Mixdown #265

M A D E B Y M U S I C I A N S F O R M U S I C I A N S

#265 MAY 2016

FREE!

GIVEAWAYS! Zildjian S Family 16” Trash Crash & International HiFi Show Double Passes! See Pg. 6 for details.

SANTANA

NORTHLANE & IN HEARTS WAKE

DEVILDRIVER

PLUS: BOB MOSES, KVELERTAK, OLYMPIA, REBIRTH, PERRY ORMSBY, AUDIOFLY + LOADS MORE B L U E L O L A H E A D P H O N E S , C A R L S B R O E - K I T, P E A R L C R Y S T A L B E A T S , S T E R L I N G S T I N G R A Y, ROAD T E S T E D : S O N O R P R O L I T E K I T, A L E S I S F O R G E E - K I T, N E U M A N N T L M 1 0 7 + L O A D S M O R E

Meet your other half

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CONTENTS 6 8 10 12 18 20 22 24 25 26 28 34 35

36 37

38 53 54

FORE WORD

GIVEAWAY INDUSTRIALIST NEWS AND TOURS PRODUCT NEWS IRON MAIDEN SANTANA, DEVILDRIVER REBIRTH, KVELERTAK OLYMPIA, BOB MOSES WE LOST THE SEA

OLYMPIA PAGE 24

TASTE, NORTHLANE & IN HEARTS WAKE ADVICE COLUMNS A CLOSER LOOK AT SAKAI DRUMS, PERRY ORMSBY OF ORMSBY GUITARS, THE ANALOGUE PROJECT: STEFAN GYORY OF THE RECORD STORE, DAVE THOMPSON OF AUDIOFLY, THE MAN BEHIND LINE 6 A CLOSER LOOK AT: THE FOCUSRITE RED4PRE, THE NEW TWO NOTES LE PREAMP LINE ROAD TESTS SHOW AND TELL DIRECTORY

PUBLISHER Furst Media EDITOR Keats Mulligan mixdown@beat.com.au EDITORIAL COORDINATOR Michael Edney michael@furstmedia.com.au EDITORIAL ASSISTANTS Elijah Hawkins, Phoebe Robertson, Chris Scott, Alex Pink & Kate Eardley

KVELERTAK PAGE 22

WE LOST THE SEA PAGE 25 FOR BREAKING NEWS, NEW CONTENT AND MORE GIVEAWAYS VISIT

WWW.MIXDOWNMAG.COM.AU

MANAGING DIRECTOR Patrick Carr ART DIRECTOR Michael Cusack COVER ART Michael Cusack GRAPHIC DESIGN Michael Cusack, Andrew Rozen CONTRIBUTORS Rob Gee, Peter Hodgson, Christie Elizer, Nick Brown, Alex Pink, Elijah Hawkins,

PG.4 // MIXDOWN #262 // FEBRUARY 2016

Phoebe Robertson, Chris Scott, David James Young, Adam Norris, Conrad Tracey, Adrian Violi, Matt Petherbridge, Michael Edney, Luke Shields, Augustus Welby and Aaron Streatfeild.

PRODUCTION MANAGER Michael Cusack ADVERTISING Patrick Carr patrick@furstmedia.com.au

MIXDOWN OFFICE Level 1, No. 3 Newton Street, Richmond VIC 3121.

Phone: (03) 9428 3600

I’ve tried my hands at drums before. I think most musicians have given it a shot at some point. I remember when I first did.

I was about 16, and arrogantly perched on the throne, scoffing at the fact that ‘I don’t even have to play any notes’, to my drummer mate who was eager to see me fail miserably. I was supremely confident that I could successfully transpose the little rhythmic patterns that I mastered with my ruler and pens in maths class into groundbreaking drum patterns that would change the course of music forever. Obviously I was wrong.

In this issue we’re celebrating the drummer – the true heart and engine room of the band. We’ll be chatting with Nicko McBrain of Iron Maiden about what it’s like drumming in one of the world’s truly legendary heavy metal acts as well as looking at some killer new bits of gear from some of the world’s leading drum makers. On top of that we’ll chat with some Australian musicians that are taking the world by storm with their gear in Dave Thompson of Perth-based headphone company Audiofly and Perry Ormsby, the brains behind Ormsby Guitars.

We’re also featuring a swag of awesome product news and reviews for musicians of all walks of life, interviews with some great acts and some tips and tricks to help you get the best out of your music. Enjoy.

KEATS MULLIGAN, EDITOR

www.mixdownmag.com.au

GIVEAWAYS Zildjian S Family 16” Trash Crash

The International HiFi Show 2x Double Pass

GIVEAWAY

Woah… our readers must really love pedals, as last month’s Zendrive giveaway was easily our biggest yet! Well, we hope you all like cymbals too, because this month we are giving away the Zildjian S Family Cymbals 16” Trash Crash, courtesy of our mates at Australasian Music Supplies.

The new S Family from Zildjian is an expressive cymbal with a balanced frequency response, making it suitable for a variety of musical styles. The cymbal features a B12 alloy (88% copper, 12% tin), coupled with cutting edge modern manufacturing techniques that produce a cymbal capable of a wide range of musical expression.

For your chance to take home this awesome prize, head to our giveaways page at www.mixdownmag. com.au/giveaway and follow the instructions.

Last Month’s Giveaway Winners HERMIDA ZENDRIVE GIVEAWAY WINNER

GIVEAWAY

This one is for all the gear junkies out there. This month we are giving away TWO doubles passes to The International HiFi Show, which will be held in Melbourne this July. The stage is set for one of the largest exhibitions of HiFi, Audio Visual, Lifestyle and Technology, with over 70 world-leading brands already committed to showcasing their very best. Presented by StereoNET, The HiFi show will be running from July 1-3, and will feature over 50 exhibition spaces showcasing the world’s best brands in audio and visual equipment, ensuring there’s something for everyone to enjoy.

Last issue we were afforded to opportunity to giveaway the amazing Hermida Zendrive pedal away to one lucky Mixdown reader, courtesy of our friends over at Gladesville Guitar Factory!

Designed by former NASA engineer Alfonso Hermida, this pedal is one heck of a unit. We’re pleased to announce that the lucky winner of this pedal is..

David Brandon of Yamba, NSW. Congratulations David, we hope you enjoy it. Thanks to everyone who entered, and remember to keep on entering our monthly giveaways for your chance to win!

For your chance to win a double pass to The HiFi Show, head to our giveaways page at www. mixdownmag.com.au/giveaway and follow the instructions.

TP4005 24 SERIES BOX CAJON GIVEAWAY WINNER Cajon’s seem to be all the rage these days. We keep getting them in for review, and judging by the flood of entries we had in this competition, it seems as though you’re all just as stoked on them as we are! We’re very pleased to be able to giveaway this awesome Tycoon Cajon, courtesy of our friends over at Dynamic Music. The lucky Mixdown reader who gets to go home with this beautiful cajon is...

For full terms and conditions visit www.mixdownmag.com.au/terms-and-conditions.

*These giveaways is for Australian residents only and one entry per person.

For more awesome monthly Mixdown Giveaways, be sure to LIKE our Mixdown Magazine facebook page at www.facebook.com/mixdownmagazine and regularly check our Giveaways page on www.mixdownmag.com.au/giveaways for your chance to win.

Alyssa Borda of Melbourne, VIC. Congratulations Alyssa, we’re confident you’ll get just what you’re looking for with this little number! Thanks again to everyone who entered, keep on entering each month for your chance to win!

The New Album

trust no one MAY 13

DEVILDRIVER.COM

INDUSTRIALIST AUSSIE INDIES HEAD TO A2IM INDIE WEEK IN NEW YORK

AIR (Australian Independent Record Labels Association), music export body Sounds Australia and PPCA (Phonographic Performance Company of Australia) are leading the largest delegation yet of local representatives to Indie Week. The annual invite-only conference, held by A2IM (American Association of Independent Music), will be hosted in New York from June 13-17. They’ll discuss challenges and issues with global delegates alongside ABC Music, Barely Dressed Records, Bedlam Records, Chugg Music, Cooking Vinyl Australia, Hillsong Music Australia, HopeStreet Recordings, Onelove Recordings Australia, Rice Is Nice Records, Solitaire Recordings, The A&R Dept. and Zero Through Nine.

BIGSOUND BACK FOR 15TH YEAR Brisbane’s music industry conference and showcase BIGSOUND, is back for its 15th year on September 7-9.

Early bird tickets and artist registration are open on its website. 150 bands will play 15 Fortitude Valley venues, before delegates from around the world. This year, new coprogrammer Maggie Collins joins outgoing programmer Nick O’Byrne “in the creation of a provocative and joyful BIGSOUND 2016.” It has a new event manager Georgia Beehag (ex-Big Day Out and Soundwave), while events producer and manager Jonny Ruddy fills the newly created role of partnerships manager to get more sponsorships. Last year’s BIGSOUND was one its most successful, with 1226 delegates from around the world and generating a 10% growth in its economic impact of $3.10 million to the Fortitude Valley precinct. The live showcases drew 4964 attendees. Figures showed that 43% of BIGSOUND attendees came from intestate and outside Australia.

SYDNEY HOSTING RED BULL ACADEMY

After being staged in Tokyo, Vienna, Warsaw and Stockholm, the 18th Red Bull Music Academy Weekender will be held

in Sydney between September 8 and 11. It will cover signature music events, live performances, public artist lectures, club nights and art exhibitions. Tickets are on sale, with first artists announced being producer duo Flight Facilities with the 50-piece Sydney Symphony Orchestra. Nearly 40 names will be added through the next few months.

AUSTRALIAN MUSIC WEEK BACK

After the success of its inaugural year, Australian Music Week returns November 2 to 4 at Cronulla Esplanade, Sydney.

Tickets go on sale on June 1.

The summit is designed for exes, recording pros, artists and fans, and focuses on the business of global music. The conference includes panels, master classes and networking sessions.

Showcase applications are now open, with one act being selected by an industry panel for the Australian Music Incentive Prize. It includes studio time from Damien Gerard, distribution of a single by MGM, radio servicing by The Right Profile and publicity from The PR Files.

SUPPORT ACT HONOURS PAUL KELLY

Support Act Ltd presents Paul Kelly, with its charity award at the ‘Music in the House’ lunch on Wednesday May 18’ at The Ivy Ballroom in Sydney. The focus of the event is to honour those in the music biz who’ve made a difference with their charity work. Previous recipients were Jimmy Barnes, Glenn Shorrock, Don Spencer, Richard Clapton, John Paul Young, Russell Morris, John Butler and The Sapphires. Andrew Denton will host the lunch. Julia Stone, Thelma Plum and Urthboy will perform as will Kelly. Bookings at www.supportact.iwannaticket. com.au.

VALE

The music industry lost some of its own last month. They included NSW alt-country troubadour Karl Broadie from pancreatic cancer; booking titan Bill Joseph who managed The Valentines and early AC/ DC. He helped develop the Melbourne pub rock scene in

F OR CONTE NT SUB MI SSI ONS TO TH I S COL UMN PL E ASE E MAI L T O CELIZER@ NET S P A CE. NET. A U

the ‘70s, booking 38 pubs and 14 nightclubs; indigenous broadcaster and civil rights campaigner “Tiga” Bayles from cancer; Brisbane punk identity Bek Moore who fronted controversial bands Clag and Scrabbled and Craig Russell, bassist with Melbourne ‘80s post-punk bands The Z-Cars and The Zorros.

ANOTHER LIVE MUSIC HUB FOR SYDNEY?

Marrickville Council in Sydney plans to set up a creative hub in Sydenham Station’s industrial area. It is full of manufacturing and council says it “identified the potential of Sydenham Station’s industrial lands as a great place to nurture live music in its Live Music Action Plan, particularly because it’s a good fit in an area dominated by aircraft noise and industry. There (are) already a number of music venues operating well.” Aside from music venues, the precinct would also include small bars, restaurants and cafes as well as offices and studios for creative types. All close to public transport into the city.

DEAF DANCER POMOTES SONY EXTRA BASS SPEAKER Macy Baez, a 15-year old NSW hip-hop dancer who was born profoundly deaf, is fronting a new project from Sony Australia New Zealand. She can experience sound with the aid of cochlear implants, but relies on being able to feel music vibrations, particularly bass notes, in order to dance. The ad features a hip-hop/electro bass-heavy track specially designed for her by Josh Fountain from Level Two Music in NZ. She can literally feel the music, powered by Sony’s new Extra Bass SRS-XB3 wireless speaker. Baez says, “Dance is a language for me. I feel the beat speaks to me and I speak back through dance.”

VICTORIA ANNOUNCES $152M CREATIVE PACKAGE The Victorian Government has put aside $152 million in the upcoming 2016/2017 state budget to support its $23 billion creative and cultural sector. Creative industries make up 8% of Victoria’s economy

and provide 220,000 jobs. The centrepiece is Victoria’s first Creative Industries strategy Creative State. It is to help the best creative talent in film and TV, digital games, design, fashion, music and the performing and visual arts “undertake ambitious, internationally recognised work.” This will include $33.7 million to help get international recognition, and $14.2 million to attract more opportunities to the screen industry. $20 million is for regional creative, including support for a creative hub in the La Trobe Valley (a new performing arts venue, expansion of the successful White Night festival to regional areas), accredited arts and cultural training courses for tertiary, secondary, primary and private sector students) and $7 million for a cultural hub in Bendigo.

LICENCE FEE HIKE FOR LATE NIGHT CANBERRA VENUES?

The ACT Government won’t introduce lock-out laws for Canberra. But as a third of public assaults in Canberra occur between 3 am and 6 am, it figures closing times are important and is discussing hiking up fees for late night venues. Those wanting to stay open until 4 am will face a fee hike of 300% to $100,000.

Those staying open until 5 am, the current closing time, would cop a 500% rise, from $27,238 a year to $163,000.

The extra revenue will cover cost of security, police patrols and lighting. 38 licensed venues (22 of them clubs) open until 4 am, and another eleven, mostly nightclubs, which are open until 5 am.

The ACT Government wants to encourage smaller (under 80 capacity) bars and venues, which close by midnight, to flourish. Their fees would be slashed from $2500 to $650 per year. “There are significant safety benefits from having a larger number of smaller venues,” Attorney General Simon Corbell pointed out.

THINGS WE HEAR • After huge ratings for INXS and Molly Meldrum teleseries, one of the Australian TV networks is talking about a local version of US series Vinyl based on the ‘70s New York disco scene with its sex, drugs and music approach. It’s centered around one of Australia’s biggest music moguls. Who would that be?

• The regional Groovin’ The Moo is traditionally a fun experience. But this year it’s attracted some negative moments – two teenagers overdosing at a show, a car with attendees hurtling off an overpass and landing on railway tracks below, drug arrests, a security officer assaulted when he asked a man to leave, and a woman told ABC Radio that a drunk or stoned male had urinated over her and festival security didn’t take it seriously.

• The Reclink Community Cup charity AFL game between music industry and media is this year expanding to six cities. It started in Melbourne in 1993 earning $100,000 a year for the Reclink charity. It expanded to Sydney in 2012. Last year Adelaide and Perth raised in the four cities.

This year brings in Hobart and Brisbane, with a total of $250,000 expected to be raised.

• Is it turning out to be Axl’s Folly? AC/DC’s bringing in Axl Rose as temporary singer but he hasn’t been embraced as heartily as Angus & co would have liked. An Italian AC/DC fan website closed in protest, fans started to demand refunds on the European shows, and many eyebrows were sent a-twitching when it was revealed that AC/DC had auditioned singers from two American Akka-Dakka tribute bands before opting for the Guns N’Roses mic twirler.

• Numbers for the Port Fairy Folk Festival found it drew 15,000 musicians, volunteers and fans, and generated $9.6 million for the local economy. It grossed $3.2 million from ticket sales and bar takings. A further $1.2 million was on food and drinks, and $517,000 in on-site merchandising. 38% came from Melbourne, 26% from the rest of Victoria, 2,8% from South Australia and 8% from Port Fairy.

DEBUT LP CRUCIBLE OUT NOW VIA LIFE.LAIR.REGRET. RECORDS

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PG.8 // MIXDOWN #265 // MAY 2016

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309 STIRLING HWY, CLAREMONT WA 6010 PH: (08) 9383 1422

Guild Guitars are distributed in Australia by ZENITH MUSIC. For more information or to find your closest dealer, contact zenithdavid@westnet. com.au or zenithdylan@westnet.com.au.

NEWS & TOURS Client Liaison

Camp Cope

Deafheaven

Joe Bonamassa

With throwback tunes that bring back the glory of ‘80s come ‘90s synth pop, Client Liaison are certified party starters. In the lead up to the release of their debut album the stylish duo has dropped single ‘World Of Our Love’. There’s the straight thump of a bass drum, a bopping synth line, some liquid ‘80s synth - smooth and luscious – and a yearning vocal melody to match.

Client Liaison are once again playing with classic house elements in ‘World Of Our Love’, demonstrating an innate ability to write songs that are instantly gratifying.

It’s the first taste of their forthcoming debut album, as they prepare to embark on a wide-reaching national tour. Wherever they go, Client Liaison are sure to bring a boogie-ready soundtrack, and a colourful dose of vintage pizzazz.

Indie-punk trio Camp Cope’s star is most definitely rising, evidenced by the fact they have sold out their hometown show in Melbourne a month before they embark on their national album launch tour. Since their incarnation in 2015, Camp Cope have been offering up a unique, emotionally driven take on indie-punk. Their eight track debut album, including their already well received first single ‘Lost Season One’, discusses the (sometimes) bleak reality of life like working in a hospital, living in rundown share houses in Footscray and what it’s like to be a woman in the modern world. Selling out their hometown show in record time, it’s clear that this is a band to keep your eye on.

They’ll be heading to Adelaide, Sydney, Wollongong and Brisbane.

Metal enthusiasts from Melbourne, Brisbane and Perth can rejoice, Deafheaven have named some killer supports for their sideshows this June.

The Californians have announced that they’ll be sharing the stage with Melbourne’s High Tension in all three cities. Melding sounds from traditional thrash metal, punk, hardcore and rock’n’roll, High Tension are almost startlingly unique. Brisbane’s Hope Drone will be starting off the night in Brisbane and Melbourne with their innovative brand of black-metal inspired noise. Perth, however, will play host to intriguing locals Sanzu. Having just played Murderfest alongside legends like King Parrot and Grotesque, Sanzu are quickly becoming an integral part of Perth’s thriving metal scene.

Fresh off a killer performance at Bluesfest recently, blues legend Joe Bonamassa has announced a headline Australian tour.

For those who may have missed him in Byron Bay over Easter, Bonamassa returns to our shores to give fans a chance to experience his latest studio album Blues of Desperation live in concert. The tour will see the New Yorker play shows in Perth, Brisbane, Sydney, Adelaide and Melbourne, with the highlight being his debut performance at the Sydney Opera House.

Since opening for BB King at the tender age of 12, Bonamassa has barely stopped recording and touring. Releasing 20 solo albums, he now plays around 100 shows a year, including slots at festivals like Cross Roads and the Montreal Jazz Festival.

TOUR DATES May 13 – Villa, Perth WA May 14 – Mojos, Fremantle WA May 19 – The Great Northern, Byron Bay NSW May 20 – Elsewhere, Gold Coat QLD May 21 – The Triffid, Brisbane QLD May 22 – May Sol Bar, Sunshine Coast QLD May 27 – May The Metro, Sydney NSW May 28 – Uni Bar, Wollongong NSW June 3 – The Workers Club, Geelong VIC June 4 – The Forum, Melbourne VIC

TOUR DATES May 13 – John Curtin, Melbourne VIC May 14 – Crown & Anchor, Adelaide SA May 20 – Black Wire Records, Sydney NSW May 21 – Janes, Wollongong NSW May 28 – Crowbar, Brisbane QLD Av

TOUR DATES June 3 - Corner Hotel, Melbourne VIC June 4 - Crowbar, Brisbane QLD June 6 - Rosemount Hotel, Perth WA

TOUR DATES Sept 25 – Perth Concert Hall, Perth WA Sept 28 – QPAC, Brisbane QLD Sept 30 – Sydney Opera House, Sydney NSW Oct 2 – Thebarton Theatre, Adelaide SA Oct 5 – Palais Theatre, Melbourne VIC

Lacuna Coil

Tired Lion

The Pretty Littles

Shihad

Lacuna Coil are to the international metal genre what Marlon Brando is to gangster films. Hailing from Milan in northern Italy, the dynamic four-piece are coming to Australia this October for their first ever headline tour. Since forming in 1994, the band have become hailed all over the world for the punchy vocal duo of Cristina Scabbia and Andrea Ferro, their sleek gothic imagery and their detuned sonic assault. In addition to all this, they are also set to release their 8th studio album Delirium, the first album that was recorded, mixed and mastered entirely within Italy. The album promises to be their darkest record to date and their greatest achievement yet.

Having just signed a new record deal, Perth rockers Tired Lion are set to tour Australia in May. Playing shows in Melbourne, Brisbane, Sydney, Adelaide and their hometown Perth, it will be the last chance for fans to see the band before they head overseas. After a massive 2015, in which they won triple j’s Unearthed Award, played the main stage at Splendour In The Grass and supported The 1975, Kingswood and Luca Brasi on tour, 2016 is looking to be just as big.

The band has been signed to Dew Process/ UMA and will play out this Australian tour before heading overseas to play their first ever UK and European tour, including a slot at Glastonbury.

Melbourne’s ramshackle indie rock quartet, The Pretty Littles are about to launch their brand new single ‘Pride’, and to celebrate the occasion these four unlikely lads are embarking on an east coast tour this winter. The spree starts off in country pubs in Wagga Wagga and Ballarat before they head to Melbourne, Sydney and Gold Coast, with a few other regional shows along the way. New single ‘Pride’ continues the band’s considered style of self-deprecating garage rock, but with a more refined knack for song-writing.

Having been around the blocks for a while now, these guys are starting to make some serious heads turn after excellent reviews from BIGSOUND 2015. With rumours of an LP coming soon, there’s no better time to get on The Pretty Little bandwagon.

New Zealand rock exports Shihad are making their long-awaited return to Australian stages this June and July for the first time since their FVEY tour in 2014. The band is celebrating 20 years since the release of their breakthrough self-titled album, and will be joined along the east coast by Adelaide punk rock trio Grenadiers. Their self-titled release, commonly referred to as the ‘fish album,’ has been completely remastered and will be re-issued both digitally and on vinyl. The Fish Album bristled with a new found lightness of spirit as it collided with the maturity of a band fulfilling their potential as writers and incendiary live performers. Last year, Shihad released their ninth studio LP, FVEY, proving they aren’t finished yet. Glowing reviews for FVEY’s fierce single ‘Think You’re So Free’ reinstated the bands position as one of the most durable and hard-hitting band in modern rock ‘n’ roll.

TOUR DATES Oct 12 - Amplifier Bar, Perth Oct 13 - Max Watts, Melbourne Oct 14 - Metro Thearte, Sydney Oct 15 - Max Watts, Brisbane

TOUR DATES May 19 - Northcote Social Club, Melbourne VIC May 20 –Brightside, Brisbane QLD May 21 – Newtown Social Club, Sydney NSW May 27 – Fat Controller, Adelaide SA May 28 – Capitol, Perth WA

PG.10 // MIXDOWN #265 // MAY 2016

TOUR DATES

TOUR DATES

May 6 - Karova Lounge, Ballarat VIC May 7 - Shebeen, Melbourne VIC May 19 - Brighton Up Bar, Sydney VIC May 20 - Moonshine, Manly NSW May 21 - The Loft, Warrnambool VIC June 3 - The Bridge Hotel, Castlemaine VIC June 10 -The Northern, Byron Bay NSW June 12 - Broadbeach Tavern, Gold Coast QLD

June 23 - Settlers Tavern, Margaret River WA June 24 - Rosemount Hotel, Perth WA June 25 - Rosemount Hotel, Perth WA June 26 - Newport Hotel, Fremantle WA July 1 - The Triffid, Brisbane QLD July 2 - Pigsty In July, Hunter Valley NSW July 15 - The Factory, Sydney NSW July 16 - The Croxton, Melbourne VIC

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PRODUCT NEWS

In A Snapshot: G-Lab GSC-4 Amber Technology | 1800 251 367 | www.ambertech.com.au

Introducing The DV Mark Silver GEN 15 Head and Combo Amplifiers

The GSC-4 from G-Lab is now being distributed Australia wide via Amber Technology.

The programmable footcontroller with one move allows you to: switch effects connected to the GSC-4 loops, set channel and other amp functions through the amps’ footswitch input and send MIDI commands. The GSC-4 is packed with features. It has a graphic LCD TFT 4.3” display, two amp sections at 2x500mA with 9V DC outs for powering stompboxes, and has the ability to control 10 MIDI devices simultaneously with PC and CC commands. In the unit, there is also an expression pedal input, switchable high impedance input buffer (identical with tube amp characteristics) at any preset and a dedicated tuner output with the silent tuning function – which receives the signal through very high impedance circuit (no influence on a guitar signal). Rounding out the device is a loop split mode, which enables the connection of two stompboxes at the front and three in the amp FX loop without hums caused by ground loops. All of these features make the GSC-4 very helpful on the stage and in the studio as well.

CMC Music Australia | (02) 9905 2511 | www.cmcmusic.com.au

DV Mark Silver Generation amps are making life better for musicians around the world.

Thanks to DV Mark’s industry leading proprietary technology it is now possible to create affordable, great sounding amps that are easy-to-use, reliable and ultra-portable, improving the quality and ease of every musicians life. The DV GEN 15 is an addictive 15W Class A all-tube head from the DV Mark Silver Generation Series that will charm you with its vintage personality and incredible headroom (more than you would normally expect from a 15W tube amp) and impress you with its amazing full sound-tone, versatility, dynamic response and gig-after-gig reliable performance. The controls of the DV GEN 15 are simple and effective. It features the same cutting-edge technology, build quality and high-end components as in DV Mark’s bigger heads, and offers a wide range of tonal colours. This amp also features the next generation of digital reverb, which you’ll find sweet sounding, warm and natural. All-tube heads have always had a reputation for being cumbersome and heavy, but the DV GEN 15 gets you a killer valve-tone at a fraction of the weight that you’d expect – ideal for recording, rehearsing, club gigs and more.

Gruv Gear Fretwraps Now Distributed In Australia CMC Music Australia | (02) 9905 2511 | www.cmcmusic.com.au

Switchcraft Introduce New Connectors To EH Series Clark and Severn | (02) 9482 1944 | www.clarke.com.au

Switchcraft has introduced 3 new connectors to their EH Series of Modular Panel Connectors. Now included in the extensive range are the EHUSB3ACAB USB 3.0 to Micro USB 3.0, EHUSB3CABA Micro USB 3.0 to USB 3.0 and EHMDP2 Mini Display Port Feed Through. Switchcraft’s EH Series is a complete line of audio, video and data connectors built into standard panel-mount XLR housings. Any combination of these connectors can be quickly and easily loaded in to the Q-G Series panels and also fits industry standard panel cut outs. Connecting your equipment to the back of the EH Series connector is equally fast and easy. These connectors are either feed through – allowing standard cabling to be simply plugged into the back of gear, or solder lugs ¬– which are clearly marked for simple, secure solder connections.

