Mixdown Issue #266

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

#266 JUNE 2016

FREE!

GIVEAWAY! THE ULTIMATE PEDAL BOARD SEE PG. 6 FOR DETAILS

LETLIVE.

SAOSIN

ARCHITECTS

PLUS: SHIHAD, FEAR FACTORY, ROBERT KEELEY, DR. NO EFFECTS, SCOTT ERIC OLIVER OF PEDALPUNK! + LOADS MORE ROAD TESTED: ORMSBY GUITARS SX GTR, DBX 500 SERIES, AUDIO-TECHNICA ATH-MSR7NC, VOX AV SERIES, ERNIE BALL MUSIC MAN STINGRAY, PRS S2 STANDARD 22 + LOADS MORE

LIKE US ON FACEBOOK facebook.com/ voxampsaustralia

AV Series

8 ALL-ANALOGUE AMPS. IN A SINGLE CABINET.

WATCH US ON YOUTUBE youtube.com/voxaustralia

EVENTS & PROMOTIONS yamahabackstage.com.au

THE STORY CONTINUES “For the past 3 years I’ve been meeting with the Research and Development guys at Yamaha with the aim of bringing the Recording Custom Series up to date... the result is that everything is a step up.” — STEVE GADD

GET A SNARE — ON US! Pre-order your new Recording Custom kit before 30 June 2016 to take your pick from our new range of Recording Custom Metal Snare drums valued at up to $949.99 RRP. There are 7 unique models to choose from in Brass, Aluminium, or Stainless Steel.

FIND YOUR NEAREST DELAER yamahabackstage.com.au

Visit yamahabackstage.com.au for terms & conditions and to find your nearest participating Yamaha Drum dealer.

AV Series

8 ALL-ANALOGUE AMPS. IN A SINGLE CABINET.

Drawing upon nearly 60 years of tube amplifier design, the new AV (Analogue Valve) Series from Vox offers you a full palette of authentic amplifier sounds via eight all-analogue pre-amp circuits.

They feature a true analogue circuit design based on the classic 12AX7 tube which lends classic, harmonically rich tones to these amps. The innovative valve stage section modifies the circuit to adjust brightness & bass response, and also allows you to adjust the bias and response of the power section on the fly. With additional features like a unique sealed cabinet design and three classic effects (chorus, delay & reverb), the AV Series is one of the most exciting and unique amp series available.

AV15

15 watts $449.99 RRP*

AV30

30 watts $649.99 RRP*

AV60

60 watts $849.99 RRP*

*The RRPs shown are correct at the time of printing and are subject to change at any time without notice.

WATCH US ON YOUTUBE youtube.com/voxaustralia

LIKE US ON FACEBOOK facebook.com/voxampsaustralia

EVENTS & PROMOTIONS yamahabackstage.com.au

CONTENTS 6

GIVEAWAY

8

INDUSTRIALIST

10

NEWS AND TOURS

12

PRODUCT NEWS

U LT I M AT E

18

GARBAGE

20

ARCHITECTS,

21

BEARTOOTH

22

FEAR FACTORY, MOURNS

23

LETLIVE., PARKWAY DRIVE

24

SAOSIN

25

SHIHAD

26

ADVICE COLUMNS

34

TRISTAN ‘TRIZO’ BOUILLAUT

SPECIAL

PAGE 40

OF GUITAR GET UP THE INTERNATIONAL HIFI SHOW 35

ROBERT KEELEY OF KEELEY ELECTRONICS

36

SCOTT ERIC OLIVIER OF PEDALPUNK

PARKWAY DRIVE PAGE 23

IN THE LAB DR NO 37

BEHIND THE DESK WITH KEVIN SHIRLEY

40

PEDAL SPECIAL

54

ROAD TESTS

60

SHOW & TELL

62

DIRECTORY

SHIHAD PAGE 25

FORE WORD I was 16 when I got my first group certificate, which told me that I had $180 in tax withheld. I didn’t know a great deal about the taxation system at the time and thought that it meant I owed the government money. What an absurd thought, right? Now I have a better understanding of how the whole PAYG setup works, which is why we position our annual pedal special at exactly that time of year. So you can snatch your hard earned right back from underneath the tax-man’s nose, and go spend it on some serious fuzz!

In this issue we delve into some of the latest and greatest pedals from Australia and beyond. We’ll walk you through their strengths and who they’re best suited to. On top of that we’ll be featuring a bunch of awesome road tests, some great product news and a host of excellent conversations with musicians, producers and pedal builders alike. Tight.

Keats Mulligan Editor

FOR BREAKING NEWS, NEW CONTENT AND MORE GIVEAWAYS VISIT

WWW.MIXDOWNMAG.COM.AU

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 & Tom Burtha

MANAGING DIRECTOR Patrick Carr ART DIRECTOR Michael Cusack COVER ART Michael Cusack GRAPHIC DESIGN Michael Cusack CONTRIBUTORS Rob Gee, Peter Hodgson, Christie Elizer, Nick Brown, Alex Pink, Elijah Hawkins, Phoebe Robertson, Chris Scott, David James Young, Michael Edney, Patrick Emery, Luke Shields, Augustus Welby.

ADVERTISING Patrick Carr patrick@furstmedia.com.au MIXDOWN OFFICE Level 1, No. 3 Newton Street, Richmond VIC 3121.

Phone: (03) 9428 3600

PRODUCTION MANAGER Michael Cusack

PG.4 // MIXDOWN #266 // JUNE 2016

www.mixdownmag.com.au

GA R B AG E

STRANGE LITTLE BIRDS THE NEW ALBUM - OUT 10 JUNE AVA I L A B L E O N C D , V I N Y L & D I G I T A L .

F E A T U R I N G T H E S I N G L E , ‘ E M P T Y.’

BAND OF SKULLS

BY DEFAULT New album produced by Gil Norton (Pixies, Foo Fighters).

Includes ‘Bodies’, ‘Killer’ and ‘So Good’.

AVAILABLE ON CD, VINYL AND DIGITAL.

OUT NOW

MELVINS BASSES LOADED New album featuring Steve McDonald (Redd Kross/OFF!), Krist Novoselic (Nirvana), Jeff Pinkus (Butthole Surfers), Trevor Dunn (Mr. Bungle/ Fantomas), Jared Warren (Big Business) and Dale Crover on bass.

AVAILABLE ON CD AND DIGITAL.

OUT NOW

MINOR VICTORIES MINOR VICTORIES

MARGARET GLASPY EMOTIONS AND MATH

Debut album by super group featuring Justin Lockey (Editors), Stuart Braithwaite (Mogwai), Rachel Goswell (Slowdive) and James Lockey.

Debut album featuring ‘You & I,’ as heard on triple j.

AVAILABLE ON CD, VINYL, WHITE VINYL (LIMITED) AND DIGITAL.

AVAILABLE ON CD AND DIGITAL.

OUT NOW

OUT 17 JUNE

GIVEAWAYS ULTIMATE PEDAL EFFECTS SPECIAL GIVEAWAY! To celebrate this month’s Ultimate Pedal Effects Special we’re giving one extremely lucky Mixdown reader the chance to win a vibrant bunch of quality effects and products. Featuring the One Control Strawberry Red Overdrive (Hot Apple Distribution Australia), a Cusack ‘Sweetverb’ Reverb (Gladesville Guitar Factory), the Dr. No Effects Madfly Vintage Fuzz (Tone ProShop), a Jet City ‘The Flood’ Analogue Delay Pedal (Ambertech) and a Pedaltrain Metro 24 Pedalboard to house all of your new gear. Prepare to have your tone elevated into another stratosphere!

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 INTERNATIONAL HI-FI SHOW GIVEAWAY

So last month we promised to giveaway TWO double passes to The International HiFi Show held in Melbourne this July. This will be one of the biggest exhibitions of HiFi, Audio Visual, Lifestyle and Technology, showcasing over 70 different brands all of whom produce the best gear on the market. So we hope our two lucky winners will enjoy themselves for the 3 day expo, with over 50 different exhibition spaces there really is something for everyone. And our lucky winners are: PAT PARENT of Broadmeadows, Victoria & STIXX SOLLI of Perth, Western Australia Congratulations. Very big thanks to the rest of entrants and better luck next time.

ZILDJIAN S FAMILY 16” TRASH CRASH GIVEAWAY

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

Thanks to our good friends at Zildjian Cymbals, we had another amazing prize to giveaway last month. The new S Family Cymbal, with its unique expressions and balanced frequency response, made for a fantastic prize and we had so many people wanting to get their hands on this fine piece of metal. So thank you to everyone who entered the competition, we really appreciate your enthusiasm but alas there can only be one winner and that winner is: TRENT MCCARTHY of Launceston, Tasmania Congratulations to Trent, we hope that you can put the cymbal to good use. Rock on buddy!

OUT NOW

INDUSTRIALIST GLOBAL INDUSTRY REPS FOR BIGSOUND

Brisbane’s conference and showcase BIGSOUND is where the likes of Courtney Barnett, The Temper Trap, The Naked & Famous, Flume, Rufus, DMAs, Kimbra and The Jezabels first grabbed the attention of overseas delegates. Among the 1200 plus representatives heading to the September event are individuals from Creative Artists Agency, Raw Power Management, The Bowery Presents, ATC Live, Universal Music Publishing Group US, Vagrant Records / BMG, Secretly Publishing and The Royalty Network.

APRA AMCOS REPORTS RISE IN EARNINGS FROM SPOTIFY & YOUTUBE

Figures from APRA AMCOS showed a huge year in growth for digital royalty earnings in 2015.

Earnings from Spotify were up 178%, while YouTube earnings grew 91% in the third quarter of 2015 alone. Revenue from Apple Music was also up, but exact figures will not be released for some weeks. Additionally, APRA AMCOS revealed the most recent Quarterly Distribution Report shows the number of its members receiving royalty payments is up 20% year on year. That’s on top of an 18% increase in the number of works receiving royalties.

AIR CEO DEPARTING

After two years, the CEO of AIR (the Australian Independent Record Labels Association), Dan Nevin, is stepping down. Set to make a move to the UK, he will be departing AIR on June 15. In parting he said: “The independent sector has played such a crucial role in Australia’s rich cultural and musical history.

With our artists continuing to do great things internationally, it is vital that industry and government alike support the breeding ground of independent music labels and businesses. I personally will continue to wave the Australian indie flag from the UK and will always be available to support any Australian independent artists and labels as required”. AIR CFO Maria Amato will step in as GM until a replacement CEO is found.

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

NSW GOVT TO BACK GIGS IN WESTERN SYDNEY

fell from $2.29 million for each business to $1.58 million, equating to a loss of $710, 667.

There’s also been a 30.2% drop in full time jobs, a 42.9% drop in part-time staff and an 18% drop in employee hours for businesses in the area. Only 50% of businesses surveyed are expected to still be operating in 12 months.

Full results at: www.dbp.org.au/ lockout-survey-results.

The NSW Government has announced it will invest $150,000 into Western Sydney’s music scene over the next two years.

As part of its Live and Local scheme, The Live Music Office will coordinate multi-venue gigs and various micro-festivals.

L.M.O will ask councils and communities in the area for expressions of interest in July.

The music events are part of the NSW Govt’s $7.5 million dollar investment in Western Sydney arts and culture over the next four years.

Meanwhile, Sydney band Ruckus and Playbook Productions are preparing the release of their Vibe City documentary. Based on the effect of the Sydney lockouts, and how the community can play a greater role in shaping the city’s communal culture.

EMC TO ADD NEW AWARDS SESSIONS

In its 5th year, the Electronic Music Conference (EMC) is adding the 13-year old inthemix Awards to its activities, alongside the music industry’s annual 5-a-side charity football tournament Musica Copa. With new sessions still to be announced, EMC will see about 2000 visitors from Australia and overseas. The event, held from November 28 to December 2, will run at the Ivy in Sydney.

Meanwhile, Canberra’s venue sector has started a Keep Canberra Open campaign. The ACT Government wants to introduce hikes on licence fees for venues that open until 4am (up 300%) and 5am (up 500%), and slash rates for small bars which are considered safer. Queensland kicks off its lockouts on July 1 and there are rumblings in Darwin from health professionals to do the same.

OPEN DAY FOR THE GROVE STUDIO

GOLD COAST MUSIC AWARDS RETURN

The Grove Studios in NSW is hosting an Open Day for its Diploma of Sound Production.

Commencing July 11, the course is a partnership with Hunter TAFE’s Regional Music Institute.

It offers classes on analogue and digital recording, live PA, post production, music editing, location recording, mixing and Pro Tools with lecturers such as Grove head producer and Director Scott Horscroft, Burke Reid, Jean-Paul Fung, Ryan Hazel and Jackson Barclay. The Open Day will take place on Saturday June 4 at Mangrove Rd, Somersby, NSW (10am-2pm).

LOCKOUTS ACROSS AUSTRALIA

According to a study conducted by the Darlington Business Partnership, Sydney’s lockout laws have caused a 31% drop in annual turnover for Darlinghurst bars, pubs and clubs in just three years. The study surveyed local 200 businesses with its methodology developed in consultation with NSW Treasury.

Between 2013 and 2015, profits

The Gold Coast Music Awards will be held for a second year at Burleigh Brewing Co. on June 16. Categories include musicians, bands, songs, venues and events.

Up for Artist of the Year is Amy Shark, Ella Fence, Evol Walks, Hanlon Brothers and Hussy Hicks.

HILLTOPS INITIATIVE RECIPIENTS: ASTRO TRAVELLERS

This year’s recipients of the 11th Hilltop Hoods Initiative are Brisbane hip hop seven-piece Astro Travellers. They recently won Best Urban Song at the Queensland Music Awards for ‘Move Actively’ and their single ‘Future Supernova’ was added to Double J’s playlist. The Astros will receive a $10,000 grant from Hilltop Hoods and APRA AMCOS, used to master, manufacture and promote their debut album. The prize also includes legal advice from Media Arts Lawyers and a Love Police ATM merchandise start-up kit. Past winners include Sarah Connor, Jimblah, Chelsea Jane, I AM D and RUNFORYOURLIFE.

PARLOUR GIGS INTRODUCES ONLINE BOOKING

Parlour Gigs allows fans to host a gig in their home for friends.

Ultimately provide extra gigs for local artists. The project has played host to 150 gigs since its launch last year, including Harry James Angus, Dan Kelly, Mia Dyson, Oh Mercy, Tinpan Orange and Lisa Mitchell. To make things easier for the hosts, a new purpose-built booking platform has been launched. It allows them to create a new gig in minutes, complete with electronic ticketing and the choice of recommended local artists from curated lists based on location and genre specification.

HIGHER NOTE HITS KEY IN PERTH

WA’s peak music association WAM is bringing back its Higher Note songwriter program, covering strategy, publicity, social media, business management, touring and legal. Facilitated by Scott Adam (North Metropolitan TAFE), it features advice from artist manager Cath Haridy, publisher Clive Hodson, Pilerats editor Troy Mutton, accountants Tom Harris and Kylie Thompson, artist Grace Barbé, RTRFM Music Director Adam Christou, Blue Grey Pink owner Mark Neal, APRA’s Sam Scherr and lawyer Michael Tucak. It is held at the State Theatre Centre of WA in Northbridge on June 23 & 24.

AUSSIE GUITAR SHOP AMONG TOP 100 IN WORLD

As a part of its annual awards in Nashville, America’s National Association of Music Merchants named Port Mac Guitars (Port Macquarie, NSW) among the Top 100 nominees for its ‘Dealer of the Year’. NAMM acknowledged Port Mac Guitars’ founder and chairman Rob Mestri and his team for: “commitment to providing an excellent retail experience for their customers, helping people of all ages discover the joys and benefits of making music, and to fostering a positive musical experience for their community at large”.

THINGS WE HEAR When Iron Maiden hit Adelaide last month, they gave local guy Steve Radeski VIP treatment and presented him with a Maiden Tshirt. Two years ago when he was in a motorbike accident and his right leg came off, he was tended to by passer-by Bill Gaythwaite, an Afghanistan-serving soldier who whipped off his beloved 1985 Maiden T-shirt to stem the blood flow. Maiden gave Radeski the new shirt to pass on to Gaythwaite.

On the eve of the launch of her Tronc tape and three month tour, some swine broke into Evelyn Morris from Pikelet’s locked car and stole thousands of dollars of her entire musical setup.

Perth band Stillwater Giants video shoot on bassist Kyle Lockye’s boat ended with a visit from the water cops, who fined them because the thing was unlicensed.

Having just dropped their debut album, Ballarat band Fire To The Stars are relocating to Sweden, where some members already live.

Jordi Davieson from San Cisco is set to have surgery on an injured vocal chord, which has prevented the band from touring. Although that hasn’t stopped him from being involved in writing sessions for the next album.

The Australian music industry honoured Paul Kelly at a Support Act lunch at Sydney’s Ivy for his support of 20 charities a year.

Before Kelly finished off with a set, others performing his songs were Caitlin Park, Urthboy, Julia Stone with small choir and Thelma Plum with a string section.

At the 17th annual South Australian Screen Awards, Adelaide melodic hardcore band Ambleside’s ‘Wash Away’ took Best Music Video. Best Composition was picked up by electronic orchestral performer Alies Sluiter (with award winning Elena KatsChernin) for their work on Michelle’s Story, the doco about Australian dancer Michelle Ryan which won three awards.

AC/DC haven’t spoken to Phil Rudd since his arrest. He told New Zealand’s The Bay Of Plenty Times now that he has completed an eight-month home arrest sentence, he’d like to rejoin them for tour dates - just in Europe, because his conviction would make it difficult for him to enter America.

SUPERB QUALITY TUBE AMPS MADE IN AUSTRALIA

GRID 30 COMBO & HEAD

Featuring 2 channels; each with it’s own gain, volume and 3 band EQ controls. Both channels can be gain boosted, effectively giving a total of 4 gain structures ranging from superb cleans, vintage and modern rhythms through to medium to super high gain lead tones. MIDI switching capabilities allow a one button recall of pre-programmed features. In addition, new features also include mid boost and half power for all channels. The Grid 30 amp uses the VR30’s 30 watt EL84 Class A power stage.

AVAILABLE NOW FOR A TEST DRIVE. MELBOURNE, VICTORIA | WWW.SHERLOCKAMPS.COM | PH. 8802 0499 |

PG.8 // MIXDOWN #266 // JUNE 2016

FACEBOOK.COM/SHERLOCKAMPLIFIERS | MAINTENANCE & REPAIR SERVICES ALSO AVAILABLE

www.mixdownmag.com.au

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NEWS & TOURS Gengahr

The Kills

Gabriella Cohen

Karnivool

London newcomers Gengahr are one of the most hyped bands coming out of the UK, with their brand of alternative infused pysch-pop having critics draw comparisons to Tame Impala, through to Alt-J. Having already been announced on the sold out Splendour in the Grass festival, the band has announced a couple of free headline shows. The shows will give Australian fans the opportunity to catch Gengahr’s debut LP A Dream Outside live for the very first time. Despite being free, fans will still need to get in early to secure their tickets for each show from 10am on Friday June 12 via Ticketscout. They’ll be supported

by Brisbane’s garage-pop multi-piece band of legends, Velociraptor and the I OH YOU DJs in both cities.

