myself trying out the fuzz ‘pedals’ available, which is often an unfortunate shortfall of a lot of amp modellers due to the complex nature of whatever harmonic magic silicon and germanium transistors, as well as the nature of the impedance of fuzz pedals that often shapes the unique sound of the grit they impart on your tone. The delays and modulation range from gritty, stompbox style sounds to proper digital, studio-quality effects for expansive, crisp sounds, which sound great when coupled with more subtle stompbox-style effects. Adjusting presets and sounds feels much like swapping pedals in and out, albeit having a massive library of sounds to choose from. The space and ambience of the profiles themselves are what sets the Tonemaster apart, having the feeling of air really moving from an amplifier, even when using headphones. The low end gives the impression of an amp in a room, the subtle ‘womp’ of a cabinet being a uniquely difficult feeling to reproduce. Fender’s research, as well as experience producing amplifiers themselves for decades have culminated in over 6000 Fender-captured Impulse Responses (IRs) being available as soon as you power the unit on. What’s more, there’s third party IR support for your own sounds and tones captured! The Tonemaster Pro is a home run, no doubt about it. It takes the best of Fender’s own research, as well as a clear eye on the industry, using the wants and needs of players to inform their own design. All of this results in a robust, easy-to-use floor unit, with routing to fit into your playing no matter how you want to do it. Record and perform directly, use a couple extra stompboxes in effects loops, and send and receive your signal wherever you want or need.

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and it’s called Tone City Audio. A company with a serious focus on designing and manufacturing guitar effects pedals of the highest quality. The brand name perfectly reflects and describes the pedals performance - “Tone City”. The rugged build quality and clean, slick eye-catching styling of the three main series, T-M Mini, T-C Classic Series and T-D Deluxary combined with the hand-wired magic, NOS components, BBD chips, silicon transistor styled circuits, classic JFETs, OTA and analogue/digital fusion mix technology makes them the choice of the discerning musician. Inspired by the best modern era boutique FX pedals and famous, old school iconic designs and circuitry, Tone City offers beyond bang-for-buck pricing and cool, exciting models. Dry Martini, Mad Stone, Golden Plexi, Angel Wing, Flexo Drive and King of Blues etc, all reflect the mystique and dynamic excitement of Tone City Audio. Don’t take our word for it, try Tone City yourself we know you will be amazed.

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GUITAR SPECIAL

The Return of the Gibson Les Paul Supreme WORDS BY CHRISTOPHER HOCKEY

Gibson fans have been rejoicing as of late, after the brand announced the return of their much esteemed Les Paul Supreme model, twenty years since its original debut. Having always stood for both high-end quality and ultra-modernity, the new Supremes are not only reigniting the spark of the original model, but bringing some brand new features to the table. If you’ve ever wished for a Les Paul with increased tonal versatility and an updated set of features for the modern age, this is the guitar for you. The thing about this dazzling guitar that will likely first catch your eye is the incredibly beautiful AAA-figured maple top. The stunning quilting of the maple on these guitars shines through all three of the available finish options; Fireburst, Dark Wine Red and Translucent Ebony Burst. Another standout visual feature of the Supreme is its Mother of Pearl Super Split Block inlays. These ever so classy inlays have been a signature for the Supreme model since its original conception and bring an undeniable element of prestige to the instrument. New for the updated Supreme line is a stunning mother of pearl inlay design on the headstock. This 1940s inspired design is making its debut on this guitar after recently being found in the Gibson archives. It is a beautiful detail that really elevates the aesthetic of the instrument. The headstock also features stunning keystone tuners which are finished in gold to match the rest of the guitar’s top-notch hardware. In true modern style, the tuners are of the locking variety, another example of this model’s contemporary focus. The Les Paul Supreme features the traditional tried and true tone woods that one might expect: a Mahogany body with a Maple top, a Mahogany neck and an Ebony fretboard. However, what makes the Supreme model special are the fine details, designed to modernise the Les Paul design through ergonomic improvements. Notoriously heavy, the solid mahogany of a Les Paul’s body has traditionally been a bit of a back breaker. Not so with the Supreme, which features Gibson’s new Ultra-Modern Weight Relief. Another new

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appointment that greatly improves the guitar’s playability is the inclusion of a contoured neck heel. This neck heel makes for exceptional upper fret access, ensuring that no note is ever out of reach. As one might expect from a top of the line Les Paul, the Supreme features a Slim Taper neck shape and the addition of a compound radius. Slim Taper refers to the sides of the guitar’s neck being tapered back away from the edge of the fretboard, optimising playing comfort and speed. The compound radius of the Supreme’s neck means that it is smaller and rounder at the nut, perfect for chording, and larger and flatter at the neck joint. As the neck gets wider, the fretboard becomes flatter which is extremely advantageous for soloing, particularly for bends. The sound of this guitar is pure rock and roll. Featuring a Burstbucker Pro in the neck and a Burstbucker Pro + in the bridge, the Supreme exhibits all the thick, throaty midrange growl that Les Paul’s are famous for. In the bridge position, players can access the raw, fiery tones that have made Les Pauls the first choice for rockstars for generations. In the neck position, the Supreme nails the warm jazzy clean sounds and smooth sweet sustaining leads of a humbucker-loaded Gibson at its best. But it wouldn't be a Supreme without some tricks up its sleeve! This model also includes a very handy coil tap feature, giving players all the tonal versatility that they expect from a contemporary guitar. Coil-tapping gives players easy access to convincing single-coil tones with a simple push/pull mechanism

via the guitar’s volume controls. Amazingly, the tone potentiometers on the Supreme also have their own push/pull feature, in this case activating both a phase control and a pure bypass switch. In perhaps the most exciting news of all, Gibson have also announced a brand new addition to the Supreme line, the Les Paul Supreme Exclusive model. This absolutely stunning guitar takes the Supreme to a whole new level and is a stunning modernised tribute to perhaps the coolest Les Paul of them all: the Black Beauty. In 1957, Gibson’s Les Paul Custom took the world by storm with its sleek black finish, gold hardware and triple-humbucker pickup configuration. These guitars became lovingly known as Black Beauties and were adopted in later years by an assortment of famous rockstars. The Les Paul Supreme Exclusive recaptures all the seductive charm of the original Black Beauty and brings it into the 21st century with all the contemporary improvements that the Supreme line has to offer. The classy black finish, triple-humbucker configuration and beautiful gold hardware all look right at home on the Supreme Exclusive, melding seamlessly with the Supreme’s signature appointments. Despite its supercharged electronics, the Exclusive is priced the same as the standard Supreme models. This model feels like a symbol of the immense amount of knowledge that Gibson have accumulated since their inception. Without losing the essence of what has always made a Les Paul the coolest guitar in the world, Gibson have successfully modernised their flagship instrument with features that dramatically improve its playability and sonic versatility. Gibson has always been quintessentially rock and roll. From the moment Chuck Berry first duck walked across the stage and into our hearts, Gibson was there. The Les Paul Supreme is a perfect rock and roll machine for the modern age, and like Gibson itself, I’m sure it will stand the test of time for many years to come.

GUITAR SPECIAL 1930s and extending into the 1940s, with notable models of this era including Gibson's Super 400 and Epiphone’s Emperor. In late 1935, Epiphone entered the electric guitar arena, initially under the Electar brand. The subsequent year, they introduced their innovative F.T. flat-top guitars. Epiphone enlisted the expertise of Herb Sunshine to pioneer these cutting-edge electric instruments. Herb, in turn, recruited Nat Daniel, who would later become renowned for his work at Danelectro, to design the required amplifiers. Today, Epiphone remains synonymous with quality, affordability, and versatility. Their 150th Anniversary models pay tribute to this rich heritage while introducing modern features and aesthetics.

Epiphone's 150th Anniversary models: A tribute to tradition and innovation WORDS BY JACK O'SHEA AYRES

For over a century and a half, Epiphone has been a beacon of innovation, quality and iconic sound in the world of music. To celebrate their remarkable 150-year journey, Epiphone is releasing a limited edition lineup of guitars which pay homage to their rich history while pushing the boundaries of modern guitar design.

and innovation grew, and they ventured into the world of acoustic and electric guitars.

From luxury archtops to the budget rock builders and a rock icon, Epiphone's 150 year journey of operation and exploration into quality guitars has led to four exquisite 150th Anniversary models: the Zephyr Deluxe Regent Aged Antique Natural, Sheraton 60s Cherry, the Crestwood Custom California Coral, and the Wilshire Pacific Blue.

By the 1930s, Epiphone had established itself as a formidable competitor in the electric guitar market. Their archtops, like the legendary Emperor and Deluxe models, became favourites among jazz musicians. However, it wasn't until the 1960s that Epiphone hit its stride with iconic models like the Casino, Sheraton, Crestwood, and Wilshire. Epiphone competed directly with a big player at the time, Gibson, and in many ways Epiphone’s instruments were superior.

Epiphone's story began in the 1890s when founder Anastasios Stathopoulos set up shop in Turkey. Initially, the company focused on manufacturing highquality violins, lutes, and other instruments, but as the decades passed, Epiphone's reputation for superbly crafted instruments

The Masterbilts signalled the commencement of a competitive struggle for dominance within the acoustic archtop market in the United States. This rivalry saw both American brands, Gibson and Epiphone, vying for supremacy with larger-sized instruments and impressive claims during the

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The all-new Zephyr Deluxe is a testament to Epiphone's commitment to the craft and innovation, with the limited edition model featuring a deep cutaway for improved upper-fret access, a multi-layer pressed maple arched top, and a 25.5” scale 5-piece maple and mahogany neck with an ebony fretboard. The real sonic magic comes from the pair of Epiphone NY Mini humbucker pickups, each equipped with individual volume and tone controls with CTS potentiometers. A 150th Anniversary decal graces the back of the headstock, marking this guitar's place in history. The Sheraton 60s Cherry is a stunning homage to Epiphone's legacy. Crafted with a semihollowbody made from layered maple and a maple center block for feedback resistance, this guitar offers both elegance and performance. The one-piece mahogany neck features a bound Indian laurel fretboard with block mother of pearl and abalone inlays. Premium electronics include made-in-the-USA Gibson Mini humbucker pickups wired to CTS potentiometers, Orange Drop capacitors, and a Switchcraft three-way pickup selector switch. Finished in gloss Cherry with gold hardware, this Sheraton is as visually striking as it is sonically enchanting. The Crestwood Custom California Coral harks back to its debut in 1958 when it was first introduced as the Crestwood. Renamed Crestwood Custom in 1959, it became Epiphone's first twopickup solid body electric guitar design. Its asymmetrical solid

mahogany double-cutaway body offers unhindered upper fret access, while the mahogany neck boasts a comfortable 60s SlimTaper D profile and an Indian laurel fretboard with oval inlays. The "Batwing" headstock, Wilkinson six on a plate inline tuners with metal buttons, and a pair of made-in-the-USA Gibson Mini humbuckers connected to CTS potentiometers make this model a true celebration of vintage inspiration and modern innovation. The Wilshire Pacific Blue adds a splash of color to the anniversary collection. Its asymmetricalstyle Wilshire double-cutaway mahogany body offers exceptional upper fret access, while the mahogany neck features a comfortable 60s SlimTaper D profile and an Indian laurel fretboard with dot inlays. The "Batwing" headstock, Wilkinson six on a plate inline tuners with metal buttons, and a pair of made-inthe-USA Gibson Mini Humbuckers wired to CTS potentiometers and a Switchcraft 3-way toggle switch complete the package. The Pacific Blue finish adds a unique touch of style and character to this limited edition gem. These 150th Anniversary models are more than just guitars; they are a celebration of Epiphone's enduring legacy. With only 420 pieces of each model available worldwide, they are truly collector's items. For fans and enthusiasts in Australia, the opportunity to own one of these limited edition guitars is even more exclusive, as only four of each model will be available. Australis Music Group is proud to be part of this milestone celebration by offering these exquisite guitars to Australian musicians and collectors. As one of Australia's leading music equipment distributors, they understand the significance of these limited edition models and are committed to making them accessible to the Australian market. Epiphone's 150th Anniversary models represent a harmonious blend of tradition and innovation, paying homage to the brand's storied history while incorporating modern features and aesthetics. With limited availability worldwide and an even more limited presence in Australia, these guitars are destined to become coveted collector's items. Epiphone's enduring legacy continues, and these guitars are a testament to 150 years of excellence in the world of music.

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GUITAR SPECIAL

IN FOCUS:

Breedlove Artisto Pro Concert Burnt Amber WORDS BY ROB GEE

There is something truly magical about a well-balanced acoustic guitar. The sound, the feel, the look. These things all come together to capture the imagination of a player and captivate the attention of an audience. AMBER TECHNOLOGY | RRP : $2099

The team at Breedlove Guitars know all about creating that magic. After all, The Dude himself plays Breedlove, and he abides. So, I was keen to get a look at the Breedlove Artisto Pro Concert guitar this month, and you will be too. Firstly, let me start with the finish. The look of the instrument doesn’t necessarily change the tone, but it can dramatically change how we feel about it, and in doing so, affect how we play it. It goes without saying that an instrument that looks beautiful is going to inspire the player. There’s something so timeless about a nice sunburst finish, in this case, in Burnt Amber-burst. The sunburst is shown on both the top, back, and neck of the guitar, offering strikingly different effects with the different timbers. Let me be honest, I have never really been a fan of a sunburst finish on a guitar’s neck, but I will make an exception in this case. At first glance, I thought, ‘why did they do that?’ But, after a moment or two, it grows on you, and well, just makes sense. I think if the Concerto Pro had a plain maple neck, it would look unfinished, and if a different wood was employed, it wouldn’t have the feel or tone. The feel of the instrument is like an old friend. The smooth finish runs through the hands like silk, so you’re up and down the neck with ease. But best of all, the concert shape allows for a very comfortable playing position. You’re not clambering over too much bulk to get your arms around the body, and the soft

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cutaway allows easy access to the upper frets, without taking away from the elegance of the instrument. It’s a large enough body to deliver the kind of low end you’d like in a guitar, without being too boomy. That’s one thing I have always found with concert guitars, they don’t overwhelm in low-end, but they project sound with more confidence than a larger bodied dreadnought does. And that is just how the Artisto Pro performs. You almost don’t need to worry about the electronics, as it has so much projection. The combination of body shape, tonewoods and custom inner bracing all come together to offer a very warm tone; one that has a little extra presence in the upper midrange, which enables it to stand out as a solo instrument, without being too brittle in the top end. Let’s talk about tonewood. Breedlove have gone above and beyond with the woods chosen for the Artisto Pro Concert guitar. Each wood is chosen for its tone, visual appearance and sustainability. Tom Bedell, owner of Breedlove Guitars, goes out and inspects sites around the world for the harvesting of timbers used in these instruments, ensuring the best practices for a sustainable future are adhered to. There are no plywoods or composites used to build these guitars. Every piece of wood is employed for its ability to resonate, making each instrument come to life. The Artisto Pro Concert features a solid European spruce top and myrtlewood back and sides. Whilst not a commonly seen timber in guitars, the myrtlewood offers a beautiful tone that encompasses the low-end renounce of rosewood, with the warm midrange of mahogany and the punchy trebles of maple. Even better still, it offers some incredibly striking grain that truly enhances the overall appearance of the guitar.