Sonor’s Tiny Kit With A Big Attitude Drum Partner | (03) 9416 9521 | www.drumpartner.com.au

The FretWrap is a professional string dampener/muting accessory that every studio, session player, and tapping aficionado should have. Slide on a FretWrap to effectively cut overtones and sympathetic resonance during recording, live performance, two-hand tapping, or any creative situation where you need that extra muting hand for cleaner takes without the unwanted string noise or ringing. The adjustable strap lets you finetune the pressure and dampening of the strings. It quickly slides over the headstock when not in use and no special guitar modification, installation, or tools required.

FretWraps come in 1-packs and 3-packs of different colours and sizes to suit everything from electric and acoustic guitar through to 8 to 12-string basses, Chapman Sticks, double basses & other extended range guitars.

PG.12 // MIXDOWN #265 // MAY 2016

Small Car? Small Stage? Small Apartment? Don’t sacrifice your sound! Introducing the Martini Special Edition from Sonor, the tiny kit with the big attitude. The kit features 3 retro finishes: turquois galaxy sparkle, gold galaxy sparkle & red galaxy sparkle with offset natural finish bass drum hoops. Cross-Laminated shells deliver superior stiffness, sonically pleasing resonance and spectacular tone. All Sonor lugs are equipped with TuneSafe, which prevents tension rods from loosening during hard rim shots or where batter heads have been loosely tuned. The Martini Shell kit comes with a 14” x 12” bass drum (with mount & riser), 8” x 8” tom tom, 13” x 10” floor tom, 12” x 5” steel snare drum and a single tom holder (hardware stands & cymbals not included).

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PRODUCT NEWS

Turn Back The Clock With Bristol’s Vintage-Style Mahogany Guitars Zenith Music | (08) 9383 1422 www.zenithmusic.com

Bristol is exploring the pre-war era of the classic guitar with their new all-mahogany acoustic guitars. The Bristol BD-15 by Blueridge is proof that top quality and value can be accessible to players at any level.

The all-mahogany body lends a certain tone to the BD-15 a tone that’s perfect for blues and many other folk styles. The notes are crisp and clear and ideally suited to the microphone and recording studio. The lovely, clear semi-gloss finish shows off the selected mahogany to the best advantage.

The slim, mahogany neck is a joy to play and the adjustable truss rod ensures perfect alignment at all times. The Bristol BM-15 has a OOO-Style body made entirely of select mahogany in the grand tradition of many classic pre-war instruments. All-mahogany guitars are famous for their rich, pleasing tone and are considered ideal for studio work. The slim, mahogany neck features an adjustable truss rod to assure perfect playability at all times. With so many pro features as standard equipment, you’ll be amazed at the low price that makes legendary Bristol quality accessible to all.

Introducing Sennheiser’s AVX Wireless Mic Systems Sennheiser Australia | (02) 9910 6700 www.sennheiser.com.au

As a part-time videographer, I know the struggles of operating as a one-man-show. Without a sound recordist, you need to make sure that both video and audio are always perfectly captured.

The new Sennheiser AVX lightens this workload immediately. From now on videographers can simply rely on perfect sound – and concentrate on what they really love to care about: to film great pictures. The AVX features dynamic range, which guarantees perfectly levelled sound – regardless of the situation. Whether it’s quiet or loud, the AVX synchronises perfectly to the camera’s input sensitivity. The AVX plugs directly into the XLR audio input and uses phantom power. It switches on and off automatically with the camera. So it is instantly ready to record and saves battery power when the camera is turned off. The AVX works faster than the human ear. Before any interference becomes audible, the AVX selects the best operating frequency and switches to a clean channel.

No matter what, perfect audio transmission between the microphone and the camera is guaranteed.

Allen & Heath Reveal New Portable Digital Mixer With iPad Control Technical Audio Group | (02) 9519 0900 | www.tag.com.au

Audio-Technica Introduce New Range Of Portable High Resolution Headphones

Allen & Heath are delving into the iOS market with their latest portable 18 in / 14 out digital mixer with remote wireless control. Qu-SB is an ultra-compact digital mixer and interface designed for iPad control, freeing you to mix from anywhere in the venue and providing a smart, portable solution for bands, AV and installation. The companion QuPad app is a beautifully elegant, intuitive mixing interface, giving easy access to the full wealth of Qu features and setup options. On top of its 18 on-board inputs and 14 outputs, Qu-SB can be expanded up to 32 mono inputs and 24 outputs by connecting to one of our family of remote AudioRacks over a single Cat5 cable. Couple this with the Qu-You personal monitoring app for Android and iOS, plus the ME-1 personal mixers, and Qu-SB is a fantastic choice for bands looking for the same great monitor sound wherever they play.

Technical Audio Group | (02) 9519 0900 www.tag.com.au

Audiophiles rejoice. You can now enjoy the sound of high-resolution music on the go with the new range of Audio-Technica headphones.

The ATH-SR5BT, ATH-SR5 and ATH-MSR7NC are all built with the powerful 45mm high-resolution audio drivers, allowing you to hear your music like never before.

The ATH-SR5BT Wireless On-Ear Headphones give you phenomenal Hi-Res Audio with the convenience of Bluetooth wireless technology operation. The ATH-SR5BT comes equipped with a mic and volume/control switch built into the left earcup, making it easy to answer calls, adjust volume and handle playback of music and video on compatible smartphones and other portable devices.

The ATH-SR5 is the non-Bluetooth version of the The ATH-SR5BT. The flexible swivel design and soft memory foam earpads and headband allow these lightweight headphones to fit comfortably and securely on the ears The ATH-MSR7NC headphones combine the Hi-Res Audio technology and design features from the original ATH-MSR7 with newly developed active-noise cancelling technology to bring you the ultimate listening experience. These headphones are outfitted with exclusive 45 mm True Motion Drivers to deliver distortion-free audio reproduction with extended frequency response. A miniature microphone is incorporated into the top of each earcup to pick up ambient noise that can then be blocked by an appropriate sound-cancelling signal when the active noise-cancelling function is activated.

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Apogee’s New Special Offers On Waves Plugins Sound Distribution | (02) 8007 3327 | www.sounddistribution.com.au

There are even more reasons to invest in a new Apogee interface this year, with the electronics company announced new special offers on Waves plugins. When purchasing a ONE, Duet, Quartet or Ensemble audio interface from an authorised dealer, Apogee are giving customers access to discounts on a range of Waves plugins and Waves bundles.

After purchasing a Apogee interface, all users need to do is register their product to receive a discount code good for 25% off a single plugin or 35% off any Waves bundle.

Not only that, customers will also be entitled to an additional $100 voucher that can be used towards their next Waves plugin purchase. These offers can even be applied to any special deals from Waves, giving you the ability to save up to thousands of dollars.

This special offer empowers customers with big savings and the flexibility to design a studio around their needs. Whether you are a musician/producer, post production sound engineer, mix or recording engineer or all of the above, with Apogee and Waves you can get the studio and quality you want at incredible savings.

MIXDOWN #265 // MAY 2016 // PG.13

PRODUCT NEWS Vic Firth Add New Signature Sticks Australasian Music Supplies | (03) 9549 1500 www.austmusic.com.au

Vic Firth has unveiled four new additions to their expanding signature range, honouring some the most iconic drummers in music.

First up, the new Jen Ledger signature stick is crafted in hickory and features a shaft diameter that will feel especially familiar to 3A and 5B players. The 16 ½” length gives the stick an “extreme” feel and a unique medium – length taper flanges back out into a bold teardrop tip. This design affords the player excellent response while providing plenty of leverage for power. The unique wood tip creates clear sounds on drums and cymbals.

The Keith Moon Signature Stick is unique in its design with the combination of a medium shaft, fast, sloping medium taper and a length just short of 16”. Crafted in hickory with an oval wood tip, this stick packs plenty of punch when needed and can work in a variety of musical settings. The Chris Coleman signature stick is purposefully designed to create a full tone on drums and cymbals. With a short taper and an oval wood tip, this hickory stick is bold in its design and allows the player to deliver in many musical situations. Rounding out the new additions, the Ray Luzier signature model is a hickory stick designed with an oval wood tip, thick neck and short taper. Combining a 5B shaft with the tip and taper of a rock, this stick can survive heavy back beats while still creating great sound and feel.

Audiofly’s Flagship In Ear Monitors Now Available In Clear Housing Audiofly | www.audiofly.com

In A Snapshot: Analysis Plus Cables – Black Oval Amber Technology | 1800 251 367 www.ambertech.com.au

Analysis Plus award winning cables are custom made in the USA, allowing the company to make any cable you need in any length and type of connector. The Black Oval range is their go-to lead if you are after a tone that has full mids, taut low ends and that upper mid snap.

The Black Oval is ROHS compliant resulting in a completely green cable that sounds as good as it feels. This cable has 20 gauge conductors, a conductive sheath to eliminate microphonics and an oval centre conductor with a hollow oval return. Black Oval cables are available now with straight or 90 degree mono plugs and in 3 and 6 metre lengths.

Perth headphone company Audiofly are set to release a brand new clear housing and cable version of their flagship AF180 in ear monitors. Jam-packed with a quartet of armature drivers, the AF180 is geared for unparalleled speed and clarity. We’re talking superb, dependable accuracy; it’s the only friend you’ll need on stage.

The new sleek clear housing and cable version is primed for onstage use. Reliability is a must with in ear monitors, and Audiofly’s flagship model is sure to be your go to for live performances. Audiofly has slowly become more recognised in the industry as a premier headphone company, even being selected to supply their flagship model of in ear monitors to the contestants on Channel Seven’s music reality television show The X Factor Australia. The contestants on last year’s season used Audiofly’s AF180 for live performances. Their quad driver technology delivered the most accurate sound reproduction for the artists during their live performances.

The All-New Audio Interface From Apogee Sound Distribution | (02) 8007 3327 www.sounddistribution.com.au

Get Your Gear Fix At The 2016 International HiFi Show HiFi Show | www.hifishow.com.au

Gear junkies rejoice; the International HiFi & AV Show is coming to Melbourne this year.

The stage is set for one of the largest exhibitions of HiFi, Audio Visual, Lifestyle and Technology, with over 70 world-leading brands already committed to showcasing their very best. Presented by StereoNET, the Melbourne HiFi show will be running from July 1-3, and will feature over 50 exhibition spaces showcasing the world’s best brands in audio and visual equipment, ensuring there’s something for everyone to enjoy.

The show also includes the very first Australian Record Fair with more than 30 vendors offering over 100,000 new and used records, music memorabilia, and accessories.

Vendors from across the country will bring their extensive collections of music from all genres, including rarities, collectables and more.

PG.14 // MIXDOWN #265 // MAY 2016

Apogee Electronics has announced the newest audio interface in their ONE range, a product designed specifically for Macs. ONE for Mac is a USB audio interface with two inputs and two outputs, as well as a built in microphone, housed in a small enough body that it is easily portable. It’s the third incarnation of the ONE interface, and has many of the same features as the previous models. However, it is different to the previous version. The ONE for Mac sees the removal of the iOS functionality, making it cheaper, with the option to upgrade for use with the iPad. ONE features Apogee’s industry-leading AD/DA conversion and mic preamp technology, with sound quality high enough for professional recordings. The simplicity of the device means that it is accessible to the beginner or casual muso wanting to get started on recording or demoing. The compatibility with Mac OS X means that ONE works well with GarageBand, Logic Pro X, Pro Tools, Ableton or any other compatible DAWs. Combined with the intuitive controller knob, this interface is much simpler to use than many others in the market.

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SOLDANO HIGH-GAIN OVERDRIVE JCA22H RRP $699.00

TECH SPECS: 2 Channels: Crunch & Overdrive Controls: Crunch and Overdrive Gain, Bass, Middle, Treble, Crunch & Overdrive Master, Presence Output Power : 20 watts into 16 ohm or 2 x 8 ohm speaker outputs Tubes: 5 × 12AX7 Preamp / 2 x EL84 Power

TO FIND YOUR NEAREST AUTHORISED JET CITY RETAILER GO TO INFO.AMBERTECH.COM.AU/JET-CITY-DEALERS

PRODUCT NEWS Cordoba Honour Legendary Luthier With Masters Series Guitar Zenith Music | (08) 9383 1422 www.zenithmusic.com

The Hauser guitar is a classical instrument that originates back to the 1930s.

Designed by Hermann Hauser, the guitar was eventually used by the late Spanish maestro Andres Segovia. Through tirelessly concertizing and recording with the instrument, Segovia made the Hauser become recognisable as a concert-worthy instrument, and of the most iconic guitars in history.

The Hauser sound is famous for its perfect balance and clean separation of voices.

Overtones are very controlled and resulting sound is incredibly pure, with a very focused fundamental at the core of every note.

Because of this very pure and direct sound, adding colour and nuance of sound is up to the player – moving the right hand over the soundhole yields a very ‘liquidy’ and velvety quality of tone, while moving towards the bridge achieves a brighter, almost “brassy” sound. This style of guitar appeals to the player wanting maximum control over their own dynamic and modulation (tone colour) choices.

Cordoba’s Hauser is built with a solid Englemann spruce top and solid Indian rosewood back and sides. It features a Spanish cedar neck topped with an African ebony fingerboard. With a few modern refinements, the result is an instrument that exemplifies the authentic Hauser design, voicing, and feel, and captures a rare piece of guitar making history.

Apogee’s Symphony I/O Mk II HD Is Now Shipping Sound Distribution | (02) 8007 3327 | www.sounddistribution.com.au

Earlier this year we saw the release of the Symphony I/O Mk II, the all-new multichannel audio interface featuring Apogee’s latest AD/DA conversion. The unit features a modular I/O (up to 32 inputs and outputs), intuitive touchscreen display and optional world-class microphone preamps. Apogee has now announced that the HD model, designed for Pro Tools HD systems, is now shipping.

Since the first generation was released in 2010, Symphony I/O has been a gold standard for the professional recording industry and utilized by a wide variety of commercial studios, producers, engineers and artists worldwide such as Bob Ludwig, Spike Stent, Bob Clearmountain, Dave Tozer, Nathan Chapman and Studio 606.

Symphony I/O Mk II raises the bar on all Apogee flagship products that have come before it, offering even better audio clarity and sonic transparency. When equipped with either the brand new 8×8 or 16×16 Mk II I/O modules, Symphony I/O Mk II outperforms all other multi-channel audio interfaces available for Pro Tools HD.

National Resorocket Resonator Guitar Gladesville Guitar Factory | (02) 9817 2173 www.guitarfactory.net

The ResoRocket Steel is one of the newest designs in National’s single resonator series.

This model incorporates a redesigned coverplate pattern to compliment the distinctive Triconestyle grill work. The upper bout has been modified for easier access to the higher frets.

The ResoRocket features are as follows: Solid pegged headstock with a pearloid overlay and National Brand strip style machine heads. The maple sunburst neck has a bone nut, rosewood fretboard, mother of pearl inlays and ivoroid binding. The rubbed, all steel body is fitted with a 9.5” hand spun resonator and maple biscuit.

Scale length is a comfortable 25” and the total weight is 8lbs 14oz or approximately 4.1 kilograms. To sweeten the deal, the ResoRocket comes with an authentic National hard case.

Pedaltrain Novo Series Now Available In Australia EGM Distribution | (03) 9817 7222 | www.egm.net.au

The Novo series is Pedaltrain’s new five-rail pedalboard system. Novo means “a new beginning” in Latin, and Pedaltrain’s new Novo Series is exactly that; a fresh redesign of their market-leading pedalboard design. Thanks to Pedaltrain’s new modified rail system and open front design, mounting pedals and power supplies is easier than ever. Even the smallest pedals make an incredibly strong bond with this new rail system.

Novo’s five-rail design is perfect for players who use true-bypass switchers or need an extra rail to accommodate a variety of pedal configurations. Available in the Novo series are the Novo 18 (90”), Novo 24 (120”) and the Novo 32 (160”).

PG.16 // MIXDOWN #265 // MAY 2016

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PRODUCT NEWS

JBL Unveil New All-In-One Linear-Array P.A System Jands | (02) 9582 0909 | www.jands.com.au

Sonor Drums Reinvent An Old Classic With The Vintage Series Drum Partner | (03) 9416 9521 | www.drumpartner.com.au

Sonor Teardrop kits were built to the highest quality standards and are highly rated by international stars like Connie Kay, Roy Haynes, Sonny Payne or Kenny ‘Klook’ Clarke.

Sonor Teardrop kits are some of the most sought after vintage drums. Using rounded bearing edges; the new Vintage series drums represent the return of the ‘old Sonor sound’ into its product line. Sonor introduced the 45-degree bearing edge in 1975, which is still used today on all SQ2, Prolite, and Force series drums. With the addition of the Vintage Series, drummers will have access to a complete palette of sounds that is uniquely Sonor. Like in the original Teardrop drums, the Vintage drum series feature hand‐selected premium German Beech shells with rounded bearing edges. Sonor have carefully recreated the look and feel of the 1950’s Teardrop lug and updated it with their exclusive Tunesafe system.

JBL has released details of their brand new all-in-one linear-array P.A. system, EON ONE. Created by the world leaders in loudspeaker and line array technology, the EON ONE combines the superior sound quality of a professional system with the convenience and streamlined looks of a compact, column-style solution. Featuring Bluetooth audio, a six-channel mixer and a unique design that can be carried with one hand, EON ONE is ideal for gigging musicians and DJs, coffee houses, fitness studios, corporate environments and more. With a maximum SPL of 118 dB, the EON ONE provides detailed, distortion-free audio. An unobstructed 10” bass-reflex subwoofer delivers tight, accurate lowfrequency response that is ideal for DJs and playing back recorded music. The high-frequency section features JBL’s patent-pending Directivity Control Geometry, which optimizes the spacing and angles of the six two-inch highfrequency drivers. This creates extraordinarily even frontto-back coverage, ensuring that everyone in the listening area hears the sound accurately and consistently. The built-in, six-channel mixer enables users to connect microphones, instruments and other sources. The mixer also features bass, treble and reverb controls to optimise the sound.

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MIXDOWN #265 // MAY 2016 // PG.17

C O V E R

S T O R Y

IRON MAIDEN For me, it was Fear of the Dark. For others, it might not even be the music that first introduced them to Iron Maiden – their branding is so strong, experts suggest there are more of their t-shirts in the world right now than there are people to wear them (if you consider my own imagination as concrete evidence). Hell, it might even have been as the romantic catalyst in that Weezer hit ‘Teenage Dirtbag’.

But unless you’ve been living under the sea, at some point you’ve stumbled upon what has become one of the most successful bands in history. After 2000 shows and a discography so heavy it has its own orbit, drummer Nicko McBrain chats about the band’s notoriety and his own unique style.

“I mean, when anyone tips their hat to you it’s a very nice thing,” says the jovial Englishman. “You see people wearing Iron Maiden t-shirts in movies, you hear of famous people who are fans of the band and they’re proud to show it off, when that happens, it’s great. An accolade from another performer who has been inspired by the music of Iron Maiden, that’s always going to be the best compliment you can achieve. Where those [Weezer] guys did that song, ‘Teenage Dirtbag’, ‘I got two tickets to Iron Maiden baby’, that’s really cool, but whether that influences other people to go and have a listen? I don’t know. I think we do pretty well in converting people by our presence and our music, the essence of what we are. People might know who we are without knowing our music because of the profile of the band! Or even from a song like ‘Teenage Dirtbag’. The way I see it, no news is bad news. If people are talking, it’s good, because hell, they’re talking.”

McBrain is getting close to that Beatles magic number, sixtyfour, and given he first began drumming in small local bands at fourteen, it’s safe to say he’s had a fairly comprehensive musical career and has picked up more than a handful of tricks along the way. Half a century is a long time to perfect your signature, and yet McBrain’s drumming ‘voice’ was championed from the very beginning.

“I think everyone has their own signature. There’s only so many rhythms and so many beats that you can actually do with a drum set, you know, just like there are only eight musical notes with flats and diminishes, stuff like that. It’s how you swing it all together that makes something unique. The personality of the drummer really dictates, I think, how the band …” He pauses.

“Let’s put it this way. If you got another drummer and sat him in Iron Maiden, it would sound different. It would be totally different; likewise with our guitar players. The chemistry really is just right, and when you have that chemistry, you don’t mess with it. And the personality of the drummer is very integral to a band;

PG.18 // MIXDOWN #265 // MAY 2016

We’re usually the best looking guys in the band, and I think a lot of the guys who are out front are happy about that. If we weren’t up the back, everyone would be looking at the fucking drummer.”

most of us are as nutty as a barrel of monkeys, myself not being the exception. I’m absolutely nuts, but I’m passionate about my playing. I played in two bands before, but session work way, way back. But you have to have your own unique identity. And that’s very hard nowadays. In the early days, my comparison was between Keith Moon and John Bonham, and that was one of the biggest compliments I ever got paid in the press back in the late 70s. Nicko McBrain has a unique style of playing – I’m proud of that.”

Across thirteen albums – from 1983’s Piece of Mind through to last year’s #1 album The Book of Souls – that unique style has had a lot of space to move around. “The drummer has always been regarded as an inferior musician; if he’s ever even classed as a musician. We’re at the back; we don’t get a lot of the limelight.

We’re usually the best looking guys in the band, and I think a lot of the guys who are out front are happy about that. If we weren’t up the back, everyone would be looking at the fucking drummer.

As far as my perspective is, I have a job to do. I’m the engine driver with Steve Harris, that’s the heartbeat of the band. You can have a gig where the drummer plays really bad, and you’re a really fantastic band, and that gig is still going to sound shit. Then, you could have a band that aren’t particularly great up front but they have a great drummer, they’re going to sound good.”

At the time we are talking, Black Sabbath are set to tour Australia one last time, having announced that their life on the road and the promise of future studio albums has come to a close. It’s a bittersweet thing for McBrain, but he’s also quick to assure that Iron Maiden have a few more tricks up their sleeve yet. “It’s sad to think of, because Sabbath were such a pioneering band. I actually went on tour with them back in 1974, in Europe, and they’re all dear friends. To think that all these bands from my era, that I grew up and listened to and were influenced by, well, I guess they’re deciding that perhaps it’s time to hang it up. For us, we aren’t ready for that yet. That’s all I can say. There’s still a lot of story left in us.”

BY ADAM NORRIS

TOUR DATES May 4 – Brisbane Entertainment Center, Brisbane QLD May 6 – Sydney Allphones Arena, Sydney NSW May 9 – Rod Laver Arena, Melbourne VIC May 12 – Adelaide Entertainment Center, Adelaide SA May 14 – Perth Arena, Perth WA

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I N T E R V I E W S

SANTANA There are only a select few musicians who were present at the iconic Woodstock festival back in 1969 that are still around to tell the tale. One such artist is Carlos Santana, the Latin-American virtuoso who has spent the last 50 years as one of the world’s most celebrated guitarists. With his band in tow, he went on to dominate the late 60s and early 70s with a trio of albums that are seen as classics of the psychedelic/ Chicano rock sub-genres. That version of the group went their separate ways at the start of the 70s, and the Santana band evolved throughout the years.

It’s only now, some 40-plus years after their final recording, Santana III, in which the surviving members of the “classic” line-up have reconvened for the longawaited Santana IV. “We met at my rehearsal space in Las Vegas,” says Santana, when talking about playing with the musicians from his early days for the first time in decades. “It was just myself, Gregg [Rolie, keyboardist], Michael [Carabello, percussion], Michael [Shrieve, drums], Neal [Schon, guitar] and [percussionist] Karl Perazzo. When Neal arrived, we were already jamming. It felt right from the first note. We just came to have fun, and that was the vibe throughout the entire recording process. It was joyous to look into everyone’s eyes and see the passion and willingness. There

DEVILDRIVER It might not seem like all that long ago that DevilDriver were last spoken of in the present tense.

Their most recent LP, Winter Kills, was dropped in the second half of 2013 and was toured across the globe – including a visit to Australia. What you have to take into consideration, however, is the fact a now-three year gap between Winter Kills and the new DevilDriver record, Trust No One, is the longest fans have had to wait for a new release. Since forming in 2002, the Californian groove-metal perpetrators had a run of the record/release/tour cycle that is near unmatched; devotedly putting out new material every two years on the dot.

“I needed some time with my family,” says Dez Fafara, the band’s vocalist, leader and sole constant through a revolving door of line-up changes. “In total, we took eight months off, but that was still long enough for people to be hitting us up online and being like, ‘Where’d you go?’ We were everywhere for so long, you forget what it’s like to not be around.” In his personal time away from DevilDriver, Fafara took up a side of entrepreneurial work, starting up a surf business with his wife, Anahstasia.

“It’s called Sun Cult,” he says. “It’s been growing phenomenally, so

PG.20 // MIXDOWN #265 //MAY 2016

are things in life that are just natural, and playing with this amazing group of musicians is one of them.

We all fell right into the groove. Everyone had ideas and big ears, so it was all seamless.”

The concept for Santana IV was formulated some three years ago, when Carlos was approached by Schon and asked if he would be interested in the two recording and playing together again for old time’s sake. The story goes that Santana was up for it, on one condition: If Schon was coming back he was to bring the classic Santana line-up with him. From there, it was an on-and-off recording process that saw the album pieced together over the course of two years. “We all brought something to each song,” says Carlos on the writing process. “We all had some songs and ideas we had been developing and brought them into the project. Some worked immediately, others were just organic jams. Some were jams that we rearranged and added lyrics too that became incredible pieces or music. We all had our spices and ingredients to add to the stew. If someone had an idea we just went with it. It was very open.”

Joining the classic line-up of Santana in the recording of Santana IV were two key members from the modern-day inception of the group: the aforementioned Karl Perazzo and bassist Benny Rietveld, both of whom have been playing as a part of Santana since 1991. Despite the combination of members from different eras, Carlos ensured that their contributions to Santana IV were as vital as those of the classic-era members. “Benny and Karl brought a ferocious energy to this project,” he enthuses. They brought their own musical ideas and songs. Karl’s vocals are just incredible on ‘Yambu and Caminando,’ and his playing is sublime. Benny knows how to get inside the note. He and I wrote ‘Sueños’ together. I love what both bring to the table. They’re as big a part of this band as everyone else.”

Another special guest – and, indeed, the album’s sole guest vocalist – was Ronnie Isley of The Isley

I had to be at home to be in direct contact with my board-shapers and the team helping to design the surfwear going out under our label. My kids help run it, too.” He also dispels the idea that he put DevilDriver on the back burner in favour of his original band, Coal Chamber, who reunited in 2011 and dropped a long-awaited comeback album, Rivals, in 2015. “I wasn’t just getting away from DevilDriver,” he explains. “I was getting away from everyone. The reason the Coal Chamber thing worked out was because they set it up with me where I was able to record all of my vocals from home, which meant both getting to complete the album and getting to stay with my family.”