The Kills are headed back to Australian shores after five years and have already sold-out their upcoming Melbourne show.

With tickets to their singular Sydney show selling fast, their fans should secure their spot now. In support of their upcoming fifth album, Ash & Ice, Jamie Hince and Alison Mosshart are smashing into Melbourne and Sydney and have already received an excited response. Sharing a sneak peak of the record through their singles ‘Heart Of A Dog’ and ‘Doing It To Death’, it’s clear that the duo have done exactly what their supporters had hoped for. Currently performing sold-out shows in the US as a part of their major tour, the two talents will also be seen on the Splendour In The Grass stage later this year. The Kills Sydney show will take place at the Metro Theatre and there has been no slowing down when it comes to ticket sales.

Melbourne’s enigmatic Gabriella Cohen has joined prominent booking company 123 Agency ahead of the songstress’ highly anticipated debut album, Full Closure and No Details. Gaining high praise from national radio stations, Cohen has entertained crowds with her animated pop melodies, and has quickly earned the clouded praise of Rolling Stone, NME and Triple J with honest lyricism and ‘vivacious’ live shows. Still new to the Melbourne music scene, Cohen has played alongside the likes of Albert Hammond (USA), Marlon Williams (NZ) and Melbourne’s Oh Mercy. While grabbing audiences attention, Cohen earned Triple J Unearthed feature artist. Garbiella Cohen will be touring throughout June in support of her debut Full Closure And No Details.

In April we saw prog-metal extradonaires, Karnivool do a stretch of shows in their home town of Perth. With these shows all being hugely successful, the band, who will soon be approaching their 20th year in the business, are heading back east for a tour up and down the coast. Billed as the ‘Pre-Animation Tour’, Karnivool will be hitting up halls, pubs and theatres in both cities and regional centres starting in Canberra on June 15th at the ANU Bar. The band are hinting that this tour will be full of the new material, giving them the chance to crash test new tracks that maybe, just maybe might end up on a new album at some point very soon.

TOUR DATES

TOUR DATES JULY 26 - NORTHCOTE SOCIAL CLUB, MELBOURNE VIC JULY 27 - NEWTOWN SOCIAL CLUB, SYDNEY NSW

TOUR DATES JULY 23 - THE FORUM, MELBOURNE VIC JULY 26 - ENMORE THEATRE, SYDNEY NSW

King Gizzard Screaming Females And The Lizard Wizard

On the back of releasing their fourth album in a year and a half, Nonagon Infinity, King Gizzard And The Lizard Wizard have just revealed that they’ll be heading around the country on a twelve-date Australian tour that will take them to Hobart, Melbourne, Perth, Sydney, Brisbane, Adelaide, Ballarat, Geelong and Wollongong. The Melbourne-via-Geelong psych outfit have scheduled this tour to surround their pit stop at Splendour in the Grass. With their star seemingly forever on the rise, 2016 has been yet another landmark year for the wonder-boys of Australian psychedelica.

TOUR DATES JUNE 18 - DARK MOFO, HOBART TAS JUNE 25 - THE TRIFFID, BRISBANE QLD JUNE 30 - THE GOV, ADELAIDE SA JULY 1 - BADLANDS, PERTH WA JULY 2 - BADLANDS, PERTH WA JULY 3 - MOJOS, FREMANTLE WA JULY 8 - CROXTON, MELBOURNE VIC JULY 16 - KAROVA LOUNGE, BALLARAT VIC JULY 17 - BARWON CLUB, GEELONG VIC JULY 23 - SPLENDOUR IN THE GRASS, BYRON BAY QLD AUGUST 5 - METRO, SYDNEY NSW AUGUST 6 - TBC, WOLLONGONG NSW

One of America’s most critically acclaimed underground punk bands; Screaming Females are headed down under for the very Australian tour. The group capped off 2015, their tenth year in existence, with the release of their sixth full-length album, Rose Mountain via Don Giovanni Records, and now in 2016 they’re set to show it off to Aussie audiences. In celebration of their arrival, they’ll be releasing an exclusive Australian Tour edition of Rose Mountain. The version will include B-sides and demos and will be digitally available July 22 but only in Australia. Working alongside producer and engineer, Matt Bayles (Mastodon, Sword, Minus The Bear, Soundgarden), they have delved deeper than ever before into the intricacies of guitar tones and drum sounds.

TOUR DATES AUGUST 4 –CROWBAR, BRISBANE QLD AUGUST 6 – THE CURTIN, MELBOURNE VIC AUGUST 7 – THE EASTERN, BALLARAT VIC AUGUST 11 –THE PHOENIX, CANBERRA ACT AUGUST 12 – RAD, WOLLONGONG NSW AUGUST 13 – OXFORD ART FACTORY, SYDNEY NSW

PG.10 // MIXDOWN #266 // JUNE 2016

JUNE 17 - NORTHCOTE SOCIAL CLUB, MELBOURNE VIC JUNE 18-19 - DARK MOFO, HOBART TAS JUNE 24 - WAYWARDS, SYDNEY NSW JULY 1 - THE FOUNDRY, BRISBANE QLD

The Bennies

The Bennies are returning home, fresh from a European tour, with one goal in mind: to bring their scintillating live show to punters across the entire nation. In its sheer immensity, the Wisdom Machine regional tour is unlike anything the band has done before.

The Bennies are as tour-hardened as they come, the group a moving band of hilarious one-liners, funny antics and mosh-ready tunes. Now they are bringing the good times to regional towns and major cities in an epic 27-date tour, supported by Poison City label mates Clowns, and Perth’s Axe Girl. With the release of their latest album, Wisdom Machine, The Bennies matched their reputation for belting out a live set with a sound bunch of songs worth listening to on repeat. It landed them a number 40 on the ARIA Album chart, and the first single ‘Party Machine’ reached number 88 on triple j’s Hottest 100. After selling out shows at major Australian cities with an album tour, the mischievous fourpiece caught the eye of Florida-based label Paper and Plastic, who have since released the album in the UK and US.

The Bennies will be on tour from June 22 until July 31. For a full list of tour dates, head to www. mixdownmag.com.au.

TOUR DATES JUNE 15 – ANU BAR, CANBERRA ACT JUNE 16 – BAR ON THE HILL, NEWCASTLE NSW JUNE 17 – WAVES, WOLLONGONG NSW JUNE 18 – MANNING BAR, SYDNEY NSW JUNE 22 – THE SPOTTED COW, TOOWOOMBA QLD JUNE 23 – THE TRIFFID, BRISBANE QLD JUNE 25 – THEBARTON THEARTE, ADELAIDE SA JUNE 29 – THE WOOL EXCHANGE, GEELONG VIC JUNE 30 – THE CROXTON, MELBOURNE VIC JULY 2 – UNI BAR, HOBART TAS

Cash Savage

& The Last Drinks

Mistletone are set to release Cash Savage and The last Drinks’ greatly anticipated third full-length album, One Of Us, with the soulful six-piece joining their distinguished roster.

Cash Savage is a blues and country icon, her songwriting characterised by stirring lyrical imagery and memorable guitar work. In this new release her genuine lyrical approach touches upon themes of beauty, freedom, and everyday issues that surround family, friendship, sleep and love. In celebration of the freshly penned tracklist the band will be returning home for a run of shows around the country, showcasing the rare performative spirit that has earned them the reputation as being a great live band. It comes off the back of touring Europe, while Savage has previously played the likes of Meredith Music Festival and Dark Mofo. One Of Us is another evolution in Savage’s vibrant discography – produced by Nick Finch and recorded by Nao Anzai at Melbourne’s Head Gap Recording Studio – and promises to be a brilliant follow up to 2013’s The Hypnotiser.

TOUR DATES JULY 9 – THE RAILWAY HOTEL, DARWIN NT JULY 30 – THE JADE, ADELAIDE SA AUGUST 6 – NEWTOWN SOCIAL CLUB, SYDNEY NSW AUGUST 13 – THE CROXTON BAND ROOM MELBOURNE VIC

www.mixdownmag.com.au

AVAILABLE AT Global Vintage 105 Parramatta Road, Annandale NSW (02) 95697009 www.globalvintage.com.au World of Music 809 Nepean Hwy, Brighton East VIC (03) 9557 8600 Cranbourne Music 204 LaTrobe St, Melbourne VIC (03) 9654 5115 Pedal Empire 2/12 Lucy Street, Moorooka Brisbane QLD (07) 3892 3292 The Rock Inn 762 Beaufort St, Mount Lawley WA (08) 9371 8822

Deluxe Guitars 9 Union St South Melbourne, VIC (03) 9686 4755 West End Music 1/8 Bailey St, West End QLD (07) 3844 7979 Barratts Music 104 George St, Launceston TAS (03) 6331 9355 Guitar Factory Parramatta 255 Church Street, Parramatta NSW (02) 9635 5552

PRODUCT NEWS DV Mark’s Latest Amplifier Is Your New Best Friend

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

The DV Mark Silver Generation Amps are designed to make life easier for musicians around the world. Thanks to DV Mark’s MPT technology, affordable and great sounding amps that are easyto-use, reliable and ultra-portable are now available at very friendly prices.

Everything you need to know about this combo is in its name: the DVC Guitar Friend 12. This compact powerhouse 12” combo is ready to become a loyal friend to you and your guitars, respecting not just your personal style but also the tone of your guitars.

This combo features two channels (clean/lead) with very easy-to-use controls, reverb, AUXin jack (for CD or MP3 player) and mini-plug headphone jack, and XLR Line Out to run your guitar amp through the P.A. for bigger gigs. The DVC Guitar Friend 12 delivers a classic, focused tone and 50W of power in an ultra-compact and ultra-transportable design.

Its special input circuit is optimized to perfectly interface with most popular guitar effects.

Way Huge Classics Receive An Update

Australasian Music Supplies | (03) 9549 1500 | www.austmusic.com.au

Two Way Huge classics, the Swollen Pickle and the Green Rhino, have both received an update for 2016. The Swollen Pickle Jumbo Fuzz MkIIS serves up the same burly high gain fuzz as the full-sized MkII but in a more petite package. The filter control retains its trademark insane range of heavily bandpass-filtered tones, distinguished by remarkable girth and sizzle. And the loudness puts out enough volume to clobber any amp. The Green Rhino Overdrive Mark IV is smaller and more compact than its ancestors but it has more force than ever behind its mighty charge. The MkIV is as versatile as it is rambunctious and it’ll come to heel if need be. It can take a clean amp from pristine purity to a punchy, dynamic rhythm tone. But put it in front of a distorted channel, and you’ll hear more gain and sustain than you ever thought your amp was capable of.

TC Electronic Unveils New Sub ‘N’ Up Octaver Pedal Amber Technology | 1800 251 367 | www.ambertech.com.au Sherlock Adds The Grid 50 To GRID Series Amplifiers Sherlock Amplifiers | (03) 8802 0499 | www.sherlockamps.com

The release of Sherlock’s GRID 30 was a standout in 2015, building upon the company’s glowing reputation for producing some of Australia’s best crafted amplifiers. With the growing demand for a gutsier, beefed up model the homegrown manufacturer has introduced the GRID 50.

The 50watt amp uses two 6l6 or EL34 tubes. The GRID series of amplifiers feature an innovative design that produces a combination of modern and vintage tones. Based on the Vintage Reverb 30’s crisp cleans and the Fat Head’s signature medium to high gain range, the clever GRID series design offers a versatility that will appeal to all genres and guitar playing styles. The amp features two channels each with their own Gain, Volume, and 3-band EQ controls. Both can be gain boosted, effectively giving you four unique gain structures ranging from superb cleans, to vintage and modern rhythms, and medium to super high gain lead tones.

After teasing the pedal’s identity for some time TC Electronic has finally announced the Sub ‘N’ Up Octaver pedal: a pitch altering masterpiece.

The Sub ‘N’ Up is equipped with a next generation octave-engine and four individual controls, providing unprecedented versatility and customisation.

With blend controls for dry, octave up and two sub-octaves there’s a great deal of expression here. Lending itself to the use of bold chords, and subtle single-note lines, fluid polyphonic tracking is achieved with ease. But the Sub ‘N’ Up also manages to capture the seductive curves of old-school octaver tones as a classic monophonic octaver.

The pedal is, of course, TonePrint enabled, meaning it can be used with the TonePrint Editor. Add phasing, flanging, chorus, or construct your own sound from the ground up – your own creativity is really the only boundary when it comes to producing unique pitches with modulation.The Sub ‘N’ Up has completed the TC Electronic guitar pedal family, only reinforcing their reputation for mastering modern technologies with uncompromising authenticity.

Capture Your Ideas With TC Electonic’s Wiretap Riff Recorder Amber Technology | 1800 251 367 | www.ambertech.com.au

PRS Add To The McCarty Range With The 594 Electric Factory | (03) 9474 1000 | www.elfa.com.au

The McCarty 594 is a vintage-inspired instrument that is at once incredibly familiar and effortlessly playable. Whether you are looking for rich, authentic, vintage humbucking tones or nuanced, sweet single coil sounds, the McCarty 594 can seamlessly master both sonic territories thanks to the 58/15 LT pickups and push/pull coil taps on the tone controls. The electronics layout, a few key specifications, and PRS craftsmanship combine in the McCarty 594 to create an instrument that plays in tune, is intonated the entire length of the neck, and feels like a guitar that you’ve been playing forever.

The guitar has been a big hit already, with PRS endorsee John Mayer praising the new model. “The 594 is the best new guitar I’ve played in years,” explains Mayer. “It has a vintage heart and soul but without the technical limitations that usually come along with an old instrument.”

PG.12 // MIXDOWN #266 // JUNE 2016

TC Electronic has been very busy lately. We have already seen the release of the Sub ‘N’ Up Octaver with TonePrint, and now the Danish pedal-makers are back with a fresh, tech-savvy idea: the Wiretap Riff Recorder. The Wiretap is designed to assist musicians in the writing process. It can record and catalogue individual song idea through the use of a footswitch and the companion iOS and Android App. The footswitch activates and stops the recording, while on-board play, previous and next buttons help scroll though previously recorded material. The pedal can store up to eight hours of uncompressed audio, and with the aid of the companion app, you can oraganise your ideas and share them with your fellow band members.

The Wiretap Riff Recorder is just another step forward in the world of guitar technology, and is sure to open up more doors for iOS and Android devices to work as companions to their extensive range of pedals.

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PRODUCT NEWS

In A Snapshot: Keeley Compressor Pro Effect Pedal Gladesville Guitar Factory | (02) 9817 2173 | www.guitarfactory.net

The Keeley Compressor Pro Effect Pedal is a stompbox sized compressor/limiter made in Oklahoma, USA and engineered to be an indispensable tool for your musical endeavours. It is in no way limited to just guitar. It has been designed to work as a studio compressor, accepting any range of inputs and a frequency response and noise level matching the finest compressors made. In live situations, the Compressor Pro can be used to achieve full sounding, polished performances as well as protect amplifiers and speakers from overload. The Comp Pro is designed to work with any instrument, from voice and guitar to keyboard, bass, or drums. Use it when creating a podcast or YouTube video to maintain professional performance levels or even just noodling around on guitar on low gain settings to create tons of sustain.

Make Travelling Easier With Samson’s AllIn-One Expedition PA System Electric Factory | (03) 9474 1000 www.elfa.com.au

Samson’s Expedition XP800 is an all-inone sound system that offers excellent audio quality with quick and easy setup.

Providing 800 Watts of power, the XP800 features a lightweight, 8-channel powered mixer and two 8” speakers. For enhanced portability, the XP800 offers a unique speaker-locking design that allows the system, and all its components, to be packed up and transported as a single unit, weighing just over 40 kilograms.

The unit design is suited for all sorts of applications, and users with limited PA experience can set up the system quickly and efficiently. Musicians and more experienced sound operators will benefit from the XP800’s advanced features, such as monitor outputs for expanding your signal with active speakers, selectable digital effects and 2-band (bass and treble) EQ on all input channels. The inclusion of four mic preamps and multiple stereo connection options optimize the XP800 for band rehearsals and performances.

Australian Guitarist Develops New App: Guitar Get Up Tristan ‘Trizo’ Bouillaut has taken his 14 years of guitar teaching experience and put it into an app, helping new guitarists learn how to play. His app gives guitarists a teacher in their pocket, and Tristan says there is a special emphasis on time. Designed as a learning platform Guitar Get Up focuses on getting the basics absolutely right, Guitar Get Up allows you to play along to backing tracks recorded especially for the app, at four different tempos and in five different keys.

If you’ve ever wanted to start playing guitar but didn’t really want to interact with a real-life human teacher, or if you just like the convenience and price, this might be perfect for you. The app is available now on the Australian App Store for iOS devices, so you’ll be one step closer to being a guitar god.

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JUNE 17

MIXDOWN #266 // JUNE 2016 // PG.13

PRODUCT NEWS Timberidge’s Entire Range Set To Receive A Makeover In 2016 Jade Australia | 1800 144 120 | www.musocity.com.au

Over the last six months Steve Ainsworth has worked closely with Timberidge’s guitar manufacturer to redesign the whole Timberidge range. Visually the range looks better than ever with beautiful clean finishes, new headstock design and number of other details. However, it is the playability and tone that have really taken Timberidge to a higher level. Improved bracing, quality tonewoods and a number of other refinements have resulted in an open and robust sound.

Timberidge are also set to release the Messenger series later this year. The Messenger range has an identity all of its own and utilises the stocks of high grade mahogany they were able to secure this year. Stay tuned for even more new models to be released later this year.

Ashdown Now Distributed By Pro Music Australia Pro Music Australia | www.promusicaustralia.com Musicians will now have the chance to get their hands on a great range of Ashdown Engineering products thanks to a new distribution deal with Pro Music Australia.

Ashdown represent the finest in amplification technology. Their specially designed line of amplifiers, heads and combos reproduce acoustic and electric tone with added exceptional clarity and brilliant sound.

Ashdown has always remained true to their core vision: to build better bass amplifications for players of all levels – from beginners, to gigging semi-pros, right up to their enviable array of leading artists. Ashdown’s unwavering focus on design and innovation is plain to see in a product collection that encompasses tube and hybrid amps and combos, practice amps, FX pedals and the groundbreaking B-Social. B-Social combines wireless connectivity of instruments and mobile devices to create the perfect amplification and recording hub for a bass player’s home.

Now Shipping To Australia: Emerson’s Prewired Harness Kits Signal Chain | www.signalchain.com.au

Emerson’s Prewired Kits are hand-built one at a time in their shop in Broken Arrow, Oklahoma. The company doesn’t outsource their manufacturing, and strive to offer the best build quality and attention to detail as possible. All of their Prewired Kits feature handselected, premium audio quality parts to help you achieve consistent and reliable tones that inspire you to make the best music you’ve ever made.