Little additions, and attention to detail finish this guitar off nicely. TUSQ nut and saddle are employed, along with brass frets. The combination of these materials offers great sustain, and brilliance of notes. An articulated sound is on offer for more than just strumming, making this a great instrument for fingerpicking, when you don’t want to lose any definition. The built in Fishman Flex Plus-T electronics are a beautiful accompaniment to this instrument. Not only does this pickup system offer a natural, and articulated sound, but it offers an aesthetically pleasing integration with the instrument's design. Three controls, offering Volume, Tone and Microphone Blend allow you to sculpt the sound, and the LED tuner screen offers confidence every time you pick the guitar up. These four round components are mounted within the wood itself, rather than onto an unsightly base plate, so they become a part of the instrument and draw less visual attention. The overall result is a lot of work, for a clean presentation. Quite frankly, it’s the sort of modern touch that you would want in a guitar like this. From looks, to feel and most importantly, tone, the Breedlove Artisto Pro Concert guitar has it all. Modern sensibilities are merged with classic styling to create an instrument that is a joy to behold, and a pleasure to play. It’s the sort of guitar that grows on you from the moment you strum the first chord. After a minute, it is hard to put down. To truly understand what I mean, you need to hear one for yourself. So, if you have a spare half hour or so, get to your local Breedlove dealer and give one a try today. But be warned, you may not want to put it back on the wall.

GUITAR SPECIAL

IN FOCUS:

Amplified Nation WORDS BY CHRISTOPHER HOCKEY

In the sphere of boutique amplifier nerdery and obsession, there is no more lusted over object than the Dumble. A one man operation, Alexander �Howard� Dumble built two or three amplifiers a year while he was active, mainly for celebrity musicians and studios. Famous tone connoisseurs such as Stevie Ray Vaughan, Carlos Santana, Ry Cooder, Lowell George, John Mayer and Joe Bonamassa all swear by the sought after amps, the problem being that they were about the only people who can or could afford them. Now fetching between $70,000 and $150,000 USD on the secondhand market, Dumbles are an inaccessible pipe dream for almost everyone in the world. That is, until now. Amplified Nation is a boutique amplifier manufacturer hailing from Boston, Massachusetts who are bringing the magical sound of the Dumble to the masses with their exceptional amps. All of Amplified Nation’s products are designed and handmade by master builder Taylor Cox, who has in-depth knowledge of, and experience with, a myriad of genuine Dumble amplifiers. Cox is famous in the boutique amplifier industry and is considered one of the very finest amp builders around; his expertise in regards to D-Style amplifiers is unmatched. Excitingly, Gladesville Guitar Factory have custom ordered their picks of the Amplified Nation range, which are available to purchase. The crown jewel in the Amplified Nation catalogue is their magnificent 100 watt ‘Dirty Wonderland’ Head, available in Maroon Suede with a black sparkle grill. The Dirty Wonderland is an exceptional single-channel amplifier that exhibits all the glorious tone of a D-style amp at a far more accessible price. Powered by 6L6 tubes, the Dirty Wonderland has an incredibly uncompressed and open sound, allowing players to truly utilise their picking dynamics like never before. As well as a traditional three band EQ circuit, the amplifier also features bright, mid and deep switches which provide an additional boost in three different frequency

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ranges. This allows players to really dial in their own unique sound and tailor their tone for any situation. The Dirty Wonderland has both a preamp gain control and a transparent master volume, meaning players can achieve gloriously saturated tones at any volume. Whilst the Wonderland could certainly be considered a clean amp by nature, it features two very useful ‘dirty’ switches on the back that kick it up into a whole new world of saturated sounds. One of the dirty switches breaks up the expertly designed preamp, whilst the other distorts the power amp section. This means players can tailor their overdrive sound according to their own tonal preferences, making this one of the most versatile D-Style amps on the market. When set clean, the Dirty Wonderland has an enormous amount of headroom, making it an exceptional pedal platform. As well as this, the amp features a perfectly crafted tube-powered reverb circuit that allows players to organically create a sense of space within their sound. The on-board reverb is incredibly versatile, thanks to the inclusion of both a level and a depth control for the effect, making it incredibly finetunable. Finally, Amplified Nation have even seen it fit to bless players with a ‘half power’ mode, meaning users of the amp can achieve a full, deep sound at volumes appropriate for the stage, studio and even the bedroom. Also currently available in a matching Maroon Suede finish is the 2x12 Creamback Cabinet. Designed to pair perfectly with the Dirty Wonderland head, this cabinet features a set of ceramic G12M Greenback speakers from Celestion. The G12M is the quintessential rock and roll speaker. First crafted in the 1960s, the G12M was favoured by just about every guitar hero of that era that you could think of.

Emitting a deep, rich tone and featuring increased power handling, the Creamback Cabinet allows the Wonderland to truly shine. Providing a powerful low-end push, a woody midrange and crystalline highs that never become shrill, this cabinet is a one way ticket to tonal heaven when combined with its 100w counterpart. But there is so much more to the boutique wizardry of Amplified Nation than just the almighty Dirty Wonderland! Head honcho Taylor Cox has also been hard at work crafting his versions of famous Dumble combos favoured by the finest guitarists of yesteryear. The ‘Bombshell Overdrive’ is Cox’s version of Dumble’s game-changing ‘Overdrive Special’. An incredibly powerful 50w 1x12 combo, the Bombshell features two channels and a cascading gain stage. Incredibly easy to dial in and simply oozing with quality, the Bombshell provides one of the most harmonically rich, full and clear clean sounds in the world as well as the most delectably smooth drive tones imaginable. Another gem in the Amplified Nation catalogue is the Trem-Drive Deluxe 50W Combo. Featuring a single-channel setup with two drive controls and a master volume, the Trem-Drive is a tribute to Dumble’s glorious ‘Overdrive Deluxe’ circuit. With plenty of saturation on tap as well as both a reverb and a tremolo circuit, the Trem-Drive has multiple voicing options, making it an incredibly versatile rock and roll monster. Amplified Nation have succeeded in not only replicating, but absolutely nailing the immensely full, deep lows, throaty mids, divinely sweet highs and irresistible crunch of the most sought after boutique amplifiers in the world. From Stevie Ray Vaughan to Eric Johnson, some of the world’s finest and most tonally discerning musicians have sworn blind by these magical circuits, and you can own a piece of that magic yourself – in Maroon Suede no less. It’s a good time to be a guitar player, folks. For more information on Amplified Nation, head to guitarfactory.net.

GUITAR SPECIAL

Five assignable knobs below the screen give you instant physical access to parameters, be they delay tempo, harmoniser pitch or simply scooping the mids for the ultimate death-tone. If you don’t require all that power or if racks just aren’t your thing, the FM9 is a floor unit which combines modelling and effects processing along with built-in foot switch control. It’s built on Fractal’s Cygnus amp modelling and includes UltraRes speaker simulation, a suite of stompbox and studio effects, expandable FC foot switching, flexible I/O, 8×8 USB audio interface capabilities, a world-class Mac/PC editor, and more. This model was recently upgraded to the FM9 Turbo, which features a 10% boost in DSP power. This was actually the result of a supplychain issue built to get around difficulties in securing semiconductors, but the happy result is that the Turbo version is capable of more complex presets that would not have been possible with the original FM9 configuration.

Fractal Audio's stage-ready, penguin-friendly tech WORDS BY PETER HODGSON

What do Steve Vai, Dream Theater’s John Petrucci, Devin Townsend, John Mayer, Iron Maiden, Metallica, U2, Rush’s Alex Lifeson, Journey’s Neal School, Dweezil Zappa, Muse’s Matt Bellamy, Def Leppard, Joe Satriani, Aerosmith, Periphery, Guthrie Govan… okay, this list could go on forever so let’s just say it, what they have in common along with many others is a live rig that incorporates Fractal Audio gear.

When the first Axe-fx dropped around 2009, it ignited a revolution in home recording and live sound. It was arguably the first truly mature amp modelling and effects system good enough to fool the ears of fans and professionals alike and it was equipped with enough ins and outs to be incorporated into a complex rig: it could be your entire sound source, or just your effects. Over the years the Axe-fx and its descendants have powered the live sound of many of your favourite guitarists, each of whom finds their own way to incorporate the unit into their rig, whether it’s simply for super high-quality effects, or as a complete sound source. For instance, Steve Vai is in the former camp: he derives his tone from tube preamps such as his Synergy signature module, but relies on the Axe-Fx III for those heavenly delays, harmonisers and other spacey effects that colour his music. Meanwhile Metallica first tried the Axe-Fx when performing a historic show in Antarctica where amps would have been impractical to ship as well as too dang loud for the penguins, so the audience listened through headphones while Metallica chugged and shredded through Axe-Fx. That ignited the spark for the band, and now their entire live guitar sound comes from Axe-Fx III units, with

presets created out of multiple amp model layers and with any required effects at the ready (Kirk still has a signature wah-wah pedal though, try getting his foot off that thing). So what exactly is available in the Fractal family, and is it just for stadium-fillers? The current pinnacle of Axe-Fx technology is the Axe-Fx Turbo, and Fractal has packed a lot of impressive numbers into its rack-mountable chassis: ‘Two 1.25 GHz, floating-point “Keystone” Digital Signal Processors (DSPs) comprise the main audio engine,’ Fractal says. ‘These processors are the most powerful DSPs available delivering over twice the performance of the DSPs used in our previous generation products. To feed these advanced processors we coupled 4Gb of blazing fast PC1600 DDR3 memory, hundreds of Mb of FLASH memory, a proprietary FPGA and a rich set of peripherals.’ And the large, bright display isn’t sapping any of this processing guts: it’s controlled by a dedicated graphics processor while USB traffic and user interface tasks are handled by a 500 MHz, 16-core microcontroller. Axe-Fx III is clearly designed with professional audio in mind, with front-panel LED monitoring of all four inputs and outputs, so you or your frazzled guitar tech can tell at a glance if a cord has been kicked out or otherwise compromised.

If the FM9 is out of your reach or just has more stuff than you need, the FM3 Mk II Turbo might be the answer. It’s a compact processor small enough to fix on your pedalboard alongside your stomp boxes (it’ll probably be the largest pedal on your board, sure, but it’ll fit, dammit) but it too features Cygnus X2 amp modelling, UltraRes and DynaCab speaker simulation, plus loads of amp models and effects based on the Axe-Fx III. It too is a powerful foot controller with all of the programmable features of Fractal’s larger FC controllers, plus a 4×4 USB audio interface. It can be expanded with an FC-6 foot controller and of course you can add expression pedal control too for all your onstage wah, pitch, volume and effect parameter access. The list of Fractal users taking advantage of all this tech is absolutely huge, but a quick glance even reveals plenty of great Aussie guitarists including Brett Kingman, James Norbert Ivanyi, Plini and Brett Garsed. There are players who use Fractal gear for entire ‘history of recorded music’ sets, just as there are players who have a catalogue of bangers and an established sound that they need to recreate without a literal truckload of amps and effects units. There are local bands who use the FM3 for quick setups and soundcheck at small gigs, and there are international bands who trust Axe-Fx III in front of tens of thousands of fans per night. Just like the comprehensive signalrouting capabilities of a Fractal Audio unit, the possibilities are endless. Fractal Audio are distributed by Independent Music Australia

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GUITAR SPECIAL a unit like this. The Ampero Mini instinctively knows how the amplifier, and the cabinet, would behave in that instance, and faithfully recreates the tone and behaviour of the amp in line with one's performance. The touchscreen is easy to navigate, allowing you to deep dive into a range of settings in every patch. You can adjust EQ, effects, amplifier settings, microphone positioning and much more. So, you’re going to have a ball spending a bit of time at home building the sounds that you want to work with. And that’s half the fun of these multi-effects boards. For those who just want to get straight into it, the factory presets are nothing to be sneezed at either. There are plenty of amazing sounds in there ready to go, right out of the box. And with the ability to load third party IR patches, you can bring the sounds of other amplifiers and cabinets into your Ampero Mini, truly customising your device. As a building block, every Ampero Mini starts with plenty to offer, but can grow in tone and character as you work with it more. It’s almost like this little unit can do just about anything in the studio, at home or on stage.

IN FOCUS:

Hotone Ampero Mini WORDS BY ROB GEE

They say good things come in small packages. When Hotone effects pedals first hit the market, midway through the last decade, we were all challenged to try and argue otherwise, as these cool little units redefined any pre-notioned ideas regarding the kind of real estate required of the modern pedalboard, with no compromise at the sonic level. AMBER TECHNOLOGY | RRP : $499

If tiny stomp boxes weren’t enough, the brand then took this concept and applied it further afield, shrinking the concept of the multieffects board with the release of the original Ampero. Well, now Hotone have upped the ante again by, you guessed it, shrinking that concept down even more so – and with that, let me introduce you to the new Hotone Ampero Mini, a multi effects unit that packs an insane amount of versatility into a remarkably diminutive physique. Coming in at about the size of a typical paperback novel, and roughly the same weight too,the Hotone Ampero Mini is really the “go anywhere” small footprint effects unit you’ve been waiting for. The front panel of the Ampero Mini is simple to navigate with just two buttons, allowing you to scroll back and forth through the 198 presets, of which 99 are user assignable. But, how do you adjust anything with just two buttons? A touch screen of course! No one wants to spend their entire rehearsal session menu scrolling, so the Ampero Mini is designed to give you quick access to the best

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sounds at the press of a button. Holding both down engages the looper function, which is simple in its own right, but a nice addition. However, the Ampero Mini’s bread and butter is undoubtedly its amplifier sounds, and given the bevy of super realistic, highly usable guitar sounds in such a small unit, is alone the cost of entry. Without getting too bogged down by the abbreviations and technical terms, Hotone have implemented a bunch of advancements to bring life to their amp modelling algorithms. I think the best way to sum it all up, is that the company has placed their focus on dynamic response in an extremely intimate and haptic manner that can be felt as well as heard. Traditionally, one of the biggest criticisms of modellers has been in their often static appraisal of transient response, speaker movement and its relationship to musical performance. Hotone have worked tirelessly to ensure their amp models breathe and churn like the real thing.When you dig into the strings, it doesn’t just reproduce the same sound louder, rather it responds in a way that is both organic and musical, offering a level of expression beyond what you would normally expect in

With that, the thought of having to bring an extra guitar to a gig for that one acoustic song in a set is often enough to have that song removed from the set list. But, the Ampero Mini has that covered with a builtin acoustic simulator that actually works. It’s not like many of the early acoustic models in other effects boards that just apply a harsh EQ setting and some reverb. The Ampero Mini acoustic simulations use advanced algorithms to take the signal from your electric guitar and transform it into the sound of an acoustic. Dynamic response changes how the instrument sounds, as is the case on any acoustic instrument. The string noise is there, along with the sound of air being moved, just like a microphone in front of an acoustic guitar. It even has settings for nylon string guitars. But, it can’t widen the fretboard on your instrument, or flatten the radius. There’s only so far an emulation can go. On top of all this, there is a built-in drum machine, because, well, why not! And a USB-C connection for editing IRs, as well as managing, editing, and loading effects via the free software editor. Further, this USB connection acts as an audio interface, so you can record with the Ampero Mini sounds directly into your computer. There is almost no end to what this little box of tricks offers. But most importantly, it is all about the tone. So, if you’re looking for a huge range of sound, with realistic replication of amplifier and instrument response, you could invest in a lot of gear and lug it all around. Or, you could take the simple approach and pack it all into one little box: the Ampero Mini. This lightweight, compact unit offers so much more than scrolling through presets. The ability to harness quality amplifiers, cabinets and instrument emulation has now become even simpler. Don’t be surprised if the guitarist in your band turns up with nothing but a guitar and this little box for your next rehearsal.