The version of DevilDriver that you see before you in 2016 is one that is almost entirely different from that which recorded Winter Kills. A major reshuffling saw Fafara and long-serving guitarist Mike Spreitzer essentially rebuild the band from the ground up, resulting in a refreshed outlook and a sharper focus.

“The vibe in the band was not very good,” says Fafara in a bluntly honest manner. “I hadn’t gotten along with our drummer, in particular, in a really long time. I kept it together, but eventually it got to the point where you just can’t tour or work with someone you don’t get along with.”

“I knew I had to get a drummer and a guitar player that were not only as good – if not better – than John [Boecklin, former drummer] and Jeff [Kendrick, former guitarist], that also had to contribute ideas,” he continues, discussing the band’s newest arrivals. “We ended up going with Neal [Tiemann], who is just a hell of a dude. He and I were working on a project together for a little while, but when the guitarist position opened up I told him that we didn’t need to do it anymore.

‘You’re joining DevilDriver!’ Austin [D’amond], too, is an absolute beast. He came into it knowing to put a real emphasis on the groove, and he was right on the beat. The energy levels really kicked up, and before you knew it we had 22 songs. We narrowed it

Brothers. Santana himself is quick to sing the praises of the man, who performs lead vocals on two tracks from Santana IV. “Ronnie Isley and the Isley Brothers are more important to me than the Statue of Liberty and the Golden Gate Bridge combined,” he says.

“Their version of ‘Twist & Shout’ is part of the DNA of this country. When we completed ‘Freedom in Your Mind’ and ‘Love Makes the World Go Round’, I was hearing Ronnie. I asked the band if they were open to the collaboration, and they were. From there, it blossomed organically. I had been in touch with Ronnie for over a year after he came to see us backstage at one of our shows. I love his spirit!”

Although a bulk of the music of Santana is instrumental, the bandleader believes that there is something within the composition and the execution of each wordless song that manages to convey the story more than lyrics ever could. He points to ‘Samba Pa Ti’, a track from Santana’s 1970 LP Abraxas, as an example of this. “It’s a poem that came to me while watching a guy on the street, staggering around in the alleyway trying to play saxophone in the alley outside of my window,” Santana recalls.

“He couldn’t make up his mind on whether he wanted to play his sax or take a drink from a bottle. He went to play, and then grabbed the bottle instead. I thought, ‘Man, this could be me.’ The verse, melody and music just came to me at once. I grabbed a pen and wrote the song. The process is different for every song, but there is always a story in the melodies. I am always telling a story when I play. It is part of conveying something real, honest, true and sincere in every note. That is what the music of Santana is about.”

BY DAVID JAMES YOUNG Santana IV is out now via Cooking Vinyl Australia.

down, and there we had Trust No One.” Described by Fafara as “38 minutes of getting kicked in the face,” Trust No One is DevilDriver at their tightest and toughest-sounding; a rejuvenated look at the band that blends their relentless groove-metal stylings with some of the band’s wider influences, such as the early days of the hardcore punk movement (among Fafara’s many tattoos is a Black Flag logo). “I wanted to use a lot of punk rock voice patterns in my vocals,” says Fafara. “We knew from the outset that we didn’t just want this to be stock-standard. We knew we wanted to head into a different territory. We were able to work a lot of that out with our producer, Mark [Lewis], and I think that’s the sign of a great producer. I can sit on the tour bus and pick out who produced 90% of the music that gets played, because so many producers have a stamp. They have such an identifiable sound. Mark doesn’t do that. Mark puts your own stamp on your music, and he keeps the bond sacred by not sharing our secrets with the other bands he works with.”

With all the enthusiasm and liveliness with which Fafara talks about DevilDriver, one almost forgets just how long he’s been at it – indeed, by the time you read this, the man himself will have had his 50th birthday. Despite being almost twice the age of many bands that he shares the stage with, Fafara simply refuses to back down. “Any vocalist that’s on before or after me is getting Hell,” he proclaims with a cackle. “Age is nothing to me, man. I’m extremely active. I’m in better shape now than I was in my 20s. When I was younger, a 50-year-old was in a walker. He was done. Me? I’m skateboarding, surfing, touring and fucking my wife four times a day!”

BY DAVID JAMES YOUNG Trust No One is out May 13 via Roadrunner Records.

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I N T E R V I E W S

REBIRTH Melbourne’s Rebirth is one band flying the flag for the Australian straight edge movement. With a lyrical focus on social injustice, the hardcore lads won’t shy away from promoting their beliefs. Through touring with hardcore’s biggest international acts such as Foundation, Harms Way and Code Orange, Rebirth has established a cult following across the country and internationally. Their debut LP Crucible is their most refined release to date; giving fans everything that they might expect from the five-piece, and even surprising a few with their mature sound for an act that has been together for only two years. We chat with drummer James Hutchins about the Australian hardcore community and the political and social injustices in the world.

Your debut LP Crucible has just dropped. What can we expect from your first full length release?

Well the way we like to put it is 13 tracks of socially conscious fury, exploring themes of oppression, prejudice and ignorance within Australia and the modern world. You can expect a much tighter, more abrasive and overall conscious body of work with our Crucible.

You recorded Crucible at Black Lodge in Brunswick. How was that experience?

Personally it was definitely the best recording experience I have ever had.

KVELERTAK The history of heavy metal on a global scale is one with rich tapestry, a deep mythology and enough tales to fill a library’s worth of books. It’s never more apparent than when one dives into the history of black metal, which is wrought with terrifying stories of death, fire and murder – all of which hit a young Erlend Hjevik like a tonne of Satanic bricks growing up in Rogaland, a county in the west of Norway.

“I was a kid when the church burnings started happening,” he recalls.

“I was pretty terrified of it all – I mean, most things are terrifying when you’re seven years old, but it was quite an intense thing to see on the nightly news. As I got older, I worked my way into listening to metal in high school. I ended up finding myself drawn to black metal in particular – the lyrics, the aesthetic, and the sound. Bands like Satyricon, Darkthrone... even Dimmu Borgir at the time were considered a black metal band. When you’re at the age when you’re starting to become a rebellious teenager, you definitely throw yourself at things like that.”

Although he wouldn’t grow up to burn down any churches of his own, this period of his life is still at least partially reflected through Hjevik’s role as frontman of Kvelertak, perhaps Scandinavia’s most commercially-successful contemporary metal band. Playing what’s known as “black & roll” – a hybrid of blackened metal and the structure and melodics of rock music – the sextet have scored a #1 album in their homeland, opened for the Foo Fighters and cemented

PG.22 // MIXDOWN #265 //MAY 2016

Joel Taylor is a great producer and engineer. He’s a drummer also, so Joel and I had many long discussions over the drumming on the record. We really broke down a lot of the fills and parts on the record to make sure the drums complimented each track as well as stood out. He really pushed me in every take, and it was a great learning experience.

Rebirth don’t shy away from having their political and lifestyle opinions voiced. Do you think it is important for a band to speak out about their beliefs?

100%. Hardcore is the best and most important genre of music because it’s, in my opinion, the only genre of music that has anything to say anymore. Our vocalist Tyronne writes practically all of the lyrics and we all back the message of the band 100%. Personally I do feel it is highly important for a band to speak about their beliefs and thoughts. That’s why myself, and the rest of the band, are so invested in our music, because we feel like we’re actually doing something. We’re not just trying to get on festival circuits or use this as a holiday tool or anything like that. We’re just pushing our message and our music in a productive and positive way and hoping people catch on.

Your record release show even donated a portion of the door fee to the charity Homeground. Do you think the music industry should be doing more to combat many world issues and can we be doing more to spread awareness on these issues?

We always try and donate to charity using profits for places such as the Asylum Seeker Resource Centre and Homeground, as well as Tryonne running Food Of Today, which is where he sets up a station at shows for people to donate canned goods and non perishable food that will be donated to deserving charities and organisations. I think the hardcore scene is a very positive environment, where bands and people use their music, art and other skills to help raise money for charities and organisations. But there can always be more done. At the moment it’s very positive to a solid live reputation through high-energy shows across the world. Their third album, Nattesferd, follows on three years after the critically-acclaimed Meir, and sees the band continue their triple-guitar warpath as they parade through blast-beats, headbanging riffs and banshee howls that can be heard the next town over.

“When we make music, we go with what feels good to us,” says Hjevik. “It’s not a matter of overthinking the process of what we do. That almost happened with the last record – we were going into it, thinking ‘Oh, we should do a song like this, and we should do a song like this. By the time we actually got around to writing and recording it, though, it just kind of turned out the way it was going to turn out. We kind of just decided to let the songs come to us and to write themselves, in a way.”

Ahead of the album’s release, fans got to hear one of Nattesferd’s key tracks, the charging throwback ‘1985’ – a song which, as the title suggests, is a nostalgic tribute to the likes of Van Halen, Iron Maiden, Judas Priest and other arena-filling names from metal in the 80s. From its slamming four-onthe-floor beat to its piercing dual guitar solo – with plenty of pitch-shift harmonics thrown in for good measure – it’s about as nostalgic as Kvelertak have ever sounded. Although Hjevik says it’s not necessarily the kind of music that he grew up on personally – “I don’t think I was ever allowed to listen to metal growing up,” he quips – the love for this music as shared by his bandmates has been hard to shake.

“I probably didn’t really get into that style of music properly until I was in my 20s,” he says. “Before that, it was all black metal and extreme metal through my high school years. I wouldn’t have been caught dead listening to anything else. When I grew up a bit and started to appreciate the classics for what they are, it definitely influenced the kind of performer that I wanted to be. That’s stuff that we

see so many people support and give what they can to charities and organisations through hardcore and punk rock music.

Straight edge culture is a big part of this band.

Do you think the Melbourne straight edge scene is still prominent and what role has it played in the success of the band so far?

It’s definitely alive and well. Even though there is a shortage of straight edge bands at the moment in Australia, there are many individuals in the country apart of the straight edge movement that use it as a positive part of their lives. There are many straight edge bands both in Australia and over the world that have paved the way for us and so many other current bands. Although we are a straight edge band, we don’t exclude anyone that isn’t straight edge from participating at shows or getting involved and hearing the message of the band. Straight edge is about not conforming to drugs, alcohol, smoke and the addictive culture, but it is also about becoming your own person and paving your own way in life.

What about overseas? It seems your music has spread pretty far through the hardcore community.

Do you have any plans on touring international soon?

It’s amazing. We appreciate every bit of support we get and to have interest and support from people and labels in Japan, US and Europe as well as other countries; it’s truly amazing. We’re hoping to hit New Zealand in the coming months. Then after that focus on getting over to Japan and Europe at the end of this year/early next year and the US is definitely on the cards to. We are all very determined to take this band to as many places as we can and for people to hear our music.

BY MICHAEL EDNEY Crucible is out now via Life. Lair. Regret.

Records. all listen to quite a bit, as well – we love Scorpions, we love AC/DC, we love Blue Öyster Cult. We have so much fun listening to that sort of stuff, we figured it would be just as much fun to make a song in that sort of style.”

Although still at a level where they are filling smaller clubs and theatres on an international scale, Kvelertak have very much become a mainstream commodity in Norway. Aside from Meir hitting the top of the charts and the band performing at the Norweigan equivalent of the Grammys, the Spellman Awards, the band have also had a blessing of sorts from the country’s royal family. “When we opened for the Foo Fighters, we were approached backstage by the Crown-Prince of Norway,” says Hjevik, his tone still holding disbelief that the story he’s telling is true. “He went out of his way to tell us that he really enjoys our band. He came to see us when we were doing a show in San Francisco, too.

He arranged this big meet-and-greet with us, and there was all this media there. That would have to be one of the weirdest things that has ever happened to this band.”

Touring in support of Nattesferd is already well underway, with Hjevik reporting that the audiences are already responding well to new material.

“There’s been a lot of people at these shows,” he says, “And thankfully they’re really into it!” As for when the band will make a return visit to Australia, the vocalist is uncertain. “We’re pretty much booked until next year,” he says. “But we’ll definitely make it down there again.”

BY DAVID JAMES YOUNG

Nattesferd is out May 20 via Roadrunner Records.

www.mixdownmag.com.au

I N T E R V I E W S

OLYMPIA For someone who doesn’t think of themselves as a singer-songwriter, Olympia (or Olivia Bartley when she’s in her pyjamas) sure has a hell of a voice and knows how to write some commanding lyrics. From playing in Paul Dempsey’s band to touring with Josh Pyke, City and Colour, Lanie Lane and many others, Olympia’s stagecraft has been building steadily since her self-titled 2013 EP. Now, with the release of her debut album Self Talk, we get to see the Melbourne multi-instrumentalist in full expansive form. She chats with us here about how the album developed, and the exact shape of her literary leanings.

“The first release was ‘Honey’, and I feel like some of the tracks are more accessible,” she considers. “I think ‘Honey’ is that sort of track that artists might like, where ‘Smoke Signals’ is more instantly accessible and fast and bright. I do my writing in a very de-constructed way where I’ll rave for a while, a topic will come up, and then I’ll look at how other artists have responded. From there I’ll look at imagery and really feed it around – and we made the album in exactly the same way. I didn’t take any finished concepts into the studio; it was made musically exactly how I wrote the songs. I think any good artist – whatever they produce – is always going to be reflected by who they are, it’s going to be part of their own voice. Growing up in Wollongong I saw some pretty rough things happen. And in some ways it was just

BOB MOSES Jimmy Vallance and Tom Howie, known together as Bob Moses, created in Days Gone By, a personable and immersive record that reflects no end and no beginning to the creative process. Vallance and Howie informed Mixdown, they’d be interviewing as a team ala Will Ferrell and John C. Reilly in Step Brothers.

Combining classic song structures with Pink Floydesque production clarity is a rarity among bird noises instead of choruses in electronic dance music.

“I love that you say bird noises – we say that all the time! ‘Dude, have we got any bird noises?” laughed Jimmy “We call them spicy noises! We are fans of songs and equally fans of really cool sounding instrumental productions. Marrying the two together made sense.”

Tom offered his thoughts “It’s kind of hard to relate to bird noises on a personal level. When there’s a story in a song, there’s more to grab onto, more to relate to. Bird noises are cool and they are okay when you are at the forefront pushing forward. After a while, it gets hold – how do you make the coolest bird noise?”

The storytelling, inspired in particular by Tom Petty on ‘Tearing Me Apart’, touches on the classic trope – pining for a girl on a night out – is not entirely autobiographical but ‘experience and extrapolation’.

“We prefer to take the initial spark of the situation and try to tell

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a country town, but it gave me a lot of confidence.

The community there is part of who I am. And its definitely given me a sense of humour,” she laughs.

Though it may be drawing a long bow, the journey from a coastal NSW city to the capital of Victoria certainly bridges some significant environmental and cultural shifts, and listening to the depth of Self Talk, there are certainly many influences at work. In the past Olympia has spoken of some of her literary influences – Dorothy Porter, Peter Carey – but throughout her debut, I am more reminded of the colour and complexity of the magical realists, of Murakami, of Marquez.

“You should definitely relate me to Gabriel Garcia Marquez in an interview!” She laughs. “I don’t actually know how much [other writers] influenced me. I think it just felt like I was at a party and there are other people in the room and you’re just kicking around other ideas. I’ve never tried to copy anyone.

But see now and again, like when I was writing ‘Honey’, I remember thinking, well, how did other writers respond to what I’m trying to say? I came across some of Dorothy Porter’s work about a creek, and I don’t know if influence is the word for it ... I sort of feel like poets have written songs better than songwriters have. They can say so much more than we can in so little form, and it’s such a dirty form these days. But while I was writing this, I really looked at poetry just to kick myself in the arse and make it better.”

“I think sometimes bad things happen to good people as well as good things, and so there are a lot of observations on the record that are not necessarily saying this is bad or it should change and should be more like this. It’s more a set of observations.”

To kick-start the album tour, Olympia has recently released the music video for ‘Smoke Signals’, and it’s certainly a memorable affair. It is impressionistic and non-linear, like the kind of dream you’d have after falling asleep at dawn after a disco in 1979. It makes one wonder if the odd collage of sights it presents might not translate across into the actual lyrics; if

Olympia’s writing is not so much grounding us in a narrative as they are conjuring impressions?

“That’s an interesting perspective. I think the songs are kind of about someone’s internal and external pay-off, where sometimes what we tell ourselves is different to what really is. [Like] someone’s fantasises becoming confused with reality. I did talk to Alex [Orlando], the film maker about this story that I really love, which is about a Japanese contestant in a game show where he is locked in an apartment that is completely empty, but there’s a coffee table with magazines and his completely naked and he has to live on the supplement prizes of food and clothing. And they told him it’s not going go live, it’s just a pilot, we don’t know what’s going to happen with it. And of course it goes live immediately, and he is an absolute national sensation and they put an animated eggplant over his you know genitals, you just kind of watch him go crazy. He’s emancipated, he’s starving, but that’s kind of Alex’s inspiration for the clip as well. I absolutely adore and respect Alex the director; it’s completely nuts that he made this clip for us. Any ideas he had, I gave him the freedom to do them, and I think what we have here is amazing. This whole thing is really just so exciting.”

a universal story. A lot of times, when you are writing, you start in one place and you don’t know where it’s coming from, then it takes on a life of its own. You go with it. The lyrics ‘If you’re a joker then I’m a fool’ came out. Then we wrote to clarify those images. We sung the verse in a cool, almost spoken Tom Petty vibe. At the end of the song, we couldn’t decide whether or not we wanted to leave the story open ended. You know, maybe you’re not supposed to get to the end and find out what happens,” mused Howie.

Splitting their time between their own studio ‘The Candle Factory’ and London’s Metropolis Studio, the band sought a more creatively productive way of working in the studio. “We stepped our game up in terms of not unplugging cables constantly.

Everything was wired into the patch bay, and if we ever wanted to go from the Prophet to a guitar pedal, the patch bay was right there. It made writing and getting really cool ideas and sounds really quick and easy” said Vallance.

The band leaned heavily on Ableton gear in the making of Days Gone By. “It was our go-to,” said Tom. “We used a Dave Smith Instruments Prophet 5 and a Nord Lead, MFB drum machine, and a Native Instruments Maschine. We had a MicroKorg and used a Yamaha DX-7, but had to salvage some pre-recorded audio after we sold it!” The band also used a plethora of guitar gear including a Taylor acoustic, Fender Twin Reverb and an Ibanez SG bass. Major effects used across the record included the White Light Overdrive by Earthquake and the Upright Piano sound from Native Instrument’s Kontact 5. The simple goal of the band was “to write really great songs” and “trying to find our [their] unique voice”, which can be tough in the super-competitive world of underground dance music; a genre that has easily risen above all major music trends to reign supreme in today’s music

market.

The band was beaming about their recent experiences at Coachella, which according to Tom, “It’s the best view in the world. It’s the greatest office ever!” The band surprised audiences by rocking up with an extra member, a drummer in their live set. A ten second moment of panic on stage gave them a great spark of inspiration for the future. “A perfect example of the difference – on the second Coachella weekend, second last song, there’s this big build up. The way we rehearsed it, one of us came in one bar early – which meant we had to play an extra chorus and doing the last chorus as just guitar and vocal – it created this super amazing end to the set, which wouldn’t have happened just between the two of us,” said Tom. “It challenges you as a musician and it was really fun. Now even when it’s the two of us playing together, the distinction [between live and electronic] is starting to blur. It’s all just tools and instruments – it feels natural to us.”

BY ADAM NORRIS

Self Talk is out now via EMI.

TOUR DATES MAY 26 – NEWTOWN SOCIAL CLUB, SYDNEY NSW JUNE 3 – BLACK BEAR LODGE, BRISBANE QLD JUNE 4 – SOL BAR, MAROOCHYDORE QLD JUNE 11 – PRODUCERS BAR, ADELAIDE SA JUNE 18 – NSC, MELBOURNE VIC JUNE 24 – AMPLIFIER, PERTH WA JUNE 25 – ODD FELLOW, FREMANTLE WA

BY MATT PETHERBRIDGE

Days Gone By out now through Domino. Bob Moses is currently touring around the country with Rufus. For tour dates, head to www. mixdownmag.com.au.

www.mixdownmag.com.au

I N T E R V I E W S

WE LOST THE SEA Sydney six-piece We Lost The Sea are on the cusp of a national tour where they’ll be playing last year’s Departure Songs LP in full. Departure Songs was the band’s first record since the passing of vocalist Chris Torpy. The loss of a dear friend is likely to impact the sort of music one goes on to create and this is especially true when that friend is also a band member.

Departure Songs isn’t quite as heavy as the band’s first two LPs, but it’s certainly an emotional affair.

“I think playing the older songs after he’d gone was a real heartache, because we’d play the songs and his voice wasn’t there and you’d just imagine it,” says guitarist Matt Harvey. “But we’ve honoured him and carried on that memory through this record. A lot of people write to us really honestly and emotionally about it. It’s really special for a lot of people, because once they read behind the scenes and they know what the album’s about, they relate it to things in their lives. So I think this album will always be special for us and people out there who really like it.”

There’s always been an emotional weight to We Lost The Sea’s music, and this is true even during the delicate, stripped back moments on Departure Songs. You get the sense nothing is committed to tape unless it’s both significant to the band and capable of communicating something to listeners. This suggests the composition of WLTS material is a somewhat laborious process, requiring vulnerability from the band members as well as firm conviction in their creative decisions. As a result, writing music can be an unpleasant experience.

“It takes a long time to get to a point when everyone’s happy with it, then we revisit it later and see if it’s OK,” Harvey says. “It’s a lot of filtering, because it’s three guitarists with three different outlooks and attitudes and influences. Everything has its place and everything’s there intentionally – it’s not just because we need to really enjoy it, but sometimes you’ve got to force yourself to do it.

When we started doing Departure Songs, because the songs are so long and a lot of us work at home before we bring stuff in, sometimes you sit there on the weekend going, ‘I don’t want to be in here. I want to be outside.’ But playing music for us is really important, and when songs start to come together it’s really exciting after months of churning through stuff.”

By virtue of the three-guitar set-up, Departure Songs contains several moments of great sonic intensity. This gives it similarities to hard rock/ progressive metal, and the grandiosity of orchestral music. There’s also a certain breadth of sound, an atmospheric quality, maintained throughout.

Although it’s an instrumental record, each of the record’s five tracks – the final two of which form parts 1 and 2 of ‘Challenger’ – comes with its own story depicting “failed, yet epic and honourable journeys or events throughout history.” These narrative concerns are made manifest in the sonic breadth of Departure Songs.

“When we gave the songs stories it gave gravity to those songs and gave them meaning,” Harvey says.

“The ‘Challenger’ for example, which is the first one that we aligned with a story, and now all I see is just a rocket going up. So for me that’s one of the biggest in terms of actual physical space. Then there are some times, like the quieter moments in ‘The Last Dive of David Shaw’, it really does feel like you’re in a dark space and you can’t see the walls, and it’s either small or large.”

Having left behind the more overt metal influences of their earlier work, Departure Songs has frequently been described as a post-rock record. Post-rock

is a genre made famous by the likes of Mogwai, Godspeed You! Black Emperor and Explosions in the Sky, however this tag has been the subject of ridicule in recent years due to a surfeit of over-earnest artists crassly mimicking the leading practitioners. Harvey is somewhat ambivalent about its use with regards to We Lost The Sea. “The band was a very post-metal band, very Cult of Luna-esque when the vocals were there.

And I think the band was comfortable sitting in that genre because in Australia post-metal’s not a massive thing. I guess post-rock’s a more accessible format of that kind of music. I think [post-rock] is probably just the easiest way to put us into a genre. Also, I don’t also want to be one of those wankers that’s like, ‘Well, we’re genre defying, we’re heaps different and we shouldn’t be labelled,’ because if Godspeed’s labelled post-rock, I’m happy to be lumped in with them. But since the beginning, because the dudes in the band come from a variety of different bands, I think we can still play heavy shows, we can play post-rock shows, we can play with a kind of rocky pop band we can play with a prog band. And I think that’s a really handy thing that we have.”

BY AUGUSTUS WELBY

TOUR DATES MAY 27 – RAD, WOLLONGONG NSW MAY 28 – BEATDISC RECORDS,PARRAMATTA NSW JUNE 3 – SMALL BALLROOM, NEWCASTLE NSW JUNE 4 – HOTEL GEARIN, KATOOMBA NSW JUNE 10 – JIMMY’S DEN, PERTH WA JUNE 17 – THE CROWN & ANCHOR, ADELAIDE SA JUNE 18 – THE OLD BAR, MELBOURNE VIC JUNE 24 – THE BASEMENT (BACKROOM), CANBERRA ACT JUNE 25 – OXFORD ART FACTORY, SYDNEY NSW

PULLMAN MERCURE HOTEL | ALBERT P PARK, MELBOURNE

JULY 1-3, 2016 www.mixdownmag.com.au

MIXDOWN #264 // APRIL 2016 // PG.25

I N T E R V I E W S

TASTE Taste released Rock is Dead in 2008. It was the band’s first record since their initial three-album run in the 1970s, which came to a halt when the band broke up in 1979.

Now, eight years later, they’re back with the single ‘I Am God’, taken from the album Life On Earth, which is due in late May. Although Rock is Dead was a triumphant return, the band members weren’t sure how long the reunion would last.

“The original plan was that if it did well we were probably going to keep going. But it was such a long project to get underway, by the time it had actually run its course I think we probably needed another seven years to regroup,” says vocalist/guitarist Ken Murdoch.

Rock Is Dead came into being after the band were asked to reunite to play at a festival. Once back in the jam room, the idea of a new record became hard to resist.

“I’d written a couple of songs and I said to the guys, ‘Do you want to hear these songs?’ And when they heard them they decided they really liked it, so I went and wrote the Rock Is Dead album,” Murdoch says. “[Life On Earth] was more… a couple of years ago I’d written a short story called ‘The Doppelganger Effect’, and I put it to music and I sent it Michael [Tortoni, bass] and said, ‘I think this sounds like a Taste song.’ He wrote back and said, ‘I hope you’ve got some more of those.’

So we went ahead with it, but we actually dropped ‘The Doppelganger Effect’ in the end.”

NORTHLANE AND IN HEARTS WAKE Next month Australia will see home-grown metal giants Northlane and In Hearts Wake take the stage for one of the most anticipated tours this year.

However, as we soon learnt late last month, the stage is not the only thing the band will be sharing.

Surprising fans around the world, the two bands released a secret collaborative EP. Never have we seen two of Australia’s metal heavyweights join forces to produce something like Equinox. The three-track EP sees the friendship of the Sydney bands taken to new heights, with all 10 members collaborating on each track. We chat with vocalists Marcus Bridge (Northlane) and Jake Taylor (In Hearts Wake) about the two bands’ unique friendship, and what we can now expect on their co-headline tour.

How did the idea to record an EP together surface?