The Prewired Kits offer significant advantages when compared to the wiring and components that come stock in your guitar. Using premium components including their very own Emerson Pro Pots, which feature a taper and response that is unmatched, they are built to take your existing setup to the next level. Kits also feature other high quality components such Bumblebee capacitors and Switchcraft jacks, and are available for Strats, Teles, Les Pauls, SGs, Jazzmasters and a variety of Jazz and Precision basses.

With Emerson’s Prewired Kits you’ll notice improved clarity and response from your pickups and controls. Their kits will also help to “warm up” or tame some of the shrill and sterile sounds that can come from stock electronics. All components are hand selected to balance out your guitar to make it more useable and enjoyable.

PG.14 // MIXDOWN #266 // JUNE 2016

Melbourne Guitar Show Returns In 2016 After a resoundingly successful show in 2015, the Melbourne Guitar Show will return to the Caulfield Racecourse in August this year, with full details to be released soon.

From August 5-7 musicians and fans alike will flock to the event. It’s tipped to be even bigger than the 2015 incarnation, which saw over 5000 people through the door. The floor plan has been extended to accommodate more performers, more fans and an acoustic only level, for those who prefer the quieter side of all things 6-strings. With acts like Jeff Lang, Geoff Achinson and Lloyd Spiegel playing last year, it will be hard to top, but there is a reason to get excited according to the Australian Music Association. There’s a groundswell of industrial excitement surrounding the event, with plans to bring some major acts Down Under to play at the show. They will also pull from the local talent pool for performances, and will profile more of the artists who play.

Receive A Bonus Pair Of Sennheiser HD280 Headphones With Every D1 Wireless System Purchase Sennheiser Australia | (02) 9910 6700 | www.sennheiser.com.au

For a limited time only, Sennheiser are rewarding new D1 Wireless users by giving away a bonus pair of HD 280 monitoring headphones with every purchase. Sennheiser’s D1 microphone is the latest in wireless audio technology that’s simple and intuitive enough to be used by just about anybody. It’s suited to a number of different applications, with systems in place for vocals and instruments. The HD 280 are closed-back, circumaural headphones designed for professional monitoring applications. Due to its robust construction and excellent shielding, these are not only ideal for a wide range of applications; the special 32 dB attenuation of external noise allows it to be used in a high-noise environment. This offer is exclusive to participating stockists only. For details on your nearest retailer, call 1800 648 628.

Flux Effects Set To Unveil Stereo Analog Delay

Signal Chain | www.signalchain.com.au

At long last, Flux Effects will be dropping a brand new pedal this year. Although it was officially announced at the Signal Chain launch event in 2014, delays has seen the preliminary design for the Stereo Analog Delay take over a year to complete.

The Stereo Analog Delay will feature 600ms delay, tap tempo with 5 tapdivisions, modulated repeats with speed and intensity, complete tone control of repeats as well as MIDI capability. That isn’t all though, Flux Effects have promised that this pedal will also include features that are yet to be seen in an analog delay pedal, however they are not revealing details until closer to the release.

The main challenge that Flux Effects had with the pedal design was fitting all of the circuitry in their standard enclosure size. The team described the task as “like a puzzle”, however with the design now finalised, prototypes will start to be produced and we can expect to see this pedal hit the market in the near future.

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PRODUCT NEWS In A Snapshot: 1927 Homerun King Compressor By Ninevolt Hot Apple Distribution | www.hotapple.com.au

Another of the Ninevolt range that’s sure to snatch the gaze of plenty of musicians out there is their studio compressor. Adorned with a pair of baseball playing grizzly bears, the 1927 Homerun King Compressor is a simply laid out low-noise studio compressor.

It’s fitted with two LED lights to show you when the pedal is engaged, and also when the compression signal is being applied. With true bypass and housed in a sturdy case, this is another pedal in a range that looks certain to take the music playing public by storm.

Introducing The Entertainment Series By QSC Technical Audio Group | (02) 9519 0900 | www.tag.com.au

The new Entertainment Series (E Series) from QSC is a range of passive loudspeakers, designed for sound reinforcement in live performance, DJ and dance music, stage monitoring and production. With high-capacity continuous power ratings, E Series is ideally matched with QSC’s latest generation PLD and GXD amplifiers.

The range consists of four models incorporating QSC’s DMT (Directivity Matched Transition) to deliver uniform frequency response across the entire angle of dispersion.

All three two-way speakers are trapezoidal shape with foldback wedge angles. The E10 features a 10” woofer with 2.5” voice-coil, E12 a 12” driver with 3” voice coil, providing enough volume for low-frequency extension down to 60 Hz, and the E15 a 15” woofer with 3” voice coil. E10 and E12 are fitted with a 1.75” voice coil HF compression driver and the E15 a huge 2.8” voice coil unit.

E18SW is a high-performance subwoofer with a single, high-powered, 18” woofer, providing crushing low-end for live performance with kick-drum and bass or for highlevel, high-energy dance music.

Ernie Ball Music Man Limited Edition ‘Starry Night’ Finish Available This Month Only!

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

Christmas has come early for many Ernie Ball Music Man players. Once a year, Ernie Ball Music Man reveal a limited edition finish that is only open to order for 4 weeks. This year, the premier guitar manufacturer brings us Starry Night – a stunning blue sparkle burst finish. The package also includes a figured, roasted maple neck with stainless steel frets atop an unmarked ebony fretboard - a first from Ernie Ball Music Man. For a limited time only, customers can order any instrument, any model and any configuration they please, and have it built with the custom Starry Night finish. After the four-week ordering window (which starts now), the finish is then retired and never used again. The finish is available on all instruments except Armada, Game Changers, BFR JP 6/7 String, JPX through JP16 6/7 String, BFR Luke, BFR Luke3 and the StingRay 40th Anniversary model. This offer is only available to select dealers apart of the Ernie Ball Music Man Premier Dealer Network. Interested? Hit up CMC Music Australia to order your custom made instrument with the Starry Night finish.

Introducing VocalSynth: The Newest Plugin From iZotope

Electric Factory | (03) 9474 1000 www.elfa.com.au

Just released from the software geniuses at iZotope is VocalSynth – a uniquely powerful and creative plugin that opens up a whole new world of possibilities for singers and producers everywhere. VocalSynth enables you to manipulate your voice to create electronic vocal textures, robot sounds, computerised harmonies, vocoder and talkbox effects, thick octaves or doubles, and everything in between. The software has four vocal engines: robotic vocals (Vocoder), organic harmonies (Polyvox), glitchy digital speech (Compuvox), and singing synthesised sounds (Talkbox). With VocalSynth, you have specialised vocal effects, allowing you to add edgy or tasteful distortion, filters, speaker convolution modelling, beat-repeating madness, and wide stereo delays. It also features pitch correction, so you can correct off-key notes in your vocals with real-time pitch correction with naturalsounding results. Rounding out the features is the streamlined voice generation; add harmonies, octaves, or unisons in auto mode, or get the exact harmony voicings you want.

A Look At Ninevolt’s ‘Fishing Is As Fun As Fuzz’ Pedal Hot Apple Distribution | www.hotapple.com.au

Alesis Expand V Range With VMINI Keyboard Controller Electric Factory | (03) 9474 1000 | www.elfa.com.au

The latest addition to Alesis’ immensely popular ‘V’ range of keyboard controller, the VMINI is a compact and portable 25-key controller. Features include 25 mini-size velocity sensitive keys and octave up/down buttons, four assignable rotary controls, and four velocity-sensitive backlit pads (perfect for drums and percussion or clip launching).

Also included in the VMINI is AIR Music Tech’s Xpand!2 advanced virtual instrument with over 2000 premium sounds. The VMINI is plug-and-play (no drivers required) and USB bus powered (no PSU required), making it the ultimate portable keyboard controller.

PG.16 // MIXDOWN #266 // JUNE 2016

Pedals are amongst the least straight forward creatures in the broader musical family. There are thousands of them out there, each with their own unique nuances and character. For some pedal makers, innovation is the driving factor to break new tonal ground. For others serviceability and reliability is the idea behind the genesis of a unit. The new Ninevolt series of pedals sits somewhere in between these two extremes, offering users a range of rich malleable tones that aren’t only reminiscent of some of history’s most celebrated bits of gear, but could comfortably go up against it in a live setting. Take for example their fuzz pedal - the Fishing is as Fun as Fuzz. While it possesses a voice that’s uniquely its own, it does give a subtle nod to some of its famed forefathers of fuzz, perhaps most recognizably the Big Muff pi. It’s certain to be a hit with the musician who’s looking to add a little heat to their pedalboard with a classic fuzz tone.

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PRODUCT NEWS

In A Snapshot: Durham Electronics Crazy Horse

In A Snapshot: Durham Electronics Sex Drive 15th Anniversary Edition Global Vintage | (02) 9569 7009 | www.globalvintage.com.au

Global Vintage | (02) 9569 7009 | www.globalvintage.com.au

This hand-built and wired distortion and fuzz pedal boasts endless versatility, distinguished by an unparalleled tonal adaptability. It’s no one-trick pony, exemplified by the way each control interacts. Playing with the balance of fuzz and gain will give you endless tonal satisfaction. With the fuzz turned down your gain responds to the tone, volts, and level controls. Total tonal mayhem is attainable with the fuzz turned all the way up. When combined with increased gain the fuzz will saturate, and things will get even crazier. The tone control works with all sections of the Crazy Horse and at 12 o’clock, it gives you a neutral effect. The voltage control, on the other hand, interacts solely with the gain control. Turned fully clockwise, the gain is getting maximum voltage to the circuit. Capping off this massive tonal scope is the brightest blue led in the business

Here’s a clean boost that supplies extra bottom-end and sustain, while also complementing an amplifier’s original tone with exceptional clarity. The hand-built and wired pedal is not true bypass, yet offers no colouration when being bypassed.

The compression feature brings to the fore a slight amount of gain, depending on the setting. This is a subtle compression felt more in the fingers than it is heard. When the switch is in the hard position the gain control has a decreased effect, but will add the most grit to your sound. The soft setting will give you slightly less, while the off position has the greatest boost response.

The tone on the Sex Drive really should be labeled as presence. This is not a traditional tone circuit adding or cutting treble. The tone control is very subtle adding clarity to your sound without altering your overall tone. This is a pedal that performs minute to changes for significant returns.

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OUT 1 JULY

OUT 24 JUNE

C O V E R

S T O R Y

GARBAGE 2015 was a considerably busy year for Garbage, a band known to lay dormant for years at a time due to preoccpuations with the outside world. The primary focus for them was celebrating the 20-year anniversary of Garbage, the iconic selftitled album that is home to a half-dozen staples of both pop and alternative radio still to this day. In conjunction with its deluxe reissue, Garbage also ventured out on a relatively brief tour in which they exclusively drew from the source material. “We had to learn all the songs again, as well as all the B-sides,” explains Butch Vig, the band’s drummer. “We wanted to make it really special, as we were only going to do 30 shows all up. It was important to us that these felt like a once in a lifetime experience for our fans, and I think those that came to see the show will testify to that. It felt like the right thing to do, and I think we all got a lot out of it. The truth is we’re really lucky to still be here after all this time.”

At the same time as this, Garbage – Vig, vocalist Shirley Manson and guitarists Duke Erikson and Steve Marker – were working toward the completion of their sixth studio album, Strange Little Birds. Vig recalls the process of putting the album together fondly, as he feels the band have a much clearer idea of both how to make music and what it is they want to get out of it. “The writing sessions are pretty casual,” he says.

“We crack open a bottle of wine, Shirley sits down on the couch with a microphone and then Steve, Duke and myself wander around to different instruments – guitar, bass, keyboards, drums – and see if anything we strike up hits our fancy. We’ll work for a couple of weeks, take a couple of weeks off; go back and forth like that. We did this for about a year after we stopped touring Not Your Kind of People, and soon enough we had about 20 songs. Garbage being Garbage, we recorded a lot of different things. When it came to mixing the album though, we stripped everything back. I think that’s what you hear on this record – by drawing everything back in, the songs are able to get right up in your face.”

Eschewing the traditional origin story of being friends in high school or replying to a ‘wanted’ ad, Garbage began in the early ‘90s initially as a studio project for some like-minded music industry types that were disenfranchised with what surrounded them. Vig, in particular, is perhaps the most famous member of the group.

Away from his drumming duties, Vig is a record producer of some note – having worked on albums by the likes of Nirvana, the Smashing Pumpkins, Foo Fighters and AFI. Interestingly, however, he is not the sole-credited producer on any Garbage record – those, as the liner notes will testify, are produced by Garbage as an entity.

PG.18 // MIXDOWN #266 // JUNE 2016

It’s not always easy, but we try. It’s always going to end up sounding like Garbage all the same. Even if we tried to make it different. That comes back to our sensibilities – the way that we play, the music we like, how we think things should sound.

“A producer is someone with an opinion,” muses Vig when queried on what the other three members of the band are like from a production standpoint. “All four of us are very opinionated. We butt heads every day in the studio. We’re lucky that we share a sensibility that has allowed us to work through differences. At the end of the day, I think we get to a point where all four of us have a clear idea of what we need to do. It’s not always easy, but we try. It’s always going to end up sounding like Garbage. Even if we tried to make it different. That comes back to our sensibilities – the way that we play, the music we like, how we think things should sound. I think that’s one of our strengths, and the reason we’re still here after 20-something years. We’ve been together long enough to know when to let things go and not take them personally.”

Vig speaks both fondly and often about the ‘Garbage sound,’ which is an interesting topic of discussion when one looks at the songs that have come to shape the band’s career. From straightup sugar-rush pop (‘Cherry Lips,’ ‘Special’) to big-guitar rockers (‘Why Do You Love Me,’ ‘I Think I’m Paranoid’) all the way through to lush, quiet moments of intimacy (‘Queer,’ ‘Milk’). The so-called ‘Garbage sound’ exists, paradoxically, because there is no ‘Garbage sound’ – it is a conscientious effort on behalf of Vig and co. to constantly reinvent, adapt and evolve across a chameleon-like state of sonic shifting. This is something Vig himself is inclined to agree with, assessing what has defined the band from Garbage all the way up to Strange Little Birds.

“On our first album, we blended a lot of different styles,” he says.

“We had pop beats, electronica, techno, punk-rock fuzz guitar, big melodies and harmonies. At the time, it really caught people off-guard. We’re lucky to have a singer like Shirley – she has such a strong persona, so it was easy for us to write songs as different as ‘Vow,’ ‘Queer’ and ‘Stupid Girl.’ We’ve carried that with us. Every record we’ve done shows that every song has its own unique stamp. Shirley is what holds it together – she can keep the focus and glue it all together.”

BY DAVID JAMES YOUNG

Strange Little Birds is out now via Liberator Music.

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Signal Chain Phone: Rodger at 0401 554 600 info@signalchain.com.au www.signalchain.com.au

Global Vintage 105 Parramatta Road Sydney phone: (02) 9569 7009 info@globalvintage.com.au www.globalvintage.com.au

Deluxe Guitars 9 Union Street South Melbourne phone: (03) 9686 4755 mail@deluxeguitars.com.au www.deluxeguitars.com.au

Pedal Empire Shop 2 / 12 Lucy St Moorooka, Brisbane phone: (07) 3892 3292 info@pedalempire.com.au www.pedalempire.com.au

Gladesville Guitar Factory 280 Victoria Rd Gladesville phone: (02) 9817 2173 www.guitarfactory.net

I N T E R V I E W S

Architects Vocalist Sam Carter joined Architects in the lead up to the band’s second album, 2007’s Ruin. Since that time, Architects have never taken more than a fleeting rest. With each successive release they’ve gained more success, but rather than basking in their flowering popularity, this has been the impetus to get back to work and make something bolder.

Released in May, All Our Gods Have Abandoned Us is the UK metalcore outfit’s seventh album.

It’s been just over two years since the release of Lost Forever // Lost Together (which charted in the Australian and UK top 20), but there was never any uncertainty concerning album number seven.

“When we’d just finished Lost Forever, we were already talking about the new record – All Our Gods – but we knew that we wanted to take a bit more time with it,” Carter says. “Especially after the first year of touring Lost Forever, we realised how well that album had been received. We just wanted to tour it as much as we could, because we hadn’t played shows where people cared that much that consistently.

We just wanted to do a lot more touring and mainly focus on that record for a couple of years.”

Architects visited Australia twice during the Lost Forever touring cycle, including a support run with The Amity Affliction in 2014 and a headline stint early last year. The extended touring schedule didn’t deplete the band’s creative energy – if anything it solidified their intentions for All Our Gods.

“When it came down to writing, it was a really natural process,” Carter says. “We were all on the same page; it was really fun getting it together.

At the same time, it was cool because we were writing in between going on tour and playing these wild shows. So we were going into the studio with confidence we hadn’t necessarily had before.”

Given the success of Lost Forever, the band stuck with the same recording format for All Our Gods. Namely, they returned to Studio Fredman in Gothenburg, Sweden to enlist the production know-how of Henrik Udd and Fredrik Nordström.

Udd also mixed and mastered the album, and the band are credited as co-producers.

“There was no doubt in our minds who we were going to go with,” Carter says. “When we were in the studio last time Henrik was like the sixth member of our band. He fully understood where we were going with it, how we were working on it. He just gave it as much effort and time as we did. For us it’s really cool to go back with him, because we all needed to step up, get a better record than Lost Forever. And he himself was like, ‘I need to step up. I’m going to get a better sounding record.’ He blew us away.

“Both of them have got such a good ear for metal.

I genuinely think they’re one of the best studios in the world for that kind of music. Together I feel like we created a really great sounding album.

Great people, and really dedicated – I wish more people would record with them because they’re so great.”

Carter and co. were initially attracted to the Studio Fredman team for their work on the second and third Bring Me The Horizon records, as well as releases from At The Gates and I Killed the Prom Queen. Though, when it came to All Our Gods, they didn’t feel the need to look beyond the studio for references.

“It was just going off the back of Lost Forever –

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just being influenced by that record and things we liked on that record, sound-wise, and growing from there. [We were] giving Henrik some free rein: ‘We know that you know what sounds good, and just go with it and make it sound as good as you can.’

He really went to town with it, especially with the guitars; I think the drums sound fucking crazy. I used to play drums, so I’ve got a really keen ear for it. The step up in drum sound from Lost Forever to All Our Gods is wild.”

An interesting detail of the Architects story is their fourth album, The Here and Now (2011). Not nearly as heavy as the records that preceded it, the album was largely shunned by their fanbase.

They followed up with Daybreaker in 2012, which resumed the technical metalcore sound of their earlier work, and their latest two releases are perhaps even heavier, while also incorporating ambient electronics and conspicuous melodic sections. After The Here and Now, it was necessary to review the identity of Architects.

“I feel like that record needed to happen. We needed to get that out of our system. We were young then, we were growing up, we thought we knew everything, we thought we had free rein over our band and we could do what we wanted.

And it’s not really the case. Once you’re in a band that’s doing well, people invest in a certain sound of a band and they love a certain sound of a band.