BROADCAST SPECIAL

In Focus: Shure Aonic 50 Gen 2 Active Noise Cancelling Headphones WORDS BY ROB GEE

The Active Noise Cancelling headphone (or ANC) market is these days awash with trendy options that seem to sell fashion more than they do audio quality. But there are always the stalwarts in the industry who continue to deliver quality products, backed by decades of design and engineering experience. It goes without saying that Shure falls into that category, and it’s no surprise that an updated version of the popular AONIC headphones is going to be keenly sought after. So, let’s take a look at the AONIC 50 Gen 2 Active Noise Cancelling headphones. I am going to start with a disclaimer before looking at these headphones. I am not, nor ever have I been, a fan of Active Noise Cancelling headphones. In general, I find the listening experience off-putting, and too far removed from a real-world listening environment. If I want to engage in critical listening, in a controlled studio environment, I can and will do that. But, when listening in noise cancelling headphones, I can’t get past the effect the cancellation process has on the music I am listening to, nor how it feels with the removal of a spatial awareness from sound. Having said all of that, The AONIC 50 Gen 2 have changed my mind somewhat, and fans of noise cancelling headphones will agree more so. So, let’s look at the feel to start with. These headphones have been designed to offer minimal interference in every aspect. Not only are they focused on removing audio noise, but visual noise too, with sleek lines and a smooth finish that doesn’t look anywhere near as intrusive as the size suggests they should. There is some bulk to the cans, as the drivers, microphones and space required between can only be reduced so much, but the smooth lines and satin black finish reduce the look and feel of the actual size. The soft, yet sturdy headband has comfort in mind, and the super-soft ear cups are all about extended listening. When not in use, the AONIC 50 Gen 2 headphones fold flat, so they will take up less space in storage. I actually prefer this concept to so many other headphones that fold in on themselves, in an articulated fashion, and end up as a giant lump. You can slide these down into a backpack between books, a laptop or console and they create very little bulk. It's in use that they really shine. Shure have gone all out with these headphones. They come with a 3.5mm jack cable for wired use if you

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so wish, or utilise Bluetooth 5 technology for the best signal transfer and fastest latency. And this can be heard with the audio quality in both listening and microphone pickup. There are 6 microphones in all, which automatically adjust to capture your voice, and reduce environmental noise, so you can use them for phone calls and not have to worry about the noise in the room, out on the street, or wherever you may be. The result delivers a vocal that is slightly scooped in the lower mid frequencies, but it’s a small price to pay for what is the most concise noise gate you’ll ever get on a phone call. Audio playback is excellent too. Be it listening to music, streaming movies, taking phone calls or live streaming, you’re given incredible direct sound and none of the environmental noise that you don’t want to hear. With audio quality of up to 32-bit and an insane 384kHz sampling rate, there is so much in the audio signal you won’t be able to hear, that it will improve everything you can actually hear. This can be further enhanced with the use of the ShurePlus PLAY app, where you can make use of a full parametric EQ, and apply a range of settings to get your listening the way you like it. Further, amongst the switches on the side of the can is one that engages the Environment Mode. This gets a big tick from myself, as it allows you to hear the outside world, and effectively cancel the noise cancelling, by pushing the switch up. That means you can listen to an audio source and still take in your surroundings in the background, as many of us are so used to with regular headphones. It certainly makes for a more natural feel when using the headphones for recording, or in streaming and phone call situations, where you tend to raise your voice automatically when you struggle to hear environmental confirmation of its volume. Flip the switch back down, and the outside world just melts away again, and it feels like you’re back under the cone of silence. While we’re talking about spatial awareness, Shure have added what they call Spatialized Audio technology to the AONIC 50 Gen 2 which emulates three different environments for different listening situations. These are Music, Cinema and Podcast mode, with room modelling to adjust how the sound source is positioned in the stereo image, and how the space would relate to that positioning with early reflections and room noise. These are all quite unique soundscapes, and offer a more comfortable listening experience that goes just about unnoticed. It’s when you switch these modes off that you suddenly realise what you are missing out on. In all, the Shure AONIC 50 Gen 2 Active Noise Cancelling headphones offer a comfortable fit, a great range of options for both wired and wireless listening, extensive control from the included mobile app. These headphones offer more than anyone could have imagined possible ten years ago, and now they are readily available for all to enjoy. If you haven’t already, get into your local Shure dealer to try a pair now. You will be pleasantly surprised at how well they block out the salesperson’s spiel. That, in itself, is worth the price of admission.

BROADCAST SPECIAL

First Look: Shure SM7dB WORDS BY LEWIS NOKE EDWARDS

A classic range expands today with the Shure SM7dB. The history of the original Shure SM (Studio Microphone) 7 began in 1973, and it was used comprehensively for vocals, primarily built for broadcasting, while providing great response for any high-SPL instruments and sources. It has a very directional response, great rejection and robust build. The original SM7s now fetch exorbitant prices on online marketplaces, and the release of the SM7B in 2001 became the new industry standard. The SM7B was a refined version of the original with a larger windscreen to reduce plosives, building on the SM7A which had added extra shielding against electromagnetic interference, ideal for working in film and TV where interference might be rife. The SM7dB is everything the SM7B has ever been with the addition of a Cloudlifter active mic preamp in the chassis itself. The SM7B is a great quality microphone, though when interfaced with consumer-tier, can sometimes result in low level of gain, requiring an additional gain stage, usually a Cloudlifter in-line preamp itself to get the mic up to more optimum levels. This makes the SM7dB more accessible and useful than ever, perfect for podcasting, broadcast, streaming and music making, either with or without the internal preamp depending on your needs! Without the preamp, the SM7dB is an SM7B to a tee, both sonically and physically, down to the last wire. The SM7dB is a large-diaphragm cardioid dynamic microphone with an active preamp. Like its predecessor, the SM7dB includes a low cut filter and mid-bump, both of which can be engaged or left flat, while the new design has the preamp option for either +18dB or +28dB or gain, and then adjustable at your interface or sound card. In use, the SM7dB is a breeze, and sonically responds much like you’d expect an SM7B to. The additional gain helps you to refine your

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recordings, creating great quality recording, well above the noise floor now with the addition of an additional gain stage. For lack of a better word or description, the SM7dB served me like a SM7B would, my go-to for metal and screamed vocals, but it had me resting easy that I had more gain on board for different singers. Once I had my gain set, it served me as any other SM7B, a mic I’ve relied on time after time, clients requesting them specifically as they’ve seen, heard and used them before on the biggest records in the world. Working through a session of vocals that had previously been recorded on an SM7B, I didn’t notice any difference between the audio recorded previously, again speaking to how exact the circuitry of the SM7dB is. So what are you buying when you upgrade? Piece of mind, confidence you’ll always have enough gain, as well as the classic sound of an SM7B. The SM7dB is a huge upgrade, doing away with worry and stress, keeping a session flowing. The yolk prevents handling noise, great for a metal vocalist bouncing around trying to harness whatever energy they feel on stage, as well as being easily mountable on a mic stand for a singer-songwriter or attached to a boom stand for podcasting and streaming. The mic’s back panel orientation can also be adjusted for either a boom or mic stand, allowing you to read the controls depending how you position it.

The SM7dB is an extremely versatile mic, offering clear, concise and articulate vocal sounds from whisper quiet to loud and overthe-top, screamed performances. Serving itself well as a podcast and streaming mic, it’s equally at home in the recording studio from budget home-studios to top-tier professional spaces. The additional gain is particularly important for broadcasting and content creation, its additional gain allowing you to record various sources with less risk of bringing up noise, hiss and ambience in post production, instead recording audio with a much larger dynamic range with space to treat, refine and shape a sound. The SM7dB builds on the stellar reputation of the Shure SM7B which comes after a long line in the range of SM7 microphones. Traditionally used for broadcasting, the SM7B is a reasonably flat, full-range and directional dynamic microphone, though sometimes struggling for gain with quieter singers, speakers or sources. The SM7dB takes this classic design, and offers a preamp in the circuit itself, offering 18db or 28dB or additional gain, as well as the low cut or mid-range bump found on the classic SM7B. There’s no discernable difference between the SM7B and the dB, besides the peace of mind it provides, being prepared for any session with any singer, speaker or source, expanding the dynamic range massively. Keeping a session going is an immeasurably important part of producing and recording, whether you’re recording music or a podcast or other content, and the SM7dB alleviates a lot of this, allowing clarity and hi-fidelity audio no matter the situation. The SM7dB is just another classic, destined to be heard on countless recordings like much of the range from Shure.

In Focus: Studer WORDS BY ANDY LLOYD RUSSELL

Founded by Willi Studer in 1948, Studer quickly became known for their pioneering reel to reel tape machines, revolutionising the design and commercial quality standards of multitrack tape recorders.

The now legendary J-37 4-track 1” machine produced in 1964 grabbed the attention of Abbey Road Studios in London and quickly found its way onto recording The Beatles – most notably Sgt. Pepper’s Lonely Heart Club Band. The A800 24-track 2” tape machine released in 1978 became somewhat of an instant classic with its 24 track count. Studer had certainly become a recognised name in recording studios, but were also laying down the groundwork for their broadcast range. Many of their analogue mixers had become a staple in broadcast trucks, production houses and TV studios, as well as theatres and concert halls. The reliability and serviceability of these consoles made them increasingly popular, covering the bases of larger facilities as well as the increase of smaller project-sized recording studios and radio broadcast suites throughout the 80’s. It wasn’t until the mid 1990’s that Studer pushed forward into designing and developing their first digital mixing consoles garnering a healthy market share due to their world leading design, as well as the brands reputation for bombproof reliability. With separate processing cores, the main control surfaces were able to perform sophisticated automation that was easily recalled from project to project. This pushed the consoles into all areas of the industry from commercialsized control rooms, TV studios, compact editing suites and more.

The introduction of the Vista series of consoles in 2005 was yet another major breakthrough, with the pioneering Vistonics enabled touchscreen creating a lightning fast workflow. As technology developed further into the 2000’s and 2010’s so too did the processing power of Studer’s early DSP cores (such as Performa and Score Live) and Infinity Cores being CPU-based, DSP processor scalability wasn’t a problem, with gargantuan power on tap, enough to control 1000 or more audio DSP channels and more than 5000 inputs and outputs. Vista’s flagship model X and smaller V are fitted with unparalleled system redundancy via Vista’s Quad Star technology. The last couple of years in particular have seen Studer undergo an exciting and significant change, with the acquisition of the brand by Evertz Technologies Ltd in February 2021. After the relocation of the Studer manufacturing facility from Hungary to Evertz headquarters in Canada, Evertz went about incorporating the legendary brand into their ecosystem. The Vista Bravo is the newest and most compact member of Studer’s Vista console family – being announced at this year's NAB Show. A stand-alone console with 12 motorised faders, 16 mic/line inputs, 16 line outputs as well as a MADI port, Vista Bravo packs an enormous amount of power and connectivity for such a compact console. D21m dual width option slot for expansion of I/O to stage

boxes or connection to Dante AoIP network and its advanced built-in DSP engine provides enough processing for up to 140 paths ensure this console’s suitability for a wide array of audio production tasks from live through to smaller broadcast and content creation productions. Aside from the Vista Bravo, Evertz have also integrated ST2110-30 connectivity access across the range of Vista consoles and are fully NMOS IS 04,05 compliant. Not only this, but the Vista X and V consoles provide direct ST2110-30 connectivity to Infinity ST Cores, the D23m I/O frames via the new D23m-2110-GATEWAY card, which excitingly are suitable to retrofit into existing installations, a refreshing indicator of Evertz’s commitment to supporting the range. Furthermore, Evertz have integrated the Vista product line to be controllable by their proprietary control system Magnum OS within Software Defined Video Networking (SDVN) environment. Magnum OS now has 2000+ control points into Studer Vista consoles, providing bi-directional control of all the main processing and control parameters. It’s very promising to see fresh representation of the brand within the Australian and New Zealand market. Specialist broadcast integrators and master distributor of some of the leading brands in this space, Studiotech Australia is more than well equipped to take on the iconic brand.

staff and customers, we sell Rolls Royces and there’s nothing wrong with that. This is the equipment that you buy that will last you 10 years plus.” he said, continuing, “So for Studer, we actually own a Vista V 52-fader desk that’s sitting in there (the audio showroom) at the moment, with full surround monitoring. And shortly we’ll have the new made-in-Canada brains, which has 2110 capability built-in and they’ll go into our data centre and will interface with all the other 2110 equipment that we have running; so you can actually run a proper demonstration of audio over IP. There’s even space to do proper recordings if you wanted to.” Ric Zattera Sales and Marketing Manager added – “We did an open house earlier this year (at the Studiotech Australia showroom) and we’re planning on doing it annually.” Providing the opportunity for attendees to mix a live band on the showroom’s Vista V console. The hands-on format apparently “went down really well!” With exciting prospects for the brands future product development and deeper integration into the continually evolving world of IP based audio networks – Studer is well and truly on the up in all measures of the pro audio sphere, and I for one am glad for it.

As Managing Director Michael Bentsen shared – “as I say to my

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BROADCAST SPECIAL

Empowering creators with DJ City WORDS BY LEWIS NOKE EDWARDS

DJ City have launched their Content Creators program, an opportunity for new creators to get exclusive access to products, software and industry news to create engaging user-generated content. The program is open to everyone with a passion for creating!

With the launch of the program we spoke to DJ City's Head of Marketing about the program. What kind of content is DJ City looking to create? We are looking to create all types of content. We want to partner with content creators across all platforms and disciplines, videos, podcasts, social media posts, video reviews, tips and tricks, advice the lot! Are there any prerequisites for application? The only prerequisite is that potential Content Creators are passionate and really enjoy speaking about the subject matter. Is this something that’s available to everyone? YES for sure. We wanted to create a program that was accessible to all, for those that have

experience with affiliate programs as well as those that don't, established content creators and those just starting out. Myself and the team are on hand to work with everyone and go through any questions and are more than happy to answer those questions via email, phone or video call. It is important to stress that we are looking for Australian based content creators as we want to build a community that shows off the AMAZING talent we have here in Australia. How will creators receive work from the DJ City Content Creator program? We use a full management platform called Grin. On this platform Content Creators are able to create a profile that allows us to brief them on the content that we are looking to create.

What’s in it for the creators? There are quite a few advantages to becoming a creator, Early access to products, access to the many brands and products that we stock. Actively promoted across DJ City's stores, EDMs, Socials with an aim to help them grow their social presence. Unique discounts that they are able to pass onto their followers/ subscribers. But one of the biggest draw cards is that creators get to earn commission on any sales that are attributed to their content. Can creators select the type of content they create based on their skills or preferred discipline? For sure, all creators can let us know their prefered discipline, brands, products etc. We also work closely with the creators and suggest products that they may be interested in creating content. Is there a minimum amount of work required? This is really an open ended question. The amount of work varies, we work with creators who are working on one post for one platform, as well as those that are creating a series of content that will go across several platforms. We will always work with creators to ensure that they feel comfortable with the deliverables, all of which are detailed in all briefs and agreements. How can creators apply and get involved in the program? Head on over to djcity.com.au/contentcreators, click on "Apply Here" and follow the prompts.

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CMY

The accidental invention of the wah pedal WORDS BY PABLO FRANCOIS

Iommi and Eric Clapton to name a few, as well as more contemporary players like Slash, Kirk Hammet and Dimebag Darrel.

The advent of this effect in guitar playing began with a rocking pedal design that opened and closed the EQ curve, allowing guitarists to express more while playing with their hands.