Jake: I’ve always really appreciated the music that Northlane have written, and there is that mutual understanding and respect between our bands. John is the main writer for Northlane who comes up with the meat of the music. And for our band we have Ben. There’s

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While this song didn’t survive, it reinvigorated the band members’ enthusiasm for Taste. They proceeded to come up with another 12 songs, and now album five is ready to go. “[‘The Doppelganger Effect’] got us on a footing of where we wanted to go,” Murdoch says. “I had a few short stories that had unusual lyrics. Like ‘I Am God’ – you know everyone is saying that he’s got a reason for all these disasters and the way the world is going, and the short story was he was actually playing us like a Sims game – so he wasn’t quite as benevolent as everyone thought. So that led the lyrics into that direction about life on earth and what was happening. There’s a song called ‘The Fatal Shore’ about the terror attacks in Sydney, and ‘Is It Just A Dream’ is about kidnapping and murder and necrophilia. There’s not many happy songs on it [laughs]. Even the love song is about the last day on earth.”

The lyrical content mightn’t scream of good times, but the arrangements keep it sounding fun and immediate. There’s plenty of big riffs and massive guitar sounds, courtesy of Murdoch and lead guitarist Joey Amenta. This album also introduces new drummer Damian Corniola, who combines with Tortoni to produce plenty of bleeding rhythmic energy.

“When we did the Rock Is Dead album we were governed by time, because we did it at Sing Sing in Richmond. I thought it was a really good sounding album, but it was a little sterile in mixing. So with this I suggested we record most of the stuff in my studio and then outsource the drums and the string section and some vocals. So we basically spent a year doing it and then we outsourced everything.

It was very easy to spend a month on harmonies for one song. There was no time restriction. We jokingly were going to call the album ‘Epic’ because it was developing that theme in the mix and the use of strings and big guitar sounds. Then when we got Damian in; because he’s such a fine drummer it

became even bigger.”

Murdoch relished the opportunity to self-produce the record. “I really got to spend a lot of time doing what I wanted to do on Rock Is Dead, but just didn’t have the time. There’d be a song that maybe we started nine months ago and I’d listen to it and think, ‘The melody for the song is wrong.’ So we’d get another approach to it and usually it worked out.”

Murdoch also took care of a few of the final mixes.

However, he felt it necessary to pass the majority of the mixing duties onto someone else. “I mixed three tracks, but it was outsourced to Angus Davidson, the sound guy for Crowded House. He did most of the album and then the last two tracks were sent to a guy called Benny in a great studio in Boston. He’s a drummer, so he brought a lot of the drum tracks out more.”

When going through the mixing and mastering procedure, Murdoch drew attention to a few records whose sonic characteristics he appreciates.

“Matthew Gray, the guy that mastered it, he said, ‘Do you want it really loud?’ And I said no. I wanted it to breathe. So I referenced Abbey Road by The Beatles, because I just think it’s so clean but powerful; and then I referenced Sheer Heart Attack

by Queen, because I thought those harmonies are really cutting but it hasn’t lost any of the power; and the third album was one of the Foo Fighters’ albums which I really like the sound of – I think they’re going too far over with the compression and mastering now, but some of the older ones had a lot more breadth. So a combination of those three seemed to work well.”

usually always someone who gets the fire going.

We have spent many a time at each other’s houses over the years, on tour and off tours hanging out.

Through conversations, it came up a couple of years ago that one day it would be cool to create something together, whether it was In Hearts Wake and Northlane or just a few of the members. Last year it really came into a discussion where we both thought the timing was right in Australia where we could pull this off together of equal merit. We were both ready to take that step and that collaborative approach to what were doing.

Marcus: Yeah, it felt like the right time to do this, and with everyone kind of on the road and hanging out and having barbeques in the car parks… I don’t know the vibes just felt right.

forces on one stage… these shows are going to be huge!

Jake: We don’t even know the full scale of what we are going to achieve, but we have some ideas. It’s not going to be a conventional show where one band plays one set, and then the next band plays their set. We want to take the approach we took to writing and recording Equinox and bring that to the stage. Audiences will see both bands on stage at the same time playing these songs, and it’s going to be interesting to say the least.

Marcus: We still have to practice don’t we?

Jake: Yeah, well Northlane are off to Europe, and we are at Groovin’ The Moo, so we will have to wait until we are all back we will have to look at what we can pull off. I don’t have any doubts about playing Equinox. We have all performed our pieces and are capable of playing it, it is just a matter of how many lines we can get into the mixing desk [laughs].

Talk us through the writing process. How did you coordinate the songs between so many of you?

Did you find it awkward at any stage or find your ideas clashed?

Marcus: Each band started with a song that we had come up with for this project. As we slowly started building it, everyone came to it with their own ideas. Once we got into the studio, that is when the real collaboration happened. It wasn’t too bad I guess in terms of clashing. Everyone knows each other very well and get along pretty well.

Jake: Yeah, I think you have got to be flexible with ideas. Everyone knows their roles and knows what’s good and what’s bad. I think at this stage we are professional and seasoned enough — on our third and fourth releases — to know the good ideas and the bad ones. There is a lot of trust that goes into it. We brought in what we had and it just really flowed and came to completion within six days.

I can’t think of any other time in Australian metal history where two heavyweights join

BY AUGUSTUS WELBY

TOUR DATES JULY 1 – CROWBAR, BRISBANE QLD JULY 9 – FOWLERS LIVE, ADELAIDE, SA JULY 14 – FRANKIE’S PIZZA, SYDNEY, NSW JULY 16 –THE CORNER HOTEL, MELBOURNE VIC

We know you are good friends, but Jake is there any beef with Marcus because of their recent ARIA win (with Node just beating out Skydancer)? If you win an ARIA for Equinox does that mean IHW get to keep it?

Jake: [laughs] No way. I would have been cut if one of us didn’t win it! In the grand scheme of things, if Northlane or In Hearts Wake won it was a win for the family. Now we get to do an EP with an ARIA winning artist so I’m stoked [laughs]. I think it is a fantastic thing for our label UNFD as well.

BY MICHAEL EDNEY Equinox is out now visa UNFD. Northlane & In Hearts Wake will be touring around the country this June. For details, visit www.mixdownmag. com.au

www.mixdownmag.com.au

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A D V I C E

C O L U M N S

More Arpeggios!

BASS As mentioned last issue, arpeggios can be a great way to spice up your bass lines. Knowing the chord quality gives you more options and understanding of what notes will fit. It can also help with creativity when writing your own lines.

Figure A is in a latin style and contains notes from a C minor 9 arpeggio.

Remember, lines such as this one that don’t have open strings can be easily transposed quickly by moving them up or down the neck. Try moving it up to work over Dm9 or Em9 by moving the patterns up 2 or 4 frets respectively.

For some solid quavers in a hard rock style try Figure B. Based around E minor you can use fingers with your right hand or try a pick for some edgier attack. Try to get the quavers as even as possible for a smooth and flowing sound.

the root note. The opening bar of Figure D starts on the major 7th of C and then descends through a major 7th arpeggio.

This example could work in a funk or fusion context and make sure you try it at a variety of tempos to see what works best. Arpeggios are just notes of a chord so although we might not often play actual chords on bass, they’re nothing to be afraid of – enjoy!

BY NICK BROWN

Figure C uses dominant 7th patterns.

Common in jazz, blues and rock and roll these type of sounds work well both in a straight and swung 8th note feel. The dominant 7 arpeggio has been the basis for many famous bass lines so make sure you familiarise yourself with the scale degrees 1, 3, 5 and B7.

Rhythmic variation can add interest and don’t think you always have to start on

More Legato Licks!

GUITAR As a follow up to last month’s introduction to legato playing, we’re going to look at a few more applications of the technique and throw in some more advanced examples. Start at a slow tempo and build from there; it’s easy to get frustrated and become disinterested if you can’t do things relatively quickly, so remember that it might take some time to get the technique sounding correct.

Figure A uses some Mixolydian sounds.

Pick the first note on each new string and hammer on the remaining notes. Work on your articulation to keep the hammered notes the same dynamic as the picked notes and remember to roll your little finger on the last two notes (B and E) of the lick.

Whilst long legato lines can sound great, it’s also worth experimenting with small phrases. Combine these snippets with other rhythms and you can get some interesting syncopated ideas (Figure B).

Try this lick over an Am6/9 or even a D7 or D9.

Figure C works over a II-V progression.

Watch the slides with your 3rd finger from E to G in the first bar and G to A in the second bar. The F# semi tone bend in the second bar adds another dynamic to the sound. It’s worth trying both your 3rd and 4th fingers when jumping for the last note of the phrase (C#) to work out the most comfortable and clear sounding option for you.

To finish, try this straight sixteenth note line (Figure D). You should be able to sweep the E and G notes near the start of the phrase, with consecutive downstrokes across the D and G strings and the C and E on the B and high E strings. Make sure of the slide from E to G across the last note of Bar 1 and the first note of Bar 2. This moves you into position to play the end of the phrase in the higher registers.

We’ll get stuck into a different topic next issue. In the meanwhile, we’d love to hear any feedback, comments, suggestions or ideas. Until then, keep on practicing and gigging guys and gals!

BY NICK BROWN

PG.28 // MIXDOWN #265 // MAY 2016

www.mixdownmag.com.au

A D V I C E

C O L U M N S

The Rotary Speaker In All Its Glory KEYS There is a certain sound – a certain modulation – that has become synonymous with Hammond organs over the years. This is driven by a number of factors, not least the engine within the organ and the drawbar features that give these keyboards a unique tone in their own right. But, it’s what sits alongside these organs in so many instances that really has been the driving force of a sound that has shaped many musical genres. I am, of course, talking about the Leslie speaker cabinet. There are a wide range of powered speakers available on the market that work very well in the role of keyboard amplification, many specifically designed for just such a purpose, but none have ever achieved quite what the Leslie has with such infamy and brilliance.

The Name Behind The Box

It is not uncommon for people to refer to a certain sound or effect as a “Leslie sound” without really knowing what it’s all about. Many a synthesizers and keyboards have had “Leslie” patches in them with a modulating volume that has become a trademark for that certain sound over the years. Like the “Tannoy” speaker, or the “Dreadnought” guitar, it’s easy to see how such an influential design has become part of our language in describing a specific something. But, there is a lot more to the Leslie name than just a label, there is a very real idea behind the brand and a very definite user group that still makes the most of the original design and speaker system that carries the classic name.

What Happens Inside

The effect we continue to refer to when speaking about a Leslie is the modulation that their speaker cabinets achieve from a somewhat simple idea that has been perfected in design and style. Just as a tremolo effect modulates the sound by raising and lowering the volume of an audio signal, the Leslie cabinet creates a similar effect, but in a far more organic manner that results in a sound quite unlike anything else. You see, within the housing of a Leslie speaker cabinet – like most traditional speaker cabinet designs – you will find two sections, the horn and the woofer, but the Leslie has a difference. The horn is in fact two horns, mounted on a slight upwards angle pointing away from each other.

This makes no real sense in classic sound

reinforcement design, as it offers no direct projection of sound. But, when the motor drive is engaged, it all makes sense. The key is that these two horns are mounted upon a rotating motor that spins the horns around as they produce sound. What results is a directional effect as the horns move around in their circular motion, having one point directly to the audience for a brief moment until it moves away and off axis. At the same time, the speaker that was pointing away from the audience moves off axis too but begins to swing around towards the audience.

This all happens in a moment and continues over and over as the speakers rotate. The effect is quite unlike anything else and cannot truly be replicated by a modulation plugin or effect within a keyboard or computer, as the sound can be heard moving both left and right at the same time, from a single fixed location. To further this effect, the low frequencies driven by the woofer are given movement too. But, as the woofer itself it too cumbersome to allow it to rotate, it is fixed with a rotating barrel directly in front of its throw of sound, creating more of a tremolo effect in the lower registers.

What A Spin

When engaged by a Hammond keyboard, the Leslie speaker offers a very unique form of sound reinforcement that is unmatched by any digital effect that has followed in its ideas. The 11-pin conductor cable that is used with these devices allows for not only audio to be sent along the cable, but control voltage signals too. What this means is that the speaker’s movements can be controlled by the keyboard player as well. So, the speed of the horns

rotation can be adjusted to suit as needed, with a slow, hypnotic rotation being offset by a frantically fast spin to give added depth to how the organ sounds. Rotation can be fully stopped from the controller too, returning the Leslie back to being more of a traditional speaker design until the motor is started up again. There are all sorts of effects pedals, rack units and software plugins that have tried to emulate this sound over the years. And while some of them have been convincingly close, they still lack the essential element of the Leslie and that is the variation of direction in sound. People have often thought of the Leslie sound as being something worthy of having its own name and creating it requires the original Leslie design. When you hear it, you’ll know what that sound is – it’s a Leslie.

BY ROB GEE

The Fallout From Musikmesse 2016 DJ So, it has come around to that time of the year again where manufacturers, distributors, retailers and musicians all converge on Frankfurt for the annual Musikmesse trade fair. Now that the dust has settled after all the madness, we are able to see what some of our favourite brands have in store for us in the coming months. As always, there was plenty going on in Frankfurt this year, with brand new ideas and developments on previous products that will get a few heads turning for sure.

Round In Circles For Boss

One product that certainly caught my eye this year was the RC-202 from Boss. Boss and Roland are always looking to progress with their products and don’t ever do reissues of previous products, so you can all rest well knowing that this is not just a rebuild of the old SP-202 that many of you might remember from years gone by. I for one have owned about half a dozen different 505’s over the years, each one acting in a very different manner to the previous. So, with the RC-202 we are in for suggestions of the SP-202, but with a whole new vision and workflow.

Designed to build on the guitar looper products that Boss is getting so much success with of late, this unit is a smaller version of the RC-505 that was released a few years back. In difference to the guitar products, these are designed to work as a desktop unit specifically with DJs and producers in mind.

Floor control is still an option with extra footswitches, but this is very much a handson experience for live music production. For those of you who are prepared to put in a

little time getting to understand the subtle nuances of the interface, a great deal can be achieved with this unit from what has been seen so far.

New Avenues For Pioneer

For anyone and everyone involved in live DJ performances in the past 20 years, it is hard not to have worked with Pioneer products at some point in time. In the modern technology-based DJ market, Pioneer have certainly been leading the way for some time, dominating the marketplace with a huge range of products aimed at DJ performance.

Now, they have taken the plunge into the production world in a more serious way.

Inviting Dave Smith of Sequential Circuits to get involved in this new project, Pioneer has joined the game with a very strong introduction in the Toraiz SP-16. In a nutshell, it’s a sampler. Also, it’s a pair of Dave Smith filters. Plus, it’s a groove-box and sequencer. Most of all, it’s a game changer.

There is plenty going on with this device and it is going to appeal to a wide range

PG.30 // MIXDOWN #265 // MAY 2016

of users. Many will feel familiarly at home with certain aspects of the layout with a pad based sample trigger grid on one side, a step based sequencer layout across the bottom and a full colour, multi-function LCD screen delivering plenty of information for those that rely heavily on a computer screen for info. Synth nuts are going to love the addition of the two Dave Smith analogue filters in the Toraiz, giving this device a more organic sound and feel to many other units on the market. And this is what Pioneer seems to have been aiming at with the entire design, as it will operate as a stand-alone production and performance centre without the need of a computer to be involved. It can be usedwith a PC or Mac for more power, but it has been built with the idea that you can integrate into your hardware DJ setup and it works like a sound engine in its own right.

Where this comes into its own is that Pioneer has now delivered us a product that can be at home in both the studio and the DJ booth and transfer easily between the two. It makes it so simple to bring your studio production into your live performances with the one

machine, without the need of a computer and audio interface. Being a hybrid of so many products, the Toraiz SP-16 is going to bring together a wider user base and should put them all in the same ballpark. Keep an eye out for this one.

Nothing Native

Despite picking up a bagful of awards in what seems to be a regular event for Native Instruments, they were not showing new products at Musikmesse this year. That said, there has been plenty going on at Native Instruments’ basecamp in the way of software updates and special promos. With it now being more than a year since their new STEMs audio systems made waves, NI have launched a promo on the Traktor S5 and D2 consoles that will run through to the end of May, making it the best time to get into STEM audio performance at a reduced price. We will just have to wait to see what is in store from NI as to new products as we all speculate as to when Komplete 11 might be released.

BY ROB GEE

www.mixdownmag.com.au

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A D V I C E

C O L U M N S

The Pressure To Succeed PERCUSSION As a professional drummer – I call myself that – I often have significant arguments with myself about what a professional drummer actually is or should be. This is also coupled with the overwhelming pressure of trying to live up to what a successful drummer is or should be. What the heck is going on here?

As a student, I idolised my teachers. They were the people I was trying to be; the drummers that played with everybody and guys that could cut both the rock world as well as the jazz world. They could play in any situation. I wanted to be a drummer that could do the same – be gigging all week with different bands and artists. In my mind, to be a successful drummer, I would need to be the guy playing on TV with the latest and greatest person, but I would also need to be doing the super creative jazz gig at clubs in the city with the best players.

As I started to progress on the instrument, gigging (any gig) was really the only way to be able to hone my skills, so I took anything I could get – shows, weddings, parties, free gigs – anything.

This process also allowed me to network and learn to be able to finally move into the ‘big’ gigs later on. Every day there was the hope to be able to play with the biggest artist, do the big gigs and tours.

This was always in the back of my mind and I wasn’t a successful drummer until I

was doing so.

As time progressed on, the big gigs didn’t really happen as fast as I would have liked. As it turned out, the stuff I really concentrated on in my practice – the fast licks and chops for example – weren’t the fundamental things that the gigs required.

Most of us understand this. I learned this the hard way when I was asked to fill in for a well-known drummer. My timing was all over the place when some charts were thrown in front of me. The pressure of the gig really got to me and my confidence levels plummeted. I then tried my best to correct my timing and worked with a metronome when I could. Live and learn, still not successful.

Over the years, I did eventually get some good gigs and was fortunate enough to work with some big artists. I was able to tour with Leo Sayer and record three successful albums with Russell Morris among others. These were milestones for me as a player, but…

Did I tour with world with Prince? No. Did I ever become the awesome jazz drummer

that played with the super Jazz cats? No. Am I knocking back gigs every weekend because I’m so busy and rich? No. Are my circumstances different? Do I have a family and other commitments too?

Yes. The real questions aim back to the original. Was I ever really successful? Am I still a success?

The answers to these questions are still yes. Starting out as a drummer, the pressure to succeed in the scene is immense. There’s the real disheartening feeling that comes when you lose a gig to another drummer or you see those players that are clearly more advanced than you on the instrument cutting your lunch. The thing is, for me, I do a lot of weddings. I try to play with people that are awesome and who inspire me to be a better player and I admit to myself that as long as I’m on the drums I’m ok.

Those weddings pay bills, are fun and the bride and groom leave very happy. Yes, I’d like to play the massive, massive gigs all the time but I need to also remind myself that no matter how small the gig, if

there’s some self-satisfaction that comes out of it, it’s a good gig and I’m being successful playing the instrument. I’m also able to be at home too.

The grass isn’t always greener. I know now, that even though I love Jazz, my heart was somewhere else. I just thought I had to be a Jazz drummer to be accepted.

The last point I’d like to make is that sometimes, the grass isn’t always greener. Try not to strive to be the kind of drummer that dwells on being accepted. This is just me however, and I can be very self doubting. I still have to encourage myself. Everyone is different here. If there’s anything I can say from experience, it’s that the gigs tended to come and I was most content as a player when I was on top of my game – my game, not everyone else’s. Now, go enjoy yourself.

it will give you more highs and deeper lows; that’s rubbish too. A piece of cable, no matter how expensive, is not going to improve you signal. But, a cheap one will worsen it, and having heard a cheap cable, you should know this for yourself.

Lesser quality guitar cables do two things to your signal: they add to it and they take away from it. The problem is in what they add and what they subtract. To start with, poorly shielded guitar cables will add noise. There is no mystery to this, it is a simple fact as they will pick up interference and carry it along the signal chain.

In the subtractive side of things, the cheaper cable will take away volume to begin with. This may be heard in lower frequencies, higher frequencies or overall volume, but one thing is certain, it will affect the overall tone in doing so, by not allowing the complete signal to pass through unaffected.

you are running between several effects pedals, those little patch cables have just as much ability to let you down as the cable coming out of your guitar. The cheap packet of six patch cables for ten dollars does seem appealing compared to spending thirty dollars for just one. But, in the scheme of things, considering what you may already have spent in getting your tone right, you really need to get the cable right too.

I have made my own cables for the past twenty years now, knowing that when I make them, I know what has gone into them. There can be no concern for the quality of the audio path when I know all the components used are of a quality I trust. You don’t need to go to this extreme though. You can take the lazy option and have your local guitar store make these cables for you. They might be a little more expensive than the ‘off the shelf’ variety of mass produced cables, but you can dictate what goes into them, before your signal does. Remembering that what you are spending on an apparently ‘expensive’ cable is really a very small proportion of what you have invested in your entire rig to begin with.

BY ADRIAN VIOLI

Finding The Right Cable For The Job STUDIO Something that astounds me, and something that I continually come across, is how little so many guitar players care about the cable they use from their instrument to their amplifier. What is even more mind boggling is that these same guitar players will invest so much time and money into guitars, pickups, pedals, valves, speakers and amplifiers, only to let the entire rig down with a substandard cable. It’s amazing to think that anyone was prepared to, after all that investment and search for tone, save a few dollars on your lead because “they all do the same thing really”. And I hear it all the time. Well, that old adage of “the signal is only as strong as your weakest link” often gets forgotten when it comes down to cable choice. And when you are in the studio, this is when you really will need that extra quality and hear the difference.

Don’t Believe, Just Listen

I could rant on for days about what this cable will do for your sound and what that cable will do for it. But, most guitarists don’t want to be told their gear is rubbish, even when they know they went for a cheap option on a cable. It seemed “good enough” and they don’t want to be told otherwise. The only way some guitarists will believe is to not be told, but to simply listen. The results will speak for themselves.

In order to bring this idea to reality, you can all do a simple test at home. Most of you will have a decent cable that you like to use for recording or live use. At the same time, you should have a really cheap, nasty cable, like the one that might have come included with a guitar you bought, with a very thin shielding

and moulded ends. Let’s take these and do a quick A/B comparison. Take your amp and set it up for a fairly clean tone with a good volume and plug in your guitar with the cheap cable. Turn the guitar up to full volume and listen without playing a note.

Now, pull the volume down, swap cables and listen again. You should notice a drop in noise right away. Now, go back to the first cable and play a chord. Let it ring out and listen. Swap back to the good cable and play the same chord, without adjusting anything on the guitar or amp.

Now listen.

Add And Subtract

The fact is, a cable should not add anything to your tone. Don’t believe any salesman who tells you a cable is going to improve your tone, suggesting that

PG.32 // MIXDOWN #265 // MAY 2016

Get The Cable Right

With all this taken into consideration, I wonder how many of you are now considering your cable choices in both your live rigs and more importantly your recording setup. This goes for all your cables along the signal chain too. So, if

BY ROB GEE

www.mixdownmag.com.au

NIKKO McBRAIN IRON MAIDEN

DANNY CAREY

GAVIN HARRISON

BENNY GREB

STEVE SMITH

CHRIS COLEMAN

JOJO MAYER

F E A T U R E S

Sakae Drums For a few years now, there’s been this “new” brand of drums on the market and they’re getting around. Sakae have broke onto the scene with some great products, the only sad thing is this that if you ask a lot of drummers about Sakae, they may not realise just how much they really do know the company. That’s because they have a stunningly rich history of drum making, and the chances are you’ve actually played their shells before.

History The company was started in 1925 in Osaka Japan under the name Sakae Rhythm and was originally responsible for making school percussion instruments.

They consolidated their knowledge and skill to develop construction techniques unique to Sakae with a focus on quality, using woods sourced from Japan. The big break for the company came in 1967 when major brand Yamaha Drums approached the company to be their exclusive supplier for drum shells. This partnership lasted for over 40 years and produced some of the most well-known and sought after drum kits in history. Of all the models, the Yamaha Recording Custom – constructed from all Japanese Birch and made famous by the likes of Steve Gadd and JR Robinson is the one that stands out the most to me. These drums were used on countless sessions and recordings for so many artists and were renown for their shorter sustain – perfect for the studio.

Other models such as the Maple Custom have also been a staple for so many drummers over the years. The list of artist endorsees for Yamaha drums is as long as you can imagine.

So, isn’t Sakae still making shells for Yamaha?

Actually no. In very recent years, the decision was made by Yamaha to move their shell production from Japan to a specific Yamaha factory in Xiao Shan, China, and Sakae Drums now had something of a choice to make in light of this change to their operations and which direction they would take for their own drums.

This gradual split from Yamaha, sparked the dilemma: where to from here for the Sakae drum company? Fortunately, Sakae decided to maintain operation under their original name and to subsequently release their own line of drums using

the same widely regarded construction techniques they’d always used and keeping manufacturing in Japan, just as it was in the early days. This was for the sake of quality as well as out of respect for tradition.

The company’s president Eizo Nakata inherited Sakae from his father and was faced with the challenge of what to do.

His choice to stick to his guns stems from the history and ethos of a company that has always strived for excellence. In his own words, he proudly claims – “My family and I are committed to the traditions of making instruments of the utmost quality and excellence. Corporatism and the desire to become the biggest drum company in the world are NOT our priorities. What IS our priority is making musical instruments that my father, grandfather and the legendary artists I have grown up with, would all be proud of...”

From a drummer’s perspective, given that Sakae have such a real and proven history behind them with the experience and knowledge, there is solid ground to investigate the current offerings from the company as it stands now and stick with them – even if they don’t have a Yamaha badge.

At their core, Sakae actually has the desire not to be the biggest drum company in the world, but one that maintains and continues the traditions that so many legendary drummers grew up with. You have to respect them for that.

The sound coming from the new lines of drums from Japan speak for themselves too. In particular, two flagship models are worth discussing for their importance to the company and what they can offer drummers of today that are looking for a top end instrument and that familiar sound.

PG.34 // MIXDOWN #265 // MAY 2016

Almighty Birch

Trilogy

The Sakae Almighty Birch is actually an evolution of the Almighty Maple series and features 8-ply bass drum shells with 7-ply floor toms and 6-ply tom toms. The drums are carefully crafted; plies painstakingly staggered in the mold for a minimal seam. The new Almighty Birch has some distinct and unique features such as the mounting hardware for the toms, which attach to the base of the drums rather than from the top. At first, it looks a bit odd but then appears to make sense and is much less obtrusive than some other designs. You still get 360-degree swivel adjustment too for easy placement as well as a super sturdy hex rod arm to clamp the toms to. The design promotes easier tuning and better isolation through less pressure on the tension rods. Featuring all chrome classic looking lugs and hardware and triple flanged hoops, the Almighty has serious presence and comes in some awesome finishes from sparkles to natural grain stains. It’s a modern flagship that touches on that much sort after studio sound that made the Sakae Rhythm Company famous.

