Reviewed: Fender Hello Kitty Pink Stratocaster, MarkBass Little Mark Vintage 1000 + more!
Shure’s home recording solutions
First Look: beyerdynamic DT 1770 & 1990 PRO MKII
My Rig: Keyan + We speak to Alice Ivy!
TELEPATHTM WIRELESS SYSTEM
• 5.8GHz digital wireless signal transmission
• 70-foot transmission range
• Compatible with active and passive instruments
• Four concurrent channels and multi-unit pairing
• Low 4ms of latency retains natural playing feel
• Rechargeable battery supplies up to 8 hours of use from 2 hour charge
• Meticulously crafted analog and digital circuits designed from the ground up for bass-centric tonal expansion
• Overdrive, Compression, Delay, Fuzz and Reverb
Versatile Tones and Spectacular Style at an Affordable Price
• Twin Six Humbucking Pickups — strong mid range and attack for heavier tones
• Low Down Single Coil Bass Pickups — versatile enough to cover any style
• Soft C-Shaped Neck — excellent comfort and playability
• Adjustable Wraparound Tailpiece — increased sustain and perfect intonation
• From just $549 RRP at your local Gretsch Dealer
PERTH
ADELAIDE
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AUSTRALIAN TOUR 2025
#336
EDITOR
Lewis Noke Edwards
PUBLISHING DIRECTOR
Patrick Carr
DESIGNER
Kelly Lim
CONTRIBUTORS
Rob Gee, Paul Blomfield, Greg Long, Christopher Hockey, Jamie Colic, Alasdair Belling, Harry Connell, David James Young
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editor's Note
While we all celebrate the holidays differently, one constant in my household is the arrival of Christmas songs at a constant low murmur, announcing the beginning of December.
A lot of these older songs, from artists like Brenda Lee, Dean Martin, Eartha Kitt and Nat “King” Cole are from a time when a big band (both literally and as a genre) played together, live and in a room. While there’s a few key sonic elements at play here (Neumann U47s being accessible and plentiful, vacuum tubes powering the equipment used to record and world-class rooms like Abbey Road (then EMI), Capitol Studios and RCA), these recordings also have a sense of space, humanity and community to them.
The bleed between microphones helps us discern the distance between players, as well as a lead vocal that was often sung live in the room. Twenty takes into a session and the band would really be finding their groove, settling into their seats with their friends besides them, as well as general Christmas cheer filling the room, and I think you can hear this energy in the recordings. All of this is to say that music is about community and about family, both your blood and found family. Under the microscope of modern recording techniques we can feel exposed, but here we are reminiscing about a time where a band was live on the floor, mistakes and all, so community might be all you need. Though Santa, if you’re listening... a big ol’ tube condenser under the tree wouldn't go astray!
For breaking news, new content and giveaways visit our website.
Photo credit: Callum
Lausberg
GIVEAWAYS a backstage pass + guitar lesson from metal titans HAMMERFALL
Shredding across Australia for the very first time in January, HAMMERFALL arrive in Perth on January 14th before powering through a string of shows in Adelaide, Melbourne, Sydney and Brisbane.
Here at Mixdown we’re offering a backstage pass + guitar lesson with HAMMERFALL lead guitarist Pontus Norgren. Known worldwide for his wailing solos, powerful riffs and unique licks, one lucky Mixdown reader will get a lesson from the virtuoso, giving you the chance to unlock the secrets of the solos, harmonies and riffs on HAMMERFALL’s new album Avenge The Fallen. Simply visit our Giveaways section on site to enter!
HAMMERFALL AUSTRALIA TOUR DATES
Tuesday 14th January PERTH, Metro Fremantle
Wednesday 15th January ADELAIDE, Lion Arts Factory
Friday 17th January MELBOURNE, Northcote Theatre
Saturday 18th January SYDNEY, Manning Bar
Sunday 19th January BRISBANE, The Triffid
Product News
Warm Audio revise the WA76 with Rev D and Blue Stripe options
STUDIO CONNECTIONS | STUDIOCONNECTIONS.COM.AU
Now available in single and dual channel, the new range has added recording features for today’s modern studio.
Warm Audio, the best-selling manufacturer of classic-inspired professional recording products, microphones, and guitar pedals, introduces the WA76-D & WA76-D2 discrete FET compressors delivering classic “Rev D” clean gain compression and the WA76-A & WA76-A2 discrete FET compressors delivering the iconic “Blue Stripe” vintage-voiced compression. Using premium components including custom transformers from CineMag USA and with added modern controls to achieve parallel compression, active & true bypass, selectable input impedance, and sidechain flexibility, the all-new WA76 series is the ideal choice for modern recording workflows that require vintage tone shaping.
HeadRush introduce the exciting new Flex Prime multi effects processor and FRFRGO portable speaker
launch of two new cutting-edge products: the Flex Prime multi-effects processor, the FRFR-GO portable amplifier.
The HeadRush Flex Prime is the ultimate, compact multi-FX processor for guitarists and bassists wishing to expand their sound spectrum. This powerful all-in-one pedal has a large library of realistic and responsive guitar effects, amplifiers, cabinets, and microphone emulations.
The FRFR-GO is a stylish and affordable 30W 2×3 desktop amplifier that delivers full-range flat-response sound to musicians in need of a portable and compact practice amplifier to use with their amp modeller at home. FRFR-GO preserves the tone of the amplifier and cabinet emulations from your modelling pedal while maintaining the attractive design of a traditional desktop amp.
Ernie Ball announce the rechargeable, lithium-ion battery powered Power Peg Pro USB-C
A lithium-ion battery with a quick charging adapter is included.
The Ernie Ball Power Peg Pro USB-C features a universal head for all acoustic, bass, and electric guitar tuning machines. It offers superior torque and is compatible with all tension requirements, from mandolins to ukuleles to vintage basses. The Power Peg Pro restrings your instrument up to 80% quicker than manual peg winders, plus the rechargeable lithium-ion battery and fast-charging USB-C power cable (included) make purchasing batteries a thing of the past.
From the essentials like guitar picks and instrument care products to fun additions like volume pedals, Ernie Ball has you covered for all electric guitar accessories and bass guitar accessories.
Yum Audio announce the Ember synthesizer for warm, analogue driven tones
YUM AUDIO | YUM-AUDIO.COM
Ember is available now from Yum Audio, an unparalleled vibe machine for music makers from all edges of every genre!
Yum Audio have turned the heat up with their sizzling new soft synth Ember: a warm, vibrant instrument plugin presented on a clean, ergonomic work-surface, packed with enough succulent presets to set your tastebuds and your earbuds ablaze.
It starts with a juicy stack of flame-grilled oscillators in three different waveform flavours (square; saw; triangle). Choose the thickness and doneness of your waves with parameters for pulse width and frequency modulation. Not enough fat? Blend in a sub for no extra cost.
Add two fully customisable envelopes and sandwich it all between master XY pad controls for width, tone, time and intensity, and you’ve got yourself a tasty synth made with love.
The feature-filled Zoom MS-200D+ MultiStomp for Guitar!
DYNAMIC MUSIC | DYNAMICMUSIC.COM.AU
The MS-200D+ features 200 drives and distortions, the most ever in one stompbox.
With a colour display, hundred of tones, effect and routing options available, the Zoom MS-200D+ manages to fit everything a guitarist could possibly need into a compact, stage-ready box. The LCD screen changes colour, making it easier to distinguish each drive and distortion type while scrolling, and while looking down on a dark stage!
With up to 250 custom patches, you can create unique distortions by chaining any two effects together. With Effect Routing chain effects in series, parallel, or alternate for the ability to quickly switch between two tones. The MS-200D+ features 152 all-new originals plus 36 emulations of classic tones that cover overdrives, distortions, boosts, fuzz, and more.
CMC MUSIC AUSTRALIA | CMCMUSIC.COM.AU
Gretsch announce Limited Edition G8424TG Billy Duffy Signature Falcon
FENDER MUSIC AUSTRALIA | GRETSCHGUITARS.COM
Gretsch celebrate 40 Years of The Cult with the G8424TG Billy Duffy Signature Falcon.
Having debuted in 1984, this year marks the 40th anniversary of legendary band The Cult, with guitar icons Gretsch teaming up with guitarist Billy Duffy to create the Limited Edition G8424TG Billy Duffy Signature Falcon.
To commemorate this incredible milestone, Gretsch is proud to partner with Billy to release the Limited Edition G8424TG Billy Duffy Signature Falcon. Inspired by Billy’s original ‘Sanctuary’ Falcon, the G8424TG features a Vintage White nitrocellulose lacquer finish with gold sparkle binding and gold hardware, Billy’s custom-wound Black Top™ Filter’Tron™pickups, and a commemorative “8424” metal truss rod cover.
Universal Audio Apollo X Interfaces Announce Sonarworks Integration
CMI MUSIC | CMI.COM.AU
After the successful launch of the Apollo X Gen 2 lineup this October, UA is proud to ship the awaited Apollo Monitor Correction by Sonarworks — a powerful new feature for Apollo X Gen 1 and Gen 2 audio interfaces.
UA Apollo X users can now harness Apollo Monitor Correction to apply custom SoundID Reference profiles to their reference headphones, or studio monitors to correct their room’s acoustics. Calibration profiles run in real time on Apollo’s DSP using studio-grade precision filters and alignment delays for stereo or multi-channel speaker systems. Seamless user experience (API solution) Apollo Monitor Correction seamlessly integrates with SoundID Reference, allowing users to directly apply correction
profiles to Apollo X DSP in realtime, as well as simultaneous headphone correction for the ultimate monitoring experience.
Fender x Hello Kitty 50th Anniversary Collection
FENDER MUSIC AUSTRALIA | FENDER.COM/EN-AU
Hello Kitty is known for empowering selfexpression and embracing individuality, and this collaboration transcends generations with her cute and colorful aesthetic merged with Fender’s sonic innovation and brand legacy. This global collection delivers unparalleled performance and stylish flair, combining accessible price points, stunning designs, and the quality musicians expect from Fender. The collection speaks to both long-time Hello Kitty fans and new players, supporting all forms of creative self-expression.
“Hello Kitty has a global community of devoted fans, and much like Fender, has transcended generations, culture, and geography. This partnership speaks to the joy and creativity both brands have inspired worldwide,” said Edward “Bud” Cole, President of Fender APAC. “It’s about more than just a guitar, this is about giving players a platform to express their individuality, with quality instruments, gear, clothing and collectibles that spark creativity, wherever they are.”
PRS 40th Anniversary
celebrations commence with the announcement of new Dragon and Custom 24 Limited Editions
ELECTRIC FACTORY | ELFA.COM.AU
PRS Guitars today announced the kickoff to the celebration of their 40th anniversary – which is officially in 2025 – with the announcement of
two limited-edition models: PRS Private Stock 40th Anniversary McCarty Dragon and PRS 40th Anniversary Custom 24.
The PRS Private Stock 40th Anniversary McCarty Dragon is the tenth Dragon since the first of its kind was introduced back in 1992. The Dragon art was drawn by Jeff Easley, a fantasy artist famous for many Dungeons & Dragons rulebook covers, and recreated as inlay by the team at Aulson Inlay.
PRS 40th Anniversary Custom 24 design specifications include an artist grade maple top with a retro violin top carve, PRS “Old School” birds with outlines and PRS “Pre-Factory” headstock eagle, all of which pay homage to early PRS guitars.
RØDE announce Wireless Micro: a pocket-sized wireless microphone system
RODE | RODE.COM/EN
Now, the Wireless Micro is changing the game again, revolutionising smartphone content creation by delivering RØDE’s wireless foundation in its most accessible format yet.
RØDE is excited to announce its smallest, simplest and sleekest wireless microphone to date – the Wireless Micro. RØDE has been the premier brand for cutting-edge, high-quality wireless microphones for over a decade. The WirelessGO was the world’s first compact wireless microphone system, revolutionising oncamera audio for creators around the world.
The Wireless Micro is a pocket-sized wireless microphone system tailor-made for smartphone creators. It features two ultracompact, ultra-lightweight transmitters with integrated clips and magnetic attachments that are incredibly easy to mount on a subject while remaining discreet on camera.
Product News
Announcing Cubase 14
YAMAHA MUSIC | AU.YAMAHA.COM/
Cubase 14 unlocks new creative possibilities with groundbreaking features, streamlined workflows, and intuitive design to elevate your music production experience.
Cubase, the professional grade DAW used by engineers, producers and recording artists all over the globe, just got better. With more advanced MIDI editing and integration, it’s a great DAW for electronic music makers, and unparallelled and mixing and editing workflow makes it great for more traditional recording and engineering of rock music.
Version 14 brings Dolby Atmos integration to the forefront, as immersive audio comes knocking at the door of the industry. Check out a few of our favourite features below!
Cubase Pro 14 is the complete digital audio workstation, trusted by many Hollywood blockbuster composers and Billboard Hot 100 producers worldwide.
Wavebone Space Station Modular Workstation
KOALA AUDIO | KOALAAUDIO.COM.AU
The Space Station is a modular desk from our friends at Wavebone. With various side, main and rack desks available, you can assemble multiple angled, ergonomic 6U rack with a main/middle section of 60-80cm, finally tying it all together with sides to complete the look. Expand your desk with more racks in the future - at your leisure!
The Space Station desks are assembled from heavy duty metal bracing and 25mm board for sturdiness and stability, plenty of space for additional equipment as well as computers, screens, DAW controllers and more. The perforated back panel allows you to easily install Wavebone’s cable management system to keep everything neat, tidy and organised! There’s nothing worse than tracing a patch cable along the floor, so keep them off the ground and organised.
Kramer announce new 84 HH Models
AUSTRALIS | AUSTRALISMUSIC.COM.AU
The Kramer 84 HH is an updated version of the legendary Kramer 84. The neck is a thermally aged bolt-on hard maple neck with a satin finish that has 22 jumbo frets and pearloid dot inlays.
The neck has a Kramer SlimTaper™ C profile that is thin and fast, so it is ideal for shredding. The fretboard features a compound radius that is 10” at the nut and flattens out to 14” further up, so playing first-position chords is easy while allowing you to play deep string bends further up the neck without the notes fretting out.The 84 HH headstock has a classic Kramer logo, is fitted with die-cast tuning machines, a nickel string retaining bar, and has a wrench holder for the Floyd Rose on the rear, so you’ll always have the tools to adjust the tremolo on hand.
Kevin Parker made a synth?! Introducing the Telepathic Instruments Orchid
Kevin Parker of Tame Impala fame announced a new company this week, Telepathic Instruments, along with their first synth. Telepathic Instruments think of Orchid as a new kind of instrument. Not just a chord machine, but sort of an *ideas machine*. And like any new idea, Telepathic Instruments think the Orchid will change and grow in unexpected ways. Orchid is a new kind of instrument that helps songwriters and musicians find what’s on their mind.
ProTune makes it easy to keep your tuner powered up and ready for extended play sessions, while reducing waste from disposable batteries.
Enhance your tuning experience with the Ernie Ball ProTune USB-C Clip-On Tuner. ProTune combines unparalleled accuracy with five tuning modes on a high-visibility color display specifically engineered for musicians who demand precision and reliability. Embrace the convenience of a USB-C rechargeable battery for prolonged play and a versatile mount that promises perfect placement on most headstocks.
Precisely tune your instrument using chromatic, guitar, bass, violin, or ukulele modes, all on a high-visibility display. The spring-loaded clamp adjusts to fit most headstocks.
Opeth return to Australia for 2025!
OPETH are offering a special bundle for fans who pre-order the album The last WILL and TESTAMENT, which is due for release on November 22, 2024. Fans who pre-order the album on Wednesday 13th November 2024 will receive a special ticket pre-sale code for the tour!
Swedish rock legends Opeth are excited to announce a headline tour in Australia and New Zealand set for November 2025.
After 6 long years of waiting, the Nov ’25 tour promises to be groundbreaking – 7 absolutely massive concerts featuring 2 hours plus sets including landmark masterpieces and songs from Opeth’s darkest and heaviest album in decades – the critically acclaimed concept album, The last WILL and TESTAMENT.
Indie rock icons Feeder are returning to Australia for the first time in 14 years
Indie rock icons Feeder have announced their highly anticipated return to Australia, marking their first visit in 14 years. With a career spanning decades and multiple platinum-selling albums, the band is set to deliver a series of performances across the country in April 2025.
The band’s latest double album, Black/Red, completes a trilogy that began with Torpedo, reaffirming their ability to evolve while staying true to their roots. As Kerrang! aptly stated, “If you’re looking for a band to keep it real in a world of fakes, you could do a lot worse than to put it all on Feeder.”
Australian fans can expect a dynamic setlist filled with their greatest hits and new material when Feeder kicks off their tour in Perth.
Bluesfest lineup led by Crowded House, Vance Joy, Tones and I
The first Bluesfest lineup is here, with 20 artists announced for the 36th and final Byron Bay Bluesfest. Bluesfest 2025 will take place from April 17-20, 2025, marking the end of an era for Australia’s most iconic and highly awarded music festival.
