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Acareer in music can feel like chasing a carrot. You’re inspired to make music, either as a songwriter, or as a producer or engineer working with a band, it’s exciting and you’re doing the thing.
Despite how inspired, unique and perfect the project ends up, the lack of respect, recognition and measurable success can feel like a bit of a letdown. Is this all in vain? Am I taking the right path? What am I doing with my life?!
Then we’ll get a little crumb, a big gig, a new client (or a return one!), and all of a sudden we can see the wood for the trees, realising that whatever we’re doing is building, albeit slowly. Over time, the lack of crumbs can cause other professionals to give in, walk away and stop making music.
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News
Tom Morello
Rick Schneider of Polaris
George Thorogood
St. South
Feeder: Confessions of a fuzzbox junkie
Melbourne Guitar Show 2025
Harron Custom Guitars
celebrates 100 years
If I can implore you to do anything, it’s to never give up. You might just be the last one left standing, and you’ll be left with a lion’s share of work, and a resume to back you up. This is all the more reason to make the music you want to make, in the way you want to make it, because the love of it will help you persevere through the tough times.
For a limited time, when you purchase a PRS SE Series Guitar from an authorised Australian PRS dealer between March 1st and 31st, you’ll have the chance to win one of four PRS Sonzera Amplifiers! Whether you’re chasing crystal-clear cleans or soaring lead tones, the PRS Sonzera Amp delivers premium sound and incredible versatility—perfectly complementing your new PRS SE Guitar.
HOW TO ENTER:
1. Purchase any new PRS SE Series Guitar from an authorised Australian PRS dealer within the promotional period.
2. Register your purchase and upload a copy of your receipt at www.elfa.com.au/prs-se-comp.
3. You’re in the draw to win one of four PRS Sonzera Amplifiers!
Terms & Conditions: Entry is only open to purchases of any new PRS SE models within Australia. A valid proof of purchase from an authorised Australian PRS dealer must be uploaded at the time of registration. The promotion applies only to PRS SE Series guitars— other PRS models are not eligible. Winners will be drawn at random after the promotion ends.
Melbourne Instruments announce ROTO-CONTROL
MELBOURNE INSTRUMENTS | MELBOURNEINSTRUMENTS.COM
ROTO-CONTROL is a motorised MIDI controller for software and hardware. Following the debut success of their revolutionary analog synth NINA in 2023 and the hybrid polysynth DELIA in 2024, Melbourne Instruments announce ROTO-CONTROL, a motorized MIDI controller for software and hardware. ROTOCONTROL brings Melbourne Instruments’ motorised knob technology to a MIDI controller in a powerful, portable, affordable tool for studio and live applications.
ROTO-CONTROL is now shipping, and is a truly unique motorised MIDI controller, unlike anything seen before. Rethink software and hardware interactions via fully assignable motorised touch-sensitive knobs, user definable haptics for detailed control, high-res screens providing easy-to-read labels for every control, and internal memory with storage for over 8000 assignments. Powerful, compact, and portable, ROTO-CONTROL features three main modes of operation: MIX, PLUGIN and MIDI with Motion Recorder.
Heath
audio quality, with phase coherent mixes and ultra-low latency in a convenient, shallow 4U rack-mounted unit. The Allen & Heath SQ-Rack is a groundbreaking addition to the SQ series that combines SQ’s 96kHz XCVI core with comprehensive connectivity and flexible control options — packed into a compact 4U rack-mount form factor with multiple mounting options.
SQ-Rack is a versatile solution featuring local I/O alongside an intelligent SLink port, integrating seamlessly with Allen & Heath’s Everything I/O ecosystem. Expand further with option cards for Dante, Waves, MADI, or additional SLink capabilities. Multichannel USB support enables easy recording and playback, whether connecting to a computer or directly to an external drive.
CMC MUSIC AUSTRALIA | CMCMUSIC.COM.AU
Announced at NAMM 2025 only weeks ago, Ernie Ball’s Tim Henson Signature electric strings are the result of an exciting collaboration with a truly innovative player. Blending techniques and combining multiple genres to create something uniquely his own, these strings follow suit pairing Cobalt with Paradigm technologies offering a tone to stand out in the mix and added strength for most demanding environments.
Tim has also chosen an Ernie Ball signature FretWrap by Gruv Gear as his string dampener/muting accessory – one that every studio, session player, and tapping aficionado should have!
As if that weren’t enough, the Ernie Ball Tim Henson Accessory Bundle Kit is a premium collection designed for guitarists seeking to enhance their playing experience. Created in collaboration with Tim Henson of Polyphia, the kit includes a range of high-quality accessories, including a set of Tim's signature electric and
classical guitar strings, a quality dual conductor 10-foot white instrument cable, and Tim's signature fret wrap by Gruv Gear.
FENDER MUSIC AUSTRALIA | FENDER.COM/EN-AU
Key highlights include the Standard Series, Acoustasonic Standard, Fender Link I/O Interface and the Blues Junior 30th Anniversary Amplifier, amongst others.
Fresh from a highly anticipated return to the 2025 NAMM Show, Fender Musical Instruments Corporation (FMIC) has hit the ground running with its continued pursuit of sonic excellence, unveiling a stunning new range of instruments, amps and accessories. Every new model is conceptualised to enhance an established legacy of high-end craftsmanship, emphasizing quality and tone tailored to the evolving needs of the modern player.
Solid State Logic announce the SSL 18; a single 19” rack USB audio interface
AMBER TECHNOLOGY | AMBERTECH.COM.AU
Developed from their unmatched expertise in analogue and digital design, SSL 18 marks the start of a new era in rackmount USB interface technology from Solid State Logic
Solid State Logic has launched the SSL 18 rackmount USB audio interface, marking the start of a new era in rackmount production technology from the company.
“SSL 18 embodies our commitment to crafting a 19-inch rack audio interface that delivers SSL quality. Our engineering team applied their analogue and digital design expertise to exceed expectations. With the powerful SSL 360 software, SSL 18 delivers a world-class studio experience to any setup. We’re eager for everyone to experience its sound and workflow.” Andy Jackson, Senior Product Manager, Studio.
Alto Pro announce TX4
ELECTRIC FACTORY | ELFA.COM.AU
Supremely powerful, portable and available in varying sizes and power ratings, the TX4 is the latest from Alto Pro. Building on the TX3 series of speakers, the TX4 from Alto Pro expand on a solid foundation of clear, transparent speakers with enough power to handle any and all amplified situations.
While it is the most compact unit in the TX series, do not underestimate the TX408—this PA speaker is capable of delivering clear, robust sound that punches far above its price point. The TX410 is perfect for anyone in search of a compact, affordable, and straightforward PA speaker that also has enough power and punch to fill the room with robust sound. The Alto Professional TX412 is an all-purpose solution for any performer or business owner looking to bring serious sonic power to any large space or outdoor area without breaking the bank.
Gainlab Audio announce Lieutenant: a true command centre of the studio
MIXMASTERS PRO AUDIO | MIXMASTERSPROAUDIO.COM.AU
Monitoring is the cornerstone of any studio setup, and everything else comes after. But what follows monitoring?
The Gainlab Audio Lieutenant allows you to select between four sources and route them to three destinations, featuring a relay-based volume control. Additionally, its built-in power sequencer can manage the studio’s power distribution across three independent zones. It includes a separate Cue loop with headphone output, complete with a talkback system, as well as a master headphone output.
Among its four input sources, two are stereo,
balanced analog, one is a digital S/PDIF source, and one is Bluetooth. All three destination outputs are stereo, balanced analog. The output levels can be manually or automatically trimmed to ensure seamless switching between speaker pairs without volume discrepancies.
Developed in collaboration with John Mayer, and announced just weeks ago at NAMM 2025, Ernie Ball Earthwood Bell Bronze acoustic guitar strings have been carefully crafted to meet John’s exacting standards, providing a new voice for your acoustic guitar. Inspired by alloys used traditionally for bells and cymbals, Ernie Ball’s patent-pending Bell Bronze alloy offers a richer, fuller sound than any other string in their catalogue. These strings will breathe new life into your guitar. Available Spring 2025.
“Earthwood Bell Bronze strings are a giant leap forward in tone, playability, and durability. They’re great in any musical setting but really shine when played solo. There’s an orchestral quality to them.” - John Mayer
RØDE announce major updates for the RØDECaster
RØDE | RODE.COM/EN
The RØDECaster Video has been updated with some fantastic new features that take your video workflow to the next level. RØDE have introduced a new Scene Audio feature, a “Switch To” transition setting for media playback, auxiliary routing options, overlay transitions, flexible recording modes, additional auto-
switching controls, and more.
The RØDECaster Video is a revolutionary all-in-one video and audio production console that provides intuitive control over every element of your content. Combining powerful video switching, recording and production capabilities with a fully integrated professional audio mixer, it offers a seamless way to streamline and supercharge your workflow for studio productions, video podcasts and interviews, and stream live events with broadcast quality.
NEUMANN | NEUMANN.COM/EN-AU
Neumann will present its innovative reference monitoring solutions in the Immersive Zone of the Sennheiser Group booth at ISE 2025. The setup will include Neumann’s renowned KH line of studio monitors as well as the MT 48 audio interface running the Monitor Mission. Also, Neumann will preview an all-new product: RIME – Reference Immersive Monitoring Environment. RIME is a plug-in for DAWs, enabling users to monitor immersive formats such as Dolby Atmos 7.1.4 via headphones using novel AMBEO algorithms.
In contrast to existing solutions, RIME is tailor-made for Neumann NDH 20 and NDH 30 headphones. In fact, the software incorporates an entire Neumann signal chain of KH speakers, perfectly aligned via MA 1 in a reference room, captured using the KU 100 binaural head via the MT 48. The result is ultimate sound quality and precision. RIME can also be used for externalization of stereo playback, making headphones sound like studio monitors.
Warm Audio announce 5-year warranty, effective immediately
STUDIO CONNECTIONS | STUDIOCONNECTIONS.COM.AU
Putting their money where their mouth is, Warm Audio extend their warranty to five years to their growing range of products. The new fiveyear warranty applies retroactively to all existing purchases made within the past five years, with proof of purchase. Before any Warm Audio product leaves their US facility to be shipped to retailers globally, it undergoes a comprehensive hands-on inspection. Warm Audio don’t take shortcuts. Every item is completely unboxed and thoroughly evaluated, with both cosmetic and technical functionality checks. Every surface is closely examined for cosmetic imperfections or damages that could affect functionality. They remove any debris or fingerprints and apply polish if needed to ensure a flawless finish. They straighten knobs and switches to ensure they align perfectly with the silkscreen printing and operate smoothly. Each unit is wiped down with care, so it arrives looking pristine, ready to inspire confidence when unboxed.
PreSonus has announced the first Studio One Pro 7 new feature release of the year — an all-new virtual instrument (VSTi): Cinematic Lights. This comes shortly after the global release of Studio One Pro 7 in October 2024. Studio One Pro 7 is the one DAW for all creators wanting to produce, record, mix, master, and perform in one powerful platform. Studio One Pro 7 is currently available for a 30 day free trial!
Cinematic Lights combines heavily processed orchestral strings and bass elements with synth, modular, and field recording layers. With over 100 unique multi-samples, 120 layer presents, 96 instrument presets, and 50 music loops, Cinematic Lights is the perfect tool to explore and create unique sound textures.
ZENITH MUSIC | ZENITHMUSIC.COM.AU
Crafted with a Spruce top for a bright and balanced tone, the Travel Spruce combines ultimate portability with exceptional playability for musicians on the move. The Guild Travel Mahogany and Travel Spruce guitars were created for guitarists on the go. Their compact size and light weight make them ultra-portable, while their arched-back design results in a big sound with greatly increased sustain and projection. The Travel Mahogany has the warm and rich tone that all-mahogany acoustics are renowned for, whereas the Travel Spruce offers the same mahogany back and sides, but its spruce top adds brightness and a livelier response.
Both instruments feature rosewood fingerboards and bridges and short scale lengths—and their beautiful open-pore natural satin finishes, distinctive headstocks with G-Shield logos, and all-black hardware with matching pick guards ensure that they look as good as they sound.
Native Instruments partner with Akai, Novation and more!
Native Instruments is making it easier than ever for music producers to explore new sounds on their favourite controllers by launching its Native Kontrol Standard (NKS) Hardware Partner Program, announced at NAMM 2025.
Industry leaders Akai Professional, Novation, Nektar, Korg, and M-Audio are adopting the NKS ecosystem to power seamless integration with Native Instruments software. This connects music makers to over 2,000 NKScompatible instruments and effects from more than 250 brands.
The new NKS Hardware Partner program enables basic integration for partner’s existing keyboard controllers, allowing musicians and producers to use the Komplete Kontrol desktop software to access a premium portfolio of over 2,000 NKS-compatible instruments and effects.
beyerdynamic announce a range of four new IEMs!
BEYERDYNAMIC| BEYERDYNAMIC.COM.AU
In-ear monitors (IEMs) are an increasingly common tool for musicians, engineers and producers, and beyerdynamic have a new range suited to a variety of uses.
beyerdynamic—the preferred audio brand for musicians and studio professionals around the world—showcased new product innovations and collaborations at NAMM 2025. The company is debuting its new line of in-ear monitors—four different models catered to various performance needs—accompanied by the new DT 1990 PRO MKII and DT 1770 PRO MKII studio headphones.
These performances are a part of the Opera House’s year-round contemporary music program, a dynamic line-up of emerging and established talents curated by Head of Contemporary Music Ben Marshall. Adding to a monumental run of concerts announced for 2025, the Sydney Opera House will present the legendary band.
Icons of post-punk, dance and electronica, New Order, return to the Opera House for the first time in nearly a decade on Friday 14 and Saturday 15 March. From the ashes of the legendary band Joy Division, the five-piece has triumphed over tragedy to emerge as one of the most influential and acclaimed bands of all time. This tour will see them perform a lifetime’s worth of global hits and dancefloor classics from their fourdecade, 10-album career including their most notable tracks, Blue Monday, Temptation, and the anthemic Bizarre Love Triangle.
SUPERCHARGED
The band have repeatedly burned up airwaves across the globe while selling over 40 millions records worldwide and are two time members of the Spotify Billions Club (You’re Gonna Go Far Kid / The Kids Aren’t Alright).
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 last night, the legendary five-piece have officially supercharged their 2025 plans, today 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.
Diesel is hitting the road for his Bootleg Melancholy tour!
One of Australia’s greatest success stories, Diesel, has spent three decades weaving his one-of-a-kind musical magic into his rock and blues-fuelled sounds, both as part of the band Johnny Diesel & The Injectors and, more recently, as a solo artist.
Australian music icon Diesel kick-started his Bootleg Melancholy Album Tour in December with explosive shows in Avoca Beach and Kiama, where fans got to experience the special musical language he has developed with his band of stalwarts, Richie Vez on bass and Lee Moloney on drums. The 2 set performance showcases Diesel’s impressive career spanning over 3 decades, with boundless energy and vitality infused into every song, old and new, the audience will be treated to an unforgettable experience shared with music lovers nationwide!
The Sex Pistols feat. Frank Carter to play Never Mind The Bollocks in full in April 2025!
In August 2024, Frank Carter joined Paul Cook, Steve Jones, Glen Matlock of Sex Pistols for one of the most surprising and adored music events of the year. Members of one of the most influential rock bands of all time, plus life-long fan and modern-day punk icon Carter, performed the Sex Pistols’ iconic 1977 album Never Mind The Bollocks in full.
