Issue #330

#330 – 2023/24

XMAS GEAR GUIDE ABLETON LIVE 12, ORANGE BOX-L REVIEWED: HEADRUSH CORE, JACKSON VIRTUOSO, NEUMANN MT 48, GROOVE SYNTHESIS 3RD WAVE, CORDOBA C12 + MORE

FREE

MUDVAYNE

INTO THE MIRE

FEATURING DAN GERAGHT Y

UNLEASH A UNIVERSE OF SOUND

With world-class tonal replication, Tone Master Pro is the groundbreaking multi-effects system from the leader in guitar amplification.

©2023 FENDER MUSICAL INSTRUMENTS CORPORATION. ALL RIGHTS RESERVED.

FEATURING ADAM MELCHOR WITH THE HIGHWAY SERIES DREADNOUGHT IN SPRUCE

LIGHTWEIGHT & ERGONOMIC BODY • HYPER PLAYABLE NECK • FISHMAN FLUENCE ACOUSTIC PICKUP ©2023 FENDER MUSICAL INSTRUMENTS CORPORATION. ALL RIGHTS RESERVED.

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CONTENTS

08

EDITOR'S NOTE & GIVEAWAYS

10

PRODUCT NEWS

14

MUDVAYNE

16

FIRST LOOK: ABLETON LIVE 12

18

IN FOCUS: WAMPLER PEDALS

28

ORANGE IS THE NEW BLUE(TOOTH)

30

XMAS GEAR GUIDE

38

PRODUCT REVIEWS

58

MY RIG: COSMIC PSYCHOS

PG.30

PG.14

PRINT EDITOR Paul French

PUBLISHING DIRECTOR Patrick Carr

PUBLISHER Furst Media Pty Ltd

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

CONTENT EDITOR Lewis Noke Edwards

CONTRIBUTORS Rob Gee, Jamie Colic, Peter Hodgson, Christopher Hockey, John Tucker, Greg Long, Paul French, Andy Lloyd-Russell, Lewis Noke Edwards

FOUNDER Rob Furst

MIXDOWNMAG.COM.AU /MIXDOWNMAGAZINE @MIXDOWNMAGAZINE @MIXDOWNMAGAZINE

GRAPHIC DESIGNER Kelly Lim ADVERTISING MANAGER Paul French

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PG.16

EDITOR'S NOTE

C is for Cables which connect A to B. H is for Headroom, and keeping it clean.

R is for Reverb. I live in a cave.

I is for Input. Output’s old mate.

S is for Sawtooths and Square waves as well.

T is for Timbre-of tubular bells.

M is for Meters and keeping them green.

A is for All valve Amp circuitry.

S is for surplus letters to rhyme.

Enjoy the holiday period.

Kind Regards, La Editora

GIVEAWAYS

For your chance to win any of these prizes head to our giveaways page at: MIXDOWNMAG.COM.AU/GIVEAWAYS

Fender Highway Parlour Guitar

Win a Kink Pedals Dozer!

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.”

We’ve teamed up with Kink Pedals to give one lucky reader the chance to win a Dozer pedal! Kink Guitar Pedals worked with Ross from the Cosmic Psychos to bring you the Dozer Fuzz. In their words:

The Parlour guitar features a mahogany body and rosewood fingerboard, as well as Fishman Fluence pickups controlled by a Master Volume and Contour control.

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“We took the fuzz circuit from the Shin-Ei 8TR Fuzz Wah, used modern components and put it into a more pedalboard friendly enclosure, complete with top mounted jacks.

If you have ever wanted to capture the signature Cosmic Psychos’ tone, look no further. The Dozer Fuzz also works fantastic on guitar also.”

2023

PRODUCT NEWS

Hotone release 3 new products: Pulze, Stage and Ampero II Press

AMBER TECHNOLOGY | AMBERTECH. COM.AU

We’re big fans of Hotone here at Mixdown, having both reviewed their products as well as purchased a couple after reviewing said products! Expanding their already stellar range, Hotone have announced three new products: the Pulze, a modern Bluetooth amp modeller, the Ampero II Stage, the newest from the Ampero range, and the Ampero II Press, an expression pedal to augment their Ampero rage even further.

The Pulze is a modern Bluetooth digital modelling amplifier with a minimalist exterior design, suitable for a variety of electric and acoustic instruments. Meticulously designed enclosure and speakers ensure high-quality audio playback performance and professional instrument tones within a portable form factor, faithfully reproducing classic sounds found on famous records. With a fully touchscreen operation combined with Bluetooth 5.0 module and a companion mobile app, Pulze offers a user-friendly, intelligent operating experience. It integrates recording, live streaming, and more features to inspire and capture your musical creativity at any time.

The Ampero II Stage is the latest gem in the Ampero series, and is here to revolutionise your live performances. With its cutting-edge triple-core digital platform and premium ESS® Sabre® series independent AD/ DA converters, Ampero II Stage delivers unparalleled sonic excellence. Whether you're rocking a massive music festival stage or a cosy livehouse venue, Ampero II Stage is your ticket to an unforgettable sonic journey.

Crafted specifically for stage performances, it empowers you to shine with its eight footswitches, intuitive operation logic, and a fresh UI design. With the added convenience of Bluetooth connectivity and atmospheric LED

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indicators, Ampero II Stage is your ultimate stage companion.

Conventional external expression pedals often control only parameters of an effects unit, requiring the use of switches on the effects unit to change its status. Ampero II Press solves this problem perfectly with its built-in single footswitch.

And the optimised footswitch structure provides excellent tactile feedback. Whether on stage or in the studio, Ampero II Press is ready to add extraordinary expressiveness to your performance.

Pedaltrain XD series is available now!

EGM | EGM.NET.AU

The XD series is a new form factor from Pedaltrain. Six rails.

Novo spacing. Extra deep mounting surface. Stack pedals three deep? Can do. Add a switching system? No problem.

Expression pedals? Of course!

Fully compatible with accessories like VDL-MK, Boosters, TFMK-SM and all of the aftermarket add-ons that are out there.

The XD series currently includes the XD-18 and XD-24.

XD-18 Pedal Board Dimensions: 18 in x 17.5 in x 3.5 in (45.72 cm x 44.45 cm x 8.9 cm Weight: 1.63 kg XD-24 Pedal Board Dimensions: 24 in x 17.5 in x 3.5 in (60.96 cm x 44.45 cm x 8.9 cm Weight: 1.99 kg Pedaltrain pedal boards are rock solid, virtually indestructible, and built to last a lifetime. Our pedal boards are ultra light with an unmatched strength-to-weight ratio. Each Pedaltrain is hand cut, hand welded, and hand finished. No shortcuts taken, ever. No moving parts, screws or anything that can fail. We back up our pedal board claims with a lifetime warranty against defects in materials and workmanship.

Phil Jones Bass release the DOUBLE FOUR (BG-75)

EGM | EGM.NET.AU

The DOUBLE FOUR is the pinnacle of micro bass amps.

With new driver design, acoustic loading and the latest digital amplifier technology, this tiny bass combo may be designed as a practice amp but continues to amaze everyone with the great PJB signature bass tone. From a cabinet the size of a jewel box, this seems to defy the laws of physics.

Each one of these 4” speaker is fed with its own Pulse Width Modulation (PWM) amplifier.

PWM amplifiers are extremely efficient compared to the traditional analog solid state amplifiers, converting electrical energy for use on the speakers.

Since the amp is running at lower working temperature, the DOUBLE FOUR will give years of service long after other amps have faded away.

To maximise its tiny cabinet enclosure, we designed a custom Rectangular Auxiliary Low Frequency Radiator (RALFR®).

RALFR® is a pneumatically coupled radiator loaded to the rear of the two 4 inch speakers that operates at the lowest bass frequencies only. It augments the output of the loudspeakers at frequencies from 30 to 150 Hz. It also reduces the cone excursion of the speakers, so power handling is greatly improved. The cabinet is also heavily braced internally and lined with acoustic damping materials. This damping prevents cabinet coloration that can interfere with the true sound of your instrument. The DOUBLE FOUR is the most realistic amplification of your instrument.

Shipping NOW >>> Contact your authorized Meris Dealer

PRODUCT NEWS

Ernie Ball Release Polypro Strap Range for Acoustic Guitars

fit most acoustic instruments and players.

Sebatron Audio releases new SPIDER Valve Equalizer

Slinky Flatwound strings are now available in guitar sets!

SEBATRON AUDIO | SEBATRON.COM

Sebatron Audio SPIDER Valve Equalizer CMC MUSIC | CMCMUSIC.COM.AU

Ernie Ball's hugely popular range of Polypro straps expands to include acoustic guitar-specific straps!

The Ernie Ball Acoustic polypro strap features durable and comfortable 2” wide Polypropylene webbing with machine-stitched leather ends (EB logo stamped in gold print) for maximum strength and longevity.

The Ernie Ball embossed leather end features an extended 6 1/2” x ¾3/4” leather loop for use with acoustic guitars and other instruments without a neck heel strap button.

The Black Delrin adjustable buckle and connector further enhance durability and good looks. Overall strap measures 41 inches to 72 inches long.

PRODUCT SPECIFICATIONS: •

•

World’s number one selling polypro strap is now available as an acoustic guitar strap Comfortable width at 2 inches wide Extra long design up to 72 inches in length Strong and durable polypropylene webbing Leather neck loop for instruments without a neck heel strap button Fits most acoustic guitars 4 colour options – Black, Brown, Burgundy and Cream Gold stamped Ernie Ball logo

•

Premium leather ends

• • • • • •

Leather Neck Loop The leather neck loop attaches to instruments that do not have a heel strap button.

Strength & Durability Made from the same polypropylene webbing as the world’s best-selling guitar strap, the Acoustic Strap features unmatched strength & durability.

Adjustable The Ernie Ball Acoustic Strap is adjustable from 43 to 75 inches to

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CMC MUSIC | CMCMUSIC.COM.AU

Ernie Ball are undisputed royalty in the world of guitar strings.

Flatwound strings are common and popular amongst jazz, soul and blues players, with the early days of rock and roll, rockabilly and pop all being played, performed and recorded on guitars with flatwound strings. They add impart their own unique tonality, and might just be the missing ingredient in your pursuit for tone.

Slinky Flatwound Strings Ernie Ball Slinky Flatwound Electric Guitar Strings combine the classic, roundwound Slinky tone, and effortless playability you love, with the beautifully smooth texture and reduced finger noise of a traditional flatwound. Wound with a patented cobalt alloy ribbon, the result is a set of strings perfect for any player looking to add an entirely new enhancement to their sonic arsenal. Sets include Regular (10-46), Power (11-48), and Super (9- 42) Slinky gauges. These sets are wound with a patented cobalt alloy ribbon for a round sound with a flat feel and feature a plain g string for easy bending and soloing.

Flat Feel Patented Cobalt alloy ribbon wrap wire is precisely polished to provide the smoothest possible feel with the least amount of finger noise.

Round Sound By using our Cobalt alloy ribbon wire we are able to preserve that classic Slinky tone.

Plain G A plain G string along with lighter gauge combinations allow for easy bending and soloing compared to traditional flatwound strings.

incredibly useful tool as it enhances almost any source material that is put through it. The extra harmonics generated within the valve give the signal increased width, depth and definition.

How Breedlove is setting a new standard for guitar design, sound & accessibility

Sebatron Audio is proud to announce the release of their new SPIDER EQ. The Sebatron Spider EQ is a high quality two channel Class A Transformerless Valve Equalizer housed in a 2U rack chassis designed for tracking, mixing or mastering purposes.

Devised for the discerning audio engineer or professional music producer, this equalizer offers great flexibility with a touch of that valve magic.

High and Low shelves and two Mid bell bands.

Both channels of the Spider EQ feature upper and lower shelf bands each with two selectable frequencies and two mid bell bands each with four selectable frequencies to suit your audio equalization requirements. Each band has up to 10dB of boost or cut. High Voltage and totally discrete Class A circuitry.

Valve EQ The Spider signal path uses optimized discrete op amps with high voltage transistors as input and output buffering stages. A dual-triode valve (or Vacuum Tube ) running off a +300V supply provides the processing gain for the equalizer circuit.

All circuitry is operated in single ended mode to provide maximum musicality with absolutely no cross over distortion. The high voltage supply rails ensure massive headroom for boosts or cuts and minimize the possibility of noise and distortion. The bypass is relay driven to guarantee no signal colouration when the unit is switched out of the signal path.

Visual signal monitoring for the audio signals is provided by two back-lit VU meters for accuracy and ease. The meters have a +4db or +8db switchable operating point to aid with the monitoring of heavier signals without slamming the meter.

In use the Spider EQ is an

AMBER TECHNOLOGY | AMBERTECH. COM.AU

Introducing the Organic Pro Collection, all solid tonewood, fully-sustainable guitars that working musicians and average players can actually afford. These uncompromising instruments are built with ethically harvested trees from forests we have personally visited. Hobbyists and amateur players can enjoy a solid tonewood experience without paying solid tonewood prices. Gigging musicians can afford to put Organic Pros through the rigours of the road and still sound like they’re playing treasured collection pieces. Everyone who plays an Organic Pro can feel good about being kind to our world’s forests, because at Breedlove we don’t use any clear-cut tonewoods. Ever.

The top 3 sound and tone benefits Real Tonewood Sounds Superior: no Richlite or resin impregnated softwoods, no glue-heavy plywoods: just real tonewoods, real tone.

Lighter guitars sound and feel better: optimised revolutionary body shapes with thinner tops and finish, less than half the glue and tops optimised for minimum thinness all contribute to the best sounding guitars on the market at each price point.

Advanced-Authenticity Sound: our torrefaction process advances the natural tonal ageing process for instruments that sound richer and more dynamic than standard new guitars.

HEAD

MUDVAYNE INTO

THE

MIRE

WORDS BY JAMIE COLIC

Formed in Peoria Illinois during the mid-90s, US heavyweights Mudvayne quickly rose to prominence within the early 2000s nu metal tsunami. The release of their breakthrough album L.D. 50 was the catalyst for four more studio albums and 10 years of touring internationally with the likes of Slayer, Rob Zombie and Metallica amongst a plethora of others.

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N

ow after a long hiatus, Mudvayne are back and making their way to Australia for the first time in nearly 20 years with fellow nu metal stalwarts Coal Chamber in tow. I took some time to chat with vocalist Chad Gray about returning down under in 2024.

“I love Australia, Sydney, Melbourne, Brisbane, it's all so beautiful” Chad exclaims as soon as our morning interview kicks off. Expressing a vivacious enthusiasm for his band's return to Australia for the first time since their Big Day Out appearance back in 2006, which saw Mudvayne headline nationally amongst the likes of Iggy And The Stooges, The White Stripes, and Franz Ferdinand.

As a matter of fact, Chad’s inherent enthusiasm extends to Mudvayne’s reunion as a whole, stating “We went away before people really wanted us to go away”. In 2023 alone the band has steamrolled through a total of 26 US dates on their Psychotherapy Sessions Tour receiving monumental reviews in the process. “There was this decade of people wanting us but they couldn't have us, and now that we are back people are really excited” is a statement that summarises the reception of the Summer tour

the Dimebag ones,” further elaborating on the time he was lucky enough to handle Darrell’s original Dean From Hell while on a shoot for Hellyeah “his project with Darrell’s late brother Vinnie Paul”.

template for a metal ensemble with extra percussion and turntables, Mudvayne always straddled the frontier of progressive music utilising complex polyrhythms and other rhythmic motives.

I take this trajectory in the conversation to ask whether Chad has any sort of home studio setup, “I have my interface and mic that I just load up our songs into Garageband to rehearse.” Along with his use of Apple's classic entry-level DAW, he expresses an affinity for the everdependable Shure SM58. Specifically praising the mic's ability to handle high sound pressure levels remarking “My voice naturally squishes the capsule, when I lay into it it's gonna fucking distort!”

Gray takes this opportunity to elaborate on the enigma of creativity, “I’m always writing, I have voice memos, the other day I was driving and I just had this rad fucking melody pop up in my head and I just put it down like that.” He expresses the same approach with lyrics stating “I have a folder of new lyrics, sometimes I'll take 4 or 5 minutes to work on a couple lines to complete a section of a verse.”

As Chad gives this insight into his creative process I sense an immediate essence of inspiration from the singer “I just need that initial idea, otherwise I’ll fucking forget. I'm going into that lyrics folder 20 times a day” he exclaims as his face lights up.

“I’m always writing, I have voice memos, the other day I was driving and I just had this rad fucking melody pop up in my head and I just put it down like that.” from the enraptured frontman.

“But I gotta be straight with you, nothing against America, but we all got really excited hearing that Australia was even a possibility,” Chad tells me in a hushed tone. “I made a lot of friends touring down there with Mudvayne and even later on with Hellyeah”. A brief enquiry into Melbourne's fabled Festival Hall venue only serves to further excite Gray as he exclaims that “these shows are going to be insane!”

In true Mixdown fashion, the topic quickly turns to gear as Chad spots a few of my guitars in the background of our Zoom session. In an instant, he is pointing out his prized Dean Cadillac guitar to me stating “That thing is a fucking great lap guitar,” whilst admiring its presence.

His praise for the classic US guitar maker is accentuated as he states “I need to get one of

One thing that Chad makes apparent is that inspiration can come from anything at any time

“Idioms like there’s no business like show business, I don’t know how I’d write that into a song but these very familiar things that have been said since the dawn of time, I’ll think about whether these ideas have been used in a song and if they haven't I’ll try to figure out a way to use them.”

He further elaborates on this approach by stating “People like familiar things, so it's really easy to create choruses, with lyrics that are already familiar to your brain, if you can come up with something familiar then you are fucking winning.”

Gray immediately acknowledges this sentiment “What we were doing was definitely progressive when compared to a lot of other nu metal, honestly, I really want people to reflect on it being a really, really good time for music. Thinking back to Ozzfest 2001 with Drowning Pool, Manson, Slipknot and Disturbed, not one of those bands sounded the same and you can hate me for saying this but a lot of today's music sounds the same.” However, Chad isn’t dismissive of all modern metal as he sings praises for Slaughter To Prevail and the vocal stylings of Alex Terrible.

We round out our morning chat by tipping our hats to the old guard and talking about the importance of influences, with Gray highlighting James Hetfield and his all-mighty “Yellody” [yell/melody] as an important foundation for him on his own vocal journey as well as the glass shattering shrieks of Pantera’s Phil Anselmo. Perhaps most importantly, Chad expresses an affinity for pure attitude stating “We walked behind our middle fingers!” whilst discussing the ties between punk and metal. Expressing adoration for everyone from Floridian heavyweights Morbid Angel to Bay Area thrashers Testament, he especially makes sure to take a moment to express his condolences for the recently fallen Killing Joke guitarist Geordie Walker.

Mudvayne is set to carve through Australia this February with fellow nu metal luminaries Coal Chamber, a must-see tour for nu metal aficionados and nu fans alike.

This insight into how Chad engages in his methods of wordsmithing was certainly enlightening and it immediately leads to another conversation relating to how Mudvayne's approach to music was always differed from that of their peers. Whilst Korn was experimenting with Hip Hop influences and Slipknot was expanding the standard

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FIRST LOOK:

Generative Tools and Scale Mode

Ableton Live 12

At the top of the UI, a new set of buttons, pictured below, allow you to select a global scale and key for each Live set. This selection permeates throughout the project and automatically selects the corresponding parameters in MIDI clips, new Generative Tools and some Instrument Devices, notably the new Instrument, Meld. Doing so will ensure you stay in key regardless of your music theory chops. Hopefully more Instruments will be updated in the future to include this.

WORDS BY GREG LONG

Is that the time? It seems like Ableton 11 came out yesterday, but here we are, three years on and a new Live version demands our attention. Live 12 boasts a dizzying array of new features and improvements, so, without further ado, let’s have a quick look at what’s on offer.

Controversially for some, *AI is taking our jobs!*, Live 12 includes some generative functions. Not strictly AI, these generative tools are reminiscent of Scaler, Instachord or Wave DNA’s Liquid Rhythm.

Accessed from the expanded Clip Panels, the Generate tool will quickly create new rhythms, melodies and chord progressions. Each selection from the drop down populates a new set of contextual parameters to control the generated notes, within the global Scale Mode selected.

Scale Mode provides global selection of keys and scales.

UI Tweaks, Content Tagging and Sample Swapping The Live UI has received some much-needed tweaks with a more polished and refined look. Small, but significant improvements include a larger track volume control, that no longer jumps around on single click: a godsend for live performance. Vertical Waveform Zooming (finally!) increases or decreases waveform heights so low-level samples can be edited without changing gain. A number of new colour schemes are included, and it is possible to toggle Live’s mixer on and off in the Arrangement View. At the bottom of the UI, the Instruments and Devices/Plugins can be viewed concurrently. When paired with the Meter View, you no longer have to switch between Clip/Device or Arrangement/Session View. A huge streamlining workflow win, perfect for single screen/laptop setups. The metering ballistics are more responsive and now coloured to reflect levels, which will improve gain staging. DJs, stay out of the red!

One of the most interesting, and usable, is the Shape option, pictured below. This allows control of the contour, or shape, of the generated melody, a common compositional technique used to write more listenable melodies. The shapes can be selected from a contextual melody or drawn with a mouse/trackpad. (1) The Transform panel includes many options to transform existing MIDI clips. The list of Transformations are shown below and combine a range of existing Transformations with new options, such as Span, Strum, Arpeggiate and Ornament. (2)

The Browser has been overhauled and it is possible to tag plugins and samples to make it easier to navigate substantial Libraries. A Neural Network can scan your Library allowing you to search for and replace similar sounds from within Drum Racks or the Browser.

Generate and Shape melodic ideas using new generative tools.

(1)

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(2)

Transform Existing MIDI Clips

Instruments New sounds arrive in the shape of a new Instrument Device/Synth, Max for Live devices, and a new content Pack, Lost and Found. The Pack draws on samples of weird and wonderful hits, strums and impacts of less used foley sounds and objects, moulded into sample based instruments and drum racks.

The new synth Instrument, Meld, looks to further take advantage of MPE (MIDI Polyphonic Expression) controllers and offers deep sound design possibilities. With this bi-timbral synth, Ableton have again eschewed the mundane, offering 20 different unique oscillator types, including Noise Loops, Rain, Crackle, Bubble and Swarm, to name a few. When selected, each oscillator changes the Engine control parameters to provide further options. Filter types are many and varied, with a total of 17, that range from the standard SVF, LPF, HPF and BP, to the varied; Phaser, (Bit) Redux, Vowel, Plate Resonator and Membrane Resonator. The last two filter types are pitched and can take advantage of the global Scale Mode functionality. Expansive modulation is available, via the huge matrix, revealed via the Toggle Expanded View triangle. Meld looks to be a sound design powerhouse for evolving pads, drones and leads.