The first wave of artists has been announced, promising an unforgettable farewell. Leading this extraordinary lineup, Bluesfest is thrilled to welcome back Crowded House.
This final Bluesfest is not just the end of an era; it’s a celebration of everything the festival has stood for over the past 35 years – music, community, and unforgettable experiences.
The Offspring announce SUPERCHARGED worldwide in 2025 with Simple Plan
Once was not enough for punk rock icons The Offspring! Fresh off the release of their brand new album SUPERCHARGED and their earth-shattering one-off performance in Melbourne, the legendary five-piece have officially supercharged their 2025 plans,
announcing their return down under next May for the The Offspring: SUPERCHARGED Worldwide in '25 Australia tour with Simple Plan. The Offspring: SUPERCHARGED Worldwide in '25 Aussie tour will kick off on Sunday 4 May in Adelaide, heading onto Melbourne and Sydney, and closing out on Wednesday 14 May in Brisbane.
Metallica is coming to a city near you!
Metallica has confirmed that its recordbreaking M72 World Tour will be coming to Australia and New Zealand in November of 2025. This leg of the Metallica M72 World Tour will see the band visit stadiums in Perth, Adelaide, Melbourne, Brisbane, Sydney and Auckland. These dates will feature Metallica performing at the end of each stadium and will include the infamous Snake Pit extending from the front of the stage.
Since opening April 2023 in Amsterdam, M72 has seen Metallica play to some three million fans.
Port Fairy Folk Festival line-up grows
Joining the 2025 line-up are American artists Bonny Light Horseman, Cat Power who will sing the songs of Bob Dylan and Prince Edward Island-based English folk singer Lucy Farrell.
Continuing the Festival’s tradition of celebrating local artists and supporting musicians from across the country, the March long weekend will see Briscoe Sisters, Charm Of Finches, Checkerboard Lounge, David Arden, Don Walker, Flynn Gurry, Hat Fitz & Cara, Jad Pinnone, Jeff Lang, Jordie Lane, La Mauvaise Réputation, And Nick CharleS taking to the Port Fairy stages.
WORDS BY ALASDAIR BELLING
The time is winding down on my chat with Shawn Crahan, AKA “Clown”, the founder and artistic director of Iowan metal juggernaut Slipknot.
For nearly half an hour we’ve chatted Knotfest, Rick Rubin stories, and how great French metallers Gojira are.
At the turn of 2023, things were looking decidedly bleak for “the nine”.
Firstly, sampler and classic line-up member Craig Jones (the one with the spikes in his head) was quietly ousted from the band in June.
Then, a few years ago, the band took to their social media to announce that drummer Jay Weinberg was being moved on from the band after a decade behind the kit – a move that Jay later clarified had “blindsided” him.
Having replaced legendary drummer Joey Jordison in 2013, Jay’s departure, for many, signalled the end of the band. Reddit forums were awash with speculation, with many decrying the “corporate” nature of the decision.
And then came the announcement in December – four weeks after Jay’s departure –of a 25th-anniversary arena tour around Europe.
Video footage of the band playing club shows in their old black jumpsuits. Vintage masks galore. Suddenly it seems possible – if not inevitable – that after a year mired in controversy, 2024 was the start of a new era of Slipknot at its most hostile. 2025 sees them descending on Australia to lead Knotfest, new drummer Eloy Casagrande in tow.
Clown’s retort to questions about the tour certainly sounds like someone with the fire re-ignited.
“We’re off a label! We’re free – it’s like KungFu,” he says.
“You go back to zero and chase your own tail. It’s infinity. We go out the way we go in. There’s still five O.G.’s in the band – so I don’t wanna hear from the world about “blah blah blah” – you’ve got Corey, Mick and Jim – a Clown and A Sid –get out of my face!
“Then you have these wonderful friends in the band – plus new masks, and they’re people who love what we do. Of course, we’re thinking about playing the first album – it’s just where,
who, why, when? That’s the fun!
“It’s all about the fuckin’ songs, the fuckin’ fans – I’m done with all the bullshit, and I just want to do what we want like we always have.”
It’s a startling admission from the Slipknot mastermind that, over the past few years, things potentially weren’t dandy behind the scenes.
Then comes another admission in the guise of a passing comment – that things were potentially always meant to break this way.
“We don’t do anything unless we already have the answer,” he says.
“We didn’t have a drummer but the shows were immediately put up – people were asking me about it, but we don’t do ANYTHING unless we know.”
“We completed 25 years, seven albums –that’s our life, that’s our legacy, and now we’re starting Phase 3 if you will,” he says.
Last year didn’t just mark the 25th anniversary of the band’s seminal debut – it also marks two decades since the release of Vol 3: (The Subliminal Verses).
Spawning hits “Vermillion”, “Duality”, and “Before I Forget” – the latter of which collected a Grammy in 2006 for “Best Metal Performance”, the album saw Slipknot transcend the metal sub-genre and cross over into mainstream consciousness – keg cans, blast beats and all.
It created a “culture” around the band that in many ways has been genre-defying; Slipknot is one of the most instantly recognisable bands –nay brands – in the music world today.
Their merchandise empire rivals that of KISS.
They’ve also become the quintessential heavy metal band your parents are scared of – and so much of this visibility can be traced back to the record recorded most at The Mansion, with Rick Rubin in 2003.
Clown notes that – unlike some of his bandmates – he loved working alongside Rubin (frontman Corey Taylor famously had the opposite experience).
“I have memories of watching (late bassist)
“I NEVER LOOK AT IT LIKE A THAT SCENE, I’M HERE TO SAVE YOU NEED ART TO GO TO WORK, RELATIONSHIP, TO GET
Paul Grey sitting on his bed with (Jim Root, guitar) writing “Vermillion” ... I would be downstairs making dinner, and I’d walk up and see that, while next door one of the members is taking a crap!
“It was during that record that I found out that my wife was pregnant – she came out to see me and she told me she was pregnant with our son Simon (drummer of metal act Vended) – there was so much happening at the time in my life.”
While the band’s self-titled debut and sophomore Iowa were characterised by passage of Nu-Metal and Death Metal, Vol 3 saw the band open up their sound palette considerably.
The brutality was still there – just listen to the full-metal attack of “Three. Nil.” – but so was a desire to push the sonic boundaries.
“Before I Forget” and “Duality” contain some of the biggest pop-metal hooks of the century, while the likes of “Virus of Life” and “Vermillion” saw the band casting out into more experimental waters.
“Circle is the song for me,” Clown says, referencing the hauntingly melodic ballad about Corey Taylor’s father.
“I never look at it like a business ... I’m not into that scene, I’m here to save the human condition. You need art to go to work, to get through that relationship, to get from A to B,” he says.
“For me, I never look at it as going good or bad – I don’t care about ticket sales – I just know that there’s a lot of people coming through that door that need help just like me.”
The festival also presents a huge opportunity for up-and-coming bands to break into new markets, as well as for local bands to get up in front of far bigger audiences.
“Musically we had explored something that hadn’t come out. That whole album is an exploration of ourselves and grabbing other abilities of ourselves.
“Circle was written in a dressing room during the Iowa cycle ... Jim wrote that song and Corey wrote the lyrics about dozens of things ... Jim would always say ‘I don’t know if this is a Slipknot song’ – but I just broke him down and said ‘bro, get that fuckin’ song in here’.
“It was Jim’s choice, he could have chosen not to – but it was a beautiful thing for us for Jim to go ‘yes, I’m going to ordain this into Slipknot, and we’re going to make it work’ – and we did!
“We were pushing ourselves, and that’s what Rick is really good at doing ... it’s my favourite (Slipknot) record.”
The milestones of not one but two seminal albums open up exciting possibilities for Slipknot’s legendary live shows.
Fortunately, Aussie fans are lucky enough to see the masked riffers at their namesake music festival next year.
After a hugely successful inaugural tour in 2023 – headlined by the band themselves –Knotfest returned in 2024, with a stacked bill headlined by Pantera, Disturbed, and Lamb of God.
Slipknot being on the bill again in 2025 is notable for the pull power of the festival – but for Clown, the numbers through the gate – while a necessary evil – are still secondary in importance.
This year will see relative newcomers Sunami grace the stage, with gothy, dancey rockers HEALTH meeting a new crowd of metalheads. Local heroes In Hearts Wake will tear it up with international hardcore heroes Hatebreed, and share the stage with Sydney’s Polaris and Japan’s BABYMETAL.
Whether it’s helping break new bands in, or expose international acts to new territories – Gojira opened a side stage of the first Knotfest in Iowa back in 2012 – Clown sees the festival as a chance to champion important art.
“I remember Randy (Blythe, Lamb of God frontman), we did a Knotfest a few years ago, Randy had just been released from his ordeal (he was imprisoned on a manslaughter charge in the Czech Republic) and his first show back was Knotfest.
“I love we got to share that with him, but it could have been anywhere. I’m just happy that we can share those shows with a friend – it doesn’t matter if we had anything to do with it or not.
“Metallica did the same for us, Ozzfest did the same for us, Download helped us – all these things. It’s all part of it.”
Knotfest touches down in late February next year, and while he’s making no promises, Clown said he will hopefully be around the festival to hang out with punters.
“I want to be there to hang out with people and share in it with them,” he says.
“Even if I chat to someone for just five minutes, a lot of good can come from that.”
Knotfest Australia is coming. It’ll land on February 28th in Melbourne, March 2nd in Brisbane and March 8th in Sydney. For tickets, lineup, info and more, head to https://knotfest.com/pages/australia.
Bec Sykes and the happy accident that is Pepperpot Magic
WORDS BY LEWIS NOKE EDWARDS
Bec Sykes has earned her success. Wowing crowds at this year's Bigsound showcases, earning supports from Telenova and Jem Cassar-Daley, her debut record Pepperpot Magic captures the magic of her music succinctly.
It's a layered, textured, folky and deep, shifting between articulating her feelings in her lyrics and augmenting them in the chords and arrangement. Early success in singles like "Edithvale" had Bec Sykes in the spotlight, but her hard work sees Pepperpot Magic become a really special body of work.
Bec, first of all congrats on Pepperpot Magic! This is a broad question, but besides the amount of work - how did the workflow of making an LP compare to singles?
We made this album incredibly efficiently, which is not how I usually do anything, ever. [Producer] Rob Muiños gets shit done. Within like three weeks of chatting to him about recording, we were in the studio, and after two days we’d
finished the band beds for eight tracks. The fast pace helped me snap out of my usual perfectionism. When it came to mixing, it felt pretty overwhelming making decisions about so many songs, but at the same time it meant that I couldn’t spend as much time overthinking any one particular song. "Do You Dream in Colour", "Six", "Sculpture" and "Joan of Arc" were all written after we’d recorded the rest of the songs, so I was writing those songs for the album, whereas the other songs were just the strongest songs I’d written over the past couple of years. I really wanted there to be a solo piano song on the record and a spacious acoustic guitar song because when I listen to records they’re often my favourite moments, they feel like taking a deep breath.
After everything was mixed, Rob and I spent half a day working on the track order and transitions between songs.
How was the album recorded overall? Did you record basics with a band and then add overdubs or was each song treated like its own session?
The band beds for most of the songs were recorded live over two days in June last year. Then over a few more sessions we added overdubs which included vocals, acoustic and electric guitar, synth and tambourine. The rest of the recording was more spaced out and it was just Rob, Ronan and me in the studio for those sessions. "Six" was recorded more like a stand alone track sometime in September, then "Do You Dream in Colour", "Sculpture" and "Joan of Arc" were recorded over a couple of days in December. For "Six" we used a drum machine to create a loop, and for "Do You Dream in Colour" Rob played live drums and created a loop from that, but we wanted it to kinda sound like a drum machine. "Paint the House Grey", "Sculpture" and "Joan of Arc" all have live vocals.
What made Robert Muiños the right choice for Pepperpot Magic?
Rob produced a bunch of The Hunter Express’ music, so he was always on my radar because I love the production on those albums. Around the time I was looking for a producer, I listened to Didirri's album and the vocals were so striking. They were intimate yet so full-bodied, so I was confident Rob could capture my voice in a real special way. I told Rob I wanted to work with him because the stuff I’d heard him produce sounded a bit weird. He took it as a compliment, so I knew he was the right person to work with.
While there’s definitely a few layers on singles like 2020’s “Edithvale”, songs like “Joshua” feel more dense, textured and layered. Was this a sonic vision you had from the start or is it just how things came together?
I knew I wanted these songs to feature a band and have more
complex arrangements than my earlier songs. I’ve always loved electric guitar and pedal steel, so I wanted to explore how they could add texture to the songs. It was important to me that the band supported rather than distracted from the vocals and the lyrics, and I felt like my songs were in safe hands with Rob and the band. Surprisingly, the vocals were the main thing that changed from my initial vision. In the past I’ve recorded a lot of overdubbed vocals to create layers and harmonies. There’s still a bit of that in songs like "Caroline", but most of the songs are single track vocals with pretty minimal, if any, harmonies. "Joshua" has no harmonies at all.
Making an album would surely yield some stories, as well as studio magic and happy accidents. Have you got some stories of fleeting moments of inspiration or mistakes that ended up on the record?
I didn’t actually go into the studio planning to make a record, so the whole album is kind of a happy accident. I initially booked two days with the band and just planned to record "Joshua", "Caroline", "I Know What You Like" and another song that I ended up canning. But after the first day in the studio, we’d finished the band beds for all the tracks, so Rob was like "Do you have any more songs?” I went home that night and searched my voice memos and old journals and came back the next day with four more songs which we recorded the band beds for. By then I was like 'Holy shit I’m so close to an album', so I was determined to keep writing. I also love the ambient sounds on the record. The Rat Shack is above The Gem which is a restaurant/live music venue.
Throughout the record you can hear bird song, the house band sound checking downstairs, cars going past, and my personal favourite - a pot being scrubbed in the kitchen that serves as some perfectly-timed percussion on "Joan of Arc."
Image credit: Jeff Andersen Jnr
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High Vis: not post-punk, not punk, but a secret third thing
WORDS BY LEWIS NOKE EDWARDS
High Vis are an English rock band. I’m saying rock because their third record, Guided Tour, transcends genre, blending post punk and new wave influences with classic protopunk stylings and an underlying hardcore energy. While on tour with Show Me The Body, High Vis frontman Graham took the time to chat to Mixdown about songwriting, production and recording.
I ask Graham how he’s going, and he seems relaxed and calm, despite being minutes away from jumping onto stage.
“Yeah, I’m good.” he begins. “We’ve got three dates left of a six week tour.”
“Excited for home?” I ask with a grin.
“Unbelievably,” he laughs. “The eight days that I get, and then we’re back out again.”
Following a string of Australian shows in August with Sydney band Speed, High Vis have been non stop. Their third album, Guided Tour, was released in October, and they’re showing no signs of slowing down. Guided Tour was recorded at Holy Mountain Studios in London, before being mixed by Holy Mountain owner Misha Hering.
Speaking to the album, Graham explains “It’s always good to get it out. You put a lot into this stuff, and then you sit on it for a couple of weeks and that hyper-active little brain just wants to get the thing out and move on.”
“And you start to wonder if it sucks.” I jest.
“Yeah!” Graham laughs. “I literally didn’t listen to it for like two months. I think for myself it’s good to do that, really take stock of it. And I still like it, so that’s good.”
We take it right back to the album’s inception here, speaking to High Vis’ songwriting process, Graham explaining that their drummer, Edward "Ski" Harper, usually starts the songs off.
“He’ll generally demo stuff, play around with
stuff, and do it all on Ableton. So he programs all the drums, and I generally think he starts with bass riffs, and then builds from that. I’ve seen him play a bass and then build the parts up.”
“It’s a long process, I’ll send lyrics to Martin [Macnamara, guitarist], just notes in my phone, which we then chop up.” Graham explains.
From here “it’s a lot of to-ing and fro-ing”, sending demos, refining and shaping the songs until they feel complete.
“It feels more akin to that of a bedroom producer than a traditional band. It comes from— Ski used to produce a lot of house and garage, back in the day— and it comes from that, really.”
Graham clarifies further that High Vis need to be really weary of demo-itis. With such an in-depth writing, demoing and re-writing process, the band can become overly attached to the songs when it comes to re-record them in a studio. However, they have a plan to avoid this: when it comes to the studio, they won’t take the demos with them, and try their best to just record them from memory to avoid comparing the new recordings to the demos.
There’s an intensity to High Vis’ music, and while they’re not explicitly a hardcore band, they retain a heaviness and punk-iness about them, while drawing from other influences.
Graham laughs. “Yeah, we’re not at all [a hardcore band]. I think that’s the energy and
approach that I like to take, I see people in bands and I wanna be convinced by them. I want them to be ‘doing the thing’.” he smiles. “Sonically, [High Vis] is not a hardcore band. I always say it to wind people up, because it’s funny. People in hardcore love tellin' you what hardcore is and isn’t.”