The Trilogy line aims to cater for those drummers looking for a more vintage sound overall – throwing back to the design of drums from the 40s, 50s and 60s. This is evident through the fundamental choice of a 3-ply shell all round for this kit – lighter, open and full. The shells are constructed of 1-ply of poplar, sandwiched between 2-plies of maple. The drums also feature the ultra cool 3.5mm/4mm North American maple reinforcement rings top and bottom inside the shell for aided durability, roundness and a slight dampening for that classic vintage sound. The inside of the drums have a grey-sprayed finish, a much more rounded 60-degree bearing edge for less attack and feature a great vintage badges.

There’s less weight in general on the drums and with the added lighter tension rods and lugs, the Trilogy is less heavy to carry but has a warm and true tone.

Under mics, both the Almighty Birch and the Trilogy aim to maintain that studio/ recording sound that everyone strives to achieve and they have that almost EQ’d sound live.

Overall, Sakae Drums is striving to get through to everyone that they aren’t a ‘new’ company – far from it. They’ve always been here and now, even though their badges and their designs look different than before, there’s a familiarity to the sound of the drums that players will recognise and love. They just want you to try them.

BY ADRIAN VIOLI Sakae Drums are distributed throughout Australia by Hot Apple Distribution. hotapple.com.au.

www.mixdownmag.com.au

F E A T U R E S

PERRY ORMSBY of ORMSBY GUITARS THE AUSSIE GUITAR BUILDER WHO’S TAKING ON THE WORLD AND WINNING! Luthier Perry Ormsby makes incredible, world-class custom guitars that can comfortably stand toe-to-toe with the greats. Demand for his instruments is so high0 and his fanbase so rabid, that Ormsby has now added the GTR line: guitars designed by Ormsby with input from a dedicated Facebook group of passionate guitarists, then manufactured at the World Musical Instruments factory in South Korea, the facility responsible for instruments by brands such as LTD, Schecter, Dean, Strandberg, Prestige and PRS SE. If you manage to get your hands on one of these instruments, you’ll find that they’re great guitars with incredible attention to detail and a flawless setup each passing through Ormsby’s workshop for a final setup and tweaking before going out. So why can’t you find them in stores? That’s something that’s playing on Perry’s mind.

“We have sold, literally - not including the recent release, which is another 350 guitars over a week - 2.8% of the entire Australian market for guitars over the last twelve months, and we did that in six days,” Ormsby says on the day of his GTR runs. “But retailers are not interested in the slightest in even talking to us and I think that is absolutely crazy. We’re offering the same margins as everyone else, we’ve got the hottest product right now and we’re offering something that’s totally different to what has been in every store for years. We’ve surveyed our clients and we’ve got all the info of what

these players want if they could get a custom-made guitar, and we’re putting it in a production guitar and we’re selling them by the boatload, and yet retailers aren’t interested.”

Ormsby makes a great point: walk into any store and you’ll find dozens of, twinhumbucker metal guitars from different brands - often from the same factory his GTR line is made in - sitting happily sideby-side. But none of them are offering what Ormsby does: multiscale fannedfret designs, custom-designed pickups, finishes voted on by the end users rather than a marketing committee who figure black is just the safest bet… Heck, there’s even a new headless run called the Goliath which looks incredible. Ormsby guitars could happily sit alongside other brands without eating into their sales.

“We’re coming in with multiscales, which you can’t buy from a shop. They’ve got stainless steel frets, which every metal guy has heard about but hasn’t been able

to feel how amazing they are. We’re giving them a case included in that, and we’re surveying them on what the hottest trends in colours are and what they want, and then we’re giving it to them. If you were to ask me twelve months ago, would baby blue be an option for a metal guitarist, I would have said ‘hell no.’ But that’s what they want, so we made them. We made pink guitars and we sold a heap of them!

I would never have thought that was something that was going to be popular.

What was the least-popular colour? Black.

What’s the most common colour you see on the wall in the guitar shops? Black.

People are sick of it. We’re giving them something different and they’re buying them.”

Currently you can get in on a GTR run via the Facebook group. “We sold 800 instruments in 11 days,” Perry says.

“Now, I’d much rather deal through retails so I don’t have to deal with the individual orders coming through. I’m sitting here looking at my desktop and there are 95 orders that came in today.

People are telling us ‘If I could go down to the shop and try that out, I’d buy it today.’ Especially with something like we’re selling, it’s a multiscale with a different feel and a different look, and it intimidates a lot of people, but as soon as they try it, a lot of guys find them easier to play than regular guitars - but they’ve got to try them! But retailers don’t jump on board so we do it. We do barbecue days in each state: we organise a rehearsal space, we put on a barbecue and we invite

everyone down and we make sure there are 20 guitars there and most of the guitars are gone before lunch. If a retailer wants to jump on board we’re gonna absolutely help ‘em out! We do have a store in Sydney that was entirely funded by presales of our guitars. He jumped on board, ordered 40 instruments, sold them within a couple of days and that gave him the capital to start his business. It’s crazy! And you’ve got long-established stores that won’t give them a look in. And it’s always the same thing: ‘Where are we gonna put them on the floor?’ Mate, get rid of the stuff that doesn’t sell!”

BY PETER HODGSON For more information on Orsmby Guitars, head to www.ormsbyguitars.com.

THE ANALOGUE PROJECT By Audio-Technica

THE RECORD STORE

The Record Store is located just east of the Sydney CBD, right in the thick of Darlinghurst’s cultural melting pot. It immediately stands out from the surrounding buildings thanks to a graffitied exterior wall, which is liable to be re-designed overnight. The store’s been there since 2003, seeing through plenty of changes in the pulse of Sydney’s music scene. It’s by no means the only record store in town, but it’s always had a unique personality.

“We’ve got a Diggin’ Sydney guide with over 30 shops,” says co-owner Stephan Gyory. “In terms of electronica, we’re probably the only shop that sells house and techno and electronic music and what have you, and 12-inches.” The Record Store initially established itself by catering to the needs of club DJs, and it retains this function. However, they haven’t stubbornly ignored the fluctuating trends. “In the heyday of when DJs used to have to use 12”s there were 14 shops up here,” Gyory says.

“They all had a separate specialty, but then one by one they went. We used to be specialists in breaks and drum and bass, but then breaks ceased to be popular and house and techno [became more popular]. Having said that, breaks is now rearing its head again. The sound always wanders around.”

In recent years, the vinyl stock has significantly broadened, appealing

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to fans of everything from house and techno to dubstep, drum’n’bass, jungle, funk, soul, hip hop, jazz, blues, rock, indie and reggae. “We’re a proper record store now, as well as being a DJ shop,” Gyory says. “We sell albums and second hand and turntables and headphones and needles and that kind of stuff. But we still maintain our electronic heritage – 12-inches is probably a third of what we do.”

While it’s not as DJ-oriented as it once was, The Record Store still sells DJ turntables, needles, cartridges and headphones as well as offering vinyl cleaning and de-warping services. But in accordance with their utilitarian expansion, they also offer AudioTechnica home hi-fi turntables and general purpose headphones.

“By far and away our biggest turntable stuff is the home hi-fi, so the [AudioTechnica] LP60 and LP120,” Gyory

says. “When the DJ thing shrunk and it all went online and everyone was downloading, a lot of DJs had to go digital because that’s just the way it was going. But they all got there and they all went, ‘This is no fun.’ So a lot of them buy records and just record them, and when they can buy vinyl they will; when they can’t they’ll play digital.

“The reason we called it a record store and not a shop is because we wanted it to be more than just a DJ shop. And Audio-Technica was actually instrumental because Wes [von Grabill, brand manager] came in and he said, ‘I fucking love your shop. I want Audio-Technica in here, because at the moment we’re selling in places that are not cool and this is cool and I want my brand on your wall.’ ” It’s no secret that Sydney’s position as a live music hotspot has been threatened in recent years due to increased urbanisation and the introduction of stringent lockout laws. However, this hasn’t quashed the music community’s blood flow, nor has The Record Store struggled to find an audience. For Gyory,

the store’s primary success has been its contribution to the local culture.

“People come in and go, ‘Why don’t you have this Cold Chisel record? Or why don’t you have this Beatles record?’ I’m like, ‘Man if you know what you want, you can get it anywhere.’ So what’s the raison d’être? You have to look at what distinguishes you, and it’s always in the community. That sounds glib, but you can sit in your bedroom and download music, and go to a gig and get wasted and shout in someone’s ear and never get to know anyone in your community.

But if you’re rubbing shoulders in a record store – we do mixes every second week, we’re always drinking beers. It’s a place where people get out of their own particular little part of the dance music community and where they can socialise.”

BY AUGUSTUS WELBY The Record Store is at 255B Crown St, Darlinghurst NSW. The store opens at 11am Mon-Sat and 12pm on Sunday.

MIXDOWN #265 // MAY 2016 // PG.35

F E A T U R E S

DAVE THOMPSON of AUDIOFLY THE HEADPHONE SPECIALISTS Headphone design and manufacturing company Audiofly launched in Perth in 2011. From the outset, Audiofly aimed to distinguish itself by virtue of the excellent sonic detail, clarity and warmth of its products. Audiofly CEO Dave Thompson has been engaged with music since a young age, and his founding principle was simple: to create products that would help musicians do better things.

“I’ve been a musician all my life, played violin since I was five and then took on electric guitar in high school,” he says. “Then I got into making guitars, and that was probably the thing that got me dialled into threedimensional products.”

The Audiofly product range includes in-ear headphones, in-ear monitors, and premium over-ear headphones, catering for the consumer and professional markets.

“The first core range of products was more consumer based products, but we had one product within that, which at was a hybrid,” Thompson says. “We were using a dynamic speaker as well as an armature speaker in the same headphones. So it was a dual driver, but a hybrid dual driver. The idea with that was that you’d have more of a natural bottom-end because of your dynamic driver that, which typically has a better bass response, and then a tweeter effectively in the form of an armature driver.”

The product in question is the AF78 premium in-ear headphone. Thanks to its unique composition, Audiofly won an innovation award at the 2013 Consumer Electronic Show (CES) in the USA. “It was kind of the first time anyone had

done it,” Thompson says. “There was a few products like that on the market, but when we released ours we marketed it right, we told the story about the sound benefits. That product is what helped us stick around as a new headphone company.”

Earlier this year the Audiofly team were back at CES to premiere a trio of new products, one of which is the second instalment in their over-ear headphone line.

“The AF250, that’ll be out probably in the springtime,” Thompson says. “That’s a bluetooth set of cans. So we recently launched our first set of overhead headphones [AF240], which is just a 40mm driver, passive headphones, good sound. We started shipping the product late November.”

Also unveiled was the AF100 entry level in-ear monitor and the high-end AF1120 in-ear monitor. “[So it’s] one at the absolute low-end and one at the top, high-end. We already had four on the market, and the monitor range has become our flagship. It’s helped us as a new brand to further differentiate. It’s actually opened up the doors to the pro audio industry, which is a lot closer to my heart as a musician, but also where I think Audiofly wants to go as a brand.”

With the rise in densely produced home recordings and technology-assisted live shows, an increasing number of amateur musicians are looking to utilise in-ear monitors. The AF100 was designed to service this outbreak of curiosity, appealing to musicians who mightn’t want to fork out large sums of money just yet. The AF1120, meanwhile, is at the other end of the spectrum.

“It’s a six driver monitor, so it’s got a dual low, dual mid and a dual high speaker configuration. It sounds really good – really amazing bass response out of an armature speaker.”

Now, Audiofly’s achievements in the professional arena shouldn’t draw attention away from its consumer product range. Along with award-winning AF78s, Audiofly produce three other premium in-ear headphone varieties. These are more affordable than the AF78s, but they still deliver exceptional sonic detail.

“Our two lowest end products are the AF33 and the 45. The 33 is a $40 headphone with a 9mm dynamic driver in it, so it’s effectively the same kind of thing you’d walk into JB

Hi-Fi and see on the shelves. But it is ported a bit differently – the internal structure of the shell has more of a trumpet like shape to it, which ultimately eliminated any dead spots of sound within the headphone. A lot of headphones at that price, they’re not dialled, the drivers aren’t really tweaked. So that’s the extra value we did bring to that lower end stuff.”

In a time when music gets listened to while walking down the street, sitting on the bus, moving through a shopping centre or cooking a meal, Audiofly’s products allow you to circumvent the background clutter.

“Everything’s gone through a fairly detailed sound assessment and tweaked the way we want it. Our sound curve generally has more of a mid-range presence than a heavy bass.

It’s easy to have a bassy headphone, but we try to mix a bit more mids in there to get that detail.”

Line 6 users can trade, download and rate presets for free. While the Ideascale product feedback page harnesses the experiences of users in an effort to improve Line 6 products. Both of which are products of a two-way relationship, shared between developer and consumer.

“First of all we appreciate there are certain message boards that have organically become… a magnet you could say for certain types of guitar players,” says Ryle. “It’s different for different countries, we try to participate in a lot of those things. But one of the challenges that can happen is sometimes there can be one or two very loud voices on a message board that may not really represent what people really want or what concerns them. So we take all of that very seriously, but we actually have another tool that we host called Ideascale, which we try to route guitar players to, where not only can people articulate what it is they want maybe, they wish it has a particular model that we don’t have or they wished for a specific feature – but all the other participants, they get to vote on the ideas.”

As Line 6 celebrates 20 years of digital

music innovation, its vision remains resolute. “We want to make tools that are really meaningful to artists and musicians, the only way to be sure you’re doing that is with a lot of interaction,” says Ryle. “So we have artists that come to the shop, we interview guitarists, we do focus groups, we do all kinds of stuff like that along with the things online. And because the people at Line 6 [that] are doing this are also artists and musicians themselves, it’s not like you’re speaking a foreign language. You’re just talking to other like-minded people.

“We know we’re onto something when, as happens quite often with something like Helix for example, internally we’re all excited and think this would be awesome, and then we hope that when we talk to people they agree. It’s great when you get that confirmation – you show it to people, you test ideas and you get that positive feedback. It’s really gratifying.”

BY AUGUSTUS WELBY For more information about Audiofly’s range of products, head to www.audiofly.com

MARCUS RYLE of LINE 6 26 YEARS OF DIGITAL INNOVATION This year marks the 20th anniversary of Line 6. As a pioneering force behind musician-focused gear they introduced the world’s first digital modelling amp, and manufactured the POD multi-effect system – the unit that bridged the gap between great guitar tone and digital capabilities.

Now a prominent member of the Yamaha family, Line 6 continues to find digital solutions for guitarists where others can’t. A challenge that the company’s co-founder and President, Marcus Ryle, continues to relish.

“Well we hope to be some of the cause of those shifts,” he says, reflecting upon 20 years of industry growth. “I feel like that’s really our job, to try come up with new ways to create tools that can really inspire musicians, change how they do things in a way that lets them fully explore their creativity. Hopefully it just continues to keep evolving. I think it’s a great time to be a guitarist because there are so many great tools today, compared to what existed 20 years ago.”

“It really doesn’t seem that long ago we were trying to convince people that digital wasn’t a bad word. And so it’s been a remarkable journey, it’s been a lot of fun.

There’s still a lot more to do though.”

It’s this hunger and endeavour to think beyond the status quo that has ensured the longevity of Line 6. Their commitment to creativity and performance personified in, what is arguably their greatest achievement to date, the Helix guitar processor. “Helix went through many years in development and I think as a company gets older it’s kind of like a person getting older, you get more mature, you learn more,” says Ryle.

“We built a whole new DSP engine with much more power than before, we re-did our modelling from scratch to make sure we could capture the most minute detail of what really is the source of sound. And I’m equally proud of the work the team did on making something that’s so versatile, so very easy to use.”

In today’s ultra-competitive guitar-effect market the desire for complex features that are equally easy to grasp and utilise is paramount. Helix ticks both of these boxes, yet as is the case with the majority of products that offer digital programming, has undergone a number of evolutions since its mid-2015 release. “It’s a platform [where] we’ve already done a number of updates,” Ryle explains. “We have a team that’s really engaged with guitar players, with thousands of guitar players that are constantly giving us feedback and suggestions, and we continue to do updates to add more and

more capabilities.”

The online arena is an area with which Line 6 has wholly embraced and, in doing so, undoubtedly excelled. With the CustomTone online virtual marketplace

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BY CHRIS SCOTT Line 6 is distributed throughout the country by Yamaha Music Australia.

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F E A T U R E S

A CLOSER LOOK AT THE FOCUSRITE RED4PRE From beginner bedroom producers using the Scarlett 2i2 introductory interface, right up to studios using the Clarett 8PreX, there is almost unrivalled flexibility in the Focusrite range. The Red4Pre is the latest and greatest release in this much-loved interface range, and will fit in as well in the home studio as in a professional setup. The pinnacle of the range 56-in/64-out device, the Red4Pre combines four mic preamps with Thunderbolt 2, Pro Tools HD and Dante network audio connectivity and is jam-packed full of features.

One of the most impressive qualities of this interface is its versatile connectivity.

Thunderbolt 2 connectivity allows easy connection to any DAW, as well as the lowest round-trip latency from Focusrite, which lets you absolutely smash the system with plug-ins and effects and not experience any lag or latency issues. The Thunderbolt ports make daisy-chaining additional components like hard drives and displays not only possible, but

easy. The Red4Pre also features twin DigiLink connectors for easy connection to any Pro Tools HD system or existing Avid interfaces, and Dante connectivity straight out of the box.

Dante audio-over-IP networking enables you to simply and cost-effectively link your Dante-compatible components and devices together. Expansion is easy through Dante, and linking devices together can open up new possibilities.

For example, using the Red4Pre in conjunction with a RedNet A16R via Dante connection will add 16 I/O channels into the studio. Whilst this expansion might be costly and clunky through other modes of connection, Dante facilitates it with ease, connecting simply through Ethernet cables and ports. The Red4Pre can connect up to 64 additional channels via Dante networking.

Another handy feature of the Red4Pre is the Red Evolution mic preamps found on board, complete with Focusrite’s unique ‘Air’ effect, which recreates the analogue sound of the mic preamps in the classic ISA range. The preamps deliver clear and honest audio, with –129 dB EIN and 63dB of gain, meaning you can seriously crank the volume if needed. The controls for the preamps are on the actual device, meaning you can avoid your computer screen for on the fly adjustments, allowing you to stay in the moment

creatively.

Coming with the hardware is a software bundle, which includes the new Focusrite Control software, Softube’s Time and Tone Bundle and the Focusrite Red Plug-in Suite. Users will be especially stoked about the Softube software, with the professional quality plug-ins TSAR-1R Reverb, Drawmer S73 Intelligent Master Processor, Tube Delay and Saturation Knob all included.

The Focusrite Red4Pre looks like a serious machine, if you’re in the market for a device along these lines you could do worse than giving it some thought.

BY ELIJAH HAWKINS Focusrite is dristributed throughout Australia by Electric Factory. For more information head to www.elfa.com.au.

TWO NOTES LE PREAMP SERIES PEDALS Two Notes came to prominence in 2009 with the release of the Torpedo VB-101, a cabinet simulator in a stompbox format. In the same spirit of innovation; they’re set to drop their latest product line. It took the company’s president, Guillaume Pille, and his trusted team of engineers 4 years to produce this kind of high-end technology, but they’re now about to bring out a brand new range of pre-amp pedals. Pille – a guitarist, composer and signal processing expert – started the company with the idea that all guitarists and bassists should have access to products that previously could only be accessed by studio and live sound professionals. This means that we have our hands on some game-changing equipment, the Le Preamp series.

The series includes the Le Bass, Le Clean, Le Crunch and Le Lead pedals; a premier group of tube pre-amplifiers developed to replace conventional tube amp setups. All of the pedals have two channels: A and B. The first channel generally deals with cleaner tones, with each specific pedal having different forms of tone, while the second channel provides overdrive with varying levels of grit and purpose. On top of these channels, the pedals have cold and hot fusion capabilities. Cold fusion is used specifically to bring together both channels. Hot fusion is essentially a distortion channel, a step up from Channel B’s overdrive. The pedals are all incredibly innovative pieces of equipment, reacting to guitars in the same way an actual amp would.

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LE BASS

The first pedal, Le Bass offers two channels with the ability to fuse them together in order to create the desired sound. Channel A provides the clean setting, ideal for the modern bass player with a vast array of tone, and has one of the quickest response times going around.

Channel B is tailor-made for rock and roll – full of punch with crisp break ups.

Things get interesting though with the cold and hot fusion functions, the cold fusion brings together both channel A and B giving the instrument a very diverse sound. Hot fusion is designed to distort and get some really mean sounds, perfect for metal and hardcore bands.

LE CLEAN

This pedal was developed with the sweet tones of Southern California in mind. So what exactly does that mean? Inspired by Americana music – ranging from blues to folk and gritty rock and roll – this is the pedal to use that’ll get the glory of vintage tube amplifiers. In much the same vein as the Le Bass pedal, channel A is the cleaner tone, for the more subtle blues or folk stylings, while channel B has an overdrive tone made for ‘60s garage rock revivalists.

These channels are again complimented by the cold and hot fusion functions, giving a great range of tweed-driven blues rock.

LE CRUNCH

Le Crunch recalls the sound of British invasion bands, but also has the ability to achieve ferocious noises that are associated with guitarists who are keen to detune and wreak havoc. Channel A is throaty but still clean; the awareness of tone discreetly reveals hints to the realms of distortion that are capable on channel B. This pre-amp is loud and boisterous, holding little back and perfect for those inspired by ‘70s rock bands. The hot fusion is for the unhinged, detuned guitar players that want to burst the ear drums. Le

Crunch is a really great pedal for guitarists playing any form of rock music purely because of its diversity, there is plenty of variation in tone that gives guitarists a lot of freedom to work with.

LE LEAD

While the Le Crunch pedal is capable of the kind of sounds desired by thrash guitarists and hardcore bands, the Le Lead is better suited to indie rock, combining warm fuzz tones and high gain resulting in some great tonal textures. Channel A is where to find melodic tones, clean but not too dry with similarities to the Le Crunch pedal’s A channel. Channel B has the overdrive that enhances the textures of channel A but keeps things tight and responsive, never allowing the sound to get too muddied. And the hot fusion provides the big sonic bang with plenty of gain and sustain. The combination of the EQ’s allows the sound to drift between fuzz, rock and even metal genres seamlessly.

BY AJ PINK Two Notes is distributed throughout Australia by Innovative Music. For more information head to www.innovativemusic.com.au

MIXDOWN #265 // MAY 2016 // PG.37

ROAD TESTS Sonor Prolite Maple Drum Kit Drum Partner | (03) 9416 9521 | www.drumpartner.com.au | RRP: $4,999.00 - $6,999.00

Sonor drums have been a staple in the drum scene for years now. I know I’ve certainly grown up lusting over them as student, and I still do. German precision, outstanding design and quality sound are all very attractive attributes. Sonor are also good at inventing and implementing new innovations to their drum designs. At the pointy end of the Sonor family of drum kit range is the Prolite. The Prolite sits up the top of the family tree under the SQ3 flagship and the Vintage Series Perhaps though, the Prolite is a great combination of the two – more on this later.

I DON’T EVEN NEED TO HEAR IT…

First impressions? The looks – definitely the looks. Damn, it’s a nice thing. The particular example I got to check out was a striking silver sparkle 5-piece kit – 22x18” bass drum, 10x8”, 12x8” toms, 16x16” floor tom with a 14x5.5” snare drum.

The finish on the drums is exceptional as is the hardware and fittings. The Vintage all maple shells are 4mm/9ply (6mm/12 ply for the bass drum) and feature 2mm reinforcement rings for strength and a vintage vibe. All shells feature the Sonor Cross Laminate Tension Free Process (CLTF) and Optimum Shell Measurement (OSM), which has a slightly narrow outside shell measurement to ensure a great head contact.

The bass drum featured the Advanced Projection System (APS), which incorporates rubber isolation on the tom mount to minimise direct contact between wood and metal, whilst promoting sustain. The

same APS is also on the bass drum spurs and floor tom legs.

Speaking of bass drum spurs, the legs on the bass drum are potentially the sexiest objects ever. It’s nothing new to Sonor, but the curved legs simply fold under the bottom of the bass drum. Memory locks put things back exactly as before and the spurs themselves can easily convert from rubber to metal by turning the foot. Sonor have even thought about the clawed lugs that have rubber inserts to prevent scratching the hoop and the tension rod is recessed to minimise damage/snagging in cases or bags.

All the drums feature Sonor’s TuneSafe lugs that are designed to prevent tension rods loosening or the need for lug locks. This kit didn’t have the ‘Sonor only’ design tension rods, meaning you can use any drum key you desire, which I prefer.

The toms were attached to the bass drum through another extremely well designed item.

The tom holder features tom

arms with 360 degree adjustment ,but the rod itself actually has the ability to slide through the ball joint, meaning you can literally move the drum anywhere you want, including back and forth giving you the ultimate and precise positioning.

OK, I WANT TO HEAR IT NOW… From the moment I started playing the Prolite, I was immediately impressed with how much presence and low-end frequencies I could hear. The thin shells really speak with an instantly favourable, sustained and controlled sound. There’s a real focus to the tone of these drums. Even the bass drum has the same controlled sound regardless of how much dampening is inside. I tried tuning the toms at a variety of tensions. Sonor claim that the thinner vintage style shell has an amazing tuning range.

They’re totally right. Even the 10” tom, tuned way down sounded awesome. As the tension increased, so did the note and sustain. I mentioned

the word ‘focussed’. There are little overtones, which allows for wide open tuning. If you want to focus even more, a little dampening does the trick perfectly. I just loved the presence of this kit. It feels expensive – a quality instrument that would actually challenges you to produce the sound you want.

So, as mentioned, the Prolite could be looked at as a nice combination of the stunningly modern SQ3 and the Vintage series with its thinner shells and old school sound. The Prolite, for some will be the ultimate drum kit. Looks hot, sounds unbelievable and can stand up to any gig. If you’re after a pro kit,

Khazan Bullet Series Cymbal Pack Jade Australia | 1800 144 120 | www.musocity.com.au | RRP: KP1-BULT 14/16/20: $349 | KP2-BULT 14/18/20: $369 | KP3-BULT 14/18: $299

Khazan have been on the scene for some years now providing drummers of all levels with affordable and interesting options for cymbals. In fact, for a beginner, there’s really very little else that can compare with Khazan on bang for buck. For the non-beginner, there are some cool sounds to cater for the individual with a keen ear, but still on a budget. Today, we’re looking at the entry-level range of cymbals called Bullet, and they’re available in packs.

