the Next Gen of the genre
AUSTRALIA'S VOICE IN MUSIC AND AUDIO EQUIPMENT SINCE 1993 #333
Effects & Processing Special, First Look: Oberheim TEO-5, WIN: ROLI Seaboard RISE 2
Reviewed: Allen & Heath CQ-12T PRS MT 100 Amplifer Head, Electro-Voice EVERSE 12 + more
“My dream was to have a Stratocaster ® . I loved it from the beginning. Buddy Holly played one. Hank Marvin played one. That was enough for me.”
DAVID GILMOUR
Forever Ahead Of Its Time
Australia is the Tasmania of the world, but that isn’t necessarily a bad thing. I say this after coming back from a brief stint in Los Angeles, spending time in some of the most high profile studios around. Sure the budgets are bigger, the access is greater and the general sense of optimism is eerily high, but in terms of raw engineering skills and the talent of the people on either side of the glass, we are right up there with anyone and I say that with 100% sincerity.
While our location may feel like an inhibiting factor, the logistical realities that come with committing oneself to a solitary pursuit like audio engineering in one of the most isolated corners of the globe is probably
more of a blessing than it is a curse. You learn to do more with less, honing in on technique rather than equipment. You break it down to the nuts and bolts and improvise where you have to. Give me a reamp box with a gain control and a tube amp of some description and I’ll get you a Fairchild sound (or a wrecked appraisal of one).
That’s not a curse, that's resistance training.
Carpe Per Diem,
The Editor.
Win one of six Lewitt microphones!
Perfect for the stage or studio, the MTP 250 DM is a handheld solution from our friends at Lewitt microphones.
For those of you who do not know of Lewitt microphones, you must have been under a rock over the last few years. These Austrian designed microphones are starting to show up more and more and their take on classic designs with a new pitch is really proving to work. The MTP250DM is, as the name suggests, a dynamic microphone and is designed for vocal applications on stage. So, it is primarily designed to be used as a hand-held microphone, but surprisingly it features a smaller than usual handle section with a longer cage around the capsule.
To celebrate the arrival of ROLI into Australia, we’re giving away one of the flagship Seaboard RISE 2 keyboards!
Discover infinite possibilities with
Seaboard RISE 2, a keyboard designed for limitless exploration of sound. Re-engineered from the multi-award-winning original to be more intuitive and powerful than ever before, RISE 2 is the new pinnacle of musical expression.
Play with confidence on a tactile, continuous 49-key surface designed for complete selfexpression. More accessible to keyboard players than ever before, the Keywave2 design refines the revolutionary shape of the original Seaboard surface with wider keys and honed edges. Embossed ridges let you accurately feel every key — and feel your music.
Hearing protection is as important as ever for musicians, but a lot of players struggled with the isolated feeling, wishing they could hear more of the stage while still protecting their hearing. Enter the Minuendo LIVE 17dB earplugs that have adjustable attenuation.
Minuendo earplugs protect your ears from loud sound without compromising on quality or comfort. Perfect for musicians, DJs, clubbing, festivals, concert-goers, and anyone who loves LIVE music. No electronics or battery needed.
For lucky Mixdown readers, we have four pairs to give away!
ROLI | ROLI.COM
The full range of ROLI products, including the new Seaboard RISE 2, are now available in Australia, directly through ROLI themselves. Innovation is the mother of creation, and the ROLI Seaboard RISE 2 does exactly that. Expanding on the original Seaboard itself, the Seaboard RISE 2 tied together tactile, creative expression and creation.
Besides their hardware, ROLI’s products integrate with their own range of software, including Equator2 and ROLI Studio.
Ernie Ball now shipping Glow In the Dark Flex
CMC MUSIC AUSTRALIA | CMCMUSIC.COM.AU
Designed to add a luminous touch to your playing experience, Ernie Ball Glow-in-the-Dark Flex cables elevate your performance with a glow-in-the-dark PVC jacket along with high-quality components that are built to last. This single conductor design provides crystal clear tone, and extra flex for easy coiling. Flex cables utilize 95% shielding to reject unwanted noise and preserve your signal, and the durable PVC jacket exterior ensures lasting performance.
CMC MUSIC AUSTRALIA |
CMCMUSIC.COM.AU
Markbass have expanded their affordable Black Line range of combos to include the CMB 151. The CMB151 Black Line is a 150W combo with a custom 15” speaker. The perfect choice when you need the right sound and power for jams or gigging.
Like the 10” CMB 101 and 12” CMB 121, the CMB 151 features a headphone output, and an aux input for mixing your bass sound with external media - letting you practice anywhere, anytime.
ELECTRIC FACTORY | ELFA.COM.AU
Introducing view customisation, improved library, and browser layout in Engine DJ’s 4.0 update. Engine DJ, a leading innovator in DJ technology, announces the release of Engine DJ 4.0, the latest version of its DJ performance software. Engine DJ 4.0 introduces an array of new features and enhancements designed to elevate the DJing experience, providing greater customisation, improved workflows, and enhanced performance capabilities.
CMC MUSIC AUSTRALIA | CMCMUSIC.COM.AU
The NAVIGATOR F1 bass provides a remarkable sound expected from a premium bass, enhanced by our proprietary Markbass electronics that provide the clearest frequencies for a truly powerful sound – simple, intuitive and effective even on extreme settings and without volume changes when switching from passive to active and vice-versa. The P and HB Markbass pickups and their position, were chosen to give large tonal options, from a P split coil punch to a fat tone of the humbucker at bridge, splittable in single coil for more J style tones and everything in-between.
ELECTRIC FACTORY | ELFA.COM.AU
Designed from the ground up to rival David Grissom’s favourite vintage amps, the PRS Guitars DGT 15 is rich with character and feels alive under your fingers.
The PRS Guitars DGT 15 is designed with several highly functional tone-sculpting features to maintain balance and articulation through its many unique settings. Starting with a 3-band TMB (treble, middle, bass) tone stack, the DGT 15 also includes a 3-position bright switch, boost, reverb, top cut, and presence front-panel controls.
Mic system
NEUMANN | NEUMANN.COM/EN-AU/ With ultra-low self-noise of 23 dBA and an extremely high maximum sound level of 153 dB SPL, the KK 14 delivers perfect results from both very quiet and very loud instruments. The titanium housing is road tough and protects the more sensitive parts for years to come.
The MCM System includes interchangeable cable options with 3.5 mm jack, Lemo, 4-pin mini-XLR, and MicroDot connectors – no adapter needed.
CMC MUSIC AUSTRALIA | CMCMUSIC.COM.AU
A boldly innovative guitar design, the Majesty marks a crowning achievement in collaboration between Sterling by Music Man and John Petrucci. Now more accessible than ever , the Majesty is available in Ernie Ball’s Sterling range.
A guitar built for total control, comfort, and stability –the Majesty features a modern tremolo, rosewood fingerboard, and locking tuners. Available in 6 and 7 string formats. Finishes for 2024 include Chalk Grey (CGR), Siberian Sapphire (SSP), Arctic Dream (ADR).
Made for Live-Streaming
Stream your PC with the Loopback function
Plug-and-Play Connectivity
Connect to your Windows PC, Mac, smartphone or tablet
Designed as a live-streaming USB audio mixer, the AT-UMX3 is the perfect tool for streamers and podcasters who are looking for a simple and reliable solution that delivers high-quality, professional results.
Dedicated Instrument Inputs
Directly connect your guitars, basses and keyboards
Engineered for Audio-Technica Microphones
Optimised mic pre-amp for the 20 Series
Scan to learn more about the AT-UMX3
Discover three of the most exceptional audio showrooms ever seen in Australia: The Acoustics Room, The Mastering Room, and The Studio Room. These spaces showcase the very best of high-end audio equipment from legendary brands such as API, Dangerous Audio, Empirical Labs, Flock Audio, Grace Design, Manley Labs, Maselec, Prism Audio, Rupert Neve, SPL, Solid State Logic, and Universal Audio. Impeccably designed and acoustically treated, each of our three showrooms feature the exceptional range of ATC Studio Monitors for the ultimate in accurate sound reproduction.
Secure your demonstration today for an unparalleled hands-on experience!
ordioproductions.com.au
21-23 August 2024
Experience the future of AV firsthand at Integrate 2024
Explore the frontiers of intelligent AV innovation, where AI powered products, real-time video analysis, intelligent displays, and advanced recognition technologies are revolutionising immersive experiences. Discover the evolution of smart buildings, digital signage, cutting-edge audio, and how faster networks are reshaping AV content interaction.
Witness the transformative power of AV at Integrate, Australia’s premier AV technology showcase, from August 21-23 at the ICC Sydney.
“Our whole career has been experimenting and it got to a point for me where I wanted to be the heaviest catchiest band around.”
Oli Sykes is relaxed.
Sitting in a hotel room in Zurich, he calmly talks about how beautiful the surrounds will be for his band's upcoming headline performance at Switzerland’s Greenfields Festival.
“It’s like Lord of the Rings - on the drive to the stage there's waterfalls coming off mountains and all that.”
Never mind the fact that his band are headlining a bill above the likes of Machine Head, Dropkick Murphys and Sum 41, and sharing top billing with Green Day and The Prodigy - it’s all about view!
It’s this down-to-earthiness - not often associated with Bring Me The Horizon (BMTH)that has seen both Sykes and his band become the biggest, and arguably most important guitar band in popular music right now.
Having gone from deathcore brats to the metalcore kids that could, to an out-and-about pop rock band, the return to blast beats, double kicks and doom riffing heard on their latest release Post Human: NeX GEn has sent the metal AND popular music world into overdrive.
Suddenly, Bring Me The Horizon is one of the coolest and most forward-thinking bands in the world - a ludicrous statement at the turn of the last decades.
“We’ve come so far since we played festivals that intense - we’re very lucky that we can do that, but also BBC Big Weekend, and get a big reaction from both,” Oli said, speaking to Mixdown.
“We got asked a few weeks ago bluntly‘Rock is not popular - why is your band popular?’ - and a lot of it has been hard work and we’ve had a bit of luck over the last few years.”
“But there are other factors - for example, the TikTok thing (the band's seminal hit Can You Feel My Heart blew up on the platform in 2021 nearly doubling their online reach) … whatever you feel for that platform, for us getting our music out to a whole new generation of kids who maybe haven’t been exposed to emotional music on that level has been amazing.”
Having gone firmly into pop realms in the last few years - going as far as to record a song alongside Ed Sheeran in 2022 - it was both a thrill and a surprise to hear the band return to lean in so heavily on their metallic side on NeX GEn.
While the pop hooks were certainly there“Lost” and “Top 10 Statues That Cried Blood” are some of the most anthemic songs you’ll hear all year - the album was spattered with blast beats, the return of Oli’s trademark deathcore roar, and even a guitar solo to make Kirk Hammet throw a bony devil sign on “Kool-Aid”.
The album is a reminder that at their heart, Bring Me The Horizon is still a heavy band, albeit one that Oli wants to be the “catchiest ever”.
“Where a lot of artists go wrong is when they try and pander to the audience, or they double down on what everyone hates - it's two of the most common routes that an artist takes,” he said.
“They do an album no one likes, think ‘fuck you we’re doing it again’, and they’ll go and write what they thought made them big in the first place.
“There are ideas of what those records will sound like but they’ll probably change by the time we get to them and there’s more to explore with this record.”
“A lot of bands listen to their egos, and it's easy - when you're in the haze of it all, it's really easy to just be high on our own supply.
“Our whole career has been experimenting and it got to a point for me where I wanted to be the heaviest catchiest band around.
“We wanted to be the heaviest pop band, but for that to happen we had to learn how to write pop music, how to write song structures properly - it’s a lot harder for me to write a pop song than to write a metal song.
“To break all the rules you first have to learn them all - we learnt them all and then thought ‘ok how do we apply that to metal music without watering it down’.”
It’s sound advice - but Oli is quick to clarify that they learnt this lesson the hard way.
“There was a point where we did water that stuff down because the allure of becoming a big band was there and that came out of nowhere! No one was saying we would be the next headliners at festivals, but then suddenly there were!
“In the past, I’ve been upset by criticismbecause I’ve thought ‘yeah… they’re right’.
“Even for example when we used to get pissed on stage and play sloppy - I would be upset by that, but people had a point there - we could barely play our instruments.”
NeX GEn then is an album were BMTH rediscovered how to be the metal band they wanted to be - but to do so, they had to also know what they wanted to avoid.
“There was a time that I felt like metal was just stale - this was after Sempiternal, and I didn’t know where to take things - I looked instead to pop, electronica, other stuff that I was into - that paved the way for us to be able to come back and make heavy music in a way that felt fresh and exciting.
“I love heavy music - I mean this with no disrespect, but I can’t listen to a metal record anymore that's just blast beats and breakdowns.
“That’s like watching a film of just fight scenes with no story - those heavy parts for us are our fight scenes, but the rest of the songs, the structure and the melodies, those are the things that hopefully hook you in and make you give a fuck about the breakdown.”
“Having a polished rock record was always a dream of mine - we’ve always struggled with producers and we always were a bit disappointed with how things turned out.
“When Jordan (Jordan Fish, keyboards and producer who left at the end of last year) came into the band, we were able to achieve that polished record goal - especially with That’s The Spirit and Amo, but after that, we were bored of it and ready to rough it up again.”
NeX GEn has been a long time coming for BMTH.
With six singles, multiple legs of global touring and a delay of almost a year, the dripfeed nature of the release broke the traditional album-cycle convention.
That hasn’t mattered for the band at all though. Just several months ago they completed a sold-out arena tour of Australia, with a majority of the setlist made up of new material, all of which was eagerly received by fans young and old.
However, NeX GEn is just part 2 of a 4 part series.
What was meant to be four EPs quickly turned into a mini album (Survival Horror), and a celebrated full-length. Can we expect two more full-lengths in quick time?
“We have no idea when that last record of the series will come,” he admits.
“There’s bits and bobs and ways we want to take it, but for me to finish a song - that final 10 per cent takes fucking ages.
“There are ideas of what those records will sound like but they’ll probably change by the time we get to them and there’s more to explore with this record - there’s so much we wrote and so much didn’t make the cut, and it would be good for those to come out in some way.
“We’re going to be in NeX GEn for quite a while - the fourth one might change completely.”
After several years of (minor) turbulence, BMTH are set to enjoy their time in the sun.
However, as is the nature of things, with their brand now firmly established across both the metal markets and the world of TikTok and 24/7 social media, it’s hard to imagine them sitting on new material for long - such are the demands of the 2020s.
For now, though, they have those Swiss mountains to enjoy.
Bring Me The Horizon’s awesome new album, POST HUMAN: NeX GEn is available now on all digital platforms and physical release is out September 27 via RCA/Sony Music Australia.
Northlane are no strangers to doing things their own way. Having exploded onto the national scene just over ten years ago, then the international scene shortly after that, their sound had them as early adopters of things like the Axe FX systems, using them to create new and unique layers of ambience and texture underneath bombastic, energetic riffs and rhythms.
Jon Deiley, the primary songwriter in the band has spent years chasing the sounds he hears in his head, often just writing without intention to see what comes out—regardless of whether it ends up serving Northlane or not.
While it’s all good and well to build up big walls of sound, these still need to be played live, and for that, Jon has decided to use Ableton’s Push 3 hardware to do it! We chat writing, performing and his decision to work with the Push 3.
Jon, thanks for taking the time. Northlane has always paved their own way sonically - what inspires this?