In exciting news for Australian and New Zealand fans, nearly 30 years since they were last on these shores, Sex Pistols featuring Frank Carter have announced an exclusive run of shows, playing Never Mind The Bollocks in its entirety.
In August this year, the American metal icons will touch down in capital cities. Chaotic, frenetic and heavy as hell itself, Dillinger Escape Plan bring their show back to Australia after an eight year hiatus. Their 1999 Calculating Infinity broke the mould, blending punk, mathcore, hardcore, metal and more into one cohesive, albeit explosive, sound. Inspiring generations of musicians, they’re back!
Following the hiatus, The Dillinger Escape Plan return for a very limited number of live shows to commemorate that groundbreaking album Calculating Infinity and so much more.
For those who have witnessed them live before, we know that you will be there. For those who have not, life has given you a second chance. Grasp it with gratitude!
WORDS BY LEWIS NOKE EDWARDS
Tom Morello is, in a word, a hero. Socially, musically and politically, he’s been waving his tremolo and killswitch-equipped flag for decades, and has been pushing the boundaries of the guitar in Rage Against the Machine, Bruce Springsteen and the E Street Band, Audioslave, Prophets of Rage and more.
More recently, Tom has released multiple albums under his own name and has been a session player for some of the biggest names, further refining his musical chops and identity. His tone and style is instantly recognizable, more than can be said for a lot of guitarists if we’re honest! His live show is a world-altering set, an eye-opener and above all a unifying experience.
Morello initially pursued a career in politics, spending the late 80s working in the office of a US Senator and, disillusioned by the lack of real change happening, left the job before forming Rage Against the Machine with vocalist Zack de la Rocha. The last few decades have seen Morello pushing for social change on and
off the stage, expressing himself politically as well as musically, and using a myriad of tools, tricks, effects and techniques to create some of the most unique sounds ever made on his humble guitar.
Combining elements of rock, funk, metal and hip-hop, Rage Against the Machine gave Morello the space to use effects and his simplistic riffing style to support de la Rocha’s messages. It was here Morello began to build his sonic identity, and a legacy was born.
Decades on and Morello is in Australia for Byron Bay’s Bluesfest, bringing his signature raucous energy and expressive playing to the masses. In addition to Bluesfest, Tom Morello is playing two sideshows in Melbourne and Sydney, supported to push the boundaries of six strings.
Beyond the traditional hard-rock tone heard on Rage Against the Machine’s
self-titled 1992 album, Morello exhibits expansive ambience and synth-like tonality in his solo work, both under his own name and as The Nightwatchman. Guitar tone aside, Morello also employs use of a kill-switch for stuttering effects and a pick for DJ-esque scratching sounds, tying together Rage’s hip-hop and rock influences. His use of unique techniques to create otherworldly sounds is never more on show than when he’s playing live, the energy and excitement of the crowd allowing Morello to improvise and adapt to the audience. Using a slide and pickup selector as a kill-switch, Morello will make his guitar snarl and bark, harnessing bluesy tonality and modern electronic-type sounds, even using synthesized sounds with expansive delay, reverb and more to transport the audience to
Using environmental sounds as inspiration, Morello would practice and animals, all of this being
Morello’s music to inspire images of protests, people and the world at large Underground, The Atlas Underground The Atlas Underground Flood tie together Tom’s softer side, leaning further into sonic soundscapes and, ironically, further away from the guitar. The opening track from Flood, ”A Radical in the Family” is wide and open, like a rainforest, its expansive sonics reaching far and wide. If it weren’t for Morello’s name you mightn’t know there was a Fender Strat
Techniques like tapping and divebombs were commonplace throughout hard rock and metal in the 80s, and while forward thinking at the time, Morello expanded on these sounds further with the use of whammy, unique picking and dedicated modifications
to his guitars’ electronics and wiring, as well as visual and aesthetic design choices. Morello sees the guitar’s body as one more canvas to express himself.
Morello’s “Arm the Homeless” guitar and his “Soul Power” Strat are amongst his most famous. The original “Soul Power” hangs in the The Metropolitan Museum of Art (“The Met”), while his “Arm The Homeless” guitar still sees consistent use across stages and studios all over the world.
Morello uses the guitar for so much more than its typical intention. The guitar has become an icon of powerful messages in rock, rock bands going against the status quo for decades, yet Morello uses it as a beacon of hope, an icon of change and a vast stream of sonic possibilities to do it all.
Six strings, a bunch of frets and a couple of pickups are a limitation accepted by a lot of players, but not Morello. His unique use of technique and sonic artistry perks up our ears, makes us turn to listen and focus, and then he leans into his messaging, either physically scratched into his guitars or in politically charged lyrics. Morello is one for change, putting his money where his mouth is, and finding new tools to spread awareness, information and above all: hope.
Tom’s legacy extends far and wide, much farther than purely the music he’ll be performing at Bluesfest and solo sideshows. An activist and fighter for human rights, Morello spends as much time campaigning for change as he does expanding the world of guitar, borrowing from traditional blues and rock and melding it with his own palette of unique sounds and tones. It’s a melting pot of influences, albeit mind-blowing, that manifests in something is profoundly musical.
His appearances in Melbourne, Sydney and Byron Bay’s Bluesfest in April will have his entire legacy on show, performed within his solo work; a culmination of years of refining his musical palette and the techniques he uses to express it. Tom Morello in Australia is, simply put, not to be missed. His show is a feast for the musicians in the crowd, and a wonderland for music fans, showcasing his forward thinking approach to ‘playing’ every part of the guitar. Expression, community and activism are core to Morello’s identity, and live is the place to see it, hear it and live it.
Tom Morello plays The Forum in Melbourne on Sunday 13 April, the Enmore Theatre on Wednesday 16 April and Bluesfest on Thursday 17 and Friday 18 April, 2025. For info, tickets and more, visit bluesfesttours.com.au.
WORDS BY LEWIS NOKE EDWARDS
2018's The Mortal Coil helped Polaris explode onto the international scene, having already seen success at home here in Australia.
Polaris have had a pretty stratospheric rise through the ranks over the last decade or so. Their debut, self released EP, Dichotomy, was released in 2013. Four albums and a few handfuls of ARIA nominations later and Polaris are billed for Knotfest Australia at the end of February.
Billed alongside international heavyweights Baby Metal, Slaughter to Prevail, Hatebreed and more, Polaris are bringing their dynamic, atmospheric and crushing live set to Knotfest in Melbourne, Brisbane and Sydney.
On the back of a year of headline tours both nationally and internationally, we spoke to guitarist Rick Schneider about jumping into a run of festival shows.
“There’s quite a lot of overlap,” begins Rick, speaking to Polaris’ approach to a festival set. “Obviously if an album has come out, you’re giving that the attention to give that the best legs it possibly can [have].”
“Once you start to move away from that, that’s when you’re picking the hits, and that’s generally the
approach for festivals.”
Rick discusses the difference between playing something like Groovin’ The Moo or Yours And Owls, where Polaris need to lean into their softer side to win over a crowd who might not be ready for some of Polaris’ more bombastic, heavy stuff.
“But we’ll still show ‘em what we’ve got.” Rick says with a laugh.
Equipment wise, Polaris are running a lot of the same gear, their streamlined gear allowing them to soundcheck and recall their in-ears mixes, the noise curfews at headline shows not being dissimilar to a festival, so they’re used to it.
“You do everything and prepare for something a certain way, [but] when that PA turns on, suddenly it can totally throw you and be pretty crazy for the first song, just getting your bearings—when you thought you were ready.”
Speaking to the gear more specifically, Rick explains their streamlined gear is all integral, and is the same no matter where in the world they tour.
“We fly all of our Quad
Cortexes, [and] we’ve got three guitars for each of us. We don’t fly a drum kit but we fly cymbals, snare, kick pedals.”
“We’ll fly our microphones and everything to do with monitors and front of house—actually a year and a half ago now, we started using the [Allen & Heath] dLive console instead of the [Behringer] X32.”
“We’d always just use the X32 for in-ears and then Lance [Prenc, front of house engineer] would use whatever the house system was. Towards the end of 2023, we got a dLive unit instead of X32. I was always under the impression you’re plugging an XLR in, you’re hearing it on the other end—what’s the difference? I was blown away, it felt like the X32 had a blanket over it the whole time!”
Amp-wise, the transition to the Quad Cortex hasn’t been as instantaneous as Rick expected, his old habits being tough to break after using AxeFx live for years.
“I think we received [the Neural DSP Quad Cortex’s] at the start of 2020, and we didn’t get them rigged up until late 2021, so they were just sitting in a box for almost two years.”
“It wasn’t because of any detriment of the unit, it was just that once you have something that works, it’s nice to stick with it.” says Rick, referring to the band’s older AxeFx II system that was heavily
integrated into their live show.
“I didn’t want to up-end it, but once we did I’ve been stoked with it. We used to run the AxeFx II system, with three MFC floorboards units, and floor pedals all over the place. Now we’ve just replaced that into the (Neural DSP) floor board units. Function-wise, it doesn’t feel like I’m giving up anything, but getting so much in return. That’s the nice part of it.”
Rick has played Mayones guitars for a long time, almost exclusively. Recalling his first time using one after bandmate Ryan Siew, who tragically died in 2023, introduced him to them, Rick speaks to the feel and energy of Mayones.
“It was one of those things, you feel an incredible sense of character and care in something you’ve always attributed to being a production instrument—something that’s shipped en masse and sits in a store. This was something that was handcrafted to almost perfection, and the day that I got my first one I was like ‘Well, this is it. It’s gonna be hard to go back!’”
“And that’s essentially carried me through for the last nine years that I’ve been playing ‘em, so yeah it’s just them, coupled with Bareknuckle pickups, and it’s just a character of our sound. I also wonder if I was to change, would I also be changing the sound slightly? It’s so many things that I don’t even entertain the idea of changing, because they are such beautiful instruments.”
Rick continues, explaining that current live guitarist Jesse Croft was enamoured with Rick’s Mayones, being blown away. Live, Rick explains that the last few years have seen the addition of carbon-fibre necks to Mayones, making them an even better live companion, shifting and adjusting very little when travelling through different seasons, temperatures and timezones.
“They’re really rock solid and stable. I also use EverTune bridges, so I literally check tuning and adjust my guitar before a set, then at the end of the hour [set], it’s still ready to go.”
“Between the hand and the ears, Mayones has got everything going on.”
Rick will be playing his Mayones guitars at Knotfest Australia this month. For tickets, dates, info and more, keep reading at https:// knotfest.com/pages/australia
CARDIOID COLUMN PA SYSTEMS WITH DIGITAL MIXER
Introducing MAUI® G3 MIX – designed and engineered in Germany; ideal for singer-songwriters and musicians. The MAUI 11 and 28 G3 MIX feature a 6-channel mixer with on-board effects, enhanced by a user-friendly App for easy adjustments and SysLink® for connecting two units, doubling your mixer channels. Both systems feature powerful subwoofers and large mid speakers, ensuring a full-range sound experience from deep bass to crystal-clear highs. Compact, portable, and perfect for any venue, MAUI® G3 MIX is your ultimate partner for your live performance.
WORDS BY JAMIE COLIC
highlights and aspirations, “I want to do just about everything, we put out a blues record on Chess [Records] as a tribute to the artists on Chess Records. We have various live records. I might even make a Country and Western record one day, I want to try everything I'm interested in as long as I'm qualified to pull it off.”
This is where I take an opportunity to dive into George Thorogood's history with the blues. After all, here is a man who is responsible for introducing a generation of 80s kids to the long-time tradition of slide guitar.
George interjects, “What do Mick Jagger, Keith Richards and George Thorogood have in common?”
I don't know...
“The first person we saw play slide guitar was Brian Jones.”
“I first got exposed to the blues through the Rolling Stones, I saw them on television and they brought Howling Wolf on there, who I had never heard at the time.”
“So when I got a Howling Wolf record I looked at the credits and I kept seeing names like Muddy Waters, John Lee Hooker, Butterfield Blues Band. I think still to this day if you want to play real Rock guitar you need to study the blues because that's what rock is based on.”
“I rock ‘n’ rolled out of bed, they tell me there's good money in it!”— strong insight from a rock n’ roll veteran George Thorogood, who’s over 50 years deep into a storied and celebrated career.
Blasting his way into the upper echelons of US rock radio with hits such as “Bad To The Bone” and “I Drink Alone”, George Thorogood And The Destroyer's signature high-octane Blues Rock sound quickly became the soundtrack to much general “badassery” throughout the remainder of the 1980s.
“Well it’s quite a long way to go and we are looking forward to going back. Going to Australia and New Zealand and playing with ZZ Top, are you kidding? An Australian band, an American band and us right in the middle, that's a dream come true.”
“Except for playing the music and getting paid, touring in the 70s and 80s was pretty terrible.” he explains. “Bad equipment, bad PAs, and sometimes the rooms weren’t great. Things kept breaking down and it was always a disaster.”
“But we kept plugging on and things kept getting better and better. Food got better, transportation got better. Even in the ‘60s live rock bands were still in their infancy. It's not the sophisticated industry it is now, I mean, The Beatles quit playing because they couldn't hear themselves.”
The conversation steamrolls into George's expectations for the Elevation tour, the last time the Destroyers were out was in 2022, so the memories are fresh.
Excitedly, George further elaborates on his experience.
“In 2020 we did festivals with Anastacia, Billy Idol, Creedence Clearwater Revisited and it was brilliant. I said ‘Man, I got a taste of this and I want more, lots more!’”
And behind him, George has had his long-time band The Destroyers blazing on all cylinders. When it comes to revealing what it takes to hold a lineup with such longevity, George doesn't offer up much insight.
“I kept the same band for so long because I pay well, I don't know about chemistry... I flunked that in school.”
“With my band, I question only two things: loyalty and sanity.”
The storied rocker continues to reflect on some of his personal studio
I asked George to give some insight into how he developed his slide technique and whether he experimented with closed tunings or if it was open all the way, which he was happy to divulge.
“I was shocked how naturally it fell into place for me, I was listening to a lot of Robert Johnson, and I was fooling around with the slide guitar. Then I heard Elmore James and that was it. It blew me away.”
We round out our early morning chat with a bit of gear talk, focusing first on the Gibson ES-125. A mainstay of George’s Career since the early days, with a story to back it up.
“I got my first 125 because our drummer booked a gig and I didn't have an electric guitar so he said get one.”
Interestingly enough, George doesn't know much about his current live rig simply stating “My amplifier we call it the mystery mutt, it's the combination of about 1000 other amps. It’s a creation from our tech people, like taking a car and using 100 parts to make it.”
“I wanted something that didn't break down all the time and the guitars and amps I use if you don't put them on max, you don't get the sound I need. We were playing different places and rewiring my amps so we said ‘Let's just get an amp with a powerful sound that doesn't need to be so loud.’”
George sums it all up with a simple ideology that is easy to appreciate in this age of technology and advanced stage rigs.
“Just give me the thing, make sure people hear me and make sure I'm in tune.”
GEORGE THOROGOOD & THE DESTROYERS DATES:
April 18 – Bluesfest, Byron Bay
April 21 – Forum Theatre, Melbourne
April 23 – Odeon Theatre, Hobart
April 29 – AEC Arena, Adelaide (with ZZ Top)
May 1 – Langley Park, Perth (with ZZ Top)
May 7 – Margaret Court Arena, Melbourne (with ZZ Top)
May 13 – ICC Sydney Theatre, Sydney (with ZZ Top)
May 17 – Spark Arena, Auckland (with ZZ Top)
May 18 – TSB Arena, Wellington (with ZZ Top)
Tickets on sale now. For more information head to livenation.com.au and livenation.co.nz.