They don’t want to hear acoustic guitars. That’s not Architects. But I’m glad we did that, because afterwards we really did figure out our true identity and what we were good at.”

BY AUGUSTUS WELBY

All Our Gods Have Abandoned Us is out now via UNFD.

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I N T E R V I E W S

Beartooth According to frontman Caleb Shomo, Beartooth’s second studio album, Aggressive, acts as a self-reflection on a darker time in his life, fuelled by the mayhem of mental illness.

Heading back to the studio, Shomo retreated from the road to write, perform and produce the emotive follow-up alongside Josh Feldmann and David Bendeth. Despite his hardships in the past, the singer-songwriter sums up his current situation through the sweet, simplistic style of his fresh ink – “Everything is cool man”.

“I named this one Aggressive because I felt it was the best word to describe the emotion of the record as a whole,” says Shomo. “I think the lyrical content is a bit more angry than the first record, but it’s also more hopeful. The majority of the songs are about reflection on my childhood and the things that got me from being a kid to where I would be in my life to write a record like Disgusting. All of that pisses me off a tonne, that I went through those years of life with such severe depression and anxiety. But sometimes bad shit has to happen for things to turn around and I’m alright with that.”

Returning to his basement turned home-studio for the record and finding comfort in his familiar surroundings, the lead vocalist says the underground space is essential for the Beartooth sound. “I’d written roughly three songs over the course of the record cycle but I don’t really like writing on the road,” Shomo reveals. “I prefer to keep studio time and touring time completely separate so I don’t get

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too burnt out. It’s the energy of the whole thing; I think the record really needs to be made in the basement. That’s where I learnt how to record and where I first started writing music. To me, that’s the place I feel the safest and free to do whatever I want. There’s nobody around so I don’t get nervous trying things, I just try all of this random crap until it fits together and I feel comfortable doing it in a space like that.”

While he values the ability to explore a range of musical elements, Shomo assures us that there have been no drastic changes made to the overall arrangement. Instead, he’s honed in on the aspects that motivate him the most. “One thing I did want to do was sing a bit more,” he says. “Over the two years of being in a band and touring I’ve just really fell in love with singing, so I wanted to push myself. Other than that I wanted to write a good Beartooth record. I didn’t want to completely change up the sound or anything. Two guitars, bass, drums and vocals – I don’t see that changing anytime soon.”

Recently parting ways with drummer Brandon Mullins, the four-piece have recruited a replacement for their tour but will remain in the same formation for the time being. “We’ve been working on building this thing for a very long time and it’s very near and dear to us,” says Shomo. “We’re just going to stick with the four of us right now, but the guy whose been playing with us, Connor, is absolutely unbelievable and we are very happy with him. I don’t think he’ll be going anywhere; hopefully he sticks around as our touring guy. It’s all about making everything stronger and making sure everyone that’s there is the best person for the job and it’s worked out for us.”

Currently on tour in the U.S, the Beartooth boys have had the pleasure of supporting some of hardcore’s biggest heavyweights in the past, taking their music to a whole new level. “We toured with some really cool bands on our first record cycle,”

says Shomo. “I had a lot of fun touring with Bring Me The Horizon; they were awesome and have really good crowds. We toured with Slipknot – that was unbelievable. If we ever got a chance to do either of those tours again I think we’d be pretty stoked.

It’s such an amazing opportunity when we get to play in front of thousands of people on a tour that have probably not heard of our band, that’s our favourite thing ever.”

Clearly thriving off the excitement of it all, Shomo admits that his adrenaline addiction almost got the better of him recently when visiting the ‘Red Bull headquarters’ in Austria. “It was pretty cold out so I didn’t do it because I didn’t want to get a cold and screw up my voice – which sucked because I wanted to, but a lot of the dudes went sky dying and then Taylor got flown around in one of those crazy trick plans. I wanted to do nothing more than sky dive, I definitely love pushing myself when it comes to adrenaline. If we had a day off the next day, I’d have jumped out of a plane, I’ll jump off a cliff, whatever, I’ll do it!”

BY PHOEBE ROBERTSON

Beartooth’s ‘Aggressive’ is available June 3 via Red Bull Records/ Unified.

MIXDOWN #266 // JUNE 2016 // PG.21

I N T E R V I E W S

Fear Factory It seems like every other year that Fear Factory visit our shores, and they returned this month off the back of last year’s Genexus LP. The industrial metal outfit’s last headline tour saw them playing 1995’s Demanufacture album in full, but this time an online voting system allowed fans to have their say over the setlist. Though, it seems that the fan favourites closely correspond with the band’s favourites.

“Pretty much everything they want to hear we already play,” says frontman Burton C. Bell. “[We play] songs pretty much from every album – except Transgression.”

Released in 2005, Transgression is an outlier in the Fear Factory catalogue. It was one of two albums made during guitarist Dino Cazares’ seven-year absence from the band, and the title reflects Bell’s creative ambitions for the record.

“It’s a transgression against Fear Factory. So what’s a transgression?

Go against what you normally do,” he says. “It’s a rock album, and our fans just didn’t get it. But a lot of people do like that record. A lot of people had never heard Fear Factory and they heard that record and they liked it. It’s a rock record, and we were trying different things. So it’s a transgression against Fear Factory – against the normal sound that our fans are accustomed to.”

The line-up of Fear Factory has changed numerous times over the years, with Bell the only member to appear on each album. For him,

Mourn On their debut album, Catalan band Mourn took a rhetorical knife to the people around them in the way that only pissed off teenagers can. Your Brain Is Made of Candy wasn’t especially flattering in its observations, while the bonus track Boys Are Cunts left little to the emotional imagination. “We used to use anger and those kinds of feelings to write our songs,” says singer Jazz Rodriguez Bueno. “I think our songs are kind of a diary of things that happen in our life. And anger sometimes helps,” Bueno laughs.

Bueno and her school friend Carla Perez Vas formed Mourn a few years ago. Bueno’s father had introduced her to a range of classic and contemporary punk and rock’n’roll bands, broadening her music tastes well beyond the Europop that clutters Spanish radio.

“My dad is a musician, so he was always showing me bands. I discovered a lot of bands through him,” Bueno says. “When I was little I liked this sort of music so I started to look on the Internet. You can’t hear this sort of music on the radio, but you can find whatever on the Internet if you’re interested in it. But you have to go looking for it because you will never hear it here.”

In her early high school years Bueno and her sister Leia formed a band with their father, “just to have fun”. A couple of years later, while still at high school, Bueno and Vas decided to start their own band, recruiting Leia on bass and Antonio Postius on drums. While the band’s name is evocative, it came simply through a random selection process.

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every record has creative value – all of the various experiments with genre and production have expanded their arsenal and given them something to respond to when moving forward.

“Each album is a time capsule of what I was feeling or what I was thinking or what we were going through,” Bell says. “Every album represents a certain time period of our career, of our lives.”

Genexus came out last August, and it’s the third album made since Cazares returned to the band.

Fear Factory have been around for over 20 years, making nine records overall. For Bell, there’s one primary element that drives the creation of new material.

“Survival. You’ve got to keep producing albums, you’ve got to keep touring. In a world culture that has developed into even faster than Depeche Mode – you know Depeche Mode’s ‘Fast Fashion’.

Everything is much quicker. Everyone’s attention is shortened. So you have to keep on going out there so that people don’t forget, because they will. Fear Factory’s always done records every three years.

“We wish to continue being musicians and to continue doing that you’ve just got to keep working. So we put out an album and then tour for two years and then go and write and record a new one.”

With the exception of Transgression, the band have approached each record with the intention to make the perfect Fear Factory album – something that demonstrates all of their strengths at once. This was especially the case with Genexus.

“This is a record that we actually researched ourselves and had to relearn what was the best part to Fear Factory. What do the fans like? What are the songs that go off live? [The plan was to] basically become reacquainted with ourselves and go from there. Writing this record was a long process. It took a while, but I think we did it right. A lot of fans love this record.”

“We had a very long list of band names, but we couldn’t decide on any of them. We didn’t like any of them, so we decided that it would be random and opened a dictionary and pointed at a word, and the word was mourn,” Bueno says.

Mourn take cues from PJ Harvey and Patti Smith, augmented with The Strokes, The White Stripes, The Replacements and The Clash. The band’s 2014 selftitled album was recorded straight to tape over two days, a deliberate attempt to capture the band’s live sound.

“It was like a rehearsal but being recorded. It’s like we were playing at home together, but in the studio.

It’s cool but it captures how we sound. It’s not over produced,” Bueno says. “We did the same with the second album, but it took a couple of weekends rather than a couple of days. We recorded something like two songs a day.”

Mourn’s first record generated interest outside of Spain, including from hip Brooklyn indie label Captured Tracks. “They saw our video that we recorded at our studio,” Bueno says. “We have some friends that are called Look Behind You. They make music videos with musicians playing live. They wanted to record and film us. Mike Sniper saw one of these videos and wrote to us on Facebook. He asked for our email, and he asked us if we had any label in America, and we said no. He was glad because he wanted to release our songs there. We introduced him to our label in Spain, so all that happened.”

Signing with Captured Tracks was the catalyst for Mourn playing outside of Spain, including shows in the US where the band members were amazed at the reception they received.

“Playing in America was like being in a movie, it was really fun,” Bueno says. “People there were really different to people in Catalonia or Spain. I think they are more inside the music culture – they feel it more. It was more impressive that people came to our shows because it’s the United States – it’s so far away. It was a great experience.”

For much of their existence, Bell and Cazares have been the band’s creative nucleus – taking charge of all the songwriting and overseeing the recording process. The strength of their creative partnership depends on sharing a lot of core aims, but things can become rather tense on occasion.

“We’re human and we don’t always see eye-toeye. But we’ve known each other for 26 years so we communicate. We understand each other’s strengths and each other’s weaknesses and we appreciate that and we go with that. But any creative team – artistic or professional – they’re all butting heads at some point, because people are going to disagree. But you work through it and you figure out a solution.”

The results of this collaborative to-and-fro have long resonated with Australian listeners. “For some reason Australia really just opened its arms for Fear Factory and understood the nature and the music and the concepts from the very early days.

We’ve toured there so much that we’ve even done small tours – grass roots, playing tiny little places everywhere, building up a following. The fact that we keep coming back, our followers have grown and have kids now. We’re like a staple metal band down in Australia.”

BY AUGUSTUS WELBY

Genexus is out now through Nuclear Blast.

For Mourn’s second album, Ha, Ha, He., the band again sought to recreate their live intensity, though this time around they not only took longer in the studio, but also chose to disguise the subjects of the songs.

“It’s not as obvious what we’re talking about. It came out as writing not as directly. I think it’s kind of clear what we’re singing about, but it’s different to the songs on the first album,” Bueno says.

The fact that Bueno sings in English helps with the subterfuge. “Singing in English is kind of a protection or shield,” she says. “When we finished recording the songs I thought it would be more difficult for me to sing the songs without thinking about those things.”

Mourn identify as Catalonians rather than Spaniards.

Catalonia remains proud of its cultural heritage and radical political tradition. In 1936 Catalonia was the scene of the world’s first (and only) anarchist government; when art historian Robert Hughes went to write about the great art of Barcelona, he found himself drawn to the unique culture and politics of the region. “We’re Catalan and have our own traditions, so we don’t feel that we’re Spanish, but I don’t know how that’s influenced our music.”

Bueno isn’t so positive, however, about the economic future in Spain. “I think there’s no hope,” Bueno says. “It’s frustrating because nothing’s changing.

Hopefully there are some political movements that are trying to change this, but it’s a slow process. But a lot of people here are angry with the world, and I don’t feel comfortable here. I’m studying and trying to make my own things, so I hope the situation changes because it’s not very good now.”

BY PATRICK EMERY

MOURN’s new album Ha, Ha, He. is available now via Captured Tracks / Remote Control Records.

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I N T E R V I E W S

letlive.

From the City of Angels comes California’s own letlive.; a band that made their breakthrough with 2010’s raw and hardhitting release Fake History. Reinvigorating the punk rock genre with their melodic, infectious soul tones mashed into a ferocious onslaught of frenetic punk melodies, letlive. are back with another demon. This month, the band are set to explode once again with their latest release If I’m The Devil, a record that guitarist Jeff Sayhoun admits isn’t your typical letlive. record.

“It’s kind of a new colour that has been added to the letlive. catalogue,” explains Sayhoun. “It’s definitely exciting. We have had the opportunity to experiment immensely with different sounds, different arrangements, and a different feel as a whole. We have kind of stepped outside of the box a little bit to see what kind of journey we could take our listeners on. I think we have been through a lot and this record definitely represents the evolution of the band as a whole and where we have been on a personal level as artists.”

If I’m The Devil strikes the perfect balance between their erratic punk rock influences and the smooth soul that has always been an underlying style within their sound. If anything, the record demonstrates the band’s unconcern with the stereotypes of the punk scene, producing new material that is sonically brighter than previous releases.

Parkway Drive Let’s not beat around the bush here, Byron Bay’s own Parkway Drive are easily one of the most successful metalcore bands of our generation. They have put heavy music on the radar in Australia, changing the perception of many musician’s who thought they could never ‘make it’ playing that style of music. In 2015, the band shook things up with new LP Ire, which saw the band leaving their metalcore roots behind, and trek into uncharted territory. This month, the lads are back on home soil, and will be touring around regional Australia on the fan-named ‘All Aussie Adventure’ tour. Winston McCall sits down with Mixdown to talk about retirement, taking vocal lessons, and the wonderful world of social media.

The band took a leap of faith with Ire, which saw fans divided on the sudden departure from the metalcore genre that their long-time fans grew to love. However, as McCall admits, the response has been overwhelming positive, only reassuring the band’s belief that it was the right decision. “[Ire] has done everything we had hoped for, and a lot more, which is really nice for something that we had no idea what to expect for,” McCall explains. “We have been able to play a bunch of new songs that have different characteristics to anything we have played before.

It has really opened up so many more opportunities for us. We have been able to play different types of shows, stepping it up to a whole

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“I think there is always going to be that punk/ rock aesthetic to letlive. and to everything we are,” admits Sayhoun. “We didn’t go into this record thinking that we should steer away from the foundation of this band. I don’t think that will ever happen with us. I think punk rock is all about being you and not really giving a fuck what anyone else thinks. You know, like being in tune with your emotions and being let loose in a way that makes you feel human or alive. I think we got the opportunity to do that with this album. We are very much still a punk band.”

Most bands will reminisce about their favourite childhood bands when it comes to naming influences, but for letlive., this isn’t the case.

Although each member comes from different musical backgrounds, it is the collective effort when writing each song that has the most impact on the sonic structure of their music.

“We really draw off each other,” Sayhoun explains.

“Trying to write and compose this album, it was pretty challenging. We all come from different musical backgrounds and everybody in the band had different visions as to where they wanted the end product to end up. This ended up causing a lot of disagreements and tension amongst the group. It was definitely challenging. I’m not going to lie, it was definitely hell on Earth at times, but I think it gave us a chance to reinvent the band, and bring us to something that we never thought it would be.”

“Everyone had their own opinions, and I think towards the middle of the writing process we put our egos aside, sat back, and realised we all had our best interest for each other in mind. There was this level of trust that was thrown into the equation, and it was then that we only started to agree on stuff, and started to get excited. It was here that we started to build the strong foundations of the musical aspect of the record.”

Sayhoun’s gear certainly sparks an interesting conversation. The self-professed gear-head is one

who will tinker with his instruments in his spare time in order to gain the functionality and tone that he desires.

“So I actually build all of my Telecasters,” Sayhoun confesses. “When touring with letlive., it became very interesting for me to build guitars because when I was onstage they would get beat up, and then I’d spend days afterwards trying to put them back together again, so I kind of learnt how to build them that way.”

“Right now I’m playing a Telecaster Elite, which I got to use on the record. I also used a Charvel GT1, which sounded very dark. And I also used another Telecaster that I built with Seymour Duncan JBs on it with a coil tap, which had a blacktop body and an American Fender neck. In the bridge, I also had a JB, but I stuck it underneath the pickguard, so it kind of acted as a ghost pickup. So whenever I used that, it kind of gave it more of a roomy kind of sound, which I fell in love with.”

When it comes to amplifiers, Sayhoun keeps it local, giving back to the manufacturer that supported him from the start.

“I’ve been with Egnater for eight years,” Sayhoun explains. “All of my Egnaters are hand-wired. I use a HW45 head… I think they only made 49 of them in the whole world. The whole record was done with that amp. I also have an Eganter Renegade, except this one was one of the first ever made, and I got it 8 years ago when it was only a prototype. Any time I need any work done to it, the warehouse is only 30 minutes from my house, so it’s always taken care of on the spot. It sounds a little different to most Renegades, which I love.”

different level. Thirteen years in and still being able to that, it’s pretty mental.”

McCall’s ferocious growl has been the centre point of Parkway Drive’s music for over a decade, yet the seasoned veteran had never received vocal training until it came to writing Ire. McCall explains that the transformation of his voice from Atlas to Ire was definitely challenging, and by now taking lessons, he has discovered a whole new way to express himself.

“Basically up until writing this record [my voice] had progressed from nothing to nothing,” he laughs. “I was literally doing the exact same things to when I first started, simply because I never got any training until we worked on Ire. I actually went and got vocal lessons, and then I started understanding how my voice box works, and I have been working on my technique ever since. It has been a massive journey for me simply because I have ever only had one voice, which was screaming. I may have been able to screech like a pterodactyl as well, but it was all the same thing.

The emotional connection and the character that I could put into songs were very limited. Now that I have found that I can do all of this other stuff, it has literally given me a whole new pallet of colour to work with other than being stuck with one lead pencil.“ Social media has allowed fans to connect and interact with bands like never before, and Parkway Drive took the opportunity to give their loyal following the chance to name their upcoming tour, with ‘All Aussie Adventure’ eventually winning the vote. There were times though when McCall and co. thought that the competition could be hijacked. “[Laughs] Oh boy there were so many ‘Toury Mc Tour Face’ submissions. That’s the thing though, we literally couldn’t think of a name for the tour. I don’t know, we just figured that kids could come up with something pretty funny, so why not give

them a crack. There were literally thousands of entries; it was absolutely mental. There were some outrageous entries that made us laugh, but at the end of the day we had to remember that this has to go up on a tour poster, so we played it safe and went with a Russell Coight reference.”

With so much already achieved, Parkway Drive would be forgiven if they were thinking of retirement, however this isn’t the case. Ire saw the band reach even greater heights, topping the Australian charts for the first time ever. McCall admits that as long as they are healthy, nothing will slow them down.

“There’s definitely still more to achieve. We wrote this record with the intention of not so much retiring, but we put so much into it that we planned to finish it and then take a little bit of time off. We thought there would be so much music in this, that we could give people some time to digest it and we wanted to be able to enjoy a little bit of a break. When the record came out though, it was received way better than what we could ever have hoped for, especially overseas, that all of a sudden these new doors opened up.

And we have done the same thing as we always have, when people give us an opportunity, we take it rather than saying no. So we kind of just adapted and tried to take this to the next level. We still love doing it, and we aren’t physically broken just yet.”