Audio Devices Live 12 brings a modest complement of new Instruments and Audio Devices. The offerings are, however, well considered and flesh out the ecosystem nicely. A new Audio Device, Roar, powerfully augments the saturation and distortion offerings. Roar features three stages of drive, flexible routing – parallel, series, mid/side, and a full multiband mode.

Distortion devotees will be able to indulge in some disturbing sonic abuse by way of the feedback control and render inputs unrecognisably altered for all eternity.

New synthesizer Instrument Meld has an expandable interface that offers extensive modulation functionality.

New Audio Device Roar allows for wild sonic destruction, shown here in compact view.

Like many of the more recent Live Devices, Roar’s interface can be expanded from the regular device view to reveal more parameters, for detailed tweaks. Once revealed, the Device’s UI can be further extended to reveal three stages of distortion, an extensive modulation matrix, filters and LFO’s. All in all, it’s a major league tone shaper that Ableton touts as being suitable for everything from subtle track warming, mastering grade saturation to sonic destruction. Roar represents a major new feature and can be viewed alongside Arturia’s Coldfire or Minimal Audio’s Rift. Roar in all its glory. The full expanded view reveals considerable modulation and wave shaping options.

Robert Henke’s Max for Live Device, Granulator, has also received some love. The capture process has been streamlined and the second capture device is no longer required. Instead, within the UI, the audio input can be selected and, by clicking the capture button, a new sample is captured, from previously played audio, ready for manipulation. Two switches switch between Sample View (including capture) and Control View. The Device is intuitively laid out and easy to learn. In addition to the “Classic” granular mode, two new modes, Loop and Cloud, offer further sonorities. The monophonic mode lends itself nicely to old school leads and basses. These are but a few of the many new features that create a powerful granular sampler/synth, high in both sound quality and usability.

Granulator has long been a popular Device and this incarnation makes it even more desirable.

This only scratches the surface of the functionality included in a major update to Ableton’s flagship DAW. The update will surprise, delight and no doubt, if social media is anything to go be, disappoint. Some have lamented the fact many additions, long requested, have not been included, but the list of additions far outweigh any missing functionality, and it's hard to deny the extensive list of new features. We live in a golden age of audio technology and only time will tell if Live 12 will be considered a Midas touch.

Roar in all its glory. The full expanded view reveals considerable modulation and wave shaping options.

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IN FOCUS:

Wampler Pedals WORDS BY LEWIS NOKE EDWARDS

In the world of Audio and Musical Instruments, every brand has their mainstays-certain models and makes that have withstood the test of time, continually redefining their appropriateness and relevance in the ever changing musical landscape and in this respect, pedal manufacturers are no different. But amongst all the re-issues, revisions and rebrands, only the select few manufacturers deviate from this ideology, by refining and expanding on tried and true circuits and taking them to interesting new places. Wampler Pedals is one of those brands.

There’s some classic overdrives, distortions and delays, Wampler’s CEO Brian Wampler is a visionary of sorts, unhappy with the stock sounds available from the huge array of other pedals on, the market he sought something different and definitely found it. Constantly striving for the “ultimate tone”, Brian set about designing and crafting his own range that pushes the envelope (and filter it too!), while remaining functional, accessible but above all else: sound great.

Wampler takes cues from classic designs in their Tumnus and Tumnus Deluxe (taking influence from a particular hoof-associated pedal), but augment the original design with modern flexibility. The Tumnus Deluxe has five knobs, allowing for a three-band EQ, with Level and Gain controls flanking a Normal/Hot toggle to adjust how aggressively your signal passes through the famous circuit. In a bid to offer players everything, the Tumnus Deluxe also has a Buffer on/off switch that acts to engage the buffer or remove it for true-bypass operation.

Their pedals speak for themselves, but don’t take our word for it. Wampler has a growing range of artists trusting them for their tone, namely the Cory Wong: Compressor, Brad Paisley: Paisley Deluxe and Drive, and the Andy Wood: Gearbox.

The Gearbox is a lot to take in, but for good reason. It’s a two channel pedal, effectively giving you two drive sounds in one enclosure.

Separate inputs and outputs for each channel

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allow uncompromising control, while the Order toggle allows you to switch between the channel order and use them as one chain if you wish. Channel one is based on the aforementioned Tumnus, while the second channel is based on Wampler’s Pinnacle pedal, Brian’s take on the famous “Brown Sound”.

Cory Wong is taking the world by storm with his solo work as well as with Vulfpeck.

Armed with a crazy funky right hand, Cory uses compression extensively to level out the dynamics of his super fast rhythms.

The Cory Wong: Compressor is a compressor and boost pedal in one. The Compressor part of the pedal has controls for Volume, “Sustaaiiin”, Attack, and Blend allowing you to control how fast the compressor kicks in, or using the Blend knob to use the compression in parallel. The Boost has simple enough Boost control, as well as Mid/Flat mid boost, a ground lift and an XLR out for connection directly to a mixer or FOH of house system.

Brad Paisley’s signature pedals are in a league of their own. Brian Wampler famously threw a pedal onto Paisley’s stage in the hope he would use it, Brad Paisley’s tech quickly grabbing it, trying it out and loving it, and eventually passing it onto Paisley himself.

After a few years of using Wampler, Paisley and his tech approached Wampler for a signature pedal, Paisley wanting to harness everything he loved about pedals like the Ego, Underdog and Faux AnalogEcho into his own signature pedal.

The Brad Paisley: Paisley Drive and Deluxe are the result of that. The Paisley Drive has familiar controls in Gain, Tone and Volume, but adds a presence on/off and a switchable EQ for three different shapes.

Channel 2 of the Deluxe have similar controls, while Channel 1 is 5-knob drive with three band EQ in addition to Level and Gain. Like Andy Wood’s signature pedal, Channel 1 and 2 are available together or separate thanks to a handy toggle switch and independent in/out jacks for each channel.

Beyond their artist models, Wampler also offer a wide array of delays, modulation and other time-based effects, a bunch of these available within the Metaverse. Before we dive in, the Metaverse’s effects are also all available as 11 AU and VST3 plugins. Handy!

11 delay types are controlled by Delay, Feedback, Tone, Mod and Mix controls, with a switchable tail on/off for use as you see fit!

There’s stereo in and out, and you can simply use one of these jacks as the mono in/out, with MIDI I/O available as well via 3.5mm jacks.

There’s a Bypass switch and a Tap Tempo switch, your sounds all saveable and recallable via four preset spaces.

Wampler have a huge range of sounds, both familiar and entirely new, available for modern players. From traditional grit, drive and distortion to more modern recallability, MIDI integration and digital delays. They’re building on the best designs used on the most historic records, but with their own take with the help of more modern technology, parts and circuitry. Brian Wampler’s own tenacity in building the best possible products for players is on show in his artists collaborations, as well as forward-thinking routing, switching and controls for more control over your tone.

Wampler’s range of reimagined classics, their own modern designs that are on the cusp of modern tech, all in service of guitarists and bass players have more at their fingertips.

Wampler are bucking the re-issue trend, and sounding great while they do it.

MAKE MUSIC THAT MOVES NEW

BOSE S1 PRO+ WIRELESS PA SYSTEM The next time you perform, bring this versatile, portable, and powerful all-in-one wireless PA system. It lets you add any vibe anywhere you play, with up to 11 hours* of rechargeable battery life, a lightweight design and simple setup made even easier with optional wireless microphone and instrument transmitters (sold separately).

AVA I L A B L E N O W AT :

* As with any battery-operated device, battery performance can vary based on a number of different factors. These include the type of content being played, the volume at which it’s played, and the surrounding temperature.

The Bose S1 Pro+ wireless PA system was rigorously tested and verified to provide up to 11 hours of battery life while playing music at room temperature from Spotify’s Global Top 50 at a comfortable volume that you can talk over while listening indoors. A singer/songwriter performing indoors for up to 100 people can expect to get 5 hours or more of battery life at performance-volume levels. Bose is a trademark of Bose Corporation.

controls allow the distortion from the Devil-Loc to be more or less audible. I found myself switching to a faster release for faster sounds, the Slow release on a snare, for example, brought up more ring and noise than I usually wanted, whereas for a vocal the Slow release helps highlight emotion, breathing and balance out the vocal overall.

The Decapitator works well to help transients to poke out from a dense mix, i.e. for important elements like drums and vocals, where the Devil-Loc can help flatten and crush sources to be blended in parallel… or left blownout for a unique tone!

IN FOCUS:

Soundtoys 5 WORDS BY LEWIS NOKE EDWARDS

For those well acquainted with the thousands of YouTube videos of engineers breaking down their mixes for us all, you’ll surely know Soundtoys plugins. For those unacquainted, Soundtoys take some of the best analogue equipment, model it, and build modern tone shaping and control into the workflow, allowing us to harness the best of both digital and analogue domains.

SOUNDTOYS | RRP: ENQUIRE FOR PRICING

the Soundtoys plugins is available standalone.

Their Soundtoys collection (currently on V5.4) boasts the entire collection of all their plugins available, from sweeping delays to gritty distortion boxes, phase and width tools and tremolos, flangers and reverbs. But how do they sound, and how does it all work together? Let’s dive in.

Decapitator, Radiator, Devil-Loc & Devil-Loc Deluxe

Standalone plugins vs. Effects Rack Effects Rack allows you to build and refine your own sounds within a single plugin per se, harnessing multiple plugins like Decapitator, FilterFreak, EchoBoy and SuperPlate to create an effect, as well as having global input, output and Mix controls for the entire Effects Rack instance. The Recycle control allows you to mix the output of the rack back into the input for modulated or other over-the-top sounds if you wish!

In addition to Effects Rack, each of

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Distortion is a huge part of production. Serving as a pseudo compressor, EQ and transient designer. Distortion can add grit to a sound, both bolstering it and boiling it down to its most pure essence, while also pushing the signal closer to clipping.

Soundtoys’ Decapitator models a well-known preamp, known for its ability to drive and clip a signal, bringing forward attack and grit without having to overtly (or audibly) distort a signal per se. All that being said, the Decapitator has the ability to push levels overthe-top, as well as dial it back with a Mix control.

The Devil-Loc is a similar vibe, but all with its own flavour. Simple controls are available in a Crush and Crunch control, the Devil-Loc Deluxe offering Darkness and Mix controls as well. Slow/Fast release

For those after something a little more vintage and a little more refined, the Radiator (and Little Radiator) offer a more subtle, tubey overdrive, modelled after an Altec 1567A mixer amplifier.

Simple enough Input and Output controls allow you control your signal, with a Mix knob available.

The digital platform allows you to turn on and off the hiss that was present on the original unit, also accurately modelled, with simple two-band Treble and Bass controls.

EchoBoy Jr. takes all of this and streamlines it, offering three modes, seven voices and filter and saturation controls.

Soundtoys effects Soundtoys 5 also offers a slew of both utility and creative tools for shaping, refining and adjusting sounds. Plugins like MicroShift, PrimalTap (and Little PrimalTap) and PanMan to shift your tone a little for additional width, depth and space. Use this to widen things like guitars, layer synths or help to delineate your delays and reverbs from the original source.

While layered sounds can become phasey and mono-sounding, the MicroShift is a great tool to create enough of a difference to allow our ears to discern the additional information, either for overdubs or making sources feel more stereo.

Their Sie-Q is a great EQ to have available, modelled after the Siemens W295b EQ, serving as a highly controllable EQ with a little analogue colour if needed!

The LittlePlate is Soundtoys’ famed plate-reverb, recently receiving an overhaul that bought the SuperPlate. EMT plate reverbs are famously musical, their metallic sheen providing a great option for particularly audible reverb.

For more overt effects, the Soundtoys 5 package has the FilterFreak, for “fat analogue sweeps”, as well as the PhaseMistress to help with soaring, sweeping phaser, and the Tremolator for tremolo like you’d find on some classic vintage guitar amps. Add subtle movement or more pronounced stutter effects with tremolo. The Crystallizer offers a granular reverse echo, for swells before drops, reverse effects or to help sounds poke their head out of a dense mix for a moment! The Little AlterBoy is an equally fun effect, providing hardtuned, robotic and format shifting options to reign in background vocals or conversely, create a unique lead vocal tonality.

The LittlePlate provides the classic, lush EMT tone, with simple Reverb Time, Mix and Low Cut controls. The SuperPlate is all of this and more, adding five different plate voicings, Pre-Delay and Modulation controls. It retains the Low Cut of the LittlePlate, but adds a High Cut as well. Use this to recreate Abbey Road-esque reverbs, who famously high and low passed their chamber reverbs quite heavily.

Soundtoys 5 is everything you need to start creating and mixing music. A huge array of creative effects can help sounds quickly evolve into something unique, with a growing list of utility sounds available as well to give your sounds width, depth and clarity. There’s a reason their plugins are used by the world’s best engineers, products and musicians, and you’d be amiss to pass them by.

SuperPlate, LittlePlate and EchoBoy Now your signal is weighty, present and bolstered, you can give it some space with a few time-based effects from Soundtoys.

For more delayed sounds specifically, SoundToys offer the EchoBoy and EchoBoy Jr. The EchoBoy is a delay plugin that offers multiple Styles and Modes, with an array of both digital and analogue delays sounds from classic, gritty tape to crystal-clear digital echoes.

A NEW SONIC VOYAGE. The Atlas i8 is a high-end studio monitor that synergizes Antelope Audio’s state-of-the-art clock and interface technologies with meticulous acoustical engineering to deliver unparalleled sound accuracy in any studio environment.

Featuring an isobaric configuration with two 8-inch woofers, a coaxial mid and high-frequency driver, and a custom Class-D 400W amplifier, the Atlas i8 delivers precise audio reproduction between 35 and 20 000 Hz with a maximum SPL of 117dB.

> Isobaric design delivering unrivaled low-frequency range (2×8" woofers) > Frequency range of 35 - 20 000Hz > Proprietary DSP calibration utilizing FIR & IIR filters > Custom class-D amplifier > 64-bit AFC & 192kHz sample rate > Extended connectivity with analog XLR/TRS and digital AES3 I/O > Coaxial drivers for mid & high frequencies > Color display with advanced settings menu

Having been associated with the brand for over ten years, Cris knew the A-Series’ biggest strength was in their ability to provide stellar listening experiences in the open air, something which is best served with hands-on time in front of the monitors. This is precisely the thinking behind the ADAM Roadshow, with stops in other top flight recording facilities in Brisbane and Sydney—inturn bringing the A-Series listening experience to the whole eastern seaboard.

On the road with ADAM Audio WORDS BY PAUL FRENCH

If you are a fervent reader of this fine publication, then you are most likely aware of our zealot-like appreciation (see: obsession) for studio monitoring.

But alas, discussing the ins and outs of monitoring and the listening experience is often akin to trying to describe a colour or feeling—it’s something that needs to be experienced in person, in order to be fully appreciated and understood at the visceral level.

ADAM Audio knows this better than most.

The German company's dedication to innovation (particularly in regards to their nearfield and 3-way active designs) have seen them emerge as one of the defacto monitor manufacturers of the current generation, finding their way into hundreds of top tier studios and having their fingerprints on a plethora of big name releases over the last handful of years.

Not content with merely presenting their products as inanimate specs on a page, the brand recently descended upon Melbourne’s historic Woodstock studios, working in cahoots with Borleyco (the Australian distributor for game changing intelligent room correction software, Sonarworks) to showcase their new ADAM Audio A-Series speaker range and the level of

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monitoring accuracy than can be achieved with this winning combination of A-Series and Sonarworks integration.

Suffice to say, the results were nothing short of breathtaking, with the new driver composition and cab design, coupled with the new A-Series ability to run Sonarworks SoundID natively from the hardware itself, providing some truly stellar listening and workflow opportunities for those who managed to get down to Balaclava for a listen.

With the larger A-Series speakers rested upon Woodtock’s stunning 1970s Neve 8014 console (complete with 16 channels of 1066 EQ modules, no less), we set about running through a diverse list of playback material, flicking between models and genres on the fly and getting a feel for the differences between each.

ADAM Audio’s UK parent company Focusrite Group first brought the A series to Australia back in late 2022, with Regional Sales Manager Cris Stevens being one of the local representatives tasked with introducing the new range to the Australian market.

“There’s no right or wrong in any of this. It’s finding something that inspires you or connects you.

Music at that level needs to touch you on an emotional level. The speaker is the thing that brings that to you to it… or not as the case might be.” explains Stevens from the driver's seat in front of the console in the Woodstock control room.

“It’s getting people together in front of the speakers and letting them speak for themselves.”

One thing that became instantly apparent after getting in front of the speakers ourselves was the clarity and breadth of the soundstage that can be found across all of the current range, something that ADAM Audio have clearly focused on with this release. Equipped with the onboard Sonarworks SoundID as well as some of the finest driver design and dispersion characteristics in the business, there was no doubt a recurrent theme trickling through from one model to the next. Make no mistake, the new ADAM speakers put a premium on broadness of soundstage and transient clarity.

In practice, things like panned percussion and M/S (mide-side) processing of low frequency material could be easily identified and were highly directional in a way that would allow for easy placement in the stereo field.

"With this new range of midpriced monitors, ADAM have built upon their previous sound profile with upgraded composite woofers and transducers that perform under maximum sound pressure with extremely low distortion,” explains Cris.

“Given the current nature of the content cycle and the emergence of immersive audio, soundstage has become an increasingly important factor in regards to speaker design.” he notes, before adding:

“The ribbon tweeter features a new high frequency waveguide which controls vertical dispersion to minimise ceiling, desk and floor reflections, whilst presenting a wide horizontal sound stage to ensure a smooth response, even when listening to the speakers off axis. This stability of the stereo image creates a larger ‘sweet spot’ to work within. That’s what you can hear there.”

Of particular note were the new A8H 3-way speakers, which offered some jaw dropping low frequency response in the time domain. The speed and clarity with which these low frequency bass fundamentals are reproduced and the tightness of the recoil is something to behold. The combination of 8-inch resonant Multi-Layer Mineral (MLM) fibre woofer, innovative midrange driver, and handmade precision X-ART tweeter really served as a perfect pairing for Electronic and Hip Hop program material, taking to 808’s and thumping bass with remarkable accuracy, whilst providing incredible clarity in the upper mids and crossover points.

This theme of impressive LF response was also present in the brand’s small scale offerings, the A44H and A4V providing some of the most robust and controlled low end you are ever likely to hear in a speaker of such diminutive size. The kind of clean SPL these were capable of producing was impressive.

All in all, the ADAM Roadshow was a perfect opportunity to showcase the new range and their capabilities. Building on an already successful foundation of previous A-Series incarnations, the new driver design and introduction of Sonarworks SoundID, and only served to strengthen an already strong product line.

“What I love about ADAM is that we have a complete range, from an entry level offering, mid-price offering and premium offering.

The same amount of care and forethought is put into everything they put their hand to.”

For the Ultimate Guitar Experience, Anywhere, the new iRig USB & HD X iRig USB gives guitar and bass players an affordable and easy way to practice, play and record at home or on the go.

It features a sleek new enclosure with USB-C connectivity and comes bundled with IK’s latest amp and effects modelling technology.

iRig HD X features a LED ring input level indicator that also doubles as an ultra-fast and precise tuner for the connected instrument. Its ergonomic, multi-function knob lets users quickly adjust headphone level, loopback functions, direct monitoring and the tuner.

The Headphone Out and Amp Out are high quality, with USB-C connectivity offering exceptional sound in a device this portable.

Distributed in Australia by Sound And Music For more information, contact your favourite guitar store or visit: https://sound-music.com/brand/ikmultimedia/

Gear Icons: Earthworks To become a recognised name in microphone and transducer design in the current era is not an easy undertaking, by any means.

(studio royalty like Eric Valentine and Manny Marroquin being just some of their impressive client list!), Earthworks have applied this same mastery for high definition, lightning quick capture in the measurement domain and applied it to their music and content creation products to virtuoso aplomb. Suffice to say, the results are something to behold.

Given the number of bonafide studio classics, age-old industry standards and blind brand recognition that exists in the microphone space, it takes something truly special and cutting edge to break in amongst such illustrious company.

One notable example is the new ETHOS XLR Streaming Microphone, which takes the brand's penchant for reference quality audio and takes it into the world of broadcast and content creation, breaking new ground for what is possible in regards to clarity and quality of diction for a microphone in this space.

WORDS BY LEWIS NOKE EDWARDS

American manufacturer Earthworks are one of the very select few who have managed to crack the upper echelons of the mic world, by doing just that-bringing something new and exciting to the table, particularly as it pertains to transient speed and honesty of capture.

In these respects, Earthworks have emerged as an industry leader in premium quality microphones, both for their vocal and instrument mics, but also for their highly coveted measurement microphones like the flagship M50, which have seen the brand become industry standard across various sectors of the Professional Audio and Acoustics industries in recent times.

Originally founded in 1995 by famed audio engineer David Blackmer, Earthworks are a brand that have managed to carve out their own place in the Audio landscape by sticking to Blackmer’s vision of a humancentred approach to audio, trying to understand what our physiology is capable of and looking to meet those needs in full with better technology. If this is starting to sound like it’s bordering on Audiology, that’s because Blackmer’s research into ultraphonic frequencies and telemetry (using extended frequency bands for the transmission of Audio data) was the basis for so much of our current understanding of modern equipment design and its relationship to human hearing.

Known as a market-leader in room measurement and room correction software

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The ethos behind the ETHOS is that it is designed to be as neutral sounding and uncoloured as possible, ideal for capturing podcasters, voice-over artists, content creators, broadcasters and streamers at their most nuanced. The humanity of the ETHOS comes in its ability to accommodate detail, allowing the talent to communicate their emotions, excitement and performance in a way that is most true to the original sound.

The ETHOS’ active internal components make it hotter than most microphones, allowing for a larger dynamic range in general without any need for additional gain boosters between mic and preamp. This also has the added bonus of providing improved clarity and an optimised impedance, with a crisp, clear signal that offers both headroom and low ambient noise.

A supercardioid condenser, the ETHOS features a 14mm diaphragm that responds to everything between 20Hz-30kHz. This rings true to Earthworks’ commitment to ultraphonic sound and speed of capture, and this is really at the core of what makes the ETHOS such a gamechanger for budding creators and on-air personalities.