WORDS BY LEWIS NOKE EDWARDS
St. South released the BIG SADS - EP in 2024, tying together a multitude of influences, sounds and influences into a cohesive ebb and flow. Bringing together traditional sounds and refined, modern production, St. South’s sonic offering is akin to familiar folky and pop sounds, but revitalised with something new, something entirely their own.
Thanks for taking the time! Getting introductions out of the way, how do you define what you do?
Thanks so much for having me! I’m a singer/songwriter/producer - but musician works too.
I noticed a live demo of “a good year” on SMILE NOW CRY LATER - EP. Is this how you always demo songs?
Every time is different but as a songwriter and producer, there are usually two default writing methods I use:
1. Using my songwriter brain: usually on my piano (or guitar), I’ll write the entire song/structure/chords before taking it to Ableton.
2. Using my producer brain: writing the vocals to fit what I’ve already started producing in Ableton.
I actually recorded that demo in one take as a rough draft while experimenting with vocal effects. I’d been rinsing “Larabar” by Wet (one of my favourite songs of all time) and I was playing with ways to replicate the sped up/slightly distorted vocals in that song. I mic’d up my old upright with
a pair of RØDE NT5s and recorded everything live while singing and playing painfully slow, holding each note.
The lyrics were still a W.I.P. so I just sang my favourite verse lines and the chorus before speeding the entire track up in Ableton. I had no intention of ever exporting it, but I loved the result so much and knew I needed to release it in some way. It had that magic most demos have before you overwork them, and I didn’t want it to be left behind.
This live demo is quite different from the version that ended up on the BIG SADS - EP, do songs and music always go through a lot of revisions as you hone and refine the sound?
Each song is different! Sometimes a song will literally write itself and feel finished super quickly, but more often there are multiple revisions. If I write a song on piano first, there'll typically be at least 10 voice memo versions on my phone before I'm ready to record it. I think structure is everything for me; once I have the verse/chorus/bridge exactly how I want it, I can build out the production and have fun with it.
“A Good Year” is actually a perfect example of how extensive the revision process can be. I spent months working on the lyrics and structure at my piano before even touching Ableton. The process was purely cathartic while experiencing some of the worst grief/depression I've ever felt. By the time I was ready to record it to a click and start the production, I was emotionally exhausted by it and struggled to approach it with my usual production process. That's when my label A&R stepped in and sent it to Luke MacDonald, who took my chords, structure and references and sent back the final production. I cried when I heard it because it was exactly how I'd always imagined it, but didn't have the energy to execute it myself after sitting with it for so many months. While I loved the initial live demo, I knew
that version wouldn't have its chance at being a single, (but) the revision process helped transform it into what I felt it needed to be.
Can you speak a bit about the process from demoing through to the finished song?
When starting a new project, I usually treat myself to some new plugins and sample packs that feel right for the sound direction I'm heading in. I love combing through SoundCloud - some of my favourite and most used sample packs were actually found in the bios of small producers. Last month I bought imagiro's shearwater piano plugin (he remixed “Better Days” on the new EP and his piano sounds are unreal).
My setup always centers around Ableton, and I spend a lot of time with Spectrasonic Keyscape, mostly recording on my little Korg microKEY, but sometimes on the Korg SV-1 when I need a weighted key for a ballad moment. Soundtoys' Little Alterboy is my favorite for vocal processing at the moment. I used to use the TC Helicon Voicelive Touch 2 for vocals, but I sold it to pay for top surgery and I'll forever regret letting it go! I also go absolutely feral for the Waves OneKnob plugin.
Once I have the chords down, I work on melodies - always trying to remind myself to demo with my good mic (BLUE Kiwi) in case I end up using any of the first vocal takes (which I usually do!) I'll often use perc(ussion) loops as placeholders until I can flesh out my own pattern or send it to someone else for additional production.
For me, the demo phase is about trying everything - like drastically changing the BPM or completely flipping the arrangement. Sometimes I'll spend hours exploring different options, only to return to the first project file thinking 'What the hell, that was perfect as is.'
Is your workflow entirely in the box or are you incorporating recorded acoustic instruments and spaces?
It kind of depends what headspace I’m in and what I’m currently listening to and feeling inspired by. If I’ve just bought a new plugin or sample pack, I’ll lock in to Ableton for days without reaching for an instrument. Other times I’ll crave time away from a screen and spend hours playing guitar or piano - hunting for chord patterns and melodies in the same way I did when I used to write folk music. The majority of the time it’s a nice balance between the two; incorporating acoustic guitar or live piano into a more produced electronic or lofi environment is one of my favourite ways to blend everything I love about making music.
Are you mixing and producing as you write, or is there a clear delineation between each step of the process?
What is exciting in the world of music at the moment?
Something I've noticed gradually shifting over the last few years is the move from high-budget production to more lo-fi DIY approachesboth musically and visually. COVID lockdowns definitely accelerated this; suddenly everyone was filming their own music videos and getting creative with home recording setups.
The rise of affordable plugins and audio interfaces has made professional-level production more accessible than ever. I've always recorded at home and used voice memo samples in my final recordingsincorporating room noise into my overall sound - but being forced to get even more creative during lockdown opened up my music world in new ways. In lockdown I bought The Sidecar Cassette Mod by FoldyMakes and had so much fun recording live piano demos onto it. It gave me that same Christmas-morning feeling I get with new plugins, but being able to step away from my desk and hold something real was exactly what I needed. There's something really exciting about artists feeling empowered to get weird with how they source sounds, whether that's through creative sampling or using unconventional gear.
On a cultural level, a huge shift I've witnessed is the rise of queer music and visibility of queer artists. When I released my first singles in 2014/15, I would lose sleep over deciding whether to use female pronouns when writing about my relationships. I was programmed to believe that being 'out' in my songs would narrow my audience. Now we're seeing openly queer artists not just existing in the industry, but thriving and being celebrated. The Grammys are a perfect example - seeing artists like Victoria Monét and boygenius winning multiple awards last year, and this year's recognition of Doechii, Chappell Roan, St. Vincent and Amy Allen (not to mention nominees like Billie Eilish, Brittany Howard, Clairo, Kehlani, Willow and Durand Bernarr). It really feels like authentic queer storytelling isn't just accepted, it's embraced. There will always be more work to be done, but it's incredibly affirming seeing how far we've come over the span of my career.
When I’m writing a song I’m mixing and producing as I write. I need to already have a rough idea of how the mix will sound in order to finish producing it. I always have a mix engineer at the end of the process, but I’ll supply my own mix for reference and then we’ll flesh it out together. There have been times where I love my own mix, but the imposter syndrome convinces me to hand it over to someone else. It's a vulnerable moment when you've been the sole creative behind a project, but it can also be really refreshing and exciting hearing it through their ears. Working with mix engineers has definitely helped me grow as a producer, even in cases where I’ve preferred my own mix (aka demoitis). It can be hard wearing all of the hats in the process - hard not to be a perfectionist when the possibilities are endless - but collaboration definitely helps me get out of my own way when I hit those patches.
Thanks again for the time - what does the future hold for St. South?
Since writing the BIG SADS EP, my taste as a listener has grown so much, and I’m excited to start incorporating more of my personal taste into my own music. Not that I haven’t already, but when my dad died in 2020 I found it really hard to listen to singer-songwriter music. Grief has made me super sensitive to lyrical content, and sometimes I want to be able to lose myself in a song without feeling every emotion under the sun. It’s really changed the way I listen to music and I have to be strategic when it comes to listening to certain artists.
I can’t listen to Angie McMahon or Gang of Youths in the car on my way somewhere, otherwise I won’t actually make it out of the car. Feeling things so deeply is both a blessing and a curse, but I’m constantly learning different ways to harness it into my own music. House, Emotional Dance and Lofi-House have really held me through those moments of needing music without the risk of being cracked open (artists like Boston Bun, Godford, Killen, Folamour and Chaos In The CBD are some of my safest daily listens).
There’s one demo I’m working on for the next EP that’s different from anything I’ve ever produced, and maybe it’s a product of listening to too much Fred Again during the 2020 lockdown. There’s another track that’s currently completely acoustic - finished but still in the voice memo worldinspired by months of listening to Ryan Beatty’s Calico on repeat.
A lot of the music I love is unpredictable (Wet, Bon Iver, Sylvan Esso, Kyson), it bypasses the classic song structure and feels more like a journey. I used to write like this a lot when I started the St. South project, but was told by so many industry people along the way that every song needs a bridge. And maybe so! But I want to choose where and when to put the bridge, and whether I want listeners to go over or under it.
WORDS BY LEWIS NOKE EDWARDS
April 2024 year saw the release of Feeder's 12th full-length Black/Red, a double album that has garnered the utmost praise from both fans and critics alike.
Formed in 1994, Welsh rockers Feeder have been a mainstay in alternative rock with vocalistguitarist Grant Nicholas and bassist Taka Hirose serving as the band’s driving force for decades.
From crushing distortion to the beautiful string sections, dynamics make up the core of the Feeder sound. We were lucky enough to catch Grant for a quick chat about the record, as well as their upcoming Australian tour—their first in 14 years.
“Some of the songs I wrote during lockdown, basically the previous album Torpedo is in the same vein as Black/Red. Black/Red takes it in some different places but they sit together, well, sonically so it’s almost like a trilogy.”
Grant continues to elaborate on the intricacies of making a double album, saying: “I didn’t want it to be one long continuous CD, it’s always difficult with double albums. Like sometimes people feel like it’d be better as a single album and I really wanted to avoid that.”
“I feel like side Black has some punchy heavy tunes and Red is a bit more back to the melodic, anthemic strings sort of side of Feeder.”
The whole concept of describing Feeder’s last two records as an unintentional trilogy is fascinating. Grants’ main inspiration for making Black/Red, a double album, came from a different perspective.
“It’s hard to get great feedback when you have put that many songs together, I wanted it to feel connected but slightly different in some ways. It’s had a great response from both the press and the fans.”
I go on to prod Grant about what went into making Black/Red, the record sounds both rich and dense and it doesn’t take long before the conversation turns to the topic of guitar tones.
“I’ve always considered big guitars as sort of a Feeder trademark, it’s really important for
us to show what we are as a band either people get it or they don’t but it’s always been very song-based.”
Grant is quick to profess his affinity for classic Fender offset guitars.
“I’m known for Jazzmasters, a lot of my tracking is done with a ’70s Marshall head.”
“Then If I need a humbucker I have my custom guitar which is a cross between a Fender Mustang and a Gibson SG. If I use Gibson stuff I have an old Explorer and SG.”
“But it’s mainly Fender stuff and I’m endorsed by Fender, mainly Jazzmasters but I use some Telecasters and there was even a bit of Strat on this record.”
He pushes forward to reveal even more about his guitar ethos, detailing that he has “loads of guitars, but if you have a good single coil guitar and a humbucker guitar you can do pretty much anything.”
But at the end of the day it all comes back to the Jazzmaster, Grant continuing: “My Jazzmasters cover a lot of ground, I’ve got an original old ’59 one that is really low output. That’s my main recording guitar, I just love the sound of it.”
“Then if I want a more powerful sound I use my live Jazzmaster which has Seymour Duncan Quarter Pounders in it, between those two guitars that’s really all I need.”
However, the humble Jazzmaster isn’t the only piece of gear that Grant has a penchant for.
“I’m a bit of a fuzzbox junkie, I have so many fuzzboxes, like the Big Muffs and Tonebenders, along with a few boutique pedals like the Roshi ELF.”
“The Roshi is kind of signature fuzz designed for me designed by Roshi in Japan. We actually named a song on the album after it.”
Detailing the importance of pedals in the studio, “I don’t use my pedal board in the studio I just like to experiment and try different things. It gets a bit chaotic but I’m not a clean switching kind of guy.”
“There are no rules in the studio, I like that I can plug in 5 fuzz boxes and see how it sounds. I love that freedom in the studio.”
When it comes to amplification Grant also
has a handful of favourites that he has remained faithful to over the years.
“I don’t really change my rig between albums, I just use the Vox AC30s, Matchless and JMI amps, Fender Devilles too. I moved to Mesa Boogie for a little while but ended up back at my main setup.”
Whilst the gear talk ensues I take an opportunity to enquire about the recording process of the new Feeder album Black/Red, which sparks a detailed discussion about Grant’s home studio.
“The album was recorded in my garden studio, everything besides drums. That’s the good thing about technology, you can do things at a distance.”
“Taka would send me bass or I’d send him guide bass and then we would add things on top. I definitely prefer both being in the same room at the same time but sometimes it’s good to have time more to work on parts.”
It’s here that Grant takes the time to highlight the importance of using speaker sims and loadboxes within the confines of his home studio.
“It’s nice to throw a mic on something but because it’s a relatively small space I do a lot of work with the Palmer Speaker Simulators and load boxes. I use one for the Fender and one for the AC30 then if I use the Marshall I’ll switch it over.”
“If we are at the studio recording drums sometimes I’ll take the opportunity to do some overdubs or reamp things but a lot of what I do is at home with the Palmers.”
Whilst expressing an adoration for experimentation and technology, Grant also expresses a slight caution for modern recording practices expressing an affinity for the old school.
“I worked in a studio when I was younger but I’m not a really technical kind of person. I like to keep it old school and that’s just the era we are from. Having said that, I think its easy to get bogged down with technology. It’s really about balancing between the best of both worlds.”
We round out our early December chat by foreshadowing Grant’s expectations for Feeder’s first Australian tour in 14 years. Even taking the time to reflect on some memories of past visits.
“The first time we came to Australia we gave Muse their first leg on their first big tour, we thought they were really great. Then later on they gained traction and took us along with them over to Australia.”
“I love playing Australia, there’s a chill vibe there and it seems like Australians love guitar bands. We’ve been trying to get back there for so long, bugging our agent so it’s great that we finally get the chance to go back.”
5th April - PERTH, The Rosemount 6th April - ADELAIDE, Lion Arts Factory 9th April - MELBOURNE, 170 Russell 10th April - SYDNEY, Manning Bar 11th April - BRISBANE, The Triffid
Tickets : https://thephoenix.au/
WORDS BY LEWIS NOKE EDWARDS
The Melbourne Guitar Show makes a triumphant return on March 1 and 2 2025, taking over the Victoria Pavilion at Melbourne Showgrounds, the Show’s first year at this new venue.
Having had a year off, and with newly appointed CEO of the Australian Music Association Alex Masso at the helm, the Melbourne Guitar Show is revitalised for a new era. Attendees can expect the biggest brands in guitar, bass, effects, amplifiers and more, all available to try, buy and discuss with product experts. In addition to a huge range of instruments, the Melbourne Guitar Show will showcase some of the country’s best musicians on the main stage, as well as workshops, panel discussions and songwriting workshops for all.
“It’s really important for us as an industry to engage with consumers,” he begins. “To get people excited about playing the instrument. The reason we do guitar is it’s still the most popular instrument.”
A tough admission for Alex, a drummer himself, to make.
“It’s a great opportunity to get people from all walks of life. All the exhibitors, everyone from the biggest brands like Fender and Gibson, global companies, through to people living in Australia, making a few guitars a year, Australian manufacturers.”
For the first time, Fender
themselves are also curating their own program of performances, workshops and demonstrations as part of The Fender Experience Alex goes on to explain that the purpose of the Melbourne Guitar Show is to get people really excited about the breadth of guitars and guitar playing.