“Because we’ve always been around, that’s the scene we came up in, it’s kind of like—it’s quite funny isn’t it. I don’t know what we are, I’d say post-punk is probably the closest and best word for it.”
“It’s not quite punk, it’s not quite post punk, it’s...” I trail off.
“It’s a secret third thing.” Graham grins. Graham lists off a few influences for this ‘secret third thing’, naming bands like The Chameleons and The Sounds, “80s post punk bands: miserable, jangly, a lot of chorus on the guitars.”
He continues to list influences like Red Lorry Yellow Lorry, early Creation [Records] bands and more.
Graham speaks a bit further to the vocal style on a lot of this music, describing it as “dull, monotonous, anti-singing” and says he never wanted to do that. It felt insincere, and performative.
“In my opinion.” he hastens to add.
Graham decided to just see how his own vocal style would sound over that style of music, and High Vis’ sonic identity was born.
“I’m not trying to be anyone but myself really.”
We pivot a bit here to capturing all this identity on record, and we discuss the recording workflow as well as Holy Mountain specifically.
“I used to DJ hip hop with Misha, back in the day,” says Graham. “He’s Swiss and we used to DJ some grimy New York hip-hop.”
“[Holy Mountain] is a sick spot, and they’re just our friends, so recording in that space is so familiar, but bringing Jonah (Falco, producer) into it, he’s really good at just tapping into what it is that you’re trying to do, or what you should push or lean into, y’know?”
The recording itself was by instrument by instrument, drums first, then building from there. They try not to record to a click, to retain the life of the songs, and then build and build on top of that foundation. We clarify that while they’re building layers, they’re weary of overdoing it.
“We wouldn’t record something that we couldn’t play live.” states Graham. “However, we haven’t played all the songs live. There’s songs we know are gonna be fun to play live, you can approach it with more energy. I don’t know if it’s that deep, really, we don’t think that much about it.”
“The songs are always written by the same people that are gonna play ‘em live, so it’s not so much of a thought process.”
The new High Vis record, Guided Tour, is out now on Dais Records.
Image credit: James Edson
WORDS BY LEWIS NOKE EDWARDS
Willaris. K’s debut album Everything Is As It Should Be is a moment of clarity after a whirlwind time personally, professionally and musically. Following a breakup and a blow out with friends, Jack McAllister a.k.a. Willaris. K, realised the music he was making was straddling the line between sad and angry, a feeling we’ve all felt at times, but not something always talked about.
I start by congratulating Jack on the release of the album, and he beams.
“Yeah, thanks. Very happy to have it out.”
Willaris. K discusses drowning in a pool of ideas
We dive straight into Jack’s workflow, his music conjuring up thoughts of something between a night out at a club and a movie montage, invoking the feeling of going through something and seeing the light at the end of the tunnel.
“The album writing process was definitely one-of-a-kind, that I don’t think I'll revisit again.” he acknowledges. “It was a process of making so many ideas that I built the biggest pool of demos and tracks and all these things that became a bit convoluted after a while.”
“Most of the tracks,” Jack begins, before correcting himself. “There were a couple that were one off, I sat down in a space, I wrote chords, I built everything. This track “In Retrospect” is the track I’m referring to, that was this track that was like: I made it. Boom. That’s it.”
“In Retrospect” was the only track that happened that way, the rest of the songs being the result of deep experimentation. Jack would make a few
ideas a day, sit on them and then pick the best ideas to elaborate on.
This process was a lot of making loops, unless something piqued his interest, it would jamming with himself and trying to vibe out ideas as best he could.
Jack explains further that his assumption to making a huge body of work would mean he could skim the cream of the crop from the top, easily filtering out the bad ideas to make way for the good, but this isn’t what he was left with.
“It left me with a big, massive bank of ideas, y’know? Most of the tracks went through at least three different versions, and not just minor iterations, like completely different directions. Fully re-interpreting them, I was just lost in the sauce, to be honest.” Jack says with a grin.
“And that’s why I bought on people like Morgan (Wright), who helped me with “Enta”” Jack explains. “Like “Enta”, the first track, initially was completely different, melodically it was completely different, and it was very epic and cinematic and emotional. And it sounded too much like the back end of the record sounds like now.”
Once I loosely got a tracklist going, I was able to be like ‘Okay, I shouldn’t be trying to say the same thing with every single track’, like ‘What is the most interesting part of this song?’” Jack muses.
Jack obviously had a full length record in mind, thinking about the ebb and flow and the journey of the album on the whole, rather than jamming ten songs together. This helped to inform his choice of which ideas would end up on the final album.
For such a seemingly chaotic workflow, Everything Is As It Should Be is remarkably cohesive, taking us on a journey through genre, mood and ambience.
Jackal acknowledges that despite the challenges, “it eventually worked”,
confidently stating that there were “zero stones unturned” in the whole process.
“I didn’t want to feel that feeling of ‘Oh, fuck I should’ve done this.’” says Jack. “‘I should’ve really pursued that’, I don’t feel any of that. And I’ve felt that on previous releases, so I think that’s what motivated me to just go all the way in and figure it all out.”
“I think it was a point of clarity when I was like ‘What are these songs trying to say, individually?”
We shift here to the deeper details of the album’s workflow.
It was made in Ableton 11, though only because the record was finished before Ableton 12’s release earlier this year.
“When I was 18, going to clubs,” Jack laughs. “I went to see Flume in 2012, and at the time I was DJing, and my mate made music in Ableton. I remember being at the club, talking shit, yelling at Flume and asking what program he used. It was loud in the club and I thought he said ‘Ampleton!’”
“I remember going home and telling my mate to use ‘Ampleton’.” says Jack, explaining that his friend corrected him, but he was sure Flume had said ‘Ampleton’ over the noise of the loud club.
From here, Jack started using Ableton to produce music, and has never considered another DAW. It fits the bill for every part of his workflow, allowing him to quickly get ideas either with soft synths, VSTs, or his growing collection of hardware synthesizers.
The hardware are great idea starters. “If I’m on the road and I start something, I use a lot of soft(ware) synths as well. But if something really felt like ‘Oh I could push this with the Prophet 6’ or if a bassline that could use the (Moog) Sub 37, then I would just re-run the MIDI?” Jack explains, making sure I’m keeping up.
and people have hit me up about it. Moving forward I’m excited to go deeper into mixing.”
“Up until this point I just mixed on the go. Very grateful to have a nice studio to work in, so that helped just the sonics of everything.”
We discuss for a moment the ongoing trend of treating mixing like the main event when chasing a sound. While an important part of the process, you’re ultimately mixing the recorded sounds, so you should get those right.
Jack explains that he struggles to work on something if the sounds are uninspiring, so he makes sure they’re right at the recording stage, or mixes as he goes.
Now that the record is done, what’s the plan for performing it live?
“I think while recording, the live show was always in the back of my mind,” begins Jack. “So I think in the end that the record translates across both headphone listening and the live performance.”
“When I was making it, I was just making a record. But regarding a live show, I’m going deep on that now. Starting to build what the live show’s gonna be.”
“I went to see Flume in 2012, and at the time I was DJing, and my mate made music in Ableton. I remember being at the club, talking shit, yelling at Flume and asking what program he used. It was loud in the club and I thought he said ‘Ampleton!’”
“Most of the time I would have everything connected, I would have a couple of drum machines, and experiment and make things. Most of the time, I would find one bit through that whole jam, and I’d drag that in.”
It’s a combination of running MIDI through the hardware as well as improvising that starts ideas for Jack, pulling the best parts out and using those as a catalyst for whatever he’s creating. He’s also using them push and augment sounds once a song has legs and is, to continue the pun, up and running.
We speak for a moment about despite the amount of ideas and songs available, Jack has used the limitations of hardware to help refine the sonic palette, allowing everything to exist in the same world.
“I bought all this gear and I didn’t use all of it,” he begins. “As I’ve gotten a bit more experienced, I realised you’re better off being highly experienced in one piece of gear, so then I guess I kinda leant into the Sub 37 and the Prophet 6 and they kinda became a centrepiece of the album’s sound.”
Post synth, Jack will sometimes use pedals when re-recording for added flavour and colour.
“I use the Elektrok Analogue Heat, I love that. What else...” he says, looking around his studio.
“I’m pretty locked in with my ways with processing, like I love Soundtoys. I’ll have everything as I want it, sonically, and I’ll just send the MIDI out, do a pass.”
We pivot here a little, Jack explaining that he started mixing the album as he went, unlike more ‘conventional’ approaches with a clear delineation between producing, writing and mixing.
“This album was mixed by Ewan Pearson, I think he did an incredible job. I think the thing I’ve learned throughout the process is that I’m also capable of mixing. In the middle of all this, I put out a song called “Silversun” with my friend James.” says Jack. “And I ended up mixing it. It sounds good,
“And there is a bit of ‘How am I gonna pull it together?’” Jacks laughs. “There’s just so many songs now, and I guess some of them are softer and I want to reinterpret some of the softer songs into the live space.”
Jack explains that subconsciously, the live show presentation is always there while he’s writing and producing an album, understanding fully that the layers, mixing, ebb and flow will all need to be performed somehow, someway!
“I’m trying to figure out how I’m going to present the live show. In the past it’s been pretty set, but I’ll have MIDI sending out to certain pieces of gear, so I’ll use the Sub 37 and the Prophet live. I also use the (Korg) Minilogue, I’ll cut soft synths across to the Minilogue.”
“I’m trying to build it now, so it’s a bit more improvised and on-the go. I think the hardest point for doing that with my music is just the drums. With a lot of live shows, you see people use a drum machine, and a lot of the drums in their music are quite similar. Whereas there’s such a wide range of drum sounds in my stuff.”
“I’ve got the (Elektron) Digitakt and the Digitone there,” he says, pointing around his studio. “I’m just at the starting point of figuring out this live show now. I’ve just bought the new Ableton Move, so maybe I can try and integrate that somehow.”
Everything Is As It Should Be is out now via Mushroom Music.
Alice Ivy discusses using the gear that makes her happy
WORDS BY DAVID JAMES YOUNG
Alice Ivy's life is chaos. That's not a judgement call, either – that's straight from the horse's mouth. The Melbourne-based producer, multiinstrumentalist and songwriter is Zooming into her chat with Mixdown from the front seat of an Uber, running behind schedule as she embarks on a songwriting camp.
She is promoting her third studio album Do What Makes You Happy, which itself is running behind schedule following delays in its production leading to its release date being pushed back. So yes, there's chaos – but there's beauty to be found amongst it. Just ask the centre of the chaos herself, who is all smiles discussing her latest effort as it finally arrives in the world. “Pushing it back was the right idea in the long run,” she says.
“When you make records with so many collaborators and artists on it, making that work for everyone's timeline can be quite difficult. I also don't like the idea of releasing music that I'm not 100% on – I'm definitely a perfectionist in that sense. Ultimately, it took three years of my life to make this record, and that's just the way it goes sometimes. It's totally fine – it's all about doing what feels right.” Indeed, Do What Makes You Happy is a Goldilocks level of just right. It's a blend of blissful electronica, snappy pop, bigswinging R’n’B and raving unto the joy fantastic – an eclecticism that has come to define Ivy as an artist over the last decade.
Despite a wide range of genres, collaborators and studios – from her native Melbourne over to LA – there's a distinct consistency to the sound design of Do What Makes You Happy. Ivy puts this down to technological advances – plus a dependency on equipment that has paid off long term. “I always bring the same gear with me no matter what studio we're recording in,” she says. “I've always got my UAD[-2] Satellite [Thunderbolt,
DSP accelerator], and I'm always using the same interface and microphone. For this album I used a lot of Neve preamps, and I bought an LA-2A which I ran all of my vocal chains through. A lot of it is in the box, of course, so I'm not necessarily restricted by what the room sounds like the same way other artists might be. With what we've got accessible at our fingertips, you can do anything.”
Expanding on the sounds of Do What Makes You Happy, Ivy points to some key instruments that she used across the LP's creation that further assisted in defining its sound. Unlike her 2018 debut I'm Dreaming and its 2020 followup Don't Sleep, Ivy's focus was more drawn to tangible instrumentation rather than MIDI and programming. “A lot of what you're hearing on this record is my analog synth collection,” she says. “Probably the one that features the heaviest is my Roland Juno 60 – the sound of it, to me, has been really inspiring in this latest phase of my songwriting and my creative process. I also got an Omnichord, which was gifted to me by Liam McGorry – who played a bunch of horns on this album – and that's present on there too.
“For bass, I went between a Hoffner and a Fender Jazz. The Hoffner has flatwound strings, and it's my go-to for more of a deader, 70s style of sound. When I need something a little heavier, that's when I go for the Fender Jazz. As far as the guitars go... I normally do everything on my Fender Tele, and I don't go past it most of the time. A few years ago, though, I bought an Epiphone Sheraton and I absolutely love how
soulful and chunky it sounds. There's also a guitar I bought in Nashville that has Nashville tuning and octave strings. It has this gorgeous jangle to it, and it's quite fascinating to hear it used within electronic music.” Ivy laughs upon realising she has essentially taken Mixdown through her entire collection. “I really could talk about this stuff for days!” she says.
To note how far she has come from a creative perspective, Ivy points to the album's title track –which features Detroit artist Sam Austins. To her, the song exemplifies everything she has learned over the course of making both I'm Dreaming and Don't Sleep – in that it's a song that she wouldn't have had the confidence to have made during the process of either. “I really pushed myself out there with that one,” she says. “It's a four-and-a-half minute song, full of fuzz, distortion, live drums and 70s guitars. It's big! It shows my growth, and I think when you're a producer and you're an artist you have to grow. You can't keep putting the same music out over and over. I'm at a point in my life where I can really make music that not just feels like me, but is me. Everything about this song – and by extension, this album – is really exciting to me.”
Ivy signs off with Mixdown sharing her hopes for Do What Makes You Happy – specifically, wanting people to hear the album from start to finish. “Escape for a day and really throw yourself into it,” she says. “There's a lot of gems embedded on this record, and it all aligns really well in my head. There's a beautiful energy to it all, and I can only hope that it will resonate.”
THE REFERENCE REFINED
Refined sound: DT 1770 PRO MKII & DT 1990 PRO MKII
The first generation of our reference studio headphones already combined: excellent sound, optimum wearing comfort and reference-setting manufacturing quality; both being handmade in Germany. Simply said, a benchmark for studio headphones.
The second generation (MKII) come with many improvements, the perfect choice for today’s music production. Including, but not limited to improvements across high frequencies, a deeper and more linear base, plus with the addition of our new low impedance TESLA.45 driver of 30 ohms, they are now more than ever capable of being interfaced with compact audio interfaces. Along with a new headband made from soft memory foam featuring a fontanelle recess, they deliver extreme wearing comfort during longer listening sessions.
The benchmark has been reset.
FIRST LOOK:
beyerdynamic DT 1770 PRO MKII
& DT 1990
PRO MKII
WORDS BY LEWIS NOKE EDWARDS
The beyerdynamic 990 & 770 models are widely used for recording, for world-class sound and as much isolation as you need in either the DT 770 for a closed-back option for supreme isolation while recording, or the DT 990 for a little more breathability and comfort where isolation isn’t as big a deal.
Their flagship models in this area have just gotten better, with the addition of the DT 1770 PRO MKII & DT 1990 PRO MKII, again in closed-back and open-back options respectively.
Let me start with a real-world example of these headphones solving a problem. As an audio engineer, recording and producing music leaves me very much at the service of the artist. You’ll get sent mix revisions, sometimes after half a listen off a phone speaker and the band’s notes will be things like “Mix is overall tinny, lacking bottom end” and while you wouldn’t expect much more from the tiny voice coil speakers in an iPhone, it’s still my job to make sure the band is happy with their mix. More recently, I’ve been working with a particularly discerning band, with some mix notes about harshness, clipping and fizzing that I couldn’t hear for the life of me. And let me tell you, nothing will help a project spin in circles faster than blindly making changes
and hoping for the best.
The DT 1770 PRO MKII, with their closed-back design that isolated me from the world around me, helped me really focus and hear what they were hearing immediately. Admittedly quiet, but the problems that the band had identified in the mix were instantly clear to me, the supreme isolation of the DT 1770 PRO MKII helping me to get the finished mixes across the line. Interestingly enough, the band was monitoring a particularly harsh set of headphones that, after a little research, had an unpleasant crossover. Regardless, the problem needed to be fixed and the DT 1770 PRO MKII helped me do that. Inspired, I decided to dive into the DT 1990 PRO MKII and check out some of my favourite reference mixes and the detail is incredible. I can more clearly analyse the mixes of my favourite engineers, hearing delay throws, panning and effects, as well as nuance in the recording that I’d never heard before.
especially for us freelancers!
The DT 1770 PRO MKII are a closed-back, dynamic headphone, responding from 5Hz right up to 40kHz, the DT 1990 PRO MKII featuring an open back design and the same frequency response. Both headphones are powered by TESLA.45 drivers, featuring an optimised neodymium magnet for both precision and power of sound reproduction. The diaphragm is structurally optimised, for improved total harmonic distortion, rated at 0,04% and 0,06% for the 1770 PRO and 1990 PRO respectively. Included with the headphones are a premium hardcase, coiled and straight options for cables and two sets of ear pads depending on your needs and use!