LOCKED AND LOADED

Khazan Bullet cymbals are comprised of 62% copper and 38% zinc and are handmade in China using a very old cast process that dates back to 1100BC. The cymbals have a brilliant finish with lathing and specific hammerings on both sides, to result in that unique, slightly angry/trashy sounds that is Khazan. The Bullets are available in three pack configurations depending on your preference. The standard pack features 14” hi-hats, 16” crash and a 20” ride, which is what I got to try for this road test. An alternative pack features an 18” crash instead of the 16” and there’s even a budget pack with just the 14” hi-hats and an 18” crash. The great thing is

that all packs come with a free 10” splash cymbal and a heavyduty cymbal bag. This is so good for a student that’s getting their first lot of cymbals, as a bag is hardly the priority let alone a splash cymbal.

READY, AIM…

Across the board the sound is bright and cutting. The Bullets play like normal cymbals, but are really designed for drummers who hit harder. Their thicker construction means they’ll withstand a beating, but realistically at the price of ultimate musicality. The ride however, is very versatile with a nice wash and crash, and the bell isn’t too loud. The hats are crisp - a little ‘pingy’ perhaps - and don’t have a whole lot

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of sustain when open, but give a decent sound to blend with the snare and bass drum. The splash is short and more belllike in tone but quite soft and definitely a contrast to the rest of the cymbals – definitely an effect. The crash is realistically the weakest cymbal in the pack, being very thick for longevity but not particularly musical as a result. That said, hitting it harder gives you the desired effect and really, you have to understand that Khazan have made these cymbals with the mindset that some players will definitely be harsher than others; so the thicker construction is necessary to give some real life

to the cymbals. In terms of style, the rock drummer will be most at home, but the ever so slightly lighter weight of the ride cymbal means you have a more versatile cymbal that is musical and well thought out, with a good bell.

It’s easily the stand out of the range for me – something you can ride or crash as necessary.

BULLET PROOF

So, as we can understand, the Bullets are the budget range of an already extremely well priced cymbal brand, but the sound of these particular cymbals is still very good for the cash. As far as getting yourself set up in the game, these Bullets should be an

you need to check out the Prolite – full of features, heritage and an amazing sound. So good.

BY ADRIAN VIOLI

HITS • Quality design that is packed full of great features • Shell design handles anything you throw at it • Fantastic sound with presence and punch – a dream kit

MISSES • Price will frighten some people • I can’t afford one right now • Not much else

option as they have a reasonably predictable sound straight away and longevity in their build.

They present an excellent way to get cracking and actually get a decent sound – particularly the ride cymbal. Compared with other budget cymbal packs on the market, I think frankly, the Bullets are better than anything else at this price point.

Ultimately, these cymbals won’t rock everyone’s world, but when you consider the price and the amount of cymbals you actually get, they’re a better option than what you’d get with most kits and, drummers starting out.

By Adrian Violi

HITS • Absolutely unbeatable value for a beginner cymbal pack • Ride cymbal’s versatility and musicality • Free splash and cymbal bag with every pack

MISSES • Hats can be a bit pingy

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ROAD TESTS

Pearl Crystal Beat Drums Australasian Music Supplies | (03) 9549 1500 | www.austmusic.com.au | RRP: Contact For Pricing

Not many people may remember this, but Pearl actually released an all-acrylic shell drum kit way back in 1978. It was called the Crystal Beat. Well folks, it’s back and what that means for us drummer peeps in Australia is that we now have a serious contender to battle the likes of Ludwig, Tama, DW and C&C. The thing is, Pearl have some little tricks up their sleeves, which means the Crystal Beat could be the choice to go for.

WEAR NICE PANTS

So, the Pearl Crystal Beat shells are clear – so you can’t hide.

They look awesome and have some unique features as well as some things that belong on more expensive Pearl drums. You get 6mm seamless acrylic shells that are moulded, not rolled, so there’s no seam or weak point.

You also get Pearl’s opti-mount for more sustain, Pearl heads as standard, matching acrylic bass drum hoops in the same colour, drum lugs unique to the Crystal Beat, recessed bass drum claws, air suspension floor tom feet and three cool finishes. Oh, and a razor sharp 45 degree bearing edges with a rounded apex. All other features are very striking.

I had a go on a Ruby Red and the craftsmanship, fit and finish are awesome. It’s a great looking kit.

YOU GET TO CHOOSE

Normally when you buy a drum kit – unless you’re willing to sell your first-born – you’ll have to choose from pre-determined configurations. Only the super top-end drum makers, and only on their top end kits, allow you to actually spec your own set up. Well folks, us Aussies can do just that with a drum kit your Nanna can afford. Yep, you heard right. The drums are priced individually rather than strictly as a kit. So, you just choose whatever drums you want and make your kit! Gold!

Choose a 24” bass drum with only two floor toms. No worries – completely your choice. You can even spec different colours for each of the drums from the finishes available. As mentioned, they’re all priced individually and this includes colour. So go Jelly Bean! The best part of all this

is that you can just add another drum if and when you feel like it and it won’t be a crazy special order that costs you a kidney.

Lovely Pearl. Lovely.

BUT THEY’RE NOT WOOD…

You won’t care when you start playing these babies. If you think about it, the inside of a wood shell is deliberately sanded as smooth as possible to promote a surface for sound to bounce around. An acrylic shell is perfectly smooth inside, so there’s actually a tonne of resonance to the shells. Wide open, they’re very focused but speak beautifully with a real punch. So, they look like they’ll punch you in the face and they sound that way too. There’s so much presence. The toms were really easy to tune across the range. The mid range was the

sweet spot, which is often the case but I reckon you can have them a bit lower and they’ll be killer through a PA. The 16” floor tom I tried had some balls too, and if I was spec’ing a kit for myself, I’d go bigger to get the full rock vibe. The bass drum possesses the same qualities as the toms too with the same punch and presence. Add it all together and you get a kit that, for the value, punches above its weight. You don’t get the full spectrum of tone that a wood shell gives you, but then again, the Crystal Beat doesn’t try to do that. Instead it rewards with an overall bright tone and projection to knock over the people in the front row. There isn’t an actual Crystal Beat snare available but you can get Pearl’s excellent free floater with the same acrylic shell – which is

Zildjian 20” A Custom Projection Crash Australasian Music Supplies | (03) 9549 1500 | www.austmusic.com.au | RRP: $549

Drummers in search of high volume, balance and face melting properties all in one crash cymbal; your prayers have been answered.

Back by popular demand is the immense 20” A Custom Projection Crash. The A Custom line of cymbals were an instant hit years ago when Vinnie Colaiuta teamed up with Zildjian to explore the idea of taking the standard A series and moving them into a newer direction.

As the story goes, when Vinnie contacted Zildjian with the idea, they actually had a similar idea, and so the A Custom line was born.

The idea was to have a more transparent, thinner and prettier sound with fast crashes and blended rides, but as it turned out we got a bit of everything from the A Custom line. They were all of the things they were designed to be but as they progressed, additional variants gave options for rock drummers and harder hitters who wanted the same brighter characteristics of A Custom as opposed to the darker Ks or traditional As. The Projection crash was one of these newer designed variants, and I got to check out the biggest sibling in the A Custom crash house. The Projection crashes are available from 16” but if you need big? Go 20”.

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IF LOOKS COULD KILL

For those in the know, the A Custom look and design needs no explanation, but it’s worth going over because if looks could kill, a large A Custom Projection crash would be a murderer. Featuring a strikingly brilliant finish, the Projection Crash features the minimalistic and familiar rotary hammering of all A Customs. In a 20” size, it’s a large beautiful thing, shining away under lights – kid in a candy store stuff. The cymbal is cast from B20 bronze and is actually medium-thin in weight with an oversized bell.

I CAN’T FEEL MY FACE

The 20” Projection lives up to it’s name with ample amounts of volume and (wait for it) projection. If you need a crash to literally take off the top layer of skin of someone in your band, this one will do pretty well in achieving this for you. That massive bell is largely responsible for this throw in projection. If you look at the A Custom fast crashes for example, they speak quickly and decay away just as quick. They also have a very small bell. The bigger the bell, the more sustain and projection you get.

The bell on this glorious crash is just as useable as your average ride cymbal.

DOES MY BUM LOOK BIG IN THIS?

Let’s get back to the weight.

Don’t get me wrong, it’s a big heavy cymbal but this is just because of the size. I don’t know how Zildjian have done it, but the Projection Crash has a broader range of abilities than you might think, and I can only put it down to the weight. If you hit the daylights out of it, it’ll scream, cut and be the loud crash you expect. Crucially for me as a drummer of a wider variety of styles, you don’t have to hit it that hard to get some response and a softer crash with real musicality – quite the contrary in fact. It really opens

killer – so you’ll be laughing.

Overall – a total winner? Yep. Shut up and take my money. I’ll have an Ultra Clear thanks.

BY ADRIAN VIOLI

HITS • Fantastic value with awesome configuration choices for total personalisation.

• Great and unique look • Punch and volume from acrylic shells

MISSES • No snare as standard • Shell pack only

up easily with the lightest touch. The slightly lighter weight also means that there’s some wash if you use the tip of the stick on the bow of the cymbal enabling for a nice, general crash/ ride. Some player will buy this cymbal specifically for this reason and I would probably be one of them. Quite often I need a ride cymbal that I can dig into and crash. This Projection Crash would suit very well. Overall, the sound is brighter and higher in pitch than the darker lines from Zildjian – to be expected. So, you get that cut required and a sound that will speak over the band, yet somehow, there’s still that transparency and shimmer that Vinnie Colaiuta was aiming for. As I said, I honestly thought this 20” Projection crash would be a one dimensional demolition cymbal, but I was pleased to find a much more versatile instrument. It’s a great blend of dangerous and pleasant. It’s a cracker.

BY ADRIAN VIOLI

HITS • Fantastic projection without the need to overplay • A usable sound with versatility • Could double as a ride

MISSES • Might be too much for some players at full whack

MIXDOWN #265 // MAY 2016 // PG.39

ROAD TESTS Zildjian A Flash Splash Australasian Music Supplies | (03) 9549 1500 | www.austmusic.com.au | RRP: $179

Avedis Zildjian – where it all started. The A Line of Zildjian cymbals have been a staple for so many drummers for years. They’ve always been here – amongst the darker and perhaps more exotic Ks, as well as their close cousins the A Customs. Through it all, the As have remained a fantastic and natural all-rounder and a great place to start when you get into the realm of cast cymbals. They’ve added a really interesting set of splashes to the family and they’re called Flash Splashes. When the A line was re-engineered in recent years, the response was incredible and I was one of the converted. Zildjian had managed to refine an already good sound and offered some truly cracking models. So when they announce any new cymbal model, everyone pays attention.

PETER ERSKINE

Master drummer Peter Erskine ought to know a few things about cymbals and he had a definitive hand in creating these new splashes. The theory is that statistically, there are three types of splashes – the traditional ‘ragtime’ kind (think the end of the trad jazz tune), the percussive type splashes (where a drummer might have multiples set up in sizes as small as 6” for use as an actual substitute for a drum per say) and the bell like splash that has little ring and a very short ping.

The Flash Splash aims to bridge the gap between the old school and the new school.

The A Zildjian B20 Cast Flash splashes have a unique look for an A Zildjian. They take on the similar make up as the Akira Jimbo Hybrid line with a lathed natural finish combined with an unlathed brilliant finish bell.

They certainly look the part and it’s this look that starts to put images into your mind as to what they’ll actually sound like. I think all drummers do this – see a drum or cymbal and imagine the sound they’ll make just by the look of the instrument. The thing is, for me, these splashes were actually different to what I was expecting but in a good way. They’re really good.

DID I MENTION THEY’RE GOOD?

Compared to a standard A splash, or even a K Splash that has the same make up for the whole cymbal, the new A Flash Splash is brighter with a longer sustain and more delicate edge. The bell especially gives two distinct sounds on the cymbal itself – not that this is how you would necessary play it, but the sound does combine the bright cut from the polished bell and the thin, light, washy sustain from the bow of the cymbal. It’s great to play within a set up because of the way the cymbals blend and the frequency. They open up very quickly with little to no effort at all (the paper-thin

weight helps this) but they also cut – (the heavier bell helps with this) so as you can imagine, there’s a lot to like. Overall, I loved these new Flash Splashes.

There’s just the right amount of everything in them and they really appealed to the way I play.

I’m not the hardest hitter but I was really able to modulate the output with how I played them.

Softer hits yielded more wash as apposed to the abrupt cutting accent when struck harder.

Basically, they don’t just lose all their quality because they’re not being smacked. There’s a very versatile instrument here that would suit a variety of styles and entice the drummer to move away from using them as just

an effect type cymbal. They are brighter than you’d expect an A to be though and they do have a modern sound rather than traditional, but I suppose this is the whole point. Peter Erskine describes the sound as a bit ‘dangerous’. I can see where he’s coming from but considering these Flash Splashes would suit any style or situation, I’d say they sound a bit ‘awesome’. The ability to make a splash cymbal that doesn’t just sound like a bell and one that is actually versatile as a splash in itself is a truly great thing. I don’t just think that Zildjian has nailed it with these Flash Splashes but I think that they could just be the best splashes they’ve made yet.

Big call? You bet, but they’re really that good.

BY ADRIAN VIOLI

HITS • What a splash should sound like • Amazing musicality • Balanced gorgeous tone

MISSES • Wish they did these ages ago • Might be too thin for some players

Pro Mark Select Balance Drumsticks D’Addario | (03) 8761 6293 | www.daddario.com.au | RRP $21.99

My first contact with Promark was in 1997. I was watching a Modern Drummer Festival that featured then Pat Metheny drummer Paul Wertico. (Google Paul Wertico Modern Drummer Festival 1997). The guy played with fire and creativity and bought tones out of the kit I’d never heard. The highlight for me was when he covered his kit in a bed sheet and started hitting it with these red plastic tubes. I had to have a pair, whatever they were. After some research. i found and ordered my first pair of Promark Tubz. I still have them.In 2011, D’Addario purchased Promark, and they have continued the tradition of innovation that Herb started back in 1957. Promark have the tightest weight and pitch tolerance in the industry. They also pride themselves on being on the forefront of sustainability by planting five trees for every one they cut down. Keeping with their innovative past, Promark released the Select Balance Range in 2015. This simple, but groundbreaking. concept has changed the drum stick game!

BREAKING IT DOWN

Promark set out to break down the anatomy of a drumstick. They wanted to change the function without changing the fit. The Select Balance concept utilises two variations in taper that influence the balance point of your stick. The forward balance (2 1/4” taper) was designed to be front heavy and create a feeling of more sound less work. The Rebound Balance (3” taper) was designed to be back heavy for quicker and easier playing, perfect for low volumes and increased touch.

This concept was applied to five of the industry’s most popular stick sizes. Here’s the Promark sizing with the industry standard equivalents: the 535 or 7A, the 550 or 5A, the 565 or 5A, the 580 or 5A and the 595 or 5B. Each of these sizes is available in Forward Balance (FB) and Rebound Balance (RB). The sticks are all 16” in length at this stage are available in a tear drop wood tip. So a 5A player who would like to try the Forward Balance stick would look for the FBH550TW (Forward Balance Hickory 550 Teardrop Woodtip).

PG.40 // MIXDOWN #265 // MAY 2016

BALANCING ACT

I was lucky enough to try the models listed above. I settled on the 550 as the stick for me and took the FB and the RB into my practice room. I warmed up with the FB and was impressed by how effortless everything felt.

The sticks moved and felt like they wanted to hit the drums.

The sound was full and I was able to play with power and speed into my snare and around the drums. The sticks also felt straight and nice in my hands.

I moved across to the RB for some stick control and jazz independence practice. I was worried that the sticks would be clunky and loud. Straight away I noticed that the sticks seemed to want to stay low.

The sticks helped me to clearly articulate quick and complex sticking patterns. My ghost notes were consistent, and the sticks seem to gravitate or

balance just where I wanted them. Impressive.

GIG APPROVED

Now to the gig: Friday night, three sets, jazz, latin and funk with dynamic and thoughtful musicians. I would usually take a set of 7As and a set of 5As to cover this gig. And per usual I’d spend the first three songs of set two trying to adjust to the change in stick. Not this time.

I cruised through the gig with two pairs of sticks, the RBH550TW and the FBH550TW. They were the same weight and diameter; just with a different taper. I felt like when the dynamics changed and my approach changed, the sticks came with me. I was able to execute complex, low-level dynamic playing and effortless full sounding back beats. I did this without changing the weight and diameter of my stick.

Problem solved.

Promark have hit the nail on the head with Select Balance; a well-balanced line of sticks that are intuitive and great to play. They solve a problem many professional players face, and they have simplified the stick game.

BY CONRAD TRACEY

HITS • • • • •

Look great Feel great Difference in taper works Straight Well balanced

MISSES • No Nylon Tips or Hickory tip variation • Stick coding can be a little confusing

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ROAD TESTS Sterling By Music Man StingRay SR50 Electric Guitar CMC Music Australia | (02) 9905 2511 | www.cmcmusic.com.au | RRP: $1495

The StingRay SR50 is designed with particular deference to the original Leo Fender Music Man guitar design, but reimagined and updated by the Ernie Ball Music Man design team. It’s available in Ernie Ball Music Man and Sterling By Music Man versions. This review is for the latter.

BLAST FROM THE PAST

The body of the StingRay is made of African mahogany finished in high-gloss polyester, and it’s available in black or three-tone sunburst. The neck is made of hard maple with a dark rosewood fingerboard that holds 22 frets with a 12” radius.

The famous 5-bolt neck joint is present and accounted for, and seems to offer great transfer of string energy and a nice snug fit. The back of the neck is fatter

and rounder than the Cutlass.

The electronics consist of a pair of Ernie Ball Music Man spec Alnico-magnet humbuckers, a 3-way pickup selector switch and master volume and tone controls. The bridge is a twopoint vintage-style unit and the tuners are chrome locking units.

SING IT

The StingRay feels a little body-heavy, but once you find your balance with it, it becomes

a very playable guitar. It has a particularly wide dynamic range, which will please those who play fusion and blues in particular; you can really dig into the note to make it sing loudly, or pull it back to a whisper. This is true of the guitar’s unamplified voice but even more so when you plug it in. The bridge pickup has a vocal quality to the upper midrange, which really emphasises your fretting-hand phrasing.

The neck pickup maintains this detail while giving you a fuller, bolder take on this same tonal quality. Switch to the middle position and the two pickups work together to create a jangly, slightly scooped tone that’s great for broad rhythm work or fingerpicking.

The OM refers to the ‘Orchestra Model’ design specifics; 140 signifies wood grade, in this case Sitka spruce top on mahogany back and sides. Most importantly, they’ve reclaimed some design specifics from antiquity that are particularly visually appealing.

The Chesterfield emblem sits proudly atop the headstock like a beacon. Tonally, the prominent character is bright, glassy and bristling. Taking much of it’s voicing from the spruce, the high mids are incredibly present while the top-end is confident without being obnoxious. There are some

HITS • Rich, vocal quality to the pickups.

MISSES

This is an exceptional guitar that’s flexible enough to fit a huge range of musical styles, and

• No coil split mode.

warmth knocking off some iciness up top isn’t necessarily all that bad.

Zenith Music | (08) 9383 1422 | www.zenithmusic.com | RRP: $2099

ANTIQUE ROADSHOW

BY PETER HODGSON

THE BOTTOM LINE

Guild OM-140CE Acoustic Guitar In high school, when I first started taking guitar seriously, we’d occasionally have a period (where the teacher was hung-over or hadn’t mapped out a lesson plan) that would be spent ‘learning how to research’ in the library. Invariably that would mean we’d wander off, find the music section and crack open whatever coffee table book they had that had anything to do with guitars. One particular book was nothing but a roll call of axes that any rube might have seen on TV. In the section headed ‘Hollow-Bodies’ was a picture of a wine red Guild Starfire IV. The olive leaf tail piece, the stern, sweeping curves; all of this struck me as an image of class that couldn’t compete with the Ibanez 7 strings I’d lusted for. Upon opening the case containing a brand new OM140-CE, that image came sailing back to me.

neutral enough in cosmetics that it will look the part no matter what context you drop it into.

And it’s so affordable that it’s going to find a lot of fans in a lot of genres.

really crystalline harmonics in the note that are a nice, unexpected touch, while a solid yet subtle low-end really keeps all that gloss in check. Typically of its size it’s not excessively loud, but the balance of tones – lead gallantly by that chiming top – means that it takes very little to get the guitar to open up and make itself known.

CALL ME OLD-FASHIONED

It genuinely feels nice to play too. Guild have gone for a classic, wide C shaped neck that, while long out of fashion and frankly not my usual cup of tea, gives something back to the player. It’s the kind of neck that

makes you work a little harder and makes playing that bit more rewarding. Balanced with a suspiciously light body, it perches evenly in your lap, coaxing more out of you than you expect it to. The relatively wide (by today’s standards) 1¾” neck harks back to older designs that, while difficult at first, quickly become familiar and gratifying as the guitar wears in. Another wise choice in this model is the Fishman Sonitone with Sonicore pickup system tastefully mounted just inside the sound hole.

Chosen for its transparency as much as it’s stealth, all you ever see of the electronics is the tone and volume controls that scarcely peek over the lip. Acoustic pickups are a necessary evil much of the time, but the Fishmans manage to colour the tone very little. If anything, a pinch of

MASTER BUILD

Guild have created a model that has all the hallmarks of classic guitars from their glory days, with a few modern garnishes and they have managed to do so without busting the budget wide open. This is a player’s guitar. It wants you to concentrate, and in return you have in your hands a guitar that will play you as much as you play it.

BY LUKE SHIELDS

HITS • Feels great • Bright tones • Subtle low-ends

MISSES • The wide C shape neck isn’t my preferred style.

Yamaha Line 6 Relay G10 Wireless Guitar System Yamaha Music Australia | (03) 9693 5111| www.au.yamaha.com | RRP: $399.99

Line 6 really changed the game with their Relay series of wireless systems. Working through a host of features, they now offer a solid range of units across their line. The latest G10 system goes cable and battery free, making it the simplest to use of the lot. Featuring a transmitter and receiver, the G10 only needs to be plugged in at the mains and a lead connected from the receiver to wherever you want to send it to and you’re essentially away. Minimal setup, small footprint and easy to store/pack; sounds like a winner.

RECEIVER

The G10’s receiver is a dock styled unit with a minimalist modern look. Its back panel has a ¼” unbalanced and XLR balanced output, giving you options for running to pedalboards, amps, PA systems, mixers, audio interfaces and plenty more. Power is via a compact Micro USB slot, which works two fold; it also works as just a normal USB connection

for plugging into a computer if needed for firmware updates and the like.

TRANSMITTER

Gone is the need for a big pack that clips onto your belt or strap with the G10. At around 8cms in length and just over 2cms at its widest point (on the non jack end), it’s pretty tiny. It charges when docked into the receiver, which is super nifty,

PG.42 // MIXDOWN #265 // MAY 2016

and has a clear LED indicator to show its charge status. The jack end also has a clever notch that engages operation only when the lead is completely plugged in. This eliminates the need for an on/off switch, saving on accidentally leaving it in operating mode. Furthermore, Line 6 has a developed a ‘sleep’ mode, which activates itself after 4 minutes without audio input to extended battery life. Don’t worry – the transmitter then automatically wakes up when signal hits it again saving you from having to constantly flick the unit on or off.

WIRE-LESS IS MORE

It really is a simple unit to run – just plug and play. Line 6 suggests you’ll get up to 8

hours playing time, 200 hours of sleep time and a 50 foot range when indoors, which is all pretty impressive to boot.

Wireless units sound better than ever these days, and with the features of the G10 plus the ease of use (not to mention price), it’s no longer solely the realm of touring pros or big rig guys.

BY NICK BROWN

HITS • Size • Recharge capabilities and playing time • Ease of use

MISSES • Some may want extended programming capability

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ROAD TESTS

Sonor Perfect Balance Pedal By Jojo Mayer

to have the best combination of everything. I actually own one of these pedals. I played it in the shop and was blown away. Over time, as my foot got used to the pedal, I ended up playing around with it as sometimes I found it too quick and needed some more weight. The folding motion and portability is actually really good, but I did find it a little bit tedious to adjust it to a different bass drum hoop when I had a different kit every night on tour.

You have to make sure it’s fully locked in on the hoop before playing or it’ll fold up on you mid song. I’m merely nit picking here on a pedal that is actually amazing. I would suggest trying a Perfect Balance pedal in a store. You’ll be blown away I reckon. Super cool.

Drum Partner | (03) 9416 9521 | www.drumpartner.com.au | RRP: $399

Jojo Mayer is somewhat of a legend these days. He’s firmly secured his place in the drummer’s hall of fame as someone who possesses incredible technique and a unique approach to replicating electronic sounds on the drum kit. His instructional videos have inspired drummers all over the world to improve their hands. Things got scarier though when Jojo showed everyone what he could do with one foot.

His combination of sliding, swivel and heel/toe paved the way to the design of a new pedal that Jojo swears by for the working drummer.

The Perfect Balance pedal aims to end the search for the ultimate bass drum pedal – with some amazing features on board.

PHILOSOPHY

Jojo Mayer teamed up with long-term endorser Sonor to incorporate some unique features into one pedal to do it all. The philosophy is to keep the design smart and effective; to do what every pedal needs to, but also to keep things simple while doing it. Jojo Mayer describes the reasons for wanting the new pedal was the simple fact that modern pedals provide more throw, speed and power on the forward motion compared to that of older, vintage pedals. Jojo wanted to create a pedal that had the same modern throw but the old school return motion that enabled an even faster stroke, because as a player, he himself couldn’t find a happy medium with current pedals on offer.

PACKED TO THE RAFTERS

The Perfect Balance pedal features a low mass drive system where the drive cam and beater hub are made as one unit.

This is connected to a round cam for a perfectly balanced stroke (surprise, surprise).

The elongated footboard adds leverage, and is polished perfectly smooth to allow for extended techniques such as heel and toe or sliding. The most amazing feature on the Perfect Balance is the ability to fold down flat via the push of a button. This is obviously for a more portable pedal (it even comes with a bag), but the action of ‘opening’ the pedal to the playing position is actually combined with attaching it to the bass drum hoop in one action via the self-mounting clamp, which adjusts to any

BY ADRIAN VIOLI hoop thickness. Finally, just to put the icing on the cake, all screws used on the pedal are a standard size Allen key with the thought being that if, for some reason you lose a screw on the road, any hardware store could accommodate you.

BE QUICK!

Ok, so I won’t beat around the bush – this pedal is epic. Ignore the convenience and design for a minute (I’ll come back to that) and just focus on the feel, as this is what the pedal

is really designed for. It’s super responsive and very quick. Jojo Mayer claims the forward stroke should feel the same as the return stroke and I would agree.

Even if you adjust the height of the beater, you still get the same stroke, just a little heavier.

The simplicity of the design means that it remains true to the philosophy regardless of what you do to adjust it. However, adjusting things like spring tension and beater height does make it feel different to that out of the box – which seems

HITS • Outstanding design and quality • Amazing feel and fast motion • The most portable and funky pedal you’ll ever play

MISSES • Needs to be fully locked in or can accidentally fold during play

Istanbul Mehmet Ride Cymbals Dynamic Music | (02) 9939 1299 | www.dynamicmusic.com.au | RRP: $699 each

Istanbul. In many ways, the mere mention of this place makes drummers go weak at the knees. Many of my drummer friends have been fortunate enough to visit Turkey to visit the birthplace of the cymbals we know and love, returning with some true crackers to add to their collection.