In addition to a new program, 2025 being the first year the event is held at the Victoria Pavilion at Melbourne Showgrounds, the show has better access, as well as a revised main stage.
“It’s gonna be a bit different. People are used to seeing a series of bands playing the main stage. We’ve got a range of acoustic and electric, we’ve got some people presenting, panels, interviews and other things happening, not just playing guitar.”
“We’ve got a new room which is the Make Music room, which is really focused on getting people playing, and making music.” Alex beams, clearly excited about how inspiring the day will be. “Workshops on guitar playing and songwriting, really bringing a different element to the show”
Alex speaks further to the buzz of the show, anyone who’s attended before can attest to, the main floor
going to keep going in that direction.”
Alex speaks further to how actively the Australian Music Association takes on feedback, allowing the attendees, exhibitors and performers to inform the future of the show.
“A lot of the stuff we’re doing is guided by the people on the floor, as well as the artists. A lot of things we’ve wanted to change, people agree. It’s just listening to what people want to do and make a great event for them.”
“I think ‘Community Show’ is a better description,” begins Alex, weary that the Melbourne Guitar Show might look like a trade show from the outset. “It’s a show for the guitar community.”
Alex goes on to rattle off a few things he’s excited about himself, citing the TheSuperFunAwesomeHappyTimePedalShow, whose host Gabor will be featured on the main stage.
feeling alive with sound, music and effects.
“We’re super agnostic about genre, professional status; beginner, advanced, intermediate. We honestly couldn’t care less if two people are walking into our show and one is the top guitarist in Australia in their field, and the other has just started last month and they’re a kid. Those people are equally important to our event. We want them both to come.”
Speaking further to the reach of the Melbourne Guitar Show, Alex acknowledges there’s a ‘traditional audience’ he says with a grin. This year’s event is making a special effort to reach out to all corners of guitar playing, making it all more appealing and accessible to different kinds of people.
“If you’re a singer-songwriter and all you do is support yourself, you’re not focused on being a lead guitarist— we want those people. That’s still music. We want them at the show.” Alex smiles.
“This is going to be a milestone year for the event, but we’re also making some shifts in a few different ways.” he explains, speaking more to the future of the event. “Where’s it going? I think it’s heading where we’re indicating here, trying to include content creators and bands and panels on the same stage, that’s a bit of a shift.”
“Having the music making element, I think we’re indicating a few shifts in the event and we’re
“I’m also trying to sneak a couple of genres in?” Alex muses. “I guess we’re known as a bit of a blues and rock event. But we’ve got a flamenco guitarist, CB3 are a great band, jazz, funk, a bit of a neo-soul influence. They’re really good. And of course Paul Dempsey, an iconic Australian songwriter. So yeah, trying to broaden the music as well.”
“We’ve got the quiet mornings, a bit more family friendly.” he says, explaining that the first two hours of each morning will be quiet time, before the noise kicks off. He acknowledges the need to make noise though.
“The raucous cacophony is part of the fun.” he says with a smile.
The 2025 Melbourne Guitar Show stands as the first show back after a break, primed to be the best yet. As Alex has alluded to, he’s ready to adapt, evolve and experiment with the show, all in the interest of the attendees who are there every year, but also the upand-coming musicians and guitar players and songwriters who haven’t felt the allure of the show yet.
The Melbourne Guitar Show takes over the Victoria Pavilion at Melbourne Showgrounds on March 1 and 2, 2025. Tickets, program and more are available at melbourneguitarshow.com.au/.
HOCKEY
For almost fifty years, Dana Bourgeois has been crafting some of the finest acoustic instruments on the planet.
Putting older legacy brands to shame with their stunning degree of quality, unparalleled sound and incredible beauty, there are many who believe when it comes to highend acoustic guitars, Bourgeois are the best in the business.
Bourgeois lovingly craft around four hundred guitars a year at their workshop in Lewiston, Maine, a dedicated team of twenty master luthiers pouring their heart and soul into making each of their creations absolutely perfect. Led by Dana, this team of craftspeople are intent on creating the best possible instruments from the best possible materials, resulting in truly exquisite guitars fit to become a prized family heirloom.
Aside from sheer mastery of their craft and utter dedication to making the finest guitars around, there are a handful of things that really set Bourgeois Guitars apart from other boutique luthiers. Firstly, Bourgeois have developed a unique x-bracing system that scallops only the bass side braces, while the treble braces are shaped and
ageing them for a more lived in, vintage tone. They say for the first fifty years of its life, a guitar still thinks it's a tree. Not so with a Bourgeois guitar. Everybody knows that worn-in, vintage acoustics always sound better than a brand new one of the same type, but Bourgeois guitars are an exception. Thanks to Bourgeois’ uncompromising build quality, these instruments come out of the box sounding like a masterfully built vintage instrument, the kind that normally costs people more than a house. Dana’s techniques give his guitars that magic vintage feeling that even the most expensive new guitars always seem to lack. It's that magic that truly sets Bourgeois apart from the rest.
power and comfortable playability.
On the other hand, take the Legacy Series DB Signature Dreadnought. Elegant, understated and yet exotic, this high end model is constructed with an Adirondack Spruce Top known for its superior stiffness to weight ratio, delivering an extraordinarily clear and resonant tone. Complete with beautiful Madagascar Rosewood back and sides, this guitar is handvoiced through precise carving and tap tuning, ensuring a rich, articulate sound.
tapered. This greatly enhances bassto-treble balance in a large guitar like a dreadnought and is a big reason as to why Bourgeois guitars sound so powerful across lows, mids and highs alike.
Secondly, Bourgeois use only the finest premium tonewoods, including unique woods to the Maine area like Adirondack Spruce, which produces an unbelievably rich sound. Thirdly, Dana and his team use a renowned method of tap-tuning each of their finely crafted tops, finding their optimum sound at proper flexibility. Bourgeois also utilize a unique bolt-on neck design that allows the neck to be removed without drilling, cutting or steaming, which they pair with a fully adjustable truss rod. This design mimics the tonal response of the steel t-bar neck reinforcement found in vintage instruments, with more flexibility.
Finally, Bourgeois put into practice a Finnish method of heat-treating raw timber called torrefaction. This cures their tonewoods, essentially artificially
The result of these innovations and techniques are acoustic guitars that project incredibly well and have an extremely balanced frequency response. I’ve had the pleasure of hearing a couple of these fine instruments in person and it felt very much like the moment in The Wizard of Oz when everything turns from black and white to colour. I’ve played and heard some excellent, very expensive acoustics in my time including some very old ones, but nothing has compared to the sheer power and projection of a Bourgeois guitar. They are incredibly loud, but nuanced at the same time, with deep lows, rich mids and shimmering highs all coming through with equal power. Truly balanced, extremely articulate and most importantly, loud as hell. In the hands of a great player, it really is an astonishing thing to hear.
Take the Custom OM model for example. It has a beautiful, tight grained European Spruce top and is otherwise constructed from the holy grail of tonewoods, Brazilian Rosewood. Tastefully adorned, it features a lovely ebony pyramid bridge, classy tortoiseshell binding and an immaculately crafted rosette. A minimalist aesthetic to be sure, but a perfect one.
The OM is one of the centrepiece models in the Bourgeois catalogue. The OM is versatile, appealing to both fingerstyle players and flatpickers alike. Featuring a 14-Fret neck and a familiar 25.5” scale length, the Bourgeois OM are slightly smaller than a Dreadnought, reminiscent of a 00 parlor-style guitar, and have an unparalleled combination of balance, presence,
The DB Signature Dreadnought also features a stunning figured Koa binding, bone slotted diamond fretboard inlays and truly unique gold tuners with Snakewood buttons. With a thunderous bottom end, a complex, vocal midrange and glassy shimmering highs, it's everything you want in a dreadnought but elevated to the nth degree. No expense spared, no shortcuts, just pure magic.
Both of these guitars are fine examples of what make Bourgeois instruments so special. The unique construction, the unmatched projection, the attention to detail and the sheer natural beauty of premium materials. The radiance of these guitars is plain to see, but there’s nothing I can write here that will fully encapsulate how incredible they truly sound. You’ll just have to go find out for yourself.
Bourgeois guitars are a premium instrument, straddling boutique quality with the experience of decades of guitar building, playing and refining. A Bourgeois is haute couture for the guitar world.
The goal here is to make the best brand new acoustic guitars in the world, capturing the essence of vintage pieces inaccessible to even the wealthy and perhaps even improving upon them with precise engineering and sought after materials. In the high-end, boutique world of luxury guitars, Bourgeois Guitars stand tall as instruments that earn their price tag. So if you're in the market for a truly divine hand-crafted acoustic guitar, one that will never let you down and will never stop inspiring you, you don't have to sell your house to buy one built in the 1930s. Bourgeois Guitars are contain everything we’ve learnt from centuries of guitar making, combining the best of a vintage instrument with modern build quality.
WORDS
BY
LEWIS NOKE EDWARDS
Michael Harron is a name recognised by guitar and bass players Australia wide.
Having slowly built a following in the metal and hardcore scenes for repairing, setting up and servicing extended range, low-tuned and metalfocused guitars, Harron’s name has transcended genre, now servicing guitars for the people that originally scoffed at metal’s aversion to leaving a guitar in E Standard.
Expanding even further, Harron is about to embark on a tour of guitar service and repair Masterclasses throughout the country, beginning in April and moving throughout the country through May and June.
“When I started repairing guitars, I just noticed there was nobody else who was doing guitars for the metal scene.” he begins. “And so I think because I was quite young and doing guitars for bands like Void of Vision, and those sorts of guys who were in the same age demographic, the focus has been Harron Custom Guitars and heavy metal in Australia.”
Harron goes on to acknowledge that metal has a bit more of a “cult-ish” following, and that HCG slotted right into that world.
“When customers started to come to me, fifteen years ago when I started this, I had no idea what I was doing, so I’d just say yes to anything.” Michael says with a laugh. “So guys were coming in and saying ‘I want this tuned to Drop G or Drop F.’ and I listen to Lamb of God, so I’d never heard of these tunings.” he laughs.
“I would just attempt it all, and I guess word spread and I got some traction that way, and I became the metal guy, really. It wasn’t until 10 or 12 years that it was the rock players that started to take me seriously, so now I do all sorts of stuff.”
“People would come to me and say they were getting laughed out of guitar shops, it was always the older repairers saying ‘Why don’t you just play bass?’ and all those sorts of typical one-liners that metal players hear.”
The conversation here naturally arrives at the present day, with Harron hosting the HCG
Masterclasses that he mentioned earlier, and I have to ask: surely it’s in his interest for less people to know how to fix their own guitars — so why educate people?
“When I started to learn how to do this, I started working on my own guitars when I was 14. I’d taken my guitar to a shop and they did a bunch of work I didn’t ask for, and I remember coming back to a bill that was $3-350.” he explains.
From here, Harron never let anyone else work on his guitars, so he learned it himself. He’s always been someone curious about the inner workings of things, so the wormhole of fixing and servicing guitars was a natural inclination.
“So I wanted to teach other people, because you should know how to service your own car, or change your own tire. Whether or not you do is completely up to you.” he says, before turning it back to guitars.
“Having an understanding of those things, especially to know ‘What’s potentially wrong with my guitar?’, we teach a lot of people those things so they can problem solve and troubleshoot. But I've found I don’t lose any business from it, all it’s done is establish this rapport and sense of trust between the customer and myself.”
“I’ve always said: if I’m holding the candle, I don’t lose anything from allowing others to ignite theirs from mine."
The masterclasses themselves don’t require any prior experience, Harron having had kids as young as 13 attend and have zero issues performing the tasks within the class. The classes break down guitar repair into theory-based components, and each step involves learning and revisions to ensure it sticks!
Harron has been expanding the classes Australia-wide, doing a tour this year beginning on April 2nd in Melbourne, before hitting Brisbane, Sydney and the rest of the country. The masterclasses are split into three main categories: Set-Up, a seven-eight hour day,
Electronics being a full day as well, and the Refretting & Nut Making being the most intensive for two full eight hour days.
Speaking to the Refretting & Nut Making class, Harron explains that it takes you through re-radiusing your fingerboard, filing string slots, hammering frets, bevelling the frets, making a nut start to finish and more.
“That’s my favourite class to teach, ‘cause fretwork is my favourite job to do.”
“The classes also just help with people’s expectations when they pick up an instrument. A lot of people will hear any little buzz and rattle, and then the red flag in their mind is ‘Oh, it’s fret buzz. The guitar is doing this, it shouldn’t be making this noise.’” he explains, clarifying the difference between audible, problematic fret buzz and string noise.
“So people aren’t left not knowing and freaking out about their guitar making a noise that’s actually quite normal.”
“The number one thing we get is ‘Low action, no buzz.” Michael says with a laugh.
"Our favourite part about being guitar repairers is educating our customers on why strings might buzz or why their guitar wasn't feeling the way it should. We feel incredibly grateful for the opportunity to help educate hobbyists, professional techs and aspiring guitar repairers on a much larger scale around the country."
HARRON TOUR DATES:
April 3-6 - Nunawading, Melbourne
April 10-13 - Paddington, Brisbane
April 24-27 - Gladesville, Sydney
May 1-4 - Elermore Vale, Newcastle
May 15-18 - Lower Mitcham, Adelaide
June 12-15 - West Leederville, Perth
June 19-22 - Oaks Estate, Canberra
June 26-29 - Fern Tree, Hobart
For info, tour dates and more, scan the QR code.
WORDS BY JAMIE COLIC
Ernie Ball Music Man guitars and basses have encapsulated the essence of toptier craftsmanship, features and tone for nearly five decades now.
Keeping operations based in sunny California for the entirety of the company's existence, Music Man finds its roots in Fender alumni who left after the CBS buyout of 1965.
With an illustrious artist roster including the likes of St. Vincent, Steve Lukather and John Petrucci among many others, Music Man has been backing up the pros since day one. However, the American heavyweights aren't the type to leave the beginner to intermediate-level markets out in the cold.
Introduced back in 2008, the Sterling line of guitars and basses were the result of Music Man's endeavour to licence a quality import line that would put their cutting-edge designs into the hands of a new demographic of players.
2025 sees a new chapter in the Sterling lineage, with Music Man issuing their new Intro Series. The Intro Series is a direct effort to give new players the best possible start, bringing workhorse Music Man designs to another generation.
Cutlass CT20HSS
Making its initial debut way back in 1977, the original Cutlass was one of Music Mans's
earlier designs. It garnered a cult following before eventually receiving a redesign in 2015, which illuminated its presence amongst a new demographic of players worldwide.
The Sterling Intro Series Cutlass encapsulates all the charm and functionality that makes its bigger brother such a popular choice amongst working musicians worldwide. The sleek contoured body of the Cutlass will be familiar to most players, offering unparalleled comfort regardless of whether the player is seated or standing. Not to mention that selecting Poplar to be the tonewood for this model also grants it a classic Californian tonality, all coming in at a weight that isn't going to be a discomfort to new players.
Sterling has opted to include a fulcrum tremolo on this model, giving new players a chance to experiment with a tremolo bar that isn't going to compromise tuning stability in the process, preventing future headaches for both the player and the tech at the local guitar shop. Additionally, the hardware package is rounded out with a set of quality die-cast tuners that will enforce the instrument's tuning stability. The Cutlass also features a dual action truss rod
with handy heel access, and 22 narrow frets.
The Cutlass boasts a classic 25.5” scale neck with a 12” radius. This combination is a perfect middle ground for budding players to experiment with whatever styles of playing they choose whilst finding their own unique voice.