The wah effect, in particular Crybaby pedals, saw huge use across soul, funk and R&B genres, with players using it to add more rhythm elements to already heavily syncopated playing styles.

he wah pedal is a unique pedal in that it’s sort of used to synthesise another instrument entirely: the voice. The wah pedal uses a simple design, an EQ with sweeping bell and/or high-pass filter to replicate the effect of our mouths opening and closing to form words, coupled with melody. The technique is not unique to guitar, and was used extensively in the big band era by horn players who had discovered they could produce a ‘quacking’ style sound if they cupped and removed the trumpet mutes usually used to heavily attenuate the sound of their horns. Both this and the wah pedal produce a ‘wah’ sound, similar to the way our mouths move from mostly closed to almost fully open when making that sound ourselves. The advent of this in guitar playing began with a rocking pedal design that opened and closed the EQ curve, allowing guitarists to express more while playing with their hands. A similar effect can be achieved by rolling your tone control on and off, but the foot pedal frees up your hands. Wah pedal invention While being officially (albeit accidentally) invented in 1966 by Bradley J. Plunkett at Warwick Electronics Inc./Thomas Organ Company, the effect had been used by Chet Atkins in the late 50s on “Hot Toddy” and “Slinkey”, on a pedal which he designed himself, and jazz guitarist Peter Van Wood had modified a Hammond organ expression pedal to do a similar job, not unlike how Vox fell into being inventors. Warwick Electronics Inc. owned the Thomas

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Organ Company who had entered an agreement with Vox Amplifiers to distribute their (British made) amplifiers in the United States, as well as building some equipment specifically for the US-market, namely transistorised, solid-state version of tube amplifiers. Junior electronics engineer Brad Plunkett was tasked with replicating the Jennings 3-position mid-range boost on the Vox amps in a solid-state version, which he built, mis-wired and tested through an amplifier, his mis-wiring producing that famous squawking, crying tone instead of a mid-range boost, but it captured the attention of the office, and the rocking pedal design being born. Electrical engineer Del Casher suggested they plug in an electric guitar, at the behest of engineer Bill Page who wanted to use it for saxophone, but Del Casher’s suggestion saw the advent of the guitar as we know it, the design being modified to suit the electric guitar more accurately. The Crybaby Thomas Organ wanted to market the pedal for their own American market, so it was rebranded as the Crybaby. While a patent had been lodged for the original wah-wah pedal, the Crybaby itself was not patented, and as such was replicated by multiple companies, including the company, Jen, building Vox and Crybaby pedals, who simply rebranded them for Fender and Gretsch. The advent of the wah effect in the late 60s saw huge popularity in guitar players in the 70s including Jimi Hendrix, David Gilmour, Toni

Jimi Hendrix famously used his wahs for songs like Voodoo Child (Slight Return), wackawackaing into the history books, while also using them to find a sweet spot, leaving them static to help his solos cut through once the right mid boost had been located. More wah effects The rocking pedal design is the classic, but advances in technology have bought us the talk-box, a similar sounding effect achieved in an entirely different way (think Bon Jovi’s “Livin’ On A Prayer”) as well as envelope filters and Auto-Wah pedals having a resurgence thanks to players like Corey Wong of Vulfpeck. These are static per se, but not in the way Hendrix made his static. An Auto Wah can be set to a tempo and quacks along with you, while an envelope filter produces a similar effect, albeit being triggered by volume, meaning it reacts to the dynamic of your playing.

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Guild Surfliner Deluxe ZENITH MUSIC | RRP: $1499

Every now and then, you pick up a guitar that reminds you of why you fell in love with them in the first place. The Guild Surfliner Deluxe is one such guitar. For many of us, what was once an alluringly glamorous and foreign object, full of mystery and promise, has become a tool of the trade, an extension of ourselves that we take for granted. We forget how utterly romantic, how nuanced and beautiful the instruments we spend our time holding and playing once were to us. Whilst our passion hasn’t dwindled, it perhaps lacks the fiery, curious edge that tends to only inhabit us at the beginning of our musical journey. The more our ability develops, the more our knowledge of equipment expands and the more comfortable we become in our little six-stringed world, the more at risk we are of drifting away from the feverish, youthful excitement that set us on this path to begin with. There’s no better way to reignite that spark than to pick up a new guitar, but it has to be truly special to do the trick. Well, this new offering from Guild is as special as it gets. Its shapely offset body, long scale length and striking headstock are reminiscent of many things at once, all of them good. The classic offset surf guitars of yesteryear certainly spring to mind, as does a certain fiery avian model out of Kalamazoo. However, all in all, the Surfliner Deluxe is distinctly Guild. Garagey

enough to be eternally cool and yet punctuated with dazzlingly classy appointments. From its sparkling black finish and nickel hardware to its pearloid block inlays, everything about this guitar is aesthetically perfect. Its groovily asymmetrical tailpiece, the white binding on its generously wide fretboard and the closed-gear locking tuners adorning its headstock are all important features that add up to an enticing and inspiring instrument. Flip it over and prepare to be pleasantly surprised by the enticingly dark brown colouring and grainy look of the Surfliner’s roasted maple neck, a first for the brand and a fine addition. In the hands, the Surfliner Deluxe feels long and broad in a way that fans of aforementioned comparative guitars will be very familiar with. The C-Shaped neck feels velvety smooth to the touch thanks to its natural matte finish, making for a delightful and freeing playing experience. The 25.5” scale length, 1 11/16” nut width and 10” radius of the neck gives the impression of an almost baritone-like scope, but it never feels clunky. Rather than hindering the agility of one’s digits, the proportions of the neck evoke a luxurious degree of comfort rather evocative of a stretchlimousine (and for only a fraction of the price). The Surfliner Deluxe is blessed with an incredibly versatile HSS pickup configuration and a

5-Way pickup switch that work in conjunction to create a myriad of tonal possibilities. The HB-2 Humbucker in the bridge position features Alnico II magnets, recreating the rich, warm tone of vintage Guild humbuckers. Exhibiting a mid-focused but fairly even frequency response, the HB-2 is cool enough as to not overpower its DeArmond single-coil friends but hot enough to do some serious damage if pushed into distortion. In the fourth position, the bridge and middle pickups combine to create a slightly scooped, quacky sound. Fragile yet funky, this position allows for a subtle tone that will be familiar to fans of S-Style guitars. Set clean, you’re in Knopfler territory, set dirty, this position is capable of both classic honk and some grimey, garagey goodness. The middle pickup in the Surfliner is where its most powerfully raw tones can be found. Bright, edgy and dynamically wide open, this position really grinds on full blast and simply screams rock and roll. Whilst certainly capable of some very naturalistic, almost acoustic tones at low volumes, when pushed, this pickup absolutely howls and could quite confidently cut through the densest of mixes. The second position provides the classic hum-cancelling effect found between the neck and middle pickups. Cool, smooth and jazzy, this position shines when utilised for clean, funky rhythm parts and provides a smooth

velvety lead tone when overdriven. From Cory Wong to John Mayer, this is a timeless and familiar tone that has been utilised by many classic players the world over. Finally, in the neck position, the Surfliner provides a spanky yet smooth tone that doesn't lose its edge. Warm and full, the neck pickup in this guitar is gloriously velvety and yet remains bright and bell-like enough to still shine through. Perfect for clean jazz and blues tones, this pickup also excels at smooth, sustaining leads when distorted. Most importantly, the Surfliner is downright fun. From its uber-cool, timeless aesthetic that doesn't take itself too seriously, to its wide-ranging sound, it truly does rekindle that youthful spark of excitement we all yearn for. The sleek, sparkling finish, the daring shape and the retro-futuristic design are all as eye-catching as they are unique. The spacious fretboard, extra long tremolo arm that never knocks you out of tune and the overall feeling of the Surfliner is certainly that of a surf guitar, and yet it’s so much more. Try it out and it’ll likely steal your heart, but after all, who doesn't want to fall in love? BY CHRISTOPHER HOCKEY

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Marshall ST20C ELECTRIC FACTORY | RRP: $2399

Marshall have been building amps for the stars since the 60s. Characterised by sizzling, bright and crunchy tones, Jim Marshall’s shop in London gained a following because of the sheer volume they were capable of, particularly with players like Pete Townshend of The Who. While there’s a myriad of revised models available, with increasing amounts of gain for more modern music, the classic designs have remained a mainstay, constantly some of the best sellers because of the hugely influential recordings and performances they’ve been involved in amplifying. Because of this, Marshall has reissued one of the classics: the JTM. The JTM(Jim & Terry Marshall)45(RMS wattage). The JTM45 prototypes were demo’d by Pete Townshend and Deep Purple’s Ritchie Blackmore, working through six prototypes before agreeing on a design. The JTM45 was originally built as a combo, the sheer power of the amplifier prompted Marshall to split it into a head and cabinet situation, the new range honouring both of these designs. The ST20C is a 20W combo, also being available in a head-only version, the ST20H, as well as matching cabinets also being on offer. Switchable to 5W for lowervolume practice, while also having a DI-output for recording and use with an impulse response. The ST20C is a single-channel amplifier, though has four inputs for varying types of input stage, split into two high sensitivity and two low sensitivity inputs. From here there’s two Loudness

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controls to adjust the two sets of inputs, three-band EQ and a Presence control. The simple control layout provides a great foundation for a stellar tone, while some amongst us are excited at the prospect of daisy-chaining the inputs for more gain. Finally, Marshall’s ST20C has a low/high switch to toggle between 5W and 20W, being set to ‘Standby’ when in the middle position. Lower power allows you to drive the tubes of the amplifier harder, without having to push your amplifier beyond reasonable or usable levels. It's all good and well to push your amplifier in an isolated studio environment, but if recording live with a band, performing live even just practising, ear-splitting volume will seep through neighbour’s walls, bleeding into drum mics and ruining otherwise usable takes! The power control available on the Studio Series alleviates this issue, allowing you to push your tubes to break up while retaining a convenient volume. In use, the ST20C is that classic Marshall tone. Inherently British, often replicated but never quite equalled, the JTM is bright, forward and gritty, allowing for clarity and space in your tone. The simple EQ controls offer a wide range of sounds, shifting your tone from a dark, mid-forward tone to a crisp, bright jangle without any harshness, mess or mud.

Scooped mids offer a classic metal tone, harnessing the tone from early Judas Priest and Iron Maiden , especially when paired with a humbucker. Dialling the mids back in gives classic rock, ranging from British pioneers Led Zeppelin, Cream and Hendrix who made sure he had Marshalls after spending time in the UK. More modern jangle and indie sleaze is available when you push the treble, your tone cutting in a percussive manner, without becoming too harsh or jarring, while still managing to cut through a dense, fast arrangement. The Presence control makes your tone bigger, occupying more space without simply adding mud or low end, it’s something magical happening harmonically. Your tone is weightier, offering heft and clarity in the unique combination that only a Marshall can. The beauty of the Marshall ST20C is that that’s it. Everything sounds good, with simple controls to refine it. Jumper patch cables in the additional inputs create additional grit and drive, retaining the clarity or the base tone of the amp. The power switch allows you to push it all harder, harnessing the ECC83 preamp tubes and 5881 power amp tubes to their full potential, without killing the relationship with your neighbours, or allowing more controlled recording of that great tube tone.

The Marshall ST20C is a 20W combo amplifier, sitting comfortably in the middle of the range between the head-only version, the Marshall ST20H and a few cabinets available. It builds on the back of the original Marshall tone, designed in conjunction with some classic British rock heavyweights. It’s a tried and true design, redefined with modern tech allowing you to push the tubes to breakup, a task usually earsplittingly difficult with even 50-watt heads, let alone 100-watt. The ST20C is 20-watts, records well, while also having power controls to dial back for jamming, rehearsing or studio work at reasonable levels. The Studio range as a whole honours Marshall’s legacy, history and impact on the musical landscape as we know it, the ST20C specifically speaking to an amp that bore Jim Marshall’s own name as his business began in the early 60s. Demanded on stages around the world, toured and relied on for recording for decades, Marshall Amplification has been the go-to, their designs now famous the world over would have largely been impossible if it weren’t for the trailblazing JTM45 design, re-issued now in the Marshall ST20C.

BY LEWIS NOKE EDWARDS

PRODUCT REVIEWS

Fender Vintera II '60s Precision Bass FENDER MUSIC AUSTRALIA | RRP: $1999

The Precision Bass came to life in 1951, at that time with a single-coil pickup in the middle position, Leo Fender’s now infamous “tug bar” or finger rest, the bass finding its way into the hands of forward-thinking bass players looking to do away with the upright basses of the time. Comprised of a solid body, being reasonably lightweight and now including frets, it was a less cumbersome way to add bottom end, rhythm and groove to your band. The late 50s and early 60s saw the Precision, now colloquially known as the P-Bass, refined into a design largely used today, with a split single-coil pickup, and simple volume and tone controls. The Fender Vintera II '60s Precision Bass pays tribute to this era, bringing classic designs, neck shape, colours and hardware to the modern day. The Fender Vintera II '60s Precision Bass is available in a 3-Colour Burst and Olympic White, both models sporting a Tortoiseshell pickguard. The tug bar screwed into the pickguard is an interesting one. Originally added by Leo Fender on earlier Precision designs, he (not a guitar or bass player) assumed players would rest or hook their fingers on the bar and play with their thumb. In reality, players plucked with their fingers more than their thumb, which is why late 60s and 70s basses had the thumb rest relocated to the other side of the bass, providing a great position for walking bass lines. The Fender Vintera II '60s Precision Bass is built from an alder body, coated in a gloss polyester that’s typical of the 60s P that

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brought new life to the rock and roll, swing and pop scene. The 3-Color Sunburst is another nod to the evolving look and feel of Fender, the additional red hue being introduced in the late 50s to blend the simple black and yellow 2-Tone Burst finish that is more typical of 50s basses. The neck is maple, carved to an “early '60s "C" shape”, and finished in a gloss urethane. The addition of a slab rosewood fretboard is a huge plus, the slab board being a bulkier chunk of rosewood with a stronger connection to the maple neck itself. Slab rosewood is sought after in vintage guitar circles because of its rarity and uncompromising build quality. The Vintera II range sport this specification, the Precision Bass included. The nut is synthetic bone, and the tuners are Vintage-Style Open-Back, offering both quality and tuning accuracy, coupled with classic vintage Fender looks. The pickups are controlled by a Master Volume and Master Tone control, the split single-coil needing little help to holster that classic 60s sound. The 20 Narrow Tall frets have a 7.25” radius, feeling much like a vintage Fender does, while still being uniquely playable. Modern guitars have a flatter radius, borrowing more from high performance shred-style designs, while the Vintera II series aims to accurately and comfortably reissue the classics. The Fender Vintera II '60s Precision Bass does a great job of giving the unique feel and playability of a vintage Fender bass. The tone out of the box is immediately rich,

balanced and controlled, offering weight and heft without being overtly muddy or overkill. With the tone knob wide open, there’s a mid-focused push with plenty of string attack, and just rolling it off a little gives the bass a nice, warm and rounded sound.

comfortable fit against the body, the neck offering comfortable access to frets and a great sound with minimal effort. Its clean sound offers a great base for extra grit and tone via pedals, while the direct signal is balanced, hefty and clear.

The neck feels nice, the gloss urethane feeling slick enough to glide around while retaining a classy, finished feel. The Narrow Tall frets retain the classic feel of a Fender, nice clarity and accurate tuning, the synthetic bone nut adding a little brightness without the guilt of real bone. The whole bass felt comfortable to play, thanks to the rounded edges of the body that were introduced in the late 50s. Before this, the edges of the body were sharper like a Telecaster. The whole bass stayed in tune well and bolstered a controlled low end, offering music richness right down to its lowest notes.