The DT 1990 PRO MKIIs, with their open-back design, remain comfortable and opensounding for extended periods of mixing, while the closed-back design of the 1770 PRO MKII helped to retain a little extra isolation. The 1990s allow things to breathe, physically and sonically, though when a little extra isolation is required, the 1770s also boast a bit more bottom end than their open-back counterparts. Both headphones are great for references, an alarmingly detailed tool to have in your arsenal. I feel like I’ll never be caught off guard again!
Here’s where things get really special, the new MKII PRO headphones both feature 30Ω impedance, meaning they’re an equally viable option whether you’re using a professional headphone amp, a smartphone or a tablet; especially with beyerdynamic’s mini-XLR to lightning or USB-C cables! With DAWs being increasingly available on tablets and smartphones, it can be a shock to the system jumping from device to device, sometimes needing to switch headphones, making it difficult to retain a controlled listening experience. With the DT 1990 or 1770 PRO MKII, you can seamlessly shift from the studio to home, and back again, the PRO MKII headphones serving as a constant in a varied workflow -
Let me wrap this up by making something clear: the PRO MKII headphones from beyerdynamic are a huge step forward. They retain the same great aesthetics, comfort and design elements that’ve made beyer’s headphones so famous, with modern additions for the needs of today’s music listeners, makers and producers. Super low resistance means that these headphones don’t need an amplifier to be driven, so they're equally usable whether you’re in the studio or at home with a tablet or even smartphone. Consistent listening environments are really important, probably more so than a lot of us realise, and beyerdynamic have helped to bridge the gap whether you’re producing, mixing, referencing or just enjoying music.
The beyerdynamic DT 1770 PRO MKII & DT 1990 PRO MKII have helped me solve a problem, and from now on they’ll continue to help me avoid them in the first place. As a producer and engineer, I’m in the business of bringing an artist’s vision to life, and beyerdynamic are helping me do that.
Shure Home Recording Solutions
WORDS BY HARRY CONNELL
For nearly a century, Shure have been committed to providing professional audio, with userfriendly design and functionality.
With quality, durability, and performance at the helm, it’s easy to see why Shure is a leader in professional audio equipment.
Whether you’re a podcast creator, streamer, home studio nerd or just after a reliable recording option - Shure’s well and truly got you covered.
Shure SM4
Great for camera, great for budgets and great for sound; If you’re a home-recording enthusiast, the professional-grade offered by the SM4 is hard to look past.
The perfect way to bring the studio to you, its 1” brass dualdiaphragm capsule is engineered to reproduce every element of your performance with the utmost precision, backed by stellar low frequency control.
What makes the SM4 so exceptional for vocal and instrumental recording is the fact it's optimised to capture a range of sound sources, from soft vocals to loud instruments like guitar amps, drums, and horns, with high-SPL handling (max SPL of 140dB).
You’ll find great consistency in the SM4’s sound, especially in the highs and lows, where you get a lot of power and clarity, and another
reason why it’s so great for home use is the Interference Shielding Technology, which blocks RF noise.
You won’t have to stress about things like your laptop humming, phone buzzing or the sound of your ceiling fan, and the internal pop filter enables crisp plosive and rumble-free recordings too.
You’ll be able to compress and EQ to your taste without the need to worry about unwanted elements plaguing the mix, which is great peace of mind for creators working at home.
The SM4 works with any interface to achieve professionalquality recordings, and its sleek, allmetal design makes this legendary dynamic mic the perfect home studio upgrade.
Shure SM7B
The SM7B is the third generation of arguably the most famous microphone ever, and it’s been on the scene for over 50 years.
Many associate it with podcasting but it does way more than that (Michael Jackson recorded most of Thriller with the original SM7) and it’s still a staple in recording studios today.
This legendary dynamic mic
perfect for streamers, podcasters, and musicians alike.
The integrated preamp in the SM7db was designed to pair with the SM7B cartridge and amplify it, and what results is consistent gain and flat frequency response with very low noise.
When switched out of circuit, it’s essentially identical to the SM7B, but when engaged, it provides a transparent gain boost that doesn’t otherwise change the sound.
If you love the sound of the SM7B, this model provides a way to raise the sensitivity, and get that output a little hotter, resulting in a consistent and high-quality sound.
Shure MV7+ Podcast Microphone
Designed for creators who are looking to take control of their audio, and dive into a vibrant world of colour, the MV7+ could very well be the go-to for... pretty much everything.
is praised for its natural sound and durability, featuring an improved rejection of electromagnetic hum (shielding broadband interference) and use of an internal "air suspension" system helps with things like bumps to the mic stand or handling noise.
Another thing that’s made it such a go-to choice for a lot of podcasts/ broadcasts over the years is the fact that it's very forgiving if you move slightly off axis, due to its classic cardioid polar pattern.
Updated from earlier models, it also boasts a new and improved bracket design for greater stability and in addition to its standard one, it comes with an A7WS windscreen, which is designed to reduce plosive sounds and give a warmer tone for close-talk vocals.
Regardless of what you’re using it for, the Shure SM7B delivers reliable vocals every time.
Shure SM7dB
The sound you’ve loved for years, with the convenience of a built-in pre-amp; the SM7dB is a great plug and play option.
If you’re after consistency look no further, the latest version of this legendary XLR dynamic mic is
At first glance, it looks very similar to the previous MV7 model, but the first thing that jumps out would have to be the customisable LED touch panel, which looks cool is more than just as cosmetic, offering live visual feedback of what you’re recording and a touch-tomute feature.
You’ll be able to capture broadcast-quality audio pretty much anywhere you go with the MV7+, thanks to Shure’s Voice Isolation Technology which separates your audio from unwanted background sounds.
An Auto Level feature built into the mic takes the guess work out of the gain and compression settings, so you can plug and play the model, a digital pop filter serves to lessen the harsh plosive acoustic distractions along with a real time de-noiser.
If that wasn’t enough already, you have three types of on-board reverb at your fingertips too (plate, hall and studio) to further enhance your recording sessions, dual USB-C and XLR outputs, powerful DSP and a 3.5mm headphone jack.
Taking the already beloved MV7 and improving upon it, Shure have provided a great option here that caters to anyone’s needs and allows you to put together an all-in-one setup that sounds amazing, without having to worry about dozens of cables and other pieces of equipment.
Breaking down the science and history behind your favourite fuzz pedal tones
WORDS BY MIXDOWN STAFF
Most guitarists know a fuzzy tone when they're hearing it! Most will probably own at least one fuzz pedal, and if not, they can definitely identify a fuzzy tone on a record.
But what is fuzz and how does it differ from overdrive or distortion effects? What makes fuzz so easily identified amongst a myriad of drives and other distorted signals?
Fuzz has a uniform sound, but there’s a long list of different circuits and ways to clip the signal into that iconic fuzz. So let’s dive into some famous fuzz boxes, recorded fuzz tones and how and where to apply them to achieve the tone you’re after. First up: famous fuzz pedal sounds.
The ’60s were a time of experimentation, both socially and sonically. The super blown-out distortion we now know as ‘fuzz’ was developed through a few separate experiments were broken amps were pushed to their limit and used to create new sounds.
Throughout the ’50s, guitarists had begun to push their tube amps to break up and distort, but distortion and overdrive is characterised by sound waves clipping where the volume is pushed, and the amplifier’s limit had been reached.
Fuzzy tones are created when a soundwave is pushed beyond
even this, to the point that they become close to a square-wave as opposed to a sine wave. The breakup, attenuation and compression introduce progressively complex harmonics, creating the iconically fuzzy tones we’ve grown to love.
Some more modern fuzz tones are so blown-out that they mimic an amplifier breaking down entirely, the sound being known as “amp death”. Before the first pedal or ‘fuzzbox’, Gibson’s Maestro FZ-1 Fuzz pedal, was put to market in 1962, fuzzy tones were achieved by Link Wray, who famously slashed his amplifier’s speaker cone, or Grady Martin, who used an amplifier with a faulty preamplifier on Marty Robbin’s song “Don’t Worry”.
The Ventures used a “fuzzbox” to record ‘2000 Pound Bee’, before Keith Richards made Gibson’s Maestro FZ-1 famous via the main riff “I Can’t Get No Satisfaction”. A common trait to notice between all these iconic riffs is the simplicity and single-note nature of the hooks and riffs. Because of the complex nature of the harmonics that fuzz introduces, chords can often introduce unpleasant or dissonant
harmonies, for better or worse.
The ’60s and ’70s saw the introduction of the new “standard” for fuzz, the Electro Harmonix “Big Muff” along with all its reissues, as well as the Fuzz Face, now available in either germanium or silicon transistor models.
Fuzz pedals sound the way they do because they clip so hard at the transistor stage of the circuit. Transistors are semi-conducting devices that amplify a signal, and the material they’re made from affects how they clip and therefore how they sound.
Transistors for pedals are almost exclusively silicon or germanium, the latter being a moreexpensive and less resilient option. Germanium transistors can’t handle high frequency information and clip them completely, and produce more harmonics as it distorts. These two characteristics offer a ‘warmer’ fuzz sound that is generally more desirable to many guitarists than silicon-based transistor distortion. Silicon is cheaper and easier to work with, as well as being more responsive across all frequencies. The high-end that silicon allows through is what differentiates it from germanium. Hendrix, for example, is known to have used custom, silicon-based Fuzz Faces during the late ’60s and his time with the Band of Gypsys.
Another famous fuzz, the Big Muff, typically uses four transistor stages. It gets progressively more clipped, squashed and blown-out, with the fourth transistor acting to amplify the signal back to a useable level after the previous three stages of clipping having deteriorated the signal so much.
The silver Big Muff ‘Pi’ and the ‘Green Russian’ were both developed in kahootz with Sovtek, a Russian amplifier mainstay. Guild produced the Foxey Lady, a similar circuit design to the Big Muff but with just two transistor stages, whereas Electro-Harmonix produced the Axis Fuzz which ultimately became re-branded as the Big Muff; the big, mid-focused, synth-like sounds that have been heard on countless records. These
tones are sometimes tamed and blended, or otherwise left to run wild.
Fuzz can be an interesting and challenging sound to use when recording in a band situation. The circuit of Big Muffs is traditionally quite a scooped sound, unfortunately forcing most of the fundamental frequencies of guitar out. Electro-Harmonix produced a circuit that clips with op-amps (operational amplifiers) that didn’t scoop the signal so drastically and allowed more of those mids to be retained.
However, even more traditional scooped fuzzes can be blended creatively to create entirely new sounds. Because of the exaggerated scoop, this leaves plenty of room for more mid-forward sounds to occupy this area of the guitar tone. Some of Nirvana’s most famous guitar tones are created using exactly this method, a super in-your-face midforward tone blended with a super scooped Muff or other fuzz to fill it all out.
Fuzz can be used to great effect on bass, but can easily become overwhelming when the bottom end distorts. It’s very common for fuzzes to be used to distort mid and high frequencies of bass, where the bottom end may stay cleaner and unaffected by the massively blown-out, iconic tone that these transistors are known for.
Fuzz is as iconic an effect as any, but it’s a pretty complicated sound when you get down to it. It’s more clearly defined than overdrive or distortion, and more distinctive, partially because it needs to be pushed to be worthwhile.
Fuzz is so easily identified because of the sheer level of distortion, attenuation and compression that makes up that distinctly ‘fuzzy’ sound. The signal is clipped until it becomes a harmonious, rich, synth-like sound, the sound of which makes it usable for a bunch of different instruments. But beware, fuzz needs to be tamed or you can be easily overwhelmed and lost in a mix.
There’s a bunch of different flavours and circuits that can concoct a fuzz for you, but all will remain distinctly and iconically fuzzy – and that’s why we love them.
Introducing the SM4 Condenser Microphone. Capture
ALESIS DRUMS NITROAMP
DISTRIBUTOR: ELECTRIC FACTORY | RRP: $159
RECOMMENDED FOR:
Drummers everywhere! A total solution to amplifying your electric drum kit.
FEATURES:
The Alesis Drums NITROAMP is a personal drum monitor, pushing out 70W of fills, beats and splashes, allowing you to hear yourself with more oomph than headphones or
It‘s that time again! We know how difficult it can be to find a gift for the musician in your life, with terms like “warm”, “vintage”, “single coil” and “transducer” being thrown around as if anyone except guitarists are meant to know what that means!
For that reason, we’ve compiled some of our favourite gift ideas, for a huge range of budgets with a few tips for who, how and why to buy each item. Nothing is for everyone but there’s something for everyone! We’ve got instruments for those looking to go big, as well as a range of pedals and amps to augment anyone’s collection. Finally, there's a huge range of accessories that are no- risk as a gift, as a general rule of thumb musicians can use multiple accessories as spares, backups or refills, so they’ll never go unused.
A special note to the musicians reading: there’s never been a better time to buy yourself a little gift. You’ve earned it! A year of jamming, band group chats, merch design arguments, recording, mixing and mastering? Look at how much you’ve achieved.
So go on, treat yourself.
TRUETONE 1SPOT XP5-PS
DISTRIBUTOR: EGM | RRP: $319
smaller speakers! Its small form factor means it won't be in the way, clips securely to the rack of your e-kit, while still pumping out enough sound to get you groovin’.
A single master volume ensures there’s no complexity here - it’s all power!
OVERALL:
Alesis clearly understand the plight of those playing e-kits, they’re limited in space, some sandwiched between neighbours, and still need to keep their chops up. The NITROAMP allows it all to feel a bit more like a real kit!
The 1Spot XP5-PS is a go-to for pure, isolated power. Recommended for guitar, bass and keys players using pedals on the road or in the studio!
FEATURES:
Featuring five isolated power outputs, each connector offering 500mA of power, plenty for most pedals! It can be powered by either the included power adapter or with TrueTone’s 1Spot Pro CS11 power supply.
Isolated power helps alleviate issues associated with dirty venue power, radio interference and grounding issues, and the 1Spot XP5-PS is a great solution for that. Easily power five pedals, and the compact-profile can be stowed away easily beneath your pedalboard, or travelled with without weighing you down!
The power supply includes all required DC cables to connect to your pedals.
OVERALL:
The 1Spot XP5-PS is a great solution to power your pedalboard, or for extending your existing 1Spot system. Five 500mA will have your pedals happy across the board, allowing you to focus on what’s important: rockin’.
THALIA EXOTIC SERIES CAPOS BLUE ABALONE EXOTIC SHELL CAPO BLACK CHROME
DISTRIBUTOR: EGM | RRP: $159.95
RECOMMENDED FOR:
Guitar players that are fed up with unstable, ugly and inconsistent capos! For those shopping for a guitarist in their life, we can all use another capo!
FEATURES:
Thalia Capos are specially designed to work better, easier and look more beautiful than any other
capo you’ve ever used. Featuring special tension pads to more accurately and evenly fret your guitar, they’ll be the perfect match for both six and 12 string guitars, with OctaveTouch High Tension pads for a little extra tension.
The Blue Abalone is just one beautiful example of a huge range of equally iconic, unique and organic finishes available to match your guitar, style and mood.
OVERALL:
The Thalia Capo range as a whole is designed to fix some shortfalls of the conventional capo design, and they do it with style. Universal pads for balanced fretting, and beautiful finishes that elevate the capo beyond just an accessory.
GRAVITY PROFESSIONAL TABLET HOLDER WITH VARI-ARM
DISTRIBUTOR: LINK AUDIO | RRP: $159
RECOMMENDED FOR:
For DJs, solo entertainers, producers and podcasters or musicians using their tablet for sheet music, educational videos, DAW Control and more!
FEATURES:
Gravity products are built to withstand the rigours of the road and the stage, all the while securing your gear in the perfect
ERNIE BALL PROFESSIONAL ACCESSORIES
DISTRIBUTOR: CMC MUSIC | RRP: ENQUIRE FOR PRICING
RECOMMENDED FOR:
Frankly—anyone and everyone. We can all always use more accessories! Best practice to have whatever tool, trick or spare within arm’s reach at all times to keep the music comin’!
FEATURES:
From instrument care to maintenance, straps, strings and more Ernie Ball have this area covered. Most recently, they launched the Power Peg Pro USB C,
a USB-C rechargeable peg winder, ideal for those of restringing in a rush, or restringing multiple guitars a day! Keep those machine head winds tidy, and do it quickly!
A great gift for guitarists is the Instrument Care 3 Pack, allowing us to do a little maintenance regularly, rather than one big wipe down once a year! This pack includes instrument polish, string cleaner and a fretboard conditioner to keep everything looking, and most importantly feeling it’s best! All of this plus a branded Ernie Ball cloth!
Ernie Ball’s whole Professional Accessories range maintains quality across their range of tuners, straps, cleaning accessories and more!