Neck construction consists of a Hard Rock Maple neck with a choice of either a Hard Maple or Amaranth fretboard, a beautiful wood also known as Purple Heart. This is a neck that will hold up to even the most heavy-handed of players, ensuring that your Sterling Intro Series guitar will remain a musical companion for many years to come.
Sterling by Music Man round out the Cutlass CT20HSS with a very versatile HSS pickup configuration with a 5-way switch and single tone and volume control. Once again, this electronics setup provides the perfect testing ground for players to explore a multitude of sonic possibilities.
With a production run spanning decades and legions of professionals vouching for its reliability and signature tone, the StingRay is a cornerstone of modern bass designs. Introduction of the new Sterling Intro series RAY2 gives anyone the opportunity to experience the magic of a StingRay. Regardless of what their budget may be, Ernie Ball Music Man want to welcome all players to the family.
The StingRay’s Poplar body provides plenty of punch and durability, coming in a variety of vintage-inspired finishes including Misty Green, Electric Blue, Black, and Sunrise Orange. This bass is sure to be an eye-catcher no matter where you may be playing it.
A standard 34-inch scale length with narrow nut is the perfect stepping stone for any budding bassist. With a traditional 9.5-inch fretboard radius providing a classic and familiar playing experience across the entirety of the neck.
Just like the Cutlass, the StingRay features a rock-solid Hard Maple Neck with the same Maple and Amaranth “Purple Heart” options for the fretboard material. The dual action truss rod with heel adjustment ensures that the neck on the RAY2 will remain stable no matter what conditions the instrument endures.
As for hardware, Sterling By Music Man has opted to include high-quality open-gear tuners and a hardtail bridge assembly. Promoting tuning stability regardless of how the user chooses to set up the instrument. The electronics package is rounded out with a punchy H-1 Ceramic Humbucker and single volume and tone control.
In true Music Man fashion, the Sterling By Music Man Intro Series leads the pack into 2025 when it comes to quality guitars and basses that come in at a price that won't break the bank.
Introducing the SM4 Condenser Microphone.
ceramic speaker from Celestion—which has a sensitivity of 97dB , that’s 11dB of attenuation. In layman's terms, this is about half the maximum perceived volume from the Peacekeeper, although when comparing the frequency responses, they’re very close across the spectrum with a slightly smoother top end on the Peacekeeper.
But how does Celestion manage to maintain tonal integrity while taming volume? The answer lies in its innovative dual voice coil design.
WORDS
BY SAM MCNIECE
Trying to achieve the perfect tone from a guitar amp can be a headache.
Finding the optimal combination of drive from various pedals on your pedalboard to tuning the gain on your vintage Plexi, only to turn around and realize that your band is looking at you covering their ears because this perfect tone is also blisteringly loud to everyone except you. But what can you do? If you change the loudness of your amp, the tone will be ruined and if you don’t you might not have a band to play with next week.
Enter Celestion‘s interesting new offering Peacekeeper, an attenuating speaker that can tame the “sweet spot” in loudness while leaving the tone and dynamics as is.
For those uninformed about who Celestion are, they are a loudspeaker manufacturer hailing from the UK who have been in the speaker business for over 100 years. In their history, Celestion has been responsible for crafting speakers for popular amplifiers, including the legendary Vox AC30 and Marshall 4x12 cabs with their “Alnico Blue” and “Greenback” models specifically. Due to their adoption by Marshall and other British amp manufacturers, they dominated the sound of rock and roll in the 70s and continue to be an industry staple today.
With such a rich legacy in shaping the sound of rock and roll, Celestion’s innovation has always been rooted in refining and enhancing amplifier performance. The Peacekeeper follows in this tradition, taking Celestion’s expertise in speaker design and applying it to a modern problem— controlling volume without compromising tone. By leveraging their decades of experience in speaker technology, Celestion has managed to offer a solution that respects the tonal purity guitarists seek while introducing a practical, volume-friendly application.
Breaking down the technical data, the Peacekeeper is a 12” ceramic magnet speaker with a rated impedance of 8 ohms and a sensitivity of 86dB. Compared to the 12” version of their Creamback speaker—a popular
Dual voice coil speaker design is a technique typically used in subwoofers that allows the speaker to have two separate coil windings around the same core, providing more flexibility in how it handles power and sensitivity. In the case of the Peacekeeper, it seems this design works to dissipate energy more efficiently, effectively reducing overall loudness while maintaining the amp’s natural frequency response. This means guitarists can drive their amps into the sweet spot of tube saturation without the excessive volume that usually comes with it, making it an elegant solution for both live and studio applications.
K E R
In essence, the Peacekeeper is like an installable pad for your amplifier that doesn’t change the gain staging you’ve worked meticulously for. Due to its standardized size of 12” with a power rating of 50W, it can be swapped into a large variety of amps, making it extremely compatible and relatively easy to swap out in a pinch. Celestion even boasts that the speaker will add ‘zero additional coloration or tonal compromise,’ which is an impressive accomplishment, and the data sheet reflects this claim.
This speaker will be a boon for guitar tone purists and live sound engineers alike, enabling you to make your amplifier sing the way you want it to while reducing the stage sound. This could result in a better overall front-of-house mix for the audience, giving sound engineers greater control over the balance without the guitarist needing to sacrifice their ideal amp sound.
The Peacekeeper also provides a solution for the guitarist who doesn’t enjoy playing through an amp modeler or a headphone amp but wants to shred uninterrupted by annoyed housemates and neighbors. Bedroom players who crave the feel of a real amp but struggle with volume constraints will find this to be a game-changer.
I can also see this speaker being useful in the recording studio to inhibit bleed from the guitar amp into other mics while recording a full band live. Less amp volume bleeding into drum overheads or vocal mics means greater clarity in the mix, making it an invaluable tool for engineers striving for clean, professional recordings.
The Peacekeeper allows for a lot more flexibility and versatility in a guitar player’s arsenal. The max sensitivity of 86dB will still be relatively loud when pure decibels are the only thing you’re after but will also allow you to keep the peace with your bandmates by not deafening them. This balance between maintaining the natural amp tone while reducing overall volume could make it a go-to solution for gigging musicians, home players, and studio professionals alike.
With the Peacekeeper, Celestion continues to prove why they remain at the forefront of speaker innovation. By addressing the challenge of volume control in guitar amps without sacrificing tone, they’ve delivered a product that blends their tonal tradition with modern practicality. Whether on stage, in the studio, or at home, this speaker offers a much-needed solution for guitarists who refuse to compromise on sound. If your goal is a balanced mix with bandmates and good relationships with neighbors, all the while preserving your carefully crafted tone, then Celestion has just provided the perfect solution.
Introducing the Fender® Standard Series starting at $999.
WORDS BY ROB GEE
The name Shure is synonymous with quality microphones. It’s hard to imagine any musician getting onto a stage having not used a Shure microphone at some point in their career.
In fact, most musicians have probably all used more beat up SM58s than they care to think about over the years, with that stage staple being one of Shure’s greatest legacies in the music arena. But it goes far beyond that, with more than 50,000 products developed over the years, the Shure company has certainly been a key player in more audio stories than we’re ever likely to hear. So, as Shure celebrates their 100th year, it is fitting that we look back at the history of the company and some of the standout products that have set the name in stone in the audio world.
It all began back in 1925, in Chicago, when Sidney N. Shure started the Shure Radio Co selling kits for those who wanted to build their own radios. Joined by his brother in 1928, and it was only a few more years before they released their first microphone, the Model 33N. This was touted as the result of years of research and development with their in-house engineers. With a further two years, Shure offered another six microphone models, as well as a ’build your own’ microphone kit, a little salute to the company’s humble beginnings. However, the Shure Brothers had only just begun. Little could they know that this was the start of a truly incredible journey.
It's hard to go through the history of Shure without stopping in 1939 when the Unidyne Model 55 was released. This was the world’s
first unidirectional, single element moving coil microphone, and one that featured such an iconic design, it’s instantly recognizable from the back of any theatre. This soon became the microphone that was seen in front of singers on stages the world over, and to this day still has a place in Shure’s modern microphone range.
With the advent of World War II, the Shure company stepped up to meet the demand of the US military, supplying microphones for all manner of uses. This pushed the boundaries of quality with what Shure was able to offer as military specifications were of the highest standards. The microphones supplied had to be capable of operating in the worst of conditions without the fear of them failing. So, the quality of Shure products was pushed to a new level to meet these specifications.
After the war, Shure expanded their catalogue to offering world-class phonographic cartridges. They amazed the audio world in 1937, when Shure developed the first phonograph cartridge. The M3D cartridge soon became the most popular cartridge in the world, and paved the way for Shure to be a key player in the DJ revolution many decades later.
It was in the 1960s that Shure delivered what can truly be claimed as the most iconic pair of microphones in the history of audio production. The SM57 was developed with the capsule of their earlier Unidyne III microphone, with the SM58 following soon after as a handheld vocal microphone. It goes without saying that the SM58 was a true breakthrough, allowing performers to achieve a clear sound, without excessive stage or
handling noise, as well as with extreme build quality designed for the rigours of live music. It’s almost as if Shure knew the 80s was coming, and prepared early with a microphone that could handle the abuse that was soon to come. They were even prepared for the 90s! And with that, the SM58 remains the most popular vocal microphone around the world.
In the 70s, among other products, Shure delivered the SM7. Yet another addition to the list of iconic microphone designs that Shure have given us. This capsule found fame in the broadcast world, offering a smooth, and controlled vocal capture unlike any other microphone in its class, and paved the way for a series of microphones to follow that would become stalwarts in the broadcast, and later podcast, industries. It’s hard to find a YouTube podcast these days that doesn’t have a Shure SM7 variant used on it.
The late 80s and early 90s saw the introduction of the Beta 57 and Beta 58 microphones, which have over the years become the preferred choice for many live musicians with their super cardioid polar pattern and higher output, which offers an even more precise sound with less stage noise. This era also launched Shure into the world of conference and meeting systems, where they developed products that would become standard fixtures in the business world.
However, the biggest advancements on the 90s was probably Shure’s work into the field of wireless microphones. Having delivered the first wireless system way back in the 50s, now Shure took the lead in a whole new realm of microphone development. The L-Series was the breakthrough range of wireless microphones that became a standard in touring rigs across the globe. However, it was in 1997 that they really got people listening, when Shure released the PSM600 In Ear Monitoring system. This took live performances to a whole new level with a wireless monitoring option that truly offered musicians a full dynamic range in its audio reproduction.
product line-up. Recent years have seen great developments into wireless networking as well, with Shure offering a solution for any and all AV situations. Their IntelliMix Room software, and newly released ShureCloud give unlimited potential to AV systems and leave us wondering, where will Shure take us next?
What makes Shure so special is that despite the constantly forward-thinking and advancing products, the innovations they
made in the 60s and 70s continue to be used today, as surely their technological advances made today will be used far into the future, no matter how the market looks.
From there, Shure has consistently delivered improvements in products in the wireless realm that set them apart from any other brand in the market. Greater channel counts, wider range, bigger systems for touring, and more compact systems for individuals, there’s very little Shure haven’t proffered in their
It's been an incredible journey from the humble beginnings in radio kits to where Shure is today. Proudly distributed by Jands, you can now find Shure products in AV installations all over the country, you can access them from any AV hire or production company, and you can purchase them in just about any AV retailer or musical instrument store. From simple USB microphone for podcasting, right up to a completely integrated AV network for an international conference or festival, Shure has Australians covered in their audio needs. Be sure, pun possibly intended, to keep an eye on the Shure website, or check in with your local store, to see what they have coming up over the course of the year, as Shure celebrates an incredible milestone in audio excellence.
WORDS BY LEWIS NOKE EDWARDS
There’s a piece of advice I received pretty early on in my audio career, my young and starry-eyed self enamoured with tube compressors, high-end monitors and mixing consoles, dreams of my own studio, perfectly tuned and aesthetically pleasing. The advice was this: buy yourself the necessary tools slowly, so that you don’t need to invest huge amounts of money when you do open that dream studio.
The necessary tools are things like microphone cables, adapters and music stands. A handful of quality mic cables a year as you progress will have you well stocked after ten years in the game, as will a music stand here and there. No matter how many music stands you have, you’ll often find yourself needing one more, and their use over the years will call for quality stands. Low-quality, wobbly mic stands are a nightmare, wearing out from session to session, and drooping as clients try their best to remain focused and performing their hearts out. Hercules stands, as a prime example, are a high quality stand that’ll find use day after day, session after session and year after year. A handful of guitar stands around the studio or the home can solve a lot of problems too. This applies to students and schools as well, with the year anew and the year ahead requiring some quality stands!
For the musicians reading, investing in your own quality stuff will have you safely stowing instruments and sheet music at sessions. You’d hate for your beloved instrument to be at the behest of an old, crappy stand supplied by a studio or school!
The Hercules BS030BB Fold up Light Music
Stand is a great example, arriving safely in a bag to carry it with you, and featuring a totally fold-up design that also has two page retainers to keep your sheet music secure and opened onto the correct page. The strong, tripod design can support up to 2.5kg, the sturdy tube design being robust at either 60cm or at the full extension of 120cm.
The BS100B Music Stand features Hercules’ EZ Glide technology. The Clutchless Grip allows the stand to be adjusted and securely easily—a feat you’ll find yourself doing more than you realise, either as a musician or studio engineer! The BS100B extends from 69cm to 124cm, the EZ Angle Roller also allowing the main desk (rated for 1.45kg) to be adjusted and secured. The EZ Glide Clutchless Grip itself is adjustable as well, and the BS100B’s desk features extra wide arms to support multiple pages if need be.
Moving up the range in terms of stability, the BS200BPLUS is a professional grade music stand, intended for use within orchestras, though available to everyone! EZ Height Adjustment Grip allows for one handed adjustment, very important when holding an orchestral instrument or a handful of microphones during a session.
The BS200BPLUS is also designed to be stackable for space saving in studios or rehearsal halls, and can be stowed away easily with the Hercules BSC800 rolling cart.
Sheet music aside, guitar stands are an ever present tool in our lives, used to show off our precious instruments in the home, studio or on stage! For the latter, well-built and road-ready stands are a necessity, the Hercules GS414BPLUS filling this brief to a tee.
The GS414BPLUS is a robust stand that features Hercules Auto Grip Technology, using the weight of your guitar to close little flippers around the neck of the guitar, securing it in place. The GS414BPLUS features Specially Formulated Foam (SFF) at all contact points to secure your instrument, as well as having N.I.N.A. (Narrow Instrument Neck Adjustment, HA301) attached to secure instruments like mandolin or banjo, with narrower necks than a traditional guitar. The standard fitting will accommodate neck sizes of 40 mm – 52 mm (1.57”-2.05”).
All of this is to say that at some point in your career, if not now, music stands are going to be a hot commodity, and even hotter commodity if you choose to buy cheap and nasty. So start with some of the best, one at a time, and when that orchestral recording comes knocking on the doors of your studio, you’ll be ready.
For musicians and students, a few stands of your own can save you the headache of a shoddy stand, either for practice at home or performance in professional environments. Instrument stands like the GS414BPLUS are some of the best in the biz, providing a robust yet lightweight solution to storing your instrument, with a few bells and whistles to protect and secure it safely! Beyond the handful of products discussed here, Hercules has a range of stands and accessories for just about everything, so don’t feel you’ll be left out!