I've always just enjoyed the song writing process while being curious when it comes to exploring sounds and ideas. There are a million ways to solve these musical puzzles and sometimes if the initial idea is great it will lead the way and sometimes it’s stumbling across a sound on a synthesizer that pulls the whole thing into a different direction. I like my writing sessions to be pretty free form until the song basically pokes its head out, then I'll set up rules based on whatever type of song it's trying to be. Inspiration usually comes from a feeling that I have at any given time, and sometimes these feelings last months or even years that sort of subtly shape things that I'm working on.
How does a typical Northlane song begin? Riffs, loops, sequencers or are you jamming in a room etc.?
When I sit down to make some music it's not always for Northlane, I like to keep things loose, which means I have an ever growing folder of 'side project' stuff and sometimes those projects become Northlane songs. Usually I'm just chasing a vibe which reflects that feeling of inspiration. I'll start on atmosphere usually, so synths and anything with delay and reverb to set a tone and I will gravitate towards my Oberheim OB-6 and eurorack modules like Beads or Morphagene for that. Then I might abandon that for the time being and just move on to a groove, which technically is riffs, but could be on any instrument, synths, guitars, loops. I love using sequencers to suggest other ideas and just being hands on with the riff itself, love the Metropolis from Intellijel for that. Honestly, this part of the process is fun but it's exhausting. It feels a lot like throwing paint at a wall to see what slowly emerges. I will have every instrument that I'm using at the moment, broken down into individual outputs that go to my Apogee Symphony MKII, running Ableton Live, and I will just be recording everything and multiple iterations of the same idea while I play with knobs. Then on a different day with a different side of my brain active, go in and listen objectively and start moving stuff around and try and make some arranging happen.
How has that workflow evolved since Discoveries or Singularity?
Since Discoveries, I stopped using guitar pro tabs to write music. At the time that served me really well, sweating over the perfect combination of numbers to bring my ideas to life but just before I started writing Singularity, I decided it was more natural to write into the computer with the guitar in hand. Less thinking, just hit record and go, kind of like with the synths, immediacy is crucial I find.
Have you personally always pulled influence from electronic music?
Yes definitely. I feel like when you're a kid, you absorb so much subconsciously and growing up in the 90's there was definitely a lot of amazing rock/nu-metal, but there was also SO much awesome electronic pop and house music on the radio. I just didn't really know what to make of it and appreciate it until later in life (around 24 yrs old) where you find yourself still humming melodies and making sounds that remind you of that time.
The Ableton Push 3 seems to have created a solution to additional sounds in your live set. Why the Push 3?
I'm a big believer in user interface and experience is everything. If I don't love the way the instrument looks and feels I won't use it. I just sold something actually that I bought for its sound but navigating around it was such a chore it didn't get used. I used the Push and Push 2 with Northlane as well and the Push 3 is just a remarkable expansion on what was already great. I love that I can have all my controls per function laid out on that LED screen and that I can change the colours of individual pads so that on stage in the moment I can easily recall visually patterns of pads that I've arranged. In general though, it just feels comforting taking what is my bread and butter DAW out on stage with me.
More explicitly, how is the Push 3 being used?
Because a lot of what I do involves recording external gear, when it comes to performing live I usually use Push 3 standalone in its sampler and sampler instruments, occasionally having to recreate a synth I’ve made with one of Ableton's instruments like Operator or Drift and playing melodies live using the MPE pads. [My] approach to doing all of this is printing out the idea through my external gear note by note, or sometimes summing notes together into one pad, and that allows me to still kind of play chords. For example, when I go to play my chord of 5 or so notes on the Push, it might be a total of 3 pads that make up the chord, and when I press them they're not always going to be played exactly at the same time which allows a human element to poke through. We also play to a click track, which means we can have audio in time with what we are playing sent to the Push 3's inputs and I can manipulate it Live which is fun. Then outputs from Push 3 to the mixing desk and out to the club’s speakers.
Thanks for taking the time! As a closer, what does the future of Northlane look like musically?
Our latest EP Mirror's Edge felt a little like a back to basics, in that the electronic elements took a back seat allowing the band to do more, but the stuff we are writing at the moment is heavily electronic. I would love to do some type of immersive or Dolby Atmos style experience with Northlane! Who's got the contact? ;)
Driving out of Hollywood and on to the 505 Highway, it all starts to make sense. The palm trees, the subtle nods to 50’s car culture, the Spanish place names, the combination of urban sprawl offset by a stunning coastline-it’s been there all along staring us straight in the face.
As an Australian who up until this point, had never been to California, it is easy to be detached from the inherently Californian origins of the Fender brand and the various ways this has seeped into the company's culture and overall aesthetic. I mean, the ubiquitousness of the Fender brand name abroad and its contributions to music history in the international sense is enough that it is easy to gloss over how intimately connected the story of Fender is with this particular locale.
To us non-Americans, Fender is simply the world's guitar. One visit to Fender’s manufacturing facility in sunny Corona, CA and all of these profoundly west coast influences start to coagulate in real time.
“As a native Californian it's definitely meaningful to share something that feels like our culture with the whole world.” explains Master Builder Andy Hicks.
“Fender is a world renowned brand, and yet I can still say I work for a local guitar builder and both can be true.” he chuckles, with a breezy demeanour that echoes his Californian roots.
As I peruse the factory floor, a heavy set gentleman with slicked back hair and an Orange County punk t-shirt gives me a knowing nod as he begins to
buff a guitar body fresh from the paint room, before sending it off to the next stage in Fender's very hands-on assembly line.
The body he is working on will eventually come to comprise the bulk of a Fender Stratocaster guitar, Fender’s most iconic release of all (and who’s 70th anniversary is the reason the world's media have descended upon the Corona factory at this time.)
Designed by the legendary Leo Fender himself and named after the impending space race, the Stratocaster is for many, the high watermark for guitar design in the modern context, a prime example of a company landing on such a unique and perfectly executed piece of ingenuity that it is still yet to be bettered, some 70 years after its initial inception.
“To put it simply-it’s the best guitar that’s ever been designed” remarks Andy, when quizzed as to why he believes the Stratocaster holds such an important reverence amongst luthiers and guitar players alike.
“With the Telecaster and then the Stratocaster, It was like Leo invented Baseball and then his first two at bats were home runs.” he remarks, simultaneously testing my baseball knowledge to its limits.
Suffice to say, as a concept, the Stratocaster was aeons ahead of its time, with its ergonomic and undulating body contour (taking stylistic cues from the Copenhagen school of boatbuilding no less), 3-way pickup system and revolutionary vibrato bridge taking it into previously uncharted territory. This wasn’t just a small step beyond its predecessor. This was a giant leap for guitar making, across the board.
“The body is quite simply the most comfortable guitar shape ever created.” notes Hicks, before adding “Every guitar that has come since has tried to emulate the feel of the Stratocaster body.”
While Fender himself knew the significance of what he had created, it took the general public a little longer to fully grasp exactly what they were looking at. As the 50’s gave way to the 60’s however, Leo’s futuristic endeavour finally took its rightful place as the world's most popular guitar, due in no part to the Strat finding its way into the hands of many of the defining guitarists of the era-Hendrix, Clapton, Harrison etc
It was this recognisability that took Fender and the Stratocaster global, making it the icon it is today, transcending geographical barriers and becoming the guitar of choice for a plethora of regional music scenes and sub-genres around the world. Fender CEO, Andy Mooney explains:
“Growing up in Scotland, I always associated the Strat with the British Hard Rockers, Ritchie Blackmore and people like that,” he recalls.
“It’s actually quite interesting to think. Back when I was living in the UK, I would have put Jack Daniel’s and Harley Davidson in the American camp, but I would never have put Fender in that same camp, simply because of its association with the British Rockers and the Scottish musicians I was seeing locally.”
“To me, that was Fender. It was always universal.”
Fender’s Corona factory is a long way from Mooney’s native Scotland (and even further from my Australia), and as I sit back and watch our friend with the Orange County punk shirt expertly buff out any imperfections on the already stellar finish, Mooney’s words really start to hit home.
When something has the kind of international reach and reputation as an American made Strat, the smallest details take on a weight far beyond that of your average assembly line product. There is a larger narrative at play. You aren’t just making a guitar in a cultural vacuum, rather you’ve been handed the relay baton and now your job is to preserve this legacy as best as you can, which of course can only be done through extreme attention to detail and strict quality control.
This permeates throughout the Fender camp from top to bottom. From the various Directors and Master Builders, through to the guy cutting the fret wire—there is a real sense of pride and accountability amongst all the employees that work here, knowing that these guitars will be representing Fender (and by extension, California) on the world stage.
Seeing these specialised skill sets in practice, one can’t help but liken it to another very Californian pursuit, that of custom car culture and pinstriping. The attention to detail and technical ability of these master craftspeople is something to behold and this extends to every part of the process, from the painters and component manufacturers in the main factory, right through to legendary Custom Shop pickup winder Josefina Campos, who’s angelic demeanour and remarkable technical ability have seen her become a cult hero in the world of custom guitar electronics.
It is people like this who have all contributed to the enduring legacy of the Strat, in the same way that Leo Fender and the players themselves have all played their part in ensuring that this specific guitar, from this specific place, has a meaning and reverence far beyond a couple of pieces of wood and some shiny hardware. It’s a legacy 70 years in the making, which only seems to get stronger the more fingerprints are on it.
The award winning Oberheim TEO-5 really is something to gawk at. While the concept of being ‘award-winning’ is nothing new to Oberheim, who’ve built a legacy on decades of innovation, the TEO-5 ties a lot of this up into a practical, easy-to-use package.
Oberheim started in the late ‘60s and is responsible for the DMX drum machine in the ‘80s, OB-1 synthesizer in the ‘70s and then somewhat more recently, the OB-12 in 2000.
The TEO-5 is a polysynth with more features than, as us Australians like to put it, you can poke a stick at. TEO stands for Thomas Elroy Oberheim, Oberheim’s founder. With decades of technological advances under their belt, Oberheim were often at the cutting edge of synthesis, the TEO-5 finally allowing Oberheim to feature everything they’ve ever wanted.
The TEO-5 is multiple famous synths distilled into one, featuring technology found in the OB-X, Four Voice, and TVS synths. Combining vintage warmth and modern technology, the TEO-5 might be the last synth you ever need… but we both know our shopping lists will keep growing regardless.
At its core, the TEO-5 features a 3.5-octave, 44-key premium-quality Fatar keyboard, and it is important to note that these are velocity sensitive as well for additional expression, feel and musicality. Independent MIDI In, Out
and Thru jacks allow connectivity to and from external sources if you need it. Audio outputs are available, with independent left and right channels (unbalanced) as well as a stereo headphone jack and additional ¼” jacks for Footswitch and Pedal connectivity. Onboard storage features 256 factory programs with additional space for 256 custom user programs.
Sonics aside, the TEO-5 also includes a 64-step polyphonic sequencer to be used as either your rhythms to support your lead lines, or to further accentuate and augment your chords, solos and more!
What helps set the TEO-5 apart is their understanding that the grit, drive and push of a real analogue vintage synthesizer is often what we’re looking for! For that reason, the Master volume of the whole unit is accompanied by a global Overdrive knob to drive the synth’s sound if needed.
The LFO Panel offers both a Mono and Poly option, each having five selectable wave shapes via depressing the little buttons without your chosen wave. Punching the Sync button syncs the filters to tempo!
In use, the TEO-5 is, maybe unsurprisingly, very musical for something that packs so much under the hood. Some synths have a lot on offer, though their workflow can be convoluted. Convoluted the TEO-5 is not, and with clear labelling you’re able to make music in seconds, and easily tweakable to your heart’s content. You might find yourself reaching for the Overdrive as it toes the line between gritty and warm, and never harsh like some can be. Best of all, save your sounds and toggled between 16 banks or the
individual Program Selector buttons to directly select a program.
Sonically, easily switch between classic 80s and synth wave style sounds and huge sine pads, or—pardon the pun—sawing leads. Combine them with simultaneously selectable wave shapes. Add effects to your sounds like Reverb, Delay or a vintage Phasor and Ring Modulations emulations. These effects are global!
Thanks to digital advancements, the depth of sound is huge, sub lows and sparkling highs being available via the direct outs on the back of the unit. Speaking further to the depth, the keyboard can be programmed into split mode, allowing you to split one half to an even lower octave while you continue noodling above!
‘Mixing’ the oscillators is accessed by selecting the oscillator and adjusting its level via the ‘Value’ button near the main Control panel, allowing you to blend together different oscillators at different levels for total control, with three shapes available per oscillator.
All in all, the TEO-5 encapsulates some of the best features that Oberheim are known for, in a practical, well thought and easy to use box. The TEO-5 itself is well built, robust enough to be giged with as well as trusted as a studio workhorse. Making noise is quick, fast and easy, and deep diving into the menus allow you to tweak as much or little as you might like.
In a word, the TEO-5 is practical. It contains everything you need, everything you’d want from an Oberheim, and then some, while doing away with some of the more convoluted processing and minutiae that some synths fall victim to. At its core, weighted, velocity sensitive keys make for a great playing experience, all of that bolstered by great sounds, easy save and recall, as well as plenty of preset sounds to get you started!
Connectivity is easy, again with all you need and nothing you don’t, making the TEO-5 a great solution as a standalone piece or when external MIDI is provided. Oberheim’s legacy is obviously in safe hands, both of the player and the builders of instruments as great as the TEO-5.
Look:
Vintage gear is often seen as automatically better, just because it has a history behind it. For some, it holds true; sometimes you really just can’t get that “warmth” from anything but the real deal.. right? Maybe that ‘58 Les Paul doesn’t actually have to cost that much, and your vintage Fuzz Face might not actually be what you think it is, but what we do know for sure is that the market for all things vintage is growing, and our wallets are only getting lighter.
In comes Warm Audio. Those who know, know, but anyone not in the loop must be kidding themselves. Warm Audio has made a bit of a name for themselves over the past 10 odd years, pioneers of audio recreation, wizards that meticulously attempt to reconstruct and capture that lightning in a bottle that we associate with vintage mojo, but at prices that won’t cost you all your belongings.
Known for stellar clones of some of the most revered proaudio gear, Warm Audio are now offering up two new additions to their fleet of high-end microphones, the WA-44 and the WA-19. While nothing new, their “no corners cut” approach to the cloning provides gear-heads and engineers alike with the piece of mind that they’re getting the same vintage tone in modern digs.
The WA-44 is an homage to (a clone of) the legendary RCA 44BX ribbon-microphone, one of the single most coveted pieces of gear in any studio’s arsenal. Finding its way into a whole manner of iconic recording sessions, this mic was favoured by the likes of Elvis Presley, Ella Fitzgerald, Jeff Tweedy, Frank Sinatra, Johnny Cash and many, many more. Big shoes to fill, and Warm Audio’s ambitious tribute hopes to fill them out in spades.
The first thing that becomes obvious is just how weighty this microphone feels in the hands. It’s a real monster, coming in at nearly three kilograms, courtesy of its gargantuan, true-to-size neodymium magnet designed to capture the nuances and detail that lives in the mid-range. Combined with a custom
Made-in-Japan ribbon that’s 99.1% aluminium and 2.5 microns thick, as well as a USA-made Cinemag transformer, prepare yourselves for a gooey, syrupy tonal experience sure to tame any unruly high-end that troubles your mix. Complete with a rugged metal exterior that’s sure to take whatever beating it may receive, as well as a nifty embroidered mic sock that’s guaranteed to keep your new best friend in the studio nice and toasty, the WA-44 feels like a genuine, high-end ribbon-microphone, mojo present or not.