BY MICHAEL EDNEY

If I’m The Devil is out June 10 via Epitaph Records.

Ire is out now via Epitaph Records. The All Aussie Adventure Tour kicks off on June 15. For tour dates, head to mixdownmag.com.au.

MIXDOWN #266 // JUNE 2016 // PG.23

I N T E R V I E W S

Saosin Rising from the ashes in 2016 comes West Coast alt-rock outfit Saosin. With original vocalist Anthony Green back at the helm, the band has just released their first full-length in over seven years. Along The Shadow isn’t trying to be a recreation of the magic that Saosin once created 13 years ago; it is however a poignant sonic journey that picks up right where the band left off.

For founding member and guitarist Beau Burchell, the future of the band wasn’t always as clear as it may seem now. In 2010, vocalist Cove Reber departed, leaving Saosin in a four-year hiatus that threatened to permanently derail the band. “There is that point in every relationship where you just kind of feel like it is going to go any further with the way things are?” Burchell elaborates. “We either had to make a change or it was just not worth continuing on. I wasn’t really happy with where we were at, and it just didn’t feel like it was right. We decided to not continue on with Cove anymore. We had a couple of friends come in and do some singing, and worked on some songs, but nothing really felt right.”

At times, it looked like Saosin were done and dusted, with the band struggling to find the right formula. “It was one of those things where I wasn’t sure if I had pressed the stop button or the pause button,” explains Burchell. “We didn’t really talk about it either.

I guess maybe in our heads we knew that it was a pause, but I don’t think we necessarily had any hopes of a return. It was one of

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those things where it would have been nice if it happened again, but if the band just left off where it was I would be happy with the things we had accomplished.”

“For me, especially with having a family now, it was kind of one of those things where in order for me to leave home and go out there and be back in a bus and tour the world again, it had to feel right. I’ve seen a lot of bands continue on and perform shows because they had to pay bills and I never wanted that to be me. That was part of the reason why we put it on hold. It really comes down to we only wanted to do this if it was going to be fun.”

Saosin first splashed onto the scene in 2003 with critically acclaimed EP Translating The Name – the first and only recording with original vocalist Anthony Green. Leaving the band shortly after their rise into the spotlight, Green and Saosin reunite again after ten long years and Burchell can’t hide his excitement.

“It’s fucking awesome,” admits Burchell. “Every night for me, I’m just the biggest dork on stage; sitting there playing guitar with the biggest cheesy face. After playing shows, I’ll look through social media and see pictures people are posting and every picture is just of me smiling ear to ear.

I feel like such a nerd because I’m meant to be up there like some tough-guy rocker, but I just can’t stop smiling because I’m having such a great time.”

Along The Shadow is noticeably heavier than most of Saosin’s previous material. The record acts as a cathartic tool for the band that demonstrates their tumultuous journey over the past 14-years. It picks up right where Saosin left off with Green in 2003, and attempts to make amends with fans that have waited since that very day.

“Anthony wanted to do some things that were a little more aggressive on this record,” Burchell

explains. “I guess that’s the word I would use to describe it. This is definitely our most aggressive record. To me, when I think of heavy I think of bands like Meshuggah. But yeah I would definitely say this is our most aggressive stuff. Anthony is doing a lot of yelling on it. Chris and I had a lot of songs, and we sent them all to Anthony. He picked which ones were sticking with him, and from there we continued to finalise the music on them.

You should have heard some of the songs. We had like space rock jams, and even stuff that was super light. So light, that people would probably be shocked that it was coming from Saosin.

Fortunately for the fans, Anthony picked a really great batch of songs to sing on.”

Despite riding the wave of a brand new release, Saosin aren’t making any guarantees that this is a permanent reunion. “We have no intention of coming back full force, like where we are touring eleven months out of the year,” admits Burchell.

“If the demand is there, and people want us to play shows, then we will do it if it works for our schedules. But as well, we are trying to be respectful of Anthony, his solo career, and the guys from Circa [Survive]. They are also in a band with him, and I think it’s unfair to those fans long time fans of Circa [Survive] if we just rock up and take him. That’s not the case. Those fans have been following that band for over ten years now, so I think it would be really unfair for us to hog him.”

BY MICHAEL EDNEY

Along The Shadow is out now via Epitaph Records.

www.mixdownmag.com.au

I N T E R V I E W S

Shihad This September marks 20 years since the release of Shihad’s eponymous third LP, commonly known as ‘the fish album’.

To celebrate, they’ve remastered and reissued the album on vinyl, and the Kiwi hard rockers are heading out on a national tour. Now, it’d be an exaggeration to say Shihad sounds new, but the production doesn’t flag it as coming from a definite place and time, which lets the songs speak loudly. The fish album was recorded in Auckland with producer Malcolm Welsford. Drummer Tom Larkin casts his mind back to the recording sessions.

“The band was in a real state of flux. I think that’s what you get with that album,” Larkin says. “In terms of the people in Shihad, we were an inner city band and we came from the metal scene. And once we toured Europe and we were paired with a lot of metal festivals and metal bands, we found ourselves not enjoying our environment on a musical level. With some notable exceptions, we didn’t feel a strong kinship with a lot of the bands that were going around at the time. That meant that our music reflected a want to escape that tonality and that slant on things.”

In contrast to Shihad’s first two records – Churn (1993) and Killjoy (1995) – the fish album is far more melodic and concerned with the art of storytelling. The reasons for this shift are manifold, but Larkin notes one rather unexpected influence.

“I remember Oasis were really huge at the time, and it had blown open the doors in the UK,” he says. “And we were very impressed having seen them live, when they were just breaking, in Denmark. That affected the

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songwriting team and the songs started to be much more melodic and not necessarily along the lines of the heavier stuff that we were known for.”

“That placed the band in an unusual situation whereby half of the band were like, ‘We need to continue the narrative we’ve set up and the style.

I still enjoy heavier stuff.’ And the other half were pulling away from that, wanting to explore more pop music, more colourful stuff.”

While the band were unsure about persevering with their established style, Killjoy had put Shihad under the spotlight and saw them make their mark outside of New Zealand. Meanwhile, the band’s creative resolution became even more muddled when tragedy struck.

“We’d just had the death of our initial manager and then we were thrown into the recording studio within a couple of months after that,” Larkin says, referring to Gerald Dwyer who died in early ’96. “We lost our balance, so to speak. From our artistic end we all had thoughts on how we should do it. Instead of having someone to tether it and [tell us] where to go, we threw ourselves in the studio. Also our producer, his father had died before we went in. Everyone making the album was really confused.”

There was no clear direction at the outset of the Shihad sessions, so the album’s personality only started to become apparent during the recording process.

“It’s a bit of a patchwork quilt,” Larkin says. “There’s a couple of things that really come into focus: to this day one of our biggest songs, kind of our calling card, is the song ‘Home Again’. We explored song stuff that we’d never explored before. So there’s songs like ‘La La Land’, which is a really great lyrical narrative about living in LA. ‘Home Again’ [is also] about living in LA and missing home. You’re seeing the songwriting side of things really get some focus and attention and actually developing really strongly, particularly on a lyrical level and moving into themes and stories about life as it happens to us.”

There are, however, some songs that illuminate the band’s confusion. “You had other tracks which were much less focused and really out of kilter, particularly considering where we’d come from on a musical level.

I think that a lot of fans perceived that the band had come off the boil on an impact level. That’s certainly a fair assessment. A mistake we’ll never make again is having a pot budget, because we literally had a bowl in the control room. Making high-energy rock while stoned actually doesn’t work. It has peaks and troughs, and that’s the beauty of it.”

The fish album is distinguished from Shihad’s two subsequent albums – The General Electric (1999) and Pacifier (2002, made during the short-lived stint when they’d adopted the name Pacifier) – which were enhanced by a major label budget and have a bigger, slicker sound. By contrast, although the self-titled album isn’t Shihad’s heaviest album, it possesses an appealing rawness.

“Even in comparison to our first two, [the fish album] was under produced. At times that worked and at times that didn’t, but it will always retain a charm. There’s tracks I hear now and I go, ‘Wow that’s actually unique. We’ll never sound like that again.’ The whole album was a confused band with no clear agenda and the album’s strengths and weaknesses reside off that fact.

“That process, when you look at it now, was tremendously useful for the long term career of the band. The General Electric had searing focus as to delivery. It wouldn’t have come together the way it did without the inspiration we undertook on the fish album.”

BY AUGUSTUS WELBY

Shihad will be touring nationally in support of the anniversary of the fish album from June 23. For more information visit mixdownmag. com.au.

MIXDOWN #266 // JUNE 2016 // PG.25

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Chords, Comping, Licks, Riffs and Rhythmic Stuff GUITAR Often there is a blurry line in between what constitutes chord/rhythm playing, fills and licks and riffs. These don’t have to be mutually exclusive and you’ll hear great guitarists in all genres combining all these ideas together to create great sounding parts. They can be the main hook of a tune, comping during solos, verse rhythm parts or even guitar breaks. So, recently I’ve talked to some students about chords and combining rhythm and single notes to create interesting parts and thought I’d share some ideas here.

Figure A is a typical rock/pop chord progression in A Minor. Using open chords and an F barre chord it’s just 2 crotchets (2 beats/ strums) on each chord. Figure B is essentially the same progression. However, it combines the general harmony of Figure A with some single notes and additional rhythms. Starting with two open A notes and then an A Minor chord beats 3, 3 + and 4 combine to make an F Major 9 type sound. The C Major chord in bar 2 stays the same but the G Major chord is broken up into an arpeggio using the B in the bass (on the 5th string) to create a nice descending line. This ends up on A Minor and F Major in bar 3, played as minims this time, again to add some different rhythms. Lastly we’ve got a small run based on C Major that indeed starts on a C Major chord and resolves to G Major.

The idea of Figure B is to keep the same overall sound of Figure A but add some variation.

For some of you that might seem super easy and something you always do but there are also plenty of people that have no idea where to start or how to play with chord progressions to create a more interesting part.

Figures C and D continue on with this concept. Figure C outlines another easy Rock/ Pop type chord progression. Figure D then takes this idea and sound and embellishes it. Bar 1 starts with a 3 note line and then a smaller voicing of F# Minor. Bar 2 breaks up a single D Major chord to its root note on beat 1 and then a three note voicing on beat 2. Instead of just playing an E Major chord in Bar 3 we have a Major and Sus 4 sound that then descends with E, B and A notes which leads to the last chord in Bar 4. Rather than a straight F# Minor we can try an F# Minor 7 with an 11 type of sound.

Again, it’s not always that more complicated or involved is best. It can however create a nice contrast to a more simple section of a song or at the very least give you the tools to experiment with these type of ideas for jamming, accompanying or song writing. These examples are only a couple of relatively simple ideas – we’ll get into some more advanced options next month!

BY NICK BROWN

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A D V I C E

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I Got Rhythm BASS Adding some rhythmic ideas can add movement and make a simple bass line sound more interesting, helping static chord progressions really get into groove. Figure A takes a common Pop/Soul chord progression in C major.

Playing minims, the chord progression is nicely reinforced by the root notes in the bass but it could be a little more interesting.

Figure B then takes the same progression and adds some rhythmic variety. The first beat is now a dotted crotchet so the second note of the bar ‘E’ is played on the 2 + (remember + means ‘and’). Two quavers on each note are used in Bar 2 to break up the minims from Figure A. Finally the F in bar 3 is played on the 3 + and the G on the 4 +, and then tied to last bar. Again these notes played on the + feel early and help create movement.

Again as a starting point Figure C is rhythmically simple and follows a descending type chord progression. Figure D then adds some rhythmic variety, this time with quavers and semi quavers. Make sure you sub divide each beat (1 e + a, 2 e + a, 3 e + a, 4 e + a) to really lock in.

Rhythmic displacement can also be a handy tool. Figure E is a quaver based line with all the changes occurring on the beat. Figure F then moves a quaver later (on the 3 + in Bar 1, the 1 + and the 3 + in Bar 2 etc.) creating an interesting feel that still outlines the harmonic structure but also feels a little less straight.

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Figure G takes a similar concept but this time changes notes a quaver early (the 2 + and 4 + in Bar 1 and the 2 + in Bar 2).

Again, you can hear the same progression but it doesn’t feel as straight.

So adding rhythms to a straight bass line can really shake things up. Of course you don’t always have to and there’s nothing wrong with keeping it simple. There are tonnes of examples of rhythmically simple lines that work beautifully for the song.

But there’s also great lines that might stay straight in the verse and then add some contrast and get rhythmically hip in the chorus. Plenty of options to explore so get cracking and we’ll be back with some more advanced examples next month!

BY NICK BROWN

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Pedal Power Recording STUDIO I find it odd that many guitarists want to stray away from using their effects pedals in recording, almost as if they are cheapening the sound in some way.

I suppose, if you are going to the time and effort (and often great expense) of recording an album, you want it to be the best it can be. I so often see guitarists amassing amps, cabinets and guitars of all makes and models in preparation for recording, yearning to achieve a certain allusive tone, but can’t stand the idea of using that beaten old pedal they bought in a second hand shop ten years back. Apparently it will ruin the recording.

Consider Your Sound

The funny thing is that most guitarists build their live sound with pedals and spend countless hours trying, buying selling and swapping these beautiful little creations to get that tone just right. Just have a look at the going rate on an old tube screamer that is beaten half to death and you’ll understand that guitarists place a lot of faith in these little boxes. So, why would they turn their back on them in a recording environment when it is actually an integral part of the sound?

Oddly enough, most of the great pedals I have ever owned came to me in some pretty bad states. Hand-me-downs, pawn shop finds and even one hard rubbish pot of gold. Someone else’s problem can often become your solution when looking for a particular tone. And it is these pedals, along with the more modern, pristine and very clever pedals that come together to build sounds that the guitar and amp simply cannot deliver by themselves. So, the first thing I want all guitarists to do when entering a recording session is

to not overlook a section of their signal chain, just because they believe it’s not good enough to record with. If it is part of your sound, it should be part of the recording.

Keeping It Clean

Of course, there are some exceptions.

Perhaps a newer built version of your old favourite might be in order, if it’s delivering noise or having issues. After all, there’s nothing worse than getting set up to record, being ready in the moment, and then having a piece of hardware fail you. So, understandably, ensure they are all up to the challenge. A little bit of grit is fine, if that is why you have included the pedal to begin with, but don’t allow it to bring other parts of the signal chain down.

That’s where the power issue is so important. Some old pedals can create havoc when the power supplied to them isn’t ideal. This is a common problem, both in the studio and in live situations, but it really becomes evident when

recording in a quiet space. Please, do not think it is enough to simple get a single power supply and just run a daisy chain to give power to a number of pedals. That is the easiest way to create unwanted noise and should be avoided at all costs. The thing is, it can be fine in one instance, but a different combination or order of pedals can create some horrible sounds from the power that you just don’t want to capture in your recording.

To ensure this is removed, get yourself a quality power supply that has multiple isolated outputs. That does not mean one that just distributes power from a box. It has to offer isolated power feeds so one pedal’s poor performance cannot influence another. Talk to the guys at your local guitar store, they should be able to help you solve this issue and set you up with good clean power for all your future recordings, rehearsals and live performances alike.

Rethink Your Path

There are plenty of times when only one pedal effect is used, yet we have an entire board of pedals between the guitar and the amplifier. Obviously, the

need to recall any effect at any time in a live performance is essential but in the studio, there is the luxury of a little preparation and planning that can make a huge difference. If you are only using one or two pedals in a track, don’t send your signal path through every pedal on the board. All you are doing is adding more connections, more cables, more circuits and more opportunities for noise to develop. Not to mention the degradation of your tone due to unruly buffering and bypass stages that leave your guitar sounding weak and limp. Carefully plan your recording beforehand and know just what effects are needed in each track.

This way you can keep your signal path as short as possible and retain your tone the way you would want it to sound.

Remember, tone is the key and your pedals can be an essential element in your tone. So make sure they are championed in your recording just as your guitars and amps are. But be sure to keep an eye on the issues that could allow them to be the downfall of your recording.

BY ROB GEE

PULLMAN MERCURE HOTEL | ALBERT P PARK, MELBOURNE

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The Latest From The Booth DJ This time of the year usually sees a whole range of new toys, tips and tricks coming out for DJs and producers alike. Early season trade shows fall right in time for tax return spending too, so if you have a little coming your way, there’s going to be plenty of options for tricking up your studio or live performance setups. These last couple of weeks have seen some interesting things announced with more arriving shortly.

The Big One From Pioneer

It was an awe-inspiring concept that was unveiled at NAMM a number of months back. Now, the Pioneer DJ Tour System looks to be a reality, with the announcement of two new products in the CDJ-TOUR1 and the DJM-TOUR1.

The combined effect of four CDJ-TOUR1 modules sets up the ultimate DJ work surface, looking more like the bridge on the Starship Enterprise than a DJ booth. This thing is huge and the mixing possiblities that it comes with are just that too.

Each unit features a 13-inch full-colour LCD touch screen mounted to the toprear of the device. You still get the onboard LCD screen on the DJM module, but with an even larger one now resting above it. They offer an onscreen QWERTY keyboard with full library browsing, effects application and mix functions from the screen. This screen can be adjusted to an angle that suits your needs and also has a shade section, to allow for use in outdoor festivals during daylight. With the link functions, you can set up different screens to display different information coming from each device, so you can have real

time feedback of what is happening in your mix visually, at any moment.

For back-to-back DJ sets, the DJM-TOUR1 mixer has two headphone outputs with separate cues and sends, so two DJs can work side by side with their own cue mix. This opens up a world of mixing possibilities for group and duo acts, allowing everyone to mix with their own workspace, without having to hand over all control of the decks to another member.

Obviously, the system can be integrated with other Pioneer hardware and can be built up from a humble setup to the grand beast that is going around on the promotional trail. This is one DJ system to look out for on big stages soon.

Visual Aid From Numark

The Dashboard is one of the newest offerings from Numark. They’ve recognised a need for a more visual workflow with their DJ controllers. It’s a nifty device with three screens mounted into an adjustable stand, designed to sit behind your existing controller and open up a world of information for any Serato DJ setup.

Yes, that’s right, it isn’t just for use with

Numark consoles, you can use it alongside any controller that is operating within a Serato mixing environment.

On these screens you’re able to expand your library browsing options, have your waveforms stacked in the centre screen (for visual cues on tracks playing) and in the cue mix, as well as deck control information. Best of all, it’s been available for a while now so a range of devices are able to operate with it. The Dashboard is also set to receive new functions as new versions of Serato are released.

Low Priced Natives

As many of you would be aware, there was a huge price drop on Native Instruments’ Komplete packages in cross grade form a few months back. Plenty of existing NI users jumped at the chance to get the biggest collection of software effects and instruments available. History tells us

that in all likelyhood, this means a new version is on its way. And with Komplete 10 having now been around for about two years, Komplete 11 is looking like it’s ready to drop any month now, but not before Native Instruments has one last push of their existing collection. So, for those of you who have not yet joined the NI user base, the month of June is going to be an excellent opportunity to get on board.