Featuring a few helpful additions based on the needs of their end users, Hercules music stands serve everything that a traditional stand can, with a few features to make adjustment both easier and more secure. Well-built, robust, portable and designed-to-last, we could all do a few more Hercules products around the house, studio and school.
WORDS BY JAMIE COLIC
The introduction of Truetone's 1 SPOT power supply some years back has cemented the company as an industry giant.
Brought to our shores by EGM Distribution, Truetone shocked the world by introducing the first power supplies with switching power supply technology. Since then, players all over the world were quick to flock to the 1 SPOT’s simple wall adapter and daisy chain design.
The fact that the original 1 SPOT has always remained an affordable unit did nothing to hurt its sales either. Serving as a stepping stone for players all over the world, as they dive into the world of powering their first pedal boards.
As the name suggested the original 1 SPOT, which is still in production, could power multiple pedals from a single power outlet, eliminating the need for multiple adapters or 9V batteries.
Since then, Truetone has vastly expanded the 1 SPOT range to include 1 SPOT Pro, a range of isolated power supplies geared towards professional players and hobbyists alike. Isolated power supplies possess multiple benefits over the aforementioned wall adapter design.
Most notable is the complete absence of noise from the pedal chain, this is an issue that can sometimes affect cheaper power supplies in numerous scenarios, for example when the electrical wiring in a home or venue is less than ideal, resulting in unwanted ground loops.
2025 sees Truetone expanding on the 1 SPOT Pro range with a plethora of models across the board. This includes the CS11, Truetone's most powerful unit yet (yes it goes to 11!) and the innovative XP series of expansion units.
No matter what your power needs may be, Truetone has you covered!
simply connecting a DC cable to its rear output.
This makes the XP8-PS an ideal solution for any players looking to add extra outputs to their existing 1 SPOT power supply.
The XP8-PS features 8 9VDC outputs providing clean noise-free power, with each output possessing the ability to handle at least 500mA of current draw.
Coming in at a mere 459 grams, the XP8PS can be easily mounted to the bottom of a pedalboard with velcro, or even used on top as an effective pedal riser. This flexibility makes the XP8-PS a must buy for anyone looking for an ideal power solution for their pedalboard in 2025.
A reimagining of the classic CS12 unit but not replacing it, the CS11 retains the same size and form factor of the original CS12.
Where the CS11 differs is that it has a number of extra outputs and user options including the ability to provide more power along with extra 9v outputs. This gives the user the option of extra flexibility when needed without compromising on any of the features that made the CS12 so successful.
Subsequently, the CS11 also features an output on the back that makes it extremely easy to mate with Truetone’s new expansion boxes like the XP5 and XP8, covered below. The CS11 also comes with a handy bracket for mounting on the bottom of any Pedaltrain pedalboard, as well as all required cables and converter plugs, meaning that this unit will work into your current rig seamlessly!
The XP8-PS works as an 8-output expansion for CS11 units. However, it is worth mentioning that the XP8-PS can also be used as a standalone power supply by using the included adapter.
If this functionality wasn't enough, the XP8PS can be used with a second XP8 or XP5 by
The smallest of the XP series, the 1 SPOT Pro XP5 is a tiny powerhouse which gives you the ability to add five isolated outputs to any CS11 unit.
Much like the XP8, the XP5 provides 9VDC of clean power from each output, being able to handle at least 500mA of current draw from each.
The smaller form of the XP5 makes it extremely light and easy to mount in even the tightest of pedal boards, coming in at 88 x 88 x 30mm and weighing only 333 grams.
The unit can easily be mounted on top of or below any Pedaltrain pedalboard, making for an extremely tidy and efficient stage or practice rig.
With two linked input jacks, you also have the option of powering a second XP5 or XP8 unit.
This inter-connectivity makes the XP line extremely adaptable, no matter what your needs are you will find a use for an XP unit in your current setup. With 1 SPOT the possibilities are endless!
Last but not least, the C2.5 is the solution for players who need to convert
a 5.5 x 2.1mm barrel jack to 5.5 x 2.5 mm.
This will especially appeal to Line 6 HX and POD Go users, offering clean studio quality power without the headaches associated with other adapters or converters.
Truetone’s range of power supplies, their constant expansion and adaptability to the market shows their commitment to the player, to powering pedals and feeding every stompbox exactly what it needs cleanly, safely and efficiently.
a 7.1.4 surround sound Atmos setup, as well as conventional stereo speaker setups for mixing, monitoring or even casual listening.
All models feature Apogee’s Symphony Studio Channel Strip, an input DSP plug-in that allows producers or engineers to experiment with real-time EQs, compression and drive effects with nearly no latency. Looking to juice up that DI bass tone? Simply engage the Studio Channel Strip, and you’ll be honking away in no time. It’s a truly useful feature that will really appeal to producers who like to work on the fly.
Apogee have also included digital signal processing (DSP) in the output stage, which is particularly helpful for those operating complex speaker setups that require tuning, delay and further adjustment. By letting you tweak overall room EQ, speaker delay and bass management functionality, users can tune their rooms for clearer and more accurate monitoring, delivering cleaner mixes overall.
The Symphony Studio range is obviously geared towards those working in high grade audio production and engineering, and this is made further apparent by Apogee’s emphasis on streamlining studio workflows. Monitor Workflows form a massive part of this promise, allowing users to switch between stereo, surround and immersive speaker setups at the press of a button. Users can create and save different workflows for different projects, and instantly recall them to suit what they’re working on.
WORDS BY WILL BREWSTER
Packing no less than 40 years of design and innovation under the belt, Apogee Electronics are an immovable force within the digital audio sector.
The US-based producers were critical in advancing digital audio recording technology in the 1980s and were one of the first companies to bring home recording to the masses by tailoring audio interface products to iOS in the 2010s.
With this history in mind, it should come as no surprise that Apogee’s reputation as a trailblazer of digital audio recording is only further advanced by its latest run of Symphony Studio audio interfaces. These newly released interfaces provide punters the chance to get their mitts on Apogee’s legendary audio conversion and build quality at an incredibly accessible price point, while also giving prospective users the chance to dip their toes into mixing for immersive audio.
Available in three different configurations, 8x16, 8x8 and 2x12, the Symphony Studio range offers something for every type of audio professional. The series utilises the same AD/ DA convertors found in Apogee’s acclaimed Symphony MkII interface, guaranteeing incredible dynamic range and accurate sonics in any recording or mixing environment.
Each interface in the range can deliver up to 24-bit/192 kHz recording with an immense 75dB of microphone preamp gain, while Apogee’s PureDIGITAL conversion facilitates that transparent quality that the brand has become
famous for. Whether you’re recording DI bass or guitars, or you’re plugging in a vintage tube condenser to record vocals or overheads on a drum, this means your recordings will sound crystal clear and faithful to their original source.
Geared towards being used by audio engineers and music producers operating in a pro studio, the Symphony Studio 8x16 is a comprehensive option that provides eight mic/ line inputs and 16 analogue outputs via D-SUB. Two independent headphone outputs – one ¼”, one 3.5mm – allow for greater flexibility for those who like to work with cans, while also delivering powerful immersive audio and capable of handling a 9.1.6 surround sound Atmos system.
The Symphony Studio 8x8, on the other hand, is best suited for studio producers and artists looking to take their mixes to the next level. It packs eight mic/line inputs with switchable phantom power, plus eight outputs via D-SUB and class compliant USB-C connectivity to streamline plug-and-play compatibility for Mac and Windows users. 8 outputs allows for a system up to 7.1.
Rounding out the Symphony Studio range, the 2x12 mainly caters for mix and mastering engineers, with less mic/line inputs and much more emphasis on the outputs. This one is geared for users who might wish to work in
There’s also the option of an Apogee Control to go with your Symphony Studio interface, which functions as a multi-purpose interface and monitor controller. Whether you’re just looking to crank the volume, set up a talkback mic or even recall presets you were working on, eight assignable buttons let you tweak things to suit your own preference, while its sleek, compact package will look a treat on your desk.
For those who are looking to dabble with Dolby Atmos or immersive audio mixing, the Apogee Symphony Studio range provides a perfect starting point to leap off into the deep end, while also future proofing yourself for advances of the technology—or your career! The 8x16 is ideally geared up for larger spaces – ideally commercial Atmos studios with an array of speakers – while the 2x16 is better suited for smaller rooms that can only facilitate a 7.1.4 setup.
In a nutshell, there’s certainly no shortage of value in the Symphony Studio range. Apogee has pulled all the stops with this audio interface series, packing incredible audio conversion into a trio of sleek, relatively affordable interfaces to suit all types of engineer or artist. Whether you’re producing music for local indie rock acts or you’re getting deep into the immersive mixing process for a commercial project, you’ll be well set up to deliver your best work with an Apogee Symphony Studio interface at the heart of it all.
Brand: Ernie Ball Music Man
Product: Intro Series Cutlass CT20
Distributed by: CMC Music
RRP: $595
Reviewed by: Lewis Noke Edwards
Ernie Ball Music Man guitars hold a special place in guitar history; supremely high-quality, forward-thinking designs that retain elements of the best guitar designs, tied together with modern appointments to achieve both classic tones and fresh, contemporary ones. This extends right through to Ernie Ball Music Man’s Sterling range that tie all this together in a profoundly affordable range.
Newly added to the Sterling range is the Intro Series, currently featuring the RAY2 StingRay bass and Cutlass in the CT20. Two of Ernie Ball Music Man’s most popular models are now more streamlined and supremely accessible.
The Cutlass was initially released in the 70s, and is Ernie Ball Music Man’s dual-cutaway electric, filling a void in the market. Cutlass’ have been used by countless shredders throughout the company’s long history.
The CT20 is a poplar bodied electric guitar, featuring a HSS (humbucker, single, single) pickup configuration. The HSS allows you to access a whole range of more traditional tones in the single coils and 5-way switch, but the addition of the humbucker offers the heft and weight of an all out rock machine. Switching between pickups offers uniquely direct and phasey tones, designated for more classic tones. The poplar body offers an immediate and clear response, not as warm and wooly as some woods can be, and not distinctly thin either!
The neck is made from Hard Maple, and your different choice of colours have either Hard Maple or Amaranth (Purple Heart) fretboard. The classic Black finish we sat down with for this review had the Hard Maple fretboard, providing a snappier and more articulate response, whereas the Amaranth would yield a warmer tone, more like Rosewood. Other colours are a Sunrise Orange, with Amaranth, and Canvas White or Electric Blue with Hard Maple and Amaranth respectively.
Woods aside, the CT20 features ceramic humbuckers, providing enough heat for modern gain, with a subtle nod towards vintage style sounds in their warmth. The pickups are controlled by the aforementioned five-way switch and a master volume and master tone—streamlined! Rolling off a little tone warms the whole guitar up a bit, shifting the guitar’s sound overall, but retaining the character and identity of a Cutlass.
Express yourself with the Vintage Fulcrum Tremolo, Fulcrum tremolos allowing for both up and down motion to pitch notes up as well as down, pivoting off a central point. This is all held in tune by the die-cast tuners at the headstock, a 4 + 2 configuration as is standard for Ernie Ball’s unique aesthetic. 22 narrow frets litter the fretboard, and the 25.5” scale length will have you feeling right at home.
In the hands, the CT20 Cutlass is as comfy as any electric guitar can be, contoured curves sitting comfortable against the body. The double cutaway
design allows access right up the fretboard, and the narrow frets make for easy fretting and fast shredding if you’re that way inclined. The tone from the guitar is crisp, even when played directly into an amp or even DI box. There’s heft and weight with a clarity over all, low end without mud, and sparkle without harshness.
The neck feels great, the satin finish helping me to zip around, and the comfortable 12” radius feeling familiar yet refined; fretting is easy without this guitar feeling like a shred stick either. It’s a perfect balance.
The Fulcrum tremolo is a lot of fun, yielding the character or both divebombs and subtle tremolo depending on your preference. A little push and pull can add depth and modulation to droney, spacious playing, while those of us more attuned to wailing miles away from our fretted note will have fun diving and dumping the strings for mass effect.
The whole guitar sings, the well-made construction of it all married with great electronics and great tuning. Construction, intonation and resonance all add up to make or break a guitar, and let me tell ya—the CT20 is made!
The ceramic pickups take distortion really well, warming right up without losing the clarity or becoming overblown. Fast playing is articulate and palm muting offers a generous amount of ‘womp’ from the speaker of my amp.
The Intro Series CT20 takes everything that makes Ernie Ball Music Man as a company so special, and squeezes it into a package that’s shockingly affordable—and available now to players of all levels. Whether it’s your first guitar or your fifth, the CT20 would be a welcome addition, adding a new voice to your collection no matter what’s already sitting in your rack.
Combining great sound and comfortable playability with decades of refining their designs, the Intro Series Cutlass carries the Ernie Ball Music Man flag proudly, offering exactly what you need in a guitar and nothing you don’t.
Traditional design elements combined with great electronics, the Cutlass is a tried-and-true design from Ernie Ball, and the CT20 is no different. Following a long line of world-class guitars, the CT20 and RAY2 that make up the Intro Series are a home run.
Brand: Audio-Technica
Product: ATH-R50x open-back reference headphones
Distributed by: Audio-Technica
Australia
RRP: $399
Reviewed by: Paul
Blomfield
Audio-Technica has built its legacy on precision engineering, innovative design, and an unwavering commitment to delivering accessible, highquality audio solutions. For over 60 years, their products have set the gold standard in studios, on stages, and in professional settings worldwide— trusted by everyone from bedroom producers to the largest live events on the planet, including the Grammys and the Olympic Games.
I’m a long time fan of Audio-Technica. The AT-LP60XBT turntable in my lounge is one of my favourite pieces of audio equipment. Having relied on the iconic ATH-M50x headphones for half a decade while producing my own music, I was super eager to experience their latest innovation in professional reference headphones, the ATH-R50x.
When it comes to headphones, it’s important to understand the distinction between professional reference models and consumer-grade options. ‘Consumer’ or ‘coloured’ headphones feature a custom-tuned frequency response, usually with enhanced bass and treble. This creates a more immersive and engaging listening experience by exaggerating the most aurally pleasing parts of a track. These headphones are designed to add warmth and excitement to music, making them ideal for casual listening. Conversely, “reference” headphones—including the aforementioned ATHM50x and the new ATH-R50x—are engineered with a flat EQ response, delivering an accurate and uncoloured representation of the audio they’re reproducing. This natural frequency response captures the nuance and dynamics of the original audio with unbiased clarity, making reference headphones essential for critical listening tasks like mixing and mastering. That uncoloured output helps to ensure that a mix sounds good across various different playback systems, even in untreated environments outside of the studio. There’s nothing worse than mixing a face-melting guitar solo and then finding out the mix sounds like garbage through the speakers of your Prius or your mate’s Temu earbuds.
The Audio-Technica ATH-R50x headphones offer a spacious and accurate sound, making them a reliable choice for the full range of critical listening applications. With drivers engineered to delve into and accurately project the low-end depths of your mix while preserving the clarity of the upper mids, they deliver a true-to-source, dynamic audio experience and maintain a wellbalanced, professional sound profile.
The ATH-R50x headphones include a travel pouch, a 6.3mm (¼”) stereo adapter, and straight cable adapters for 3.0mm and 1.2mm connectors, making them superbly portable. They are equipped with chunky 45mm drivers, delivering a powerful and detailed sound reproduction that captures the full depth of your mix. With an impressive frequency response from 5 Hz to 40 kHz, they provide extended low-end depth and crisp high-frequency detail, ensuring no nuance is lost. The maximum input power of 1,600 mW allows them to handle high-output signals, making them suitable for professional studio environments where clarity at high volumes is crucial. Featuring a sensitivity of 93.3dB, the ATH-R50x will deliver a clean, distortion-free signal when properly powered through an audio interface. With an impedance of 50ohms, they will still sound great when plugged into your phone or laptop directly, striking a perfect balance between versatility and precision.