OVERALL:
Cleaning and maintenance accessories are often forgotten, but a supremely important part of owning an instrument, and Ernie Ball do it best!
position. The Gravity Professional Tablet Holder with Vari-Arm is no exception, with a secure thread for a mic stand or desktop, and a continuously adjustable tablet clamping range, so no matter your preference for size of tablet, you’re secure.
Easily re-position your tablet in and out of the way, all the while not compromising on the strength of hold with the Vari-Arm, all built to last, and finished in a robust, matte black finish for a subtle, subdued look.
OVERALL:
The Gravity Professional Tablet Holder with Vari-Arm is a great solution for holding a tablet, a tool that a lot of creators use! Secure it with style.
PEDALTRAIN PT-CLJ-SC
DISTRIBUTOR: EGM | RRP: $339
RECOMMENDED FOR:
Recommended for guitar players of all levels. This is a great idea for someone’s first pedal board, or as the starting point for your fifth!
FEATURES:
The Pedaltrain Classic JR with Soft Case is built from Pedaltrain’s famed ultra light but supremely strong, hand-welded welded frame.
The Pedaltrain Classic JR with Soft Case is great for up to ten pedals, more if you get creative, as well as having the ability to tuck away any unsightly cabling and power. At a slight angle, your pedals are ergonomically placed for you to step on, as well as being able to view all controls, LEDs and screens easily. Carry your pedal board in style with the robust Soft Case, with carry strap, front accessory pocket and Platinum SBS zippers.
OVERALL:
Pedaltrain pedal boards are tried and true, why trust anyone else? Both strong and lightweight, there’s a reason Pedaltrain have been leading the industry for years, the Pedaltrain Classic JR with Soft Case is a prime example of why.
BREEDLOVE ECO COLLECTION PURSUIT EXOTIC S SERIES
DISTRIBUTOR: AMBER TECHNOLOGY | RRP: $1399
The environmentally conscious guitarist looking for a well-built, great sounding and feeling acoustic guitar!
FEATURES:
Breedlove are specialists in using interesting, exotic and intriguing tonewoods, both for the tone they impart on an acoustic guitar, as well as their aesthetics. TUSQ nuts and saddles impart the tonality and tuning accuracy of bone, without the environment affect.
The African Mahogany neck features a dovetail joint
with a Ovangkol fretboard. All of this is powered by a Fishman Presys 1 pickup system for pure, amplified tone.
The ECO Collection feature EcoTonewoods, a sustainable practice for an optimised natural sound. Environmentally safe harvesting, with a target tonewood weight ensuring the best possible resonance and resulting sound.
OVERALL:
The Breedlove ECO Collection Pursuit Exotic S Series is as pure a sound as you could imagine, with beautiful good looks, incredibly unique and exotic woods that offer something special both sonically and visually.
STERLING BY MUSIC MAN INTRO SERIES
DISTRIBUTOR: CMC MUSIC | RRP: CT20HSS $595 / RAY2 $849
RECOMMENDED FOR:
Those looking to dip their toe into the wonderful world of Ernie Ball Music Man quality! Perfect for guitar and bass players.
FEATURES:
The Sterling by Music Man Intro Series currently features two of Music Man’s best models, the StingRay bass (RAY2) and the Cutlass (CT20HSS).
The RAY2 is a solid body, four string bass in Music Man’s
classic StingRay body shape. The poplar body is available in a couple of different colours, with a H - 1 Ceramic Humbucker in the bridge position, and easy to access master volume and tone controls. Simple!
The CT20HSS is also poplar, featuring a HSS design, and a five-way pickup selector. 1 Ceramic Humbucker and 2 Ceramic Single Coils have tone on tap, as well as a Vintage Fulcrum Tremolo for a little extra expression. Either Maple or Amaranth fretboards are available, with 22 narrow frets and Music Man’s iconic 4 + 2 diecast tuning machines.
OVERALL:
The Intro Series packages everything loved about Music Man into some of their most affordable and accessible models yet, with no compromise on the Ernie Ball Music Man family values of build quality, good looks and finely selected components.
CHÂTEAU VALENCAY CAS-22
DISTRIBUTOR: KJ MUSIC | RRP: $1495
RECOMMENDED FOR:
This is a great option for beginners looking for a high-quality instrument to begin their musical journey.
FEATURES:
The Valencay CAS-22 is part of the Valency series of Alto Saxophones, featuring a ribbed construction, high F# and mother of pearl finger buttons. The CAS-22 features a beautiful brushed finish and engraved bell for a classy look.
Sonically the CAS-22 provides the great sound you’d expect from Chateau, complete with sturdy build quality, classy good looks, versatile assembly and great intonation across the range of notes and keys. Start your career off right with Chateau! Your new alto saxophone will arrive safe in a premium Zippered Backpack Case.
OVERALL:
The CAS-22, part of Chateau’s Valencay series, offers players the best possible start on the alto saxophone, Chateau offering more advanced options for you as you grow as a musician.
CHÂTEAU CHAMBORD CAS 50
DISTRIBUTOR: KJ MUSIC | RRP: $1995
RECOMMENDED FOR: Alto saxophone players of varying levels, skills sets and genre! This is a great option for beginners graduating to a higher-quality instrument.
FEATURES:
The Chateau CAS-50 is part of the Chambord series of Alto Saxophones, featuring a ribbed construction, high F#, big bells and double arms, that help to provide extra stability to the key cups. Playability, easy serviceability and high quality components make this a no-brainer
Increased durability is available via the ribbed construction, with components soldered to a large plate of brass for increased durability. Great sound across the full range, from rich lows to crisp high end and everything in between is available thanks to the large bell.
OVERALL:
The Chateau CAS-50 is a great option for a student or intermediate saxophone player, with premium components, construction and, most importantly, sound. Your CAS50 will arrive safe in a premium Zippered Backpack Case.
PRS HORSEMEAT OVERDRIVE PEDAL
DISTRIBUTOR: ELECTRIC FACTORY | RRP: $525
RECOMMENDED FOR:
The PRS Horsemeat Overdrive makes a meal out of other horserelated overdrive pedals. This one is recommended for tone purists!
FEATURES:
At surface level, the Horsemeat has just three main controls: Level,
Voice and Gain. Level and Gain are reasonably self explanatory, while the Voice control adjusts the frequency response of the clipping stage, meaning you can ensure either your lows or highs clip first for different tones! Left for smoother clipping, turn it right for more attack and precision clipping to cut through a mix. The Horsemeat also includes high and low EQs for more overt tone shaping.
OVERALL:
While overdrive pedals are nothing new, the Horsemeat is. A revised iteration of a classic design, the Horsemeat adds PRS’ ingenuity in the Voice control, augmenting a classic design with more control over all EQ.
TONE CITY HEAVENLY LAKE TCA-T40
DISTRIBUTOR: EGM | RRP: $249
RECOMMENDED FOR:
Ambient shoegazers, fans of music for airports, reverb aficionados.
FEATURES:
The Tone City Heavenly Lake’s output is as serene as the name suggest, combining Tone City’s Tape Machine and Tiny Spring pedals into one package. Switch the two circuits on and off
MARKBASS YELLOW SERIES BASSES
DISTRIBUTOR: CMC MUSIC | RRP: $795
RECOMMENDED FOR:
Bass players and fans of the colour yellow!
FEATURES:
The Yellow Series of basses feature MarkBass’s iconic yellow branding front and centre, available in three different, though classic, body shapes. The Markbass Yellow JB is perfectly suited for Jazz and more, with deep lows and smooth
response, while the Markbass Yellow PB has a more articulate response for precision playing, with a mid-forward thump, perfect for rock and heavy genres!
The Markbass Yellow Short Scale features a shorter scale length at 30” and a slightly offset body for a comfortable, ergonomic feel overall. Sonically, the basses offer classic sounds from a range of single coil or split-coil pickup designs, all with volume and tone controls for blending, filtering, boosting and more!
OVERALL:
The Yellow Series of basses are a no-brainer from the Italian masters of low end! Their amplifiers, pedals and cabinets are trusted the world over - why not complete the set?!
WAMPLER CATACOMBS
independently, with Wet, Decay and Tone controls for the Reverb and Time, Mix, Depth, Decay and Speed controls for the delay.
Settle back into Cloud 9 and let the ambience wash over you...
OVERALL:
The TCA-T40 isn’t an always on pedal, but when you need it, it’s the perfect solution. Effectively two pedals in one, it’s one heck of a deal.
DISTRIBUTOR: AMBER TECHNOLOGY | RRP: $599
RECOMMENDED FOR:
This pedal goes deep, like a catacomb, so this pedal offers a little something for everyone. Any delay sound you’re after, the Catacombs has it... it... it...
FEATURES:
With 11 popular delay and reverb modes, the Catacombs can provide everything from crystal clear digital space to warm, vintage
slapback and everything in between. Blend your delay and reverb together if you wish, the Catacombs isn’t here to hold you back!
What’s more, the Catacombs comes with a free digital download of the Catacombs plugin to use in recording, mixing and music production. Some classic delays include: analog delays, Bucket Brigade Device delay, mechanical delays Echo-Space Delay, Wampler Faux Tape Echo and 2290 digital delay. For reverbs, switch between shimmer, plate, hall, room and spring reverbs!
OVERALL:
For a stompbox, The Catacombs packs a whole lot of punch. With so many options, you might very well be able to replace a handful of other pedals!
WARM AUDIO WA-C1 CHORUS PEDAL
DISTRIBUTOR: STUDIO CONNECTIONS | RRP: $320
for vintage tone aficionados, looking for classic sounds at an affordable price.
FEATURES:
The WA-C1 harkens back to the early days of pedals, complete with rugged, textured finish on the chassis itself. One of the most celebrated chorus sounds of all time, the WA-C1 has stereo and mono output options, and plenty of
controls to shape your chorus.
A high and low switch adjusts the impedance of the input, offering a little extra grit. The chorus side of the pedal has Depth and Rate of the Chorus, while the vibrato half has Depth and Rate controls. Toggle the whole pedal on and off, and then switch between chorus and vibrato.
OVERALL:
Perfect for guitar, but also well matched with bass guitar or electric keys, the WA-C1 is a potent pairing with any of Warm Audio’s range of pedals.
HOTONE AMPERO II WITH EXPRESSION PEDAL
DISTRIBUTOR: AMBER TECHNOLOGY | RRP: $1349
RECOMMENDED FOR:
The Hotone Ampero II is a multi-fx and amp modeler, so do you like good guitar tone? Well, we recommend this for you then!
FEATURES:
Use 12 effects simultaneously, and choose from 60+ original Ampero effects, and 90+ amp models and 68 cab models. All of this is to say, whoever you are, there’ll absolutely be something in there for you!
MARKBASS BLACK LINE COMBO SERIES
DISTRIBUTOR: CMC MUSIC | RRP: ENQUIRE FOR PRICING
RECOMMENDED FOR:
Markbass Black Line amps offer a varying range of amps for home practice, gigging, recording and more!
FEATURES:
Simple controls, balanced line out and headphone jacks make this amp perfect for every situation. Practice silently at home or crank it up for a gig, use the simple Gain and EQ controls to refine and shape your tone. Various speaker sizes are available, along with matched amplifier ratings.
OVERALL:
The Black Line takes everything great about MarkBass and makes it EASY to get a great bass sound. Simple controls, enough power and well-built cabinets make for a nobrainer in the bass realm!
HEADRUSH FRFR-GO
DISTRIBUTOR: ELECTRIC FACTORY | RRP: $269
The Hotone Ampero II with Expression Pedal has four footswitches for toggling between effects, the addition of an expression pedal allowing you to... well, express yourself!
OVERALL:
The Hotone Ampero II with Expression Pedal could become your flight rig, or even your home rig that packs a punch, offering you everything need for gigging, recording and writing music!
RECOMMENDED FOR:
This is a great solution for guitarists using amp modellers, emulators and multi-FX units needing amplification.
FEATURES:
The FRFR-GO is a great solution to amplifying the carefully crafted tones in your amplifier emulator. The FRFR-GO is a 30W amplifier with Bass and Treble controls, perfect for practising at home, on the road or on the go. FRFR stands for full range, flat response, meaning it offers
uncoloured, clear sound for the tones from your emulator or amp modeller. A little extra EQ comes in handy, as well as Input Gain and Master Volume for further adjustment. To keep the FRFRGO truly mobile, it can be battery powered, at 24W instead of 30W.
OVERALL:
The FRFR-GO is a great option, and could come in handy for just about every guitarist. Simple controls, mobile size and functionwhat more could you want?!
PRESONUS ERIS-35BTW BLUETOOTH ACTIVE REFERENCE MONITORS
DISTRIBUTOR: LINK AUDIO | RRP: $279
RECOMMENDED FOR:
PreSonus are leaders in the pro-audio game, and their range of Eris monitors join the fold with pride!
FEATURES:
The ERIS-35BT monitors are accurate, portable and reliable, accepting both analogue and Bluetooth input for sound. Perfect for general listening around the house, with accurate and crystal clear sound, as well as being a great pair of monitors to have for remote
BLIPBLOX MYTRACKS
recording or small rooms where space is at a premium!
The ERIS-35BTW specifically have a pristine, white finish, housing 3.5” woven-composite, lowfrequency drivers and 1” ultra-low mass, silk-dome, high-frequency drivers, and 50W of power.
OVERALL:
Classy looks aside, the PreSonus ERIS-35BTW Bluetooth Active Reference Monitors sound great and are supremely portable for the producer on the go!
DISTRIBUTOR: KOALA AUDIO | RRP: $599
RECOMMENDED FOR:
As their marketing suggests, the Blipblox MyTracks is for anyone and everyone! Regardless of age or experience, we can all make dynamic, professional music!
FEATURES:
Featuring five tracks for layers and various instruments, with 48 unique, upgradeable and entirely musical sounds at the ready. The first track is dedicated to Drums, with 12 kits, the other four tracks
AUDIO TECHNICA AT-SP3X POWERED BOOKSHELF SPEAKERS
DISTRIBUTOR: AUDIO TECHNICA | RRP: $399
RECOMMENDED FOR:
The Audio-Technica AT-SP3X Powered Bookshelf speakers are recommended for home listening, offering powerful, balanced sound ideally suited to use with the AT-LP70X turntable.
FEATURES:
The AT-SP3X are a stereo pair of speakers, featuring 3” drivers and 1.1” tweeters, featuring built-in DSP for accurate sound. Equally useful for home recording, mixing and producing as they are as general listening speakers, the AT-SP3X straddle the line between accurate and enjoyable, making
them a welcome addition to any and every home.
The speakers are active, so you can simply plug in and play, daisy chaining between the main speaker and the second with a speaker cable, all included. Connect via either RCA connection or wireless, Bluetooth connectivity, the speakers offering everything from 55 to 20,000 Hz.
OVERALL:
The Audio Technica AT-SP3X Speakers are a great, all ‘round solution to listening to music at home. Enjoyable, balanced sound for listening and music around the home, with accurate, detailed sound with in-built DSP processing for music production.
Well matched with Audio Technica’s own range of turntables, these active speakers take any complexity out of your system, meaning even those new to the world of hi-fi (welcome!) can easily achieve great sound.
ATH-M50XBT2 HEADPHONES
being available for other layers, sounds or instruments, the built-in microphone even allowing you to sample any sound! Best of all, process and effect with onboard Filters, Pitch Shift and Delay.
OVERALL:
The Blipblox MyTracks makes making music really easy for beginners, and for the more experienced amongst us, it might just inspire something entirely new!
DISTRIBUTOR: AUDIO TECHNICA | RRP: $379
someone moving between studios, spaces and home, allowing you to use these as a wired solution for producing and mixing music, as well as switching to Bluetooth for general listening on the way home from the studio!
FEATURES:
Possibly one of the most famous headphones of all time, and definitely up there with the most used, the ATH-M50xBT2 introduce Bluetooth to the ATHM50x Headphones.
45mm aperture drivers, USB-C connection and multi-point pairing mode make the ATH-M50xBT2 a total solution for crystal clear, and accurate audio.
OVERALL:
These are a great buy for the busy music maker - we’ve got to slow down and enjoy music at some point!
BEYERDYNAMIC DT 1990 PRO MKII
DISTRIBUTOR: SYNTEC | RRP: $949
ear themselves, and for pristine sound reproduction. The MKIIs feature the latest TESLA.45 driver technology for pristine, high fidelity sound at all volumes.
These also feature an impedance of 30 ohms, meaning they’re an equally viable option for at home listening on a smart phone, or at a studio via a headphone amplifier. This is especially helpful for ensuring a consistent listening environment between the home and studio!
OVERALL:
music enjoyers!
FEATURES:
The beyerdynamic DT 1990 PRO MKII features an open back design, great for breathability and comfort over extended sessions of critical listening, during recording, mixing and more. The open back design allows better air flow to your
It was no mean feat to improve on such an outstanding product, but here we are admiring the beyerdynamic DT 1990 PRO MKII headphones. While also available in the closed back variant, the DT 1770 PRO MKII, the 1990s allow for accurate, comfortable listening over extended periods. You can trust them from 5Hz up to 40kHz!