The ultra-fast 11.67 microsecond rise time is quite frankly, insane for a microphone of this type and its ability to withstand up to 145dB SPL means that this speed isn’t at the cost of clipping either. The rise time of a condenser microphone refers to its ability to capture a

transient as accurately and quickly as possible, something especially important with spoken word, given the nuance of the human voice and the importance of diction and vocal timbre in the space.

Available in classic Earthworks stainless steel (also available in matte black) and with a diminutive enclosure measuring just 6.9" x 2.25" making it great for on-camera applications and video content creators, the ETHOS has all the hallmarks of a soon-to-be industry standard.

In use, the ETHOS is simple. That’s all there is to it. It’s not so much the presence of all these helpful additions, but more so the absence of any issues. It connects easily, has low-self noise, plenty of gain and a huge dynamic range. Connected directly, regardless of preamp, the ETHOS sounds true to source and a very real interpretation of my own voice was played back to me through my headphones. There’s a clarity to the sound, thanks to the fast rise time, but a full-range sound as well, making it equally handy for capturing room ambience for instruments, or sound for film foley. Either way, it’s a handy mic to have in the mic cupboard.

We often use buzzwords like ‘warm’, ‘crisp’ and ‘air’ to define the sound of microphones.

While the ETHOS isn’t a particularly ‘warm’ or ‘vibey’ mic, it does a shockingly good job at capturing a warm, fuzzy, gritty amplifier or other source with that ‘crisp clarity’ and ‘airy’ headroom that we are so often trying to achieve. We all talk about getting a sound right at the source, and the ETHOS will ensure you’re getting the closest you can to a trueto-source sound.

The ETHOS is Earthworks’ own full-range broadcast microphone. Its intention, simply put, is to give you a response that’s as true to the source as possible. Their experience making scientifically accurate microphones for room measurement, trusted by the best in the biz, gives them a leg up over other microphone manufacturers, Earthworks understanding what it takes to produce a great microphone.

M4 MicTrak Four Track Recording with Timecode Generator and 32-Bit Float

Perfect Tracks. In One Take.

zoomcorp.com

MOVING BEYOND THE HOUSE PARTY:

Upgrading your setup with Pioneer DJ WORDS BY ROB GEE

Many a great DJ career started out with mixing tunes for friends at a house party, be it rifling through piles of cassettes with a dual tape deck, rummaging through a crate of records with a couple of turntables, or filing through a big catalogue of tunes with a laptop and controller. It all starts somewhere. I began with a single cassette deck and a belt drive turntable either side of a 2-channel Tandy mixer. A far cry from the technological advancements offered by Pioneer DJ today.

That somewhat prehistoric concoction of devices soon got the upgrade I needed when I invested in my first proper direct drive turntables and a mixer with a crossfader!

That was more than a year’s earnings in the early 90’s, and a far cry from what we all have available to us today. But, whatever stage you’re at in your DJ journey, an upgrade in gear is always a welcome proposition, and can often be the catalyst to taking the next step in moving your hobby into a career. It’s time to move beyond the house party and take the next big leap, with the aid of an improved setup

by Pioneer DJ. The start of any year is always a good time to upgrade your computer. You can tell yourself, or your accountant, that it’s in aid of study, or business. That way, you can ensure you’ve got the most powerful engine for your DJ and production projects. But, the end of the year is when you can go a little wild, and use the holiday cheer as an excuse to invest in presents – for yourself. It’s always a good time to lash out on a little something special, and bringing your DJ setup forward certainly counts there.

What makes this an even better time to improve your hardware is the cashback promotion that Jands and Pioneer DJ are running right now, up until the 22nd of December. There are cash rebates offered on 32 products from the Pioneer DJ range, with some items landing you $1000 back in your pocket. That’ll go a long way to helping with funding the laptop in the new year, that’s for sure. It’s pretty simple too. All you need to do is purchase any of the qualifying products from

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an authorised Pioneer DJ dealer before the 22nd of December, and then register the claim form by the 5th of January. That means you can buy all the DJ gear you want for Christmas presents, and sort out the cashback after boxing day when everyone’s come down from eating too much food in one afternoon.

So, what’s on the list? Well, there’s a great range of Pioneer DJ that will help kick your DJing into the next level, no matter where you’re at. Even if you’re just starting out, products like the DDJ-REV1 2-channel scratch controller could be a great option. I reviewed this rig in Mixdown a little while back, and loved the features it has to offer, especially at the price. That’s even better now with the cashback offer. If you’re looking for a really serious controller, to offer everything you need for performances in the clubs, then an upgrade to something like the XDJ-XZ could be an option. This is an all-in-one DJ system that has the look, the feel and the power of a professional DJ console. You can run it with a laptop, or simply with a USB loaded with pre-analysed tracks. The full colour LCD screen on the console allows you to browse, load, edit and mix tracks without the need to use your laptop at all. And the 4-channel mixer is all set to integrate additional hardware like a turntable, CDJ, or sampler for even greater show-stopping performances.

Speaking of turntables, for those of you like myself who still love your vinyl, the Pioneer PLX-1000 direct drive turntable can be found on the list of qualifying products. This is a seriously solid turntable. Built with that classic

styling that most turntablists will instantly recognise, but loaded with modern upgrades.

Tempo control is no longer limited to +/- 8%, with the PLX-1000 offering two gear options here to pick it up to 16% and 50% variances in tempo. Plus, a reset lock to bring the platter back to original speed at the press of a button.

The high-torque direct drive motor is stabilized with a thick resin reinforced chassis, to remove vibration and improve tracking precision.

It’s a serious turntable for the serious vinyl enthusiasts.

Looking for something more comprehensive?

Pioneer’s OPUS QUAD in an all-in-one DJ solution, currently available with a startling $1000 cashback! The QUAD in this product's name refers to the ability for it to playback for tracks on separate decks simultaneously for expanded options to mix tracks into one another.

Of course, many of you will still love your CDJs too. Or a combination of turntables and CDJs. With the CDJ-3000 being included in the promotion you can really trick up your setup, with the industry standard, professional DJ multi-player. These can be stacked up four units wide with the DJM-A9 4-channel DJ mixer, or used in combination with the PLX1000 turntable on this same mixer. You can even pair these up with a new pair of monitor speakers for precision sound when rehearsing at home or in the studio. Check out the DJVM-70 monitors, which are my pick of the nearfield monitors available in this offer.

That said, the size and style of your newly upgraded setup is only limited by your skill and imagination. With these new tools, your skills will be taken to the next level in no time.

The important thing to remember is that you make the most of the cashback offer before time runs out. You could save up to $4000 on the bigger rig if you’re ready to take your show to the ultimate level. So, get into your nearest Pioneer DJ dealer right away and check out the range of products they have on offer. It looks like 2024 is going to be a big year for many, so why not take the opportunity to make it yours, too!

microphone for many professionals on stage and one microphone that should be in every microphone kit, several, in fact. For those very special vocal performances, the BETA 87A brings a condenser capsule into a similar housing with a super cardioid pickup pattern for defined side cancellation on any stage.

This has always been a favourite microphone of mine, especially when working with a fixed microphone position, in relation to foldbacks.

The BETA 87C is another option worth considering for roving vocals, when a standard cardioid pickup pattern is the better option.

Expanding your microphone locker with Shure WORDS BY ROB GEE

Just as guitarists keep buying guitars, drummers keep buying kits and bass players keep buying friends, it’s all too easy for engineers, producers and vocalists to keep buying microphones.

Let’s face it, you can always have a different tool to capture a sound with a different flavour.

One microphone will not do it all, no matter how good, or how expensive it may be. That said, it’s a fallacy to think that the perfect microphone doesn’t exist. It very much does, and usually in the form of the next one you want to add to your collection. Having a wider variety of capsules at your disposal gives you a greater sound palette to work with, so it goes without saying that your recordings, production and live performances will no doubt benefit from expanding your microphone locker.

It can be a bit daunting at the beginning when you start putting together a microphone collection. “Where to start” is usually governed by budget, availability and familiarity. So it goes without saying that many vocalists, engineers and producers end up with a Shure SM58 as one of the first microphones in the set. It’s the world renowned vocal microphone, with a sound that may not be ideal for many situations, but it certainly holds its own in a wide variety of applications. Plus, you can throw it, drop it, dunk it in a pint glass and even leave it with the drummer and expect it to keep on delivering a good sound. But, there comes a time when you’re looking to grow your range of options, and adding an SM57 for instrument use just isn’t really giving you a wider variety of tonal options. So, a greater kit is needed to cover drums, wind instruments, strings, environmental sounds, varying vocal

performances and even talkback applications.

It starts to get a bit out of control, and you can end up with too wide a range of tonal differences. Here’s a thought for those of you looking to increase your range of sounds, yet keep a certain conformity to the overall aural image, add to your microphone kit with some new tools from the range.

With that in mind, and given that we already know the SM58 does the job it was designed to so well, it makes sense to expand your microphone locker with that brand you know will deliver. With the holiday season upon us, it’s pertinent to note that the best gifts are the ones you give yourself. So, some new toys from the Shure KSM and Beta microphone ranges could be just what you need to improve both your studio and live microphone setups. And it’s the perfect time to do this, with Shure and Jands running their Shure holiday promotion for the 7th year running now. With this, they are offering discounts on selected models in both the KSM and Beta range of microphones from authorised Australian Shure dealers. This runs through until the 2nd of January next year, so it’s ideal timing to use the gift idea as an excuse to buy a few new microphones for yourself.

Let’s look at some of the possibilities that could improve your kit.

Of course, a new Shure microphone can’t improve your drummer’s timing, but it can make the drums sound more lush. A BETA 52A will give the kick drum a big, punchy bottom end, and can double up on acoustic and upright bass too. If you want to get even more out of the kick drum, a BET 91A boundary microphone placed inside the shell will give added dimension to the mix, especially when combined with the BETA 52A right up against the drumhead. These two working in unison will make you wonder why you’d ever bothered with any other option for your kick drum sound. While you’re at it, a few BETA 56A microphones scattered around the toms will add definitions to your entire kit’s sound, both on stage and in the studio.

Speaking of the studio, the Shure KSM range has a full host of options for improving your home recording. If you’re looking for a ‘live take’ in the studio to capture the mood for your vocalist, the KSM 8B is an ideal option, delivering astounding vocal sound with the rich Dualdyne design. It’s a dual dynamic capsule concept that adds more detail and depth to the sound, without the added frailty of a condenser, all in a handheld format. It’s like bringing the stage to the studio, and improving the sound quality in the process.

If you want something a little more controlled and defined, then something like the KSM32 offers a traditional side-address cardioid condenser design for clear, crisp vocal takes that have a natural warmth to them. This is a great all-rounder that is equally at home with stringed instruments, especially guitars, and is an ideal workhorse in any home studio. But, of course, it’s always nice to have the better model for special occasions, or just everyday use! If that’s the case, the KSM44A is the kit you want to put under your Christmas tree for yourself this year. It’s a multi-pattern condenser microphone, with unbelievably low self-noise, allowing you to record at lower than usual gain levels, to keep environmental noise to a minimum.

These, and many other microphones in the BETA and KSM range are part of the 2023 Shure Holiday Promotion. So, get on down to your local Shure dealer right away and pick up a new microphone, or two, for that someone special in your life. Or, like me, a few for yourself so you can expand your microphone locker and finish the year with a smile, and a new microphone.

Obviously, a staple on any stage is the Shure BETA 58A, the upgraded version of the SM58 with a higher output, more headroom and a smoother bottom end. This is the ‘go-to’

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aesthetics reminiscent of renowned amplifiers that have graced legendary stages worldwide, the Orange Box-L not only adds a touch of rock'n'roll glamour to your home but also demands to be heard. Engineered

by Orange's skilled team, this speaker provides crisp, detailed, and nuanced audio with 50W RMS continuous power, making it the most powerful in its class.

Orange is the new Blue(tooth) WORDS BY JOHN TUCKER

Orange Amplifiers is a venerable name in the world of guitar amplification, recognised for its distinctive sound, bold aesthetics, and a rich history that spans over half a century. Founded in 1968

by Clifford Cooper in London, Orange has become synonymous with iconic tone and innovation in the realm of guitar amplifiers.

Orange's journey began with the groundbreaking Orange Matamp, swiftly captivating musicians with its distinctive sound. The brand evolved into a trailblazer, exemplified by the Overdrive Series in the '70s, showcasing their dedication to cutting-edge tones. The '80s introduced the influential OR120, defining the sound for artists across genres.

The '90s witnessed the compact powerhouse, the Tiny Terror, catering to gigging musicians.

In the 21st century, Orange's innovation continued with the Rockerverb series, seamlessly blending classic design with modern features. Renowned for quality and distinct sonic character, Orange attracts a diverse range of artists, solidifying its status in the music industry. As Orange marches forward, its legacy persists, rooted in groundbreaking designs and a commitment to empowering musicians across stages, studios, and homes.

Introducing the Orange Box-L, a Bluetooth speaker crafted by the team renowned for creating the

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most iconic guitar amps of the past 50 years. This speaker not only exudes Orange's signature style and classic rock'n'roll personality but also delivers a resonant and rich tone that embodies the brand's legacy. In terms of construction, the Orange Box-L shares the same rugged build and advanced speaker technology as its amplifier counterparts. This modern and visually appealing package, ideal for placement in living rooms or on kitchen countertops, brings studio-quality sound to your home.

The Orange Box-L's precisionengineered cabinet design enhances bass response, allowing its three custom-tuned Voice of the World speakers to project with remarkable authority and definition. Connectivity is seamless with Bluetooth 5.0 technology, ensuring a stable connection for high-quality audio. Alternatively, users can opt for a direct connection using the supplied anti-tangle aux cord.

Featuring classic Orange

The Orange Box-L excels in delivering crystal-clear audio across various genres, thanks to its specially voiced subwoofer, twin high-frequency tweeters, and precision housing. An audio limiter light serves as a unique safety feature, signalling when the unit is pushed too hard, preventing potential speaker damage. Built with the same rugged standard as Orange's professional-level amplifiers, the Orange Box-L is designed to endure. Orange pledges continuous availability of stock and replacement parts into the 2030s, ensuring that your investment in the Orange Box-L remains a sustainable source of great-sounding audio for years to come.

The Orange Box-L boasts a powerful audio system, combining a 30W RMS Class D amplifier for the subwoofer and two 10W RMS Class AB amplifiers dedicated to the full range. This dynamic setup delivers a balanced and immersive audio experience. The speaker configuration includes a 5-inch 4-ohm subwoofer, accompanied by two 2-inch 8-ohm full-range drivers, ensuring a comprehensive sonic range.

With a frequency response spanning from 35 to 20,000 Hz ± 3dB, the Orange Box-L captures the nuances of audio across a wide spectrum. A carefully calibrated crossover frequency of 250Hz ensures seamless integration between the subwoofer and fullrange drivers, contributing to a cohesive sound profile.

Equipped with a 24-bit stereo DAC (Digital to Analogue Converter), the Orange Box-L achieves high-resolution audio playback, ensuring the fidelity of the source material. The power supply is facilitated by a DC19.5V adaptor, providing the necessary energy for the amplifier's optimal performance.

Connectivity options are diverse, with Bluetooth 5.0 technology enabling a stable wireless connection within a 15-meter range. For a wired connection, the Orange Box-L includes a

3.5mm AUX input, with the cable conveniently included.

In terms of dimensions, the Orange Box-L is compact yet robust, measuring 35 x 20 x 20cm.

Despite its powerful capabilities, it remains portable with a weight of 4.34kg. This thoughtful design makes the Orange Box-L a versatile and aesthetically pleasing addition to any space, whether on a countertop or in a living room setting, however I do have a minor gripe, in that the carry handle feels a little on the cheap side, unlike some of the other players in the market.

Speaking of other players in the market it would be prudent to discuss the place of the Orange Box speakers in the context of the Orange lineup and the speaker scene at large. There are three fundamental aspects of why I would lean towards an Orange Box. The first is the right to repair. In a world of rampant consumerism and throw-away culture, it is a great thing to see such a high-profile company making big steps in the direction of sustainability especially in music, which at times can be very wasteful (anyone who has seen the aftermath of a stadium concert can vouch for that). The second point is the fact that the Orange Box L is actually made by Orange, with the company having full control over the manufacture and design of the speaker which is excellent when compared to some of the other amplifier manufacturers in the market. The final reason I would lean towards an Orange Box L over another brand is the build quality, for such a product, having it made from high quality materials and the design really is built to last, with the metal back and tough exterior able to take the beating a portable speaker will, and it’s made in Korea. It is worth noting before the audiophiles come after me, that it is wise to take a minute and think on what you need from your speaker. Because there is always a speaker with better frequency response, or a better EQ, or a more honest output, but that isn’t where the Orange Box L is targeted, Orange has other products to suit those needs. The Orange Box L is perfect for someone who needs a portable Bluetooth speaker that looks the part and is built to last, and if that’s what you’re looking for, then the Orange Box L is a brilliantly eye-catching choice.

Guild Guitars are distributed in Australia by ZENITH MUSIC

XMAS GEAR GUIDE EARTHWORKS SR117 HANDHELD CONDENSER MICROPHONE DISTRIBUTOR: EARTHWORKS | RRP: ENQUIRE FOR PRICING

even the most discerning engineers and vocalists. A near perfectly flat frequency response (with a slight bump around 10kHz and roll off from 12kHz), the SR117 is pristinely clear and natural sounding. This provides a blank canvas for you to use EQ more creatively, liberally and artistically to get great results fast.

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Recommended For:

Singer/songwriters, sound engineers, producers, literally any vocalist Features:

Rugged stage ready design, natural frequency response, maximum gain before feedback, protection from plosives, minimal handling noise and excellent SPL handling all sound like the qualities we’d all love to have in one handheld microphone right? Well, thanks to Earthworks all of these traits are indeed a reality. The SR117 handheld mic redefines what a live vocal mic can be, with some of the most impressive real world specs we’ve seen, and sure to impress

The incredibly uniform supercardioid polar pattern keeps feedback to a minimum for enhanced clarity both in stage monitors and front-of-house.

With a 140dB SPL sound pressure handling, even the loudest of sound sources can be handled with ease.

Overall:

Providing such a natural reproduction and so geared towards stage use, the SR117 is a refreshing take on the trusted handheld microphone, packing all of the benefits and nuance of a condenser paired with the ruggedness of a dynamic, it’s hard to find a reason why you wouldn’t have one on hand.

EARTHWORKS DM20 SNARE AND TOM MICROPHONE DISTRIBUTOR: EARTHWORKS | RRP: ENQUIRE FOR PRICING

Recommended For:

Live soundies, studio dwellers big and small, drummers who are chasing the pristine sound they hear on Drumeo and every major tour!

Features:

Where elegance meets robustness and a detailed sonic footprint, it is here that you’ll find the Earthworks DM20. By far one of the most subtle mics you’ll find spotted around on a drumkit, these unobtrusive mics capture clarity and detail like no other, and

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being also invisible, are a perfect match for drums under camera.

Handling a whopping 150dB max SPL the DM20 can be comfortably clipped on to any sound source and this paired with its superb rear rejection make for easy mixing being live or studio, with incredible sound source isolation. Frequency response of 20Hz - 20kHz, cardioid polar pattern and 3 mV/ Pa sensitivity rating all make for an incredibly easy to use and versatile mic worthy to be placed on any drumset, on any sized stage or studio floor.

Overall:

Earthworks have redefined the drumkit mic with the DM20 finding a harmonious relationship of impeccable sonic detail with subtle, near invisible physical presence allowing for drummers to not think about the mics around them but instead focus on their performance.

A go to for some of the biggest drummers in the business and one of the most popular online drum channels for good reason - a must have for any miclocker.

XMAS GEAR GUIDE Scarlett Solo Studio Bundle

Audix OM2 Dynamic Microphone

DISTRIBUTOR: FOCUSRITE | RRP: $389

DISTRIBUTOR: LINK AUDIO | RRP: EXPECT TO PAY PRICE = $199

Recommended For:

Singer/songwriters, producer / engineer novices, content creators, home studio dwellers, educators Features:

Compact audio interface, condenser mic, headphone and an XLR cable, sounds like a portable studio to me! Focusrite’s Solo Studio Bundle has literally everything a budding songwriter could need to get recording. The clear, pristine and quiet (-127dBu) preamp provides plenty of gain (57dB to be precise) and handles a dynamic range of 113dB, comfortably capturing every

nuance of a performance whether it be from the included CM25 MKIII condenser mic or any other mic plugged into the Focusrite solo. For some additional zing, engaging the AIR buttons adds some harmonics for a more excited and professional sounding recording, much like that of a professional recording console.

Record up to 24-bit/192kHz for the most detailed resolution.

Monitoring performances and mixes in detail is made easy with the SH-450 closed-back headphones and can be pushed more than loud enough with the headphone amp. For those looking for some additional inspiration and processing for recording and mixing, the Hitmaker Expansion pack includes the vital tools needed to make recordings sound professional and larger than life.

Overall:

A studio package that literally has all you need to get professional sounding recordings straight out the box. Say. No. More.

Recommended For:

Live vocalists, live soundies, studio novices, education Features:

Audix’s revered OM2 is a pretty great place to start when looking for an equally affordable and professional sounding dynamic handheld vocal mic. It not only looks the part but is near bulletproof with its zinc alloy enclosure and sleek black finish.

Suited for a wide variety of applications ranging from live stage and studio use, the OM2

boasts incredibly accurate sound reproduction, with an incredibly tight and uniform hypercardioid polar pattern that is wonderfully resistant to feedback with up to 25dB of off axis rejection. Isolating itself on a loud soundstage ohso-beautifully, the OM2 benefits from a singer getting up close and personal with it, benefiting from an appropriate amount of proximity effect and a characterful mid range, the OM2 translates superbly across live PA systems small to full scale. With a suitable 50Hz - 16kHz frequency range, max SPL handling of around 140dB SPL and sensitivity of 1.6mV / Pa @1k, the OM2 can both pack a punch and provide enough output for singers of all dynamic ranges.

Overall:

An absolute go-to when looking for quality vocal mic and excellent bang for buck. And being designed, assembled and tested

by Audix in the USA, it’s a bit of a no-brainer!

PreSonus ERIS STUDIO 4

Audio Technica AT2020USBXP

DISTRIBUTOR: LINK AUDIO | RRP: EXPECT TO PAY PRICE = $499

DISTRIBUTOR: TECHNICAL AUDIO GROUP | RRP: $349

Recommended For:

Home studio novices, podcasters, content creators, music enthusiasts Features:

Full range, clear and open sound is the name of the game when it comes to a quality set of studio monitors, and PreSonus have hit the nail on the proverbial head with the ERIS STUDIO 4 monitors.