An incredibly versatile bit of kit, the WA-44 has a sonic footprint that’s easily recognisable, the mic sets out to retain the warm tonal character of the RCA 44, excelling in capturing loud audio sources, in turn preserving the mids and bass (and an excellent proximity effect), while softening the high-end, perfect for making those de-essers and LPFs that we so rely on obsolete. Its figure-eight polar configuration makes the WA-44 an excellent bi-directional mic as well, picking up signal received on the left and right sides of the microphone, or the front and back, the ideal choice for handling all of your recording needs.
The WA-19 may be the little brother of the two, but make no mistake, this little mic can certainly run with the big boys. A faithful recreation of what has been dubbed “the Ringo Mic”, the WA-19 is Warm Audio’s own AKG D-19 variant with a few new bells and whistles. A more budget friendly offering, the WA-19 offers functionality aplenty, being a microphone that blurs the line between more traditional dynamic and condenser microphones.
The construction itself is pretty standard upon first inspection, but very quickly the WA-19’s unique features begin to make themselves known. A sleek, all metal casing and a double layered headbasket keep the internals tucked away and safe, with ventilated slots in the casing down the sides of the microphone designed to reduce proximity effect and keep bass frequencies more or less consistent at all distances, much like the “Variable-D” system found on other microphones
Warm Audio state the WA-19 has a hand assembled dynamic cardioid humbucking capsule at the helm of the beast that aims to utilise both the innate critical noise rejection of a dynamic microphone, while retaining the top-end clarity associated with condenser microphones, all the while reducing the overall noise floor. Additionally, the WA-19 features a unique “variable acoustic high-pass filter ring” that adjusts that modifies the resonant chamber behind the transducer, capable of reducing up to 10dB at 50Hz, a solution to the possible phase issues that can be accrued through preamp filtering.
The real question here is, how does it stack up against the real thing? The long-winded answer is: does it really matter? While vintage gear can sometimes sound better than modern stuff, going to great lengths to recreate it opens up the floor to further debate, and vintage gear can’t compete with the reliability of modern kit!
It may tickle the nostalgia centre of the brain seeing these old designs have new life breathed into them, but at the same time, at what cost? Will it ever really be the same? These microphones do an amazing job of emulating their inspirations, and capturing the source they’re aimed at… or not if you’re micing off-axis!
The Miniature Clip Microphone system (MCM) delivers true Neumann sound on stage for wired and wireless operation. Flexible mounting options, fully modular, ultra durable.
TAKE YOUR LIVE EXPERIENCE TO A NEW LEVEL.
Every once in a while someone elevates an idea just a little further than anywhere it’s been before. Innovation is the mother of creation, and ROLI’s Seaboard RISE 2 does exactly that. Expanding on the original Seaboard itself, the Seaboard Rise 2 tied together tactile, creative expression and a creation classic: the MIDI keyboard.
ROLI are an innovative company at their core. In their own words, the Seaboard is the newest thing to happen to the keyboard world since the piano superseded the harpsichord. Where MIDI keyboards traditionally used separate joysticks, toggle bars, sensor pads and pedals to add expression capabilities to MIDI hardware, the original Seaboard combined all of this. Silicone ‘keys’ offer notes at different intervals, while the touchsensitive pads allow for expression like vibrato, sliding and more on the keys themselves.
The ROLI Seaboard Rise 2 connects via either USB-C or TRS MIDI, cables included for both, as well as MIDI over Bluetooth. Once connected you’ve got access to the
Seaboard Rise 2’s unique, tactile control, including options to Strike, Press, Glide, Slide and Lift notes and other parameters depending on your settings and preferences. The Seaboard Rise 2 has tactile, continuous keys for sliding and shifting between notes, the Rise 2 features wider keys and honed edges for more space for creation and better accuracy when playing. In use, the Seaboard Rise 2 couldn’t be easier to use. It connects easily, allowing you to use it quickly and start creating. The silicon pads take a moment to adjust to, but only if you’re expecting the ROLI Seaboard RISE to act and operate like a standard keyboard; it does so much more.
While the traditional keys and intervals are available, touching different parts of the silicon pads provide different sounds, and adjust different parameters effecting the resulting note (or combination of!)
Freeing yourself from the constraints of typical scales, keys and intervals, the Seaboard RISE 2 reality comes into its own, allowing you to create in a whole new way. There’s something fleeting about naivety, as ignorance is bliss, and the Seaboard RISE 2 allows you to shed your habits and return to that child-like bliss of making music for the first time. It really is something special, a familiar layout reimagined in a whole new way.
The Seaboard Rise 2, in addition to Ableton Live Lite, includes software ROLI Studio, Equator2 and ROLI Dashboard; their software to assign, program and adjust different parameters of every control on the ROLI Seaboard Rise 2.
As if all this weren’t enough, the ROLI Seaboard RISE comes with ROLI’s Equator2 Hybrid synthesizer. Also available as a stand-alone application, as well as a VST3 and AU unit with your DAW, the Equator2 has over 1400 presets, 500+ of which are MPE compatible.
The ‘hybrid’ in the synth’s title refers to its ability to handle different forms of synthesis, from wavetable, granular, virtual analogue, FM and more. Equator2 is also hybrid in the sense that it incorporates both acoustic and electric instruments, allowing you to meld and morph the sound together for entirely new creations.
Adjusting these parameters is split into easy to understand Synth, Routing and Effects pages, Routing allowing you to decide and customise where each of the filters and oscillators goes and how they affect parameters down the track, while the Synth page
While built for the Seaboard RISE 2, Equator2 works as a standalone download with other (less expressive, tactile and forwardthinking) controllers. A powerful browser allows you to select sounds as a starting point before diving into the limitless capabilities of the Equator2.
The ROLI Seaboard Rise 2 serves a few purposes for different people. Keen, experienced keyboard players will feel at home on the 49-key set-up, while less experienced players need not feel overwhelmed as the Seaboard Rise 2 doesn’t need to be used like a traditional keyboard.
Combining conventional keys with some of the most forwardthinking technology in the industry, the Seaboard Rise 2 innovates on even ROLI’s own original Seaboard. There’s something special about what the Seaboard RISE 2 invokes in the player, a sense of wonder and creation in the purest sense.
The very first wireless system I ever used in a live situation was an early model Shure. That was quite some time ago, and I could not tell you the name of the system.
But I can remember the ease of use and surprising quality of transmission it delivered, which was a lifesaver as it was added onto a system we were installing hours before an event and we had no product manual to reference, nor did we have Google in our pockets in those days. Since then, I have used, sold and reviewed countless numbers of Shure wireless systems, comfortable in the knowledge that they would deliver, and do it with as little fuss as possible. That's why, whenever I see a new Shure wireless system come across my desk, it’s inspected with confidence in the product, and intrigued in what they have brought to the party this time.
That brings us full circle, to the next stage in Shure’s commitment to making the world a more wirelessly communicative place. Let me introduce you to the MXW neXt 2 system. This is the simple solution to tackle the issue of microphone
setups for conferencing, training classes, lecture halls and office presentations. For a long time, these areas have been a nightmare of poor choices microphone setups, and always required someone to have to piece together a puzzle box of equipment that really shouldn’t be all in the one location. I’ve seen it time and time again, and am glad to say it can all be taken care of now with one simple solution. Yes, I can hear many a network technician out there breathing a collective sigh of relief as your job of trying to be the sound engineer has just been normalized into one desktop unit. You can thank Shure for that!
The MXW neXt 2 offers a range of possibilities, with the base unit acting as a charger and receiver for two wireless devices. These are dropped in the cradles on top to charge when not in use, with fully charged transmitters offering up to 28 hours of continuous use. Yes, you can literally talk all day and not
interfacing with a computer or video conferencing setup and then, as a fallback, there are analogue audio inputs and outputs supplied on threepin balance block connections. This may give the more musically inclined users some mild anxiety at first, but fear not. They offer a versatile solution for integration into any setup. This allows you to wire your required cables onto block adaptors to seamlessly connect the MXW neXt 2 to any audio device without the need for a host of adaptors and extension cables. I love a tidy wiring solution, especially when it’s at the heart of a wireless system. The irony of messy cabling amongst a wireless system!
run out of juice. As is always the case with Shure wireless systems, a range of transmitters is offered here. Four different handheld options are available including both the SM58 and BETA58 capsules, as it wouldn’t be a Shure system without them. There’s a bodypack unit that can be used with both lavalier and head worn microphones and, perfect for conference room use, there’s the addition of a boundary microphone unit as well. The multi framed bays in the base unit allow for all three styles of transmitter to be docked for charging and syncing, so one base can work with whatever configuration of transmitters suits you need. Can I say, I was happily surprised to see the boundary microphone option included in this system, as that is often overlooked and yet it is a crucial element in meeting room audio capture. Good call from the team at Shure for offering that!
Let’s take a closer look at what’s on offer in the base unit, as that is how this really differs from a lot of the wireless systems many of you will be used to using. We’re not talking about a typical wireless receiver intended to be connected to a mixing console en route to a front of house system. The MXW neXt 2 is intended for a different workspace, and will find itself in an environment where perhaps a PA is not even an option, but rather network connections to recording and broadcast devices. Think about board meetings, specialty classrooms, gallery installations and other ‘out of the box’ situations that could call for the need of wireless microphones. So, the MXWAPXD2 receiver is built around the idea of integrating with a network setup. You have dual RJ45 ports for Dante systems, USB-C connections for
Then, with this compact base unit set up, you can control all the elements of your audio with the MXW neXt Control Software that is available as a download from Shure. This software is hosted from a web server that is embedded in the base unit and talks to your computer via the Ethernet connection. Once installed, you can control a whole host of elements, with a fully audio mixer for input channels, output channels, direct channels, and an auto mixer to take care of automated functions like Gates and other onboard DSP effects.
Audio can then be routed into recording, streaming or video conferencing software of your choice, or output to a hardware speaker or mixing system. Everything can be stored with multiple setups for different configurations and spaces, making it easy to recall when moving the MXW neXt 2 from system to system.
I think it is safe to say that Shure have taken the stress out of conference room microphones. This system has been very well engineered to ensure ease of use and fast initialisation. With a growing number of situations in today’s business and educational systems that require unique audio applications, Shure have really got it together with the MXW next 2 systems. The only thing you really need to worry about is, what are your choice of transmitters going to be?
First Look:
Cast your mind a few years back in the second decade of the 17th century.
An Armenian alchemist in Constantinople is soon to discover the true secrets of cymbal making, creating such fine tuned expressive instruments brimming with unparalleled clarity and sustain, it will go on to change the world of cymbal making forever. After this discovery, Avedis I is given the family name Zildjian (literally meaning cymbal maker) by the Sultan of the Ottoman Empire and in 1623, the first Zildjian cymbal foundry is born.
From such humble beginnings, the sacred Zildjian cymbal formula has now passed down fifteen generations, still to this day is a tight knit family secret, uttered only between a select few. But for a musical instrument company spanning over 400 years, steeped in the family tradition of cymbal making, the recent announcement of an entirely new product line, the ALCHEM-E Series of Electronic
gone to extreme lengths to preserve the experience of this acoustic phenomenon. Thankfully Zildjian had a bit of a head start in crafting their new electronic cymbals, with their existing line of low volume cymbalsthe L80 range being an integral leg up when it came to piecing together the ALCHEM-E range.
Being metal in composition - a first for the world of electronic drums which up until now have predominantly been rubber pads or similar, the new Zildjian ALCHEM-E cymbals are almost a little too good to be true, nailing not only the feel, size and sound but splitting this across the three zones of the cymbals for a distinctly different feel and sound whether playing the bell, bow or edge, which brings me onto the samples themselves.
MIDI I/O, 3.5mm aux input as well as USB-C for firmware updates etc. as well as a USB-A connection and Bluetooth connectivity.
Drum Kits is indeed the hot topic - at least in the drumming community.
Anyone with even a remote understanding of electronic drums will understand there have always been certain limitations in the inherent design of these instruments with one specific element being particularly difficult to replicate convincingly: cymbals. Aside from the obvious physical challenges of making a cymbal suitable for an electronic drum kit, a la quiet yet touch sensitive, weighted yet sized not too small, accurately replicating the sound of an acoustic cymbal is no small feat, with near endless amounts of nuance and feel associated with these thin, musical sheets of metal.
Being the cymbal making pioneers that they are, Zildjian knew all eyes and ears would be on their approach to cymbals, and they certainly didn't disappoint, having
Having played numerous electronic kits myself over the years ranging from basic entry level right through to absolute top tier flagship models, it’s the cymbals that always seemed to suffer in their ability to produce a three-dimensional sound and experience, at least by comparison to the pads and drum and percussion sounds in any given module. Hearing various crash, ride or hi-hat cymbal sounds (with the hi-hats having the ability to accurately splash with the foot pedal - within the E VAULT module is truly inspiring, giving that classic Zildjian sparkle and sheen, without sounding like a bunch of the same samples with a handful of different velocity’s all pre configured and stacked atop each other. Over 100 cymbals can be chosen from right off the bat, with each of the three kits available in the range all sporting the same fully featured ZEV1 module. The variety of parameters at one's disposal for adjusting sensitively, moving around of sounds in connected pads and cymbals is just the tip of the iceberg and is kind of crazy - with too much to mention properly in one article. Paired with a plethora of preset kits and massive sounding drums to boot, not one of the new ALCHEM-E kits is left feeling a little lacklustre in the sounds or features department. The choice of RJ45 ethernet style connectors for the cymbals is very much a deliberate (and clever one I might add), providing plenty of data transfer juice, as well as being lockable for a more secure connection.
The connectivity of the ZEV1 module is huge - absolutely crucial and ideal for both studio recording and live performance scenarios. Six TRS 1/4” are available for pads and there are 6 RJ45 inputs for the cymbals. In addition to the main LR mix out, 8 additional TRS 1/4” line outputs are available as well as
I mentioned three models and they each bring something unique to the table. The Compact ALCHEM-E Bronze EX is a 5 piece 18” kick, 2x 10” toms and 12” floor, 14” snare with 14” hats and 16” and 18” cymbals, sporting single head toms. The matte black wrap is awesome, poplar/ basswood hybrid shell composition plus the ZEV1 module. With included hardware of two cymbal boom stands, three tom mounts and module stand. The included accessories are surprisingly well thought out with a USB flash drive, module mounting plate, cleaning cloth, kick drum pillow and hoop protector, 2x kick drum head patches and a pair of Zildjian ALCHEM-E sticks all included. The ALCHEM-E Gold is a four piece set. Available in the gorgeous Black Gold Foundry Shimmer Gloss Lacquer finish - modelled from the floor of the Zildjian factory, which is speckled with cymbal floss - The ALCHEM-E Gold kit is a genuine 7-ply American Maple shell pack in a 18” kick, 10” rack and 14” floor toms and 14” snare configuration which are all full sized shells with batter and resonant heads. Sporting full sized 14” hats, 16” and 20” cymbals this kit is a true hybrid, with the ability to swap out drum heads and use these gorgeous shells as a traditional acoustic kit. The Flagship ALCHEM-E Gold EX is a five piece beast set in Black Gold Foundry Shimmer Gloss Lacquer finish. Full sized shells of 20” kick, 10” and 12” rack toms,14” floor and 14” snare with 14” hats, and 16”, 18” and 20” cymbals too boot, this flagship kit is absolutely brimming with hardware and looks the absolute part both in studio and live stage settings.
From a musical instrument brand spanning a history of over four centuries, it should come as no surprise that Zildjian’s completely new ALCHEM-E product line not only pushes the bounds of the existing market of electronic drums in as a whole but is genuinely redefining what a hybrid drum setup can look like. Filling the gap of where the majority of other electronic kits fall short, the ALCHEM-E cymbals are truly inspired. Not only sounding incredible with their wealth of available sounds from the E-VAULT but they also provide the genuine feel of cymbals, an enormous feat in the world of e-drums. With this line marking the beginning of a new venture for Zildjian, who knows what other product innovations lay ahead, but for now we’re incredibly excited to see these new electronic kits settling into the studio and live environments for all to enjoy.