Here, in Melbourne, I had the chance to check out two ride cymbals from Istanbul Mehmet – a manufacturer that, through it all, has been making cymbals and bearing the name of the city that started the cymbal game. Today we’re looking at the Istanbul Mehmet 20” Mikhail Z Tribute Ride and the Mehmet Tamdeger 60th Anniversary Ride – both of which are worth a look I can assure you.

20” MIKHAIL Z TRIBUTE RIDE

Mehmet Tamdeger was trained

by Mikhail Zilcan, the grandson of Kerope Zilcan (or Zildjian as we know today), and actually worked in the Zildjian factory in Istanbul in the 1950s. The Mikhail Z ride is a tribute to the man, and is done so in a traditional fashion as a little tip of the hat to the way things were done in the old days. This said, Istanbul Mehmet still manufacture in a traditional way, stating that “Machine’s don’t have ears’’. Nice one. As such, the aim with this particular ride was to create a cymbal using the same techniques used to create the Jazz cymbals of the 1970s and is now it’s own model under the Heritage range.

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The Mikhail Z ride is lathed top and bottom with a moderate profile and smaller, more integrated bell. The look is classic, with no heavy hammerings and more the subtle, rotary scoring. The weight is reasonably thin.

There’s an instant likability to this cymbal. The overall sound is mellow and washy with a nice stick definition across the whole surface. As mentioned, the bell is integrated and doesn’t really stand out. It’s a Jazz cymbal at heart – light and full of life with a long, shimmery decay.

You can be so delicate with it or crash it hard for super warm, lush explosion of sound. It’s a beautiful thing. It’s light though so if you get too aggressive with it, it’ll open up and take off. I could see Jazz players loving the

subtlely at lower volumes and I could also see drummers using it as a crash.

20” MEHMET TAMDEGER 60TH ANNIVERSARY RIDE

As you could probably guess, this 60th anniversary ride is really a tribute to Istanbul Mehmet’s founder. He started with master cymbalsmith Mikail Zilcan at the tender age of 9 and a lot has happened over 60 years.

In a lot of ways, this cymbal is very similar to the Mikhail Z tribute. It has the same profile with the same bell. The main difference is in the lathing on the topside, which has some natural and raw sections deliberately left untouched by the lathing process. There’s some more distinct hammering too

giving a unique look, but one that is also fairly well known these days with a two-tone effect. As a result, the sound is similar to the Mikhail Z but with some darker overtones, slightly lower pitch and more stick definition. It’s just a slightly different flavour really.

You still get the lightness and ‘crashability’ across the whole cymbal with the same inoffensive bell. It’s a little more complex and a little dryer, but also musical for sure. Another wonderful thing. Overall, both these rides are stunning pieces of kit. Yes, they’re more aimed towards a Jazz or lighter musical situation, but given the gorgeous crash sounds they can produce, I can see drummers using them for different applications. Not to

mention for the softer, café gig – either one would be perfect.

It’s so good to have cymbal companies like this producing such quality and there’s a piece of history in every model.

Drummers have never had it so good with choices in gear. If you haven’t checked out Istanbul Mehmet, you really ought to. It’s a little trip to Turkey.

BY ADRIAN VIOLI

HITS • Beautiful tones with incredible crash sounds • Lovely wash with light sticking • Heratige of the company

MISSES • Both rides might be too light for some players wanting more definition • Neither have a really defined bell sound • Not much else

MIXDOWN #265 // MAY 2016 // PG.43

ROAD TESTS Blue Lola Over-Ear Headphones Amber Technology | 1800 251 367 | www.ambertech.com.au | RRP: $449

Blue is a company we have all come to know over the years that is not afraid to step outside of the box when it comes to design elements. This is one aspect that has made Blue microphones stand out amongst so many others. Their unconventional designs not only extend to the looks of their microphones, but in their performance.

What you can be sure of is that when you invest in a Blue microphone, it will look like nothing else and it will certainly deal with the task at hand. Now, this month I got to unbox a new pair of Blue headphones, the Lola sealed over-ear headphones that represent a new chapter in Blue designs. What’s not new is Blue’s intention to stay well away from the conventional.

Take a look

I don’t think the images supplied really do justice for the design of these cans. You need to see a three dimensional representation of them to fully understand how unique a design these headphones are. In short, don’t just look at the website;

get your hands on a pair.

Let’s face it, Blue were never going to enter the headphone market with a poor imitation of someone else’s headphones.

No, they have stepped boldly forward with an offering that is unique and functional. Finding the right position for these

headphones to sit at is a little challenging at first, with the unconventional arm movements a little confusing, but when you figure it out, they sit firmly and comfortably, almost like you are wearing nothing at all.

Hear it too

As Blue are known for capturing sound, we now have a chance to hear what they think our sound should be delivered as.

The over-ear design allows for an isolated listening environment that delivers a clear and precise representation of the sound to your ears. They are not fatiguing in any way, even with extended use. At very low volumes you still get a balanced reference of what the sound should be, not losing any low frequencies in relation to the rest of the signal. In all, they sound pretty good to my ears. Plus, they come with a very nicely appointed carry pouch and two cables. One cable is long for use at a mixing console or

HITS when listening from your home stereo. The other is shorter and includes a microphone and TRRS connection for integration with a smartphone.

BY ROB GEE

Zoom A3 Acoustic Guitar Preamp & Effects

More than just a preamp

The basis of this pedal is to deliver a preamp for an acoustic guitar to run direct into a PA system. This means great quality pre-amplification, EQ, dynamic control and a balanced output for a long cable run to your mixer or powered speaker. There are plenty of acoustic guitar

preamps that offer this, but none go to the extremes of the A3 in optional extras. To start with, you have three options for powering the device. You can run on batteries if you like, use the supplied 9-volt power supply or power it from a USB connection should it suit your setup better. You get a range of input

options too. The pickup input allows you to select between magnetic, piezo or flat inputs to match the impedance, or you can use a microphone and run in through the XLR connection if your guitar doesn’t have a pickup.

Plenty of variety

What this is really all about though, once we get past the

preamp stage, is the guitar modelling that Zoom have incorporated into the A3. We all love the sounds of different guitars for different purposes and can’t always have them all. But with the A3 you pretty much can play the guitar you are comfortable with and have it sound like something else.

It’s quite interesting hearing it kick into the Upright Bass

The SR5BT’s operate on a rechargable battery that lasts a whopping 38 hours with charge coming via an included micro USB cable. Also included is a standard headphones cable with a microphone for calls and a soft carry bag.

CONTROLS

The actual headphones have an on/off switch on one side and transport controls/volume controls on the other. Placement is a little awkward and more

based around keeping the aesthetic tidy than any practical reason, but I got used to it eventually.

PAIRING

Turning the phones on, they immediately go into pairing mode, indicated with a tiny blinking blue and red light. I had zero problems pairing these with my phone, or computer, and was pleasantly surprised to find upon being turned on they search for the previous paired device.

PG.44 // MIXDOWN #265 // MAY 2016

WIRELESS HEADPHONES ARE PRETTY GOOD HEY GUYS..

How have I not already invested in Bluetooth headphones?

Getting the train without a damn cable getting caught on my bag or jacket or anything else is a revelation. Sitting in bed working on writing headphones reviews without cord going everywhere is the bomb. I like this.

OH AND THEY SOUND PRETTY DAMN GOOD..

Yep, equipped with an astonishing frequency range aimed at lossless audio enthusiasts, these babies go from 5hz-40,000khz.

Unfortunately that’s only in

HITS • Plenty of input and output options • Acoustic guitar modelling that sounds like the real thing • Solid build

M ISSES • More options than I knew what to do with

travel or work there’s plenty to be happy about here. Admittedly, I was somewhat sceptical of the whole wireless thing but after a week with them I’m pretty sold on the idea. I’m usually not a fan of on-ear headphones but with great sound, a lightweight design, low-pressure but snug fit, and all the pros of wireless life, I’m ready to overlook that.

Technical Audio Group | (02) 9519 0900 | www.audio-technica.com.au | RRP: $369

IN THE BOX

• Somewhat confusing adjustment mechanism

BY ROB GEE

Audio-Technica ATH-SR5BT Hi-Res Bluetooth Headphones Audio-Technica’s newly released ATH-SR5BT wireless bluetooth headphones are handsome little on-ear headphones, designed for casual listening and convenience. Having never owned wireless headphones before, I was keen to give these a run and see how they square up against my wired daily battlers.

M ISSES

mode, then having the same guitar sound like a Resonator and then a 12-string. All the classic acoustic body types are there too, so you can get those subtle variations in tone without changing guitars. The only disconcerting factor is that you can hear your guitar acoustically as you play it, but what comes through the PA sounds quite different.

Dynamic Music | (02) 9939 1299 | www.dynamicmusic.com.au | RRP: $399

Zoom have been giving us great quality guitar effects for some time now. They have not missed out on releasing the demand for good quality modelling of amps and effects in their multi-effects pedals and have delivered an ever growing and developing range of pedals to meet the needs of all guitarists and bass players. And that is where Zoom stands out from any other effects pedal manufacturers; they don’t leave anyone out, including acoustic guitar players. The A3 from Zoom is the latest in their range of acoustic guitar modelling in a pedal. Just because you choose to play an acoustic shouldn’t mean you miss out on the variety in tone that electric guitar players are privy to.

• Very slick design • Long cable for mixer use, short cable with microphone for phone use • Extremely comfortable for extended use

BY MICHAEL CUSACK

HITS wired mode - I expect that’s due to limitations in data streaming - but 25hz-22,000khz in wireless mode ain’t too shabby either. In terms of actual ‘sound,’ the low-end might be a bit on the thin side, but overall it’s a clean, well-balanced and transparent sounding set of headphones. You aren’t going to be using to these to mix your tunes anytime soon, but for

• Wireless4Life (will probably be my next tattoo) • Super Hi-res audio if you want it • Extremely long battery life and even if you run out you’ve got wired mode

M ISSES • No Wall-wart for charging included

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ROAD TESTS Truetone 1 Spot Pro Power Supplies EGM Distribution | (03) 9817 7222 | www.egm.net.au | RRP: CS7: $239 | CS12: $359

6, Digitech or any other aged analogue pedals. They’ve been developed to stand up to the rigours of touring, whether it be at the local pub, or on the road abroad.

WHAT’S IN THE BOX

CS12 models are beastly in appearance, and rugged in make, each housed in hardened steel.

And so too do both provide voltage versatility – the former stocked with one 18VDC output and six 9VDC outputs, with four of those switchable to 12VDC. The CS12 on the other hand, has the same voltage options but with a variable 4-9VCD output, and an additional 9VAC output.

This enables the use of Line

The 1 SPOT Pro differs from other power supplies in that it uses switching power supply technology. Unwanted digital noise is an issue that can derail your pedalboard, and can also become overly complex when being tackled with the use of multiple power supplies.

This, however, will never be a problem with either Pro model as each output has a galvanic isolation from the next, offering distinctive electronic separation.

Add to this the use of analogue circuits, which provide exceptional noise suppression, and you have a well-oiled machine that works seamlessly

Gladesville Guitar Factory | (02) 9817 2173 | www.guitarfactory.net | RRP: $259

rig. Short of hunting down old models of the originals, this is about as close as you will get to that rig and it is all contained in one nifty little pedal.

Since its modest beginnings, Truetone has grown to become a pedal manufacturer recognised for nailing specific sounds – its unique line of products renowned for turning the tonal dreams of guitarists into sonic reality. Following suit is their 1 SPOT Pro Power Supply Series.

BRICKS AND MORTAR

When it comes to choosing a power supply musicians will often steer away from the use of a power brick due to their often-hefty size, or their extra power, deemed unnecessary.

But with the immensity of some digital pedals now available, a 9VDC won’t always suffice.

With this in mind, we can be thankful that the 1 SPOT Pro exists. Both the CS7 and the

Catalinbread Sabbra Cadabra Following their recent tour here in Australia, there has been a lot of press surrounding Black Sabbath. There seems to be a lot of guitarists looking around again for some way to capture ‘that’ sound that Tony Iommi made so famous. You could go a long way with buying different guitars, a host of various pedals and even a Laney amp or two in order to achieve this, and still fall short of the mark. There are always so many uncertainties when trying to piece together a certain sound from a range of devices, so that is why it is best left to the experts.

In this case, those experts are the team at Catalinbread who have come up with the Sabbra Cadabra pedal. It may be a bit of a mouthful to pronounce, but it certainly delivers the goods in Sabbath tone in just about any setup.

ALL IN THE BOX

That classic Sabbath guitar sound is a result of a very specific combination of a Laney Supergroup amp and a Dallas Rangemaster treble booster that Iommi used. So, it makes sense to harness those circuits in order

to replicate that sound. This pedal does just that by offering the Supergroup’s preamp stage with JFETs replacing the valves and a Naga Viper treble booster circuit to push the signal into that almost fuzz-like realm that Iommi achieved with his

Neumann Tlm107 Condenser Microphone Sennheiser Australia | (02) 9910 6700 | www.sennheiser.com.au | RRP: $2349

I have to say, I always enjoy being sent a microphone from Neumann to test out. Every detail is a joy, from the packaging, to the wooden cases to the unveiling of the actual microphone itself. Then, it comes to the actual listening and the good times simply roll right on. So, call me biased, but this has not come from anywhere but a continued use of Neumann microphones that have failed to disappoint me. They simply are built to an incredible standard and offer results to match.

A little unconventional

So, with all my love for Neumann microphones, which is a sentiment shared by countless engineers and musicians the world over, I have to say I had a few reservations with this one. It caused me concern when I first used one and it did so again this time around. What I am talking about is the modern twist that Neumann has placed on this microphone to offer

a lot of versatility to it. You see, around on the rear of the microphone is a small toggle switch and a series of LEDs that show you polar patterns, high pass filter settings and gain reduction pad levels. Yes, you heard me correctly, LEDs on a Neumann. Right, so now that we have all gasped a little, we can get over it and move right along.

The overall design of this large diaphragm condenser microphone

PG.46 // MIXDOWN #265 // MAY 2016

DEEP AND DARK

When thinking of that Sabbath guitar tone, it takes you to places that are a little darker than most of the other music of the time. Everything sounds down tuned, even when it isn’t. This comes for the tight, controlled low-end that Iommi’s rig delivered. The Sabbra Cadabra produces this low-end in a very faithful honouring of the original sound, even when used with single coil pickups through a very clean amp. I was really surprised at how dark my Strat could go, still in standard tuning, running through a fairly clean valve combo. This pedal does some evil things to your

is nothing short of the classic brilliance we all expect from Neumann, but it simply has a slight modern edge. And don’t worry, it is a very tasteful use of LEDs to show settings, there are no bright lights and colours present, just subtle indicators right on the microphone’s side panel for easy reference.

Not without purpose

What this is all about is delivering the user information on how the microphone is operating. Because, what we have here is a very versatile microphone in a neat and compact design. There are five polar patterns, ranging from cardioid right through to figure-of-eight, which can be selected with the toggle switch.

Two levels of gain reduction and two stages of high pass filter result in a microphone that

and, most importantly, silently.

This really pays dividends when you look at the increased level of current that each power supply can handle. The CS7, for instance can take on up to 1900mA, a far greater total current rating than your average brick. It’s undoubtedly fitted to take on any board, and does so with great efficiency.

BY CHRIS SCOTT

HITS • Superior isolation – it works soundlessly • Versatile voltage capabilities • Extra power

MISSES • Not for everyone

tone, just the way any Sabbath fan would want. Winding up the range knob on the pedal gets a really tight low-end drive that creates that fuzz in the sound that is typical of Iommi’s guitar tone.

By Rob GeE

HITS • Great combination of amp and boost in one • USA made and built like the proverbial • Black Sabbath guitar tone in a box

MISSES • None!

is ready to tackle just about any role. Use the TLM107 for vocals, drum overheads, piano, guitar, percussion or wind instruments. It doesn’t matter really; this microphone can be set up to work in just about any application, even with very high SPLs. Those of you who know how a Neumann sounds will hear it in this microphone too. Clarity and tonal depth are delivered just as you would expect, with plenty of options for just about any use.

By Rob GeE

HITS • Classic Neumann quality • Modern approach to adding versatility • Sounds just as good as it looks

MISSES • None!

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ROAD TESTS

Guild B140E Acoustic Bass Zenith Music | (08) 9383 1422 | www.zenithmusic.com | RRP: $1899

Hailing from Guild’s Westerly Collection, the B140E promises a classy angle on the sometimes-gaudy acoustic bass format. The concept behind this particular range is to re-invigorate the Guild name and use some of the richer qualities of builds from their Rhode Island era to bring about a guitar that, instead of trying to reinvent the wheel, simply feels like a confident nod to the heritage that made them such a reliable, quality guitar maker in the first place. There is a real sense of honest craftsmanship in these guitars, which is clear from the moment you pick one up. For me, playing an acoustic bass is always an odd experience. Sitting somewhere between their hefty orchestral predecessor and cooler, electric cousin they occupy a strange, almost opulent space in the history of stringed instruments. You really have to know what you’re doing with one in order to convince it not to get away from you. Given the chance though there is a sublime harmonic world hidden behind those 4 strings that few other instruments are game enough to venture into. The B140E is no exception.

SHINING BRIGHT

It’s bright, really bright! The Sitka spruce on the topside is the main tonal influence, while the mahogany back and sides round out the sound ever so slightly. Played with a pick the character is bristling and sheer, inches away from being accused of excessive shrillness. It begs a little softening of technique to clean up what has the potential to be a clear, soaring note. Once I took it on a few walking fingerstyle runs it started to open up and really play along. I get the feeling it would marry well with other, warmer instruments

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around it, as Guild is going for absolute clarity here, almost to the point of paying too little attention to the lower mids, but it works. It’s a vibrant and individual voice that is more at home in conversation than playing on it’s own.

Having said that, it’s not an incredibly loud instrument.

Sure it has swathes of tonal bite in the density of the woods employed, but it’s the aforementioned clarity that it hangs its hat on as opposed to thunderous, rib rattling volume.

Not to understate it at all, you’ll

definitely hear every note you play as clear as a bell. But if you’re looking for the ribbons of low-end that are usually the bread and butter of acoustic basses, you won’t find it here.

It’s an economical tone at play, and honestly makes for a welcome change from the ‘all bass, no treble’ idolatry that many other builders rely on.

QUALITY IS KEY

All of the Westerly Collection guitars come loaded with Fishman pickups mounted just inside the sound hole, in this case the Sonitone Bass with Sonicore. Tactfully tucked just

out of sight, the Fishmans offer as much transparency as they do stealth. Being able to roll off the tone here should bring on some of the warmth hidden in the ribs of the jumbo-sized body without tempering any of its moxie too much; another wise choice from Master Builder Ren Ferguson.

Guild set a pretty stern line in the sand in the 70’s with their B50 model and the B140E sits assuredly as a cocky, modern update on that lineage. These are player’s guitars built with craftsmanship in the forefront of the design that absolutely won’t wreak havoc on your back

pocket, but will chew up a good portion of your spare time.

By Luke Shields

HITS • Exceptional build quality • Fishman pickups are a plus • Clarity of tone • Price

MISSES • Lacking the low-end that is commonly associated with other acoustic bass builds.

MIXDOWN #265 // MAY 2016 // PG.47

ROAD TESTS DV Mark Silver Gen 15W Tube Amplifier CMC Music Australia | (02) 9905 2511 | www.cmcmusic.com.au | RRP: DV Gen 15 (Head) RRP $1395, DVC Gen 15 (Combo) RRP $2150

The first thing I noticed about the Silver Gen 15 from Mark World’s DV range is just how light it is. On paper, you read things like ‘class A’ and all the usual amp maker buzz words and expect a little bit of grunt work getting it out of the car, but this is not the case here.

The manual proudly boasts portability.

PLENTY OF GRUNT

Fire it up, and the mid range comes barking at you like a terrier at a picket fence. With everything at 12 o’clock, it’s the kind of spanking, compressed sounding tonality that country pickers and be-quiffed rockabilly kids plaster their walls with posters of. In all honesty, without the ‘boost’ button locked in there was no bluesy breakup. Once the switch is engaged however, it almost acts

like a combination of other amps’ presence stages, and a deftly applied compressor, turning the screws on the mids even further and adding a bit of heat to the 2x ECC83 preamp tubes. It is exactly the kind of tonal response you expect from a company who made their name in bass rig territory; tight and brassy enough to cut through a mix with very little flab or wiggle room to get lost in.

ATTITUDE ADJUSTMENT

It’s an argumentative little brat at times too! Though, once it met my Gretsch 5620T, the southern gentleman attitude of the guitar had the amp bowing at it’s feet. There was the give that I was after! Give it the slap and squeeze it’s asking of you and it’ll howl at the moon. Equally, faced with a few pedals it was even more malleable. I stacked a Wampler Hot Wired II, POG2 and other assorted stomp-boxes in the front end and not only did it not falter but almost rose to the occasion, belying more headroom than I initially gave it credit for.

Gain-wise there’s not much to talk about here; this amp does not Djent! Push the Gain and Master pots as hard as you can and all you really get is a scornful, bristly woof. But that’s not what it is here

all brazen mids and everyday, workhorse charm. If you’re looking for a clean, nuanced, home use tube amp, look no further. for. Somewhere between 9 and 3 o’clock there is a sweet spot that has something of the charm of a much bigger amp being nudged ever so slightly in the direction of “Honey, can you turn it down!!” and that is where the little gem shines.

Overall this is an amp that makes a set of promises and delivers them.

Endearingly slab sized, lightweight and familiar on the eye, it’s

Alesis Forge E-Kit

Electric Factory | (03) 9474 1000 | www.elfa.com.au | RRP: $999

Alesis have been changing the face of electronic percussion over the last 18 months. Their new lines of innovative and affordable products have been winning the hearts of consumers worldwide. The 2016 NAMM show in Anaheim California saw Alesis release five new E-Kit lines: the Strike, Command, Crimson, Forge and Nitro.

The Command, Forge and Nitro E-Kits are the first to hit Australian shores, and they’ve been highly anticipated by E-Kit enthusiasts.

The Alesis Forge E-Kit I reviewed lived up to the hype delivering great value and sound.

First off, this is a great looking unit.

I loved the style of the module. It looks sleek, simple and the display and buttons were easy to use. It also packs a punch featuring 70 drumkits, 50 of which are preset and

20 for the user to play with. The module comes with over 600 sounds and 60 play along tracks covering a wide variety of musical styles. The quality of the preset sounds and the play along tracks great. It felt like the team at Alesis had spent as much time on the inside as they had on the outside of this unit.

It’s always a good sign when you get lost in your playing and feel free to express your creative ideas. It also helped that they came mounted

Tycoon Percussion

Legacy Series Spalted Maple Cajon Dynamic Music | (02) 9939 1299 | www.dynamicmusic.com.au | RRP: $599

Tycoon Percussion have been making headway in the last few years in Australia. Initially, the focus was on affordable percussion instruments for players that might have been on a budget. In recent years we’ve started to see some of the more professional lines from Tycoon coming out, in particular, their Cajons, which are available in some pretty stunning variants. Today we’re looking at the top of the line 29 Legacy Series Spalted Maple Cajon.

LOOKING GOOD

The 29” Spalted Maple Cajon has a striking appearance with a characterful maple soundboard that emphasises every single little bit of grain in the wood. It’s warm looking and very inviting. The Legacy Cajon features the same Spalted Maple across all sides as well as some rubber feet to protect it when in play. The body itself is 7-ply wood

to aid durability and increased projection, it feels strong and well made. Looking inside, you get some snare wires running the length of the soundboard in the form of two single strings rather than an actual group of snare wires. You also have a small group of jingles attached mid way up the box, whose sound becomes more audible when you hit hard since they’re not actually

PG.48 // MIXDOWN #265 // MAY 2016

on a great looking and solid 4 post mounting rack. The kit also comes with a solid pedal; two great additions for a kit at this price point.

I liked the responsiveness of the pads, the hi-hat was articulate and the snare and toms felt good to play.

The rubber pads on the Forge were better than I had anticipated. For those of you with your heart set on Mesh, the Alesis Crimson kit comes equipped with a mesh snare and kick pad for an extra $300.00.

After I had a good play I checked out the more advanced capabili-

ties of the Forge. It has three great features that I really enjoyed. The USB-MIDi output was cool and allowed me to trigger virtual instruments. I had a lot of fun doing a real time recording with the play along tracks in the module. The recording sounded good. The drums blended well with the backing track and there was no nasty delay. The stand out feature for me is the Forge’s ability to load your own .wav samples. You can do this via USB and assign sounds to any pads for live playing. You can also load play

By Luke Shields

HITS • Lightweight • Excellent mid-range • Great clean tones • Portable

MISSES • None

along tracks in the .wav format. I have recollections of trying to do that a few years back on a module that cost four times as much with no success, so this is something I found particularly impressive.

For me the Alesis Forge represents great value for money. It’s packed with features that are useful and relevant to musicians and artists alike.

It looks great and I would be happy to play it on stage as a primary kit or as an addition to my acoustic drums.

BY CONRAD TRACEY

HITS • Breadth of sound • intuitive design • Great value

MISSES • Can’t think of any!

touching the soundboard. The great thing is that the snare wires are adjustable for tension and response via an Allen key (provided with the Cajon). This allows you to get a tighter sound with less snare buzz, or the opposite that requires a lighter touch to get the snares to speak.

percussionists will welcome the sounds and the aesthetics from the Legacy Series. For people that don’t know too much about Tycoon should check these out because now these Cajons, particularly in their top of the line form, are challenging some of the better-known or usual go-to brands.

SPEAK TO ME

By Adrian Violi

So first impressions of this Legacy Cajon are good. There’s some nice bass tones coming from this 29” body – the Legacy Cajons are also available in 35”, which would be stronger in the low-end department.

There’s still more than an adequate response in bass though and is relatively easily achieved. Slap sounds are strong and clear with many variations to be had depending on your striking position.

I did like the standard tension set up on the snares on this Legacy

straight from the box, however I think ever so slightly tighter is a nice compromise to allow for a slightly less harsh tone on bass notes if you want. Of course, there are the jingles to speak when you’re going for it. They’re not particularly present at lower volumes as mentioned.