Compact and easy to set up, these larger than life sounding monitors produce an impressive 55Hz - 20kHz frequency range

and 100dB SPL (peak at 1m) for serious amounts of bottom end from 50-watts of power with a 4.5” woofer and 1” tweeter - is pretty wild for their humble size.

The custom designed EBM (Elliptical Boundary Modelled) waveguide produces incredible detail in the top end and a wide horizontal dispersion of 120-degrees makes for an even wider sweet spot. Simple yet versatile EQ include ±6 dB of high frequency, midrange and acoustic space (flat, -2, -4 dB) controls as well as a 80Hz or 100Hz high pass filter if required. Connectivity on the back panel is simple too, being balanced XLR and 1/4 line inputs and unbalanced RCA inputs.

Overall:

Their size and suitability for numerous tasks, the ERIS STUDIO 4 studio monitors are a wonderful choice for those working in smaller spaces which require big bold sound reproduction which is both accurate and pleasing to listen to.

A great studio monitor choice for those getting started!

Recommended For:

Podcasters, content creators, streamers, home studio folk Features:

A studio quality microphone just made for creating high quality recordings, Audio Technica’s AT2020 is a superb condenser mic suited to any voice. An optimal choice for those not working in a specially acoustically treated room, the classic AT2020’s cardioid polar pattern keeps the focus on the sound source in front of it and effectively rejecting

unwanted external noise. Paired with the three options available for noise reduction and automatic gain control, crystal clear audio capture is achieved every time.

The high resolution A/D converter built into the AT2020USB-XP can record up to 24-bit/192kHz for incredibly detailed capture with USB connectivity keeping things hassle free. Direct headphone monitoring keep you connected to what's being recorded and simply click the capacitive mute button to silently mute and unmute audio as you need, indicated by the clear LED blue and red ring lights.

Overall:

An award winning microphone is just made for those making recordings in their bedroom, podcasting/streaming space, home studio or otherwise. Elegant high quality USB recording, with included pop shield, desktop stand, USB adaptor and cable - it's just too easy!

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XMAS GEAR GUIDE apogee Jam X DISTRIBUTOR: LINK AUDIO | RRP: EXPECT TO PAY PRICE = $399

Recommended For:

Musicians on-the-go, studio hermits, novice to pro instrumentalists with a pickup Features:

Apogee sure have a knack for innovation and there’s no truer example of this than the Jam X. Literally an instrument interface and analogue compressor in your pocket (the first of its kind), instruments ranging from guitar, bass, keyboards, synths or basically anything else with a pickup can benefit from Jam X’s convenient size and simple 1/4”

Overall:

Its size, connectivity and convenience of being able to go literally anywhere in your pocket, Jam X is a perfect interface for instrumentalists seeking truly professional sound without sacrificing the convenience of being able to plug in and record anywhere at any time. A must have for muso’s on-the-go!

Recommended For:

Singer/songwriters, audio engineers, producers, studio folk, those who just love a high quality transparent sounding mic Features:

The Audio Technica AT4040 ticks a heap of boxes with its ability to capture incredibly detailed audio, even on the most troublesome of sound sources. Its razor sharp transient response, incredibly low noise and technically-advanced large diaphragm condenser design (48V required of course) is

tensioned specifically to provide only the smoothest, natural sonic characteristics. These are just a few of the traits which make this microphone so versatile. With high sound pressure handling of 155dB SPL (with its -10dB pad engaged) the AT4040 can handle being put in front of even the loudest of sound sources, meticulously capturing an open and natural sound with a frequency response ranging from 20Hz - 20kHz and sensitivity of 25.1mV. The switchable 12dB/octave high pass filter is centred at 80Hz, effectively rolling off unwanted low end rumble from recordings when required and its uniform cardioid polar pattern further alleviates extraneous noise from being captured.

Overall:

A go-to for many engineers and producers alike, the AT4040 is a no nonsense LDC mic with one of the most transparent and open sound profiles you’ll find for this price.

Bose S1 Pro+

Bose L1 Pro8

DISTRIBUTOR: BOSE PROFESSIONAL AUSTRALIA | RRP: $1169

DISTRIBUTOR: BOSE PROFESSIONAL AUSTRALIA | RRP: $1969

Recommended For:

Buskers, small venue gigs, educators, celebrants, gym instructors, DJ’s, party people Features:

Portability, ease of use and a long life rechargeable battery with up to 11 hours of playing time are just a few appealing features of the Bose S1 Pro+. As with most things Bose Professional, the S1 Pro+ has a slick aesthetic and simple yet very functional feature set that defines the term plug and play and can be set up in 4 versatile positions with auto EQ to match!

Its integrated 3-channel mixer is both well laid out and provides more than enough connectivity for its intended use as well as clear

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input - it couldn’t be more plug and play. Connect headphones or powered speakers to the 1/8” output for easy monitoring and recording at zero latency, utilising the blend mode. The analogue compressor’s three presets range from subtle to pretty spongy so instruments can get instant vibe, push the input for some additional edge if needed. Record up to 24-bit/96kHz for pristine quality audio with Apogee’s PureDIGITAL connection. With 36dB max gain, +18dBu input level and 8dBu into 32-Ohms on the output, the Jam X has more than enough guts for the most instruments!

AUDIO TECHNICA AT4040

LARGE DIAPHRAGM CONDENSER MICROPHONE DISTRIBUTOR: TECHNICAL AUDIO GROUP | RRP: $869

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metering and OLED displays for individual channel settings. Inputs include balanced/unbalanced XLR/¼” connectors on channels 1 and 2 and both a ¼” and ⅛” jack aux input on channel 3 as well as Bluetooth connectivity for easy streaming with a range of 9 metres. The S1 Pro+ also integrates with Bose’s range of wireless RF transmitters for mics and instruments, allowing you to wirelessly connect a huge range of sources. An XLR line out is also provided for connecting to another speaker if required.

Connecting to the Bose Music app provides deeper control including ToneMatch presets as well as settings and control of EQ, reverb and managing Bluetooth connectivity.

Overall:

Having the convenience of professional, high quality sound from a speaker system that is not only battery powered but equal parts powerful and portable is a feature set many will find incredibly appealing and is ideally suited for those looking to step up their portable PA setup.

Recommended For:

Buskers, singer/songwriters, educators, celebrants, DJ’s, party people Features:

Pumping out 124dB SPL of max power, a 180-degrees horizontal coverage pattern, full featured integrated mixer and Bluetooth connectivity, the Bose L1 Pro8 is one of the finest examples of what a portable line array can look and sound like. Portability and ease of use are synonymous with Bose Professional and the L1 Pro8 is no exception, with one of the most intuitive mixers to ever grace a PA system. Inputs include

combo XLR/¼” connectors on channels 1 and 2 (with phantom power) and both a ¼” and ⅛” jack aux input on channel 3 as well as Bluetooth connectivity for streaming - with rotary encoders for adjusting level, EQ and reverb.

An XLR line out is also provided for connecting to another speaker for bigger sound requirements and an RJ45 port connects straight to ToneMatch heaven. Wireless connection to the Bose Music app provides convenient control of the integrated mixer for adjustments on the fly or from a FOH position.

Overall:

Throwing out massive sound from its 8 x 2” neodymium drivers and compact racetrack 7” woofer (extending down to 45Hz) the L1 Pro8 has both the power and coverage for a wide variety of applications and users. Being expandable within the Bose Professional range also makes for easy expansion if required.

Professional sound in a compact, portable line array package, sign me up!

XMAS GEAR GUIDE ZOOM R4 MULTITRAK

ZOOM MS-50G+ MULTISTOMP

DISTRIBUTOR: DYNAMIC MUSIC | RRP: $349

DISTRIBUTOR: DYNAMIC MUSIC | RRP: ENQUIRE FOR PRICING

Recommended For:

Singer/songwriters, bands, content creators, those who love recording to cassette decks Features:

Ahhhh the good old days of cassette recording workflow, how we miss them! The new Zoom R4 Multitrak has been designed with old school recording workflows in mind, with the convenience of digital storage, effects and battery power, recording at 32-bit floating point. With four available tracks (each with dedicated faders), the R4 also features a dedicated

bounce track, where ideas can be mixed and bounced to, freeing up other tracks to keep building arrangements. A built-in mic and the two XLR/¼” combo jacks (switchable between mic and line level), are available, with amp sims and preamp model options on channel 1 for additional vibe if required. The built-in EQ, echo and reverb effects are great for adding that final polish to tracks. The included rhythm section is fantastic for building arrangements and getting the feel of a song just right, with multiple genres to choose from. For those who want to record from the R4 into a computer - no problem, as it also doubles as a 2-in/2-out USB audio interface.

Overall:

For those who enjoy the tactility of faders and the creative benefits of old school recording workflows, the Zoom R4 Multitrak is an ideal solution for getting down those new song ideas wherever you are.

A studio in your pocket!

Epiphone Kirk Hammett “Greeny” 59 LP DISTRIBUTOR: AUSTRALIS | RRP: $3499

Recommended For:

Guitar nerds, Les Paul fanatics, rock dogs, 5th members of Metallica Features:

The mysterious story of the famed “Greeny” guitar has become somewhat legendary in guitarist circles, with this particular 1959 Les Paul Standard having graced the hands of three iconic guitar players in its fabled life. First, Peter Greene (previously of Fleetwood Mac), who then sold it to Gary Moore (Thin Lizzy and solo) and finally Greeny’s current owner Kirk Hammett of Metallica. The reversed polarity neck pick up is said to be what makes the sound of this guitar so unique, and my oh my is this axe a striking

beast! Thanks to a collaboration between Epiphone and Gibson Custom Shop, Greeny is now available to the masses, featuring premium components which include Gibson USA Greenybucker pickups (complete with reversed polarity neck pickup of course), Switchcraft pickup selector and ¼” jack, CTS pots, Mallory caps, Grover Rotomatic tuners and spade-style buttons on a classic Gibson-style “open-book” headstock. A vintage styled brown and pink hard shell case completes this faithful recreating of an absolute classic.

Overall:

To pickup the most faithful recreation of one of the most mysterious guitars of all time is simply iconic! The look, the sound, with all the bells and whistles. A guitar made for players of studio and stage.

Recommended For:

Singer/songwriters, guitarists, those who just need more effects in their life Features:

Whilst many multi effects processors can be cumbersome on the ol’ pedalboard, Zoom’s MS-50G+ MultiStomp literally puts 100 effects under your feet in just one small format pedal!

With some seriously sophisticated processing under the hood, effects can be selected and can easily be

engaged with the central switch or quickly navigate to another effect or patch using the four conveniently located buttons on the front. Choose from numerous drives, compressors, modulation effects, delays, reverbs, other special effects (as well as a built-in tuner) with each effect category colour coded - with the ability to chain up to 6 effects at once to create and save your own customised patch. For on the fly tweaking, the four knobs just below the screen can help dial in just the right tone - alleviating dreaded menu diving. A mono ¼” input and stereo ¼” outputs make for big lush sounding reverbs, delays and modulation effects, and as for power - two AA batteries, DC5V or USB powering are available.

Overall:

This amount of effects in the one compact stomp box is a no brainer for those wanting effects options for days and customisability.

Sequential Prophet Rev2 Synthesizer DISTRIBUTOR: FOCUSRITE | RRP: $2799

Recommended For:

Synth wizards, composer virtuosos, sound design demigods, lovers of legit synthesis Features:

Not for the faint hearted, the Sequential Prophet Rev2 to put it simply, is an absolute beast. Being the reinvention of Dave Smith’s modern classic, the Prophet 08”, the Prophet Rev2 has some serious lineage.

16-voice polyphony, wave shape modulation, expanded mod matrix, a wealth of digital effects (with the ability to add different effects per layer in stacked or split voice mode) makes for near endless sound manipulation and with classic bold and punchy 2/4 pole, low-pass, resonant Curtis

filter per voice; the Rev2 is just gigantic sounding. If the engine and extended mod matrix (touting 8 individual slots and seemingly endless destinations) wasn’t enough, the polyphonic step sequencer allowing up to 64 steps (with up to 6 notes per step) might just make this synth worth its salt - elevating the Rev2 to an electronic music making nirvana.

Connectivity is abundant as you’d likely expect with ¼” inputs and outputs as well as the full family of MIDI connections on board.

Overall:

An expansion on a modern classic, the Sequential Prophet Rev2 is absolutely bricked with features and all the Dave Smith vibes and quality one would expect. A serious synth for endless sonic exploration.

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XMAS GEAR GUIDE Strymon Ultraviolet DISTRIBUTOR: AMBER TECHNOLOGY | RRP: $549

Recommended For:

Modulation maniacs, purple hazers, psych lords Features:

The tantalising bubbling, swirling, whooshing, rippling (I think that’s enough inordinate adjectives) of classic modulation effects of the 60’s and 70’s are now within genuine reach thanks to pedal gurus Strymon and the Ultraviolet.

Dripping with classic chorus and vibrato modulating goodness, this compact purple pedal provides just the right amount of control and additional features to perfectly dial in luscious, swirling vintage tones ranging from subtle 50/50 wet dry mix through to 100%

Overall:

Without doubt one of the most authentic takes of one of the most iconic vintage tones ever heard (and one of the hardest to recreate), the Ultraviolet is equally immersive as it is intuitive to use.

We’ve all got that one friend on the infinite quest of vintage tonal nirvana - and here it is.

DISTRIBUTOR: AUSTRALIS | RRP: $229

Recommended For:

A more serious ukulele player, uke orchestras, campfire singalongs, when 4 strings is more than enough Features:

For those that have played a legitimate ukulele (as opposed to a throw-away toy version) will appreciate just how different they sound and feel, and no truer example of this could be found than the Ibanez UKS100 OPN soprano ukulele. Featuring a beautiful Okoume neck for supreme playing comfort and purple heart fretboard emphasising the richness of its bass frequencies, the UKS100

OPN sounds every bit as good as it looks and feels. The taller frets make for an incredibly comfortable playing experience, with lightning fast note response, impressive clarity and defined note articulation. The sapele top, back and sides offer a full, rich and warm tone with a nice balance of mids and brighter tonal character. The side sound port connects players even more to the instrument whilst also being aesthetically unique. Gig bag included, the UKS100 OPN is ready to rock!

Overall:

With rich wood tones, ergonomic design and player friendly features, the UKS100 OPN is the perfect gift for those wanting to take their ukulele playing to the next level.

Katoh Hispania Classical GuitaR

Peterson StroboStomp Mini

DISTRIBUTOR: DYNAMIC MUSIC | RRP: $899

DISTRIBUTOR: AMBER TECHNOLOGY | RRP: $229

Recommended For:

Nylon stringed fanatics, gigging guitar players, Classical Gas Features:

There’s nothing more satisfying than busting out some finger picking magic on a classical nylon string, there’s a particular magic there that simply doesn’t exist in other guitars. What can be even more enticing is the sound of a nylon through a PA system. The fresh off the block Katoh Hispania is the perfect amalgamation of what makes an electro-acoustic nylon so special and alluring.

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wet effected madness. Intuitive control in the bias section gives an uncanny feel and response of optical vibe circuits, providing the best possible recreations of what these unique effects can do. Versatile connectivity is at the heart of Ultraviolet with 1/4” TRS jacks allowing for simple mono operation or full blown stereo in/out functionality as well as expression pedal control and MIDI functionality with up to 300 presets available via TRS MIDI or USB-C jack control. The high impedance discrete Class-A JFET input preamp is responsive to even the most subtle of playing styles, seamlessly connecting one’s playing from instrument to amp.

Ibanez UKS100 OPN Soprano Ukulele

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With a stunning flame maple top and rich mahogany back, sides and neck with a deep rosewood fingerboard and bridge, the Hispania oozes sophistication and playability. Its ergonomic shape is made for the gigging musician being purpose-designed to eliminate feedback whilst providing stunning resonance and overall tone across the frequency spectrum. Packed with high quality components which include Martinez (by Der Jung) tuners, two-way adjustable truss rod, SG1 (Martinez & Double) electronics and high gloss finish, plus an included gig bag, this guitar is just begging to be played.

Overall:

A truly professional electroacoustic nylon with no expense or detail overlooked, making the Hispania a sturdy and reliable piece built to last. Its stunning finish is guaranteed to turn heads as is its natural acoustic and amplified sound combined.

String instruments aficionados, pitch perfect peeps, strobe light rave lords

output modes of operation, as well as numerous other customisable features, Peterson brings a truly unique experience to tuning with unmatched accuracy. With its modest 85mA current draw can be powered by either standard 9V supply or USB-C with the high-def LCD display easily visible in even the most challenging environments. Sweetened and Guided Tuning are included as standard with a 390Hz - 490Hz Concert A reference and transposition range of -6 to +5 makes a wide range of instrument tunings (or drop tunings) all too easy.

Features:

Overall:

A “mini-fied” version of the brands iconic StroboStomp, the StroboStomp Mini doesn’t skimp on features. Not only is this little guy able to fit onto even the most jam packed pedalboard, its top mounted jacks add connectivity convenience many will seriously appreciate. Featuring Peterson’s 0.1 cent tuning accuracy, 100% popless True Bypass and buffered

Peterson have become the gold standard in specialised tuners for good reason, with unmatched accuracy and customisable features, the StroboStomp Mini just goes to show all the features users have come to love about this range can indeed be packed into a pocket sized package. A must have for those wanting to step up their tuning game.

Recommended For:

XMAS GEAR GUIDE Chateau Valencay CAS-22 Alto (Golden)

DISTRIBUTOR: KURT JACOB & COMPANY PTY LTD | RRP: ENQUIRE FOR PRICING

Chateau Valencay CCS-22 Curved Soprano (Golden)

DISTRIBUTOR: KURT JACOB & COMPANY PTY LTD | RRP: ENQUIRE FOR PRICING

players with some experience, it shines in special musical settings, showcasing the performer's skill.

Crafted from brass with a single post design, it features a high F# for versatile playability. The engraved bell, mother-of-pearl key buttons, and Pisoni pads ensure both visual elegance and precise tonal control.

for easier playability, an intricately engraved bell for visual appeal, mother-of-pearl key buttons for a touch of elegance, and Pisoni pads for precise tonal control.

Adapt easily and play beautifully with the Alto Saxophone.

• • • • • •

Brass Ribbed Construction High F# Bell Engraved Mother of Pearl Key Buttons Pisoni Pads

• • • • • •

Recommended For:

Students looking to upgrade their instrument, parents looking for their child’s next sax!

Features:

Valencay CAS-22 Alto Saxophone is perfect for both beginners starting their musical journey and advanced players seeking a versatile companion. Crafted with precision, it features a stable brass body with ribbed construction.

Enhancements include a High F#

Overall:

A great upgrade for students or other intermediate saxophone players. Refined specs, upgraded quality and playability and most importantly - sound!

DISTRIBUTOR: EGM | RRP: $119

Recommended For:

Plexi enthusiasts, distortion hoons, golden tone hounds Features:

Any fan of vintage amps will appreciate the mysterious quest for the mighty tone of a Plexi.

With so few genuine relics to be found these days and whilst there are indeed some superb reissue amps available, both back and bank are assured to take a hit.

Thankfully, Tone City understands this plight all too well and have created the glorious Golden Plexi 2, sporting all the Plexi tone one

Recommended For:

Students and players looking to begin their sax journey with the best!

Features:

Experience the brilliance of music with theValencay CCS-22 Curved Soprano Saxophone. Ideal for classical and modern jazz, its bright tones, reminiscent of crystal clarity, unveil the essence of musical beauty. Tailored for

Tone City Golden Plexi 2 Distortion Pedal

could ever need, all in a humble 1590a sized enclosure. Aside from the convenience of having this monstrous tone stack in pedal form, the Golden Plexi 2 also brings with it less noise, a wider gain stage and a slight mid bump to cut through a dense mix.

What’s more, the dynamics of your playing is beautifully retained, just like a real tube amp, with articulation and definition for days, from clean right through to full throttle distortion.

Overall:

Delivering Plexi tones for days and serious bang for buck, Tone City’s Golden Plexi 2 is an absolute distortion monster and a guaranteed winner for those chasing plexi tones without breaking your back or the bank.

Brass Single Post High F# Bell Engraved Mother of Pearl Key Buttons Pisoni Pads

Overall:

The CCS-22 is possibly the best choice for an entry level sax player, carrying them through to more advanced playing. A good instrument prevents bad techniques and form developing, and the CCS-22 is our pick!

Van Damme XLR cable DISTRIBUTOR: AMBER TECHNOLOGY | RRP: FROM $69

Recommended For:

Music venues, live soundies, touring, broadcast facilities, home and pro studio folk, education facilities.

Features:

One thing every live music venue, broadcast facility or recording studio each share in common is XLR cables, and their reliability is key to any smooth gig or hassle free studio session.

XKE mic cables are indeed the definition of cable excellence.

Flexible, durable and completely noiseless is what anyone could ever hope for in a quality XLR mic cable and this is assured by oxygen free copper (OFC) conductors (75%) and silver plated oxygen free copper conductors (25%) as well as flexible PVC used in every Van Damme XLR cable.

Overall:

These cables are a no nonsense unit, cutting through the noise for crystal clear audio. Found in the UK’s most prestigious broadcast facilities and recording studios (aka the BBC and Abbey Road) for good reason - they’re the best the Brits can get!

Hand terminated in the U.K. with non other than Neutrik NC3FXX and NC3MXX connectors and 2% silver solder (under the strictest of quality control of course), Van Damme Tour Grade Classic

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XMAS GEAR GUIDE Van Damme Instrument cable DISTRIBUTOR: AMBER TECHNOLOGY | RRP: FROM $69

57% OFC copper conductors and flexible PVC, but each end is also terminated by Neutrik NP2X connectors using 2% silver solder (lead free) for maximum reliability and contact. This all combines for a relatively low capacitance unbalanced audio cable suitable for guitars, keyboards and other unbalanced instruments or sound sources.

Recommended For:

Musicians of stage and studio, music venues, touring artists, home and pro studio folk, education facilities.

Features:

Cables are a musician's best friend, be it in the studio or live on stage One thing more devastating than starting a song out of tune though is having a cable cut out on you halfway through a song, we’ve all been there! Thankfully Van Damme Pro Grade Classic XKE instrument cables are not only made with incredibly high spec materials which includes 43% silver plated conductors,

Overall:

Van Damme instrument cables don’t muck around, and for unbalanced output devices, these cables deliver as clear a signal as one could hope for. Proudly used around the globe by countless professional musicians, touring acts and studio players alike - if you get the cable right, it’s only up from there!