For those of you concerned about the impending release of Komplete 11, I think it’s safe to say that the wise option at this stage would be to get on board with the current software at the reduced price, and then opt for an upgrade when the next version is released. If ever there was a reason to expand your sound libraries, this is it.

BY ROB GEE

Since 1966, the unmatched technology of the SM58 has secured it as an industry standard for musicians worldwide. Its patented Pneumatic Shock Mount is tuned by extensive, complex calculations to prevent handling noise, making it incomparable to any other microphone in existence.

Reliable, premium and with unparalleled quality, the SM58 has been defining the true spirit of sound for almost half a century.

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A New Order Of Keys From Years Past KEYS It’s been a long time since the world was taken aback by the sound of ‘Blue Monday’. With the remaining members of Joy Division moving from a guitar and bass driven post punk outfit to an innovative sound that incorporated significantly more keyboard sounds. Now, with Bernard Sumner and Stephen Morris continuing together under the moniker of Bad Lieutenant and Peter Hook touring soon performing the entire Unknown Pleasures album of Joy Division, they’ve all gone back to their roots in one way or another. But how did those years in between affect their sound and their methods of producing it?

Acid House Era

In a time when the acid house wave was spreading through the UK and the rest of the world, New Order managed to find the perfect recipe for a hit track. This was one of the first tracks the band produced with drummer Stephen Morris not finding a place behind the kit as an Oberheim drum machine was used for the bouncy, yet defining percussion. This meant there was more room for keyboard control with an extra set of hands. Naturally, the unmistakable Peter Hook bass sound carries through the track, but the layers of synth and vocoder sounds are what really define the ‘Blue Monday’, one of the most remixed tracks of all time.

Nothing Too Fancy

This really is one of those songs that can be cleverly achieved without having to own a synth museum. Most synths available these days will have every sound already loaded as a pre-set and if not, it doesn’t take much tweaking to find the right tone.

The choir voice, or one very similar, can be found on just about any Roland keyboard or

sound module that has been released in the last thirty years. I think, going through my collection, I have at least fifteen models that can faithfully recreate this sound without much more than a tweak of one or two knobs. The saw wave lead line is another that can be easily found in most synth banks without too much trouble and the bass arpeggio is easily achievable with a little filtering. But, you don’t have to go with a hardware route, as there are a plethora of plug-ins and software synths that will get you sounding just like the classic.

Vocoding

Possibly the most complex sound within this track to reproduce is the vocoder effect for Bernard Sumner’s backing vocals. This, along with many of the sounds, weren’t too easy to achieve when the song was originally produced, especially when played live. Nowadays, however, we are blessed with an abundance of synthesizers that make light work of a track like this. Most Korg synths released in the last ten years have come with an attachable microphone

that connects to the vocoder feature which can be very easily accessed. Novation have had a couple of success stories with their Ultranova and Mininova synths that also featured built in vocoders with attachable microphones and now Roland are set to give them all a run for their money with a guitar synth vocoder that will change the way we listen to this sound forever.

Keying the Drums

If you really want to have some fun with this track, then try playing the drum parts on the keyboard as well. Just jump into the standard GM drum set on any keyboard and you should find all the sounds you need in no more than a two octave range at the lower register of the keyboard.

Even the cheesy handclap sound can be found within the most basic of GM drum

sets, so there is no reason why, with a few different keyboards (and a couple of extra hands helping) you can’t belt out a great cover of New Order’s Blue Monday with not too much trouble! On top of that, with the availability of systems like Native Instruments’’ Maschine or Ableton’s Push, there are plenty of DJ/producer interfaces that make it an even simpler reality. The gap between electronic drums and keyboards has been greatly reduced in recent years with many MIDI controller keyboards incorporating drum pad sections in their top panels that take their design idea from the famed Akai MPC. It’s now a very real possibility for a keyboard player to be a drummer too in an electronic outfit.

BY ROB GEE

Caring For Your Tubes THE AMP DOCTOR OK – You’ve just set up at your weekly rehearsal studio with your band buddies, turned your amp on, plugged in and start shredding away and notice there no sound! “Huh? I must have the volume down, I’ll just turn it up,” you say to yourself, “That’s strange. It’s on full and still no sound! I better stop and check it out.” You notice in all the hurry to get the amp crankin’ you forgot to plug in the speaker lead. Dohhhh!

“Dude! What are you fricken doing?” Your impatient mate yells out. You plug the speaker lead in and the amp sounds fine.

“Phew now let’s get going.”

All tube amps need a speaker plugged in. All good now! Not long into the first set, your trusty old Marshall makes this huge humming sound and then just stops!

“Dude! What’s happening now! We’re paying for this you know!”

“It’s just a fuse guys!” It takes a 3 Amp, and you can only get a 10 Amp. “This should be ok?”

If your amp hums like that, there is something seriously wrong with it. You have probably fried a tube from using the amp without a speaker. And by putting a higher rated fuse in it – because that’s all you could find – could cause even more damage, like a blown output transformer.

A blown fuse is telling you there is a problem. Don’t use the amp! Get it checked out. Most importantly, never

use an amp without the speaker lead plugged in and always carry a spare set of correctly rated fuses for your amp.

“My amp will be OK rolling around in the boot of my car!” Or, “My amp is on casters, so it’s OK to move it over asphalt and other rough surfaces.” NO, it isn’t.

Tube amps are delicate devices and need to be handled with care especially when the tubes are hot. After use, wait for your Amp to cool down before you move it; carry it, if you have to. The tubes in amps with upside down chassis can also start to work their way out of their sockets over time with the vibration. This movement can happen from repeated playing and transportation. Tubes need to be regularly checked and pushed back up into their sockets (preferably when cold if you still want your biometric fingerprint reader to work).

and the sound is cutting in and out, it never used to be like this! And when I moved one of the tubes I get this really loud cracking sound!” Tube amps need regular maintenance; pot wipers start to corrode over time, and the pots need to be cleaned or replaced. Tube sockets and tube pins need to be cleaned and retensioned, as well as the connectors and sockets. Always store your amp in a dry area and even wrap in up in something to prevent moisture from affecting it.

“My Amp’s been in storage in the garage on the floor for a couple of years. I’ll just pull it out and have a play.” “Ahhh, these pots are super scratchy when I turn them,

“My amp doesn’t work! I know… I’ll buy a new set of tubes for it, that will fix it.”

“Damn! The new tubes are in, and it still doesn’t work!” Most people think if there

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is a problem with a tube amp it has to be the tubes! You would be surprised to know that the most common problem in tube amps is a failed connection of some sort, it could be a PCB connector, a valve socket, a cracked solder joint, or an input socket, etc.

Don’t waste your money on a full set of tubes unless the amp needs it. Get your amp checked out professionally and save some money!

If you have any queries about your amp or need a repair or re-tube professionally done, the Amp Doctor is here to help!

BY DR SHERLOCK

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F E A T U R E S

Tristan ‘Trizo’ Bouillaut OF GUITAR GET UP

Frustrated with the lack of decent backing tracks and apps available, Tristan ‘Trizo’ Bouillaut has taken matters into his own hands by developing one of his own. Guitar Get Up is an app that allows guitarists to play along to, with the option of five different keys at four tempos. With 28 years of experience as a musician and 14 years of teaching experience, you can rest assured that Tristan has created an app with musos in mind.

“It’s not about the app, it’s not about me and it’s not about the app developer.

It’s simply about the player sitting down and playing guitar, and that’s what I wanted to try and achieve,” he says. The development and release of the app comes from a similarly holistic viewpoint, with Tristan keeping the cost low so it can be accessible to as many people as possible.

“Music’s never been about the money, I just wanted it to reach people around the world and hope they get some good use from it. There’s none of this upgrade halfway through and pay another two bucks stuff; once you buy it, you own it.”

Even from a brief chat, Tristan’s passion for music is evident. “I’ve always enjoyed the educational part of music,” he explains.

“As much as getting into playing shows and recording songs [is great], teaching students is a whole different buzz. It feels good to be able to pass on the information you’ve learnt over the years and it’s just very rewarding.” The former Thousand Needles In Red guitarist is a busy man, but he hasn’t given away his own musical pursuits to teach. Add on developing an app to this mix and time becomes pretty

scarce. Acknowledging that multitasking is the reality of the modern musician, Bouilaut explains, “In this day and age you have to be pretty proactive if you want to be a full-time guitar player.”

The inspiration for the app wasn’t really inspiration for an app at all, as Tristan explains, “[Before making the app] I was actually just thinking of creating a tool for myself to begin with. I’d used a bunch of different apps and a bunch of different backing tracks to teach with, and a lot of my students couldn’t connect with it and that’s what made me go ‘well hang on a sec I should just do something here.’

I wasn’t even looking at doing an app, I was just going to record some backing tracks for my students, and then I just thought it’d be easier if it was in an app because then you don’t have to be scrolling through your music in iTunes… to find that track at that tempo, so then it just became more of a convenience thing.”

His epiphany led him to work with one of his students to build the app in-house.

The ability to influence the production – and for his mantra of simplicity to get through to the developer – was important

for Tristan, and working with Andrew Stapleton made this possible. “I got a few quotes from over in the States and India, [but] I just felt really funny about parking money in their account and just letting them build an app. [With Andrew] I could see the progress of it every couple of weeks, which was great.”

Working with students can sometimes be difficult for Tristan, as they have other interests and things going on in their lives.

“A student will come to you and you’ll look at them like guitar is everything,” he says. “You’ve got to remember that they’ve got a whole other life, they’re playing basketball or hanging out with friends. So if you catch a student on a bad day – like we all have bad days – it’s very hard to communicate and teach, but if you catch them on a good day it’s amazing.”

This is where Guitar Get Up comes in handy, as students actually find it fun and come into lessons asking to use it. Tristan has noticed a profoundly positive reaction to the product in the limited time since its release in late May. “Students and people that I know that have got it, they’re

actually contacting me saying ‘this is really cool,’ and I can tell they’re genuine about it… they’re having fun playing these tracks.”

Perhaps differently to some other guitar learning apps out there, which might have higher price tags and more in-app purchases and upgrades, Tristan’s app isn’t focused on profiting from learning guitarists. “This isn’t me trying to start a business to make a million bucks, this is just what I do,” he admits. “I play guitar and I’m just passing on what I think can help, and just keeping it as real as possible.” If his app is half as good as Tristan is passionate about teaching, then it no doubt be used as a lesson supplement by guitar teachers, and just by guitarists, in no time.

nity to witness all the world’s best brands in both hi-fi and home cinema systems, all in one place.

that it demonstrated what’s going on at all levels in the industry?

All of the world’s brands started life at some point as a very small boutique business. Here in Australia we’re very fortunate to have some local brands that are already known globally. VAF Research, Lenehan Audio, Osborn Loudspeakers and Richter Acoustics have been selling their locally designed and manufactured speakers all over the world for decades now.

Then there are the more recent Australian brands such as Wyndham Audio and DEQX who are becoming more popular both locally and overseas.

It was important to us to showcase the very best from around the globe at various price points, but also to celebrate our own Australian manufacturers. Attendees can expect to see a great mix of both at the show.

BY ELIJAH HAWKINS Guitar Get Up is available from the App Store now

Marc Rushton

OF THE INTERNATIONAL HIFI SHOW The International HiFi Show is set to take place in Albert Park, Victoria over the first weekend of July. There are more than 90 brands advertised as exhibiting, covering Australian and international hi-fi and audio-visual manufacturers and retailers. There’ll certainly be a lot happening between 2pm Friday and 3pm Sunday, so Mixdown spoke to event organiser Marc Rushton to get a clear idea of what to expect.

Is the event purely targeted at people who already work in the industry? Or are you aiming to also attract people with less experience and knowledge of hi-fi and AV? The event is designed to promote quality sound and audio-visual to consumers.

Many trade shows exist for the industry itself to learn of new products and trends in this industry. What we really wanted to achieve was to demonstrate to people just how good music can sound through quality audio systems, rather than small docks and earbuds, which has become commonplace. Thanks to Apple and the introduction of the iPod – and more recent developments in streaming services – a whole new world of music lovers exists once more, and that’s great news.

Advancements in technology have made high-fidelity sound much more affordable.

Attendees at the event will see a great range of ways in which you play back music, from brand new turntables and streaming products, from very affordable right through to the very high-end.

One of the founding motives was to

present a completely Australian owned event – something that you saw was lacking in this sector. Why did that seem important to you? And did Melbourne seem like the most suitable place to host it?

Melbourne is without doubt the hi-fi capital of Australia. We have a thriving live music scene, more hi-fi specialist retail shops and record stores than other capital cities, along with the majority of the hifi importers and distributors basing themselves in Melbourne. Melbourne also offered a great venue – the Pullman Mercure Hotel in Albert Park – that was central to the greater metropolitan area and offered good access and public transport.

The International HiFi Show marks the return of Australian owned and operated shows to this country after more than a decade since the last. Hi-fi itself went through a transition that saw the rise of home cinema’s popularity, arguably and unfortunately at the expense of 2-channel stereo. Today, the popularity has balanced out somewhat, and we’re experiencing what is being referred to as ‘the hi-fi revival’. The show itself is a great opportu-

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Someone heading along to the International HiFi Show will get a feel for the temperature in the industry right now.

But is it purely an exhibition, or is it designed to be interactive?

It’s interactive in every sense of the word.

Music and high-fidelity sound is a treat for the senses. We encourage attendees to bring along their own music and hear it on a variety of audio systems, engage with the exhibitors about the specific products they offer, and chat to leading experts about what is just the right product for them.

The brands exhibiting include major names like Sony, Sennheiser and JBL that would be recognisable to large numbers of people. But there are also plenty of less famous brands, especially for people with a more casual knowledge of the industry. Was that something you wanted to ensure – that the show wasn’t just about cementing the monopoly for the big brands, but

BY AUGUSTUS WELBY

The International HiFi Show will be held at the Pullman Mercure Hotel, Queens Road, Melbourne from Friday July 1 – Sunday July 3. Tickets are available to purchase now at hifishow.com.au

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F E A T U R E S

Robert Keeley

OF KEELEY ELECTRONICS Robert Keeley launched Keeley Electronics in 2001, driven by a keen ear for shaping tone and a unique appreciation for the power of modification. Fast forward to 2016 and the high-end manufacturer is a pioneering force in an ever-evolving stompbox industry. Mixdown recently asked Robert about the company’s inner workings and remarkable ingenuity.

The foundation and remarkable success of Keeley Electronics is built upon custom pedals and modifications. How has approaching pedal manufacturing from a modification standpoint shaped the company?

The modifications started with tube amplifiers and Gerald Weber’s book A Desktop Reference of Hip Vintage Guitar Amps. It was my first glimpse into understanding that I could further shape the design in a way that other engineers may not have been able to do because of some constraint on their design agenda or possibly their taste. Realising that freedom was critical, I had worked on gear for 15 years prior to building amps and never considered changing circuits to make them sound better or perform differently. That changed with the book. When I started in pedals I didn’t see a lot of switches and options for changing clipping diodes, or added control knobs, etc. That is now always in my mind; how can I make this flexible and allow it to achieve a wide range of tones? As I continue to move forward it is now always a question of, “how can we tweak this design to do this or that or to be more dynamic, touch sensitive, intuitive?”

You often prioritise quality over quantity with your pedals – we rarely see a Keeley pedal with heaps of knobs or crazy functions. Why is that?

Ah, but you will soon! The 30ms and Seafoam Plus are starting to have a lot of configurable options that are often times internal. Craighton Hale and Aaron Tackett (my junior engineers at Keeley) are incredible at making sure I can realise all of the tools that guitar players want in their equipment. I balance that with the fact that it’s going to be a small box on a dark stage and your better being able to get a great sound out of it in just a few seconds!

It’s a fantastic set of walls to design within.

If it’s working, we add features until it doesn’t work anymore, then figure out how to make it work again.

What kind of impact has the rapid growth of technology had on Keeley Electronics?

Your Tone Workstation, for instance, has been revamped ten years after its initial design – the versatility that it now offers, without compromising quality is unreal.

Again it’s my entire team. They are uncompromising. I’m now like an air traffic

controller for ideas. When I tripled the capacity for something 6 months ago, it feels like just enough to get by today.

When I used to say no, that is beyond our ability, I’ve now learned that it’s just a matter of time and dedication. The key has been to develop platforms in which we can diversify on. It has been very expensive to do that, but the rewards are plenty. With my guys we can literally develop a pedal concept and have a circuit designed, board made, enclosure manufactured in house and graphics designed and printed in 48 hours if needed. It generally takes a month for a new design, but we’ve had to do it many times in the past. Now we just move at that accelerated rate and with the mindset that the circuit or design has to be fluid and malleable. It all comes from the modification days in retrospect.

The 30ms Automatic Double Tracker is a more recent example of Keeley innovation and ingenuity. From where did the idea to take double tracking from the studio to the live setting originate?

The 30ms is a fantastic point in time for us. We had just finished the DynaTrem, which was the first case of us using DSP to create dynamic tremolo. Then we added reverb to one of the controls just to flex our muscles. So that design featured 3 modes and reverb. When Aaron was experimenting with chorus and delays, he started to read about double tracking by Ken Townsend and John Lennon. We both realised that we could create a pitch shifted voice that could be either sharp or flat and we could allow players to move it behind in time a very controlled amount of time – from 0 to 30ms. That was nothing we could have done

in the analog world. Then we add a variety of other studio style tricks to the pedal, or yeah and add reverb, and then make it stereo, and we had a hard time stopping!

I’ve always forced myself to dream about pedal ideas. That’s how many of the ideas during the mod-era came about. While driving, I sit there and force myself to think of ideas that haven’t been done. In the past I simply didn’t have the tools or team to implement them. Now we can just dream and then see what it takes to implement it. The new Bubble Tron is that way. It’s a dynamic multi-feedback flanger and dual anti-tandem phaser with Moog-style random tremo-filter.

We force ourselves to think outside the box or draw from complex studio ideas.

BY CHRIS SCOTT For more info on Keeley Electronics, head to www.robertkeeley.com

THE ANALOGUE PROJECT By Audio-Technica

RECORD PARADISE

Based in the heart of Brunswick, Victoria, Record Paradise is home to one of the biggest pre-loved and new vinyl collections in Melbourne. As the name suggests, Record Paradise is an exotic space music lovers can escape and spin their favourite tunes. Co-owner Renae Maxwell chats with Mixdown about her most memorable encounters at Record Paradise, and reflects on the importance of community in the music scene.

How long have you been running Record Paradise? And how long has it been around for?

The store was established in 1955. Warren [Warburton] established the Record Store at 100 Chapel Street in St Kilda and that was during the transition of 78 records to LP records. He actually closed down that store and reopened it in the 90s. We took over in 2008, so it has been about 8 years now. From being a second-hand record store that was selling a few new CDs, we are now probably about 50/50 with new vinyl.

What is the most prized record in your collection?

The first record that I ever bought was a Boy George 7”. I remember going to Sunflower Records and buying a Boy George 7”, but I can’t remember which one. It might have been Karma Chameleon or something; I would have been about 13.