Pratley Guitars have made their home on the picturesque Gold Coast on Australia’s east coast. With a devotion to Australian tonewoods and a unique take on guitar design, Pratley Guitars’ Martin Pratley took the time to dive into his own ethos, workflow and inspirations.
Played by musicians like Steph Strings, Josh Teskey and John Butler, Pratley are redefining the Australian guitar landscape as we know it.
Martin, thanks for taking the time with Mixdown. Pratley Guitars has built up a reputation for world-class guitars. What inspired you to start your own company? It all began with a passion for acoustic guitars and the creative process of crafting them. I was intrigued by how a simple piece of wood could be transformed into something that comes alive in the hands of a musician. After making a couple of guitars, I started getting inquiries to make or modify instruments, and in 2002, I received some media attention for a new guitar design I created. This experience opened my eyes to a whole new way of life as a guitar maker. By 2004, I had officially founded Pratley Guitars, marking the start of my dedicated journey in this craft.
Can you break down your journey to being at a point where you could start Pratley Guitars?
I've always been fascinated by how things work and come together. My father, who was a builder with a background in joinery, inspired me from a young age. In high school, I did well in wood class, and that success fuelled my passion even more. I’ve always admired well-crafted wooden furniture and tools, whether it’s the feel of a wooden baseball bat or the beautiful woodgrain of an antique dining table.
Being a guitar player with a deep love for music, it felt natural to combine these two strong interests. My skills in design and furniture making, along with my ear for tone, provided the perfect foundation for becoming a guitar maker.
What makes your guitars so special?
Our guitars stand out because of the extensive design innovation I've invested in them over the years. I wasn’t satisfied with making acoustic guitars the conventional way, which often led to common issues. I aimed to create a more stable, great-feeling guitar with a rich tone that embodies our unique design, rather than merely replicating others. If you were to pick two main points it would be our bracing design and our neck joint/cutaway design.
What is Pratley’s ‘unmistakable character’?
The character of our guitars aligns with our mission statement: to produce world-class instruments with unique design and character while maintaining a classic appeal that will endure. I design our guitars to function better, but I try to make sure not to lose the style and timeless beauty of a classic acoustic guitar.
You’re very committed to Australian Tonewoods. Why is that?
I'm drawn to Australian tone-woods because they offer a fresh and distinctive option in the world of lutherie. Their unique qualities, including tone, appearance, and availability, make them particularly appealing. Additionally, I take pride in supporting local materials and showcasing the craftsmanship of our region. In contrast to the
widespread importation of tone-woods by many guitar companies, we primarily source our wood from Queensland, emphasising sustainability and a connection to our local environment.
How do you think your experience building stomp boxes influences your work building guitars and vice versa?
My exploration into crafting acoustic stomp boxes originated from interactions with musicians who wanted to incorporate foot tapping into their performances for rhythm. This was during the early 2000s when I was actively involved in designing and building acoustic guitars. I am one of the co-inventors of the modern stomp box.
The idea for these instruments was sparked by my observations of acoustic guitar body design and the influence of electric guitar pickups. Additionally, I extensively studied drum kits and the various mic'ing techniques employed in recording. As someone with a diverse musical taste, I'm often inspired to create new designs, although I admit it can sometimes be a distraction.
Thanks again for your time - you’d surely have a story or two about attempts or different designs that didn’t make it to the production stage. Can you share a story or two?
Absolutely, there are plenty of stories. One that comes to mind is our P-Link pickup interchange system from 2016.
I designed a system for quick-change electric pickups, which initially generated significant excitement in the guitar community. Our video demonstration quickly went viral, garnering half a million views on Facebook in just two weeks and receiving extensive coverage from major guitar-related media outlets. Despite the initial enthusiasm, the project stalled within 4-5 months due to a lack of capital. Without the necessary funds to continue, we couldn't sustain the momentum, and the initiative came to a halt. However, I still receive occasional emails from interested individuals.
With the wane of specialised resellers in the Australian music retail landscape, it’s refreshing to see a truly dedicated space representing high end pro audio gear — the right way.
In the picturesque water-fronted NSW Sutherland Shire, nestled away in Taren Point is ORDIO PRODUCTIONS - a pro audio reseller like no other, at least not in this corner of the globe.
The brainchild of music industry veteran Ben Wever who got his start in the late 90’s working in music retail and shortly after in pro audio integration.
“My passion, like many of us in this industry, is born from a passion in music,” begins Ben. “I [also] always had a love for electronics. I was always handy, working as a casual carpenter on the weekends, working with my hands.”
After picking up the valuable skills and knowledge for a wide scope of AV work, Ben eventually ventured into his own business, building an all analogue mastering studio in Coogee. Aside from the day-to-day mastering work, this studio also specialised in analogue tape and DAT restoration and transfer, an arduous and dedicated task to say the least. With countless hours spent not only as a mastering engineer, but also designing, building and implementing acoustic designs and systems, Ben’s incredible hands-on approach and overall business ethos helped form his unique approach as a pro audio representative and reseller, with all aspects of the businesses now under the ORDIO PRODUCTIONS banner.
ORDIO PRODUCTIONS is proudly representing some of top-tier brands in pro audio, as well as from being the primary representative and reseller of brands such as Autex acoustic products. ORDIO PRODUCTIONS mixing and mastering studios also feature iconic pieces of outboard gear from the likes of SPL, Manley Labs, API, Rupert Neve Designs, Solid State Logic, Dangerous Music, Empirical Labs, Flock Audio
and many more. This is all before we mention the monolithic presence of ATC studio monitors which are all too impressive, but this really is just the tip of the iceberg.
Ben’s humble beginnings tinkering with electronics led him to warehousing jobs where he was required to fix cables pulled from installs, like the Sydney Cricket Ground.
“I learnt real quick how to repair cables, and before I knew it I was doing three phase and video triax cabling for the [2000 Sydney] Olympic Games.”
This experience at the ground level informed Ben’s ability to build ORDIO PRODUCTIONS into something that covers the hardware used for audio and mixing, as well as the room you’re monitoring in, and the cables to link it all together.
Aside from being a specialised reseller, ORDIO PRODUCTIONS’ mixing and mastering studios are far from just decked out show rooms, but rather fully fitted mastering suites in use everyday, catering to their continually expanding roster and client list. With incredibly competitive rates for standard stereo mastering, ORDIO PRODUCTIONS also offers more specialised stem mastering options as well as DDP File Creation. With a beautifully equipped all analogue mastering console with Ben at the helm, the prized centre piece of Studio 1 is brimming with some of the most desirable high end pieces of outboard mastering equipment, all patched and at the ready for any prospective client to get hands on with. Aside from the overwhelmingly impressive outboard racks, the mastering studios, with the aforementioned eye-watering range of ATC studio monitors are in full flight, ranging from the SCM110ASL Pro through to the SCM45A Pro. ORDIO PRODUCTIONS’ team of in-house engineers span decades of experience in mixing and mastering, but uniquely the studios are also available for daily or weekly hire for external engineers, mixers and producers to experience a truly jaw dropping audio experience with more outboard and studio monitor options than you can poke a stick at.
Where things get particularly unique is in the custom-built side of the business, with a
remarkable range of in-house designed and locally made products. ORDIO PRODUCTIONS offer a specialised range of studio monitor stands specifically made for the range of ATC studio monitors featured in their studios. Designed by Ben himself and manufactured locally, these elegant stands are designed in such a way as to produce zero transfer of vibrations to the speaker or the space around them. Composed of a blend of steel and aluminium with ISO Acoustics Stage and GAIA Isolators included in the design, these custom designed monitor stands bring a new level of sonic experience.
Anyone who’s worked in the studio or live sound environment will appreciate the importance of good quality and reliable cabling. The frustration of a cable failing mid session, mid set or during a shoot cannot be understated. ORDIO PRODUCTIONS’s wide range of impeccably handcrafted custom made cables is particularly impressive, spanning the vast requirements of audio and broadcast applications ranging from standard XLR, TRS and RCA terminated pro audio cables through to 4K 12G UHD BNC terminated video cabling and much more. Working with only the highest quality cable and connectors from industry leading brands such as Canare, Belden, Morami and Neutrik connectors, each cable is assembled by hand by a team of experienced professionals and is backed by their limited lifetime warranty.
Aside from the typical spaces in which you’d expect to find interior acoustic treatment installed such as broadcast facilities, recording studios (both professional and home studio spaces) and theatres, other spaces such as cafes, gyms, restaurants, retail stores, classrooms, libraries and offices also benefit enormously from even just a little acoustic treatment. The natural reflections and flutter echoes inherent from hard reflective parallel walls and other surfaces can create a distracting and disorientating experience, particularly when trying to distinguish speech and/or audio in a given space, or when doing the critical listening required for recording, mixing and mastering. A classic story of genuine Kiwi ingenuity, Autex Acoustics have been creating elegant solutions for these types of scenarios and spaces since the late 60’s. With designs that seamlessly blend or conversely, become the feature of a space in and of itself, their range of acoustic panels, baffles, tiles, screens, fins, fabrics and wall art provide a myriad of potential options to treat any given space. ORDIO PRODUCTIONS’ close relationship and broad representation of this iconic acoustic specialist brand offers a refreshing approach to acoustic treatment from a reseller, which is equally matched by the team’s experience in acoustic design and installation of the solutions you’ve decided to invest in.
With a collective experience spanning decades and an unrivalled passion for all things audio, ORDIO PRODUCTIONS have created a bespoke experience for not only their customers but also themselves. Offering some of the most personalised and dedicated service in the industry that we’ve certainly seen in recent times, Ben and the ORDIO PRODUCTIONS team seem to just be getting started. With their freshly updated website (no thanks to the genius graphic design expertise of Steve Lees from Retail Labs) even more exciting things lay in the pipeline — promising customers an even more unique and personalised experience, from one of the most pioneering pro audio production houses and resellers in the country.
Sharing the passion with
Established in 1972, Gladesville Guitar Factory is Australia's longest running guitar store under the same ownership.
Specialising in acoustic, electric and classical guitars, as well as an expansive range of folk instruments such as banjos, mandolins and ukuleles, Gladesville Guitar Factory also has an incredible array of effects pedals and accessories, not to mention their stellar repair service and music tuition facility.
For over half a century, this family owned business has maintained a legacy of creating a down-to-earth, pressure free environment, as well as a passionate commitment to excellent customer service. Providing Sydney with a home for niche instruments, hand made amps and boutique pedals, Gladesville Guitar Factory is a crucial part of the city’s retail landscape and their product knowledge is second to none.
Gladesville Guitar Factory has a pretty incredible legacy, having been owned and run by your family since 1972. What does that
history mean to you and how does it play into the way you run your business?
When we first started out we didn’t know that we would still be around in 50 years time. Longevity was never the objective. It was something we enjoyed doing at the time and were passionate about. On reflection it is the long term relationships you build with customers and the opportunity to share your passion with the people you work with.
As GGF transitions from father to son, how is your business evolving and what elements are important for you to keep the same?
The constant evolution is mostly technological and the need to share information clearly. We create as much original, in-house content as we can using photography and video. We also recently updated our website to create a simpler shopping experience and provide easy access to most things in-store. It’s valuable to see high quality images and details particularly for people shopping online and using social media. Our big strength is our team and sales team on the floor and it’s important to keep the customer facing side of the business as our heart and soul.
GGF has an impressive range of Bluegrass instruments. What can you tell us about your connection with Bluegrass and how important is it to the business?
We discovered in the early days that there was a dearth of folk instruments available in the Australian market so we decided to specialise in this area. This combined with the fact that we had built good relationships with many of the famous country, folk and bluegrass players from that era. We were the first music shop to exhibit at the Tamworth Country Music Festival at its inception back in the early ‘70s. It just built from there and we now are the agents for many leading brands including Gold Tone, Ome, National and more.
For those of us not local to Sydney, you have a very expansive online store that has a great collection of gear. How have you gone about building trust with your online customers and how crucial has that been for GGF in recent years?
We are still predominantly a bricks and mortar store with an online presence which is growing. We are constantly looking to source new and unique products to expand our offerings.
Your website states that you can fix just about anything your customers can break, tell us about who does the repairs at GGF and the well known attention to detail they put into their craft.
We are fortunate to have Isaac Ware running the repair shop. He is in such demand [that] his waiting list sometimes blows out to several months.We have a long history of repairing and servicing stringed instruments dating back to the late fifties under the original name of De Kroo Bros Music. Isaac approaches a job from a unique perspective unlike most other repairers I have encountered. His knowledge, insight and dedication to achieving perfection is always a source of amazement to us.
GGF is also home to an excellent music tuition service, how important is giving the next generation of musicians a place to learn to GGF and how long has that been part of what you do?
The teaching studio has been run as a separate business for many years employing highly talented and qualified teachers most of whom are Conservatorium graduates.
What is your vision for the future of GGF? Are there any elements of the business you’d like to expand upon or new ones you’d like to introduce as GGF expands and grows?
We are continuously looking at expanding the range of unique products that we can offer our customers.
Maintaining a specialty bricks and mortar store is becoming more challenging. Whereas buying online is more convenient and sometimes cheaper, we believe there will always be a demand from customers who value old fashion service and the experience of visiting a store.
The reliance upon quality audio monitoring has become paramount in day to day operations for musicians, engineers and audiophiles alike.
I’m sure the majority of those reading will have had at least some experience with in-ear headphones. Most either come in just one sized earbud or perhaps a variety of several sizes of rubber cups to roughly match a user’s inner ear size - for a comfortable-enough fit, at best. For the most part these are fine for simple casual listening, but for critical scenarios where isolated and comfortable monitoring is paramount, such as performing on stage, FOH and monitoring engineers, a custom IEM system is often more appropriate. Traditionally, this involves a physical impression mould being taken of a person’s inner ear canal with physical impression material, a rather crude procedure may it be, but crucial in getting this type of personalised custom fit to be optimum.
Lachlan Tsang of Minidisc explains: “Professional music artists, producers and FOH/monitoring engineers have some really important requirements over and above our traditional 'audiophile' customers. While both sets of customers demand accurate sound, it's also really critical for professionals to get
a product that fits comfortably and securely in the ear as they move around on stage. Your ear canal changes shape when you move your neck or jaw around, so this is even more important for vocalists. Sound isolation is another important factor, as reducing external noise will protect your hearing and allow you to listen to your own monitor feed clearly and without distraction.”
As mentioned, traditionally getting a custom IEM mould is a slightly crude and rather invasive procedure, but over the past several years some particularly exciting advancements in the custom IEM sphere have emerged in the form of 3D scanning, with retailer MiniDisc based in Chatswood, Sydney being the first exclusive store in Australia to embrace this new and advantageous CIEM technology. MiniDisc’s store boasts unparalleled speed and the smoothest ordering process in the industry, the 3D model process allowing them to complete the ear scans and send them off within a sitting. Historically, this has required an uncomfortable physical mould to be taken, checked, before the
This also lowers the bar of how uncomfortable you must be or become in order to take up what CIEMs have to offer. We hope to open the door to many people who for whatever reason might not want to experience what many consider a quite invasive process to access the benefits of a CIEM.”
Secondly, due to the 3D scan procedure using light to capture the impression rather than physical material, the experience is significantly less invasive. Aside from the obvious comfort benefits, this also contributes to the custom mould being more accurate again. As the inner ear canal is at rest (without being put under physical pressure), the inner ear canal won't change in shape due to physical stress or pressure.