D’Andrea USA Ace Vintage Reissue Guitar Strap DISTRIBUTOR: EGM | RRP: $72.99

PedalTrain Nano+ Pedalboard with Soft Case DISTRIBUTOR: EGM | RRP: $169

Recommended For:

Touring artists, guitar players, pedal enthusiasts, rock dogs Features:

PedalTrain’s Nano+ makes laying out a pedalboard painfully easy with its lightweight designed dual rail system. Its compact size shouldn’t be underestimated though, with six standard sized pedals able to fit across the board.

Once pedal order is decided and put in place, they won’t be going anywhere thanks to the industrial strength hook-and-loop fastener ensuring no pedal will be going astray. As for keeping cables in check there’s more than enough zip ties for even the most

Vintage guitar enthusiasts, nostalgists, retro strap lovers Features:

If you’ve ever taken a peak at some photos from the 60’s or 70’s featuring music icons such as Jimi Hendrix, Bob Dylan, John Lennon, Eric Clapton or Elvis Presley, you might not have realised at first glance but you’d also laid eyes on another icon, an icon so subtle that you might’ve missed it until just now. Yep, you guessed it, an Ace Guitar Strap. Featuring unique patterned designed to meticulously replicate these straps of the golden years of music, used by iconic musicians of the day,

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Praise be the pedalboard gods, PedalTrain have made setting and transporting pedals so simple, we’re all wondering how did we ever do it before? Suited for pedalboard big and small, PedalTrain are the pedalboard standard for good reason.

DISTRIBUTOR: EGM | RRP: FROM $76.95

Overall:

As close to the real thing you’re ever going to get, without the frayed edges or vintage price tag.

Iconic designs used by iconic artists. If you’re into retro looking music gear, you know someone that does or you’re just a diehard 60’s/70’s music fan, then you’re well and truly sorted with a heap of epic designs to choose from.

Overall:

D'Andrea Spider Capo by Creative Tunings

each of these reissue straps are 2” wide with leather ends and enjoy a stitched vinyl inner layer for additional comfort. Each strap is made in the USA with scrupulous attention to detail of each individual design.

Recommended For:

meticulous cable manager - and let's face it, we all know one of those. Ideally suited for local and touring artists alike, the soft case included with Nano+ makes light work of transporting your pedalboard, guitar cables and other small accessories if required.

Featuring a secure heavy day zipper and reinforced stress points the soft bag is ready for the rigours of the road.

Recommended For:

Singer/songwriters, capo devotees, arachnid lovers, when there’s just no time for tuning Features:

An incredibly unique take on the trusty capo, the Spider Capo offers users complete control of the tuning of their guitar. Unlike the traditional capo which typically fret every string on the fretboard when placed across a guitar neck, the Spider Capo allows individual strings to be fretted or not, opening up near endless creativity with different open and augmented tunings without needing to adjust tuning pegs.

What’s more, using two Spider Capos in conjunction with each other opens up further tuning options with the ability to play both in front or behind the Spider Capo. The ability to change tuning on the fly or mid performance allows users to be even more creative with their playing, being able to explore new keys, tunings, harmonics and textures never easily accessible.

Overall:

A creative take on the humble capo is an understatement. The Spider Capo is an empowering creative tool for any songwriter, allowing one to explore nearly endless tunings, playing styles, chord structures and more. Whilst the old school capo might be the most misplaced item on stage, you won’t let a Spider Capo crawl away so easily.

XMAS GEAR GUIDE TRUETONE 1 SPOT 9V POWER SUPPLY COMBO PACK DISTRIBUTOR: EGM | RRP: $99.99

Recommended For:

Guitarists, utilitarians, the power hungry.

Features:

Having earned a legitimate rep of being one the most reliable power supplies to fire up effects pedals boards across the globe, 1 SPOT sure know how to pack a serious amount of accessories into one neat little combo pack.

Including the industry standard 1 SPOT 9V supply, this combo pack has a wealth of nifty accessories including a multi plug 8-way cable chain for connection of up to 8 pedals (with potential to daisy chain more if required), two battery clip converters, two 3.5mm

converters (ala EHX Big Muff and alike) and an L6 converter for any Line 6 modelling pedals in your pedal chain. Neat! The 1 SPOT adapter itself provides a mega 1700mA of power, which is more than enough juice to power most pedalboards entirely on its own.

What’s more,1 SPOT’s automatic voltage converter allows touring artists to plug and play, without the worry or inconvenience of lugging around a transformer.

Absolute genius!

Overall:

Anyone with a feverish hunger to have all their 9V power accessories in one spot, this combo pack literally has every spot on your board covered.

Orange Box-L Bluetooth Speaker DISTRIBUTOR: AUSTRALIS | RRP: $499

Recommended For:

Wireless audio enthusiasts, iconic British amp devotees, fans of both Bluetooth speakers and guitar cabs.

Features:

Assuming you haven’t been living under a rock for the past 50 years, it’s safe to assume you’ve heard an Orange amp, even if you didn’t know it. From those 50 years of innovative design comes a rockin’ little Bluetooth speaker that is every bit as classic Orange as its guitar amp cousins. Bringing rich, resonant tone, cuttingedge speaker technology with a 5” woofer and 2 x 2” tweeters, the Orange Box-L relishes in its

Bluetooth 5 connectivity, for stable and reliable connection, and for those who may fear wireless woes, the anti-tangle aux cable included is a sure cure for potential music dropouts. With decades of cabinet design expertise, the construction of Orange Box-L is top notch, maximising a satisfying bass response accompanied by detailed mids and highs. As for the amplifier, both Class D and Class A/B designs are utilised (the only Bluetooth speaker on the market to do so) producing a staggering 50-watts RMS of power, making it the most powerful in its class.

Overall:

With its striking unmistakably Orange amp looks, the Orange Box-L brings the rock n roll vibe and is assured to brighten up any home.

TOM DELONGE TO THE STARS STRAP

DISTRIBUTOR: FENDER MUSIC AUSTRALIA | RRP: $49

Recommended For:

Guitar players, strap fiends, Blinkers, cosmologists, researchers and fans of the extraterrestrial variety Features:

One cannot deny the existence and impact of Tom DeLonge on modern music, be it his guitar playing in Blink-182 or Angels and Airwaves. Other than his musical ventures and influence in the music community, Tom’s work with his company TTS (To The Stars) has built a strong community with fans scattered around the world. Inspired by the distinct colourways of his signature Fender Strat models,

Fender are bringin a collaborated collection of guitar straps, sporting the recognisable “To The Stars” logo, and they look great! Offering maximum durability, adjustable length of 34” - 59” to fit most players, these printed polyester designs are made in Canada with superb quality available in four different colours - black, blue, yellow and green.

Overall:

Aren’t you even just a little bit curious as to what could be out there? With a choice of four different coloured Tom Delonge “To the Stars” brand guitar straps from Fender to choose from, and being just around the corner from the gift giving season, let’s get cosmic folks!

Fender Ugly Christmas Sweater DISTRIBUTOR: FENDER MUSIC AUSTRALIA | RRP: $135

cozy ones can be machine cold washed and tumbled on low.

Overall:

Recommended For:

Holiday peeps pranksters, sweater sweethearts, those who like to appear overly festive Features:

‘Tis the season and there’s always that one family member who brings out some ghastly old kitted Christmas sweater. And whilst the rest of the family may scoff and ridicule, you’re silently cheering in joyful glee. Fender’s Ugly Christmas sweaters are bold this year, with the “TELEREX” (yes, a T-Rex playing a Telecaster) or the rockin’ snowpal slinging a Strat.

Ranging in sizes S - XXL, made from super soft hand 100% acrylic, Intarsia knitting process, these

They’re overly cheerful, kinda ugly, but there’s something about them that makes you want to cozy up by the fire with a hot mug of coco and wonder “why the hell am I wearing this Christmas sweater in summer!” Whilst they may not be seasonally appropriate for much of the southern hemisphere in December, these Ugly Sweaters are undeniably fun and you’ll be hard pressed to find an excuse not to put one on or get it for a friend or family member. But for the love of all good things Fender, do not iron or dry clean! Merry tidings to all.

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PRODUCT REVIEWS

Groove Synthesis 3rd Wave Wavetable Synthesizer SOUND AND MUSIC | RRP: ENQUIRE FOR PRICING

The PPG (Palm Products GmbH) synthesizer, founded

by Wolfgang Palm in the late 1970s, played a pivotal role in the evolution of electronic music.

The PPG Wave series, starting with the PPG Wave 2 in 1981, introduced groundbreaking wavetable synthesis technology.

This innovation allowed the manipulation of complex waveforms, offering a diverse sonic palette. Notably, the PPG Wave 2.2 and 2.3, released in the mid'80s, became iconic.

Despite financial challenges, the PPG Wave legacy endured, influencing notable artists like Jean-Michel Jarre and Depeche Mode. PPG's final version, the Wave 2.3, marked the end of an era as Wolfgang Palm joined Waldorf.

In 2021, Groove Synthesis, led

by Bob Coover, released the 3rd Wave synthesizer, serving as a spiritual successor to the PPG Wave series. The 3rd Wave represents a formidable wavetable synthesizer, delivering a contemporary and impressive sound experience. With a remarkable 24-voice polyphony and the ability to perform as a 4-part multi-timbral instrument, it essentially provides the functionality of four distinct synthesizers within one device.

Each of its three oscillators per voice offers versatility, serving as a classic PPG-era wavetable, a modern high-resolution and harmonically intricate wavetable, or an analogue-modelled waveform. Moreover, users can craft up to sixty-four personalized wavetables using the 3rd Wave's Wavemaker™ tool, incorporating a sample-to-wavetable feature.

Connecting an audio source allows for the effortless generation of a wavetable at the push of a button,

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making wavetable synthesis more accessible and open-ended than ever.

While the 3rd Wave maintains its roots in the classic digital wavetable synthesizers of the past, it propels this concept into the 21st century by delivering a rich and expansive sound derived from its expanded wavetables and warm, organic analogue filters. Equipped with a Dave Rossum-designed 2140 analogue low-pass filter with variable saturation, as well as a second SEM-style state-variable filter offering various modes, it provides extensive tone-sculpting possibilities. Running both filters in series adds further complexity to the harmonics.

Boasting twenty-four voices, the 3rd Wave possesses ample power to handle even the most intricate musical performances. Its polyphony is particularly impactful, allowing users to layer up to four parts or create four independent split zones, each with a distinct sound, sequence, and dual effect. Each stereo part features independent panning, volume control, and a dedicated stereo physical output. Additionally, the three wavetable oscillators per part/voice have their own 6-stage, loopable wave envelope, enabling the creation of intricate soundscapes whether playing a single sound or a 4-part layer.

The sequencer in the 3rd Wave is an awesome creative tool for both composers and sound designers, offering pattern-based sequencing for notes, songs, and parameters. Sequencing changes of various parameters is intuitive, and real-time recording maintains precision. Composing and performing is made easy, allowing for the entry of notes and chords

with or without quantization. The synth's multi-timbral nature means each of its four parts/layers has its own sequencer track, allowing for versatile arrangements and performances.

The 3rd Wave excels in its modulation capabilities, featuring a versatile modulation matrix with sixteen assignable slots, twelve fixed-source slots, twenty-seven sources, and 114 destinations.

The synth offers the flexibility of a modular system, with immediate connections between sources and destinations facilitated by knob adjustments. Additional soundshaping tools include two digital effects per part, two auxiliary envelopes, and four LFOs for extensive modulation possibilities.

Encased in a robust all-metal chassis with a premium 5-octave semi-weighted Fatar keyboard, the 3rd Wave is a wavetable synthesizer designed to inspire creativity.

It didn’t take long for the 3rd Wave to usurp many of the synths I grew up revering, instantly becoming one of the finest synthesizers I have had the opportunity to play.

In terms of sheer output and timbre, It just sounds excellent, the level of detail and depth on display here is both brilliant and classy, while also capable of some remarkable sonic range at the musical level. Add to that the modularity, with the PPG emulation highlighting a fantastic level of nuance in regards to aspects such as tuning quirks and other little characteristics that make the 3rd Wave feel both classic and fresh-often within the same patch.

While the nod to the past is excellent and well appreciated, the nod to the future has just as

much impact, with the layering, FM synthesis, modulation, oscillators, filters and wavetables all in a whopping 96kHz sample rate, the 3rd Wave blows the PPG out of the water in terms of sonic potential and general fidelity which combined with the endless tweakability of the parameters makes for a synth for all occasions.

Coupled with the impeccable and elegant tones the 3rd Wave exudes, the elegance of the User Interface, and the housing of the synth is just as impeccable and the way everything is exactly where you expect it to be with truly little menu diving is elegant too. In a digital world, with the advent of touchscreens and minimalism, it is refreshing to see controls for all the major features and the majority of the minor features spread across the 116 push buttons and rotary pots across the front face of the Synth gives no illusion of minimalism, it is a Synth that is intended to pay homage to its past, and to bask in the tactile heritage it carries.

Touching on the build quality further, the 3rd Wave bears all the hallmarks of a synth built to last, with it’s premium aluminium chassis and high quality Fatar Keyboard, it not only looks and feels the part, it leaves you with a sense of confidence in its ability to withstand the rigours of the road.

Overall, I would highly recommend the Groove Synthesis 3rd Wave as it is an immensely powerful and stylish synth that will facilitate and elevate your creativity through the analogue and tactile interface and innovative and expansive tones.

BY JOHN TUCKER

PRODUCT REVIEWS

Ampeg Venture V3 and VB-210 YAMAHA MUSIC AUSTRALIA | RRP: $1049 (HEAD), $1899 (CABINET)

There’s something intangibly significant about knowing you’re plugged into an Ampeg amp.

When you think back to all the legends and all the music associated with the name, and the amps from the Portaflex to the giant SVT fridges to the superflexible SVT-3PRO, it’s almost a rite of passage to rumble the room with something that says ‘Ampeg’ on it. But as anyone who’s tried to gig with an Ampeg 8X10 cabinet and a tube-laden SVT head will tell you, it ain’t light on the back.

So the company has made many attempts at lower-weight, more portable versions of its amplifiers.

The Venture V3 is one such innovation, designed to give you those iconic tones without all the physical encumbrance that comes with an amplifier that’s too big to fit in most vehicles.

The V3 is a tiny 300 watt head which employs a Class D power section to dramatically cut down on the size and weight of your typical amp head. It’s so small, in fact, that it’ll not only fit into a gig bag, laptop bag or the optional matching carry bag, but you could probably fit it into the pocket of your cargo shorts if you really tried. It weighs in at an almost comically light 1.8kg!

Yet for all that economy, there’s a huge amount of control packed into this little amp. You get two complete foot switchable voicings - SVT and B15 - as part of a ‘Super Grit Technology’ circuit which you can think of as a flexible overdrive pedal built right into the amp. It has controls for Grit and Level, before your signal travels through a Gain control, three-band EQ with sweepable mids, and your master volume. There’s also the very Ampeg ‘Ultra Lo’ and ‘Ultra Hi’ switches, a -15dB pad, and a peak LED.

some low-end woofiness in favour of more of a ‘you feel it more than hear it’ punch. The same is true of the Ultra Hi switch, which can be used in concert with a lower treble setting in order to smooth out the tone while retaining attack and definition. Both of these methods were especially effective on the Soundgear, a bass whose voice seems a bit forceful without some amp-end sculpting.

Turn it around and you’ll find a 4 oHm speaker out, headphone jack, foot switch jack, auxiliary in, an effects loop and a DI balanced XLR out with pre/post switch, selectable -20dB pad and a ground lift switch.

Of course you’re going to want to plug this into something, so there are various Venture series cabinets available whose model names give you a clear idea of how many speakers are inside and of what size: VB-112, VB-115, VB-210, VB-212 and VB-410. We reviewed the V3 with the VC-210, an almost astonishingly light yet very solidfeeling cab with two customvoiced Lavoce neodymium woofers and a variable high frequency driver. It weighs only 12.7kg which I think you’ll agree is a huge improvement on a great many speaker cabinets. And the cabs aren’t the only thing to come in various sizes: there are three Venture amps in the series, starting with our mate the V3 (300 watt) and increasing to the V7 (700 watt) and V12 (1200 watt). The V7 and V12 add a variable compressor.

I tested the Venture V3 and cab with my affordable yet very trustworthy Squier Affinity Jazz Bass V as well as a 30th

Anniversary Ibanez Soundgear with active electronics (and a cool semi-hollow design - have you seen that thing? Great bass). As a long-time rock-dog I immediately went for the Super Grit Technology circuit and put my neighbor’s resolve to the test.

I’m not sure why I immediately defaulted to some charging Ministry riffs (‘Just One Fix’ is a great bass-test song) but I’m comfortable in my decision. And while it’s great to have so much overdrive at your fingertips or the stomp of a foot switch, the sweepable midrange is really key to getting the most out of that overdriven sound, allowing you to dial in exactly where your bass’s voice lives and either boosting it for character, or attenuating it to sit back in the mix. The SVT and B15 voicings take the place of a tone control in the circuit and give you the option of an angrier, edgier tone or a fuller, more vintage one, and both definitely have their uses. I eventually found the resolve to put aside my grittier aspirations and turn the overdrive off, and of course there it was: the classic Ampeg ‘It’s clean but it’s mean’ tone. A great trick is to hit the Ultra Lo switch but turn down the bass control quite a bit, reigning in

Cons? None, really. It would have been nice to have a compressor on the V3 too but I guess you can’t have everything. I plugged in my old Washburn compressor pedal which is especially bass-friendly and was in punchy, funky heaven.

And the ability to switch between the SVT and B15 voicings wouldn’t have gone astray. Oh well.

The Venture V3 is the ideal option for getting those iconic Ampeg tones into a vehicle, up the stairs and onto a stage without hurting yourself, and the rig is musically flexible, reassuringly rugged, and also just looks cool with its everpresent blue light adding a touch of science fiction to the vibe. You have to try this little bruiser.

BY PETER HODGSON

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PRODUCT REVIEWS

Gretsch G2622T Streamliner Center Block Double-Cut with Bigsby FENDER MUSIC AUSTRALIA | RRP: $1049

When I think of Gretsch guitars, I think of style. The big hollow body shapes, the gleaming finishes, the chunky ornate hardware; all stunning hallmarks of a completely unique aesthetic. Whilst certainly associated with the 1950s Rockabilly era, Grestch guitars remain effortlessly timeless, as bold and eye-catching today as they were at their inception.

back and sides of the guitar are finished in seductive cherry red, complimenting the main colour of the guitar perfectly.

The gleaming nickel hardware on the G2622T really stands out on the Dark Denim finish; the anchored bridge, Bigsby vibrato and covered humbucking pickups are all classic components of Gretsch’s iconic style.

What is also timeless is the honesty of their sound. No other electric guitar can match the clarity and articulation of a Gretsch.

Their famously crisp top end and raw, open tone leaves players nowhere to hide, accentuating the unique idiosyncrasies of each individual’s playing. From Chet Atkins to Malcolm Young to Brian Setzer, some of the most brilliant guitarists in history have favoured Gretsch guitars for that very honesty, as well as for their stunning looks and smooth playability. Now, for an incredibly reasonable price, you too can tap into that same boldness.

The G2622T is one of those guitars that I really struggle to put down.

Incredibly fun to play, the neck is super comfortable and really lends itself to the speedy licks and jazzy chord voicings one associates with the Gretsch players of yesteryear.

Constructed from Nato, also known as Eastern Mahogany, the neck features a soft C shape that sits perfectly in the hand and has a 24.75” scale length.

The Streamliner series bundles all of that heritage, style and sound into an ultra-accessible package, providing all the distinct qualities of a Gretsch at the brand’s lowest ever price point.

A notable star amongst this delectable lineup is the G2622T, a double-cut, semi-hollow body instrument constructed with a centre block and loaded with a Bigsby vibrato arm.

The smooth Laurel fingerboard features Gretsch’s eternally cool pearloid thumbnail inlays, completing the guitar’s classic look. With a 12” radius, a 1.6785” nut width and 22 medium jumbo frets, everything feels very balanced. One can't help but zip up and down the fretboard with joyous, buttery ease, completely unhindered by the neck’s velvety gloss finish. The generous double cutaway on this guitar allows for excellent upper-fret access, meaning despite the instrument’s large semi-hollow body, it doesn't skimp on playability higher up on the neck.

Featuring all the bells and whistles one associates with Gretsch, the G2622T is a fine example of what makes the brand so special. The rich metallic ‘Dark Denim’ finish is smooth and classy, accentuated by a tortoise-shell pickguard and aged white binding. The

The arched semi-hollow body is constructed with 5-ply laminated maple, providing a bright response and characterful, open tone.

The beauty of the centre-block construction is that it exhibits all the warmth and airiness of a hollow body whilst almost completely

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eliminating the issue of unwanted feedback. The centre-block runs the full length of the body and is chambered for weight relief.

This means the G2622T is almost as light as a fully hollow guitar but cuts down on the resonantfrequency feedback, making it much more usable for higher gain tones.

This Streamliner is loaded with two Broad’Tron BT-3S pickups.

Expertly combining both Alnico V and Alnico II magnets, these brand new p’ups exhibit a balanced frequency response and a notably boosted output. Also included with this guitar is the fine addition of a coil tap feature, wired in the form of a push/pull control on the instrument's master volume. The addition of a coil-tap massively expands the guitar’s tonal repertoire, making it one of the most versatile models in the Gretsch catalogue.

In the bridge position, the G2622T excels at the crispy, shimmering highs that Gretsch is known for.

Perfect for crunchy rock and roll rhythm work or spanky country leads, this pickup cuts right through the mix with its searing crystalline tones. Featuring a generous midrange push and a tight, punchy low end, the bridge position can go from brazen rockabilly to subtle country in a split second thanks to a useful coiltap feature.

The neck pickup in this guitar is warm and jazzy, featuring smooth rolled off highs and a sweet, sultry midrange. Capable of gentle, jazzy cleans or fat chunky driven sounds, this pickup provides a sweet, vintage tone that really brings out the open quality of the semi-hollow body. When tapped, the neck

pickup cuts down on its ample low end and becomes more delicate and, to coin the term, string-y, perfect for clean leads.

In the middle position lies a myriad of hidden tones, thanks to a thoughtful control layout.

The inclusion of two independent volume controls in addition to the guitar’s master volume means that in the middle position, players can blend the two pickups to their own liking. When combined with the coil-tap feature, this creates an endless amount of tonal variations to suit any song or situation.

The G2622T also features a traditional master tone knob which provides a smooth, linear high-end roll-off, capping off its broad tonal versatility.

This guitar is an absolutely exceptional example of what makes “that great Gretsch sound!”