Out of the box, the most obvious change with the new ATH-R50x headphones is the open back, which makes them significantly more breathable than the ATH-M50x. They’re also lighter (210 grams versus the ATH-M50x’s 286 grams). This makes them an excellent choice for long mixing sessions where comfort is just as important as sound accuracy. Another benefit of the open back is the way you’re still aware of your environmental ambience, providing accurate sound, more akin to listening on studio monitors. While this took a little getting used to, hopping from the more isolated feel of the closed-backed ATH-M50x, in the end I found the experience of the ATH-R50x headphones more enjoyable overall due to their better ergonomic design and improved wearability. Listening through closed-backed/isolated headphones for too long can make me feel a little claustrophobic, but I could wear the ATH-R50x headphones for hours on end. There are two headpads, ensuring a good fit regardless of how far you’ve extended the headband. The velvet padded earcups are supremely comfortable and individually adjustable, independent of the headband, which is also light-weight and breathable; reminiscent of a modern athletic wristwatch strap in its design
The Audio-Technica ATH-R50x headphones build on a stellar offering and are a great option for mixing and mastering on the go. A controlled environment is paramount to consistent work, and the ATH-R50x provide that, with honest, balanced sound and supreme comfort above all. Their light weight, comfortable headband and world-class sound provide a reliable and consistent tool that you can trust, regardless of your level of experience or the musical environment you might be working in—whether it mixing, mastering, producing, songwriting or just enjoyment!
The ATH-R50x represent Audio-Technica’s continued dedication to providing audio professionals with high-quality reference solutions tailored to a variety of workflows. The ATH-R50x strikes a perfect balance between versatility and accuracy, making it a great choice for engineers and producers who need reliability both in and out of the studio. All the while, they cater to those in search of the ultimate in transparency, especially in controlled studio environments with proper amplification. If you’re in search of that true-tosource listening experience, and you’re serious about sound, look no further than these latest offerings from Audio-Technica. I know I’ll be upgrading the minute I can get my hands on my own pair!
For over 75 years, Fender has set the standard in the guitar manufacturing industry, quite literally shaping the sound of music as we know it today. In 2025 the brand is re-launching their Standard series of guitars, a stalwart core range that has been in hibernation for almost a decade. It’s about to become a lot easier to own a Fender without veering into Squier territory.
As luck would have it, I’m in the process of saving up for a new guitar, like any self-respecting buyer, Fender’s products are obviously at the top of my list. Because I am literally the target market, I jumped at the chance to acquaint myself with one of the newest most accessible instruments Fender has on offer, the 2025 Fender Standard Stratocaster.
I’m a big believer in purpose. My relationship with an instrument becomes more meaningful when I’m familiar with its origin story. I feel empowered to play with more intent when I understand the reason behind its form and function. As I unboxed the Fender Standard Stratocaster, the questions floating around in my head were “why didn’t I know the Standard series existed?” and “why are they bringing it back?”
I’d wager that most casual Fender admirers understand the purpose behind the Vintera, Player and American Professional and Ultra series’, but I personally was a little less familiar with the Standard series. Consulting with the omniscient interweb machine revealed a chunk of Fender history that was previously under the scope of my radar, probably because the previous equivalent—the Made in Mexico (MIM) Standard series—was taken off the shelves in 2018. At its core, the purpose of the Standard series was putting good quality
Brand: Fender
Product: Standard Stratocaster SSS
Distributed by: Fender Music Australia
RRP: $999
Reviewed by: Paul Blomfield
guitars within reach of aspiring players by manufacturing parts outside of the U.S. of A. This new generation of Fender Standard instruments, however, is made in Indonesia
So what else has Fender decided to update in the Standard series after seven years in hibernation? Most notably: the body is made with poplar wood; the Alnico pickups have been swapped out for hotter ceramic Fender Standard pickups; the bridge saddles are satin chrome and the finish is Gloss Polyurethane. In the neck department you’re still getting a 25.5” scale length; 9.5” radius “Modern C” shape with medium jumbo frets, although Fender has opted for a Micarta nut in the Standard over synthetic bone. This guitar also comes with 21 frets. The nut is just a fraction of a millimetre wider (42.86mm compared to 42.0mm on the Player series) and the truss rod adjustment is, helpfully, above the nut.
I was surprised to find the Fender Standard Cast tuning machine heads wrapped in plastic when I took the guitar out of its box; a nice little packaging detail that boosted my confidence in the brand’s values when it comes to shipping and customer care. The string action was set nice and low out of the box, which when combined with the higher output ceramic pick-ups was well suited for players like me who dabble around the heavier end of the spectrum of musical genres. The “Modern C”
neck is optimised for performance and the satin finish makes frictionless speed a breeze. The Standard Stratocaster is fitted with three single-coil pickups. The neck and middle pickups are fixed perpendicular to the neck and the bridge is slightly angled to capture more of the high end twang and sparkle from the treble strings (you know, that thing Stratocasters do). The classic Fender aesthetic is present and accounted for in the little details: the 3-ply white pickguard; the classic white control knobs with gold numbering; the white pickup toggle switch; and the angled chrome jack input in the front of the top of the body. A detail I really liked was the decision to pop a little tension spring inside the tremolo arm screw-hole. It’s the spring that’s holding the tension rather than the threads in the screw hole, so you’re not going to put any undue stress on those threads if you prefer your whammy bar to sit a little more snug. I also dig the floating bridge, and—perhaps controversially—the satin chrome saddles. To me, the satin saddles make the strings feel a little softer on the hand, which when combined with a buttery satin maple fretboard, gives the playing experience a really nice cushiony feeling, like playing a cloud.
So, how’s it sound? There’s a good amount of resonance in the body, and the 5-way toggle gives you plenty of tonal options when you plug in. The bridge pick-up effortlessly achieves the
aforementioned Fender Stratocaster ‘je ne sais quoi’ that players and listeners all over the world recognise: it shimmers and glistens like sunshine on pond water in the high-end, and when you dig in with your pick, it bites like a hound thanks to those ceramic pickups. The middle pickup adds some chunk and heft to those in-between toggle positions. The three knobs on the body control the master volume, neck pickup tone and bridge pickup tone respectively. Rolling back the tone pots has a noticeable hi-pass/ mid boost effect, which plays into some pretty cool lo-fi tonal options that start to feel almost synthy.
The most fun I had with this guitar was running it through a Bluesbreaker overdrive with some spring reverb, tone switch in bridge position and volume rolled back to 8. I also had a lot of fun just looking at it. The deep bronze-red Candy Cola colourway is a little flirty, a little luxurious and all nostalgia.
At this price point and above, the Fender Standard Stratocaster is an impeccable guitar. There’s enough history and enough quality craftsmanship here that you don’t need to own the biggest, baddest top-shelf instruments to scratch that Fender itch.
Go on. Drop into your local guitar shop and give it a crack. You know you want to.
Brand: Audio-Technica
Product: ATH-R70xa open-back reference headphones
Distributed by: Audio-Technica
Australia
RRP: $499
Reviewed by: Andy Lloyd-Russell
Establishing themselves as a mainstay of the modern studio, producers, engineers and mixers alike have become all too familiar with Audio Technica headphones. For one, the brand’s M series have come to dominate the studio landscape in more recent times with both veteran and newcomers adopting this well designed line, not to mention these becoming a go to monitoring reference for many a live engineer. Providing not only a well balanced and honest representation of program material, the M series offers supreme comfort and isolation - integral features of any studio headphone wanting to keep up with demands of lengthy studio sessions. Whilst this is all fantastic for those who require the features of a closed back headphone, what of the open back headphone? Sometimes overshadowed by its closed back sibling, open back reference headphones offer features more specific to mixing, mastering and post production engineers. Inherent by allowing sound to bleed in and out of the headphone, open backs present a more realistic soundstage and three dimensional perception of how we as human beings perceive sound
in an open acoustic environment. This in turn allows for not only greater accuracy of elements placed within the stereo field but far deeper detail of the “atmosphere” around these elements, a la reverb tails, delay lines, modulation flutter and harmonics, with all of these associated artifacts triggering our natural psychoacoustic cues.
In order to realistically represent these phenomena, a reference studio headphone requires an incredibly responsive and sensitive driver capable of producing full frequency bandwidth without distortion as well as a complementary physical frame, void of resonances and associated acoustic anomalies that can hinder overall performance and a users perception of playback material. A mouthful that is no small feat by any stretch!
Released back in 2015, the ATH-R70x were AudioTechnica’s first open back reference headphone, praised for their neutrality and detailed soundstage representation. They quickly became a mid-tier favorite for many audio professionals and audiophiles alike, with their lightweight design and “3D wing” headband making for a particularly comfortable wear.
As technology has developed over the past decade, as well as the needs of users continues to change it was only a matter of time before an updated model was announced, which brings me to the subject at hand, the ATH-R70xa.
Meticulously handcrafted in Japan with in-house components, the ATH-R70xa weigh in at a meager 199g— making this new model even lighter than its predecessor. A sleek modern design with a more traditional headband that sits snugly across the whole top of the head for a secure fit, they not only feel great but the combination of both XY adjustment of the cans allows for refined adjustments for all different head shapes and sizes. This overall design refinement makes for an incredibly comfortable and unobtrusive headphone.
The carbon composite resin of the new design helps improve the headphones structural rigidity which in turn provides a detailed transient response, each component works in harmony with the other producing a truly open-back listening experience void of resonances and anomalies.
Unboxing the ATH-R70xa’s was pretty stock standard, dare I say what you’d expect from unboxing headphones, with no fuff, filler or flash— though an indication of good things to come. On first impression the ATH-R70xa felt incredibly lightweight, easily the lightest pro audio headphones I’ve personally handled. The dual-sided 3.0m detachable locking cable felt like good quality cable with a sense of professional edge and style.
With some familiar reference material cued I was immediately struck by the focused center image, with a sense of depth and space around vocals which I hadn’t really noticed before. This air (not brightness) and atmosphere around brighter sound sources, left seemingly endless room for kick and bass elements which were well reproduced, not at all hyped, but rather tight and defined.
Paying closer attention to the stereo field I noticed a sense of
width and dimension that was both immersive and clear. I felt drawn in by this new found sense of space I hadn’t experienced with these reference tracks before, nor with other open back headphones.
Being Audio-Technica, I’d known these headphones would present a relatively flat and neutral response and indeed the ATH-R70xa did just that. They presented material honestly with the impressive frequency response of 5Hz - 40,000Hz being taken full advantage of. The bandwidth felt endless with no audible distortion, feeling just incredibly defined, deep and detailed.
I was incredibly impressed by this sense of “3D-ness” and how revealing they felt and sounded, exactly what one requires from a pair of reference headphones.
Often the most difficult frequency area to get right is the mid range and this felt wonderfully represented and if anything a little forward leaning but not at the expense of lows and highs. Playing some rough mixes I’d been working on, low mid issues were nicely illuminated as well as problematic harsh upper mids content. Enter “New Mix...” etc etc, wish I’d had these a week prior.
Throughout my testing I continually felt uninhibited by the ATH-R70xa in the sense that they were effortlessly working away in the background at incredible efficiency and no matter what volume I listened at, their frequency response felt consistent and the overall presentation remained so.
The ATH-R70xa truly come to life when used with a decent headphone amplifier taking full advantage of their 470-Ohm impedance rating. It seemed no matter how hard I pushed them they just kept on giving. A very exciting release from one of the most consistent and reliable names in pro audio.
The Fender Standard series is the ever-evolving heart of the legendary manufacturer’s catalogue. With just about each passing year there is an update to each of Fender’s core models, cutting away unnecessary features, adding new ones and keeping those that guitarists have loved for generations. Fender’s 2025 Standard Series is no exception, featuring an all new lineup of familiar favourites, expertly optimized for today’s market.
The 2025 Standard Stratocaster HSS is a shining example of Fender’s mastery of simplicity, their respect for their legacy and their commitment to making high quality instruments that working musicians can actually afford. From its nononsense classic Strat design to its high-output pickups and reasonable price tag, this is a versatile electric guitar that players of all experience levels can enjoy.
Introduced in the 1950s, the Stratocaster is still one of the most popular guitars in the world. Known for its comfortable, contoured double cutaway body and its distinctly vocal, midrange-heavy sound, the Strat is an incredibly powerful tool with a diverse range of applications. Normally equipped with three single coil pickups, in more recent times Fender has been producing HSS models like this one with a humbucker in the bridge, hot rodding the instrument’s sound for a wider range of uses.
Ditching the more traditional white pickguard, Fender went for a striking black on black look for this model, giving the instrument
Brand: Fender
Product: Standard Stratocaster HSS
Distributed by: Fender Music Australia
RRP: $999
Reviewed by: Christopher Hockey
a tasteful modern edge. Featuring black controls, chrome hardware and a stunning chocolate brown Indian Laurel fretboard, this HSS is a looker. As you would expect from a Stratocaster, this model is also extremely comfortable thanks to its “Modern C” shaped neck, finished in an ultra-smooth satin finish for a velvety feel.
As is typical of a modern Stratocaster, the Standard HSS features a 25.5” scale length for a bright and snappy tone, a 9.5” fingerboard radius for speedy modern playability and 21 medium jumbo frets. If, like me, you grew up playing Fenders, you'll feel right at home with this guitar and if it's your first, it's a super comfortable place to start. This guitar also features the classic Strat 2-Point Tremolo with Satin Chrome Steel Block Saddles for all your whammy bar needs, staying in tune nicely thanks to an excellent factory setup.
Standing of course for Humbucker, Single-Coil, Single-Coil, this HSS model diverts from the traditional Stratocaster design with its Fender Standard Humbucking bridge pickup, beefing up the guitar’s sound and expanding its sonic repertoire. Featuring ceramic magnets, these standard Fender pickups sound just as they should despite being an entry level set. Paired with a five way switch, there isn’t much these pickups can't do.
Ceramic pickups often get a bad rap for their association with more affordable guitars but have been favoured by many players from Carl Perkins to Kirk Hammett for their
bright, powerful tone. A generous amount of high end and compression as well as a particular suitability for distortion make ceramic pickups a viable option for many genres and in this guitar, they produce a classic Strat sound that doesn't disappoint.
In the neck position, the Standard HSS produces a smooth, warm tone that really sings. A pleasantly even frequency response and slightly rolled off highs makes this a great position for clean jazzy tones as well as smooth sustaining solos. With just enough high end to cut through, the neck pickup is dark but has enough attack to be a great option for chunky rhythm sounds or Clapton-esque ‘Woman Tone’ leads.
In the fourth position, neck and middle pickups combine to create that luscious, noise-cancelling out of phase sound that only a Strat can produce. Rich in overtones, this position is famous for its quacky, hollow sound that players have been having fun with for decades. This is a great sound for funky, percussive playing and for delicate, voice-like leads.
The middle pickup in this guitar provides a balanced, midrange heavy sound with both plenty of meat on its bones and a healthy amount of top end zing. This is a great position for riffing with the help of a bit of distortion thanks to its healthy midrange and rich overtones and sounds just as good clean. Check out Stevie Ray Vaughan’s “Pride and Joy” or Jimi Hendrix’s “Little Wing” for examples of the great Strat sound that the Standard Series HSS has in spades.