The Vintera II series overall are a home-run, speaking to Fender’s ability to listen to their consumers, replicate the best of the best of their 70-something year history, all with unparalleled quality control and build quality.

The Fender Vintera II '60s Precision Bass pays homage to a model that changed it all. Shifting gears from the cumbersome, weighty upright basses of the 40s and 50s, the first electric bass was released in the early 50s and was refined by the 60s, honoured in the Vintera II '60s Precision Bass. Vintera II offer period correct specs, materials and designs, all in the interest of offering a more accessible playing experience to those wanting the full vintage experience without the (currently inflating) price tag of a used vintage Fender. The Vintera II '60s Precision Bass is supremely playable above all else, being a

BY LEWIS NOKE EDWARDS

PRODUCT REVIEWS

Faith FKV Venus CMC MUSIC | RRP: $1195

Faith guitars never cease to surprise me with something a little different. I’m not sure they’re trying to be different – I think it just works out that way. Patrick James Eggle is the sonic and artistic mastermind behind Faith Instruments and it seems he’s quite happy to bend the rules, or at least some traditions, to deliver what he imagines a guitar could be. The FKV Venus Electro Cut is no exception. It is an auditorium-style guitar, but with a slightly deeper body, a more rounded body profile (almost like a classical guitar), and a soft Venetian cutaway. These three features alone make for a more interesting look, and the all-over satin finish gives the guitar an honest, organic appearance. But, some things just work, so why not: a solid Engelmann spruce top on a solid mahogany body with hand-scalloped spruce braces (if it ain’t broke…right?) The traditional long scale neck is mahogany with a beautifully figured ebony fretboard, and the 16” radius is super-comfy to play. And, for the acoustic guitar snobs out there (you know who you are) there's even a soft volute behind the nut. Strumming an open E chord is a big surprise. The sound leaps out with a deeper voice than expected. While the mid and treble tones are clear and defined, the bass frequencies are rich and quite prominent. Thinking I’m hearing things that aren’t actually there (because I’m up before the crack of noon) I immediately switch to an actual OOO, a D-28 and a D-18 (those traditional

but, honestly, I don’t really care how they did it – I just love that it sounds the way it sounds. It’s rich and woody, responds super-fast, loves the plectrum, and fingerpicking is effortless. Right along the neck, the tone has body and the notes speak loud and clear. Complex chords hang together nicely, with every interval clear and articulate. The tone of the FKV is warm and organic, and the satin finish means that you feel the resonance through every part of the guitar that touches your body.

reference instruments), and they clearly produce those great sounds that we all love and that work so well. Dreadnoughts are great for driving rhythm, when you want that woody bass thump, but sometimes the top end doesn’t cut through quite enough; auditoriums (OOOs and OMs) are perfect for when you want that even balance for fingerstyle tunes and bright rhythm parts (where the bass is already handled by someone else). Back to the FKV Venus, and it falls somewhere between the dreadnought’s low-end drive and the OOO’s smooth balance. This FKV has a nicely-voiced “push” in the bass and low mids that kind of combines what we love about both dreadnoughts and auditoriums. I know that the body shape and extra internal volume will contribute to this sonic character

Plugged into a Fishman Loudbox combo amp and a Fishman SA300x/SA Sub PA system, the Fishman Presys pickup and preamp delivers a very authentic image of the FKV’s acoustic sound. There’s no latency or weird compression; there’s no bite or snap in the top end; there’s no fuzzy, undefined bass notes… just a lovely acoustic guitar tone that is completely infectious. You’ll spend some time here once you start playing. I did. And don’t be worried about the simplified preamp controls. Everything you need is here. It’s so simple to get a great sound because the guitar is already doing the business. In the studio, I found a sweet combination of a U87 near the bridge and either an SM81 pointing at the 15th fret (for a cleaner top end) or an SM57 (for a touch woodier tone). Faith guitars have an uncomplicated, almost austere, appearance. This guitar has no binding, just real wood edges and hardly any inlays; only a 12th fret

“F” and a 2mm rosette ring – and these are real mother-of-pearl – not, like on many guitars at this price point, mother-of-plastic. In fact, across their entire catalogue, they don’t really go in for a lot of bling. Faith guitars take a minimalistic approach, preferring to concentrate on what really matters. As Patrick Eggle told me in 2021, “Our thing with Faith has always been to build a guitar that's as good as it can be as a playing instrument, not worrying too much about the looks and not worrying too much about gold hardware and fancy inlays, and all that. Yeah, but just build an all-solid wood guitar that's properly built and as good as it can be for the money. So, let's build it properly, let's use the right tone woods….let’s actually build it absolutely right; put the money and the time into building a really good acoustic guitar.” The FKV Venus Electro Cut is a beautifully elegant guitar with its own aesthetic and a fully-bodied voice that will cross-over from style to style. For the tragics (like me), there’s a complete spec list on the Faith website, so let’s not worry about that here. The important thing to know is that it is very easy to play, sounds great with fingers or a pick, and looks very cool. You’ll love it on stage and in the studio, but I think you have it out of its gig bag at home, too, because it’s just such a pleasure to play. And, at $1195, the FKV Naked Venus is simply great value for money. BY STEVE HENDERSON

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Fender Vintera II '60s Stratocaster FENDER MUSIC AUSTRALIA | RRP: $1999

The Fender Stratocaster hit the market in 1954 and it’s never stopped evolving. Just compare those original instruments to the Ultra Luxe Stratocaster and you’ll see how far we’ve come from the model’s inception to its current state-of-the-art incarnations. But as refined and modern as the Ultra Luxe is – there will always be guitarists who crave those early iterations. Fender’s Vintera II series aims to provide a line of instruments that hit various key points from particular decades, without being an actual reissue of any particular instrument. For instance, there are ‘50s, '60s and ‘70s Stratocasters in the line, each with period-correct woods and hardware but more cost-effective construction, modern gloss polyester finishes instead of timeand-cost-intensive polyurethane, and more up-to-date electronics (did you know the Stratocaster didn’t have a five-way pickup selector switch until 1977?) So let’s have a look at what makes the Vintera II '60s Stratocaster tick. Available in three colours (Olympic White, Lake Placid Blue and 3-Colour Sunburst) it seems to draw much of its inspiration from the 1962 model year, with its alder body, rosewood slab fretboard, tinted maple neck and the wee little indent in the pickguard where the truss rod adjustment screw is (even though you can’t actually access the truss rod through it). The multi-ply pickguard is home to three Alnicomagnet single coil pickups voiced in the spirit of mid-'60s units,

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which is to say, a little fuller and a hair darker than 50s versions. The electronics consist of a fiveway pickup selector, a master volume and two tone controls: one which operates across both the neck and middle pickups, and another for the bridge pickup. This is considered pretty standard these days but it does actually reflect a popular modification on the original Strat format, where in addition to the three-position pickup selector you would find individual neck and middle tone controls and nothing at all for the bridge pickup. The neck features 21 Vintage Tall frets and a period-correct 7.25” radius, quite curvy by modern standards and not necessarily the easiest to bend strings on. It’s nice to see a return to rosewood in this line, in comparison to the regular Vintera series with its Pau Ferro fingerboard options, a fine wood but not vintage-accurate enough for some players. The neck shape is a comfortable if not particularly characterful '60s C shape, and the hardware includes a vintage-style Synchronised Tremolo with bent steel saddles and vintage-style tuning machines, the kind where you have to poke the end of the string into a slot that goes right down inside the post. And that’s basically the whole story, other than the included and quite hardy Fender gig bag. I happen to own a Fender American Vintage Reissue 62 Stratocaster, a model that is as accurate as you’re going to get to the real deal from 1962, so

I’ve been able to compare the Vintera II '60s Stratocaster quite closely to a version of the type of guitar it’s designed to evoke. All the major features are present and accounted for, from the tint of the lacquer on the neck, to the softer '60s body radius, to the mint-green tint of the plastics, designed to evoke the way that the original plastic parts would have aged over the years without actually applying any type of Relic treatment. Although my AVRI 62 feels more ‘lived in’ and has definitely been broken in after years of use and abuse, the overall vibe of the Vintera II is very familiar, with the exception of the glossy finish of the Vintera in comparison to the practically matte patina that a nitro finish will take on after a short while. Sonically, the pickups are definitely in that '60s vein and their tone is more in line with that fuller SRV tone (though his pickups were made in 1959) than the more crisp Eric Johnson type of 50s single coil clean sound. This is a Strat that loves to be played through a Blues Junior or a Deluxe, but will also give you fantastic overdrive through a cranked Marshall, and will maintain its character through a wide variety of fuzz pedals (I was particularly impressed by how it held its own when run through a Fender Hammertone Fuzz, with or without the octave mode engaged). It’s a gritty, smoky tonal character that feels tailor-made for blues-rock as well as for indie/alternative/ shoegaze styles where you need

a bold, gutsy clean tone that won’t be lost when augmented with effects. Add some gain and you’ll recognise some undeniably classic overtones and harmonics, although you’ll also recognise the characteristic single-coil hum of a real '60s Strat. Fender does offer noiseless Strat pickups as an aftermarket product so if the buzz bothers you that much then you do have options (and there are plenty of Strats that come fitted with noiseless pickups right out of the box) but I think it’s kinda cool to hear that classic hiss. It just feels authentic. The next model up in '60s style would be the Mike McCready Stratocaster, which is pretty similar in a lot of key ways but with a distinctive Relic finish mimicking Mike’s personal guitar. The level after that is the American Vintage II 1963 Stratocaster, which is quite similar to my 62 AVRI and a very fine guitar. But if your budget doesn’t stretch to the USA-made reissue, the Vintera II will get you nearly all the way there. BY PETER HODGSON

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Fender Highway Series Dreadnought FENDER MUSIC AUSTRALIA | RRP: $1699

The Acoustasonic range from Fender took the world by storm. Building on the back that, Fender now launches the Highway Series. Combining the best of acoustic guitars as well as playable elements from electric guitars and combining them into something new entirely, the Highway series is the latest in guitar technology. A unique chambered design makes it a great electric/acoustic hybrid, building on an already stellar range of Acoustasonic guitars from Fender. The Highway Series bridges the gap between Acoustasonic series and acoustic guitars. Taking cues from the chambered body designs, bracing, pickup choice and controls, the Highway Series look and feel more like a traditional acoustic guitar. Where the Acoustasonic series paid homage to the Stratocaster, Telecaster and Jazzmaster, the Highway Series have a Dreadnought and Parlor on offer, featuring the same high quality chambered spruce and mahogany builds as the Acoustasonic range, while feeling and looking a little more traditional. What’s more, they have high build quality with an accessible price tag, being built in the Fender factory in Ensenada, Mexico. The Dreadnought is a thin-bodied, dreadnought-style acoustic with a Fishman Fluence pickup and controls to shape and hone the tone as you see fit. It’s built from spruce, retaining the tonal quality

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of a traditional acoustic, but the thin, ergonomic form factor makes it a lightweight, comfortable solution for a more unique sound, while retaining the best of both acoustic and electric guitars. The Highway Series is the missing link for players after innovation, without the want to deviate too far from their familiar, resonant acoustics, offering a combined experience for something entirely unique. The Highway Series Dreadnought has an acoustic tonality similar to a jazzbox or archtop. Its articulate, robust and focused sound make way for clearer chords and a bright, warm response. It’s a traditional 14fret acoustic design so it’s instantly comfortable and familiar, though the thinner body doesn’t restrict you like a deeper acoustic might. Unplugged, the Highway Series Dreadnought is inspiring, offering a comfortable playing experience and a new take on acoustic guitars. Entirely usable unplugged, though really showing its merit when plugged in. The Fishman Fluence is a very true-to-source pickup, the Acoustasonic’s own design bolstering a much larger sound than you’d expect from the thin, ergonomic body. The Fishman Fluence is controlled by a master Volume and a Contour control, a sort of one-knob EQ that helps to shape the tone overall. The “C” shape of the neck is comfortable, modern and playable while not feeling too much like a shred-stick, and still retaining that

unique feel of an acoustic guitar. The Fender Highway Series Dreadnought features a solid Sitka Spruce top and a classic Modern Viking bridge design. The fretboard is rosewood, while the neck is mahogany to match the back and sides both tonally and aesthetically. It’s a classy affair! The fretboard has a 12” radius, so traditionally quite flat while still feeling close to home for Fender aficionados, while also having Narrow Tall frets to help bridge the gap between electric and acoustic. The nut is Graph Tech TUSQ, so it retains the character and tone of a bone nut without the impact on the environment, Fender Classic Gear tuners keeping it all in tune at the headstock end. Tapered Floating X bracing helps retain the acoustic quality of the Highway Series Dreadnought, while elevating it further towards a modern, comfortable and refined guitar. All of this arrives safely in a Fender branded hard bag, their newer option for protecting your guitar while being more comfortable while travelling with it on your back! The Highway Series Dreadnought successfully bridges the gap between acoustic and electric guitar. The Acoustasonic forged ahead with a unique take on guitar design, Fender creating something new entirely, and the Highway Series are the next step in this evolution; closer to a traditional

acoustic guitar. Unplugged, they’re not dissimilar to an archtop or jazz-box, the chambered design still having a great acoustic sound, elevated with Fishman electronics. It sits comfortably on the lap, perfect for noodling or those fleeting moments of creativity that often strike when an amplifier and cable is too far away. Not to worry, the Highway Series Dreadnought will have you sounding great at a moment’s notice, helping you get that idea out and into the world, realised fully with the clarity and tonality of a great sounding acoustic. The Dreadnought shape is one of the more famous in the modern day, accounting for a huge majority of acoustic guitars on recording. The Highway Series offers a new take on the design: it’s thinner and more ergonomic while retaining the clarity, brightness and body we’re so accustomed to. The Fishman Fluence pickup amplifies all of this, with a handy contour knob for simple tone sculpting, offering a great acoustic sound without the big, wide, deep body hanging off you. The Highway Series overall are more comfortable to play, strung across your shoulder much like an electric, but offer a higher calibre of sounds for performing, recording, writing music and inspiring fans. BY LEWIS NOKE EDWARDS

PRODUCT REVIEWS

Phil Jones Bass Compact Plus BG-450 Combo Amp EGM | RRP : $2499

The world of compact bass amplifiers has come so far in the past decade. We’ve seen size reduced, weight reduced, power increases and a host of digital options included by many brands in their compact offerings. Some have sacrificed quality to be able to increase other elements and keep the price down. One brand who has not reduced the quality with the size of the amplifier, is Phil Jones Bass. The PJB Compact Plus BG-450 is the perfect example of just how good things can still come in small packages. Size, weight, power, tone and build quality are all high on the list of importance with this bass amplifier. The only thing missing is you. Coming in at roughly fourteen square inches, the best way to get an idea of the size of this amp would be to think of a milk crate, loaded with vinyl. Now, throw out about half the records and you’re in the ballpark for the weight too. This is a seriously compact, absolutely portable bass amplifier. It will fit in the floor well in the front seat of most cars, so you can sling it in and out with ease when jumping between rehearsals, studio time and gigs. If that isn’t convenient in an amp, I don’t know what is. The guitarist will be giving you dirty looks when you stroll in, amp and instrument in one go, and the drummer is just going to hate on you until they leave the band. But don’t worry, you’ve got a BG450, you’re good!