Lastly, the immediacy of this scanning technology means the digital scan and file can be processed by Auricle Digital and sent to a CIEM manufacturer the next day. Due to physical impression not needing to be sent in the mail, a much tighter end to end turn around is possible, with MiniDisc even offering rush job options for an additional fee.
physical moulds being shipped overseas for production.
Teaming up with Auricle Digital, the process of getting a custom moulded IEM is tremendously easy, with the scan itself only taking around 20 minutes. But I’m sure (much like I was) you may be asking yourself, how exactly does this all work?
Historically, creating a custom fit meant blasting foam or gel into the customer’s ear, the substance filling out the space, hardening and ultimately creating a mould of the inner ear. This is sometimes risky, the workings of our ears being incredibly fragile, the process usually being uncomfortable.
In order to create these 3D digital scans, the wizards from Auricle Digital use a specialised scanner which uses light to essentially map one's inner ear, creating the 3D image of the inner ear which instantaneously creates a digital file of the user's inner ear - pretty wild stuff! Not only is this pretty awesome to watch, but there’s a wealth of practical benefits to this new and exciting method.
Speaking to Peter Ling of Auricle, he explains “The 3D imaging I use isn’t exactly new or the only solution, however it is the leading 3D ear imaging technology. I think the most notable parts are safety. We have removed the limited risks of injury while trying to support CIEMs.
With a handful of leading IEM manufacturers such as 64 Audio, FIR Audio, Ultimate Ears and Unique Melody now accepting 3D digital scans for their custom IEM’s, it’s fair to say 3D scans are indeed the exciting new advancement in the space. Aside from the shaving off time from end to end procurement of a system, the physical and performance benefits are really quite incredible. With MiniDisc being at the forefront of offering this exciting solution to their customers and providing an overall streamlined experience with multiple demo units available to try in-store, it’s an exciting time for custom in-ear monitor users. With plans for pop up instals in VIC and QLD, be sure to keep updated on MiniDisc travels via their website. Minidisc’s Pro website is also the first dedicated website in Australia to offer end-to-end delivery for CIEMs, to make the process of choosing and ordering a CIEM even easier for professional users.
“Every ear is different and the number of variables in CIEMs is increasing so there will always be an opportunity to tailor unique things for different applications including many people who craft their own, whether there is a supportive or sustainable market for each one is another question, but I’m excited to see new ideas.”
Keeley fans have plenty to celebrate this month as the highly respected brand continues to roll out new additions to their fantastic 4-in-1 series of pedals.
Featuring 100% analog circuits, each of the pedals in this series boast four distinct settings that cover a wide range of sounds both familiar and contemporary. Included in the series are the ‘Angry Orange’ distortion and fuzz, ‘Noble Screamer’ overdrive and boost, ‘Blues Disorder’ overdrive and distortion and ‘Super Rodent’ overdrive and distortion. Aside from this series, Keeley are also spoiling us with the new ‘Mk3 Driver’, a powerful overdrive designed in collaboration with Andy Timmons.
For nearly a quarter-century, Keeley have been lovingly crafting boutique pedals for an ever more discerning market. Modding and delivering some of the most mind-bending and unique effects around, all Keeley effect units are built by hand in Oklahoma under the watchful eye of legendary technician Robert Keeley himself. Robert grew up in a musical family and comes from a long line of electrical engineers, so it wouldn't be a stretch to suggest he was born for the job, and since 2001, he’s been proving it.
First cab off the rank is the mean and menacing ‘Angry Orange’,
a heavy-duty saturation machine cut based on two beloved circuits. Combining the legendary ‘91 Soviet Civil War Big Muff with the tried-and-true classic Boss DS1, the Angry Orange is a powerful ‘fuzztortion’ that means business. Using either of these circuits discreetly sounds as killer as one would expect, but it's in this pedal’s previously unheard combinations of the two wherein the magic really lies.
The Angry Orange provides two distinct forms of clipping: hard and soft. If the Clipping Switch is in the DS Position, it features Hard Diode Clipping, which provides an edgy, aggressive tone. If the Clipping Switch is in the MF Position, it uses Soft Diode Clipping, reminiscent of a vintage muffled fuzz sound. The Angry Orange also includes two tone-control circuits to choose from. When the Tone Switch is in the MF Position, the tone control is a scooped sounding, passive tiltstyle. If the Tone Switch is in the DS Position, it also features a passive sounding tilt control, but with a different voicing. The result is four distinct tonal options, each more thunderous than the last.
Boss SD1, this pedal can handle everything from light overdrive to blazing, saturated mayhem. Like the rest of the series, the Super Rodent is housed in a sturdy aluminium chassis and can be switched between silent-buffered bypass and true bypass on the fly by simply holding down the footswitch. In the RT position, the Super Rodent’s tone control simply rolls off high frequencies, whereas in the SD position, it engages an active low pass filter, revealing more bass and treble frequencies.
The ‘Noble Screamer’ is a pitch-perfect overdrive to end all overdrives, combining Nashville’s favourite circuit, the Nobels ODR-1, with the famous midrange growl of a vintage TS808. Creating hybrid overdrive and boost sounds has never been easier than with this pedal, which despite its bells and whistles maintains an easy to use three knob layout. Like the rest of the 4-in-1 series, the function of the Noble Screamer is very much like pedal-modelling, except in a 100% analog circuit.
Like the Angry Orange, The Noble Screamer features an option for both hard and soft clipping, but in this case the tone switch alternates between an ‘OD Position’ and a ‘TS Position’. The OD Position corresponds with a ‘Spectrum’ type of tone control that has the ability to go from a flat EQ to a boost in the treble and bass response. In the TS Position however, you have a Low Pass Filter that rolls off the high frequencies only.
The ‘Blues Disorder’ is a smokey, sultry overdrive/distortion that brings together the highly sought after tones of the Analogman KOT and Fulltone OCD. The Blues Disorder has all the bluesy growl you’ll ever need thanks to its unique combination of circuits and is made all the more versatile by its hard/soft diode clipping options and two tone stack settings. In this pedal, the tone switch selects between an ‘OC’ setting, which features an active midrange boost and a ‘BB’ position, which emits the boost in favour of a more transparent response.
Last but not least in the 4-in-1 lineup is the ferocious ‘Super Rodent’. A formidable blend between a RAT distortion and a
Also new from Keeley is the Mk3 Driver, an extremely versatile and powerful overdrive packed with interesting features. It’s everything you know and love about the legendary Keeley Modded BD2 circuit with exceptionally broad tonal options. Additional controls on this pedal include an AT/RK Tone Switch that cuts lows for clarity or boosts low-end for power, an AT/ RK Drive Switch that alternates between asymmetrical silicon to dual germanium diode clipping, as well as JFET Transistors, Germanium diodes and Op-Amp Gain combinations that form harmonically rich boost, overdrive, and fuzz tones.
According to collaborator Andy Timmons, the Mk3 ‘is the ultimate expression of the clean/ slightly broken-up tone’ that he's been searching for, and “the real hidden gem here is Robert’s new modification that utilises germanium diodes instead of the original silicon for a new kind of clipping that works insanely well on its own or as a boost”. Like all Keeley pedals, the Mk3 is of the absolutely highest construction quality and is designed and built entirely in the USA.
So, whatever your taste in overdrive, fuzz or distortion may be, it would seem that the artisans at Keeley have got you covered. With their commitment to creating new, versatile and exciting devices steeped in a rich history of analog technology firmly intact, you simply can't go wrong with any of their incredible products. Nearly a quarter-century of dedicated craftsmanship and innovation has led to this excellent new crop of dirt pedals that are bound to impress even the most discerning aficionado, so what are you waiting for?
Decades ago most players’ idea of what a decent pedalboard consisted of included stealing Mum's best chopping board and a packet of zip ties.
In more recent years the tides have turned and pedalboards have become purpose-built pieces of professional equipment fine-tuned to deal with the rigours of the road and last a lifetime.
Based in Nashville Tennessee, Pedaltrain have spearheaded the modern pedalboard movement servicing the needs of guitarists, bassists, DJ and electronica musicians, and orchestral players worldwide with their wide range of innovative, patented designs.
Standing by their products with an uncompromised commitment to quality, Pedaltrain offer an industry-leading lifetime warranty with all of their products, setting the standard upon which other companies strive to abide.
Starting as a simple one-man operation all the way back in 1999, this unwavering commitment to quality and precision has seen Pedaltrain grow into an international operation.
From the utmost exclusive recording studios in the world right through the biggest orchestra pits, you can be assured that Pedaltrain are the best in the business.
All Pedaltrain pedalboards are hand-cut, hand-welded, and hand-finished to ensure that they are virtually indestructible. With no flimsy moving parts, screws or other points of potential failure these boards are rock solid and ready for a lifetime of enjoyment.
Additionally, all Pedaltrain boards come with everything you need to attach your effects units, including professional grade zip ties and hook ‘n’ loop.
Acknowledging the pedigree behind this industry behemoth, it only makes sense to dive in further and take a closer look at just what Pedaltrain has to offer you on stage, at home or in the studio.
Don't let the smaller footprint of this pedalboard give you the wrong impression, the Nano Plus is an integral part of some of the most powerful rigs in the world.
Similar to its little brother the Pedaltrain Nano, the Nano Plus offers an extra 4” of space— just enough to squeeze on a few extra pedals!
If this wasn't enough the Pedaltrain Nano Plus also ships with a heavy-duty softline case ensuring that your board is safe and sound regardless of how you are travelling to your next gig.
The Metro series is Pedaltrain’s take on a three-rail pedalboard system, these pedalboards are an ideal solution for any players looking for an easy grab-and-go system for studio and stage use.
Pedaltrain modified rail system means that musicians will find the Metro 16 compact enough to fit on any stage without needing to compromise on valuable pedalboard real estate. This is due to the board's low profile and custom horizontal orientation.
A special Pedaltrain hard case sweetens the deal ensuring that when it comes to any performance you're always ready to go at the drop of a hat.
PT-CLJ-SC Pedaltrain Classic JR With Softcase
Roosted amongst Pedaltrain’s best selling models, the Classic JR features Pedaltrain's classic 4 rail design with traditional rail spacing.
The open front of the Classic JR ensures that cable routing and mounting a power supply are no sweat. The included soft case also ensures that the Classic JR is ready to go whenever you need it.
Engineered to provide a wider stance and raised elevation, the Pedaltrain Classic JR is sure to be a hit with anyone after a stage board that's ready to go the distance.
Packing a fresh design of one of Pedaltrain’s market leading designs, the Novo 24 features a new rail system, new depth/width ratios, and a tweaked open front design.
All of these factors combine to make what was already great even better, offering a fantastic solution for professionals who are looking for a pedalboard that's ready to meet the demands of the road.
Combine this with Pedaltrains tailor-fitted Tour Case and there won't be much stopping you on your next run of shows here or abroad.
A new offering in the Pedaltrain line, the XD series offers a new six-rail form factor with the familiar Novo spacing.
An extra deep mounting surface offers a plethora of options, for example, the XD could easily accommodate a 3-pedal stack or comfortably house an expression pedal with no need for a cumbersome extension.
The inclusion of Pedaltrains own heavy-duty soft-case makes this a fantastic deal for anyone looking for a deeper board.
Taking Pedaltrain’s fantastic Classic Jr form factor and expanding it considerably, the JR Max is a 28” x 12.5” four-railed pedalboard.
Compatible with Pedaltrains patented VDLMK and True Fit mounting brackets, you can be assured that the Pedaltrain JR Max offers a plethora of options when it comes to mounting power supplies and routing cables.
Included in this package is Pedaltrains Wheeled Tour case in the classy Black Honeycomb finish. This newly designed road case includes plenty of storage compartments, added depth and high-quality casters that are sure to keep you rolling for years to come.
Made with the same robust materials that customers have come to expect from Pedaltrain over 20 years of touring the world, you know that this case has been designed to handle as much abuse as the road can hurl at it, all while looking as stylish as ever!
The new Fractal Audio Turbo series features new versions of beloved models like the FM3, the FM9 and the AXE-FX- but this time with over 10 percent more DSP on the FM3 and FM9, and over 25 percent on the Axe-Fx III… wow.
More digital signal processing means more freedom and playability, allowing the user to push the limits with the amount of presets, and take these three models further than their predecessors.
The FM9 boasts four DSP cores and is Fractal Audio’s most powerful floor unit they’ve ever produced, with this architecture placing it in a bit of a sweet spot between the Axe-Fx III and the FM3. Featuring a whopping nine foot switches, the turbo version of the model expands on this already impressive feat with larger displays, which allow for twice the viewing area of the standard FM9. Apart from that though, this model looks essentially the same on the outside, but again takes it a step further with that extra 10 percent DSP when compared to the older model.
The FM9 features a very impressive list of tech features, borrowing from the awardwinning Axe-Fx III, just like the aforementioned FM3, with that industry-leading Cygnus X2 modelling, and what results is an extremely high-quality sonic performance and signal integrity.
According to Fractal Audio themselves, no other modelling technology delivers the same levels of accuracy or realism as the Cygnus.
The two amp blocks each have four channels that can run any of the 325+ vintage, modern and
original models—featuring everything from clean, to crunchy, to modern distortion.
The amount of tones on this bad boy is definitely one of the factors that makes it stand out too, with many that are useable without adjustment, and straight up gig ready right out of the box, which is a massive bonus.
From accurate recreations of some of the all-time classics, to exciting originals, the FM9 is stacked with hundreds of incredible stomp box and studio effects.
There are over 57 drive pedal models, and a large quantity of delays, choruses, flangers, and other modulation effects, as well as over 50 different reverb types from classic spring to real spaces and beyond, as well as multiple compressors, filters and EQs.
The FM9 has a number of inputs and outputs for whatever set up you need, the primary stereo output has both XLR and ¼” outs, with a headphone jack, and two additional stereo outputs (one XLR and one ¼”) can be used as aux outs or sends.
All ¼” outs feature Fractal Audio’s “Humbuster” technology that greatly reduces the noise of any ground loops, and USB provides 8×8 computer audio and MIDI interaction with a DAW, Fractal-Bot and more.
This all-in-one amp modeller, foot controller and effects processor features Fractal’s Cygnus X2 amp modelling, which was initially designed for the Axe-Fx III.
The FM3 recreates the sound and feel of real tube amps, boasting an incredibly impressive range, with everything from warm overdrive to absolute face melting distortion.
Upon first glance, one of the major differences between its older counterpart is the much larger LCD display units above the three footswitches, which are the same as those used on Fractals FC6 and FC12 mark II models.
This is a pretty good upgrade for the gigging musician, as added visibility and useability would certainly come in handy while performing on stage.
Aside from that though, the real change lies under the hood, with a new CPU chip allowing for that extra 10 percent of processing power mentioned earlier, and if you fancy yourself a bit of an FX junkie, you’ll benefit greatly from the freedom to get more out of the unit.
For many players that are transferring presets between the Axe-Fx III, FM9 and this one, that 10 percent could be the difference between having to compromise multiple blocks to fit it on there at all.
Some more notable features include 4x4 USB Audio capability for Mac and PC, a steel chassis to withstand the rigors of touring and high-quality signal path for low THD and noise floor.
Last but certainly not least, the latest in the line of legends just got a whole lot bigger.
The new turbo version of the Axe-Fx III packs a punch with an extra 25% DSP and proves why it’s the world’s most powerful processor for guitar, bass and other instruments too.
The original model took the industry by storm, as it was the first device for musicians that put an industrial grade DSP into a consumer product, in turn allowing for an incredible amount of detail and realism that outshone its peers, which the Fx II then further expanded on.