The timeless style, the uniquely powerful sound and the smooth, snappy playability of the G2622T are quite remarkable given its price-tag. From its classy aged white binding to its thumbnail inlays, the Streamliner series spares none of the beautifully ornate details that have always made Gretsch guitars so striking.

The inclusion of a Bigsby vibrato completes the instrument’s classic look, not to mention its utility as an excellent and versatile tonal device.

Effortlessly cool, amazingly comfortable and jaw droppingly affordable, this Streamliner is as seductive as any top of the line Gretsch and sounds every bit as good. If only I could manage to put this one down, I’d head out right now to buy one.

BY CHRISTOPHER HOCKEY

PRODUCT REVIEWS

Cordoba C12 CD ZENITH MUSIC | RRP: $4499

The Cordoba C12 CD is an incredibly fine instrument that exudes craftsmanship and excellence. Timelessly beautiful in every way, the luthiers at Cordoba have outdone themselves with this gorgeous, high-end piece of work.

Visually stunning and effortlessly playable, the sheer projection of this guitar is a marvel in of itself, even before one begins to analyse its timbre. A combination of the finest materials, expert design and tastefully subtle execution make this one of the very best classical guitars available today; truly an instrument that needs to be played to be believed.

Founded in 1997 by Tim Miklaucic, Cordoba Guitars is the outcome of Miklaucic’s mission to salvage the classical guitar, which, in modern times, has been all but buried by the acoustic steel-string and the electric. Residing in sunny Santa Monica, CA, Cordoba continue to take inspiration from late 19th century Spanish luthiers, while always looking to push the instrument forward. Using only the finest tone woods, Cordoba have an unparalleled passion for their products and an eye for detail that is a true rarity in the world today.

The first Cordoba to feature modern, lightweight lattice bracing, the C12 CD, has a deep and rich tone with plenty of top end presence. Available with either a solid Canadian cedar or European spruce top, either option has a beautiful eye-catching grain and strong, balanced sound.

The guitar also features Indian rosewood back and sides, which

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not only provide a beautiful visual contrast to the lighter top wood, but also perfectly round off its exceptional tone. Another strong visual feature of the C12 is found in the form of a gorgeous flamed maple wedge, separating the two pieces of rosewood that form the back of the guitar. What’s more, all of this is protected by the humidified archtop case that the C12 CD arrives in.

Something that really sets this Cordoba apart is its raised fretboard. Constructed from the finest ebony, the elevation of the fretboard allows for easier access to the higher frets, ensuring that the C12 CD is playable well past its neck joint. A smooth mahogany neck that feels full but sleek in the hand ensures that this instrument is as exceptionally playable as it is beautiful. Featuring a classic C-Shape and a glossy finish that never feels sticky, the neck is perfectly proportioned with a 25.6” scale length and a 2” nut-width.

The C12 CD is remarkably loud and resonant, boasting a deep, balanced tone. The secret to the C12’s incredibly resonant sound, aside from its exceptional tonewoods and construction, lies within its unique lattice bracing.

Lattice bracing has a more intricate, criss-crossing pattern than traditional bracing, giving it superior strength. This strength of the bracing allows it to be made extremely light, as well as allowing the top of the guitar itself to be constructed lighter too without sacrificing sturdiness. The lighter

materials of the guitar allow it to be far more resonant, giving the instrument a more lively sound and a huge dynamic range when compared to heavier, traditionally braced classical guitars.

Rosewood back and sides, to its mahogany neck and Ebony fretboard, the C12 CD’s tonewoods are perfectly selected to both visually and sonically compliment its Cedar/Spruce top.

Players will notice how sensitive this makes the C12 to picking dynamics. The range of this guitar is quite astounding, incredibly useful for fingerstyle guitarists who don’t have the benefit of a pick to increase their projection.

From a player’s lightest touch up to their heaviest, they will notice a far greater range of volume when compared to many other classical guitars on the market. This allows for greater subtlety of performance and the ability to build up effortlessly to dynamic crescendos.

This is a particularly appealing feature for solo artists who don’t have other musicians adding dynamics to their arrangements.

The full, warm low end of the C12 CD is perfectly balanced with its explosive midrange and bell-like top end, retaining its brightness and balanced timbre at even the lowest of volumes.

The incredible dynamic range alone makes it worth every penny and creates a truly invigorating playing experience, one that is likely to take the player aback upon first experiencing it. Perfect for fingerstyle players who need a strong, loud and clear sound to be heard over a crowd or band, the C12 CD is a great choice for anyone in the market for a truly beautiful classical guitar with some innovative modern features.

While lattice bracing is not known for its sustain, the increased volume and almost banjo-like tonality truly sets the C12 CD apart from its competition, making it the perfect choice for fingerstyle guitarists who can afford to reach for the top shelf.

So if you’ve got the budget for a top of the line instrument that you’ll never want to part with, the Cordoba C12 CD is well worth checking out. Complete with a deluxe, humidified hard case, this is a truly premium classical guitar that doesn't sacrifice on quality, allowing you to play at your absolute best, regardless of the circumstances.

Overall, the C12 CD is visually stunning, exhibiting the subtle detail work and passionate design that Cordoba are known for.

The construction of the guitar is incredibly thoughtful and playerfriendly, features such as a raised fretboard and improved, innovative bracing give the guitar a modern edge despite its ornate old-world charm. From its dark, rich Indian

BY CHRISTOPHER HOCKEY

PRODUCT REVIEWS

PRS NF 53 Blue Matteo ELECTRIC FACTORY | RRP : ENQUIRE WITH PRS DEALER FOR PRICING

From the outset it’s pretty clear that the PRS NF 53 is a guitar designed to appeal to Telecaster players or, paradoxically, people who might like the Telecaster if it wasn’t so … Telecastery. Inspired by one of Paul Reed Smith’s own ‘vintage guitars from 1953,’ it’s pretty clear where this instrument’s inspiration starts, but in true PRS style it’s absolutely its own instrument. So what makes it so unique?

For starters, this may be a bolt-on single-cutaway guitar with two pickups, a volume control, a tone control and a three-way pickup selector, but the outline is different enough that there’s no chance of mistaking it for anybody else’s design. Ditto the headstock, which is PRS’s iconic three-a-side shape but kitted out with vintage-style tuners with super wide buttons and unplated brass shafts. The pickguard may be a little more reminiscent of a Telecaster than that of PRS’s similarly-appointed and released-at-the-same-time Myles Kennedy model, but it’s still very much its own distinctive shape, following a very PRS bevel along the cutaway.

Yeah, there are similarities. The body is made of Swamp Ash. The neck and fretboard are Maple.

But even there, there are twists.

The fretboard has 22 frets, not something you’d find on Paul’s 1953 vintage inspiration. And the pickups are definitely not traditional single coils, rather they’re PRS’s own new Narrowfield DD (Deep Dish) pickups, which are made with taller bobbins enabling

them to fit on more winds, and with extra metal pieces between the magnets to more tightly focus the magnetic field. They’re humcancelling, but they don’t sound at all like humbuckers, and they look like nothing else out there.

The bridge is interesting and unique too. It’s a PRS plate-style bridge made of steel but with brass saddles for sustain and tone. The saddles are an updated version of the two-per string barrel saddles on a vintage Telecaster.

In this case though there are three strings per barrel but two adjustment screws to better dial in the intonation. It’s still going to involve a compromise on intonation accuracy, but PRS has clearly made a difficult choice here between tone and intonation.

The neck shape is really interesting too. It’s PRS’s ‘Pattern 53’ shape, something of a soft V that reminds me of a Peavey Omniac; deep and chunky but also very playable and not at all feeling like a baseball bat.

So that’s the speccy stuff: let’s plug the NF 53 in and see what it can do.

The very first thing you’ll notice is, this is a bright-sounding guitar. Almost harshly bright if you’re running a clean tone. The brightness makes it super-clear, super detailed and super rich, but there’s no getting around it: it’s bright. Interestingly, the bridge pickup is the least trebly of the three settings. Or at least, its particular treble profile is more bell-like and compressed, with pleasing upper mids. The middle

setting is more scooped in the midrange which allows those highs to really come to the fore, and it can get a bit harsh. Meanwhile the neck pickup is very characterful and detailed, and much more trebly than you’d expect from a Tele-style guitar. Don’t get me wrong, it’s not a bad spread of tones at all - it sounds great - but it’s brighter than you’ll expect.

Add some overdrive or distortion though and you’ll suddenly realise why that treble is there: it allows this guitar to absolutely sing with harmonics, detail and dynamics, especially that neck pickup. In fact it’s one of the juiciest, springiestsounding neck pickups I’ve ever heard. It absolutely thrives on heavy pick attack but has the range and sensitivity to sound great when you pick softly.

Some players will no doubt be put off by the intonation system, and it’s a matter of ‘do I wish to make this compromise in the name of tone?’ The tone is going to sway a lot of players. The look and feel will probably sway a few more, because it’s a great playing and looking guitar. PRS has done it on their own terms, in a very 2023, rather than 1953, way.

BY PETER HODGSON

It absolutely soars on expressively bent notes, and it cleans up beautifully from the volume control. The middle selector setting is like a more chordoriented take on this sound, a little more scooped and spread out. And the bridge pickup on its own is punchy, clear and a little angry. Combine it with that neck, which naturally guides your fretting hand into a comfortable playing position, and you have a guitar that responds instantly and musically to your touch and practically cajoles you into playing faster. After you become used to it, it becomes quite exhilarating.

You don’t even know you can play this quickly and cleanly with such detail and expression on such a raw-sounding guitar.

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PRODUCT REVIEWS

Jackson American Series Virtuoso FENDER MUSIC AUSTRALIA | RRP: $3399

Fender has gone all out to reinvent Jackson USA, beginning last year with a ravenous marketing campaign and the introduction of the Jackson American series.

The idea here was to introduce a new product line under the long-running USA, Custom Select and Custom Shop instruments that would effectively get a USAcrafted instrument into the hands of working-class, gigging players for less money.

The American Series Soloist SL3 kicked off the new American Series in 2022 and due to its inherent success a new model has been bestowed upon us in 2023.

The Jackson American Series Virtuoso is essentially a bolt-on entry in the new line that strives to bring the same quality at an even more competitive price point.

Unboxing the Virtuoso reveals Jackson’s Foam Core case, a high-end gig bag; it fits the guitar well, leaving no room for movement in transit. The Foam Core case features the standard compartments one would come to expect from any regular hard case design, case candy consists of the tremolo bar, a set of strap locks, and the usual hang tags and documentation.

Upon removing the Jackson Virtuoso from its case I immediately noticed how lightweight the guitar was.

This can be attributed to the instrument's alder body which is the classic Dinky style 7/8ths Strat size body, a shape that has become synonymous with bolt-on

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Jacksons over the last 40 years.

This specific example boasts a strong acoustic resonance that may be partly due to its thin satin finish, it is worth mentioning that gloss options are available in other colours for those who prefer this type of finish.

The neck on the Virtuoso is a new 5-piece Caramelised Maple/ Maple laminate boasting Jackson's signature Speed Neck profile. This neck features a compound 12”-16” radiused streaked ebony fretboard with pearl inlays and Luminlay side dots. I found the neck profile to be comfortable for both chording by the nut and technical lead work higher up the fretboard, best described as not thick and not thin. To expand on that, I feel as if this profile sits at a steady middle ground that would satisfy most players.

This aside, the neck is definitely a standout aspect of the Jackson American Series Virtuoso and I never found it to be uncomfortable or a hindrance to my playing in the time I spent with the instrument. I also very much liked the addition of the heelmounted truss rod adjustment wheel, doing away with pesky truss rod covers and extra tools for good.

Hardware-wise I was very pleased to see a set of Gotoh MG-T locking tuners adorning the headstock of the Virtuoso. While the inherent tuning stability they would impart on an instrument with a locking nut is negligible, they do make for quick and easy

string changes, and the gear ratio is absolutely lovely.

At the other end of the Jackson is a Floyd Rose 1500 series bridge which has become standard as an OEM (original equipment manufacturer) bridge on many mid to high-end instruments in the modern age. Kudos must be given to Floyd Rose for the new trem arm collar found on the 1500 series which utilises a grub screw to keep the arm from coming loose, “which was a common complaint with the 1000 series bridge”.

Additionally, the stainless steel intonation, nut and string holder screws are a nice touch for the gigging “and most likely sweaty” guitarist as they will prevent the corrosion that is common with standard zinc-coated screws.

Direct mounted Seymour Duncans round out the electronics on the Jackson American Series Virtuoso, this time a JB TB-4 JB in the bridge position and a 59 SH 1-N in the neck. The JB has long been a go-to option for the bridge position in alder-bodied Jacksons, providing a mid-focused punch that will slice through any live mix with the utmost authority. In turn, the 59 provides an authentic PAFstyle warmth that compliments the bridge pickup quite nicely.

Combine this set with the 5-way selector switch, master volume and master tone controls and there simply isn't much you can't do with this versatile superstrat.

Perhaps my favourite thing about

the new Jackson American Series Virtuoso is the new 4 bolt neck heel. I feel like Jackson spent considerable time gathering the opinions of their various endorsees while designing this heel as it provides absolutely fantastic upper fret access. There is also a slight bevel in the lower horn which aids uninhibited playing from the 12th fret to the 24th making even the most complex licks on the smallest frets no sweat.

While on the topic of frets, I must take the time to compliment the fret job on my test model. Not a single high fret to be found with a nice crown on each and a fantastic polishing to boot, no sharp bloodthirsty fret ends to be found here! All this combined to make me feel almost as if I was playing an instrument with stainless steel frets due to a sea of effortless bends and vibrato.

The Jackson American Series Virtuoso may just be the ticket for any discerning player who is looking to get their hands on a reliable US-made superstrat packed with pro features right out of the box.

BY JAMIE COLIC

MEET THE 3RD WAVE Advanced Wavetable Synthesizer

CLASSIC LEGACY. MODERN SOUND

• 24 voices • 3 oscillators per voice • Modern & PPG wavetables • 4 multi-parts with 2 FX per part • Analogue & Digital filters • 4 EGs + 4 LFOs • Arpeggiator • Sequencer • Wave Maker Tool with audio input • 4 stereo outputs

64 modern wavetables and 32 legacy PPG wavetables, plus user memory for importing or creating your own.

It boasts a punchy, Dave Rossum-designed 2140 analogue low-pass filter with variable saturation, and a second, SEMstyle state-variable filter (lowpass, high-pass, notch, and band-pass) for additional tonesculpting.

Distributed in Australia by Sound And Music Available at the best synth dealers or visit: https://sound-music.com/brand/groovesynthesis/

PRODUCT REVIEWS

Akai APC64 Ableton Controller ELECTRIC FACTORY | RRP: $649

When Ableton Live first came to market, it changed the way in which many music producers went about the process of interacting with their DAW. Then, with the advent of controller interfaces purpose built for use with this software platform, it all went a little further to creating a seamless interaction between human and machine. This dedicated hardware availability all started happening a little over ten years ago. And in that time, we’ve seen products that ‘wowed’ us get transformed and refined into products that worked with us. That brings us to this very special piece of kit I had the pleasure of going over this month, the all-new Akai APC64 Ableton Controller. This is the hardware interface that is going to bring your computer and your hardware synths together, and allow them to work apart too.

So, the 64-pad controller concept is by no means a new breakthrough. We’ve seen it used as a basis of Ableton control surfaces since they first originated.

Furthermore, we’ve seen similar concepts in the early Akai MPC desktop samplers with the 16-pad format for use triggering samples and programming sequences.

So, we’ll all be familiar with this layout. These are RGB backlit pads, that change colour with activation and function, offering velocity sensitivity and aftertouch too, which is a standard we’ve come to expect on any controller pad nowadays. Each side of this pad section features a series of function buttons, that allow you to engage a wide variety of Ableton features, without the need to

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go to your mouse or computer keyboard.

Dedicated transport controls found in the top right, and Mute/ Solo/Record Arm controls are in the bottom left, adjacent to the track selection buttons, so you can bounce from the specific function to the necessary track with the least amount of movement.

There’s a host of more in-depth function buttons found on either side of the pads, like the ever essential Undo and Redo buttons, as well as a range of tempo and quantize control buttons, and a series of Ableton specific function buttons. It all sits nicely in the confines of a workspace that accommodates two hands working in unison.

Then, Akai have included 8 fully assignable Touch Strip controllers, to bring expression and to record movement to your recordings.

What I love about these is the placement. So often, we’ll see a bank of similar strips on a controller, with them all laid out side by side, emulating a mixing console’s bank of faders. But, being assignable, it can be a bit confusing as to what strip is doing what function when they are all in a row. That’s why we used white masking tape and a Sharpie on the mixing consoles, to mark up the fader assignments, and often banked channels with spaces in between for clarity. So, with that sort of thinking, Akai have very cleverly placed four on either side of the pads, with two above the other two. This places the eight Touch Strips into two banks of

two rows with two faders per row. That makes it super simple for allocating processes to the controllers and keeping them where you can remember. I know, it sounds pretty simple, but when you want a fast workflow, and the ability to know where everything is without having to scrutinize labels, this allocation of the Touch Strips is genius.

Of course, this unit is built with the express function of controlling Ableton software, but it goes one step further. This is a big plus for the APC64 and, given the recent renaissance in analogue hardware synthesizers, it’s a feature that the team at Akai should be quietly patting themselves on the back for. The APC64 is not just a DAW controller, but offers a built in sequencer too. We all know that there are huge benefits to harnessing the power of a DAW in your music creation to speed up workflow and introduce vast arrays of sounds, effects and features. But, there is something special, something a little more organic about creating music without being tethered to the computer all the time. So, Akai have enabled just such a process with the APC64. By powering the unit with the USB connection, it can run as a standalone sequencer for your hardware synths and drum machines. The APC64 offers eight physical CV/Gate outputs, as well as one MIDI input and two MIDI outputs. These are all supplied on 3.5mm mini-jack connections, the MIDI ports requiring a 5-pin DIN adapter to interface with most hardware

units. This now opens up a whole world of possibilities, especially for live performance when you don’t want to be reliant on a computer, and would prefer to control your mix from just a hardware setup.

For greater ease of use, you can use the software editor when the APC64 is connected to your computer to build and edit sequences to be stored in the unit for standalone use.

Bundled up with a copy of Ableton Live Lite, just in case you’re yet to commit to the full software package. And if you haven’t, what’s keeping you?

There is so much expressive power in the creative tools offered in Ableton, you’ll want to jump into the full Suite sooner rather than later. Also included with the APC64 is a bundle of Air Instruments to help get your music making underway. This is backed with more than 1GB of loops and samples.

So, if you’re a seasoned Ableton user, a synth geek looking to gain better control with DAW integration, or a beginner in the realm of electronic music making, this unit is going to get you on top of your game with an intuitive layout that speeds up workflow and aids the creative process. If you’ve not seen one in action, go and check out the Akai APC64 Ableton Controller at your local Akai dealer today. Or tomorrow.

Or this weekend. The sooner you do it, the sooner you can get it home and start making better music!

BY ROB GEE

PRODUCT REVIEWS

EVH Wolfgang Special QM FENDER MUSIC AUSTRALIA | RRP: $2299

The EVH Wolfgang is a now classic body shape, known worldwide as Eddie Van Halen’s own design across a few companies. Settled now in the company he founded himself, the aptly named EVH, the EVH Wolfgang Special nestles itself comfortably between accessible EVH Wolfgang Standard guitars and their USA-made top-tier models.

EVH’s range harnesses all the modifications and frankensteining (a newly developed verb) that Eddie Van Halen himself did in the seemingly endless pursuit of tone.

We say seemingly because Eddie did seem to reach the end of the tone rainbow eventually, changing the world of guitar as we know it. The Wolfgang Special ties together some of his mods, like direct mount pickups, a D-Tuna, and Treble Bleed Circuit together for a streamlined, modern machine.

The Wolfgang Special QM (quilt maple) is a solid body electric with a bolt-on neck. Known for their precise and laser-focused sound, bolt-on guitars are used extensively amongst modern metal and rock players, allowing for blistering levels of gain while retaining a clear, concise and balanced sound overall. This model specifically has a Sangria finish, its deep, vibrant red finish bleeding into a warmer hue as the burst fades towards the dual humbuckers and Floyd Rose.

Striking nickel hardware offset the warmth of the burst, highlighted further by the baked maple neck and fretboard.

The EVH Wolfgang is built from basswood, the quilt maple cap offering a more exotic look, and the Sangria burst highlighting the depth of the maple. It features the Wolfgang shape, a slightly offset, slightly single-cut appearance, though its curves and shape makes for a really comfortable play. 1-ply cream binding completes the look!

Dual (direct mount) EVH Wolfgang Humbucking pickups are controlled by a three position toggle and volume and tone pots. The direct mount design was something used extensively

by Eddie himself, removing everything in the way of accessing various switching mods on his own guitars, as well as additional space for flutter and divebombs techniques on his Floyd Rose.

The tremolo on this Wolfgang is a Floyd Rose 1000 Series Locking, securing the strings at both the bridge end and the locking nut at the other end. As standard, the Wolfgang Special features EVH’s D-Tuna system, a simple contraption that allows for quick switching to drop-tuning.

Because of the mechanism involved in securing a Floyd Rose, this is usually impossible without some quick work with an allen key, the D-Tuna offering just enough additional tension to return the guitar to standard when depressed.

Beyond the body, the Wolfgang Special’s neck is made from baked maple, offering a uniquely cool look as well as a more robust and responsive tone.

Maple in general is bright, but

baking it removes any mud from it sonically, providing a snappy, immediate tonality to the guitar even before it has been plugged in. The tuners are a three-a-side affair, with EVH’s own branded tuners securing the strings above the locking nut and string retainer.

No need for locking tuners here, they’re secured between the nut and bridge for maximum stability during massive, soaring divebombs. Eagle-eyed readers will notice the absence of a truss rod cover at the headstock, as the Wolfgang Special (and a lot of EVH’s range) feature a handy spoke wheel at the base of the neck.

Amplified, the Wolfgang Special has an immediate clarity to it.

The Wolfgang Humbuckers are definitely hot, but there’s a vintage grit to them, while also cleaning up nicely. The guitar overall isn’t overtly bright, nor is it muddy and overly hefty. In a word, it’s balanced. Individual strings ring out between chords, and whether noodling near the nut or wailing up to the 22nd (jumbo) fret, there’s an immediacy to it all. It plays nice with both cleaner settings and high-gain, retaining the ability to articulate every string no matter your amp settings. The right combination of woods and hardware have made the Wolfgang Special something really, uh… special.

pot has 500K of resistance while the tone has 250K, a winning combination after years of experimentation from EVH. All in all, the Wolfgang Special from EVH is a sight to behold.