The most prized record in my collection is a Rowland S. Howard Teenage Snuff Film that a dealer sold to me – he was actually a bookseller and Rowland used to buy books or trade records for books – and he had a couple of copies that Rowland had

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and my partner’s life has been surrounded by music. It’s how we express ourselves.

It’s where we choose to spend the money we earn. Fortunately enough we have been able to combine our business with what signed and he sold that to me. we our passionate about.

We both do community radio, and have so Tell us about the most interesting for 15 years, and for us it is an important encounter you have had in the store. part of connecting. Even though doing a Things happen all of the time. People graveyard shift, your isolated from other drop records off, so I guess a few stars drop in all of the time. I had Mikey Young people, there is this connection to people who are into the same thing as you. I [Eddy Current Suppression Ring and Total Control] lying down on the ground fixing a guess I have always felt this isolation turntable with a soldering gun. To me that and connection at the same time, and was a moment I would never forget. It was use my love for music as a way to be able to break that down a little bit. It might pretty comical and funny. sound weird because I’m in a room full Joshua Homme once came in, that was of strangers, and somehow I’m feeling pretty exciting! He filmed an episode of really connected. The store, however as Rage here in the shop. He was great, a accidental as the name was, it is this sort bit like a superhero… he had this glow of exotic space that we can go to where to him. People like Marlon Williams have we are allowed to connect with art and played here and just sung like an Angel. literature through a different means as I remember it was an industry showcase with about 60 people here, and normally it apposed to writing. I rely totally on people is pretty chatty and everyone has a couple coming into the shop. I connect with of drinks, and [his voice] just silenced the people who drop records off. I don’t read press releases. I pick up on the influences room. from the people I talk to. For me, I feel like there are a lot of people like me, and How important do you think the idea this why this place can exist. It’s why I of community is to record stores? And will dedicate my life to making sure spaces how important is you community of like this aren’t located only in a virtual customers to you? realm.

I gravitated towards this because mine,

You stock Audio-Technica turntables.

What is it that you like about them, and why do you stock Audio-Technica?

When we first took over the store from Warren, he was a person who supplied styli and did some minor turntables repairs. He passed on some of the sacred knowledge to me. From that, Audio-Technica has always stood out as a good, solid brand; consistently producing quality styli over the years.

They released the LP120 about five years back, and that was recommended to us by one of the styli suppliers because we do community radio and some DJing, in fact the layout is virtually the same as the Technics 1200. It’s got USB, it can play 78s – which is important for us – and it is easy for us to get replacement cartridges for. Something that concerns me is the lower end turntables that use cartridges and needles that are sub-standard and can damage your records, and I wouldn’t recommend that. Audio-Technica is a brand we trust, and we have had our listening desks for 5 years now and it’s still going strong.

BY MICHAEL EDNEY For more details, head to www.recordparadise.com.au or www.audio-technica.com.au

MIXDOWN #266 // JUNE 2016 // PG.35

F E A T U R E S

Scott Eric Olivier OF PEDALPUNK!

In this writer’s humble opinion, the words ‘prodigious talent’ gets bandied about a little too liberally these days. Every two-bit schlub with a soldering iron seems to be lauded as the second coming of Leo Fender and achingly few deserve the mantle. Occasionally though there comes a mind so adroit at innovation that it’s difficult not to think that perhaps they are on their way down that very path.

Scott Eric Olivier’s modus operandi is born of the desire to facilitate the creative process for not only himself but just about everyone who’s ever picked up an instrument – and the PEDALpUNK! audio interface is testament to that rubric.

PEDALpUNK! is at it’s core a re-amp box with some added perks that make the process of capturing the grit and glory of all your favourite pedals much more simple and effective in the studio and on stage.

Mount the unit at the start of your signal chain and it’s a simple send and receive effect loop that shoots coloured signal out to the desk via completely lossless, matched impedance XLR outputs. What makes it different to a D.I box? It has three controls on the face of the unit that allows you to not only tweak the amount of signal sent and/or received through the box, but the ‘focus’ control allows you to colour your sound at will from super clean

to hot and dirty. All of this amounts to a tonne of extra control over the nuances derived from your favourite stompboxes without the hassle of fiddling around with amps and mics in post. Mixdown asked the CEO of Casa Distortion and PEDALpUNK! progenitor a few choice questions about what makes him tick.

What is it about pulling things apart that drives your thinking?

Pulling things apart doesn’t really drive my thinking; it’s the other way around as I’m more of a “burn it down and build it better” type of designer. I figure out what I need, make sure it doesn’t exist and then set out to innovate and customise the piece to my specifications. I’m not content to make mediocre art. I think music in general would be much better if people took a more handcrafted approach, rather than just playing prepackaged loops that someone else programmed out

of a computer and calling it art. And while there’s nothing wrong with doing that to learn and spark creativity, I find that nothing artistic becomes truly classic without some type of human modification.

How do you think either of these things influences the way you work either as a producer or in your product development?

I’m influenced first and foremost by freedom. If we want to progress as a music community we must push boundaries.

PEDALpUNK! changes the approach by linking the balanced audio world to the unbalanced. Case in point, with PEDALpUNK! effects pedals can now talk to any 500 series pro audio module, which can now talk to modular Eurorack synthesizers, laptop computers, mobile phones and tablets – the ultimate high quality portable package for creating 21st century music.

I can see how the PEDALpUNK! would be an extremely useful tool in a fully

functioning, professional studio. Do you think it has practical applications for the everyday player/bedroom producer?

Seriously, check it out – PEDALpUNK is just as at home sitting next to a Pioneer DJM as it is plugged into a 192 input Solid State Logic Duality console.

Do you feel like the rise of bedroom production and the proliferation of entrylevel interfaces etc. leaves the future of music production in good stead?

Absolutely. This is the best time to make music since I’ve been alive. As creators, we now have complete control over our art and the choices we make. Consequently, I believe we have a responsibility to hit harder and create even more amazing sounds if we want to be noticed. PEDALpUNK! is right there to help us defy genre, stay unique and break down the walls of sonic mediocrity.

equipment. Best way to put it; some people write books about people, I love to make a personalised pedal for them.

What have you been working on lately that you’re excited by?

I recently started a new collaboration with Troy van Leeuwen of Queens of the Stone Age. That is going to be an insane project. It will be really challenging for me, because this is the first time I have been asked by a musician. Normally I work the other way around. I get inspired by a musician to create something for them and then I approach them. But because I am a big fan of Troy and have been following QOTSA from day one, I decided to take on the challenge. So I have had to do a lot of homework and have plenty of conversations with Troy to create something truly special with him. He is kind of a tone connoisseur you know, so

that makes it challenging. I promise you one thing, it is going to be rad.

How long have you been working with Tone ProShop and what is the best thing about this relationship?

I can proudly say that Steve from Tone ProShop was there with me from day one, and never left. He found me on the other side of the planet when I only revealed myself as Dr.No. I have a really good relationship with him, because he’s honest and very passionate about what he likes to sell. He is one of those rare, true passionate retailers, who are in this business because they love authenticity and individuality. And he practices what he preaches, always respecting creators’ artistic expression and fighting against the corporate industry.

BY LUKE SHIELDS

In The Lab With Dr.No Working away in his laboratory in Eindhoven, Netherlands, Dr.No is a man who is passionate about creating high quality gear that juxtaposes the trends of mass-produced musical instruments. His brand, Dr.No Effects, is becoming well known in the industry due to the unique qualities of each handmade pedal on offer. Chatting halfway across the world, Dr.No sits down with Mixdown to talk about the troubles of a mass-produced industry, and the special bond between himself and the musician’s that use his pedals.

What inspired you to start working with pedals?

As a working musician, I have learnt that a rough sketch needs to be coloured in to fully enjoy a final musical piece. At that time budgets were low, and I was appealed by mostly rare and authentic gear that I couldn’t afford to buy. Besides that, you could find me in music shops all the time, and what was offered seemed disinteresting to me and were not really appealing to use or buy. Around that era, musical instrument producers were evolving into cheap mass-produced, digital equipment, which didn’t inspire me at all.

This is where it all started to develop for me, where I decided to create my own pedal brand.

You have a sizable list of endorsees.

What is it like to work with musician’s that are using your pedals, and what it’s been like working with them?

Every time that sizable endorsee, or that attic guitar-playing musician chooses to purchase my sonic tools and art, I feel very fortunate and honoured regardless of their status of fame. In the years that passed by I was blessed to work with some of my musical heroes. From starting in my little attic laboratory to all of a sudden being asked to create and install my gear on to my musical hero’s touring rig; it was all too surreal. Besides creating my ‘regular’ collection, I choose collaborators to work on special projects with. These collaborations always result in awesome friendships and a very unique piece of

PG.36 // MIXDOWN #266 // JUNE 2016

BY MICHAEL EDNEY

www.mixdownmag.com.au

F E A T U R E S

Behind The Desk

WITH KEVIN SHIRLEY

Kevin Shirley’s resume reads like a who’s who of the last few decades of rock and metal. Iron Maiden, Dream Theater, Joe Bonamassa, Rush, Journey, Black Stone Cherry, Mr. Big, Silvertide – hell, he even engineered and mixed some Led Zeppelin live releases for crying out loud. He also produced Cold Chisel, and that’s a hint as to why today we find ourselves at Mushroom HQ in Melbourne sitting across from Shirley. His latest project is Jimmy Barnes’ Soul Searchin’, the fourth and final album of Jimmy’s catalogue of soul and R&B tributes. Soul Searchin’ finds Barnes uncovering lost soul gems and the musicians who made them. It also includes some legendary guests, including The Memphis Boys and Steve Cropper. And if you get the deluxe edition – which you really should – you’ll be treated to Barnes and Bonamassa performing ‘In A Broken Dream’.

It can be all too easy for an album of covers to come off sounding like karaoke.

It was important to Jimmy and Kevin that this project felt like a true, fully-realised album. “It is a real challenge, when you come up with these things,” Shirley says.

“I’ve been working with Jimmy and Chisel for a while and doing different things.

When we were talking about doing this soul thing, it’s not in my wheelhouse. As much as I enjoy listening to the classic songs, it’s not something I’ve dug into real deeply. I got an opportunity to do my homework and go and find all these old songs. Then I wanted to find all the right musicians.”

And as these things always seem to go, there was a great synchronicity to the proceedings. “We had all the guys; I got Michael Rhodes – who I’ve used on a lot of different records – I’ve got him playing with Joe Bonamassa on the road, and he gave me a book on the Memphis Boys and said ‘My neighbour is Dan Penn.’

One day we were listening to some songs and Dan came into the studio right after we’d done ‘Dark End Of The Street’, which he wrote. We cut the song in the morning; Dan sang backing vocals on it. Then I said ‘I want to cut this song ‘Rainbow Road’, and Dan’s sitting in the corner and he goes ‘Oh I wrote that song too.’

We cut the song and I thought it came out terrific. And Dave Cobb had told me of this song ‘Mercy Mercy’ and I decided to throw that one at the guys. I hadn’t even told Jimmy. I said ‘Here’s this old song, ‘Mercy Mercy’, and I started playing it. And Dan’s sitting in the corner and he goes ‘I wrote that one too.’ The hair on your arms goes up… what are the chances?”

That experience was indicative of the spirit of the sessions in general. “I wanted to honour the songs and make soul versions of them but I didn’t want to rehash them. To be honest, Jimmy’s first one sounds a little hokey to me, like the Seal version or Michael Bolton version of

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those songs. I wanted them to be tougher and a little more like they were back in the day. I mean… they were tough back in the day! People have a tendency to take these great songs and make bar-band versions of them that become horrible!”

And that’s one of the really special things Shirley has brought to the album.

Whenever he produces a record, you can’t identify a particular sonic signature that identifies it as a Kevin Shirley record.

And yet throughout his catalogue you’ll find a directness, an edge and a lack of bullshit. “Well that’s a big thing of mine.

I mean, when I work with Journey I want them to sound like Journey. I don’t want them to sound like me. And sometimes it’s actually quite a lot of work, getting them to sound like Journey, because they’ve gone into tangents and they get into different things. So you reintroduce these things they used to do. It’s not a matter of rehashing their glory days, it’s about getting them to do what they do.”

Working with Steve Cropper was a particular highlight of the sessions. “He does these iconic things. He played on some of these tracks and he was fantastic.

He was probably the thrill – musically – of the whole session, apart from Jimmy, who by the way… let’s put it this way. If anyone ever gets a chance to see Jimmy in the studio, it’s mind-blowing. Because he goes in and he gives 100 percent on every single take, every single time. And these musicians are hardened studio musicians. They’ve played with everyone.

And they start playing with Jimmy and he starts singing and you see them look up from the instruments and raise their eyebrows and they say ‘Fuck, this guy’s for real.’”

BY PETER HODGSON

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M I X D O AUSTRALASIAN W N # 2 6 6 /MUSIC / J U N SUPPLIES E 2016 // PG.37

AUSTMUSIC.COM.AU

ULTIM ATE

SPECIAL

INTRODUCTION Here at Mixdown we wholeheartedly believe that there’s a pedal out there for every guitarist. A stompbox soul mate, if you will. That’s why we have fought tooth and nail – day in and day out – to put to together the most comprehensive, toe-tingling and tone rich pedal effects special for this month’s issue. From pummelling distortion that leaves you gasping for air, to the purest of sweet delays, our writers have sourced the cream of the crop. So go forth, find your perfect match, and head down to your local distributor. You can thank us later.

ULTIMATE PEDALBOARD GIVEAWAY! 4 pedals and pedalboard, SEE PG. 6 FOR DETAILS!

MXR M76 Studio Compressor

Bogner Harlow Boost With Bloom

EFFECT: COMPRESSOR | RRP: $379 | DISTRIBUTOR: AUSTRALASIAN MUSIC SUPPLIES

EFFECT: BOOST + COMPRESSOR | RRP: CONTACT FOR PRICING | DISTRIBUTOR: EGM DISTRIBUTION

RECOMMENDED FOR: Compression aficionados. The player who wants to emulate their beloved studio compression and tube amp combo in a live setting.

RECOMMENDED FOR: All guitarists, working across all genres.

Here we have a multi-purpose boost equipped with tonal dexterity.

SOUND AND VERSATILITY: The bloom and tone knobs work in tandem to create an array of sounds effortlessly. It’s the bloom compression feature and, in turn, greater tonal scope that really sets this apart from other boost pedals.

SOUND AND VERSATILITY: This is a classically versatile compressor that normalises the dynamic range of your audio input signal with clarity usually reserved to the studio.

USABILITY: By simply using the sample settings a studio compression of -6 to -7db can be executed for balanced amplitude and volume. Slowing down the compression and quickening the reaction time alternatively produces a thicker, dampened squash.

Once you get your head around the five controls and single LED meter – input, output, ratio, release, attack and gain reduction meter – applying subtle changes becomes second nature.

CONSTRUCTION: It’s housed in a Phase 90-sized box – which is noticeably smaller than your average stompbox – and will fit snuggly onto any pedalboard. The Gain Reduction meter is an important gauge, fitted with vivid LEDs. OVERALL: Compression shouldn’t be limited to the studio or for recording. Normalising lead

USABILITY: With maximum control for minimal effort, getting the most out of this boost is a breeze. Bellowing lows and mellower highs are achieved by lowering the tone.

When coupled with extra compression, achieved by increasing the bloom, we get a synth-like, bass-heavy response.

Bumping up the tone, on the other hand, elevates the highs and diminishes the lows for bringing forth a shimmering sweetness.

guitar can be of great importance. So too, balancing a dynamically stronger tube amp. For those familiar with compression this pedal will fix all of those problems and more.

BY CHRIS SCOTT

PG.40 // MIXDOWN #266 // JUNE 2016

CONSTRUCTION: As is the case with Bogner’s entire range, this pedal is built to last. It’s your standard-sized metal brick, with a minimal boldness that is all class.

of a quality boost pedal – the benefits are so great that having it on indefinitely is a viable option.

BY CHRIS SCOTT

OVERALL: This is a unique boost, made dynamic by the compression that’s on board. Its ability to shape tonal character is indicative

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PEDAL SPECIAL

Outlaw Quick Draw Delay

MXR Carbon Copy Bright Analog Delay

EFFECT: DELAY | RRP: $99.95 | DISTRIBUTOR: PRO MUSIC AUSTRALIA

EFFECT: DELAY | RRP: $319 | DISTRIBUTOR: AUSTRALASIAN MUSIC SUPPLIES

RECOMMENDED FOR: Will appeal to all kinds of guitarists as a cheaper and simpler alternative to other household delay pedals.

RECOMMENDED FOR: Guitarists looking for a household delay pedal with a sunnier edge. From shoegaze to ambience, to neo-psych and indie folk – this will fit the bill.

SOUND AND VERSATILITY: If a pedal delivers on what it promises it can be hard to fault. That’s why the minimal three-prong attack of time, echo, and repeat is so rewarding – each plays a role in assembling ethereal textures and punchy rockabilly bite. This pedal knows its purpose, and never overstretches, always finding the sweet spot: the emphatic articulation of the original note, and the sun-bleached swells of delay in response.

USABILITY: By switching the delay time to 10 O’clock you set the stage for a balanced sound.

The delay is felt, yet not overbearing.

From this position playing with the echo (volume of echoes) and the repeat (number of times the echo repeats), allows you to swiftly shift between softer, more seductive doses of delay, and grander, more chaotic soundscapes. It specifically operates between 20ms and a very generous 620ms. Twist them both up to maximum and it will self-oscillate, swirling into a wall of distortion and, ultimately, combusting.

CONSTRUCTION: The little pocket rocket looks and feels like it can handle itself.

SOUND AND VERSATILITY: Like its original, the Carbon Copy Analog Delay, a ton of delay types can be shaped and constructed with this pedal. The range swings from slapback delay, to an elongated 600ms delay time that’s space-y and hypnotic. The Mod switch caters to delayspecific genres. Where its tonal character differentiates itself from other delay pedals is with the brighter focus – every setting is dressed in a shinier, glistening coat. The added richness to clean shimmering chords is beautiful.

OVERALL: Beyond all of the crazy functions, outlandish capabilities and wallet melting price tags sits the Quick Draw Delay. It’s a little gem that hits the mark time after time.

BY CHRIS SCOTT

USABILITY: The Regen knob sets the number of repeats, the Mix knob controls the wet and dry signal, and the delay knob, the delay time. It’s your customary three-way delay control, with the added modification bonus, which can be adjusted internally with a screwdriver.

CONSTRUCTION: This is a typically made MXR pedal, compact and sturdy, with a unique finish – in this case a sparkly lime green – that looks the part.

OVERALL: MXR has long mastered the production of the modern analogue pedal. The Carbon Copy Analog Delay is widely used by guitarists, so it’s no surprise that they have released this alternative – their differing sonic focus suggests they would work well when played together. Building upon an already successful formula, the Bright Delay is a nice point of difference and a worthwhile addition.