NUMARK MIXSTREAM PRO GO
DISTRIBUTOR: ELECTRIC FACTORY | RRP: $1599
FEATURES:
The Numark Mixstream Pro Go is the latest in a range of wireless, truly portable mixing decks for DJing. Battery-powered, the Numark Mixstream Pro Go is the world’s first 100% wireless standalone DJ controller.
LD SYSTEMS ANNY 8 PORTABLE BLUETOOTH BATTERY POWERED 160W 8 INCH SPEAKER
DISTRIBUTOR: LINK AUDIO | RRP: $899 (+ WIRELESS OPTIONS)
RECOMMENDED FOR:
The ANNY 8 is great for music makers, those on the go and music enjoyers in general! Perfect for parties, events and general listening.
FEATURES:
The LD Systems ANNY 8 is a highly portable, and powerful, 160W speaker system. Combo XLR/jack inputs allow for mic and line level inputs, with options to expand to a wireless microphone system if
ARTIPHON ORBA 3
you wish! A handy battery indicator (for the impressive 11h hours of battery in ECO mode!) and built in five-channel mixer keep the sounding pumping.
OVERALL:
The LD Systems ANNY 8 is a very portable, powerful and robust solution to making music and sound on the go!
DISTRIBUTOR: KOALA AUDIO | RRP: $279
Integrating with Amazon Music means you don’t need an SD, USB or wired connection to access music! Built in speakers keep the party going, while balanced and unbalanced audio outputs are also available.
OVERALL:
What else is there to say? Numark are truly pushing the envelope with the Mixstream Pro Go, offering unprecedented access in an increasingly wireless world.
RECOMMENDED FOR:
The Orba is a special beast, recommended for experienced music makers looking for something new, or for beginners looking for a simple way to make music fast!
FEATURES:
Artiphon Orba 3 is the third iteration of the famed Orba Portable Multi-Instrument. With 300 samplebased sounds and a looper on
board, you’ll have it at the ready when inspiration strikes. MPE MIDI over USB-C and Bluetooth ensure you’re able to connect no matter your system!
OVERALL:
The Artiphon Orba 3 is really something special, and truly a unique take on an instrument. Making original music has never been so easy!
PRESONUS GO CREATOR BUNDLE AUDIOBOX
GO,
M7 MICROPHONE AND HD7 HEADPHONES
BUNDLE WITH STUDIO ONE
DISTRIBUTOR: LINK AUDIO | RRP: $279
SOFTWARE
RECOMMENDED FOR:
This is great for someone getting into sound and music production for the first time, as well as seasoned professionals looking for a bundle of new toys!
FEATURES:
The PreSonus GO Creator Bundle features everything you need to get started in the world of music production. The Audiobox GO is a compact 2x2 USB-C audio interface that pairs perfectly with
the M7 Studio Condenser studio microphone and HD7 headphones. Record, mix and master with the world-renowned Studio One software!
OVERALL:
If ‘plug-and-play’ were listed as a term in the dictionary, there might just be an associated image of this bundle. It couldn’t be easier!
EVO4 BY AUDIENT
DISTRIBUTOR: STUDIO CONNECTIONS | RRP: $220
RECOMMENDED FOR:
This is a simple, portable, bus-powered solution to record for beginners and seasoned pros alike!
FEATURES:
With a compact size and easy to use controls, the EVO4 is one of the most compact interfaces available from pro audio juggernaut Audient. Producing everything from the EVO4 up to sprawling studio
SSL MKII AUDIO INTERFACE
DISTRIBUTOR: AMBER TECHNOLOGY | RRP: $429
RECOMMENDED FOR:
Solid State Logic are pro audio royalty, so we recommend this to anyone who’s looking for good sound!
FEATURES:
Two mic preamps offer crystal clear sound, allowing you to easily engage the famed ‘4K’ sound of SSL’s consoles. Independent phantom power, a compact design
and road-ready chassis mean this unit will be providing world-class conversion for years to come. There’s a reason SSL is used by the best mixers in the world!
OVERALL:
Overall, this is a great solution to recording at a very accessible price. Record, mix and master, trusting this audio interface to get you through the session!
consoles, they know good sound! The EVO4 is a 2-in, 2-out audio interface connecting via USB-C. Plenty of gain on board, as well as a huge 113dB of dynamic range - it’s a no brainer!
OVERALL:
A simple solution to recording on the go or your first foray into recording, the EVO4 from Audient will always come in handy!
WARM AUDIO WA-19 DYNAMIC MIC
DISTRIBUTOR: STUDIO CONNECTIONS | RRP: $350
RECOMMENDED FOR: Another classic from Warm Audio, the WA-19 is a vintage inspired, robust dynamic microphone for recording.
FEATURES:
The WA-19 is great for sources filled with detail and dynamic that require clarity and focus in a mix or arrangement. Some ingenious engineering additions add a highpass filter, as well as reducing proximity effect via the vented slots that run along the mic’s sides.
OVERALL:
A great solution for studio and live applications, the WA-19 imparts a unique voice and character to sources, all the while accurately replicating the original sound.
AUDIO-TECHNICA AT2020USB-X MIC
DISTRIBUTOR: AUDIO TECHNICA | RRP: $269
RECOMMENDED FOR:
This USB mic is a great solution for podcasters, content creators and gamers!
FEATURES:
A hugely successful mic from our friends at Audio-Technica is the AT2020, the AT2020USB-X packing all of this into a USB-version and adding some features!
Featuring the same great sound of the AT2020 mic, the AT2020USB-X adds headphone volume, mute button, as well as mix slider for listening to computer or mic sound, right onto the mic itself! Control everything from one spot with the Audio-Technica AT2020USB-X Mic.
OVERALL:
This mic couldn’t be easier to use, offering you asll the controls you might need at your fingertips!
AUDIO-TECHNICA AT-LP70XBT
DISTRIBUTOR: AUDIO TECHNICA | RRP: $599
RECOMMENDED FOR:
With the return of vinyl to the industry, it’s high-time you got yourself a great turntable!
FEATURES:
The Bluetooth model featured here specifically is a wireless, fully automatic, belt-drive turntable. Available in black/bronze or black/ silver coloursways, the AT-LP70XBT can match your home’s aesthetic
WARM AUDIO HEADROOM HEADPHONES
DISTRIBUTOR: STUDIO CONNECTIONS | RRP: $199
RECOMMENDED FOR:
Why monitor the great sound of Warm Audio gear through anything else?
FEATURES:
These are a closed-back, studio grade headphone. Closed back means they’re better for isolation, either when recording or more mixing! Supremely comfortable, the HeadRoom Headphones are balanced, powerful and provide clear sound with generous headroom. With 45mm neodymium drivers, they’re at the cutting edge of headphone tech. Combine comfort and quality for the best listening experience.
OVERALL:
A great solution to isolating sound, and you can never have too many headphones in a studio! Buy a pair or two...
while serving your beautiful sound! An in-built switchable phono preamp allows connection to a home stereo, powered speakers and more!
OVERALL:
This is a great turntable, simply put. Ideal for someone amassing a vinyl collection, or those with a select few favourites that need a good spin!
FENDER MUSTANG MICRO PLUS
DISTRIBUTOR: FENDER MUSIC AUSTRALIA | RRP: $289
RECOMMENDED FOR:
The Mustang Micro Plus is equally valuable for touring, professional musicians as it is the bedroom riffer! A great solution to silent practice.
FEATURES:
The Mustang Micro Plus connects directly to your guitar’s input jack, and via headphones allows you to practice with worldclass amps and effects from Fender’s Tone App.
Bluetooth connectivity allows you to jam along with backing tracks or your favourite songs, keep your chops up without shaking the house down!
OVERALL:
Every guitarist could use a Mustang Micro Plus from Fender, great for playing on the tour bus, for those fleeting moments of inspiration in inopportune times, as well as beginners needing great quality sound to work with.
FENDER MINI TONE MASTER
DISTRIBUTOR: FENDER MUSIC AUSTRALIA | RRP: $110
RECOMMENDED FOR:
This is a great solution for quiet practice, as well as looking cool on your shelf when not in use!
FEATURES:
Modelled after Fender’s famous Tone Master amps used by the likes of Brian Setzer, Nick 13 and Chris Cheney, the Mini Tone Master offers four simple controls for Gain, Volume, Tone and Power, pushing
as much or as little sound out of the dual speakers as you’d like. A headphone jack is available as well for totally silent practice with great Fender sound!
OVERALL:
A great gift for anyone, even just for the aesthetic of it!
The Mini Tone Master is a tiny way to continue practice anywhere, anytime.
MISSION ENGINEERING REWAH
DISTRIBUTOR: INDEPENDENT MUSIC | RRP: $220
RECOMMENDED FOR:
The ReWah is Mission Engineering’s take on a classic: the wah pedal. Known for their expression pedals, Mission’s ReWah is not for the faint of heart!
FEATURES:
Built into a road-ready enclosure, the circuitry is built around a custom inductor, one used more traditionally for high end amplifiers. The huge wah coil provides otherwise inaccessible bass response and very little saturation, for big wah sounds, doing away with the unpleasant harshness and quack that some wah pedals suffer from.
OVERALL:
Even for those of us with multiple wahs in our collection, the ReWah from Mission Engineering brings something special, unique and new to the table well, to the pedal board.
MELBOURNE GUITAR SHOW TICKETS
MELBOURNEGUITARSHOW.COM.AU | ENQUIRE FOR PRICING
RECOMMENDED FOR:
Rock guitarists, jazz bass players, metal guitarists, fusion guitarists, funky bass players, family of guitarists, pedal heads, pop guitarists and...
FEATURES:
The Melbourne Guitar Show is THE place to be for every guitarist and bass player. The best possible place to try, buy, shop and browse a
huge range of guitars, basses, amps and pedals, the Melbourne Guitar Show is back in 2025 after taking a short break this year.
Including live shows and a huge range of shops, stalls and demonstrations, the Melbourne Guitar Show can’t be missed.
OVERALL:
Tickets on sale soon, don’t miss out!
YAMAHA PACIFICA STANDARD PLUS
DISTRIBUTOR: YAMAHA MUSIC | RRP: $2399
RECOMMENDED FOR:
The Standard Plus is a worldclass guitar at a truly incredibly accessible price. Recommended for beginners looking to get the best start on the guitar and intermediate and pro guitarists looking to add some new flavour to the arsenal!
FEATURES:
The Yamaha Pacifica Standard Plus is a solid body electric guitar in a HSS configuration, complete with Yamaha’s unparalleled build quality, Reflectone pickups and Gotoh locking tuners to support the tremolo bridge.
OVERALL:
The Pacifica Standard Plus is the newest in a long line of great, affordable and trusted Pacifica guitars from Yamaha. Great build quality and incredible good looks, you can’t go wrong!
MELBOURNE GUITAR SHOW 2025
1ST - 2ND MARCH
Brand: Paul Reed Smith
Product: PRS SE Custom 24 Semi-Hollow Piezo
Distributed by: Electric Factory
RRP: $2899
Reviewed by: Lewis Noke Edwards
You’d be hard pressed to find a more versatile guitar, that covers all bases, than the PRS SE Custom 24 Semi-Hollow Piezo. Unveiled earlier this year, this Custom 24 is a dual humbucker’d, PRS Patented Tremolo equipped tone machine, all wrapped up in the beautiful finishings and aesthetics that PRS are so distinctly known for.
The Custom 24 is a 24 fret model, with PRS’s famous bird inlays communicating the frets to the players along the rosewood fretboard. The neck is constructed from maple, with a neck-thru design onto the semi-hollow body featuring a single F-Hole. The back wood is mahogany, with a maple top and flame maple veneer to complete the look. The top carve is a subtle and classy ‘Shallow Violin’, borrowing from more classical stringed instruments.
Dual 85/15 “S” Pickups power the guitar, both tappable via the Push/Pull tone control for a wider array of sounds. What elevates this Custom 24 is the addition of a piezo pickup, with a separate output if you wish! The PRS SE Custom 24 Semi-Hollow Piezo has two output jacks, the ‘Mix/Piezo’ jack that allows you to blend the different pickups together via the separate Master Volumes, or by separating the magnetic humbuckers and piezo pickup to send to separate effects, amps or channels for live or recording!
In the hands, the PRS SE Custom 24 Semi-Hollow Piezo is comfortable. The carves and body
shape make way for your arms and body to nestle in against it, the Wide Thin neck shape providing great access to every fret. The deep carve at the lower horn further aids and abets your ability to shift up to the 24th fret and beyond, without any guitar body getting in your way. The guitar is well weighted, the gloss finish is solid but not sticky, and the whole affair stays in tune well, thanks to the PRS Designed Tuners and Tremolo at the other end.
Sonically, the PRS SE Custom 24 Semi-Hollow Piezo really moves into a league of its own. Even acoustically, the semi-hollow design offers some extra chime and body to an otherwise solid-body guitar, the semi-hollow nature not attracting the feedback that fully hollow guitars do. A semi-hollow design really is the best of both worlds!
Plugged in, and using just the humbuckers initially, the guitar rocks; literally, emotionally and sonically. The 85/15 “S” pickups are featured in a huge swathe of PRS' range, and for good reason. They have the heft and punch of a big fat humbucker, but retaining the clarity and present voicing of a single coil, all without the hum! The 85/15 “S” pickups specifically allows the carefully chosen woods to shine through, helped by high quality hardware that let the strings breathe, resonate and sing.
Blending in a little of the piezo and the acoustic quality of the semi-hollow guitar is brought to life. There’s more clarity, depth and snap to my playing, particularly when I
venture beyond the 12th fret into shred territory. This isn’t to say that the lower frets aren’t augmented, they as well have an articulate, present voice to them, especially when the piezo volume is dimed and the tone is split 50/50.
It would be amiss of me to not explore splitting the signals, sending both signals directly to separate amps for testing, allowing me to further blend and process them independently. Frankly, the piezo sounds stellar alone, the emotive, bright nature of the acoustic sound of a guitar is often missing from an electric guitar’s tone, but thankfully here I am blending it back in.
The humbuckers offered me a little room to move, sounding great on their own, but equally good with a little grit via pedals or my dirtier amps. Big, bolstered humbuckers tone or snappy, funky grooves a plenty. There’s nothing missing from the PRS SE Custom 24 SemiHollow Piezo!
PRS are known for quality builds, both in aesthetics and in sound. The PRS SE Custom 24 Semi-Hollow Piezo is no exception, tying together PRS’ classic design with some modern, albeit classic, additions. The addition of an F-Hole revitalises the design, offering a really classy aesthetic as well as a subtle acoustic quality that chimes and sings throughout the guitar and into the pickups. The pickups themselves, PRS’ own 85/15 “S”, offer a wide array of tones, and that’s even before you’ve added in the piezo.
Clarity and definition are just
two buzz words I had buzzing around when playing with the piezo, either blended in subtly or overtly, both ends of the spectrum sounding fantastic.
The maple and mahogany body blend well with the maple neck and veneer, offering a solid instrument that resonates like only a PRS can, their in-house hardware doing the job and keeping everything in tune for a whole afternoon’s worth of testing for this review. The PRS SE Custom 24 Semi-Hollow Piezo is a well built, great sounding guitar from PRS. Who’s shocked? Not us.
True craftsmanship is a hard thing to come by these days. Attention to detail, commitment to aesthetics and creating objects with individual character and durability are dying principles in an increasingly fastpaced world. Not so at Gretsch. Gretsch, seventy years after the Falcon’s initial conception, still dare to make it beautiful, dare to make it unique and are as committed to mastering their craft as ever. The Professional Collection Falcon, in this case finished in a stunning ‘Cerulean Smoke’ blue, is not only an exquisite and fully realised instrument, but a symbol of genuine artistry, a refusal to succumb to soulless minimalism and an example of Gretsch’s ability to make the world a prettier and more varied place, one perfectly crafted guitar at a time.
Atop each of the Falcon’s shimmering golden control dials lies a small pearloid disc accompanied by a glowing red gemstone. Why are they there? Because they’re beautiful. Carved into the Falcon’s perfectly placed pickup selector are tiny textured lines. Is the additional modicum of sensory enjoyment and grip that this provides necessary? Would it be missed if it wasn't there? Perhaps not, but it is there. It’s there because Gretsch decided to make every detail of this guitar as delightful and as special as possible. The Falcon is the Rolls Royce of electric guitars, it is, as first advertised by Gretsch in 1955 “the finest guitar we know how to make - and what a beauty”. What a beauty indeed.
Whilst it feels remiss to reduce such a decadent object to a list of specifications, such is my task. The Professional Collection Falcon, despite its timeless, ornamental looks, is packed with modern, player-centric features that make it a professional player’s dream. Let’s start with the body.