The second position is a little different in this guitar than a traditional Strat, combining the middle single coil with the more powerful humbucking bridge pickup results in a slightly different tone than the usual combo of two single coils. Imagine Knopfler’s “Sultans of Swing” tone with a bit more growl to it and you’re getting close. The slightly harsher sound of this position lends itself more to distorted tones than cleans, having a slightly nasal quality that would work well for cutting through a dense rock mix. In the bridge position, the HSS comes into its own with its supercharged humbucker. A beefier, higher output sound than a standard Strat bridge pickup, the humbucker allows this Strat to cover heavier, thicker tones. Perfect for overdriven, hard rock sounds, this position has plenty of high end bite and midrange presence and provides a convenient volume boost for solos as compared to its single coil counterparts. All in all, the 2025 Standard HSS Stratocaster is everything you want in an accessible level Strat, plus a bit more. The chic black-on-black aesthetic gives it a real element of modern class, the silky smooth neck is incredibly comfortable and the HSS configuration makes it incredibly versatile sonically. Whilst the HSS configuration deviates from the traditions of a Strat, it does provide a chance for newer players who are likely to only own one guitar to have a vast collection of sounds at their disposal.
Distributed by: Studio Connections
RRP: $199
Reviewed by: Christopher Hockey
Since bursting into the audio world in 2011, Warm Audio have impressed with their faithful recreations of classic analog recording gear. From microphones and preamps to equalizers, compressors and even guitar pedals, Warm Audio have successfully reinterpreted beloved vintage pieces inaccessible to the general public and made them available for all to enjoy.
Now, Warm Audio are turning their attention to the professional studio headphones market with their new HeadRoom closed-back headphones. Optimised for tracking, mixing, monitoring and critical listening, these cans are the perfect blend of sound and comfort at a very accessible price. Designed for musicians and sound engineers who demand both sonic transparency and a comfortable fit for long listening sessions, these headphones are customtuned for superior detail and midrange clarity.
Warm Audio, founded in Austin, Texas by Bryce Young, is built on the mission to create high end recording products that are equal to the renowned pieces of yesteryear, without the astronomical price tag. By taking a ‘no corners cut’ approach to using premium parts and committing to hand testing one hundred percent of their inventory, Warm Audio have succeeded in becoming industry leaders when it comes to quality assurance.
Applying those same principles to creating a fine pair of headphones, Warm Audio have once again succeeded in creating a high quality, affordable product with the HeadRoom closed-back Professional Studio Headphones. Providing the accuracy needed for professional monitoring is not a simple task, but the headphones pull it off in style. Featuring tremendous build quality, great sound isolation and a vibrant orange finish (also available in a more subdued black), they sound, feel and look fantastic.
Utilizing a classic closed-back design for optimal isolation, the HeadRoom headphones do a great job of getting rid of unwanted environmental noise, making them perfect for mixing and editing. Featuring 45mm neodymium drivers that provide an honest, detailed sound that is truly impressive, these cans have the transparency and clarity necessary for professional audio work. Just as importantly, they’re super comfortable thanks to ergonomic ear cups and a headband pad that ensures a great fit and uses top notch materials to minimise listening fatigue. Combined with a sturdy but very lightweight frame, these features add up to make an incredibly comfortable listening experience.
Arriving in a handsome custom molded case, these headphones come with detachable straight and coiled cables, extra earpads and a gold 3.5mm and 6.25mm TRS adapter that all fit snugly and conveniently together for easy transportation. With a sensitivity of 100±3dB, an impedance of 45Ω and a
frequency range of 10hz-30khz, the HeadRooms produce a full range, natural reference quality sound perfect for any pro audio task.
Featuring a very balanced timbre and an even response across the frequency spectrum, these headphones have an incredibly high resolution with transparent character. Low end frequencies have a healthy thump and clarity to them, the midrange is rich and complex and high frequencies come through crystal clear but never shrill. Vocals sound notably detailed and rich, kick drums and basses punch through as they should and everything sits accurately in the soundstage.
Particularly excelling in midrange complexity, these headphones are great for tracking as they do not have the distracting excess bottom end of some headphones. With studio headphones, the goal is to have as transparent and uncoloured a tone as possible so that the mixing process can be as accurate and uninfluenced by the headphones themselves as possible. Warm Audio definitely got that memo and have created a very effective monitoring tool with the HeadRoom headphones, which have a very natural sound.
The WA-HRs are beautifully designed, with this pair’s orange finish in particular giving them a nice bit of flair. Tan sound cups and a black headband complete the look, a nice blend of modern vibes and Warm Audio’s retro inspired aesthetic. The rugged construction of these headphones is evident upon inspection, clearly built to last. This claim is supported by Warm Audio’s standard 5 year warranty, a nice confidence booster for potential buyers. The addition of a spare pair of ear cups is also a generous touch, further extending the lifespan of this expertly crafted product.
Incredibly lightweight, the HeadRooms are very well fitted and comfortable, making those long days in the studio that much easier. There’s nothing worse than experiencing pressure and discomfort on your head whilst trying to concentrate on a mix, a hindrance to creativity that Warm Audio have done well to eliminate. Sitting snugly on your head, the HeadRoom’s headband provides a comfy fit whilst the earpads are generously plush, with cushioning that feels luxurious to the touch and cuts down on listening fatigue.
With Warm Audio swiftly becoming one of the most beloved brands amongst engineers and guitarists alike, it's great to see them expand their repertoire with this product. With their vibrant, retro aesthetic and their incredible prices, Warm Audio has immense potential to continue to grow and excel well into the future.
The WA-HRs are an incredibly comfortable and ergonomic product that really delivers on quality. They're very well priced for studio grade headphones, a perfect choice for those studying sound, starting their engineering journey or just working on their own music at home. Perfectly encapsulating Warm Audio’s fun, inviting branding in a simple, well thought out design, the HeadRooms not only sound great but look fantastic too.
With an uncoloured, crystal-clear sound that exceeds expectations, the quality of the HeadRoom Closed-Back Professional Studio Headphones are undoubtedly at a professional level.
From punchy lows to complex mids and shimmering highs, these headphones provide a truly honest and accurate representation of your work that will help make your process as smooth as possible.
Sound, comfort, design, affordability and longevity come together perfectly with the HeadRooms, a fine addition to Warm Audio’s already impressive catalogue. They’re stylish, well constructed, incredibly snug, they sound great and most importantly, these ones are orange. If that doesn't sell you I simply don't know what will!
Brand: Fender
Product: Acoustasonic Standard Telecaster
Distributed by: Fender Music Australia
RRP: $1099
Reviewed by: Paul Blomfield
The 2025 re-launch of the Fender Standard range of guitars sees the return of a dark horse. Love it or hate it, the Acoustasonic guitar crosses every boundary and smashes every rule you thought existed when it comes to “acoustic-electric” guitars. Ironically, the Acoustasonic is neither. It truly is its own thing, and it demands to be treated as such. So before you go jumping to any conclusions, I encourage you to take a step back, open your mind, and see with your ears. You might just come away pleasantly surprised.
I’ve been noodling away on an Acoustasonic Standard Telecaster for just over a week now. Every time I pick it up, it evokes a different mood in me. The resonance of the Sitka spruce topped, fully chambered body is so unique that you can achieve sounds that mimic parlour acoustic, banjo, ukelele, or even a gosh darn lute, depending on right hand playing style, pick attack, and even the position of your left hand on the fretboard. The instrument has such a rich response to playing dynamics and is so saturated with character that you could go a lifetime without plugging it in and continue discovering new voicings well into your twilight years.
Announced at NAMM 2025, the Fender Acoustasonic Standard Telecaster comes in Black, Honey Burst and a warm, inviting Aged Natural finish that made me yearn for a pine-swaddled campground to fill with dulcet strumming.
Things get really interesting when you delve into the electronics. There are two pickups in the Acoustasonic. The first and most obvious is the humbucking bridge pickup—designed by Fender legend Tim Shaw—that sits between the bridge and the soundhole. The purpose of this pickup is to produce tones that are consistent with what you’d get out of a fully electric guitar. The second pickup is invisible to the naked eye unless you know where to look. The guitar features a Fishman undersaddle pickup to handle the ‘Acousta’ part of the Acoustasonic. This brings the resonance of the body into play, by treating the entire instrument as a system that works with the pickups to produce the best possible sound.
While the American and Player series Acoustasonic guitars are fitted with tone switches, you won’t find one on the Acoustasonic Standard. Fender VP Billy Martinez has explained that the intention behind the lack of a tone switch was to present the Acoustasonic Standard as a more stage-ready or performance ready instrument. There are two knobs: master volume, and a blending tone pot. The tone pot allows you to blend the outputs from each respective pickup by controlling the volume of both at the same time. With the tone pot all the way up, the saddle pickup is at max output and the humbucker in the bridge is off. This is your full acoustic setting. As you roll the tone pot back, the volume of the saddle pickup starts to drop off while the humbucker comes up. With the tone pot all the way back to zero, you’re only hearing the output from the bridge pickup - this is your full electric sound.
The magic is in the in-between tones, where you can achieve this
incredibly unique sound that is both electric and acoustic but also neither at the same time; it’s something else, something mysterious and undefined and exciting.
You might look at the sound hole smack bang in the middle of the telecaster body and assume that sitting with the Acoustasonic might feel like trying to pat your head and rub your stomach at the same time. But as soon as you start playing, you’ll discover that it feels like the best parts of both worlds. It has the thin profile of an electric, a familiar Telecaster shape, access to pickup control under the right hand, but with the more gritty, tactile feel of an acoustic under the left hand thanks to the acoustic strings (including a wound 3rd) and the wood finish.
The Fender tuning pegs and classic Telecaster headstock carry the hybrid electric feel beyond the 22-fret bolt-on neck. Both the fretboard and bridge are rosewood, and access to the truss rod adjustment is in the headstock, just above the nut. Access to the internal electronics and the battery is in the rear of the guitar. Previous iterations of the Acoustasonic were touted to go for up to twenty-two hours of play time before needing a battery change, so we can assume this iteration will be comparable. Yes, there are strap-buttons installed, so you’re ready to start gigging right out of the box. Probably the most bespoke detail on the whole instrument is the pair of control knobs, which are made out of notched and carved pieces of wood, complementing the organic, craftsman vibe that oozes out of this remarkable piece of equipment. Finally, every Acoustasonic Standard comes with a Boveda 2-way humidity control starter kit that straps on around the strings and protects your instrument from body cracks, bridge separation, rust, mildew and fret-raise.
If you’ve been looking for a unique instrument that straddles the line between acoustic and electric, look no further. The Acoustasonic Standard also comes in a Jazzmaster model and is available in 2025.
WORDS BY LEWIS NOKE EDWARDS
ISUA are an onslaught for the sight and senses. Sonically, they’ve been bringing their own brand of doom to stages around the country, with crushing, fuzzed out guitar tones forming the foundation of their sound. We spoke to guitarist Dharma about what inspires her, and how she achieves her sounds on record and on stage.
Dharma, thanks for taking the time! Can you speak a bit to your sonic influences?
I’m always up for a gear chat! My influences are all over the place which may be one of the reasons people often find it difficult to categorise what we are doing. I’d say it’s mostly a blend of sludge, post-metal, and doom?
With my other band sitting more within the heavy-psych and stoner-doom realm, ISUA was formed as more of an aggressive outlet where I didn’t necessarily have a solid idea of how I wanted us to sound, but more of how I wanted it to feel, allowing for more sonic fluidity. Two of my favourite bands are Bongripper and Amenra, both who express and provide a space for the listener to experience the feeling I was going for, but in very different ways.
Can you give us a rundown of your current guitar rig?
I use a couple of guitars and have a soft spot for the older Japanese guitars, but the longest stint has been with a Gibson SG Special with Matt Pike (High on Fire) signature Lace Sensor Dragonauts pickups. My current main guitar is a '76 Yamaha SL500, running stock pickups which I believe are Super Distortion clones. My pride and joy is another vintage Japanese guitar, an early 70’s El Maya EL1300, also running a stock pair of vintage DiMarzio Super2 pickups.
My board consists of the usual tuner and volume pedals, EHX Soul Food (a transparent OD), Black Arts Toneworks Pharaoh Supreme, ProCo RAT, Boss DD-7 (Delay), Earthquaker Devices Dispatch Master (Delay & Reverb), MXR
Phase 90, and a Mr. Black Supermoon (Reverb). This has stayed pretty consistent for me since the beginning of ISUA. I’ve tried different pedal combinations but I always come back to this board.
Lastly, and arguably most importantly: amps If I’m running one single guitar stack I’ll usually be running my pedalboard into an 80’s Laney 100W AOR Pro-Tube Lead, which is essentially a hot-rodded (Marshall) JCM800. It’s versatile, thick, heavy, crisp, and loud as hell.
Those who are into sludge and doom will likely know this amp with it featuring on cult albums such as Sleep’s Holy Mountain and Dopesmoker. I run it with the bass boost always on.
Do you find yourself reaching for the same gear for both live and recording?
Our aim on record is to translate our live sound as best as we can. For this reason, our album Abandoned, and the most recent unreleased tracks have all been recorded live using the same gear as a foundational tone. We will bring out a bunch of assorted gear to fill in any gaps to better facilitate that feeling and energy of experiencing our live shows. A couple of favourites I’ve used on record for colouring are the Blackhawk Valkyrie Drive V4 and The Demon from Fuzzrocious.
In your own words - what makes the ultimate doom guitar tone?
I listen to a broad spectrum of doom and there’s so much variation that makes this difficult to answer. To me, achieving a doom guitar tone starts with the riff itself. You can be using all the hyper-fuzz pedals and Orange amps but if the riffs aren’t hitting, then forget about it.
It’s about experimenting and finding the right guitar tone to communicate your intended feel, and to suit your writing. What works for one doom band, may not work for another. I write mostly on an acoustic so I am not reliant on the guitar tone
controlling the writing process, and although my gear has stayed relatively consistent, my tone has had to evolve with our songwriting and I’ve had to clean it up a fair bit to work in a full band context.
Can you tell us a bit about your first guitar and what led you to the guitar/s you’re currently playing?
I started on some cheap acoustic that probably cost no more than $50. When I was around 16, I borrowed a Samick Les Paul and received a white Epiphone Les Paul for my birthday. These went into my first pedal, a Boss HM-2, and to a Behringer V-Tone. I didn’t have a whole lot of money or stability so it wasn’t until around ten years later that I bought a TV Silver Epiphone SG400 Pro. This then led to purchasing the Gibson SG that has since had multiple headstock breaks and repairs, hence picking up the Yamaha SL500 I mentioned earlier. Just walking into Music Swop Shop has resulted in a few other purchases, including another 70’s Japanese Maya SG bass - I love these. I have a whole story about the El Maya EL1300 which is too long to write, but feel free to ask me about it if you see me at a show if I haven’t told you about it already!
What’s the one piece of gear you can’t live without?
Gear staples for me are the Black Arts Toneworks Pharaoh Supreme and a tube amp. Within reason, if I had this pedal on hand I’d be pretty comfortable in being able to achieve something close to my main tone. It has so many tone shaping options, six diode settings, stacks well with other pedals, and has not left my board since I purchased it. With my other band being based interstate I’ve always had versatility and flexibility in mind when it comes to my guitar gear and tone as I’d usually be playing through whatever rigs are available on the night. I've been considering a Quilter amp for this reason so if anybody has one for sale, let me know!
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