Two 1.25 GHz, floating-point “Keystone” DSPs make up the main audio engine, and they are the most powerful DSPs available, delivering over twice the performance of those found in the previous models.
To feed these, Fractal have coupled 4GB of PC1600 DDR3 memory, with hundreds of megabytes of flash memory.
Did I mention it also features twice as much preset memory?
This absolute weapon stores 1024 presets, with each being the equivalent to an entire rig—these can be as simple as just an amp alone, or as full on as a pedal board and multi-amp rack system.
Another new feature is the IPS display, which offers greater viewing angles and a livelier appearance, which has 30 times the resolution of the previous model.
Contrary to the mainly static displays seen in other products of a similar nature, the Axe-Fx III features moving knobs and graphs, allowing for more visual feedback.
Expanded inputs and outputs allow for more flexibility, it features two instrument inputs, one on the front and back with auto-switching capability (inserting a plug into the front input jack switches the unit to front input operation, while removing switches the unit to the rear).
An extremely versatile fx processor, the Axe-Fx is able to reproduce the classic sounds of a number of stomp boxes, and Fractal Audio have expanded the number and types of effects available.
WORDS BY LEWIS NOKE EDWARDS
I’ve been a big advocate, spokesperson and fan of Two Notes’ products for a while. I came about my Two Notes Torpedo Reload when I was starting my recording journey, and haven’t stopped using it. I’ve even blown it up a few times, having plugged speaker cabs into the attenuator input and vice versa, and I’ve paid to have it fixed a few times over because it’s become such an essential part of my recording workflow.
Because of all this, the OPUS really excited me. Having come from a growing range of C.A.B. products, designed to offer total solutions to guitar tone. Two Notes describe the OPUS as “an end-to-end tone shaping Amp Simulator and DynIR Engine”, offering a more comprehensive product from Two Notes overall.
Two Notes’ DynIR technology refer to their dynamic impulse responses, offering authentic and uncompromising access to a growing number of cabinet emulations and more.
Trusted by the likes of Pete Thorn, Unearth and Romesh Dodangoda, Two Notes’ DynIR have impulse responses from Mesa, Victory, Fortin and Celestion to name but a few, with a slew of options available with multiple speakers, cabinets layouts and more.
The OPUS serves equally well as a crystal clear pedal platform, allowing you to build gritty tones with additional pedals on top of a crystal clear clean sound, or use the OPUS itself to drive, distort and refine your tone.
Foundationally, the OPUS is an entire signal chain, offering even more than traditional amps. It’s everything from preamp stage to power stage, with varying options and flavours, all the way up to selecting one of eight microphones on your chosen cabinet, and having the option to double mic that cabinet! As if that weren’t enough, Two Notes have updates for the range available to users, available via the USB-C and the periodic firmware updates. If you still need more, the OPUS accepts some third-party impulse responses.
Connecting wirelessly to Torpedo Remote software allows further control over all parameters of the OPUS’ sounds, presets and more. Within the app you can control presets,
dial in tone like you would on an amp, as well as toggling your mic selection, and moving the mics closer or further from the amp, as well as on or off axis. Condensers, ribbons and dynamic mics are available depending on your preferences!
Plugging in a guitar sends it straight to the preamp section, allowing you to toggle between traditional British and American sounds from all eras with the Foundry, Peggy, Albion, Foxy & NiftyFifty preamp options. The power amp emulation stage toggles between EL84, EL34, 6L6, KT88 with two circuit types, either Class A (Single Ended) and Class A/B (Push-Pull) and two tube modes: pentode and triode.
As if all that weren’t enough, the OPUS features effects and more to further shape your tone. Switch between guitar and/or bass modes for a more attuned experience, then add Body for mid range, Thickness for low end weight and Brilliance for high frequency sparkle. Toggle between different reverbs like Spring, Plate, Tile, Echo, Studio A, Studio B, Loft, Cathedral, Basement, Hall A, Hall B and Crypt, and put together previously unheard of reverb combinations, expanding so much further than the original amps could. Beyond this there’s multiple EQ controls, a noise gate and a tuner.
Let’s get down to brass tacks though, software is important, but how do you connect the OPUS? The OPUS has an Instrument/Line In/From Amp, situated on the right side of the pedal to match other pedals you may have before it. If connecting from your amp, i.e. to harness just the cabinet part of the signal chain, ensure to use a loadbox to prevent sending an amplified load into the OPUS and off to the repair shop with my Torpedo Reload! Using the OPUS this way allows you to use your amplifier head as
you usually would, but splitting the signal off to emulated cabinets for silent playing, recording and practice.
There’s also a ‘To Speaker’ connection, allowing the OPUS to be connected from here to a power amp and cabinet, using the OPUS as a replacement for a typical amplifier head. This side of the pedal also includes a toggle to adjust input from Amplifier to Line to Instrument, as well as a USB-C port and the 12VDC power socket.
The other side of the unit features an XLR DI out, with a ground lift, and a 1/4” Line Out. You’ve also got 1/8” headphones, MIDI In and an Aux In for practice or otherwise!
All in all the OPUS is as complete a solution as you could expect from a product like this. All encompassing products aren’t for everyone, and instead Two Notes produce solutions to nestle into your existing gear, offering additional routing, refinement and overall great sound. The OPUS can be as involved in your final sound as you like, offering amplifier models, cabinet models and microphones as well, enabling players to really refine their tone or just use one stage of the signal chain; be it just the preamp section to be amplified into a real cabinet or vice versa: just the cab.
With routing options to send and receive sound, split signal and monitor it back, the OPUS is currently leading the way for Two Notes’ range of smaller-format, pedal style products in Two Notes’ ecosystem.
Neural DSP has been changing the game both in and out of the box since they exploded onto the scene some years ago. There’s been a handful of key players in the amplifier emulation game, and to be blunt, a handful of endorsees of Neural’s competitors jumped ship when their flagship Quad Cortex was released.
The Fortin Nameless Suite plugin helped skyrocket Neural to fame, immediately appearing on countless mixes as well as in the plugin folders of songwriters of all levels. Neural DSP’s plugins offer a lot, including multiple cabinet options, mic options and in the case of the Fortin Nameless Suite, multiple pedals and a very good emulation of Mike Fortin’s masterful amplifier designs, supported by pedals the Zuul noisegate, Hexdrive overdrive and Grind for additional gain.
From here, Neural DSP branched out into various artist collaborations, their ‘Archetype’ series featuring Gojira, Plini, Tom Morello, Tosin Abasi, Tim Henson and more. Beyond this, Neural DSP’s plugin catalogue includes a Morgan Amps Suite, a recently unveiled Soldano emulation to name but a few! All of this is to say that Neural DSP know tone, which is why their hardware, the Quad Cortex, is helping to push guitar tone to the next level.
The Quad Cortex is, at its core (I’m protecting you from a painful pun here), is a two-in, four-out amplifier emulator. What it brings, besides world-class emulations and total control over your tone, is an additional two sends and returns, a ‘Capture Out’ and a headphone out. The Main Outputs are split into two ¼” jacks and two XLRs. There’s jacks for two expression pedals, as well as 8-pin MIDI in and a MIDI thru/out. The ‘Capture Out’ serves as a dedicated output to be used for Neural Capture technology.
The routing capabilities of the Quad Cortex allow it to serve as a direct to front of house via XLR, or via ¼” to an external power amp and a speaker cabinet, or both! Routing can be controlled via the 11 stainless steel stomp+rotary actuators. Every audio connection on the unit features world-class Neutrik connectors.
The Quad Cortex is supremely powerful, stating ever so eloquently that it’s a ‘Vulgar Display of Power’— ah, a company whose music tastes
align with mine! Under the hood it has four SHARC®+ and two ARM Cortex-A5 running at 500MHz each that would rival some personal computers. This enables the Quad Cortex to process up to four instruments simultaneously, and somehow the unit is still impossibly compact and easy to travel with.
Versatility is the name of the game for Neural DSP, but especially so in the Quad Cortex. Toggle between the best clean amp in your arsenal and the dirtiest, all controlled overall by a master volume and switch effects in and out for good measure! Heck, you can even get effects switching happening via MIDI if you’re handy enough. Even for us caveman type riffers, the Quad Cortex’s controls, layout and sounds are easy to use, but maybe most important of all: believable.
Where some emulators fall apart is sonically they might be accurate, but there’s a feel and physicality where they begin to stumble. Tubes sag, transistors clip, and not all EQ stages are built the same, and Neural manage to nail the feel of an amp more so than most! Once recorded or sent to front of house, it’s really tough to distinguish the tones, you could swear there was 100w of power being pushed through a speaker cabinet on stage!
All in all, the Quad Cortex is one of the best sounding and feeling emulators on the market,
which should really come as no surprise from the company responsible for a slew of artistassociated plugins, as well as trusted by amplifier companies like Fortin, Soldano and Morgan, if that won't sell you, I don’t know what will!
Beyond the Quad Cortex, the Neural DSP offering for plugins is as comprehensive as you could want. Pedals, amplifiers and speaker cabinets, for both guitar and bass (and more if you want to get creative!) are available and at the ready, all from the Helsinki-based Neural DSP who have built their company on the back of a lot, but ultimately for great sound and, as mentioned before, great feel.
Neural DSP has built a community of artists who use, trust and endorse their products, as well as a growing number of users around the world, all happy to run their finely honed chops through Neural’s digital solutions to amplifiers. The Quad Cortex, their flagship hardware is a sight to behold, the seemingly simple silver box offering an unprecedented amount of processing power, ensuring you’ll never run out of power. With enough routing to satisfy the most discerning musician, or tube amp and effects loop devotees, the Quad Cortex has something for everyone.
While Neural’s current offering is a huge step forward in the digital modelling world, I’m equally excited for what’s on the horizon for a company already writing the future of guitar tones.
2024 is a huge year for Fender. In case you hadn’t heard (my, that’s a very large rock you’ve been hiding under) it’s the brand’s 70th anniversary. To celebrate, they’ve launched several campaigns to reissue, recreate and reimagine the guitar models which, over the last seven decades, have become household names.
Recently I was lucky enough to test-drive a 70th Anniversary American Professional II Stratocaster. Once again I’m counting my lucky stars — I’ve brought home a 70th Anniversary American Vintage II 1954 Stratocaster for the week. Can confirm, it did absolutely nothing to quell my burgeoning desire to own a vintage Strat.
The key message with this guitar is authenticity. The goal was to recreate in as much detail as possible the experience of owning a Strat built in 1954, all the way down to the tuning machines; the discstyle string tree; the pickup covers; the football shaped switch tip, the shape of the tone and volume knobs, even the circular string holes in the backplate. And it doesn’t stop there, as you’ll see below.
Once again my spare-room studio is awash with that newguitar aroma, although this time the smell is distinctly nitrocellulose lacquer, a finish commonly used in the ‘50s and ‘60s. The hard-case is as vintage as you can get: beige tweed, brown leather accents with white stitching, gold hardware, crimson crushed velvet interior with commemorative 70th Anniversary
Brand: Fender
Brand: Fender
Product: 70th Anniversary Player Stratocaster
Product: 70th Anniversary American Vintage II 1954 Stratocaster
Distributed by: Fender Music Australia
Distributed by: Fender Music Australia
RRP: $4499
RRP: $
Reviewed by: Name
Reviewed by: Paul Blomfield
Stratocaster embroidery in the lid — excuse me while I grease back my hair and slip on my loose-fitting pleated suit pants, suspenders and patent leather shoes. Of course, we’re here for what’s in the case, and good golly Miss Molly it is an absolute treasure trove – and I’m not just talking about the guitar! This package has more case-candy than you can “Shake, Rattle & Roll” about: we’re talking vintage style bridge cover; vintage style strap; vintage style cable; swapout engraved 70th Anniversary neck plate (the guitar comes fitted with a default blank neck plate for authenticity); whammy bar; and even a manila folder containing a wiring diagram and replica set of vintage instructions to really slam dunk on the immersion. The kicker for me, though, is the swap-out 5-position switch. Yeah, you heard me. If you find your tone control limited by the default 3-way toggle, they actually provide you with a 5-way switch that you can swap out yourself. I didn’t quite find the kitchen sink in there, but it wasn’t far off.
“It’s so shiny”. That was the overwhelming impression when I first saw the 70th Anniversary American Vintage II 1954 Strat in its case. When I revealed it to my partner a few minutes later, she said exactly the same thing. Verbatim. The nitrocellulose lacquer gives it an air of antiquity — something that should be in a museum or a vault. The 2-piece ash-body and 1-piece C-shape maple neck lend the instrument some serious heft. The guitar weighs in the vicinity of
3.5kg. Lifting it out of the case, I felt that I was holding something that predated the industrial revolution, when everything was made-to-order, nothing was mass-produced, and materials weren’t cheap or nasty. That feeling stayed with me as I sat the guitar in my lap and navigated the fretboard. These ‘baseball bat’ necks have amassed something of a cult following, and I now understand why. Further, there’s just something about that glossy maple feeling under the left hand, that snappy thing that maple fretboards do, that hits different. I’ve been eyeing up a maple fretboard for a while now, and this guitar very much validated that craving.
The authenticity persisted as I plugged the guitar in and strummed a few chords. The three 70th Anniversary 1954 Single-Coil Strat pickups (bridge, middle & neck) have an almost primitive quality about them, but they don’t miss. The tone mellows up really nicely when you roll back the volume, and there’s something incredibly satisfying about the bass response and the warmth that comes through that neck pick-up. The guitar has three knobs - one for volume, one for bridge pickup tone and one for neck & middle pickup tone. A highlight for me was the way the sustain, clarity and intonation didn’t suffer at all while I was playing higher up on the fretboard on the lower strings. I found myself noodling around at the 12th - 15th frets on the A and D strings for an unreasonable amount of time, simply because I've never played a guitar that made that part
of the fretboard sound so good, particularly through the neck pickup. There’s a vintage style truss-rod butt adjuster at the base of the neck, so you don’t have to take the whole neck off to adjust. The nut is bone. The saddles are vintage bent steel. The 2-tone finish on the 70th Anniversary American Vintage II 1954 Strat is perhaps a little more understated than the Professional II, but that feels correct: it’s a classic guitar with a classic finish. I wasn’t around in the ‘50s. But if I was, and I forked out twohundred-and-fifty 1954 dollars for a Fender Stratocaster, I’m confident that I would’ve walked away with something almost identical to the instrument I tested for this review.
Brand: Jackson
Distributed by: Fender Music Australia
RRP: $3799
Reviewed by: Jamie Colic
In 2024 Jackson’s Concept Series has set out to bring a fresh coat of paint to a plethora of classic Jackson designs, implementing subtle tweaks in spec that are sure to excite even the staunchest Jackson traditionalists.
The Jackson Concept Series Limited Edition Soloist SL27 EX is essentially the embodiment of this mission, boasting a bold modern aesthetic that is simultaneously new yet familiar.
Cloaked in a stealthy gloss black finish, the SL27 EX just screams metal and who would expect any less from a Jackson?
However, this time around, Neon Yellow accents on the Seymour Duncan pickups and 12-fret inlay strike an immediate contrast that is bold enough to make an immediate statement without going overboard and landing in the land of the gaudy.
As is commonplace with Jackson guitars of this price range, this model ships with Jackson’s signature Foam Core case. Essentially a deluxe gig bag that provides a perfect fit for the Soloist, there is even room inside to fit gig essentials such as cables, hex keys and the ever-important spare pack of strings.
In classic Jackson fashion, the SL27 EX body has been carved from Alder, a resonant and relatively bright tone wood that lends itself well to down-tuned modern metal as well as virtuosic shred antics.