The Falcon’s single cutaway, arch-top body is fully hollow and constructed with laminated maple,
Brand: Fender
Product: Gretsch Falcon Hollow Body with String-Thru Bigsby
Distributed by: Fender Music Australia
RRP: $6299
Reviewed by: Christopher Hockey
giving it a lush, deep sound with a snappy response. The fully hollow construction makes this guitar feel truly alive, its profoundly resonant build producing all sorts of harmonic magic. In this new collection, the Falcon now features Gretsch’s all new Arc-Tone bracing system, their most advanced to date. Featuring torrefied maple tone bars with arc-shaped spruce support braces located underneath the bridge area, this combination of materials and design provides enhanced sustain, crisp note attack and excellent feedback control while retaining the open voice players expect from a hollow body guitar.
The body in question, wrapped in its glittering Cerulean Smoke finish, features a stunning gold sparkle binding that oozes opulence. Accompanied by lovely black and white purfling, the glittering binding is pure Gretsch and looks fantastic alongside the guitar’s bright golden hardware. Loaded with an AdjustoMatic bridge, a B6 String-Thru Bigsby and a gold plexi pickguard featuring the classic Falcon emblem, this guitar has the timeless look and all the bells and whistles for which Gretsch is so admired.
Moving up to the neck, Gretsch’s dedication to perfecting the look and feel of this Falcon continues to impress. Featuring a set-neck construction for maximum sustain, the Falcon’s maple neck features the classic Gretsch U-shape we’ve all come to know and love. Finished in a smooth gloss, the neck is extremely comfortable and slick,
its relatively thin shape actively promoting speed and dexterity.
Atop the glittering Cerulean Smoke finished neck sits a flawless ebony fretboard, beautifully bound in the same beautiful gold sparkle binding as the body. The fretboard consists of 22 frets and has a 12” radius, making it extremely easy to bend as well as providing ample room for chording. The word playable doesn't really cut it, this guitar feels exactly how you’d hope a top of the line, holy grail guitar would feel.
Complete with the classic Gretsch pearloid thumbnail fret inlays, the Pro Collection Falcon also features subtle fluorescent Luminlay side dots that perfectly match the black and white purfling of the binding. The Falcon’s headstock also has a matching Cerulean Smoke finish with a gold sparkle truss rod cover and logo, loaded with gold Grover Imperial locking tuners that are uniquely elegant in their design.
Equipped with two PRO-FT Filter’Tron humbucking pickups, this guitar exhibits all of Gretsch’s unique tonal features in their purest, most hi-fidelity form yet. Featuring a warm, spongy low end, an incredibly melodic midrange and crystalline, airy highs, these Filter’Trons sound absolutely fantastic and are incredibly versatile. Boasting a highly dynamic, touch sensitive sound, these pickups are well known for bridging the gap between the clarity and attack of a single coil and the warmth and body of a PAF. Excelling at everything
from deep, jazzy clean tones, to crunchy, focused Malcolm Young rhythm sounds, and all the way to blown out, apocalyptic Neil Young mayhem, this guitar can do it all!
Like most Gretsch guitars, the Falcon features the classic four knob control setup that makes these instruments so versatile. Whilst each pickup has its own volume, there is also a master volume which controls the overall level of both. This enables players to set and forget their preferred difference of level between pickups whilst still being able to adjust their overall volume, and also allows them to create a finely tuned blend of the two pickups in the middle position. Additionally, there is of course a master tone knob that provides a very usable and linear high-end roll off.
Overall, it's true that the Falcon is still the finest guitar that Gretsch know how to make, and after seventy years, they know a whole lot. The Professional Collection is Gretsch’s no holds barred, no expense spared masterclass in instrument design and this Falcon is a shining example of what they are capable of. The craftsmanship, the attention to detail, the utter ornamental beauty of this instrument is jaw dropping. The resonance of its hollow body, the deep, rich yet brilliant hi-fidelity sound and flawless playability are all beyond reproach. Quite possibly the best brand new, modern guitar I've ever played, the Professional Collection Falcon is truly a thing of beauty.
Brand: Fender
Product: Chris Shiflett Cleaver Telecaster Deluxe
Distributed by: Fender Music Australia
RRP: $4199
Reviewed by: Paul Blomfield
Chris Shiflett is the guitarist’s guitarist. Hosting a show called Shred with Shifty on his YouTube channel, Shiflett interviews the biggest and baddest guitarists of our time with all the curiosity and passion of the nerdiest of guitar nerds. Recently he sat down with fellow shred-heads and bandmates Dave Grohl and Pat Smear to reveal the secret herbs and spices that make up the extra-crispy Foo Fighters guitar symphony. During the 53 minute video, we’re gifted with several Foo Fighters licks. Harmonising with Grohl’s hollowbody and Smear’s custom doublecut Kessel prototype, the tone from Shiflet’s new signature Cleaver Telecaster Deluxe slices through the mix like a gleaming blade.
This guitar cleaved right through all of my preconceived ideas about what a Tele should be capable of. With its deep, Dakota Red satin nitrocellulose finish, pearl block inlays, big headstock and custom pickguard evoking Erik’s mask from the Phantom of the Opera, the instrument looks, feels and sounds like it belongs in a stadium in front of tens of thousands of sweaty, screaming rockers with their horns in the air. Previously available strictly as a Fender Custom Shop Masterbuilt Artist model, the Cleaver Telecaster Deluxe is now coming to a guitar shop near you.
The Chris Shiflett Cleaver comes nestled in a classic hardshell case in a very 1970s shade of light brown leather, with gold latches and white stitching and sporting
Shiflett’s signature in white on the front. That signature, incidentally, is also printed on the back of the headstock. A friendly reminder that you’re Shredding with Shifty. When you open the case, your senses are hit with a one-two-punch: first by a woozy whiff of nitrocellulose lacquer, and then by the blazing orange crushed-velvet lining. In this context the crimson Cleaver looks like a murder weapon on display in a macabre museum. Case candy includes a vintage leather strap, leather pouch with certificate of authenticity, and an allen key for adjusting the truss rod.
The Cleaver is made in the USA, guaranteeing the finest craftsmanship money can buy in a Fender guitar. Fitted with a 25.5” scale maple neck, a smooth 12” radius rosewood fretboard (a slab board, no less!), and 21 mediumjumbo frets, it indulges all the fiddly-widdly technical leads you can throw at it. The neck feels fast yet substantial, with just enough heft to grip without sacrificing speed. Whether you’re bending high notes for an anthemic solo or laying down a gallopy riff, the guitar responds to your every intention with a voice of stunning precision.The deep belly cut in the back of the alder body means even the most impressive of beer-guts won’t get in the way. There’s a vibe of vintage class in the finer details, like the “F” style tuners, ‘72 Telecaster knobs, pearl block inlays, custom pickguard, bone nut, and string-through body hardtail bridge with Fender American Vintage
saddles. I particularly enjoyed the way the input jack cup was recessed into the body of the guitar, which made me feel a little more locked-in and secure. Because there’s nothing worse than losing your lead during a show.
What truly sets the Cleaver apart, however, are the dual Custom Chris Shiflett "Cleaver" Noiseless CS-90 pickups, designed in collaboration with resident Fender pickup legend Tim Shaw. The P-90 style pickups produce some of the juiciest, snappiest, most percussive and harmonically rich tones I’ve heard from any single-coil pickup in any Fender guitar. As an added bonus, they’re noiseless, which means you get all the warm, fullbodied punch of a traditional P-90 single-coil without the dreaded 60-cycle hum. They excel at everything from glassy cleans to snarling overdriven tones, with a midrange presence and pristine articulation that effortlessly cuts through even the busiest of mixes. Whether you’re strumming delicate, shimmery chords or digging in with chunky palm muted chugs, the Cleaver maintains clarity and punch, giving it a versatility across genres and providing the perfect foundation for those ethereal, shimmery chords we know and love in Foo Fighters records. The tone selector switch is 3-way (bridge, bridge/neck, neck), and each pickup has its own individual tone and volume pot for maximum control over your tones. I was able to create some really interesting dark tones by dialling a
little crunch into my amp, sitting on the neck pick up and backing off the tone and volume a little. Honestly though, it’s a tube overdrive in the bridge position where this guitar really finds the pocket. When a guitar chugs well, you can’t wipe the grin off my face. My cheeks are very sore today.
For those who have been dreaming of a new go-to for P-90s, with a supremely versatile sound and rugged good looks (but like the guitar’s namesake!), the Chris Shiflett Cleaver Telecaster Deluxe is that instrument. It’s a shining example of what a signature guitar can and should be—an extension of the artist who designed it, and yet versatile enough to feel at home in anyone’s hands. Whether or not you’re a Foo Fighters devotee, this axe is an essential addition to your guitar family. It’s bold, it’s brash, and it’s ready to rock.
Ah yes, the Squier Hello Kitty Stratocaster.
The original guitar dropped back when I was in high school much to the amusement of me and my headbanger mates. Unfortunately, it didn't fare very well upon release and it was common to see music retailers selling them for chump change.
As a matter of fact, they were so cheap that we would often joke about picking a Hello Kitty up and dropping an EMG81 or similar super hot humbucker in it for a laugh. Our pubescent brains thought breaking one out at the next metal show would be absolutely HILARIOUS after all, these guitars were plentiful because nobody wanted them.
As the sands of time wore on and the 2000s became the 2010s the original Squier Hello Kitty eventually blew up long after it was discontinued. I'd even seen examples of the original model go for over 1k on Reverb, making many long for the proverbial time machine to take them back to a time when shops were blowing them out for $200 apiece.
Thanks to Blink’s Tom Delonge, 2024 has seen much enthusiasm for single humbucker Stratocasters. With all this excitement, and 2024 being the 50th anniversary of Hello Kitty, Fender has taken the liberty of reissuing the Hello Kitty Stratocaster for a new generation!
Upon unboxing, the Squier Hello Kitty Stratocaster immediately delivers on its aesthetic promises.
Brand: Fender
Product: Hello Kitty® Pink Stratocaster
Distributed by: Fender Music Australia
RRP: $979
Reviewed by: Jamie Colic
Firstly it's pink, secondly, Hello Kitty's face adorns the face of the guitar in the form of the pickguard, just as I remember it. But something seems to be different about this reincarnation and I can't quite put my finger on it.
Truth be told, I just do not remember the original guitars feeling as nice as this one. Its feel has a reassuring sturdiness, not too light and not too heavy, and the Polyurethane finish doesn't feel particularly cheap to the touch either.
I take this all as a testament to how far Fender's quality control has come over the years. Clearly, a certain attention to detail is being applied to what they are putting out and it shows in this instrument.
This being said, there have been some aesthetic changes to the Squier Hello Kitty Stratocaster. I immediately noticed that Fender has opted to go with a matching headstock on this model, as well as red inlays. In my opinion, this all works to tie together the guitar's “none more pink” aesthetic, while also imparting an essence of quality on the guitar.
Fender has used Okoume as the wood of choice for the new Squier Fender x Hello Kitty Stratocaster. This wood is considered to be a more affordable alternative to mahogany and imparts a nice warm tonality to the instrument.
This neck features the all too familiar 25.5” scale as to be expected on a traditional Fender. The guitar boasts a nice C-shaped
neck that I don't see too many hands disagreeing with, making this profile a safe bet for both beginners and experienced players alike.
Additionally, Fender has gone with a contemporary 9.5” fretboard radius on this model. 9.5” is essentially a good “Goldilocks” radius as it is just round enough to lend itself to comfortable chording but flat enough to not fret out on wide bends. All of this contributes to 9.5” essentially being the modern “standard” for most Fender instruments.
The neck specs are rounded out by a traditional maple fretboard with 42mm nut width, and 21 narrow-tall frets that present no sharp ends or levelling issues on this test model.
The Fender x Hello Kitty feels just as a Strat should, providing all of the familiar body contours and specs that make any good Strat. The guitar is resonant and lively and responds well to a variety of playing styles and techniques.
The hardware package includes a synthetic bone nut and vintagestyle tuners that feature white buttons which are a nice aesthetic touch. I had no problem keeping the instrument in tune over the duration of testing which suggests that there are no issues with how the nut has been cut from the factory.
Tuning stability is also aided by the Fender x Hello Kitty Stratocasters chrome hard tail bridge which harbours a string-thru design. This bridge is also likely to contribute to the instrument's noticeable resonance while
unplugged which cannot be a bad thing for its sustain either.
The electronics featured on this guitar have remained true to the original, offering a single volume, single humbucker variation.
I didn't remove the pickguard of this instrument to see if the body had been routed to accommodate other pickup configurations, but it is safe to say that if you purchase this instrument you won't be permanently removing or altering the pickguard anyway as it is such a big part of its look.
The included Fender-designed Alnico humbucker is nice enough, providing a nice mid-range kick not dissimilar to some classic humbucker designs. Overall, it’s a really versatile sound. The pickup offers enough grunt for angsty bedroom power chords but also cleans up well enough when rolling back the guitar's single volume control for more mellow tones.
The Squier Fender x Hello Kitty Strat ships in a special Hello Kitty gig bag and will be available at Fender dealers nationally by the time you read this. However, keep in mind that this model is a limited edition so if the Fender x Hello Kitty Stratocaster is something you want in your Christmas stocking, you best act fast!
Brand: Fractal Audio
Product: VP4
Distributed by: Independent Music
RRP: $1576
Reviewed by:
Paul Blomfield
When Fractal Audio dropped its Axe-Fx multi-effects processor in 2006, every musician I knew paid attention. It obtained legend status faster than any other guitar effects processing hardware within my lifetime. Steve Vai used it. John Pettrucci got onboard. Members of Metallica, Def Leppard and Megadeth all wanted a slice of what Fractal Audio had to offer. I visited the ‘Artists’ page on the Fractal Audio website to find out who else used their products and quickly realised there were probably fewer musicians who didn’t 18 years later, Fractal Audio is still leading the charge by several paces. The Axe-Fx is in its 3rd generation, the brand having released a plethora of products including amp modellers, expression pedals, free IR mixing software, a reverb plugin and even a load box. The newest, shiniest toy to hit the market is the VP4 Virtual Pedalboard: a streamlined, stageready, ballsy effects processor that gives you access to an absolutely stupid number of effects in one compact, road-ready little black box. The primary purpose of the VP4 is to emulate pre-configured arrangements of up to four different effects (either as Pre-FX running into your amp, or Post-FX as part of your amp’s effects loop or both pre and post your pre-amp in ‘four cable method’ (4CM), all using one set of
controls. I’ve been procrastinating about building a pedal-board for a while now, and this was the perfect opportunity to suss the potential of a cutting-edge digital equivalent.
The VP4 I tested came with a power pack and a DIN 5-pin (female) to 3.5mm (male) adapter. The unit itself is 25.5cm x 16cm x 5.4cm; roughly one third the size of the other floor unit I’ve been using since 2011. In the user-facing top panel you’ve got a 4.3” (9cm x 5xcm) LCD screen; six multi-functional buttons for UI navigation; a master Select knob; and knobs for each of the four effects slots. Below that is a slightly raised panel with the four footswitches (1 through 4), each accompanied by its own LED light so you can tell what’s engaged and what’s bypassed during your set. On the back panel you’ve got four separate ¼” I/O ports (stereo L+R or Mono), two ¼” inputs for two separate expression pedals, SPDIF (in and out), USB, MIDI (in and out), 9V DC 1.3A input and a push-push on/off power toggle.
Sans instruction manual, it took me about 15 minutes to fully grasp the core function of the VP4. In a nutshell, you navigate the menus on the LCD screen to set up configurations of effects, and save them into groups for easy recall and navigation on the fly. The most obvious use case here is being able to seamlessly load separate effects
chains within a setlist. There are three distinct layers to the way this works, which are called Modes. You can scroll between the three modes (Presets, Scenes and Effects) using the Select knob.
When you set up a configuration of four effects, you’re setting up a Scene. Lets say your set opens with a song that requires a noise gate going into a tube compressor followed by TS808 overdrive and a digital reverb. But then for the second song, you might want to swap out that reverb for a flanger, and the overdrive for fuzz. No worries. You can just create a new Scene. Now when you’re in Scene mode, you can switch between Scene 1 (OD & reverb) and Scene 2 (fuzz & flanger) using the footswitches. And you’ve still got two more Scenes to configure within that Preset. Pressing and holding the far left or far right footswitch scrolls through individual Scenes (scrolling into adjacent Presets until you let go).
There are 104 Preset slots in total, grouped into 26 Banks; one for each letter of the alphabet. Each Bank has four Presets. For example, Bank A includes Presets A1, A2, A3 and A4. Out of the box, the first 80 Preset slots (A1 through T4) are pre-configured and distinctly themed. You’ve got everything from ‘Backpanel Dad Rock’ to ‘Spaghetti Western’ and ‘Gift of Djent 4CM’. Each one of those 80 Presets has four different pre-configured Scenes allocated to it, each Scene having four different effects. The other 24 Preset slots are empty, so you can configure new Presets from scratch. You can also edit and overwrite the existing themed Presets. This makes
for a total of 416 full customisable Scenes. When you’re in Preset mode, the four footswitches are each assigned to the four Presets associated with that Bank.