Bursts are nothing new, but this Sangria burst is really pleasant.

It straddles modern trends and vintage good looks, helped along by the warm tones of the baked maple. Speaking of tones, the direct mount humbuckers offer tone in droves! Easily shifting from clean to all-out gain, the Wolfgang Special handles it all with ease, retaining its own clarity and balanced sound no matter your settings. Tuning is a breeze with the Floyd Rose system, and even when really trying to getcha pull, the Floyd Rose 1000 series locking bridge can handle it all.

Modern tones, refined playability and eye-catching good looks what’s not to love?

BY LEWIS NOKE EDWARDS

An additional mention has to go to the Bourns Low Friction Volume Pot, and Bourns High Friction Pot that would allow Eddie to more accurately adjust settings on the fly. The volume

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PRODUCT REVIEWS

Gretsch G2622 Streamliner Center Block Double-Cut with V-Stoptail FENDER MUSIC AUSTRALIA | RRP: $899

As a guitarist, finding your place in a live mix can be a challenge.

Cymbals eat up the top end, the kick and bass eat up the lows and god forbid your band includes a keyboard because those things eat up everything! So, in a live setting, it's really the midrange in which a guitarist finds their home. It is absolutely essential then for us to find the right tool for the job, to find a guitar that sounds potent and sweet within the frequency range that will actually be heard by our audience, and I’ve finally found the one.

For me, the Gretsch G2622 Streamliner, in this case with a V-Stoptail, is the one. It growls, it purrs, it sings and most importantly, its highly tweakable sound comes through loud and clear in any live situation.

Frankly, it's a lethal rock and roll machine and I'm smitten.

Gracefully blending classic design appointments with contemporary playability, the G2622 has that irresistible vintage Gretsch look and plays like an absolute dream.

Its versatile and bold tonality sits right in that magical pocket that ensures you'll never get lost in a mix again, making it a fantastic choice for any working musician.

Featuring brand new Broad’Tron BT-3S humbucking pickups, Gretsch have really cranked the output on this one and I know what you’re thinking. A high output hollowbody guitar? That sounds like a feedback nightmare!

Well, you’d be wrong. The G2622 is constructed with a centre block, technically making it a semi-hollow instrument. A centre block is designed to eliminate the issue of resonant-frequency feedback

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in hollow guitars whilst also dramatically improving sustain, and it works like a charm in this model.

With a fiery finish to match its fiery sound, this guitar is also a looker. Its laminated maple body and Nato neck are adorned with a beautiful ‘Fireburst’ finish, a lovely and eye-catching blend of deep reds and incendiary oranges. This brash but classy colour is broken up with old school, aged white binding, elevating the instrument’s aesthetic to a new level. The inclusion of thumbnail inlays and the classic look of its Broad’Tron pickups ensures that nobody will be mistaking this guitar for anything other than a Gretsch. A brand that has always had its own identifiable style, Gretsch really nailed the design of this one.

The Soft C shaped neck is incredibly ergonomic, feeling very fast and smooth in the hand. The 12” radius is perfect for both chord work and fast leads, providing that classic snappy, flat Gretsch feel. The rich brown Laurel fingerboard looks right at home against the guitar’s Fireburst finish, contributing greatly to its timeless look.

When set clean, the sound of the G2622 is warm, clear and full. The open, airy sound of a hollow body is definitely there, but it has a strong, firm backbone and longer sustain thanks to the guitar’s centre block. When pushed into overdrive, this guitar really roars. Get ready to be hit by a crunchy wall of midrange goodness, with plenty of bite and punch. The bridge pickup exhibits glistening, crystalline highs but never sounds shrill. Thanks to an excellent coil-tap

feature, its output can be cut down to a traditional single coil level, giving it a spankier, thinner and more delicate sound when necessary.

In the neck position, the BT-3S humbucker sounds thick, with a sweet top end and a throaty midrange. When distorted, this pickup really growls and has a liquid sustain perfect for smooth lead lines. When coil-tapped, this position generates some fantastic blues tones, remaining smooth but always with enough bite to cut through the mix.

Combining the two pickups really brings the G2622 to life. Thanks to independent volume controls working in conjunction with a master volume, players are able to blend the two pickups to suit their own tastes, and more importantly to carve out a specific frequency pocket that suits their current situation. This technique can be used almost like a subtle cocked wah, ensuring you’ll be able to find a sweet spot in which your playing can shine through in any mix.

These controls, along with a very usable master tone control, are adorned with groovy radio style knobs that really match the guitar’s retro aesthetic. The addition of a V-Stoptail behind the guitar’s Adjusto-Matic bridge not only looks cool but provides incredibly solid tuning stability. This means you can really dig into this guitar without worrying about knocking it out of tune, an invaluable quality for any working musician.

Whilst certainly capable of providing the more country and jazz oriented tones that Gretschs first became famous for, the G2622 is undoubtedly

built for rock and roll. Its fast neck, midrange growl and sturdy construction make it the perfect tool for rhythm players looking for that Malcolm Young crunch, as well as lead players looking for a slick speed machine. Whilst subtle visual features like the white binding and a tortoise pickguard certainly bring an element of class to the table, the G2622 would still look right at home on stage with the most rowdiest of bands, especially in its Fireburst finish.

Finding your place in a mix can certainly be a challenge, but with this guitar I think I've finally found mine. There’s something about the semi-hollow construction of the G2622 combined with its powerful BT-3S pickups that really pushes through in any musical context.

It's an inspiring guitar to play and given its very modest price tag, I’m sure it will inspire many players across all skill levels to get excited about jumping on stage.

The best thing about finding the right instrument for you isn't just that it helps you find your place in a sonic context, it's that it helps you find your place as an artist. So for those on a quest for both tonal and personal discovery, here’s my advice: if you want to be heard, look to the midrange. If you want to be really heard, look to the Gretsch G2622 Streamliner.

BY CHRISTOPHER HOCKEY

PRODUCT REVIEWS

Ernie Ball Music Man Sabre HH Trem in Cobra Burst CMC MUSIC | RRP: ENQUIRE WITH YOUR LOCAL MUSIC MAN DEALER FOR PRICING

Ernie Ball has left an indelible mark on the music industry since its inception in 1962. The company was founded by Ernie Ball himself, a musician and entrepreneur with a passion for creating high-quality strings that could withstand the demands of professional musicians.

Ernie Ball's Slinky guitar strings, introduced in the 1960s, revolutionized the industry by offering a set of precisely gauged strings that appealed to guitarists seeking a customized feel and sound. This innovation quickly gained popularity among iconic musicians, including Eric Clapton and Jimmy Page, cementing Ernie Ball's reputation as a trailblazer.

Over the years, the company expanded its product line to include bass guitar strings, pedals, and other musical accessories.

Ernie Ball's commitment to innovation and quality has made it a staple in the music world, trusted by both amateur and professional musicians alike.

Music Man, a brand synonymous with precision and innovation in the musical instrument industry, was established in 1971 by Leo Fender, Forrest White, and Tom Walker. Building on Leo Fender's legendary contributions to the electric guitar, Music Man became renowned for crafting instruments that combined meticulous craftsmanship with cutting-edge design. And was eventually bought by Ernie Ball, bringing it into the fold in 1984.

One of Music Man's earliest successes was the StingRay bass, introduced in 1976. This groundbreaking instrument featured an active preamp

designed by Tom Walker and a unique humbucking pickup, setting a new standard for bass guitar tonality. The StingRay's popularity soared, solidifying Music Man's reputation as a pioneer in instrument technology.

In addition to bass guitars, Music Man expanded its product line to include electric guitars and amplifiers. The company's commitment to quality and innovation attracted the attention of prominent artists such as John Petrucci, Steve Morse, and Albert Lee, who collaborated with Music Man to create signature instruments that reflected their unique styles.

Continuing in the footsteps of their own legacy, Ernie Ball Music Man have introduced a new player to the game, the Sabre.

Featuring an Okuome body, thick maple top and sensational custom Music Man Humbuckers in a HH configuration, the Sabre delivers lively and dynamic sounds with striking clarity and excellent sustain. As fitting to its striking name, the Sabre has an equally striking aesthetic, with book-matched premium top and a contrasting natural binding against which the raw beauty of the flamed maple grain is perfectly highlighted. The body of the Sabre is slim and contoured with a slightly wider neck (1 11/16” at the nut) it is a highly playable guitar feeling as comfortable on the hands as it is confidence inspiring, responding brilliantly to the fingers, and set up really well out of the box. Speaking of the neck, it is a gorgeous piece of roasted maple and features 22 frets of Medium High-profile Stainless Steel, and brilliant feeling

Schaller M6-IND locking tuners.

The Sabre has a 5-way switch for pickup position which we will explore in further detail later, Tone and Volume pots and Music Man’s super smooth modern Tremolo, with a brilliant Push-in method of attachment. Music Man are correct in their statement, the Sabre really is “A Player’s Guitar.”

Touching on the body of the Sabre in closer detail, we find ourselves once again drawn to the glorious book matched Okuome (a heavy African Hardwood, notable for its sustainability), and the Flamed Maple top’s bindings are formed from the exposed edges in a very gently carved fashion. The roasted figured Maple neck is no slouch either, with the classic configuration of 4 and 2 for the tuners, this leaves the Sabre with a brilliantly compact headstock, and no need for string trees or strange angles due to the reasonably linear string angle beyond the compensated graphite nut.

The 5-way switch offers a great range of tones, with the neck position and bridge position being the respective humbucker in series, the second position is the outer coils of the humbuckers split and run parallel, and position 4 is the same, but the inner coils, and position 3 in the center, is both humbuckers in parallel. When using the positions 2 and 4 there is a pristine kind of retro tone, almost Strat-like on position 4, similar to a blended single coil position, but it still sounds very modern thanks to the custom wound-inhouse humbuckers. The low-mids are very present and the bottom end is glorious, while there is still a decent smattering of top end even with the tone wound a bit

back which I found to help a lot with lessening the muddiness and low mid confusion you can get with some higher gain tones. The output on the Sabre is brilliant, lending itself well to heavier genres, while still sounding superb on a clean channel.

From experience it is a little suspect to approach such a personal choice as a guitar with a pros and cons list (or maybe lack thereof cons)t, but I do have some things I want to mention as personal favorites. First of all, having fallen in love with the necks of StingRays from time immemorial the Sabre fails to disappoint, with a sensational waxed gunstock oil finish, having just the right amount of slide without getting sticky when you play for a while. The factory setup, with Ernie Ball Slinky 10-46 gauge strings is without a doubt in my top three best feeling setups out of the box, and the experience of the guitar being perfectly in tune with the fingers, is one that never gets old, it really is a serious piece of gear. My other favorite aspect of this guitar that I have come to expect from the premium Music Man creations is the ridiculous amount of sustain the Sabre draws out on a clean amp. While the price tag establishes Ernie Ball’s USA-made instruments as the top-tier, the Sabre is an excellent guitar that I would recommend for someone who wants a high build quality, excellent finish, and outstanding playability, that sounds killer in a clean environment and really comes to life in a heavier signal chain.

BY JOHN TUCKER

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PRODUCT REVIEWS

HeadRush Core ELECTRIC FACTORY | RRP: $1749

HeadRush is a relatively young company that emerged onto the music gear scene with a focus on revolutionising the way guitarists approach their sound. They gained prominence in the realm of digital effects and modelling processors.

The breakthrough moment came with the introduction of the HeadRush Pedalboard, a powerful and user-friendly multieffects processor. Launched in the mid-2010s, the Pedalboard quickly garnered attention for its innovative design and advanced capabilities. What set it apart was its intuitive touch screen interface, allowing musicians to navigate through a vast array of amp models, effects, and other soundshaping tools with unprecedented ease.

HeadRush aimed to address the needs of modern guitarists who sought versatility without the complexity of traditional pedalboard setups. The Pedalboard seamlessly integrated amp modelling and digital effects, enabling users to access a diverse palette of tones in a compact and portable format. This appealed to both seasoned professionals and bedroom musicians looking for a comprehensive solution for their tone-shaping needs.

In subsequent years, HeadRush expanded its product line to include variations and updates to the original Pedalboard, catering to a broader range of musicians.

One of the newer pedalboards that also has vocal processing is the Headrush Core.

“Containing a huge library of realistic and responsive guitar FX, amps, cabs and microphone emulations, the HeadRush Core provides virtually unlimited impulse response loading, and the ability to capture the sound of your own precious analogue gear

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sturdy and there are also labels on the ’apex’ of the top edge that allow you to see which port is which from the playing position rather than having to spin the unit around. with ‘smart cloning’ technology.

For the singers who need a complementary vocal processing unit, the Core also features a full suite of vocal FX including the industry-standard Antares AutoTune® and a best-in-class looper.”

As per the HeadRush blurb.

Following on from their latest release the HeadRush Prime, a competitor to the growing range of amplifier emulators, modellers and profilers available, the HeadRush Core is a slimmer, more affordable option. With an intuitive layout featuring five footswitches with very light action, and three rotary pots, it hides most of the power of the instrument under the Touch screen control on the centre, favouring a more minimalist and modern look.

The Headrush Core is also smaller than the Headrush Prime as they have opted to not use an onboard expression pedal to maximise portability, and with everyone having a preferred expression pedal it makes the same amount of sense to just have a dedicated expression input and cut down on both the size and the weight but also the complexity of the module, which I suspect has contributed to the significant price difference in comparison to the Headrush Prime.

It has all the expected features of a modern multi-effects unit, with a massive collection of modelled pedals, multiple different amps, and a whole suite of mics to explore, slated to recreate a vintage and boutique tone with “unprecedented accuracy”.

This is only one piece of the pie, however, as there has also been a lot of attention placed on vocalists as well. A powerful collection of vocal effects including Antares Auto-Tune and others, allow for excellent creative effects as well as providing a much more ‘Pro’ vocal for someone with a mobile rig. I could see this being especially useful for buskers through to wedding bands, to retain that polished sheen that can be so hard to achieve in a live environment.

The I/O suite extends across the entirety of the back of the Module, from right to left, we have an XLR/¼” combo as a mic input. I love that they have a dedicated knob on the back for mic gain, and a little 3.5mm stereo Aux. Continuing to along the I/O panel we have TS Guitar In and TRS External amp footswitch. The next two ¼”jacks are a dedicated Expression TRS jack and a TS Expression pedal Toe Switch Input. Next is an FX loop, with FX Send and FX Return on individual TRS quarter inch Jacks. Then we get to the Output section starting with 3.5mm stereo Phones Output, stereo quarter inch Outputs and Stereo XLR outputs.

Exciting features to see are a 5 pin MINI Input and a 5 pin MIDI Out/Through port. The final I/O are a USB A and USB B ports and a power input featuring power button and a handy little capture point intended for the power cable to protect it against accidental disconnections. In terms of I/O this is a comprehensive suite, and there is nothing obvious missing, all the ports feel very nice and

I particularly like the vocal aspects of the HeadRush Core as the presets include excellent creative ideas such as toggleable harmony pedals, and the way they respond to the voice is clean and satisfying.

In terms of customising a patch, it is as simple as dragging the pedal icons around on the touch screen to customise the order and style, it is then saved in internal storage.

Pedals can be assigned to one of the three centre footswitches with presets trending to use them as rhythm, lead and clean modes or having different modulation effects implying that the intended use is to toggle the different patches for different sections of the song. The bass patches sound excellent as well, and there are several bass specific pedals modelled on the HeadRush Core which was a pleasant surprise as the poor bass players are often neglected in the pedal department.

Overall, the Headrush Core nestles itself nicely between the more comprehensive Headrush Prime and smaller Headrush models, the Headrush Core provides a great choice, refining some features for increased portability, and a lower unit cost. In a comparison to its peers within the market, it fairs very well and is priced well below them. If you are in the market for a multi-effect pedal and think about laying something other than guitar through it a la vocals or bass or keys, you name it, it'll sound excellent through the HeadRush Core.

BY JOHN TUCKER

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jands.com.au

PRODUCT REVIEWS

Neumann MT 48 Audio Interface NEUMANN | RRP: $3549

A name synonymous with quality, German heavyweight Neumann have remained at the top of the audio industry for almost a century.

The brand has been long associated with the development of stellar high-end condenser microphones such as the U 47, U 67 and U 87.

With parent company Sennheiser acquiring Merging Technologies and integrating them with Neumann in mid-2022, many pondered the possibilities that this unification might lead to. Fast forward to 2023 and the answer can be found in the Neumann MT 48, a high-end 4-in and 8-out audio interface based on the foundation previously laid by the Anubis from Merging Technologies. Building upon this substructure, Neumann have implemented numerous tweaks to the unit’s hardware, UI and software design to make it their own.

The first thing I noticed while unboxing the Neumann MT 48 was its sturdy zip case, other accessories include the unit’s power supply “with handy wall adapters for the US, EU, Asia and thankfully Australia”. In addition to this, two USB C cables for Data and Power are included as well as an extra USB C to USB A cable for those requiring this method of connectivity.

The Neumann MT 48 itself leaves a fantastic first impression with its sturdy metal casing and substantial rotary dial. The dial itself manages to avoid the “plasticky” and fragile feeling that such hardware controls can sometimes be afflicted with, instead offering a firm and satisfying turn across its entire rotation. The additional buttons on the face of the unit do feel smooth and “spongey” when pressed, but ultimately do nothing to detract from the air of quality that exudes from the unit itself.

Speaking of buttons, the top of the Neumann MT 48 features a monitor mute control, two buttons dedicated to speaker and mix set

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selection, and two more buttons used as headphone selectors “all configurable natively or via Neumann’s desktop application”.

A built-in microphone is also situated on the unit's face which can be engaged by a handy talkback button. Lastly, a home button and generously sized LCD touch display are implemented in the design of the unit, rounding out its hardware UI. The MT 48’s rear panel boasts separate USB C plugs for power and data as for mobile use, the MT 48 may be used with a power bank (with a power delivery of at least 25 W) Accompanying these are Optical In and Out for ADAT or S/PDIF connectivity, an RJ-45 socket for AES67 connectivity or Ethernet power, and two more TRS connectors for MIDI I/O or use as general-purpose I/O. Two male XLRs make up the unit's main L/R outputs, and two TRS sockets form the secondary outputs for an additional set of speakers or line devices. Two female Neutrik XLR/1/4” TRS combo sockets provide the first two inputs into the interface, rounding out the back panel as a whole. The front panel of the Neumann MT 48 is refreshingly simple offering two additional ¼” TRS Hi-Z or line inputs, and two balanced outputs for headphone monitoring.

The first thing I did upon connecting the MT 48 to my computer and monitor array was listen to some music through it.

Cycling through a range of genres I was immediately impressed with the unit’s headphone amplifiers.

Testing a variety of headphones I found that the MT 48’s headphone amps brought forth a certain

degree of separation and clarity that made them a joy to use. Outside of the cans the MT 48 compared favourably against the resident audio interface in my project studio, coming out on top while referencing familiar material within my usual listening space.

The next thing on the agenda was to test the unit’s mic preamps which I did with a variety of source material including voice, direct guitar, mic’d guitar cabinet and some basic percussion. In all instances, the Neumann MT 48 left a glowing impression on me providing a clear and accurate reproduction of the source. Boasting up to 78dB of gain per channel, I was very pleased to note that there was next to no noise emanating from the unit for the duration in which I was using it, even with the preamp gain cranked or phantom power engaged.

During my time with the Neumann MT 48, I did notice that the unit tends to get rather warm. However, not once did I notice the unit's inbuilt cooling fans kick into gear to reduce the temperature of the unit, so it's safe to assume that this is normal, especially as the aluminium enclosure will act as a heatsink for the internal DSP. Regardless, this is worth noting that the fan operation is yet another tweakable feature within the unit settings so if a user were to encounter heat problems with their unit this could be easily addressed.

In particular, I must give praise to how intuitive the Neumann MT 48 is to use, I was able to locate and utilise any function I desired quickly and efficiently from adjusting the sample rate through to tweaking each parameter on the unit’s DSP effects or altering mix controls.

This enabled me to immediately set about making music instead of wasting time thumbing through PDF files and internet forums. I would even go as far as saying I found myself having fun with the MT 48 within a very short period, inspired to be creative instead of being bogged down by unnecessary complexities or forced learning curves.

Utility functions such as the adjustment of gain pots, and tweaking of other parameters are accessed via the touch screen which then gives finite adjustment via the rotary control on the face of the unit. The unit's LCD display is easy to read and the UI won't have you scratching your head while scrambling to find what you need during your session.

The MT 48’s four onboard mixers provide a plethora of options for both monitoring and output routing, combining this functionality with a bundle of onboard DSP effects including EQ, Dynamic Control and Reverb. Most of these effects can be utilised for monitoring or in tracking, printed onto your recorded tracks (or both simultaneously) and sound fantastic. As a unique feature, it is also possible to record the dry signal and the processed signal at the same time. In USB I/O Settings you can specify separate driver output channels for the dry and the processed signal. I feel that the only glaring omission from the unit's mainstay function is the inclusion of transport controls, however, many users would opt to attend to such matters within their DAW of choice regardless.

All in all, the MT 48 is a stellar debut for Neumann within the pro-level Audio Interface market, if this is a sign of things to come from the Berlin greats I am very eager to see where they go from here.

BY JAMIE COLIC

PRODUCT REVIEWS

Meris Mercury X STUDIO CONNECTIONS | RRP: $999

There are very few pedal companies that have explored the realms of time based effects like Meris have. The Californian pedal wizards and self-confessed sci-fi geeks have taken reverb into vastly unexplored territories or perhaps a more apt description being they “boldly go where no one has gone before.”

Having built Mercury 7 in both pedal and 500-series rack form factors, Meris proved their pedigree as both pedal and pro audio equipment masters, with their gear being lapped up by both the guitar and pro audio communities. According to Meris though, things are just getting started in their exploration of reverb, with their latest flagship pedal Mercury X designed to take us much, much further down the rabbit hole of reverberation exploration and needless to say, I was excited for the journey.