One aspect of the SL27 EX that differentiates it from a standard soloist is the fact that it features an arched top, a trait borrowed from traditional single-cut guitars.
This type of top will generally feel more comfortable to play, particularly for extended periods of time, as the smooth contour of the instrument's face provides a sculpted surface for the player's forearm to rest upon.
As this Jackson is a Soloist it encompasses a neck-thru design, this time constructed by three pieces of maple with a graphite reinforcement incorporated directly into its build. This ensures that the SL27 EX’s neck will remain stable under a plethora of different conditions where other instruments may be vulnerable to shifts in neck relief.
Finished in a lovely satin, the neck of the SL27EX feels fantastic to play. This is due in part to Jacksons' signature 12”16” compound radius and the instrument's prestige stainless steel frets.
Another feature that makes the Jackson Concept Series Limited Edition Soloist SL27EX stick out amongst the rest of its pointy headstocked brethren is the fact that 27 frets are emblazoned upon its pristine Ebony fretboard.
A feature that is generally reserved for top-tier custom shop models, Jackson has not only hammered these frets into the neck of this instrument it is clear that plenty of thought has gone into making them easily accessible for even the smallest of hands.
A subtle feature that will make a difference for gigging players is the inclusion of Luminlay side dots on the SL27 EX. These position markers actually illuminate in lower light conditions, ensuring that you
will never be lost on the neck even on the darkest of stages.
Combining these specifications with the fact that the SL27 EX’s neck profile is neither too thin nor too fat ensures that it feels great regardless of whether you are playing the arpeggios of a maestro or the most Neanderthal of chug.
In terms of hardware Jackson have opted to include a Floyd Rose 1000 series tremolo with the SL27 EX, a common unit on this level of guitars. These trems are both durable and reliable ensuring that you need not sweat on even the craziest of divebombs.
Additionally, Jackson have handled the tuning situation by including a set of their own brandsealed die-cast tuners. Once again, these are quality units that will ensure your tuning satisfaction for years to come.
Regarding electronics, we are in familiar territory with a set of American-made Seymour Duncan humbuckers. This time around we have a TB-6 Distortion Trembucker in the bridge and Single Coil sized Hot Rails Strat humbucker in the neck position.
These pickups are a fantastic choice for the Jackson Concept Series Limited Edition Soloist SL27 EX. The Duncan Distortion is essentially a tried-and-true JB model with a ceramic magnet, making it the ideal companion for grinding, tight rhythm work.
Similarly, the slanted Hot Rails Strat neck pickup provides a smooth, searing lead tone that is sure to appease even the most stringent of shredders. Neon Yellow
accents on both pickups give them a sweet Custom Shop look that will be sure to make you stand out in any crowd.
Controls are rounded out by a master volume, master tone and three-way switch. A subtle design feature that may be easily overlooked is the fact that the pickup selector has been placed before the volume and tone pots.
This is great news for players who like their pickup selector easily accessible as the volume pot is well out of the way, posing no risk of accidentally rolling down over the duration of your set.
The Jackson Concept Series SL27 EX is a fantastic option for any player looking for a highperformance shred axe that comes with looks that kill. But beware, if you are indeed interested in picking up one of these rippers act fast as they are a limited edition model that won't be on the racks of your local Jackson dealer forever.
You probably know Markbass as an Italian manufacturer of stylish, high quality bass amplification products. Not only do they make heads, cabs and combos, but they round out the arsenal of homegrown bass gear with their new F1 line of bass guitars. The F1 range is inspired by Formula 1 racing, embodying ultra-luxurious Italian design and high-performance Italian technology. I tried out the new Markbass F1 Navigator Black 5 BK MP— a lightweight, tone-precise, luxury 5-string powerhouse.
The guitar comes in a universal one-size-fits-all heavy duty gig case, fitted with shoulder straps for easy transportation, a removable (velcro) padded neck-rest, padding to support the bass guitar’s caboose when the case is stood on its end, two external zipper compartments for accessories, and the trademark Markbass brand yellow trim accents. Also included is a black Markbass branded microfiber polish cloth and an informative info tag listing the guitar’s material components and an explainer for the six (yes, six) volume & tone control knobs.
The original Navigator design is the epitome of classic Italian luxury, with its smooth contours and low profile. This is the Ferrari 360 of bass guitars, and I’m not sorry for saying it. The body is made with Val di Fiemme Spruce, a wood sourced specifically from the Fiemme Valley in the Dolomites (a UNESCO world nature heritage site in Italy) and finished in a sleek and simple black gloss. Even unplugged, the body resonates with presence, clarity and a satisfying low-mid growl. The C-profile neck, 20-fret
Brand: MarkBass
Product: F1 Navigator Black 5 BK MP
Distributed by: CMC Music
RRP: $5195
Reviewed by: Paul Blomfield
34” fretboard and Mark Double Shape Matching headstock are made from a single, gorgeously pale piece of maple with a exquisitely comfortable satin finish, lending the instrument an air of premium quality reminiscent of elegant handcrafted furniture. It’s the featherweight maple in the top-end that makes the Markbass F1 Navigator Black 5 BK MP feel surprisingly light in the hands, borrowing from a tenet which the brand uses to describe its amplifiers: “amazing power-toweight ratio”. Combining these premium materials with superb craftsmanship, the F1 Navigator Black 5 BK MP sports an artisanal, custom-shop vibe with limitless potential for tone crafting in its electronics.
Turning the F1 Navigator Black 5 BK MP over a few times in my lap to scope out the specs, the only component I found that wasn’t Markbass branded was the Duracell battery. They manufacture their own electrical components (pickups and preamps), hardware (tuning machines, bridges, ramps and pickguards), and even their own accessories (cases, strings, fretwraps and straps), all using eco-friendly materials, with an unmistakable Italian luxury aesthetic. Markbass is a truly self-sufficient operation that does it all. I particularly enjoyed the precision of the Markbass Res-o-Lite tuning machines: the tuning pegs felt very light and were finished in smooth satin black that gave them an almost graphite feel. The bass stayed perfectly in tune even under the strain of aggressive riffing.
The F1 Navigator Black 5 BK MP comes with a Markbass humbucking bridge pickup and a split neck pickup for wider tone range. There are three EQ knobs (bass, middle, treble), a master tone knob, a neck pickup volume knob and a bridge pickup volume knob. The master tone knob is also fitted with a push/pull function: the pickups run active by default with the knob pushed in; pulled out, they become passive. The bridge tone knob is also push/pull: pulling the knob out deactivates the humbucker and switches the bridge pickup to single coil for a more scooped J-bass style tone. After playing in the passive voicing for a while, I found that switching on the active voicing gave not only a nice gain boost, but also woke up the presence in the 3-5kHz range and added a colour-rich saturation that almost felt like there were vacuum tubes tucked away in the wiring cavity. With the master tone knob at max, there is a delightful string rattle and presence in the trebles and a snarl in the mids that make this ideal for heavier styles of music, although those percussive inflections are easily tamed by rolling back either the master tone or the mid/high EQ knobs.
I’m a metalhead at heart, so I wasn’t going to return the Markbass F1 Navigator Black 5 BK MP to the office without running it through a few modern high-gain tones. Of course this inherently caused me to play a little more aggressively, to which the guitar responded like a Ferrari taken out of the narrow streets of Rome and pushed to redline on the Autostrada. The maple
fretboard provides a nice clarity and snap in the high-mids, and that tube saturation vibe from the active pickup voicing provided a great platform for some delicious driven metal bass tones.
On 2 December 1942, the world’s first artificial nuclear reactor, the Chicago Pile-1, went critical. The reactor’s creator, Italian physicist Enrico Fermi, infamously telephoned the National Defense Research Committee at Harvard to inform them of the experiment’s success, using the cryptic code phrase: “the Italian navigator has just landed in the new world.” It was with this quote in mind that Markbass CEO Marco De Virgiliis dubbed the F1 Navigator bass guitar: a dramatic name for an instrument worthy of a dramatic entrance.
Distributed by: Fender
RRP: $
Reviewed by: Name
If I begin this review by summarising it, I would do it like this: I recorded a metal album’s worth of guitars on the weekend and the PRS MT100 beat a Peavey 5150II in a shootout. While ultimately I ended up recording both, the MT100 reigns supreme as the leading role while the Peavey’s familiar tone supports.
The PRS MT100 is the signature amplifier of Mark Tremonti, of solo work, Alter Bridge, and perhaps most famous of all: Creed. The MT100 is the big brother of multiple amps falling under the MT umbrella, the MT100 being a 100-watt, three channel head powered by twelve vacuum tubes. With independent controls across the Lead, Overdrive and Clean channels, the MT100 could be the last amp you ever buy.
As mentioned, the MT100 is a 100-watt amplifier head. This is powered by four 6L6GC tubes, characterised by their big and open sound, allowing the grit of the driven preamp section to be amplified with high headroom and clarity, perfect for both metal and rock, as well as cleaner styles where breakup at high volumes isn’t always optimal.
The preamp section features eight 12AX7 tubes, the effects loops also being tube driven. With three speaker connection jacks, for both parallel and series connection to multiple cabinets, the MT100 has versatility in spades, even before
the footswitch is mentioned! The footswitch, connected via 8-pin DIN connector, included, allows you to switch between any of the three channels.
Each channel includes three band EQ with High, Middle and Low control, as well as Gain and Master controls. Maybe most exciting of all, each channel has its own Presence control, for total tonal control, even down to subtly shaping and refining your dialled sounds with Presence. Besides that - the Mt100 is all tone. Simple enough dials, as well Bias controls on the back panel, keep you focused on the great sounds.
Jumping between channels on the MT100 offers a quick glimpse into the capabilities of this amp. The clean channel selected when I flicked the amp from Standby into On (all on one switch - how handy!) was full, balanced, clear and ‘tubey’ if I can borrow a word from Mixdown’s own glossary of audio terms.
There’s a character to ‘tubey’ that’s bolstered without being boisterous, and the MT100’s clean channels had this. The Low EQ control introduced weight and depth without any mud, and the Mid control helped bring the guitar forward without any honk, harshness or ruining the dynamic of the player.
The Overdrive serves as a pushed tone, retaining the character of the Clean channel,
but adding some grit, more weight and presence, even before I was reaching for the Presence control itself!
For my purposes on this album, I was most focused on the Lead channel, traditionally used as a boost for Lead parts, solos and more, we wouldnt’ deviate from this channel for the day no matter what we were playing!
The Lead channel adds a lot of gain, being a far greater jump than the difference between Clean and Overdrive, but still all the while retaining clarity. The choice of 6L6GC power tubes allows this to feel big and open, uncompressed and dynamic while having as much gain as you might need. We didn’t even opt for additional overdrive pedals, commonly used to push things even further in extreme music, yet here we were content after dialling the EQ a little and pushing the Presence control up.
The low end of the MT100 is clean and dynamic, allowing for the precision of controlled picking to shine through, hopefully you’ve picked the right cabinet! Through a straight fronted cab the low was balanced and clear without overwhelming other areas of the mix like kick drum or bass. The headroom and openness of the MT100 on any channel must be applauded that even when pushed to its absolute limits, the MT100’s
tone doesn’t feel overly compressed or crushed, balanced yes, but not compressed per se. This is a stage where a lot of amplifiers fall apart, the fine line between harnessing the warmth of the power tube stage and the amplifier sounding like it's folding in on itself.
Overall, the MT100 is a home run. Building on the MT15 and expanding into the MT100, with more power and more versatility. From the moment I flicked on the amp, I was taken aback at its crystal clear response no matter how far we pushed it. The PRS MT100 didn’t miss a beat, and while the musicians I was recording might have missed a couple, we were overall impressed with the MT100 and it’s helped to shape a record for a band that’ll be shared, performed, hopefully loved and revered. No I just need to raise my rates enough to make the money to buy an MT100 to keep!
Distributed by: Jands
RRP: $2145
Reviewed by: Paul French
Summer is the season of the doof— that goes without saying. However, unlike seasons past, this year I have increasingly found myself taking a mental note of the kinds of portable PA setups and DIY rigs employed at these kinds of events.
Maybe it's a byproduct of old age or maybe I'm just a massive gear nerd, but there is something truly fascinating about the kind of guerilla logistics these parties entail and the kind of technical considerations that come with putting on a gig somewhere you shouldn’t.
Things like power source, portability and flexibility of built-in features like onboard mixing and stereo linking etc, all become extremely important factors when you’re talking about lugging equipment out to the middle of nowhere and when there is a genuine risk of the powers that be shutting things down at a moment's notice. Needless to say, pack down time is paramount in these kinds of high stakes applications.
Now, we here at Mixdown would never condone putting on a show without the correct council approval, but if you have gone through all the correct procedures
and procured the necessary permits, then all that is left is the sonic considerations. After all, what’s a doof if it's not doofing.
Suffice to say, the new Electro Voice (EV) EVERSE 12 provides all this and then some, serving as the perfect middle ground between mobile, self powering PA rig and floor filling sound reinforcement and all without any sacrifice on audio quality and dispersion in the open air.
Whether you are from a recording or live sound background, hearing the name Electro-Voice is sure to elicit a feeling of instant confidence when it comes to anything pertaining to transducer design. The American manufacturer has long been synonymous with producing some of the highest quality and best microphones and loudspeakers on the market and the brand’s new EVERSE 12 box more than lives up to this lineage for impeccable build quality and exceptional performance.
The newer, larger sibling to the highly touted EVERSE 8, the 12” option is aimed for users looking for bigger sound and maximum projection – perfect for those summer outdoor shows, whilst also
making full use of the best-in-class battery performance and wirelessfriendly feature set that made its 8” counterpart such a success.
Weighing in at 14.16kg and housing a lot more in the way of components, the 12” was always going to be a slightly larger box than its 8 inch kin, but it still is in no way a cumbersome box. The lightweight polypropylene enclosure helps keep additional weight to a minimum and the tradeoff in footprint size is made up for and then some, by way of the big leap in sound output between the EVERSE 12 and the EVERSE 8.
Employing EV’s own patented signal synchronised transducer for both the woofer and ferrofluid cooled 1” compression driver, the sheer amount of air that can be moved by the Evolve 12 is something to behold.
Driven by a high-efficiency 400 W Class-D amplifier and DSP module developed in collaboration with the world-class audio electronics engineering team at EV’s sibling brand Dynacord, the EVERSE 12 comes equipped with a built-in four-channel digital mixer, complete with studio-quality effects and processing as well as mode/ location/subwoofer presets, making it extremely flexible in terms of being paired with additional speakers and subs, or for carting it to various different acoustic environments.
What's made even more impressive is the EVERSE 12’s ability to move this larger and more powerful componentry at no cost to the overall battery life, offering 12+ hours at 100dB compared to the 12+ hours at 95dB SPL average on the EVERSE 8 (an improvement of 5dB of output on the same battery life, for a box that provides a lot more in the way of digital features and low frequency extension).
With a Maximum SPL of 126dB and a low-frequency extension all the way done to 45Hz, rest assured there is some notable heft involved at the auditory level. DJ’s mixes can be felt in the chest and through the ground, without the aid of a sub (but if you’ve got one, why not?)
For the bandier types or for anyone looking for the ultimate in small ensemble rigs, the
48V phantom power, feedback suppression and audio ducking, are sure to be handy additions, providing a truly self-contained setup from input to output.
In terms of connections, all the usual suspects are there, including 2 XLR/TRS combo jacks, a charge port for external devices like phones and ipads, a standalone XLR output for linking multiple units as well as a 12V DC power output, perfect for powering a wireless microphone system. Bluetooth connectivity as well as a 3.5mm stereo input also gives us plenty of choices in terms of media type, so the party doesn’t have to stop once the DJ has.