Overall, the Spalted Maple Cajon is a quality thing and it justifies a higher price over some its Cajon siblings from Tycoon. I think

HITS • Amazing finish from exotic maple wood • Hand made quality • Good lows • Solid and adjustable slap sound • Great features such as adjustable snare tension

MISSES • Price might put off some buyers new to the Tycoon brand • Carry bag sold as an option separately

www.mixdownmag.com.au

ROAD TESTS

Zildjian S Family Cymbals

RIDES

Australasian Music Supplies | (03) 9549 1500 | www.austmusic.com.au | RRP: Various Prices

For years, the famous Zildjian name has maintained a certain family of cymbal lines and we know them well. It’s not often that Zildjian introduce a totally new line, so let me be the first to introduce you to the S family. The research and development team at Zildjian have spent two years on the S project – a mission designed to take the B12 alloy (88% copper, 12% tin) and see what was possible. The goal was to discontinue the ZHT line and fill the void in the range with a far, far superior product that even the pros would want to get their hands on. Not to give anything away, but the S cymbals are in another league to ZHT. The price however, is in the same range. Interested?

You should be.

THE RANGE

This is a full range of cymbals.

There are 44 individual models and 2 cymbal sets in a range of weights depending on the cymbal – thin, medium thin, medium and rock. You have the choice of Mastersound hi-hats, crashes, trash crashes, splashes, chinas, splashes and rides. As mentioned, these are non-cast cymbals using a B12 alloy. They have a lathed top and bottom and feature an amazingly brilliant finish with extensive hammerings unique to the S line.

HI HATS

The Mastersound hats are available in 13” and 14” sizes, but also in a 10” mini hat if that’s your thing. The bottom hat features the characteristic ripple along the edge. The

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sound is very crisp, bright with great stick definition and a nice ‘chick’ – particularly on the 13”, which is really sharp. It’s not overbearing though and the overall sound blends with the drums. Open them up for some serious cut if you need though.

CRASHES

Here’s where things get serious.

You can choose from thin, medium thin and rock weights in sizes from 14” to a massive 20”. The crashes are the first big surprise to this new line of cymbals and the reason for this is when you see the price. The sound to the professional has a slight link to the expected sound of a non-cast cymbal but really, the sound is so much closer to a full pro cast cymbal than you’d ever expect.

Possibly my favourite of the crashes are the new Trash Crashes, which continue the tradition of EFX by adding strategically placed holes in the cymbal for a real bite to the sound. They sound WAY more expensive than they are and yes, these stretch to 20” also – which is awesome by the way. I loved them – thin, responsive and angry when you want them to be, but not overly trashy. The 18” especially, nearly blew my face off when I got into it.

SPLASHES

Finally a cost effective splash option that is great. These splashes are available as 8” and 10”. They’re thin, bright and high-pitched but warm too – opening up quickly with a short decay. There’s a shimmer without

too much note and a musical volume. The pick for me were easily the china splashes that just had a little more attitude to them. Very musical and an easy addition to any set up. Check them out.

The rides are medium thin to rock in weight. To be honest, for me, they’re all slightly leaning towards being a bit heavier, but the medium thin has the best blend of stick definition and wash. The good thing is that if for some reason the rides are too heavy for you, try a medium thin 20” crash. There are options!

Regardless, even though, they’re heavier, there’s still a great sound – bright and full without that annoying gong tone that sometimes-cheaper cymbals can have.

Overall, get ZHT out of your mind because the S family is so much better it’s really is chalk and cheese. These cymbals are really good. Well-done Zildjian.

I’m sold.

CHINAS

I only had the pleasure of trying one 16” china. To put it simply, it sounded like a shorter, more focused Trash Crash with that added typical angriness that can only come from a china. It cuts and projects with a high pitch and a nice sustain, but not too much. You can ride it just as you would with any other china and you won’t be looking to move somewhere else because it’s cheap and nasty. Far from it.

HITS • Fantastic sound for this price point • Amazing trash crashes and china splashes • Sound way more expensive than they are

MISSES • The true cymbal guru may hear some non-cast qualities • Rides are mostly on the heavier side

MIXDOWN #265 // MAY 2016 // PG.49

ROAD TESTS Audiofly AF240 Over-ear Headphones Audiofly | www.audiofly.com | RRP: $249.99

For those of you who don’t yet know about Audiofly, now would be the time to have a look into what they are doing. This trendy audio company is producing earbuds and over-ear headphones that deliver in a professional and consumer based market across a range of needs.

Having supplied the in ear monitors for X-Factor last year, you can be sure these guys know how to produce a quality product. But, it doesn’t stop there; I am currently wearing a pair of their AF240 over-ear headphones right now as I write this. They were released last year in black, and now are also available in white. Sure, I’ve been listening to Morrissey for the last hour, but he’s sounding pretty good right now.

SIMPLE COMFORT

Let’s first start by talking about the feel of these cans. The first thing you will notice with them is that they don’t have any adjustment points to fix the headband. I was a little confused at first, then I realised

I was over analysing it all. You simply place them over your head and pull the cups down until they sit over your ears.

There’s no further adjustment or locking, they simply hold in place. You literally have to take them off for them to return

STUDIO TO STREET

Dynamic Music | (02) 9939 1299 | www.dynamicmusic.com.au | RRP $599

Having seen the development of the Zoom range of guitar effects over the years, it has been great to see the ideas all fall into place – one by one – to end up with a flagship unit like the one that landed on my studio floor this month. Those of you who have used Zoom products before will know that the effects are always top-notch, delivering quality in audio and modelling at any stage in their current range. What the G5n does is bring together the best of the best and combine them into a user interface that is designed with picky guitar players in mind. It is not just a set of pre-set patches, it offers the user to the options that individual pedals do, but with far more variety and versatility.

One thing that I love about this board, which has so much on offer, is the way in which it operates both like a multieffects board and at the same time behaves like a selection of individual stomp boxes. The lower section of the top panel

BY ROB GEE

These headphones sound great when listening in a studio environment for tracking and critical listening, but they are not confined to just this level of use. The supplied woven cable for these headphones, a very nice touch in itself, has a little something extra to offer.

A microphone is built into the cable just a few inches along its length from the cans with an answer button included on the microphone housing.

The terminal end of the cable features a TRRS connection allowing it to interface with

Zoom G5n Multi-Effect Processor

STOMP BOX JOY

smartphones and offer not only stereo audio going one way down the cable, but a microphone signal sent back to the device. So, you can use these headphones just about anywhere, listening to music from your smartphone and never miss a call at the same time.

to their resting position. The soft ear cups effectively reduce environmental noise when you place them over your ears, so you can use these to listen at low volumes and not be distracted by what’s going on around you.

has five buttons to help you navigate through patches, set up the temp or engage the tuner. You do need a pointy toe on your boot to engage these easily, no problem for me there, as they are tucked in, out of the way for the other operations. Above these are

HITS • Super comfortable fit • Effectively reduces external noise • Great low frequency response

MISSES • Only one short cable supplied

the four stomp box sections that allow you to have your choice of the 68 models loaded up for instant recall. It’s like having all the great pedals you always wanted and you can recall a patch with your choice of pedals appearing right beneath your foot.

TONE, TONE, TONE

I’m not usually a fan of larger multi-effects boards, preferring the flexibility of individual effects. Well, this is what the G5n offers you with four separate parameters that can be adjusted with each effect brought up on the four separate stomp boxes. With each different effect, you get a different set of parameters, most appropriate to that effect. So, you can sculpt the tone you are after from each of these models and store them as part of a larger collection for recall any time. Ten great

• Great sounding effects and models • Stomp box style effects recall • Easy to read screens showing effects parameters • Simple storage and recalling of patches

BY ROB GEE

MISSES • Volume pedal has very little range in movement

Audio-Technica AT9934USB Condenser Microphone

the signal, a perfect feature for playback through speakers without creating feedback. It’s a little cracker of a microphone, for the ease of use and results it delivers making it ideal for anyone wanting to capture their voice without needing to read a manual first.

Technical Audio Group | (02) 9519 0900 | www.audio-technica.com.au | RRP: $149

Audio-Technica have delivered microphones for all sorts of applications, ranging from high-end studio recording microphones, to live performance microphones and a range of budget USB microphones created with the home user in mind. The AT9934USB is just one such microphone designed for gaming, podcasts and home recording.

This fairly unassuming little number is an exercise in simplicity but meets the needs of the task at hand. The all in one microphone and interface that doesn’t take over your desk space or get in the way when recording video too.

A LITTLE GEM

The AT9934USB is a compact microphone designed for home use when space is at a premium.

Because users are not likely to have a separate audio interface with preamps and phantom power supplies, this little microphone sorts everything out for you in one simple package.

Bus powered from the USB

connection, all audio is passed in and out of the microphone itself with a headphone output supplied just next to the USB cable, so you can monitor as you record or play. The compact housing is matched by a compact capsule within, so although it gives off the impression of a large diaphragm microphone, it actually contains

PG.50 // MIXDOWN #265 // MAY 2016

a smaller capsule than most vocal microphones generally do.

QUICK SETUP

The supplied cradle and desktop tripod pop out in a moment and the microphone simply slides down into the holder ready for you to angle at the desired position. It’s very easy to set up and only takes a few moments for any halfway decent computer to recognise it and have it ready for assignment to a specific software platform.

Sadly, the USB cable is fixed in the base of the microphone, so if it gets damaged you can’t replace it, and you are fixed to using the length supplied rather than changing to a different

HITS

amp models allow you to run this unit straight into a PA, or you can simply use it as an effects board in line with your own amp for an unlimited range of possible tones to keep you tapping your feet across the board.

BY ROB GEE

HITS

length cable. But that is only a minor gripe. Its front facing panel has a toggle switch to increase or decrease input gain. Pressing this in mutes

• Compact, lightweight design • Easy mute function from front panel • Headphone out for direct monitoring • No need for phantom power with USB connection

MISSES • Fixed cable doesn’t allow for damage or extension

www.mixdownmag.com.au

Compose. Arrange. Perform.

2000 ANY YAMAHA TYROS 5 TRADE-IN ANY KEYBOARD AND RECEIVE

$

OFF* * $2,000 trade-in value is off the RRP Recommended Retail Price.

MODEL

Tyros5-61 XL

Tyros5-76 76-note keyboard

76-note w/ speaker system

RRP

$7,995

$7,995

$8,495

PROMO RRP

$5,995

$5,995

$6,495

61-note w/ speaker system

TERMS & CONDITIONS

Tyros5-76 XL

• Any fully functioning musical type keyboard instrument is eligible for trade-in to qualify for

• *$2,000 trade-in value is off the RRP Recommended Retail Price.

• Included Tyros 5 models are TYROS561XL, TYROS576 and TYROS576XL. • Promotional offer is part of a national sales program conducted by the distributor, Yamaha Music Australia Pty Ltd and is valid from 1st April 2016 at participating Tyros dealers. The promotion will end on 31st May 2016.

the promotional price.

• At the time of purchase, the participating dealer will take ownership of your exchange instrument and will be responsible for any associated requirements as pursuant to The Second-Hand Dealers and Pawnbrokers Act 1989.

• The Authorised Yamaha Dealer participating in this promotion may not have sold one of the

• Final purchase price is determined by the participating dealer.

included Tyros 5 models in the past and where it has sold them, they may have sold them at

• Offer is limited to one Tyros 5 per customer.

less than RRP.

• The promotional reduced RRP price applies only to included Tyros 5 models when providing your exchange keyboard to the participating dealer at the time of purchase.

MORE INFORMATION & PARTICIPATING DEALERS yamahabackstage.com.au/promotions/tyros5

LIKE US ON FACEBOOK facebook.com/yamahabackstagepass

WATCH US ON YOUTUBE youtube.com/yamahaaustralia

ROAD TESTS Jet City Amplification JCA 22H Guitar Amplifier Amber Technology | 1800 251 367 | www.ambertech.com.au | RRP: $699

Amplifiers by Soldano Custom Amplification come with a hefty price tag, so designer Mike Soldano teamed up with Jet City Amplification to offer a series of amps that carry through the essence of his designs at a much lower price point than the (sometimes shocking) price tags found on amps like the legendary SLO-100. The JCA22H is basically the company’s renowned JCA20H amp but with a second footswitch accessible overdrive channel along with a tube-buffered serial effects loop.

SOLD!

It features a pair of EL84 tubes in the power amp, a quintet of 12AX7s in the preamp and a solid state rectifier. Controls are crunch and overdrive gain, bass, middle and treble, crunch and overdrive master volumes, and a global presence control.

There’s no reverb circuit, however you can use an external effect in the loop. Jet City uses audio-grade metal film resistors and high-quality copper for all internal connections to maintain sonic integrity. The chassis is 16-gauge cold-rolled steel.

Around the back you’ll find three speaker jacks: one 16 ohm and two 8 ohm.

TIME TO JET

I tested the JCA20H through a cab with 12” Celestion Vintage

30 speakers, although Jet City offers its own cabs too. Because the preamp section is based on the crunch channel of the Soldano SLO-100, there’s a huge range of gain available from bright sparkly cleans to high gain chunk, while maintaining the character and articulation of your pickups. Single coils have bell-like clarity in clean mode and a chewy edge when run through overdrive while humbuckers are suitably chunky, or scoopy, or smooth. The midrange is nice and clear, especially with high-output humbuckers where this can often be a problem. The details and transients of low-output PAFstyle ‘buckers are maintained too, which is great news for those who like to ride the guitar’s volume, tone and pickup controls for tonal variation. Of

course, because this is a tube amp it sounds best when you crank it, so don’t be afraid to get some serious volume going.

When you do you’ll find more than just excellent hard rock tones: there are some very Metallica-esque crunches lurking under the hood too, along with Satriani-like lead tones, but this isn’t just a ‘classic metal/rock’ amp. With the dual channels you can dial one in for a warm rhythm crunch and the other for high-gain soloing or, depending on your playing style, the other way around: raunchy rhythm tone and a cleaner, more articulate lead voicing.

HOT IN THE CITY

The JCA22H is an extremely versatile and affordable amp which is for players who like to push their technique and celebrate the little details rather than cover them up in processing and mush. It’s a testament to the simplicity and integrity of the design that the amp responds so organically and interactively to the player, guitar and signal chain. The effects loop is bound to win over a few fans that might have been put off by the spartan nature of the JCA20H, while the switchable channels mean it’s a more versatile live amp as well.

BY PETER HODGSON

Carlsbro CSD130 Electronic Drum Kit Carlsbro. You just may have heard the name before. The UK based company was originally known for making amplifiers and speakers – some of which were used by the Beatles, Mick Jagger and Oasis back in the day. They had a little break in 2009, but are back and launching some pretty cool alternatives to the usual guitar stuff. Adding to the product range comes a sweet little electronic kit called the CSD130.

I get students asking me all the time about a cheap, but good electronic drum kit. On the contrary, some pros are always on the hunt for a small, cheap electronic drum kit for practicing at home etc. Carlsbro have come up with a small, good-looking and very tidy solution for this place in the market. The CSD130 offers a realistic sound with a realistic feel for drummers, while being compact. It will suit many drummers – from the beginner to the drummer in the small apartment that really need something to sit tight in the corner.

KEEPING UP WITH APPEARANCES

The kit has some features to mention. The sound module itself has a Digitron Display, 250 percussion sounds, 20 preset kits, 10 user defined kits for your own personalisation, 20 demo

songs to jam to, aux in jack/line output/headphone output so you can get the iPod happening, USB interface (USB to device), MIDI in/out, recording/playback facility as well as adjustable sensitivity, crosstalk and trigger curve. There’s also reverb and a metronome.

The kit itself accompanies the sound module with a 2” bass drum pad that is fixed to a bass drum pedal (always handy). The beater itself is interchangeable with other pedals if you prefer, as it is angled to play downwards. You also have a 7.5 three-zone snare pad and 3 x 7.5” single zone tom pads.

The cymbals are 10” pads.

They’re only single zone but the crash and ride pads are chokable.

The hi-hat has a controller pedal and the whole kit is mounted on a super portable 3-legged rack with cable loom. In fact, it can pack up so small that it’ll

PG.52 // MIXDOWN #265 // MAY 2016

• Organic tube tone • Robust construction

MISSES • Tuner isn’t chromatic • No FX loop

was able to play normally on the little 130 and all my strokes were audible.

Downsides? As mentioned, Carlsbro isn’t going to get a Grammy for the best soundtrack in the hood. The frame isn’t rock solid and in being a small kit, the larger person might want a little more height. But for the price of this kit, it’s going to be very well received. The picky drummers will always have something to say, but you have to remember that you’re getting a full electronic kit with all the bells and whistles for a very affordable price. For many, they’ll be more than happy to overlook the downsides for what the 130 offers. I think Carlsbro has done a good thing with the 130 and many a beginner drummer is going to be happy.

Australasian Music Supplies | (03) 9549 1500 | www.austmusic.com.au | RRP: $549

CAN YOU RECOMMEND…

HITS

fit in keyboard case. So feasibly – if you wanted to – you could chuck it under the bed when you weren’t playing it. The rack isn’t super adjustable but I didn’t really feel like I needed to move much anyway since it’s all small and compact and everything is where it needs to be. The 130 Is available in two colour configurations – all black with a white snare drum or the striking green highlights I got to try with black hardware.

HIT ME

This doesn’t pretend to be a top end rival for some of the

usual names we associate with electronic kits, but for the beginner, or anyone on a budget, it offers a no-nonsense and no-fuss option that just gets the job done. The sounds are more than adequate and the pads are simple, but offer good sensitivity so you can still bust out a fast double stroke roll; and all strokes come through the amp. From this perspective, it’s very cool and more than appropriate for what drummers need from this type of kit. An electronic kit needs to be responsive enough and offer realistic sounds for the drummer to be able to play naturally – I

By Adrian Violi

HITS • Keenly priced for beginners • Long list of features • Response, playability and usability

MISSES • Sounds might come up short • Frame might be a bit short for some players

www.mixdownmag.com.au

WE CHAT TO MUSOS ABOUT THEIR MOST TREASURED GEAR

SHOW & TELL

WARREN WAZ HUNTER OF DEEP STREET SOUL SHOW

ANDY WRIGGLESWORTH OF THE WEEPING WILLOWS

What piece of equipment do you have to show us today?

My Shure Super 55.

How did you come across this particular item?

Well most people are familiar with the original Model 55 Unidyne microphone from watching old clips of singers from the 50s & 60’s. It was a total classic being the first single-element unidirectional dynamic microphone. The Super 55 is a modern take on this Mic and exhibits most of the same characteristics as the original but in a casing that is less susceptible to damage on stage!

What is that you like so much about it?

Well, it’s a no brainer, apart from it being a great vocal mic, it just looks super cool!

How do you use it, and how has it shaped the way you write music?

As we generally try and keep our drum micing to a maximum of 3 mics, we tend to get a bit selective with what we

What piece of equipment do you have to show us today?

We have a Gold Tone GT-750, 6-string Ganjo that I purchased in the States in 2015. Some people call them ‘Banjitars’ or simply 6-string banjos.

How did you come across this particular item?

I’ve actually wanted a Ganjo for many, many years, as I love how versatile they are, both live and in the studio.

Once we had locked in the fact that we were going to record in Los Angeles, I contacted Gold Tone directly and amazingly, somehow conned them into building me a left-handed one. They even made sure it was finished, setup and delivered to my hotel door while I was over there. From the moment it was out of the box, I was in love!

What is that you like so much about it?

The main positive of the instrument is that you can play it like a guitar and you don’t have to re-learn all the chords and techniques that you would need to if you played a traditional style banjo. It can therefore be used for so many different styles of music and you can play a lot more various techniques on it; from strumming, finger picking, shredding to power chords! It has a built-in pickup so it’s really versatile for playing live too and doesn’t have all the issues of miking it up and having feedback and volume problems.

www.mixdownmag.com.au

use. Generally we try to go for a range of mics that sonically pick up a broad range of frequencies. We try to go for gear that sound good without having to affect them too much during mixing. I originally bought the 55 for vocals but found it really crunchy and tough in the mid-range for drums – by finding a sweet spot between the snare, hi hat and kick and the drummer mixing his intensity whilst playing (essentially mixing himself) we were able to get a really amazing drum sound through the one mic.

Any other interesting points/stories about it?

Most of the guitar on the album was also played through the Super 55.

When’s the next show?

The album launch for our 3rd album Come Alive is coming up at the Corner Hotel on May 21.

Any other interesting points/stories about it?

The Gold Tone came in handy for us during the process of recording our latest album. There was one particular track that we were struggling with when trying to get the right arrangement. No matter what we tried it just didn’t work, and, as a result we almost scrapped the song. I came up with a part on the Ganjo that really helped drive the whole song along, as I basically doubled up what the guitar parts was doing but it sounded completely different. As a result I think it has made the track one of the standouts on the album.

MIXDOWN #258// OCTOBER 2015 // PG.53

DIRECTORY

FOR FULL S T ORE P ROFILES , HEA D T O MIX DOWNM A G. C O M . A U / DIREC T O RY

MELBOURNE MUSIC CENTRE

EVOLUTION MUSIC

(MUSIC INSTRUMENTS RETAILER) A | P | E | W|

(MUSIC INSTRUMENTS RETAILER)

8/2 Northey Rd, Lynbrook VIC (03) 8787 8599 info@evolutionmusic.com.au evolutionmusic.com.au facebook.com/evolutionmusicaus

A | P | E | W|

AA DUPLICATION

SKY MUSIC

(MUSIC INSTRUMENTS RETAILER)

(PRINTING/CD & DVD DUPLICATION) A | P | E | W|

84 Nicholson St, Abbotsford VIC (03) 9416 2133 sales@aaduplication.com.au aaduplication.com.au facebook.com/AADuplicationServices

A | P | E | W|

EASTGATE MUSIC

(MUSIC INSTRUMENTS RETAILER)

1131 Burke Rd, Kew VIC (03) 9817 7000 sales@eastgatemusic.com eastgatemusic.com.au facebook.com/Eastgatemusic

A | P | E | W|

JABEN AUDIO

Shop 2 398 Lonsdale St, Melbourne VIC (03) 9670 8231 info@jaben.com.au jaben.com.au facebook.com/jabenau

HYDRA REHEARSAL STUDIOS (REHEARSAL ROOMS) A | P | E | W|

102 Maroondah Hwy, Ringwood VIC (03) 9870 4143 websales@fivestarmusic.com.au fivestarmusic.com.au facebook.com/fivestarmusicoz

A | P | E | W|

1/30 Station Rd, Indooroopilly QLD (07) 3878 4566 info@music440.com.au music440.com.au facebook.com/music440

BINARY MUSIC

(MUSIC INSTRUMENTS RETAILER & EDUCATION) A | P | E | W|

48 Bloomfield St, Cleveland QLD (07) 3488 2230 sales@binarydesigns.com.au binarydesigns.com.au @binarymusic

WILD HORSE GUITARS

(MUSIC INSTRUMENTS RETAILER) A | P | E | W|

Brumby Street Surry Hills NSW (02) 9690 0800 info@wildhorseguitars.com.au wildhorseguitars.com.au facebook.com/wildhorseguitars

MONA VALE MUSIC

A | 4a Izett St, Prahran 3181 P | (03) 9521 4644 E | sales@revolverdrums.com.au W | revolverdrums.com.au @revolverdrums

A | 55 Bassett Street, Mona Vale NSW P | (02) 9986 0589 E | info@mvmwarehouse.com W | www.monavalemusic.com facebook.com/monavalemusic

MODERN MUSICIAN

DAMIEN GERARD STUDIOS

(MUSIC INSTRUMENTS RETAILER)

18 Duffy Street, Burwood VIC (03) 9038 8101 hydrastudios@bigpond.com hydrastudios.com.au facebook.com/hydra.rehearsal.studios

(MUSIC INSTRUMENTS RETAILER)

REVOLVER DRUMS

(DRUMS SPECIALIST RETAILER)

(HEADPHONE SPECIALIST RETAILER) A | P | E | W|

4/2181 Princes Hwy, Clayton VIC (03) 9546 0188 info@skymusic.com.au skymusic.com.au facebook.com/skymusiconline

FIVE STAR MUSIC

(MUSIC INSTRUMENTS RETAILER) A | P | E | W|

525 North Rd, Ormond, VIC (03) 9578 2426 info@melbournemusiccentre.com.au melbournemusiccentre.com.au facebook.com/melbournemusic.centre

MUSIC 440

A | P | E | W|

106 Murray Street, Hobart TAS (03) 6234 5537 nick@modernmusician.com.au modernmusician.com.au facebook.com/modernmusician

(MUSIC INSTRUMENTS RETAILER)

ARCADE SCREENPRINTING

(SCREENPRINTING & DESIGN SERVICE) A | P | E | W|

15/17 Hutchinson St, St Peters NSW (02) 9550 6965 info@arcadescreenprinting.com.au arcadescreenprinting.com.au facebook.com/arcadescreenprinting

GLADESVILLE GUITAR FACTORY

(MUSIC INSTRUMENTS RETAILER) A | P | E | W|

280 Victoria Rd, Gladesville NSW (02) 9817 2173 mail@guitarfactory.net guitarfactory.net facebook.com/GladesvilleGuitarFactory

TURRAMURRA MUSIC (MUSIC INSTRUMENTS RETAILER) A | P | E | W|

1267 Pacific Hwy, Turramurra NSW (02) 9449 8487 general_sales@turramusic.com.au turramusic.com.au facebook.com/TurramurraMusic

COASTAL MUSIC

(MUSIC INSTRUMENTS RETAILER & REPAIRS) A | 5/148 Lake Road, Port Macquarie NSW P | (02) 6581 3016 E | sales@coastalmusic.com.au W | coastalmusic.com.au facebook.com/coastalmusic

NOT IN THE DIRECTORY?

(RECORDING STUDIOS)

A | 230 Crown St, Darlinghurst NSW P | (02) 9331 0666 E | bookings@damiengerard.net W | damiengerard.com.au facebook.com/damiengerardstudios

CONTACT PATRICK@FURSTMEDIA.COM.AU TO SECURE YOUR PLACE

BLUETOOTH® 4.0 AUDIOSTIX® 318BT

Make your mixer console Bluetooth® enabled

PG.54 // MIXDOWN #265 / MAY 2016

www.mixdownmag.com.au

PLAY WITHOUT LIMITS. A NEW GENERATION OF MARSHALL AMPLIFIER.

Fully programmable, with 100 user editable Presets, CODE combines incredibly authentic MST Amplifier and Speaker Cabinet Modelling with professional quality FX. CODE features 14 classic & contemporary preamps, 4 power amp voicings and 8 speakers cabs. CODE’s 24 FX include Compressor, classic stompbox distortions, Pitch Shifter, different types of chorus, Flangers, Phaser, Auto Wah, Tremolo, as well as versatile Delays and Reverbs. Download the Marshall Gateway™ app for your iOS or Android device to controls CODE’s settings remotely and stream audio from your device via Bluetooth®. Connect via USB to use CODE as a DAW interface.

CODE is a powerful tool that lets you make your way. 1 x 10” 25 Watt combo, 1 x 12” 50 Watt combo, 2 x 12” 100 Watt combo, 100 Watt head and 4 x 12” cab. For more information, contact your local Marshall dealer.

MARSHALLAMPS.COM Marshall Amplification is proudly represented in Australia by Electric Factory Pty Ltd 188 Plenty Road Preston VIC 3072 marshall@elfa.com.au