At the heart of this little powerhouse is a 450-watt Class D amplifier that delivers 250 watts to the four inbuilt speakers and a full 450 watts when run with an external speaker cabinet. For what it’s worth, the speakers onboard offer enough grunt for most situations, and the DI output allows the PA to handle the rest. And yes, the irony of a “DI'' output is never lost on me, I hope you too get a chuckle with this. This is located on the rear of the cabinet, with the option to run the signal either pre or post EQ. Next to this, you’ll find the speaker output on a Neutrik SpeakOn connection, as well as a Line In and Line Out connection on 6.5mm jacks. While you can use the external speaker option, you really don’t need to. The BG-450 is loaded with four 5” PJB speakers that deliver a remarkable amount of low-end rumble, along with all the punchy definition that you expect from speakers of this size. You’ll find it handles deep funk, heavy rock and articulate jazz with ease, giving you just what you put into it, with a touch of added PJB tone. There can be the tendency for these smaller amps to struggle

with the lower frequencies at high volume, and this is usually a result of speakers that are underpowered, and cabinet builds that aren’t suited to the task. Neither is the case with the BG450. This amp means business and it wants you to know about it. On the input side of things, it has been kept to a no-nonsense approach, yet still includes a couple of tricks that are there for those seeking greater control over their tone. The input has a solid switch located next to it to toggle between Mute Mode, Passive Input and Active Input. It’s a low-profile switch, so it won’t get bumped unexpectedly, and it has a really solid action, locking into each position like it means it. Next to this, the effect send and return can be found on the top panel. I do like this, not having to mess around at the rear of the cabinet to connect your effects loop only saves a little time, but it’s a nice touch, and makes accessing the Dry/Wet mix control much easier too. An Auxiliary input with separate volume and Master Volume round out the top row of controls. Beneath these we have a five-band EQ with Lo-Bass, Hi-

Bass, Lo-Mid, Hi-Mid and Treble controls on offer. It’s this dual low frequency control that allows you to get a very nicely sculpted tone when you’re pushing for volume and big bass. You don’t need to mess around with any presets, effects or parametric EQ to scoop out a tone, just tweak each of the five EQ knobs and you’ll be able to dial in your tone in a matter of moments. Being that the BG-450 is an amplifier that wants to travel, and why wouldn’t you take it with you at that sort of size, the power transformer is designed to operate at any voltage between 100 and 240 volts. That means you don’t have to worry any more about having a different amplifier for one country and another for the next country. Take the PJB Compact Plus BG-450 the road with you and it can act as a footrest in the bus, a practice amp in the hotel room and a stage amp at the gigs. So, before you hit the road, get into your Local Phil Jones Bass and give one of these little gems a try. You won’t regret it. BY ROB GEE

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PRODUCT REVIEWS

IK Multimedia UNO Synth Pro X SOUND AND MUSIC | RRP: $1099.99

Since its inception in Modena Italy in 1996, IK Multimedia has made significant contributions to the music industry thanks to founders Enrico Lori and Davide Barbi, amongst other talented creators now spread across nine locations worldwide. Pioneering software and hardware solutions for musicians and producers, IK Multimedia first broke through with their revolutionary AmpliTube software, some of my favourite guitar and bass amp modelling software. Over the years since, IK Multimedia have continued innovating, resulting in products such as the iRig Interface, Virtual Instruments, plugins and MIDI Controllers. The new UNO Synth Pro X by IK Multimedia is a recent addition to the world of IK Multimedia Hardware Modules and is the successor to the UNO Synth Pro, released a few years ago and only exists in the Desktop format with Internals designed by Italian Synthesiser designers Soundmachines. Dressed in a classy black finish, the UNO Synth Pro X doesn’t shy away from its capabilities by hiding its potential. With 23 high quality rotary pots and 66 backlit buttons, the front face of the UNO Synth Pro X resembles the sort of interior you would expect inside the cockpit of an aeroplane. Despite the formidable appearance, IK Multimedia have designed a synth that is as easy to use and intuitive as the rest of their lineup of products, thanks to accessible design, and not hiding anything critical, means that the lack of menu-diving needed

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to generate some awesome tones creates a brilliant creative experience using the UNO Synth Pro X. The IK Multimedia UNO Synth Pro X is broken up into sections on the face of the instrument. The first section contains the master controls featuring VCA AM drive, Glide and Volume. Nothing much to cover here, but it is great to have a master drive. The second section has much more contained within it and that is the oscillator Section The UNO Synth Pro X is a three oscillator synth. They are all discrete oscillators with FM Tune and pulse width Modulation capabilities alongside other functions such as sync and ring modulation. There are two analogue filters, a low-pass variant of an SSI-based Filter with two or four pole slopes, and a High or Low pass OTA-based Filter. The filter combination is quite deadly with the OTA set to HPF and the SSI set to 4-pole, which is both extremely versatile and highly musical. These are routed in series or parallel. The oscillators themselves are continuous from triangle to pulse width, so modulation is a lot more involved than with traditional PWM synthesis, making for a whole host of unique tonal options. The next section on the UNO Synth Pro X houses the controls for the Envelopes, LFOs and FX. There are three built-in envelopes with Attack, Decay, Sustain and Release parameters (ADSR), two LFOs and a suite of controls for the stock effects that the

synth comes equipped with. IK Multimedia have shipped the synth with a total of ten effects to take advantage of, including essentials such as a chorus, a uni-vibe, a generous handful of delays and the classic plate, hall and shimmer reverb which is a new algorithm for the Uno seriea, with its roots in IK’s awesome Amplitube X-Space pedal. There is also an analogue overdrive found on the master section, which is sure to get plenty of use. Something else which it would be remiss to not mention is the onboard sequencer. Boasting an impressive 64 steps, and offering per-step recording including up to 48 parameters, the sequencer is well equipped to nurture intuitive composition with the ability to be set to Legato, Paraphonic or Monophonic as well as a Baseline option. The factor that jumps out at me over the top of the arpeggiator with ten different modes is the randomiser function. The randomiser allows for the creation of random sequences automatically generated by the synth that follow a key selected by the user. In terms of I/O on the UNO Synth Pro X we have the same full size MIDI IN and OUT, stereo TRS outs, Audio In and Phones as well as the two pairs of CV/Gate In and Out found on the rear panel of the UNO Synth Pro, however we now have split Power and USB which means we avoid the potential for ground loop noise, as well as the fact that the USB has now been upgraded to the much tougher USB-C flavour, and the power socket is for a dedicated PSU

powered from the wall rather than from the PC. My favourite aspect of the UNO Synth Pro X, and one of the deciding factors when choosing which synthesisers to travel with, is portability. No other synth I have has the capability of the UNO Synth Pro X at its weight category. At a feather light 800 grams (1.76lb!) I have guitar pedals that way more than that, it goes gram for gram with my long XLR cable in my live kit. With this sort of power from such a small package, it is a no-brainer for anyone whose synth travels with them or anyone who performs live on a regular basis. The UNO Synth Pro X is a remarkable synthesizer designed with a dual purpose in mind. First and foremost, it delivers professional-grade sound and sonic versatility, offering musicians a wide range of possibilities with its wave-morphing oscillators, analog filters, envelopes, LFOs, and built-in effects. However, what sets the UNO Synth Pro X apart is its exceptional portability. Its compact and lightweight design makes it an ideal companion for musicians on the go, allowing them to harness its powerful synthesis capabilities wherever inspiration strikes. Whether in the studio, on stage, or during a creative journey, the UNO Synth Pro X combines portability with pro-level sound to cater to musicians' diverse needs. BY JOHN TUCKER

PRODUCT REVIEWS

Hammond XK-4 BERNIE’S MUSIC LAND | RRP: $4395

For over a century, Hammond has been a name synonymous with musical innovation and excellence. This iconic musical instrument company, founded by Laurens Hammond in 1934, has left an indelible mark on the world of music, pioneering the development of the Hammond organ and shaping the soundscape of countless genres. The Hammond organ, with its distinctive tonal qualities and rich harmonic content, quickly became a staple in churches, jazz clubs, rock bands, and studios alike. Its invention marked a revolutionary departure from traditional pipe organs, offering musicians a portable and versatile instrument that could replicate the grandeur of a cathedral organ or deliver the gritty, soulful tones of a jazz combo. The Hammond XK-4 uses an advanced DSP replication of the behaviour of the tonewheel generator found in classic Hammond organs and accurately reproduces the harmonics and overtones generated by the tonewheels, providing that unmistakable warm and vibrant sound that has made Hammond organs legendary. This sets the virtual tonewheel mechanism of the Hammond XK-4 aside from every other replication or modelling software, as the accuracy of the Hammond XK-4 is off the charts. It would also be remiss of me not to mention the spectacular Leslie DSP emulation, as well as the ‘matching transformer’ emulation, typical of the rich sound of vintage Hammonds.

The drawbars on the XK-4 can be used to control organ sounds other than the traditional Hammond drawbars. Beyond the tonewheel method of generation of the original Hammond organ, intended to duplicate the purpose of a pipe organ, the Hammond XK-4 also has DSP modelling of three different transistor-style circuits typical of a British Vox combo organ, combining triangle and square waves using several footages, a replication of the Farfisa combo organ from Italy and the Japanese Ace combo organ, which both use tablets to combine sound waves, which are then filtered to produce different tones. Beyond the transistor organ modelling the Hammond XK-4 also has an excellent Pipe organ DSP model, using the drawbars as drawstops and stop tablets to create pipe organ registrations. The Hammond XK-4 comes with two impressive banks of multi-FX, the first bank contains a tremolo, wah, ring modulation and a compressor. The tremolo comes with adjustable waveform options (triangle, square, saw down, sample, hold, and dull square) as well as being able to adjust whether the phase of modulation resets every time a key is pressed, or whether it intercepts the existing LFO. The wah mode is a typical wah and can have the source changed to be used via an expression pedal, or the input of the sound engine, creating a sort of envelope filter or auto-wah. The ring modulation, which is a DSP effect whereby two different frequencies are mixed in such a way that eliminates the individual

frequencies themselves, leaving only the sum and the difference of the two frequencies. And with adjustable sources, sensitivity and mix settings, the bell-like and metallic tone of the ring mod fits right in with the suite of effects on the Hammond XK-4 The compressor that comes with the Hammond XK-4 has an obscenely high level of functionality and depth of control when compared to compressors commonly found on other stage pianos and synths. With ratio, threshold level, makeup gain, attack, release rate and also delay time (functioning as a lookahead style feature) the compressor allows for as much tailoring of its effect as a decent rack mount and sounds very competent as well. The list doesn’t end here however, as the Hammond XK-4 comes equipped with a second bank of multi-FX including auto-pan, phase flanger, chorus and delay. These effects are placed after the expression and overdrive effects in the signal chain. The auto pan feature (which is not available when using a Leslie cabinet or a monophonic speaker) has the same adjustable waveform options as before, as well as the necessary rate and depth settings, and allows for a healthy level of control and quite a nuanced auto-pan. The phaser and flanger operate in very similar fashions, as phasers and flangers are wont to do, with parallel (mix) feedback (resonance) depth and rate controls, they have a high level of control baked in. The phaser has a manual setting allowing for the

targeting of the centre frequency of the phase effect, and you can adjust the complexity or ‘stage’ of the phasing, allowing for more complex tones. On the other hand, the flanger has a delay and HPF setting not found on the phaser. The chorus is brilliant and shimmery, well suited to complimenting the organ’s tones, and with a suite of controls such as rate, depth, resonance, delay, and pre-delay (all in parallel) the modulation package on the Hammond XK-4 is well rounded out. The last feature on the multi-FX 2 rack is a delay feature, with mix, feedback (number of repetitions, and time (10-1000ms) controls, as well as left to right (and reverse) types of delay, which are again not available when using the Leslie cabinet or in a monophonic speaker, for obvious reasons. The Hammond XK-4 has stepped onto the market with very large boots to fill, and is in my eyes, the best modern organ on the market. With an incredible suite of modulation, the best tonewheel DSP emulation in the world, an incredible DSP Leslie replication and the same glorious keyboard (with pitch and mod wheels) found on the other modern Hammonds, the Hammond XK-4 is without a doubt, the best organ you can buy at the moment with one manual. BY JOHN TUCKER

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PRODUCT REVIEWS

Antelope Audio Atlas i8 Monitors ANTELOPE AUDIO | ENQUIRE FOR PRICING

In the case of Antelope Audio – most in the know will be familiar with their excellent master clocks and in more recent times, their audio interfaces, boasting impressive I/O flexibility, minimal footprint (and modest pricing) as well as streamlined plugin integration and the ability to serve up Atmos spec speaker configurations at the drop of a hat. Needless to say, Antelope Audio is indeed at the forefront of innovation within this product category; the very definition of what a modern interface should be in the prosumer space. Thus, it came as a genuine shock when Antelope Audio announced their first venture into the world of studio monitors earlier this year in the form of the Atlas i8, an active 3-way studio monitor that combines the brand’s expertise in digital audio with some truly groundbreaking design at the electro-acoustic level. Matching the company’s fearless move into this new product category is the monitor’s isobaric design, as within its hefty 18mm MDF cabinet lies not one but two 8” woofers. A rather interesting choice that provides a remarkably tight low end all the way down to 35Hz. The 5.5” mid driver and 1.5” tweeter, are configured coaxially and extend up to (the expected) 20kHz. The monitor’s beauty lies in the phase coherence in the upper frequency range, yet it also lends itself to allow for both vertical or horizontal placement, minimising comb filtering issues, while maximising its versatility of application. The 400-watt class D amplifier which powers the Atlas i8 has been designed in-house from

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compensation alleviating potential timing issues of monitors not positioned optimally in the room in relation to the listening position.

the ground up, with 200-watts reserved for the two 8” woofers, with the mid driver and tweeter each getting 100-watts of power respectively. This amplifier design is yet another tell of Antelope Audio’s commitment to innovative design and certainly isn’t shy of pushing out some serious volume, with a single monitor able to deliver 117dB SPL max output at 1m. Connections on the back panel are kept simple with an XLR/ TRS combo for analogue input and an XLR for AES/EBU digital input. There’s also the same on the output, allowing for quick and easy daisy chaining for two monitors connected digitally. Proprietary 64-bit Acoustically Focused Clocking Technology and A/D conversion running 192kHz ensure the digital end of these monitors are nothing short of top notch, with no corners cut. A sophisticated digital processing system has been implemented within FPGA chips, with each speaker going through a rigorous and continual factory calibration using FIR and IIR filters. This ensures each speaker is optimised for peak performance, providing accurate transient response and a laser focused stereo image. This meticulously designed system also takes care of time alignment between all 4 of the drivers, ensuring accurate delivery of content and also allows for delay

The rotary encoder on the back panel allows quick and easy navigation of the digital parameters within the Atlas i8 which is clearly displayed on the compact LCD screen. For those wanting to tweak and finesse these monitors via Antelope Audio’s Control Panel software, this can easily be done by simply connecting to a computer via the USB port, that will allow for software control that’s still in development, to be released in the near future. The 4-band parametric EQ as well as numerous other parameters can be adjusted for fine tuning the speaker's response to the room and of course presets can be saved easily, ideal for numerous potential setups (ala stereo through to an Atmos configuration), or if the monitors are being moved between various locations. Upon firing up the Atlas i8’s for some critical listening, I was immediately struck by their front to back depth. It felt like seemingly endless space existed past the front of the monitors and extended far behind them, which in turn really secured the centre image. Content that was hard-panned left and right had an immediacy about it, leaping out of the speakers and making itself known with minimal masking, but not in a harsh or overbearing way. The low-end was focused and profoundly useful, allowing for easy detection of fundamental frequencies and extraneous sub information.