The final mode is Effects mode, which enables you to bypass individual effects with each of the footswitches. It’s exactly like having four stompboxes on the floor in front of you. You set the parameters of each effect using the navigational buttons. Within each Scene and Preset you can assign master controls like input gate, comprehensive level control, EQ, effects routing, and a metronome which syncs up to MIDI.
The list of effects on offer is utterly ridiculous. You’ve got chorus, compressor, delay, drive, flanger, graphic EQ, parametric EQ, phaser, pitch, reverb and that’s just scratching the surface. And you can drill down even further by choosing from a list of models for each effect. There are 45 kinds of reverb, 63 kinds of drive and 28 kinds of delay to choose from.
As I write this, and I begin to comprehend the number of possible combinations you can load into the VP4, I can feel neurons firing as I imagine the possibilities, especially through the lens of pristine audio quality (a cornerstone of Fractal Audio’s reputation) and simplicity of use. My grip on reality is slipping. You shouldn’t be able to fit this much power into such a compact, easy to use package. But they did. If I can just get my hands on a VP4, I may never need to buy another piece of guitar effects hardware ever again.
Part of Markbass’ acclaimed Vintage Lineup, the Little Mark Vintage 1000 seeks to pack huge power and tone into a small form package.
This trend of packing highwattage amplification into a small footprint has become commonplace within the landscape of modern guitar and bass amplification. However, Markbass have gone out of their way to ensure that the Little Mark Vintage 1000 stands out from the pack.
The first thing I noticed about the Little Mark Vintage 1000 was its solid black chassis, flanked by MarkBass’ iconic yellow, all of this surrounding the visible tube that powers the Little Mark Vintage 1000’s tube preamp. The small footprint works to provide an air of both aesthetic class and durability.
Designed as a solution for those seeking a high-wattage power amp, the Little Mark Vintage 1000's well-designed face plate leaves no room for confusion. Boasting a mono input jack, Gain and Master Volume control, Markbass have provided all the essentials when it comes to controlling the unit from the front. In addition to input and output, the Little Mark Vintage 1000 includes four band-EQ, with two bands for high and low mids, as well as the expected low and high frequency adjustment.
A contour-style switch allows you to switch between a “Flat”, “Scooped” and “Old” EQ preset options. A DI volume control allows you to set the volume for the direct out on the back of the unit, which also has a switch for this DI to be pre or post EQ, as well as a ground lift switch.
Boasting 1000 watts, the Little
Brand: Markbass
Product:
Little Mark Vintage 1000
Distributed by: CMC Music
RRP: $2550
Reviewed by: Jamie Colic
Mark Vintage 1000 packs enough power to fill even the largest of venues without breaking a sweat. This power amp will never leave you starved for headroom ensuring that your tone remains intact even at the loudest of volumes.
Big tone doesn't have to break your back either, throwing this Little Mark onto a scale reveals that it weighs a measly 3kg. No more killing yourself loading into that venue with the staircase of doom when you have this puppy packed in your bag!
Perhaps my favourite feature of the Little Mark Vintage 1000 is its inbuilt limiter. This feature imparts a profound level of control over the amp's tone and response, despite it being manipulated via a single knob on the amp's front panel.
When fully dialled in the limiter control provides a more modern feel to the amplifier response, squishing down dynamics in a musically pleasing way while tightening up the bottom end of the amplifier providing a snappier attack.
These effects never sacrifice the Little Mark Vintage 1000’s juicy bottom end though, which manages to remain intact even when the limiter is pushed to the end of its threshold.
Backing off the limiter results in a much more vintage response from the power amp. Providing more dynamics and even occurrences of pleasing overdrive when pushed in the right manner, all of this being rounded off with the Little Mark Vintage 1000’s tube sound.
I also got fantastic results balancing the limiter control in between essentially providing a blend
between the two voicings, this could be balanced out to anybody's taste depending on what they were after tonally.
Struck by the immediate musicality of the Little Mark’s Limiter control, I found myself wondering what exactly Markbass had implemented into their limiter circuit to make it so colourful and versatile. You’ll have to try it for yourself!
The unit never failed to provide a fantastic tone that exceeded in punching through a full band mix, never leaving me starved for more power or punch.
The rear panel features a Speakon out for connecting a speaker cabinet, effects loop send and return, tuner output, as well as the Line Out XLR and aforementioned routing switches.
A grill for the unit's cooling fan sits beside an IEC plug for powering the Little Mark Vintage 1000.
Speaking of cooling, I ran the Little Mark Vintage 1000 while reviewing the unit and never found the unit getting particularly hot even when left on for me to try a few different tones, settings and routing options.
Additionally, the cooling fan isn't the type that will sound like a jet engine during your next studio session which is always a desirable trait of any bass amp!
With many other manufacturers on the market utilising power amps that haven't been designed specifically for bass in their amps you can really tell that Markbass have taken the time to perfect their designs in-house.
The Little Mark Vintage 1000 is an amplifier that really sets the standard for professional bass amplification providing stellar tone, and quality, all in a footprint that will easily fit in any laptop bag or backpack.
Product: Flex Prime
Distributed by: Electric Factory RRP: $959
Reviewed by:
Jamie Colic
Since 2010, Headrush have carved their way into the upper echelons of the guitar gear world, revolutionising how guitarists approach their sound both on stage and in the studio. With the introduction of the new Flex Prime compact multi-FX processor, Headrush have yet again brought a game-changer to the table. The Headrush Flex Prime gives guitarists and bassists immediate access to state-of-the-art amp, cab, fx, and mic simulations all at the tips of their fingers.
As a successor to the fabled MX5, I was curious to see what updates Headrush had under the hood of the new Flex Prime.
Upon unboxing the unit I was immediately greeted with the same footprint and general form factor as the aforementioned effects unit. The new Flex Prime unit feels sturdy indeed, boasting heavy-duty switches, control knobs and an expression pedal that is built to last.
The three footswitches on the face of the unit represent Stomp/Rig, Loop, and Tuner functions. However, these footswitches also serve as the primary means of navigating patches on the Flex Prime and two separate scenes can be assigned to each individual footswitch.
The face of the unit is rounded out by the Flex Primes handy scroll wheel, which selects user options via push, as well as the Master Volume situated on the top left-hand corner of the processor's faceplate.
The rear panel of the Flex Prime harbours a ¼” guitar input, fx loop send and returns, an input for an external expression pedal, and stereo output jacks.
Additionally, Headrush has included four 3.5mm jacks for headphones, MIDI, and an Auxillary input. Audio can also be streamed through the unit via Bluetooth.
The Flex Prime is powered by the included 12v adapter and also features a USB port for PC and Mac connectivity. This means that the unit doubles as an audio interface with the ability to record 24bit-96khz resolution.
This time around Headrush have had the insight to include direct WIFI connectivity which enables the user to share clones and presets wirelessly. If this wasn't enough the Flex Prime also supports Headrush Remote, Headrush’s own wireless web-based editing software.
The Flex Prime features the same updated user-friendly UI as the rest of the units in the Headrush Prime line, with a brilliant highdefinition 4” colour display that is never hard to interpret even on the darkest of stages.
Intuitivity is the name of the game when it comes to this brilliant fx processor, familiar graphics represent amp and pedal modules, and the menus are easy to navigate. Never leaving me scratching my head when it came to finding exactly what I was after.
Flex Prime enables the user to stack 14 DSP blocks, i.e. FX, Cabs, Amps, Pedals etc., per preset in one of 5 different signal path types. This offers a world of flexibility for even the most discerning player when it comes to customising and storing patches.
I found a range of tones within the Flex Prime without much effort, from ambient clean soundscapes through to the rowdiest of high gain, it's all here for you to unlock.
A feature which I wasn't expecting to find much use in is the native looper, but in actuality I found myself experimenting with it for quite some time.
Headrush have given the looper the ability to house overdubs, and even play loops backwards, all with a max time of 5 minutes per loop or 20 minutes total with overdubs!
Perhaps the most exciting new feature of the Flex Prime is its compatibility with Headrush’s own Revavler Amp Cloner software comes bundled with the unit, which enables users to clone not only amplifier models but also VST plugins, which can then in turn be loaded up on the unit itself.
It doesn't end here though, as Revalver Amp Cloner enables the user to create profiles based on multiple snapshots—known in Headrush terminology as ‘Super Clones’.
Super Clones give added flexibility to Amp captures that
aren't possible with competitors who typically create profiles from a signal snapshot. In practice, Amp Cloner is a dream to use, in comparison to other amp cloners. It doesn't take a very long time to create accurate captures, which is fantastic in a scenario where you need to redo a capture.
To test Amp Cloner I made a capture of my old faithful 6505 head, and was very pleased with the results. Amp Cloner provided me with a patch that I'd be more than happy to use either on stage or in the studio on my next recording session.
Likewise, Headrush Remote is also fantastic in use. The UI is essentially the same user experience as on the Flex Prime unit itself leaving no real adjustment period. This means you can get to tweaking fantastic guitar tones right away without wasting time flicking through PDFs or googling.
All in all the Headrush Flex Prime is a gamechanger for both professional and hobbyist guitarists. So whether you are learning your first barre chords in the bedroom or conquering arenas night after night this is definitely one to check out!
The simplicity of a well-built studio condenser microphone is something that I always find beauty in. There isn’t always the need for extraneous bells and whistles to be added, when the device is built to do one job, and do it well. And that’s just what Shure have done with the SM4 Home Recording Microphone. It goes back to simple studio microphone design, with a build that has been engineered around use in the home studio. With the SM4, you can stop worrying about unwanted noise from other devices, and just get on with the process of recording great music.
Let’s take a closer look and see just how seemingly simple this design is, yet how clever Shure have been in putting it together too. At first glance, this looks like a studio condenser microphone, and that’s because it is! We’re not trying to fool anyone with the looks here, it’s a solid tool built for a task. However, Shure have considered the modern musician’s situation, understanding that not everyone has a professional studio built into their home. So, they have designed the SM4 Home Recording Microphone to capture the perfect sound, even when in the ‘not so perfect’ recording environment.
In this day and age, we are living amidst a constant field of radio frequencies and digital transmissions. Even when everything is all quiet at home, there’s always noise and electrical interference that goes unnoticed in your day-to-day routine. Put a microphone in the room to capture a critical vocal take, and you’ll often hear unwanted RF interference, or static in the recording, especially on those lower-level vocals where you’ll likely drive the gain a little harder. It can be disheartening to listen back and hear your recording has picked exactly what you didn’t want to hear. So, Shure developed their patent pending Interference Shielding Technology into the SM4 to take care of just this problem.
This system is designed to block RF noise, which is common in the presence of mobile phones, Wi-Fi routers, laptop computers and power supplies from associated devices. It’s all that noise that we live with at home and never really notice, until it’s captured on your recording. With an integrated pop-filter and faraday cage built into the microphone housing, this greatly reduces the noise, and tackles plosives in vocal performances at the same time.
The housing itself is very plain. It’s a sleek, solid black metal chassis with the cage exposed on the upper third. Within this is a dual diaphragm design, with a pair of one inch brass capsules that have been specifically tailored to handle high sound pressure levels, with a low self-noise. That means, you can turn the gain up on low volume sound sources and not be concerned about the operation noise finding its way into the recording, or you can pull the gain back on loud signals, like drums or amplifiers, and not have to worry about distortion. This makes it the ideal home recording microphone, where environmental noise is also an issue, so a lower gain structure can mask some of those issues.
This SM4 has a fixed cardioid polar pattern, which offers good side and rear rejection. There are no added features like high pass filters, boost switches or gain adjustments. These have been left off to allow for the best audio capture with the least amount of self-noise. Again, it’s simplicity in design, for a good reason. After all, you can always adjust these and other
factors on your preamp, or in your DAW. The frequency response has a nicely controlled low end, so a high pass filter isn’t going to be a necessity in any event, and with a bit of a bump at 4kHz and a little dip around 8kHz, this microphone offers a vibrant and pronounced mid-range that doesn’t sound honky, nor tinny. It also has a nice airy top end, so you are going to capture amazing detail in both voice and instrument at a close range, without too much from around the room. It’s almost like it has the reduced reach of a dynamic microphone, with the articulated capture of a condenser. Basically, Shure have taken the time-honoured studio condenser microphone design and given it a rebuild to make it more friendly for home recording environments. An expensive studio condenser microphone works well in a studio, but tends to accentuate the faults in the room when used at home. The SM4 is the solution. This microphone is going to make your room setup a lot easier, and allow more people to get great quality recordings at home without compromise.
The standard version of the SM4 comes with a collar mount that screws in at the base around the XLR connection, with a padded bag to store your microphone when not in use. It is also available in a Studio Kit, which includes a carry case, suspension mount and pop filter. Whilst the cage on the microphone does reduce plosives somewhat, with the added pop filter, they are dramatically tamed, along with any sibilance issues, all without overtly affecting the resulting sound of your vocal or source. This is easily attached to the shock mount with a magnetic design, so you can easily take it on or off depending on the need, and it’s always mounted at the same distance from the capsule for consistent results every take.
Shure have put a lot of thought into this concept. The SM4 Home Recording Microphone bridges the gap between a beginner’s setup and a professional studio space. For those of you looking to take your recording to the next level in your home studio, you can do so without having to concern yourself so much with the room’s failings, and not have to power off every device in the house in order to do so. If it’s time to elevate your home recording, then you need to get along to your local Shure dealer and check the SM4 or the SM4 Studio Kit!
Brand: Shure
MY RIG: KEYAN
WORDS
BY
LEWIS NOKE EDWARDS
Keyan is bringing something new to the guitar.
A self-proclaimed ‘modern guitarist’, he infuses shred with melody, metal with fusion and a host of other influences. Most recently, he released a collaboration with Marcus Vik of Invent Animate in the single “Arrest”.
By ‘modern guitarist’, Keyan is referring to the new wave of metal players pushing the envelope; not quite metalcore, they include fusion and prog influences, but deviate away from prog metal and rock per se.
“It’s funny, I’ve been writing the term ‘modern guitarist’ for so long that the term ‘modern’ is kinda blurring a little bit?” he muses.
“I guess the adjective of ‘modern’ relates to things that are in the more metalcore and proggy spaces, where there’s a lot more acceptance of things like eight-string guitars, and these weird Evertune systems, elevated chord structures in songs, all that stuff.”
Keyan continues, explaining that ‘modern’ metal to him is heavy music, but including musical choices that you may not usually hear on a traditional, older metal track.
We laugh for a moment about the clear delineation between progressive metal and prog metal, citing Periphery as a great example. Progressive metal for sure, but not ‘prog’! Keyan cites Sleep Token, Spiritbox, Erra and Invent Animate as great examples of modern metalcore.
We switch back to what Keyan was saying about eight-string guitars, the weight of the riffs on his new single “Arrest” sounding suspiciously low-tuned.
“I’m completely in the box, I produce and record, mix and master all my music. It’s such a weird process, ‘cause it takes so long and by the end of it I’m so sick of the song,” he laughs. “And I
have to put myself back in the shoes of someone who’s about to listen to it for the first time.”
“This song in particular is extremely low [tuned]. It’s a whole octave below Drop D, which I call double Drop D, but apparently that’s not the right way to say it. It’s low.”
“You can hear, even though it is that low, there is still melody. The reason for that is the gear I used: I recently got my hands on this
helped the guitar and bass to sit together like one big tone. “That’s a thick string man, it wasn’t enjoyable to play, wasn’t enjoyable to track.” he laughs.
Live, Keyan isn’t ready to add an eight string to the arsenal just yet.
“We’ve played [Arrest] live a couple of times, and we’re just experimenting with what works best. I use the Neural DSP Quad Cortex , and
The reason I use this guitar is it’s exactly 29.4” in scale length, which is the length from the bridge to the nut, and basically the longer that is, the more string tension you can get and the lower tunings you can get away with.”
Keyan explains that 29.4” is more than 3” longer than most conventional six and seven strings guitar scale lengths, typically sitting between 24.75” and 25.5”.
“I think I put an .85 gauge [string] on the bottom,” Keyan laughs. “Which is thicker than I would usually go for.”
Keyan opted for a Submission Audio plugin for the bass guitar, pursuing a machine-like sound.
“I think it was DjinnBass 2,” he explains, referring to Submission Audio’s Dingwall emulation plugin. “I just really wanted that artificial character. Because the guitar is so low, all I wanted in the mix was consistency.”
Keyan continues, saying the bass guitar and guitars sit in the same octave, instead of an octave apart that’s more traditional. This
luckily the down tuning function in that sounds good. Especially for a song like this, where it’s much more forgiving, I’m not playing massive chords on a clean tone. It’s big single notes with distortion.” explains Keyan.
“It even adds a character to it, the sound of the Neural pitch-shifting.”
“So right now [live] I’m using my Josh Smith Jackson signature, which is tuned to F#, so I have to go four semitones lower. I would love to take an eight string on the road, but it’s just the logistical limitations of gear.”
His new single "Arrest" is out now. Keep up with Keyan at @keyanhoushmandlive
Whether it’s playing, singing or speaking, LEWITT delivers the easiest solution.
CONNECT 2
• 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.