Another particularly handy addition is the ability to tune your PA remotely via the EV QuickSmart Mobile app to adjust all audio, effects and mix options, meaning you can really optimise your output to suit your working environment with too much back and forth.
An intuitive user interface makes it simple to shape your sound to the space, so you can focus on the show.
When it comes to providing scalable, awesome sounding portable PA speakers there is arguably nobody in the game doing it better than Electro-Voice. From their small-scale column speakers like the recent EVOLVE series, through to the EVERSE 8 and now th EVERSE 12, the brand have been on a tear of late, redefining the kind of sound quality that can come from these small footprint offerings. The new EVOLVE 12 with its remarkable output, 400w Class D amplification and swathe of digital features is proof that this same approach can be scaled up to larger boxes and larger parties, all while keeping weight and size to a minimum.
PreSonus have been at the forefront of home studio control surfaces and interfaces for quite some time now. That signature blue glow, the tell-tale sign of a PreSonus design, and one I have come to know all too well, having owned a number of their early units, and putting them through considerable use. They brought a range of big studio hardware features to small studio devices quite unlike any other manufacturers at the time. And whilst many of us would admit to being a sucker for a gimmick, I just can’t say no to one that actually delivers in design and practice. So, it took me all of about three seconds to say yes to taking the Quantum ES 4 for a spin this month. Let’s see what PreSonus have packed in this desktop unit, and explore how it may work in your audio recording and mixing space.
For those of you who like a more ‘hands on’ approach to your audio workspace, this Quantum ES 4 is a great solution. It’s compact enough to fit in with the most modest of setups, yet large enough to allow easy access to features without compromising on space. This is a nice step away from the trend of rack frame audio interfaces, in a world where less and less users are actually using a rack of gear in the first place. More often than not, a small desktop space with monitors and a laptop are the creative hub for many audio producers, so why not offer a multi-channel audio interface that contributes to this workspace? Exactly! Think of it as the control deck at the helm of your audio workstation, and you’ll soon find it fits in with your workflow quite nicely.
As the name quietly alludes to, the ES 4 offers four channels of audio input. On the rear of the unit, you’ll find four combination XLR/TRS balanced inputs for microphones or line levels devices. Four outputs are offered on balanced TRS connectors and MIDI IN/OUT as well as USB Auxiliary inputs are also there. That’s about it. Nice and simple, but offering plenty of options depending on what you’re working with. On
Brand: PreSonus
Product: Quantum ES 4 Audio Interface
Distributed by: Link Audio RRP: $599
Reviewed by: Rob Gee
the front edge of the unit, two instrument inputs on ¼” jacks are found, which have been engineered in a collaboration with Fender to supply guitarists with a high-quality direct input. And, since there’s likely to be two of you sitting around the ES4, two headphone outputs are also supplied on the front edge of the console, with a toggle button to allow for volume adjustments from the main jog wheel.
Also on the top panel are four engagement buttons for each of the input channels, and a main mix button, so that the jog wheel can be assigned to each as needed. A speaker mute button is also found by the main dB meter. On the far left, the Phantom Power button engages 48 volts to all four preamps, and an Auto button engages the nifty auto gain function that allows you to just worry about creativity and let the digitally controlled preamps deliver the most gain without going too far. It’s like driving a car without even needing to touch the clutch!
If you’re a believer in your audio workspace looking the part, for the aid of the creative process, or simply for the snaps you can put up on Instagram, then you’re going to love the Quantum ES 4. It looks
like a control device that carries a price tag four times what you’ll pay. ‘Sharp’ is the first adjective that comes to mind. The jog wheel is the centrepiece to this black and blue box, and helps to make it really look the part, but it’s very functional too. With blue LED lights around the wheel for an indication of level, it shuffles between positions as each function is engaged, without the wheel needing to move. Speaking of the movement, it’s a very nice motion. Smooth yet firm, and feels like it is going to take continual abuse over time, which is very important, as it’s the main control mechanism on the device.
Inside the box, there is a full mixing and routing matrix for all the inputs and outputs to get your signals to and from your DAW through the Universal Control App. And wouldn’t you know it, if you’re not already using a DAW of choice, PreSonus have bundled in their Studio One software with the device to get you creating right away. Best of all, it’s not a ‘Lite’ or ‘Compact’ edition. This is the full works, a free 6-month subscription to Studio One+ which features Studio One Professional Editions and a whole host of add-ons to allow you to record and create
professional audio works from day one.
So, when all is said and done, the combination of a solidly designed, sleek looking box, with four class leading preamps, and six months of fully featured software is made available for less than I paid for my first MIDI interface on a SCSI breakout card. How times have changed. If you’re in the market for a new interface, or looking for your first, think it through, and consider how additional inputs could work in your audio flow. Be it for home recording, compact studio use, or even in the rehearsal room, the Quantum ES4 is very much worth a look. For around the same price as a number of two channel interfaces, you can get four preamps and four outputs, with software and 30 years of design backing it up. Check one out today at your local PreSonus dealer, I think you’ll be pleasantly surprised.
Brand: Audio-Technica
Product: AT-UMX3
Distributed by: Technical Audio Group
RRP: $279
Reviewed by: Christopher Hockey
The perfect recording tool for streamers and podcasters is here in the form of Audio-Technica’s brand new AT-UMX3 USB audio mixer. A simple and reliable interface that delivers high quality, professional results, the AT-UMX3 is a plugand-play mixer that allows you to connect your favourite microphone and musical instruments, all while providing a loopback function so you can easily add in your in-game or PC audio directly to your livestream mix.
Audio-Technica was first established in 1962 in Shinjuku, Tokyo, Japan, by Hideo Matsushita as a phonograph cartridge manufacturer. As business rapidly developed, Audio-Technica swiftly and successfully expanded into a broad range of audio fields. Since then, Audio-Technica have become well loved in the music world for their precise craftsmanship and affordability and are known for making reliable products at a variety of price points.
Today, Audio-Technica's product range includes a wide variety of microphones, headphones, and audio accessories, used in applications from live sound and recording to broadcasting, podcasting, and consumer audio. The company remains committed to innovation, quality, and customer satisfaction, and is widely recognized as one of the most respected and trusted names in the audio industry.
Now, with the new AT-UMX3, Audio-Technica have built a fantastic portable audio mixer for the modern age, proving that they are as relevant as ever.
Mixing and monitoring has never been easier thanks to the AT-UMX3’s compact design and intuitive layout. Featuring a Neutrik XLR/6.3mm combo microphone jack (with selectable 48V phantom power) and a switchable Hi-Z or stereo input for guitar, bass, keyboard, or other external devices, the AT-UMX3’s two inputs each have separate gain and level controls, peak and signal indicators and a dedicated microphone mute button. The ATUMX3 also features a microphone monitor mute and adjustable output for your own headphone mix.
Featuring a sleek, modern design, the AT-UMX3 is finished in a smooth matte black and provides a pleasant tactile experience. The controls all operate smoothly and have the perfect amount of resistance for easy fine tuning. More than just a pretty face however, this mixer’s sturdy, compact chassis is robustly constructed and designed to withstand extensive travelling.
As well as being built to last, the AT-UMX3’s layout is self explanatory and user-friendly, with clear labelling and easy-to-access controls. At just 334g, it is incredibly lightweight, perfect to simply pop in your backpack and hit the road. This is
invaluable for people like podcasters who often travel for work and need a minimalist method of recording that’s mobile and quick to set up.
The AT-UMX3 is designed to deliver exceptional performance in a variety of settings. Its low noise floor and high headroom make it perfect for capturing a wide range of audio sources, from soft spokenword vocals to loud instruments. The mixer's USB audio interface is compatible with both Mac and PC, and it works seamlessly with all popular recording softwares.
Delivering exceptional sound quality, the AT-UMX3 generates clear and detailed audio reproduction. Its high-quality components ensure that audio is captured faithfully and with smooth, glitchless tracking. With a maximum frequency deviation of just 1.5db within a range of 20hz-20khz, this mixer's frequency response is flat and even, making it suitable for a wide range of audio applications.
The AT-UMX3 is equipped with a high-quality preamp and offers plenty of gain, making it easy to get a strong signal from your microphones or instruments. These specially designed microphone preamps are optimised for the Audio-Technica 20 series, ensuring you get the best results every time you go live. The dedicated headphone output is also a nice touch, allowing you to monitor your audio in real-time without having to worry about latency or interference.
Offering maximum control whilst taking up minimal space on your desk, the AT-UMX3’s compact size makes it incredibly convenient and portable. The simple design layout helps you work fast and efficiently, allowing you to mute your mic with the touch of a button, adjust gain, levels and personalise your monitor mix with ease. Whilst this mixer is stripped back and light on features, its rugged build and portability more than make up for it. This really is the perfect unit for a professional on the go.
Measuring up at just 127mm x 131mm x 44mm, the AT-UMX3 fits in with your work, whatever it may be. Saving space on your desk, in your suitcase and in the field is a great feature of this device and the amount of punch it packs for its size is genuinely impressive.
Also impressive, is the price. The AT-UMX3 is extremely affordable considering its exceptional sound quality and physical durability. It may be slightly more expensive than some entry-level mixers, but its performance and build quality make it excellent value for professionals and hobbyists alike.
All in all, the AT-UMX3 is a great choice for anyone looking for a high-quality USB audio mixer with a simple and intuitive design. Its exceptional sound quality and portability make it perfect for a wide range of applications, from podcasting and live streaming to music production and recording. You certainly don't have to be a sound engineer to operate this device, making it an appropriate choice for people from a variety of professional backgrounds and experience levels.
But, what really sets the ATUMX3 apart is its exceptional build quality. This thing is built like a tank, with a sturdy lightweight metal chassis and robust construction that can withstand the rigours of life on the road. Whether you're gigging, recording, or streaming, you can trust the AT-UMX3 to deliver reliable, highquality audio every time. For those who prioritise durability, simplicity, ease of use and exceptional sound quality, this mixer is a no-brainer.
With this product, AudioTechnica have successfully created the perfect interface for the age of the internet, reminding us that after 62 years, they’re still on the cutting edge. The AT-UMX3 is a top-notch USB audio mixer that provides a reliable, high-quality audio solution on the go, at an incredibly reasonable price. Whether you're a musician, podcaster, or live streamer, this mixer is definitely worth checking out.
Brand: Allen & Heath
Product: CQ-12T
Distributed by: Technical Audio Group
RRP: $1999
Reviewed by:
Jamie Colic
A common trend in the trajectory of modern technology is the phenomenon of consumers wanting smaller devices that don’t compromise on professional feature sets. The music industry is a sector where this emphasis has been felt strongly and the Allen & Heath CQ-12T is a direct embodiment of this mantra.
With the CQ series, Allen & Heath have gone all in to design a line of ultra-compact mixers that meet the demands of modern musicians, home producers, small venues and AV installers. The CQ12T is the smallest of the CQ line taking Allen & Heath's world-class effects processing and assistive mix tools, bundling them in an affordable and easy-to-use package.
Being the little brother of the CQ-18T and CQ-20B the CQ-12T is a compact digital mixer that harnesses 12 inputs and 8 outputs. 6 of the CQ-12T’s line inputs are combo jacks enabling you to run a ¼” directly into the mixer without the need for an extra adaptor. The unit also features one set of stereo inputs and a single headphone out.
The Allen & Heath CQ-12T processes 96kHz of pristine audio with the ability to record multi-track direct to SD or function as its own standalone audio interface via USB for use in conjunction with any DAW. As to be expected with a unit of this type snapshots of any mix arrangement can be saved for future use and all of this functionality is
compatible with both Mac and PC systems ensuring that the CQ12T is easily incorporated into any existing setup.
Additionally, the CQ-12T features network compatibility, meaning you can easily route this intelligent mixer to a router or directly to a computer and enjoy using it in tandem with Allen & Heath's fantastic CQ MixPad mixing application as well as CQ4You. Both serve as Allen & Heath’s inhouse applications for remote mixing and the adjustment of personal monitors for performers on stage. All of Allen & Heath’s control apps are compatible with Apple, Android and PC.
Upon firing up the Allen & Heath CQ-12T I was met with an attractive and intuitive user interface. Boasting a beautiful 7” touch screen and a substantial rotary knob navigation on the CQ-12T is a pleasant experience, avoiding the pitfall of constant menu diving that sometimes ails other devices.
The unit itself is very compact sitting in a footprint around the size of a typical laptop. Not only is the CQ-12T compact, it is also built like a tank, a trait we have come to expect from Allen & Heath products over the years.
The face of the CQ-12T also houses three customisable soft keys that can be assigned to any number of tasks. For example, if a user desired, they could set one to use as a tap tempo for allocating
delay feedback, one as a mute, and another as a shortcut to a quick channel. The implementation of these softkeys is only limited to the parameters of the CQ-12T and the user's imagination.
I feel that one of the most notable features of the CQ-12T is the incorporation of two different mixing modes being Quick Channels and Complete Channels. Quick Channels give the user a simple and easy means of managing a selected channel with the ability to dial various parameters such as effects processing with the turn of a single knob.
On the other hand, Complete Channels give users in-depth control of any selected channel providing advanced tweakability and adjustment of any parameter such as gain, compression, FX, and a plethora of others.
Upon diving into the feature set of the CQ-12T it quickly becomes apparent that Allen & Heath have put an immense amount of thought into making the CQ line a product that can adequately cater to both the needs of the professional without leaving students and casual users out in the cold.
This notion becomes even more pronounced upon interacting directly with the CQ-12T’s assistive functions. The first of which is worth mentioning is the excellent Gain Assistant which effectively monitors input signal upon setup and automatically trims gain on each channel to avoid any unwanted peaks.
This is a game changer as it not only cuts down on setup time, it will also continue to monitor these levels throughout the performance to ensure that gain levels are always optimized giving you time to focus on other aspects of the job at hand.
If this wasn't enough, Allen & Heath have also implemented their phenomenal Feedback Assistant which can detect and eliminate problem frequencies of up to 16 filters per output. Not only does the CQ-12T prevent unwanted feedback, it also eliminates the need for an engineer to ring out the PA system manually as the CQ-12T is capable of doing so automatically.
Of course, tools such as the CQ-12T’s Feedback and Gain assistants can be bypassed, meaning that if an experienced
engineer prefers that they undertake these tasks themselves, and they can do so without the assistance of the unit's prerequisite features.
As to be expected, the CQ-12T features a plethora of industrystandard digital processing and FX solutions. With fantastic Delay, Reverb, and Modulation algorithms onboard, Allen & Heath have even included a variety of instrumentspecific presets that once again cut down on setup time. On the CQ-12T, users can assign up to two effects per channel not including the unit's fantastic built-in compressor and noise gate algorithms.
Allen & Heath have really knocked it out of the park with the CQ-12T, providing a compact and extremely intelligent mixer that will adequately serve the needs of anyone from the demanding professional working in a small venue, through to the budding hobbyist who is working out of their bedroom.
Whether it’s playing, singing or speaking, LEWITT delivers the easiest solution.
• USB-C audio interface
• Autosetup for sensational sound with just a few clicks
• Clipguard protects from distortion
• Single-click Compressor and Denoiser
• Three iconic preamp sounds
• Touch-based and intuitive controls
• Custom button for workflow shortcuts
• Individual LED colors and brightness
The first microphone with autofocus for your voice.
• Groundbreaking XLR microphone
• Sensor-based AURA Technology
• MUTE by Distance feature
• Dedicated MUTE button
• Record-Ready sound
• 1” true condenser capsule
• 100% analog signal path
• Works with any audio interface
• Camera-friendly design