The Atlas i8’s didn’t present themselves as a monitor with a steep learning curve, requiring many hours of listening before becoming confidently comfortable. They presented material in an honest and revealing way that was equally pleasant to listen to – giving me confidence in saying that longer tracking and mixing sessions wouldn’t feel fatiguing compared to other monitors I’ve heard over the years. The Atlas i8’s really do deliver – combining the kind of DSP calibration and hi-end driver design normally found on speakers of a considerably higher price point. Given their wealth of toptier digital integration and ability to finely tweak, these monitors make the Atlas i8’s a great choice as both a dedicated set of stereo monitors, or to be integrated into a larger setup with relative ease. The rather unusual isobaric design choice of the Altas i8 certainly isn’t for show (given the difficulty to properly implement such a design) but rather one that provides a neutrality and accuracy that will bring results in the the least amount of time possible, which for us mix engineers, is the ultimate end goal. An impressive first monitor release from a truly innovative manufacturer. BY ANDY LLOYD RUSSELL

PRODUCT REVIEWS

Audix PDX720 Signature Edition LINK AUDIO | SSP: $14.99

Everyone knows Audix; a renowned name in the world of professional audio, Audix are celebrated for their innovation and commitment to delivering top-notch sound solutions. Founded in 1984, the brand has firmly established themselves as a premier manufacturer of microphones and audio equipment, catering to a diverse range of applications from live sound and studio recording, to broadcast and installed sound systems. Their unwavering dedication to audio excellence is evident in the exceptional quality and performance of their products. Audix's expanded product line includes microphones for a wide array of applications, with models designed for various instruments, vocals, and specific sound reinforcement tasks. Musicians, sound engineers, and audio professionals worldwide trust Audix for their bombproof ‘Made in USA’ build quality and pristine sound reproduction, garnering a reputation as a utilitarian workhorse brand for the itinerant operator. The company's longstanding commitment to crafting durable, reliable, and innovative equipment has seen them earn them a fervent customer base and numerous industry awards. With a history marked by ingenuity and a future driven by a passion for sound, Audix continues to shape the sonic landscape for professionals and enthusiasts alike. The Audix PDX720 Signature Edition microphone is a premium large diaphragm dynamic for those looking for the very best in modern vocal recording. Exhibiting state of the art craftsmanship, this

microphone is a testament to Audix's commitment to delivering superior sound for the most discerning audio professionals and musicians. Designed for speech as well as vocals, the PDX720 Signature Edition makes a bold entry with a striking visual featuring golden grilles and an aggressively asymmetric black body, it would be reasonable to see this mic on a science fiction set, and it will be popular with content creators for this reason, as it has a very prominent and singular aesthetic that will no doubt be instantly recognisable in the bevvy of Youtube videos and video podcasts that this microphone is sure to find a home on. Weighing in at a tad under 900g which is including the integrated mount, the Audix PDX720 is clearly intended to be kept on the setup, as it is a little bulky to wield handheld, in a live environment for example, however it isn’t the the intended use for the microphone. The base of the microphone has two switches, a three way HPF switch (or low cut as they call it) with an adjustable roll off point at either 120Hz or 155Hz, and a mid ‘presence’ boost with options to boost by 0, 1.5 or 3db.

A neat feature that protects the switches from accidental toggling (as opposed to the common methodology of sinking the switches deep in the housing) is the addition of a magnetically attached back plate that acts as a sort of cowling, hiding the switches entirely. This presents a very clean and polished exterior, and especially as the XLR runs out of the base of the integrated mount - the whole module looks very clean. One of the aspects of the Audix PDX720 Signature Edition frequency plot charts is the response in the low end, as the chart shows the response being pretty much flat down to 20Hz. It is worth noting that this was tested at a close range of 200mm rather than the standard range of 1m, but Audix have also mentioned that they have added adjustments in the capsule intended to remove plosives and proximity effect, so it may not be as much of a boost as would first be assumed.

‘presence’ switch will add in a lot of excitement on the upper midrange, which is bound to please any guitarist. While the sleek style may not be a selling point for some, it certainly was for me, and I had immense pleasure having it in my setup as almost a feature piece, and as someone who records a lot of bass amp and guitar amp, I found many additional uses for it beyond the serving suggestion. The ideal customer for the Audix PDX720 is the podcaster or streamer, who wants the ultimate ‘set and forget’ solution, requiring very little. It also stands up against other industry standard microphones and offers a very bold fresh take on making microphones a statement piece without sacrificing performance. BY JOHN TUCKER

The upper mid response is pleasant and recessed staying nice and flat all the way up to the 8kHz region, with a pretty typical roll off from there. This flatness in the upper mids sees the PDX720 take to EQ particularly well, while also providing plenty of usable capture well past 10kHz and at 15kHz directly out of the box. The Audix PDX720 Signature Edition is perhaps best served as a vocal mic, either sung or spoken, however it also makes a good kick drum microphone given its respectable low end response, and serviceable response to proximity, works well on bass and guitar amps,especially since the

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PRODUCT REVIEWS

Softube Console 1 Channel MKII SOUND AND MUSIC | RRP: $1799.99

Softube’s Console 1 system has been around the traps for some time, with the release of the original unit hailing back to 2014. Having created a solid following of devout users and high praises from industry, Softube created a product that seemed to strike the perfect balance of digital convenience and analogue workflow, creating a whole system and workflow from fader (when used with Console 1 Channel Fader) to fully featured channel strip - this was something audio engineers had been in search of for sometime for a fresh take on in-the-box mixing. Striking while the iron was hot, Softube released Console 1 Channel MKII in 2017 introducing some great physical additions, as well as a wealth of additional under the hood upgrades including a bolster in plug-in support, namely a suite of coveted Universal Audio (UAD) plug-ins able to be controlled directly from Console 1 Channel MKII. With a wealth of other DAW and plugin controllers being released from major brands such as Avid, SSL, Presonus and Behringer, things have come a long way in the past six years with some refined designs and numerous features that users have found incredibly appealing. The competition being fierce, Softube needed something fresh and with the recent announcement of Console 1 Channel MKIII, things have been spiced up in DAW controller land. On first look, the Channel MKIII is certainly a massive upgrade in its aesthetic, with a premium bead-blasted aluminium chassis in a Nordic Night Sky finish. It’s sleek, looks pro as hell and just oozes 'made-for-studio'. In some ways

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it’s got a badass looking synth module thing going on which personally, I’m really into. Anyone familiar with the previous model will notice the addition of two high-resolution smart screens. This gives immediately useful feedback of things like EQ curves, compression parameters, which track is selected and being processed, with each screen customisable to show whatever parameters suit a user’s workflow at any given time. What I really like about having a graphical representation of this key information on the hardware itself is it keeps the workflow focused on the unit rather than constant adjustment between screen and hardware. It’s additive to the analogue workflow the Console 1 Channel range has become so renowned for. Aside from the obvious addition of dual screens, Console 1 Channel MKIII has a wealth of other new features and hardware upgrades, most notably the 27 Analog Feel potentiometers with touch sensitivity. The tactile and textured sides give these new pots an instantly robust feel and they boast ten times the resolution from the previous model. They’re as professional and analogue as it gets for such a controller. The new tape preamp section is an exciting addition, giving users an gratifying authentic emulation of driving tape and the harmonic character it can add to tracks. This is followed by the familiar input gain section, which is now quickly identifiable by its distinctive red potentiometer, which reminds me of the stepped

Neve preamp knob, a nice tip of the hat. This is then followed by the filter section as well as dedicated load strip/section, order change, external side chain and filters to buttons located above. Whilst these buttons were included on the previous unit, they have been relocated to the left side of the unit in order to make way for the dedicated send knobs, which previously were a hold shift function on the drive and pan knobs (with the latter now having an additional width control function). Having dedicated pots for these is a great workflow enhancement and now allows for 6 sends to be accessed at the press of a button. Very nice indeed. Following this is the new Shape section which has some additional utility tools including core panner as well as a new noise gate algorithm. The Shape section is dual processing enabled, providing double the processing power, thus allowing aeons more shaping heft to be achieved directly from the unit itself. The powerful new EQ section has been seriously boosted with its dual processing power too with two distinct EQs on tap. A modern precise clear and surgical type, fantastic for notching problematic frequencies and a more broadband, vintage and musical type typically reserved for boosting. These can be engaged and adjusted with lightning speed with their dedicated buttons and pots for adjustment. The compressor section is also packed full of upgrades and enhanced workflow with three

distinct compressor types included in the Core Mixing Suite being a FET, Bus style (a la VCA SSL vibes) and OPTO. Having double the processing power immediately under one's fingertips brings a whole new lease of life to dynamics processing on Console 1 Channel MKIII, and I think is far more representative of an actual signal chain, which say for a vocal would quite often include a couple of different compressors picked for handling particular tasks in a mix. The Drive section is of course included for adding that extra grit and character to a sound source, and paired with the Tape section on the input makes for some deliciously crunchy and harmonically rich processing on tap. The streamlined knob per function, like its predecessors, underpins Console 1 Channel MKIII’s workflow. The upgraded potentiometers and 38 dedicated buttons (not including the 20 dedicated track buttons) and mammoth amount of additional processing under the hood this layout makes even more sense. I for one am incredibly impressed by this fresh addition to the Console 1 Channel range that is likely to give much of the competition a run for their money. The high-end software processing paired with the rock solid hardware and tactile feel makes for an intimately authentic analoguestyled mixing experience, very much removing the need for constant mouse use. All this equates to keeping users more engaged and immersed in the mixing process which I think Softube have absolutely nailed here. BY ANDY LLOYD RUSSELL

PRODUCT REVIEWS

Warm Audio WA-1B STUDIO CONNECTIONS | ENQUIRE FOR PRICING

Warm Audio is popping up in more and more studios around the world. Making a name for themselves with supremely affordable audio equipment without a compromise on quality, with a focus on very true-tosource recreations of otherwise unattainable equipment. There’s a certain style of compressor that can be seen in the racks of the world’s best producers, particularly with a penchant for hi-fidelity vocals. Optical compressors can respond with heavy duty compression, doing away with the audible pumping of other compressors, allowing them to grab and control audio like no other, making them a great option for an important source in your mix. The WA-1B is the latest offering from Warm, implementing tubes into this optical compression design, all packed into a classic, well-laid out package, complete with CustomCore Lundahl Transformers. The WA-1B is a tube-powered, optical mono compressor. It has balanced input and output via either XLR or ¼” connectors. The back panel also includes two sidechain inputs for multiple sources, switchable between 1 and 2 on the front panel, or Off entirely. It has infinite ratio control from very soft 2:1 ratio up to a crushing 10:1, all the while offering a uniquely forgiving compression; it can really take hold of a source without being overly audible. The Attack and Release controls can be toggled between Fixed, Fixed/Manual or Manual, Attack and Release both being controllable independently moving clockwise from Fast to Slow. The warmly-lit VU meter

can either display Input, Compression or Output depending on your preference. Finally, the VU meter can be calibrated with a handy knob on the front of the unit. Inside, the WA-1B has selected tubes from heavyweights JJ (12AU7) and Tung-Sol (12AX7), while custom-core Lundahl Transformers at the input and output stages, offering vintage warmth, weight and feel to an otherwise precise, modern feeling and sounding compressor. The WA-1B ties all of this together in a classically styled 2U unit. All of this is hand-tested and inspected in Warm Audio’s headquarters in Austin, Texas. Naturally, I decided to dime the WA-1B to really put it through its paces. Everything became more balanced, the needle diving like it was going out of fashion. No mud was brought up, no harshness, just the best of whatever signal I sent through it, the WA-1B balancing everything out and holding it firmly in place. Signals with slower transients like vocals or bass guitar feel refined and forward, retaining every good quality of the original source, but pushing it towards the front of the mix and holding it there. Faster transient signals like drums force the WA-1B to start to show its mettle a little, the quick attack of a drumstick on a snare poking through before the threshold kicks in and the compression begins to take hold; still with a really pleasing result. Drum rooms or a drum bus can result in a little more audible

compression, but it pumps in a musical way, especially when blended in parallel. Fast attack settings can tame this a bit – but why would you? The room pumping between hits makes the drummer’s performance rain down like thunder, the amplified room ambience giving the performance mettle. The subtle compression that the WA1B provides can be an invaluable tool for producers and engineers like myself who frequently record vocalists. First and foremost, it can act as a dynamic control mechanism, ensuring that vocal performances remain consistent throughout a recording. It gently reigns in the peaks and valleys of the singer's dynamics, resulting in a more polished and even vocal track. This level of control is especially important for achieving a balanced mix, where the vocal sits comfortably with other elements/ tracks. Furthermore, subtle compression can help bring out nuances in the vocal performance. It accentuates delicate inflections, adding depth and dimension to the recording. This is crucial for capturing the subtleties and emotions in a vocalist's delivery, which often make the difference between a good and an outstanding performance. I also found that the WA1B significantly aided in managing sibilance and plosives, creating a smoother and more pleasant listening experience – even for completely raw vocal takes. It mitigated harsh sounds and disruptive bursts of air; an invaluable time saver for those of us with limited time in

the studio looking to streamline the process of vocal tracking. The WA1B’s subtle compression also maintains the natural dynamics of a vocal performance; preserving its authenticity and emotional impact – it’s a delicate touch that keeps a vocalist's expressiveness intact while simultaneously softening the blow of unwanted frequencies. All in all, the WA-1B is an excellent offering from Warm Audio, a company dedicated to providing more access to world-class circuitry that makes the records we know and love sound the way they do. Subtle compression while recording often leads to more refined takes, and another layer of this in mixing can result in a professional, polished sound. The WA-1B allows you to control your audio with stellar results, as even the most extreme settings result in a uniquely musical, usable sound. Optical compression coupled with tubes is a classic vintage design, but the WA-1B’s precise layout of controls allow you to really shape and refine how the circuit compresses, as well as customising what you’re monitoring to make sure the gain is optimal. Heck, even ‘improper’ settings sound great, finding myself wanting a rackful of these comps to go as hard or soft as I want on a bunch of sources in my mix. BY LEWIS NOKE EDWARDS

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PRODUCT REVIEWS

PreSonus Studio One 6.5 LINK AUDIO | ENQUIRE FOR PRICING

PreSonus Studio One is making headway to become the new industry standard for audio production. For decades, a few programs have had lay of the land as undisputed royalty amongst DAWs. Engineers the world over - your humble author included - have defaulted to the industry standard pro audio software, whether for recording, mixing, mastering, or post-production. In recent years, new kids on the block have emerged to challenge for the top spot - ranging from ProTools, Logic Pro, Ableton, Cubase and Nuendo - they’ve all staked their claim as viable alternatives or even comprehensive upgrades, depending on the use case. As a rusted-on user of a competing DAW - more out of habit than any real love for the software - my limited perception of Studio One was that it was probably a capable DAW for recording and mixing, maybe with a couple of cool features but overall a little restricted in its workflow. Flying beneath my radar (which admittedly probably wasn’t even facing the right direction), Studio One has refined itself into a fully-featured modern DAW with incredibly flexible workflows, just as comfortable editing and mixing as it is platforming creativity for songwriters, composers and beatmakers. The most immediately striking thing about Studio One is its clean, customisable user interface. Coming from Pro Tools, whose recent addition of Dark Mode dragged a perennially dull interface kicking and screaming out of the dark ages of software design where function was favoured and form was an inconvenient afterthought, this is a refreshing change. It might seem superficial, but when

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tool when you’re working with a vocalist who wants another go at the second half of the third line of the first chorus.