Mercury X can’t really be looked at as just a guitar pedal, but rather a modular reverb system with pro audio/studio heritage and usage in mind, with an incredibly advanced ARM processor at its core. Expanding on from the heart of what made Mercury 7 so special, Mercury X blasts into the stratosphere with 8 distinct reverb algorithms (or reverb structures as the folks at Meris refer to them), with the popular Ultraplate and Cathedra taken straight from of Mercury 7. Three reverb structures have also been extracted from the wildly popular CXM 1978 reverb pedal (a collaboration between pedal maestros Chase Bliss and Meris) and dropped into Mercury X which include the 78 Room (hifi), 78 Plate (hifi) and 78 Hall (hifi). The three brand new reverb structures rounding out Mercury X include Spring - Meris’ unique take on the classic Spring reverb, Prism - a dual tank structure allowing for the creation of wildly augmented and modulating reverbs and lastly

Gravity - which breaks down the reverb structure into individual grains for creating glorious pad like sounds - a splitting of the sonic atom. Aside from the reverb structures themselves, there are various preamp types, pitch types and filter types as well as a sophisticated gate section (yep gated reverb for days) to choose from for incredibly detailed sculpting of sounds within Mercury X. Each reverb structure is uniquely configurable with seemingly endless tweak-ability of parameters that go far beyond what’s readily available in most other reverb pedals in 2023. The four foot switches at the bottom of Mercury X are pretty straight forward and self explanatory - with buttons 1-3 engaging and bypassing the 99 available presets, split over 33 banks that are incredibly simple to navigate. Pressing foot switches three and four together engages the built-in tuner - effectively eliminates the need for a dedicated tuner pedal - hurray! The three LED buttons located above foot switches 1-3 replicate the behaviour of the switches - which is a nice touch for those not using Mercury X on the floor but perhaps in the studio or on a desktop.

The fourth foot switch engages and bypasses the Hold Modifier - an incredibly flexible feature of Mercury X for some seriously creative on the fly control. The modifier can function in multiple ways, accessing and engaging parts of Mercury X such as freeze mode (saying goodbye to another pedal), latching or momentary behaviour as well as control over tap tempo or reverb structure

parameters such as pitch control.

This paired with an expression pedal takes parameter control to otherworldly heights, the likes of which I’ve never seen on a single pedal before.

Two distinct displays are available on Mercury X being a more tradition text display, which conveniently shows adjustable parameters in the four corners of the screen for quick visual cues, or the more unique bubble display allows for scrolling through sections of chosen parameters on screen - which almost looks like a diving through a molecular structure, which I’m really into.

Connectivity of the Mercury X is plentiful, with true stereo separate input and output ¼” jacks with selectable line and synth level.

An expression pedal can be connected via a dedicated 1/4” jack also, as well as MIDI In/Out on 5-pin DIN. The USB-C port is for firmware updates only and only drawing a modest 300mA of power Mercury X is easily powered by a 9VDC centre-negative PSU. The seven knobs on Mercury X are each dedicated to specific tasks, making navigating parameters, scrolling through menus or on the fly changes to presets fast and intuitive. Whilst the Decay and Mix knobs are self explanatory, and the C1, C2 and C3 control knobs each respectively corresponding to parameters displayed on screen, the Predelay and Mod knobs are a bit more interesting.

With a total of 2.54 seconds of pre delay available on Mercury X, plus selectable subdivisions per side (it’s stereo), the Predelay section actually becomes a very

sophisticated stereo delay all of its own. This goes further with the Mod knob working in conjunction with this element, adjusting the modulation depth for the Predelay of a particular reverb type. These two knobs expand even further when any of the new modulation Processing Elements are used in a preset. Effects such as 79 Chorus, Vibrato, Vowel Mod, Tremolo, Hazy Lo-Fi plus others take the possibilities of Mercury X’s overall sounds into completely new territory, but not (I’ll say it) in a boring multi-effects kind of way, this functionality is far more interactive and modular in its workflow - with each effect and selected parameter adjustable to uniquely affect another - creating super wide stereo modulated reverbs with augmented delay lines jumping throughout cavernous spaces child’s play. In other words, a sound designer's utopia.

What I particularly enjoyed about Mercury X is the ability to build a breathtaking and otherworldly reverb patch in seemingly record time, and what would normally require a handful of additional pedals or plugins (with some written automation no less) is easily handled with Mercury X. The interactivity of the available parameters within each reverb structure is genius and I felt this had been meticulously considered by the designers. The range of sounds available from subtle rooms, squishy spring reverb tanks right through to completely inter-dimensional sci-fi delight is nothing short of inspired, which makes this masterful pedal suitable to such a wide ranges of users.

Guitarists, engineers, producers, sound designers, the list goes on.

And it’s that gift giving time of year, just saying…

BY ANDY LLOYD RUSSELL

MIXDOWNMAG.COM.AU

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PRODUCT REVIEWS

sE Arena Drum Mic Kit SOUND AND MUSIC | RRP: $2709.99

Audio is all about perspective and make no mistake extends to our equipment choices as well.

Figuring out the tools required to do the job your way, can take an audio professional years to hone, especially given the amount of experience required to make a truly informed decision. With the near endless options and opinions available, it can be a never ending pursuit, overhauling hardware and equipment choices in order to find the holy grail.

Nowhere is this more prevalent than in drum micing-optimising mic choices to suit individual pieces of the kit and positions in the open air. Make no mistake, piecing together mic choices to place around a drum kit, be it for live sound reinforcement or a studio recording session can be a tough slog, with the number of required mics often getting into double figures when all is said and done. Whilst most won’t be in an immediate position to pick and choose individual mics for this task, be it a limited budget or hands on experience with different pieces, a microphone pack from one brand has been a tried and true way to get things going quickly and affordably. sE microphones are a brand who always have a knack for suitability straight out of the box, and their cornerstone drum offering, the V Pack Arena, continues this lineage.

While most drum mic packs will have one prized piece, offset by a bunch of cheaper or less known mics, the V Pack Arena is strength from end-to-end.

What’s immediately clear is just how purpose built each offering

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is across the pack. That might seem like a painfully obvious thing to say, but there’s nothing more satisfying than throwing up a mic onto an instrument such as a kick drum, turning up the mic gain, pushing up the fader and thinking “now, that sounds like a kick drum.” I really can’t say that for every mic I’ve ever personally setup or heard through a PA or studio monitor - you’d be surprised at some of the surgery required to get things in the ballpark. Not so with any of the mics tested in the V pack.

The V Pack Arena is sE Electronics flagship drum mic pack, with two others in the range being the V Pack Club and V Pack Venue. All packs include the V Kick, V7X, and at least two V Beat mics and as each packs name suggests, enough bases will be covered for their intended use and size of venue they’re likely to find use in. The Arena pack however has the full range of mics available including two of the rather lovely sE8 small diaphragm condensers, which sit immediately below the flagship RN17 (made in collaboration with the late, great Rupert Neve) in the SDC (small diaphragm condenser) range.

The sE8’s provide superb detail, lightning fast transient response as well as incredibly high dynamic range (up to 146dB with pad) and SPL handling (up to 159dB with pad), all whilst being whisper

quiet in operation.

The integrated attenuation pads of -10dB or -20dB and low cut filter options of 80Hz or 160Hz make for a pair of incredibly versatile microphones.

Perfectly matched for use as overheads or a dedicated hi-hat mic, they are also equally at home on acoustic guitars, piano, strings and more. A true workhorse of the stage and studio.

Being part of the V range of microphones, the V Kick shares the same technologies and features as its siblings the V7 and V7X, including the specialised aluminium voice coil. Its custom DMC8 SB capsule is custom tuned to accurately capturing even the lowest, loudest sound sources making it a perfect match for kick drum obviously, but also bass cabinets or a thunderous floor tom if that’s what the vibe requires, and being incredibly compact, it can nestle its way in and around a drum kit rather comfortably. Its transient response is impeccably clear and detailed, with a smooth and natural midrange. The four switchable tuning options make the V Kick that much more versatile than other low frequency focused microphones without immediately needing to reach for an EQ. The V7X, like its sibling the V7 enjoys an innovative design, specifically its aluminium voice coil. Its supercardioid polar pattern does stand up work on rejecting unwanted sound sources, such as a hi hat when placed on snare drum bleeding into the mic. Tailored for a

wide range capture, the V7X’s tonal balance produces plenty of bottom end reinforcement (fantastic for snare drums) with a balanced midrange (definitely not spiky) and a crisp, detailed top end. The subtle bump ranging from 1.5kHz right through to around 15kHz brings forwardness to sound sources that speak in this range, helping them come forward slightly in the mix without sounding peaky or too aggressive.

An absolute live stage and studio killer.

Lastly, the V Beats are a tom’s best friend, enjoying the same sonic benefits of the V7X, but in a compact drum friendly package.

Natural, full and incredibly robust, I never felt like the V Beat’s would peril with an accidental stick hit to the grille or body, instead I was more worried for the stick. Their supercardioid polar pattern rejects unwanted sound amazingly well and that aluminium voice coil again, just does something rather special.

The V Pack Arena was everything I could have hoped for from sE Electronics, with each mic serving their intended sound source with distinct purpose and immediacy, but with enough versatility to open this mic pack up onto other instruments on a live stage or in a studio session if required - which is only but a good thing. Whilst not the cheapest mic pack on the market, it absolutely delivers bang for buck and I’d happily take this as my only drum mic kit to a gig or studio session without batting an eyelid.

BY ANDY LLOYD RUSSELL

PRODUCT REVIEWS

Kali Audio IN-UNF Ultra Nearfield monitors NATIONAL AUDIO SYSTEM | RRP: $1299

For years I have struggled with a close-range monitoring option for use on a small desk I like to use with my laptop. The larger desk, with the 32-channel mixing console was always housed in a space that allowed for a couple of pairs of good size nearfield monitors to be employed. But in my office, where I usually write and often edit, the desk does not allow for this. I’ve been through all manner of compact monitor speakers over the years, and really only endured tinny sound, booming false bass or rattling resonance. And stereo image is not a phrase I would associate with this space. Well, all that is about to change. Let me introduce you to the solution that we have all been after in a compact mixing space, the Kali Audio IN-UNF. This is the “Ultra Near Field” monitor system that you’ve probably been looking for yourself!

So, what exactly is the IN-UNF, and how is it going to solve your monitoring issues in a small workspace? Well, essentially this is a subwoofer and satellite speaker system, but it has been very cleverly designed to maximize the environmental constraints of a narrow desktop surface.

Normally, we’d expect not only a decent amount of space between our monitors and our listening position, but also, a good amount of space behind the desk too.

This is rarely an option in a home recording or mixing environment.

So, the IN-UNF system has been designed to work specifically in this space.

The two satellite speakers are a coaxial design, with the 1-inch tweeter sitting in the centre of a

4-inch midrange driver. These are housed in a compact, spherical casing that sits snuggly in a rubber cup mount, on the desktop. You can then angle the speakers to fire precisely towards your listening position, no matter where you have them set up on the desk.

They have been designed for peak performance at about 80cm, or about arm’s distance. Which, if you’re sitting at your computer now, and stretch your arms out to either side of the screen, will give you an idea of just how close they are designed to operate.

The large unit at the rear acts as the amplifier housing, DSP engine, DAC and subwoofer. It has a lot going on, and we’ll talk about the connectivity in a moment, but first, let's look at the speakers housed in there and how it is designed to be set up.

With two 4.5-inch woofers, this unit delivers the bottom end that is needed for close range monitoring. These two speakers are horizontally opposed, so their vibrations essentially cancel each other out. The result is a subwoofer box that pushes air, but doesn’t vibrate itself. This is ideal, given that it’s intended to sit up on the desk between the two satellite speakers, and you don’t want to introduce unwanted vibrations into the desk surface. Given that it doesn’t offer unwanted resonance, there are several ways in which it can be placed on the desk. It can be stood up behind a computer monitor, or right behind a laptop, or it can be laid flat and used as a riser for your monitor, if you so wish. The design of the housing and the speaker orientation

allows for this unit to sit under a computer monitor and not cause vibrations at listening levels up to 85dB. Obviously, like any speaker, if you really give it some gas, it is going to move into the realms of harmonic distortion and the housing is going to want to vibrate too. That said, given that the INUNF system isn’t intended to be used as a PA system, you really shouldn’t find yourself needing it that loud. The close listening position allows for ample volume without excessive levels.

The whole unit has been tuned to work with the desktop as an environmental factor. It works with close walls to the rear, and even close walls to both sides of the desk, taking into account the desktop surface too. With the speakers right on the surface, the reflections from the desk are greatly reduced as compared to a traditional raised nearfield monitor setup, but it does still have an effect on the low frequency response. To counter this, there is a series of DIP switches that allows you to alter the settings for your room and listening position.

Scanning the QR code next to the DIP switches will link your through to the webpage with all the options to match your IN-UNF system to your room.

In setting up your IN-UNF system, power is run to the subwoofer unit, as too are all the audio connections. Inputs are offered on balanced TRS connectors for use with a mixing desk (which you won’t have space for in such a small setup) or, more likely, an audio interface. A 3.5mm stereo jack input is offered for

use with devices that only have a headphone output. An optical input is also available, which could be used if setting the system up with a small digital television as a monitor. Further to this, and rather excitingly, a USB-C connection is offered for direct digital connection to your PC or Mac laptop. The IN-UNF acts as a DAC (digital to analog converter) and takes audio directly from your laptop without the need for an external audio interface, when you just want high quality audio monitoring from your mixing and editing software. The speakers are connected with solid banana plug terminated speaker cables, so it would be easy enough to extend these if you had to place the speakers at a wider distance.

Overall, this is a very clever system that really takes into account all the problems of nearfield monitoring in compact workspaces. The stereo spread is excellent, and the detail in the sound is far better than what you’d expect from such a small system. This really is a standout product that is going to change how many of us monitor and mix at home. Put the headphones aside and allow the sound to open up and be free, no matter how small your workspace. Seriously, I am impressed. Well done Kali Audio!

BY ROB GEE

MIXDOWNMAG.COM.AU

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PRODUCT REVIEWS

Alto Professional Busker portable PA speaker ELECTRIC FACTORY | RRP: $699

With the plethora of new battery powered PA speakers hitting the market within the last five years, it’s refreshing to see a reputable brand such as Alto Professional offering something both high quality and affordable for the midtier market.

Alto have built a solid reputation in the entry level to mid-tier PA category offering great bang for buck in their respective lines of PA speakers. The latest offering in the brand's portable PA range is the Busker, a compact yet robustly powerful 200-watt speaker system. Pumping a maximum 106dB SPL from its 6.5” woofer and 1” tweeter with a frequency response of 60Hz - 20kHz, the Busker caters to a wide variety of potential uses. Ranging from (as you’d likely have guessed) buskers through to gym instructors, events such as weddings (catering for live music performances, celebrants during ceremony and even the DJ), small venue or cafe style gigs and education use - ideal for sports carnivals and alike, the Busker is unassumingly versatile.

The well featured three channel mixer is incredibly simple to operate and offers a plethora of connectivity, with combo XLR/1/4” jack inputs on channels 1 and 2 and a 3.5mm jack and Bluetooth connectivity on channel 3, as well as a link button - used for connecting to a second Alto speaker wirelessly. Channel one is easily switchable between mic and line level sources, whilst channel two can switch between instrument and line level signals.

As for outputs, an XLR mix out connector is available for physically connecting Busker to another speaker, and the RCA outputs are ideal for capturing performances to an external recording device.

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The USB-A connector allows for devices such as phones, tablets and alike to be conveniently changed, a great feature found on the Alto portable PA range.

Visual feedback on the mixer is wonderfully immediate, with LED’s clearly indicating battery life as well as the speaker use status. Options include being used with a subwoofer, when it is pole mounted, monitor oriented or used via the Alto app. With each channel on the mixer providing rotary encoders for controlling volume, the speaker use section also cleverly doubles up as a LED indicator of individual channel volume, with each channel LED illuminating red to indicate which channel’s volume is being display - a nice feature for quick visual feedback without the need to open up the app (more on this shortly).

The effects section of the mixer features Alesis DSP processing and is rather packed with numerous effects to choose from. Control of FX to channels 1 and 2 is simple with a rotary encoder controlling more or less of the chosen effect to that channel. Effects range from reverbs (including, rooms, halls and plates), two delay options, modulation (chorus and flanger), a rotary setting and two combined chorus and room sounds. In my

testing these effects were really quite good, suitable for a wide variety of gigs and performance styles.

Whilst not Alto’s first battery powered PA speaker, the Busker introduces some rather nifty new features not seen on their other portable PA models. One such feature is the introduction of the Alto Professional app, compatible with iOS and Android devices.

Whilst some of these types of apps can be a little clunky, I found the Alto app to be very intuitive to use and easy to navigate.

There’s the expected control over volume for all channels, speaker mode selection, FX volume and mute and controlling the stereo link mode. The EQ section is well featured with a high, mid and low gain available for each of the three input channels, with a +- 6dB range. The master EQ section offers a lot more control with a fully parametric six band EQ available for board or narrow EQ adjustments. Settings can then be saved and stored if required.

The battery life of Busker is solid, being stated to offer up to 90 hours in ECO mode, up to 30 hours in standard mode, with up to 24 hours of playtime when in Eco mode - with this mode taking the peak power down to 50-watts.

Total charge time is 12 hours.

I was immediately impressed when firing up the Busker for testing. It struck straight away with its overall sound, which is pretty substantial for a speaker of its modest size.

I found it to be voiced rather nicely, providing a full sound with punchy bottom end and great top end detail. Both live instruments and streamed playback sounded natural, full and clear with plenty of definition, requiring no additional processing in my tests - very much a plug and play design that actually works! The ease of use of the mixer made getting sounds going incredibly quick and easy, making me more than confident to take it out to a gig or an event myself or to be used by anyone else - secure in the knowledge that it both sounds great and is wildly easy to use.

The new Alto Busker portable PA speaker strikes the balance of connectivity and simplicity, with a feature set that covers all the bases for a speaker of this type.

Not only does it sound great but is easy to use straight off the bat and, for those that want to dive a little deeper the Alto app offers that extra bit of control. Its ability to be orientated both vertically (floor standing or pole mounted), tilted horizontally (with the rotatable Alto logo to match), used in conjunction with a sub or paired to another Alto speaker makes the Busker equally as versatile as it is elegantly simple to use. Offering great bang for buck as expected with Alto Professional, the Busker is absolutely worth a look for those in the market for an affordable, portable battery powered PA speaker.

BY ANDY LLOYD-RUSSELL

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MY RIG COSMIC PSYCHOS WORDS BY LEWIS NOKE EDWARDS

Cosmic Psychos have been doin’ it since the early 80s and have informed a generation of Australian punk, rock and a raucous good time. Over the years, it’s no surprise that they’ve settled into some key pieces of gear to perform and record, their sound becoming instantly recognisable. We know our dear readers wanna know, so we asked ’em!

What is the year of manufacture is/are the basses and is it a specific model? When and where did you buy the main one?

The original was a 1967 Fender P and the new one is a Dark Knight Fender P bass. It was the bass nobody wanted to buy, discontinued.

Fender hooked me up with that one.

How was working with Kink Pedals on the Dozer Fuzz?

That was unreal. It’s my main backup if the other one ever lets me down. Love it. I was surprised how perfectly it replicated it. We named it the D13 - the biggest bulldozer Caterpillar ever made was a D11, so we went up a couple of sizes for the pedal.

Macka: have you got a favourite guitar to use with the Psychos?

Thanks for taking the time guys! Let’s start with Knighty: you’ve got a unique fuzzy bass tone. What are you using to achieve it?

2022 Gretsch Malcolm Young copy with a single TV Jones pickup. The signature has been taken off the headstock.

A fuzz pedal I bought in high school. A Shin-ei companion fuzz wah.

What amps do you pair this with? Is it the same amp all the time or does it depend on the guitar?

How and where did you buy this pedal?

I bought it from an op shop in Kyneton (my hometown) in 1978.

Why this tone?

'Cos it is the sound that came out if it, and I can’t play guitar. I like it. It sounds like a sick tractor.

Has it ever let you down?

No but I’ve let it down several times. There’s not many left around so any time we find one we buy a backup!

You’ve played P-Basses almost exclusively for a while now. Have you got multiple or are you usually playing the same one?

Just got a new one. Played the same one for 33 years but have a new one now. 'Cos its a bit lighter and I'm an old man.

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Generally I use Marshall JCM 800 head x 2 with Marshall 1960A cabinets I have used several amps also including Fender Hotrods a Marshall Major JCM 200 watt (really fuckin’ loud!!!)

Yamaha 212 and 112 and also Sound City 50 and 100 watt heads. Cabinet of choice is generally a Marshall 1960 A or a 1960 B setup on milk crates so I can hear it properly!!

Is there one bit of gear that never leaves your side?

Fender Stratocaster 1979 in Brown guitar similar to the one used by Larissa Strickland in Laughing Hyenas. The only time it leaves my side is when it is transported.

I checked it out on guitar nerd sites and it seems known as the worst Strat ever made. It was made in the CBS factory.

Are you using pedals as well? If so - what and why?

I use a Big Muff black box version: a Jim Dunlop CryBaby and an analog delay pedal the name of which escapes me.

What has led you to the guitars you’re playing today?

I have used guitars with humbuckers and with single coil pickups. I generally find that if I am playing in a band I use guitars with humbuckers and if on the odd occasion I play in solo mode I use guitars with single coil pickups. I have probably used up to a dozen guitars over the years and it has just sort of morphed this way.

In order these are the guitars I have played: Charvel Jackson Strat, Gibson SG, Fender Mustang, Gibson The Paul, Gibson Explorer, Ibanez Roadstar 11 Series, Fender Stratocaster 1979, Gibson SG, Gretsch Malcolm Young copy MIJ. Have you experimented a lot and found a home with them or did you naturally gravitate towards them and never deviate?

There has been some experimentation with all of this but it has gravitated towards happening through trial and error generally on the stage from gig to gig. Cheers Macka.

This is the first amp that I have been able to use exclusively. In the past I always had to use a combination of amps at once to get my desired tone, now I am able to just use this amp!

- Mark Tremonti

MT 100 Channels: Power Rating: Power Tubes: Preamp Tubes:

Three - Clean, Overdrive, & Lead 100 Watts Four - 6L6GC Eight - 12AX7

Also, check out the PRS SE Guitar Promo.

Ending soon.

Front Panel Lead & Overdrive Channel: Clean Channel:

Presence, Master Volume, Treble, Middle, Bass, Gain Presence, Master Volume, Treble, Middle, Bass, Volume

Rear Panel Inlet: H.T. (B+) Fuse: Effects Loop: Extension Speaker Jacks: Ohm Switching: Bias: Footswitch Jack: Included:

Fused Power Inlet (IEC) Screwdriver Accessible Series, Tube Driven Three Two 8 ohm (parallel), One 16 ohm, ¼” Jack Socket Adjustable with Monitoring 8-pin DIN 3-Button Footswitch (Channel Selection)

PRS Guitars are proudly distributed by Electric Factory Pty Ltd 51 Northgate Drive Thomastown VIC 3074 prsguitars@elfa.com.au