you’re spending countless hours staring at a DAW, you don’t want a chaotic mess of incomprehensible, distracting symbols and toolbars. Studio One has an attractive user interface (UI), but it shines because of its capacity for customisation - you can modify toolbars to be as complex or simple as you like and hide functionality that you don’t use, streamlining your workflow and minimising visual fatigue. Who’s really using everything on that screen-length transport bar? One thing that’s kept audio professionals coming back to their respective DAWS are powerful editing functionality. Having explored Studio One’s editing workflow, it’s apparent that it’s just as capable in nearly every way, with a slightly different approach. Where editing with Pro Tools is driven largely by keyboard shortcuts, or Ableton is quantising and stretching, Studio One places emphasis on the very practical Smart Tool. Using just the mouse and modifier keys, you can select and move audio, make cuts, and slip the contents of regions without moving their boundaries in order to fix timing. This makes for a streamlined, easy-to-learn workflow which also frees up your other hand to hold a cup of tea (bonus points from this reviewer). Another strikingly simple process is that of quantising. Select a region, hit “Q”, and you’re done. That’s it - Studio One analyses the region for transients and snaps them to the grid automatically, with great speed and accuracy. The time stretching algorithm

sounds pretty incredible, capable of a surprising level of modification before artefacts appear. A toolbar is available with additional quantise options if you’re looking for a little more depth, and you can always go back and manually adjust things using the Bend tool which allows you to drag transients back and forth along the timeline. Studio One ships with a handful of virtual synths and samplers which seem to cover the basics of electronic music production and sound design. The library is easy to access and navigate - F5 shows the Instrument panel, and there’s a handy search function with filters for finding that perfect sound. There’s a similarly comprehensive set of loops and one-shots which can help to get you started in a number of different genres if you’re stuck for ideas. For the live performer, there’s a Show page, with live arrangement options, backing track playback, and a handy Performance View providing a high-contrast, lowclutter UI for the difficult lighting conditions on stage. More educated musicians than I will doubtlessly enjoy the inclusion of a Score Editor to expand StudioOne’s MIDI capabilities. The version 6 update, which Mixdown reviewed back in April, also added an innovative lyrical engine which allows you to add lyrics to a track like markers; they’ll show up in the Score Editor if you need to make a lead sheet. The Lyrics Display window allows you to navigate around the track by clicking on lines - undoubtedly a handy

With the recent release of version 6.5 last month, Studio One gained full support for Dolby Atmos, allowing channel configurations of up to 9.1.6 with surround panning, binaural monitoring, and multichannel processing, all without the need for third party plugins. The integrated Dolby Atmos Renderer is an especially cool feature for visualising potentially complicated panning moves. This follows the addition of a video track in version 6 which allows you to add and edit as many video clips as you like, positioning Studio One to be a solid option for working with sound for film, television and other content creation. While some DAWs have long reigned supreme as the choice for recording, mixing and sound for film, these same DAW’s have notorious deficiencies in composition and beat production workflows, opening the door for alternatives, each with their own strengths and weaknesses. Studio One 6.5 seems to have taken up a position somewhere in between, functioning both as an efficient platform for editing and mixing as well as a useful compositional tool for MIDI and loop-based production. To its credit, it seems to excel in both areas, with video and Dolby Atmos capabilities to boot, all while running efficiently and cleanly (I didn’t manage to crash it on my M1 Macbook Pro even one time). I’m thoroughly convinced by its versatility and comprehensive feature set that it will make converts of many. BY JARRAH SAUNDERS

PRODUCT REVIEWS

beyerdynamic MMX 200 BEYERDYNAMIC | RRP: $399

beyerdynamic are a huge player in the headphone game. An industry standard of sorts thanks to their DT990 and DT770 ranges of headphones, their aesthetic is synonymous with studios and music producers, while their MMX range are making huge moves into the gaming and content creation world. The new beyerdynamic MMX 200 build on the MMX 100 and MMX 150, featuring wireless connectivity, studio-grade playback and voice via the META VOICE microphone, with multiple Bluetooth modes for varying levels of immersion or awareness, all packaged into a uniquely comfortable and lightweight, tidy looking headphone. Content creation like streaming, video and social media are as much about the aesthetic as they are the sound, so the classy looks of the MMX 200 bolster the headphones. The MMX 200 bring together world-class components, design and innovation into an effortlessly simple headphone from a leader in design. The MMX 200 feature a 40mm driver system, specially optimised for gaming to not only add to the experience, but offer a competitive edge. Unparalleled spatial awareness and immersive localisation assist you in identifying and locating sound in a game, providing the user with a head start on sounds around them. Up to 35 hours battery life will have you immersed without worry of the battery running out – and if 35 hours isn’t enough, then that’s another conversation! The META VOICE microphone offers a natural reproduction of the source, while also suppressing sounds like mouse clicks or keyboard clacks, allowing for a clearer listening experience to those listening to you. When not in use, the internal microphones

only other button on the unit, besides the power button, flips between Bluetooth, Low Latency and Hybrid Mode for multi use without ever removing the (very) comfy headphones.

built into the MMX 200 activate, allowing you to make calls or communicate if needed. The headphone feature a META LINK SWITCH to switch between Bluetooth mode, low latency mode and hybrid mode to ensure you’re monitoring without lag, as well as communicating clearly. Low Latency mode uses a USB dongle, connected to PC or other USB device to stream audio at pristine quality at high-speed. Hybrid mode allows for analogue connection and Bluetooth connection simultaneously, with signals mixed 50/50. Augmented mode shifts the operation of the MMX 200 to a more open-back feel, allowing you to hear the world around you without being totally blind to your environment. Bluetooth mode operates as expected when connecting with other bluetooth headsets or devices – handy! Connectivity via both wireless and analogue makes the MMX 200 the perfect match for a multitude of systems from PC to console and beyond, while also having high-speed Bluetooth 5.3 for the cutting edge in streaming. In use, the beyerdynamic MMX 200 headphones are comfy. It’s not that they're explicitly like a pillow or cloud per se, but they feel secure, lightweight and easy

to ignore. It’s the lack of hindrance that really makes for comfort with headphones, and the MMX 200’s design has it in spades. The ease of control within the Control Wheel make for an easy experience, offering volume control, mic mute and switching to Augmented Mode on the same wheel, rather than multiple switches and buttons for you to mash blindly while wearing the headphones. The single Control Wheel designs mean that once located, even while learning the headphones, they’re easy to adjust. I found myself using Augmented mode for listening to music, and while the MMX 200 are designed with gaming in mind, they still offer a pleasant, powerful listening experience. Quickly switching to Low Latency Mode using the dongle, I was immersed immediately in sound. Music has a clear, balanced response, while video and film surrounded me, the localisation of the well-designed headphones really shining through.

The MMX 200 from beyerdynamic is the latest in their headphone range, shifting more to the gaming and content creation side of things, while serving the need for music listening with equal gusto. At their core, they’re a very comfy, well-designed headphone with basic, multifunction controls. Inside, they have a masterfully crafted a 40mm driver system for pristine audio and accurate localisation that provides a competitive edge to gaming, allowing you to scout, locate and forge ahead with enemies, teammates and tasks in your gaming. The additional META VOICE microphone makes for a great streaming solution, while the built-in microphones allow for high quality calling and other functions. The MMX 200 are custom-built to serve a purpose and boy oh boy do they do it well. They’re a great quality headphone at their core but also purpose-driven design to make life, gaming, listening and creation easier. BY LEWIS NOKE EDWARDS

The ease of use in the MMX 200 headphones is paramount, and beyerdynamic haven’t ignored an inch of it. The META VOICE microphone connects easily, and automatically, and the single wheel had me adjusting volume as well as muting myself if need be. The

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PRODUCT REVIEWS

Zoom G2FOUR Guitar Effects and Amp Simulator DYNAMIC MUSIC | ENQUIRE FOR PRICING

Multi-effects pedals have come a long, long way in recent years. Even as early as ten years ago, most floorboard units were cumbersome, loaded with poorly modelled sounds and were controlled by a crummy calculator-like interface. They were to be avoided like the plague – that is, until sophisticated effects processing came along and changed it all. Since the arrival of technologies such as impulse responses, cab simulation, audio-over-USB and touchscreen interfacing, the multi-effects market has flourished into one of the most cutting edge and fast moving of anything happening in the broader audio space, with more and more floorbound modellers and all-inone solutions gaining acceptance in high profile touring rig and studio situations. Among those brands leading the pack is none other than Japanese firm Zoom – a company who have always been at the forefront of multieffects innovation, even in the dark days – and their new device, the G2FOUR multi-effects guitar processor, is emblematic of a brand who understand the space better than anyone else out there. After all, they pioneered it, The new Zoom G2FOUR is something to get excited about. Being one of the most functionpacked processor pedals that you are likely to find at this pricepoint and physical footprint, and considering Zoom’s reputation for superior DSP and realistic amp emulations, you can bet you’ll be getting exceptional tonal quality too.

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This sturdily built, well-sized unit packs plenty of tonal versatility into its diminutive stature, with faithfully reproduced models of classic amps and cabinet models that utilise some cutting edge new Multi-layer IR technology. These Impulse Responses were captured from iconic cabinets at 3 different volumes to be blended and activated based on the volume of your guitar, meaning a level of nuance and breathability far beyond your standard modeller. Preloaded with 250 presets, these patches are designed to recreate the evolution of guitar tone spanning multiple eras and genres. Everything is accounted for here, from classic Surf inspired spring reverbs to extreme metal distortions, the G2Four covers plenty of stylistic ground. Four rotary encoders situated underneath the G2FOUR’s touchscreen allow for quick adjustments to effects parameters and EQ, as well as various output settings in turn providing a whole manner of tweakability. The G2FOUR also features Zoom’s very own effects designed and developed over the span of 30 years; all the regulars like reverb, delay, drive, modulation are all accounted for and are well represented.. All of these effects sound great in operation, and unlike some other processor effects, don’t sound overtly digital – rather they carry a directness of tone that has it’s

own unique flavour. There’s also an impressive 22 cabinet emulations, with 79 preloaded full impulse responses providing various options for microphone positions and rooms. If this wasn’t enough, up to 6 effects + 1 pedal effect can be used simultaneously, with optional storage of up to 300 memory patches (250 factory presets and 50 of the users own). Another handy feature of the G2FOUR is the looper function which allows for recording phrases of up to 80 seconds. This can be accompanied by 68 rhythm patterns that can be played back in sync with the looper, making it a particularly handy songwriting device. For those who like to um…play with themselves (sorry), there is also an AUX IN jack for connecting music players and other audio devices to jam along to. Auto-save and Revert functions allow for maximum flexibility when editing patches and the tuner function supports open and drop tuning, opening the G2FOUR up to even more songwriting applications. One area of particular note is touchscreen on the G2FOUR allows for easy navigation with a user-friendly interface and rotary controls that’ll help you get to your preferred setting quickly and with ease. This is the main centre of operations-you can create and edit patches here and swap effects among other many functions.

And, just in case that wasn’t enough it can be used in itself as a USB audio interface. The USB connection allows you to browse and update Zoom’s GuitarLab software that contains various amps, effects and patches. There’s a whole bevy of awesome content available through this software suite, and we highly recommend you take full advantage of everything on offer. In terms of live performance, creativity, and practice, I will always say that a looper is your best friend in most situations, and of course, the Zoom G2FOUR multi-effects guitar processor pedal is decked out with that as well with its 80-second looper function, more than enough to flesh out compositions and get things happening. The dizzying number of effects, including Zoom’s highly musical distortion and modulation effects are carefully crafted and take the very best in iconic sounds and blend them with other timeless selections for new, unique tones. Honestly, it’s hard to find fault in the Zoom G2FOUR; it’s exactly what you would want in a small footprint multi effect/ amp simulator, with enough extra functionality to see it constantly perk up in situations that you wouldn’t expect. From songwriting, to practice, to the stage, there is a setting or onboard function to account for all of the above. BY PABLO FRANCOIS

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WINTER BOURNE WORDS BY ISABELLA VENUTTI

"Echo Of Youth," the inaugural album by Winterbourne, presents a 12-track masterpiece of electrifying, anthemic indie-rock. This album emerges after the dedicated efforts of James Draper and Jordan Brady, lifelong friends and artistic collaborators, who dedicated years to refining their skills both in the studio and on stage.

cho Of Youth" represents their most audacious and fully realised creation to date, a musical journey replete with opulent synths and rousing, crowd-pleasing choruses reminiscent of the golden era of bands like The Verve and The Strokes. Hot off of this career defining release, the band sat down with us to chat workflow, inspiration and go-to gear. Did you folks make a conscious effort to expand your sound when approaching the writing and production of this new album — what kind of sonic/thematic palette you were working from? We never really seem to make conscious decisions about the sound of our music to be honest. It’s more like waiting to see which sounds and ideas inspire us enough that we end up turning them into songs. We’ve always thought the most exciting thing to hear from an artist is something unquestionably new and exciting but at the same time familiar, so I think we apply that to our stuff subconsciously as we go. Tell me about your songwriting process — is it a collaborative affair, do you tend to tinker alone and build from those skeletons, or is it a combination of both? It’s definitely a combination. Most of the time I write and demo a song at mine and send it to

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Photo credit: Winterbourne

Jordan for his thoughts and changes but other times we’ll just be jamming and waiting for ideas to show up. When we got to a point last year where we knew we were actually making this record, we rented a cottage with our band and spent a week jamming and writing. Three of the songs on this album were written that week and some of the stuff we recorded remains on the finished product. Talk me through your recording workflow from demo to track completion. Do you begin in the bedroom or head straight to the studio? Any preference of DAW/special or demo setup that goes the extra mile? That’s something that’s been quite different this time around. We’ve always loved making demos and we’ve never been ones to leave a song as a voice memo or scratch recording. If we’re excited about a song we’ll add all the production as we hear it. And so previously we’d live with these full yet poorly recorded demos and then eventually head to the studio and start every recording from scratch. This time around though we wanted to see if we could see the songs all the way through. We had sent the demo for Long Distance Runner to our friend and collaborator Jackson Barclay, who said something along the lines of ‘that’s great, it should sound like that’, which was enough of a confidence boost to decide that we could produce the whole album. Jackson, Jordan and I then spent the next 2 years bouncing Pro Tools sessions between one another, doing stints at various studios to re-record parts or get live band takes for songs, adding vocals here and there, getting rough mixes and deciding to re-track bass parts, spending hours on synth sounds and automation in our home studio, deciding that entire recordings were shit and starting again… until eventually we had 12 songs that we were happy with. It was a whole new experience for us and we absolutely loved it. Which pieces of equipment are the most integral to you when it comes to translating your project’s essence from a recorded to a live context?

We find that if we start from a place where we’re trying to replicate the recordings as accurately as possible the songs end up taking on their own life in a live setting anyway, so we just let that happen. We don’t play to track or click very often on stage so the songs are slightly different every time. When it’s just the two of us Jordan plays the drums with his feet, so that naturally changes the songs from their recorded version. We use samples from the recordings to emulate the actual sounds on the album though, which is fun. The most common set-up we use is the 4-piece, but even with 4 of us we only have so many hands, so we make sure we get the songs to a point where the energy of the recording is there, even if all the instrumentation isn’t. Are there any pieces of gear that have tangibly influenced the way you write and record music to this day? The only thing we’ve ever really spent money on is instruments. We have this Maton acoustic which Jordan got when he was about 16, it’s got several holes in it and drawings all across the top. It was our main guitar when we were busking but kind of went unused for a good 5 years and then suddenly re-emerged for this album. There’s also this 12-string that I got around the same time that we barely ever used. A couple of years ago Jordan took all the low octaves off it so now it’s in Nashville tuning and sounds magical. It’s not expensive, but when you play something on it, it sounds completely different. That’s been a huge part of the sound of this album. I think it’s on every song on the album except for two.

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