BY CHRIS SCOTT

Caroline Kilobyte Lo-Fi Delay

Ninevolt Relaxing Walrus Delay

EFFECT: DELAY | RRP: $289 | DISTRIBUTOR: SIGNAL CHAIN

EFFECT: DELAY | RRP: $124 | DISTRIBUTOR: HOT APPLE DISTRIBUTION

RECOMMENDED FOR: Any delay enthusiast will get a kick out of this. It’s a knockout punch as far as delay pedals are concerned.

RECOMMENDED FOR: Rock, pop, indie, funk and experimental players.

SOUND AND VERSATILITY: Creating the Yambiko effect – the mystical and spiritual effect of echo in Japan’s mountains and valleys the Relaxing Walrus again comes with NineVolt’s hip character treatment. Spiel aside the pedal’s delay times range from 1ms to 1250ms so there’s quite a range to work with. I could dial in some Police-esque repeats, subtle widening or bigger repeat rhythmic tones.

Plus, at max settings the RW will selfoscillate and create all sorts of whacky, glitch, psychedelic mayhem.

SOUND AND VERSATILITY: This is a fun and rewarding pedal that lends itself to endless experimentation.

The analogue signal runs through a +21db boost/overdrive preamp that can throw its weight around, and a lo-fi delay chip that sings ‘80s bliss. Level, attack, sum, clock, modulation and a havoc footswitch all interact and intertwine to create mesmeric sounds and pure, vibrant tones – it’s really a joy to play.

USABILITY: Each control on the Kilobyte has a purpose and an impact. For a wall of distortion and lo-fi noise simply max out the attack. Both the attack and the level knobs are forceful and have the ability to carve out a place in a crowded mix. The sum knob decides the number of repeats and, when turned up, spirals into frenetic oscillation. As an alternative, there’s the ingenious havoc momentary foot switch, which produces a more controlled high-pass filtered oscillation.

CONSTRUCTION: A built to last stompbox. The big knobs and fun-natured design suit its gigantic personality.

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OVERALL: The Kilobyte is an engrossing delay pedal with some truly inventive and pioneering features. The uncompromising quality of tone is gratifying and unequivocally satisfying. Highly recommend.

BY CHRIS SCOTT

USABILITY: This isn’t your over the top super flash NASA approved delay pedal that will cover every gig you’ve ever played, but it is a good sounding flexible delay that can do slap back, slightly spacious, bigger dirty solo delay tones and some atmospheric chord stuff.

CONSTRUCTION: No crazy bells and whistles here on the RW. Just time, blend and repeat controls that work smoothly. It also features some funky graphics from the ever popular Jonas Claeson.

OVERALL: Enough control to get a number of gigging tones and can work as a set and forget delay or act a little more in your face if needed. Again the Nine Volt nice price factor is a welcome addition and not just a ‘pretty good for the price’. Definitely worth a look it you want a straight forward good sounding delay.

BY NICK BROWN

MIXDOWN #266 // JUNE 2016 // PG.41

PEDAL SPECIAL

AMT Electronics Legend Amps B1

AMT Electronics Legend Amps M1

EFFECT: DISTORTION/PREAMP | RRP: CONTACT FOR PRICING | DISTRIBUTOR: EGM DISTRIBUTION

EFFECT: DISTORTION/PREAMP | RRP: CONTACT FOR PRICING | DISTRIBUTOR: EGM DISTRIBUTION

RECOMMENDED FOR: Guitarists in the market for a scorching distortion pedal, one encased in hi-gain for heavy playing and pronounced shredding.

RECOMMENDED FOR: Classic rock and advocates of vintage style distortion – old school heavy drive, and no-nonsense controls.

SOUND AND VERSATILITY: The M1 harnesses the classic high gain output of Marshall’s JCM-800 in the compact package of a stompbox. The output signal on this thing is colossal; at full the level knob cranks out 10db, surging with sustain. In the true nature of a tube amp, it purrs when pushed hard, and responds well to heat. That includes piling on the gain.

SOUND AND VERSATILITY: Modelled on the Bogner Sharp Channel Amplifier, the B-1 is a sophisticated higain beast that can deliver a tidal wave of distortion. Where it truly embodies the dynamism of the B-sharp preamp is in its intricate and superior definition.

Despite pumping up the gain, the nuances of complex chord structures remain impactful.

USABILITY: The gain knob propels piercing highs and aggression without losing the presence of a penetrating bottom end, or midrange scoop – rattling in scope. Turn down the gain and you get a humming crunch. But who can resist dialling it up again? Generally, choosing your preferred level of gain, and then adjusting the low, mid and high frequencies from a 12 o’clock starting point works well.

CONSTRUCTION: The black finish and army green looks menacing. Reflective of the entire Legend Amp’s series, it comes equipped with a Cab Sim output for the use of a mixer or DAW interface.

USABILITY: The controls are your basic vintage setup, level, gain, low, mid and high.

Fine-tuning these frequencies is intuitive and produces direct results. With distortion pedals continually looking to add complexity and specificity to their control boards, the familiarity and simplicity offered here is a refreshing feature.

OVERALL: More than just a wash of gain and distortion, the B-1 will sit alongside a fuzz and/or overdrive comfortably, bringing to the fore its own hi-gain sensibility.

BY CHRIS SCOTT

Bogner Burnley Classic Distortion EFFECT: DISTORTION | RRP: CONTACT FOR PRICING | DISTRIBUTOR: EGM DISTRIBUTION

RECOMMENDED FOR: The gain-enthused player. This is a classic distortion in the purest sense: hot and heavy.

OVERALL: This type of powerful tube-inspired distortion is still very relevant. It’s a

Ninevolt Pedals I Was A Wolf In The Forest Distortion EFFECT: DISTORTION | RRP: $124 | DISTRIBUTOR: HOT APPLE DISTRIBUTION

SOUND AND VERSATILITY: Going for some extra crunch the Wolf In The Forest sits nicely as a starting point with the Drive around 10 o’clock giving you some gain and sustain. The tone control adds bite or reduces a little too much zing when on the bridge pickup.

Increasing the drive control takes you into saturated lead tones or thick chuggy power chords – great for rock and metal.

USABILITY: If that’s not enough for you to shape some suitable drive tones then NineVolt have also included internal trimmers for presence and bass letting you hone in and fine tune your EQ scope a little more. It adds to the range of musical settings that the Wolf In The Forest can handle.

USABILITY: The three-dimensional control system includes level, gain and tone, as well as the aforementioned F & T Switch. By providing two tonal starting points mastering the use of this pedal is made easy.

OVERALL: Bogner have worked tooth and nail here

BY CHRIS SCOTT

RECOMMENDED FOR: Rock, classic metal, pop and blues players.

SOUND AND VERSATILITY: The fat/tight switch lays down the foundation for the type of distortion this pedal is going to produce. The former delivers a deeper tone, with increased girth. The latter, conversely, is sharper and brings noticeably more heat. The gain and tone knobs respond well to these two sonic platforms, making blistering, highgain lead, and tighter riffage attainable.

It’s vintage ‘60s distortion through and through.

CONSTRUCTION: A simple design that’s great to look at, and tough as guts metal casing ensure this will slot right onto your board.

Responsible for the inner workings of the pedal is a custom transformer, designed by professional recording equipment pioneer Rupert Neve.

CONSTRUCTION: Two signal outputs – a standard direct amplifier out, plus a cab simulation out for a mixer or studio use – are a welcomed addition. The housing is tough and rather small.

classic for a reason, and AMT have done a tremendous job in adhering to these fundamentals without losing any of that tremendous tube power and brutal force.

Without being the actual rig, it’s the next best thing.

to design a distortion pedal that stands up in a highly competitive market. The F & T Switch is an ingenious way set the stage for tone – from here cranking the gain or opting for a brighter tonal presence merely comes down to a question of playing style.

BY CHRIS SCOTT

PG.42 // MIXDOWN #266 // JUNE 2016

CONSTRUCTION: Straight ahead design, feels tough and is easy to get around. The internal trimmers are a nice addition and highlight some extra design thought.

OVERALL: A littler more gainy than the Surfing Bear, the Wolf can muster quite a bit more saturation and has a little more EQ range thanks to the internal bass and presence controls. Good for rock, blues and some ballsy old school metal it again ticks a

heap of boxes including price point.

BY NICK BROWN

www.mixdownmag.com.au

PEDAL SPECIAL

Greer Amps Hammer

AMT Electronics Legend Amps S2

EFFECT: DISTORTION | RRP: $289 | DISTRIBUTOR: SIGNAL CHAIN

EFFECT TYPE: DISTORTION / PREAMP | RRP: CONTACT FOR PRICING | DISTRIBUTOR: EGM DISTRIBUTION

RECOMMENDED FOR: Rock, classic rock, stadium rock. And did we mention, rock?

RECOMMENDED FOR: Metal and hard rock. Saying that, all guitarists who dabble in any kind of gain or distortion would be willing to make space on their board for this two-channel preamp.

SOUND AND VERSATILITY: Gain and grunt work in tandem to execute an array of overdrive, distortion and fuzz tones. It consistently produces a desirable density and penetrating resonance that responds nicely to the use of humbuckers and playing on the neck.

With the grunt knob the tone becomes beefy and burly, and this curvature permeates everything from high-octane fuzz to low-gain overdrive. With these two controls there’s considerable textural variety.

USABILITY: As the gain and grunt play off one another it’s really just about finding the right balance. Lowering the gain knob while elevating the grunt results in a thick dose of grit suitable for playing rhythm. The fact that you can then increase both knobs and eventually hit full-blown stoner rock fuzz demonstrates the pedal’s value.

CONSTRUCTION: Robust housing and a striking white top finish, two of the reasons this is made for the live stage.

SOUND AND VERSATILITY: Produced to emulate the sound of a Soldano, the S2 embodies metal lead principles with saturated tube-style gain and a surging sonic viciousness. It’s monstrous in tone when used as an OD, and produces a bright Fender-esque tone when clean. There’s some significant sustain and pulsating low end when elevating the OD level and gain.

OVERALL: With the use of level, gain and grunt knobs the Hammer nails traditional rock tones and then some. Its unique tonal parameters could easily fill a hole on a lot of pedalboards.

BY CHRIS SCOTT

CONSTRUCTION: There are no issues here as far as construction is concerned. It’s light and small statured, yet solid and robust.

Keeley Seafoam Chorus RECOMMENDED FOR: Pop, rock, indie, and funk players.

EFFECT: CHORUS/MODULATION | RRP: $289 | DEALER: GLADESVILLE GUITAR FACTORY

VERSATILITY: The age of the power ballad may have damn near ruined chorus effects for all concerned, but the 30ms goes a long way toward rectifying the situation.

Everything from ‘Come As You Are’ warble to T-Rex thickness to Beatlesque doubling to rockabilly slap back is laid out before you ready to be dialed in; and that’s only in mono! Send the output signal into two amps via the supplied stereo TRS splitter and you can saturate the entire space in super wide, real-as-it-gets, tape-style headroom.

USABILITY: Setting the rate and depth low as a start it’s easy to dial in some initial width and space. The tone control is handy for keeping things warm or adding some brighter hifi shimmer and zing.

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BY CHRIS SCOTT

RECOMMENDED FOR: Anyone who has ever longed for old school studio trickery at the flick of a switch.

SOUND AND VERSATILITY: You can get traditional spacious lush chorus tones by juggling the rate and depth controls. Think slightly doubled airy sounds or more warbly and bold. Great for arpeggios and picking the Seafoam also works beautifully with big chord voicings.

Keeley have also included a blend knob which balances the line between chorus and pitch vibrato.

OVERALL: Chorus is often thought of as a product of 80s guitar. And whilst I quite dig a bit of 80s shred or washy goodness chorus can offer so much more. Thickening clean sounds, accenting muted picking and licks or for big warbly wobble. The blend and tone controls add extra capabilities to the

OVERALL: Everyone wants to encase their axe in cage-rattling distortion and to consistently smash out sizzling frequencies. Yet not everyone can afford to doll out thousands on their dream rig. The S2 is a cost-effective and genuine tube-like preamp that can well and truly fill that void.

Keeley Engineering 30Ms Double Tracker

EFFECT: CHORUS | RRP: $245 | DISTRIBUTOR: KEELEY ELECTRONICS

CONSTRUCTION: Tough and well built in a hip seafoam coloured casing with cool machined style silver coloured knobs. Looks cool and is built to last.

USABILITY: With three outputs – cab sim for connection to a mixer, preamp to a power amp, and drive to a combo or head amp – it offers a wealth of options. All three can be used simultaneously. The clean channel, however, can only be used through the cab sim and preamp outputs. When activated (by having the pedal off) the clean channel also has a clean boost, which modifies the mids for a broader boost. The three-way EQ is standard.

Seafoam making it a great tool for the chorus lover.

BY NICK BROWN

USABILITY: If you want to play it simple in mono mode, then you are definitely not losing out, as every colour and shape is ripe for the picking. The job handled by each knob is clearly defined, there’s no secondguessing what ‘breadth’ or ‘girth’ refer to, making it a cinch to find just the right nook for your tone. With the possibilities expanded in pro mode there’s no limit to where you’ll end up. Chorus effects are notorious for getting away from the best of us but the level of control on offer means the 30ms never feels like too much… unless you want it to.

CONSTRUCTION: Super sturdy die-cast steel housing with enough tension in the knobs so that you won’t accidentally bump yourself out of your favourite hot spot.

OVERALL: A huge leap forward in simple yet completely innovative sonic possibility.

BY LUKE SHIELDS

MIXDOWN #266 // JUNE 2016 // PG.43

PEDAL SPECIAL

Keeley Red Dirt Mini Overdrive

Bogner Wessex Overdrive Pedal

EFFECT: OVERDRIVE | RRP: $169 | DEALER: GLADESVILLE GUITAR FACTORY

EFFECT: OVERDRIVE | RRP: CONTACT FOR PRICING | DISTRIBUTOR: EGM DISTRIBUTION

RECOMMENDED FOR: Those looking to add a little grit and push to a simple sounding rig.

RECOMMENDED FOR: The rock and blues guitarist who wants tonal versatility in their overdrive without compromising textural depth.

VERSATILITY: If the Red Dirt is designed to do one thing, being add grit and boost signal into your chain, then it does that one thing particularly well. Run all the dials at 12 o’clock and it’s practically invisible as a tone boost, push the dirt and level knobs past there and you start to get into some subtle, classic overdrive territory.

Good for pushing a solo through a mix or running into another gain to achieve a stacked drive sound without losing too much of the tonal quality of everything around it.

USABILITY: The two smaller knobs mean you can set and forget your level and tone settings while the standard sized drive knob is considerably more accessible. The options afforded by the internal dipswitches are definitely worth exploring if only at the expense of a little bit of surgery. Options range from ‘amp’, a perfectly transparent boost, to ‘crunch’ and ‘distortion’ where things start to slide into Sabbath territory.

SOUND AND VERSATILITY: With minimal gain a warm growl comes to the fore. By bumping up the low frequencies with the treble you can nail a classic ‘70s twang – the pedal’s vintage leanings on show – while greater gain and bass deliver a thicker woolly OD. Flicking the E & N toggle switch to enhance instantly enriches high and low frequencies. As a clean boost, an assertive crunch and a densely driven OD, its adaptability is a key feature.

polymer is always a plus too.

OVERALL: A signpost steering in the right direction on the road to tone heaven.

BY LUKE SHIELDS

CONSTRUCTION: It’s compact and sturdy enough to handle a good amount of stage time. Red, sparkly

USABILITY: The four-knob layout – level, gain, treb, and bass – will be familiar to all guitarists. Altering your low and high-end frequencies is straight forward – as it should be. The E & N Toggle Switch is a simple answer to a tone boost.

CONSTRUCTION: The compact pedal is housed in hardened metal casing, and could definitely stand up to a beating if gigged heavily. This is industrial in make and design. The jewel Light on board lights up when it’s turned on and responds to your playing with flashing. It’s a nice touch.

OVERALL: The versatility of this rather straightforward OD makes it instantly appealing. But it’s the complexity of tone, the bold bass, clarity in highs, grit and growl, that make it a unique proposition.

BY CHRIS SCOTT

Earthquaker Devices Gray Channel

Ninevolt Pedals Surfing Bear Overdrive

EFFECT: OVERDRIVE | RRP: $295 | DISTRIBUTOR: GLOBAL VINTAGE

EFFECT: OVERDRIVE | RRP: $124 | DISTRIBUTOR: HOT APPLE DISTRIBUTION

RECOMMENDED FOR: Rock, blues, pop, punk and country players.

RECOMMENDED FOR: Rock, pop, indie, blues and funk players.

SOUND AND VERSATILITY: Ok – so it’s an OD pedal. How does it sound? Pretty darn great for my thinking!

Edgy and boosty you can get that blues type fix that is juicy with a little extra when you really dig in. Crank up the drive control and it’s great for chords or more saturated lead lines. Sounds just as good as many OD pedals I’ve played that are twice the price.

SOUND AND VERSATILITY: Designed as a two channel pedal, the Gray Channel is one of EarthQuaker’s original designs. Both channels have three distinct clipping modes – green has silicon, germanium or no clipping diodes whilst the red channel has LED, FET and No clipping options. Both sides can go from slightly gritty to fairly rocking dirt. Nearly all the scope of the dial is usable and works as a booster or go to gain pedal.

The beauty of the two channel operation lets you click between settings (along with bypass) to get two tones in one.

USABILITY: It features two large gain dials at the top edge of the pedal and individual level controls underneath for each channel.

It’s very easy to adjust and get a working sound from. The clipping toggle switches are well worth experimenting with too.

for rock, blues, funk or country (and lots in between). It’s a little gnarly and hairy, but it can also tighten up a little with different clipping settings. Very cool.

BY NICK BROWN

CONSTRUCTION: Tough and stompable, the Gray Channel takes up a surprisingly small patch of real estate on the pedalboard, despite the fact it packs in essentially two channels of tones.

OVERALL: Great for two channel switchable sounds

PG.44 // MIXDOWN #266 // JUNE 2016

USABILITY: Level, drive and tone are quite the standard controls for this type of OD pedal and the SB is super easy to get up and running. The real key for me other than (obviously) getting the level right is the tone control. It can help add some edge to the drive control or take away a little bite allowing you to add some drive if you want a little more grunt.

CONSTRUCTION: A powder blue type colour this time the Surfing Bear is straight forward and seemingly built to be played!

OVERALL: I know I know – another overdrive pedal based on the TS 808 circuit…but, the Surfing Bear really sounds good! Great with a clean amp for some grit through to reasonably dirty and then for pushing

something already on the edge. And the clincher is the price here folks. Retailing under $140 it’s a seriously good sounding OD.

BY NICK BROWN

www.mixdownmag.com.au

PEDAL SPECIAL

Keeley OxBlood

Dr.No Effects Drive-O-Matic

EFFECT: OVERDRIVE/BOOST | RRP: $280 | MADE BY: KEELEY ELECTRONICS

EFFECT: OVERDRIVE | RRP: $249 | DEALER: TONE PROSHOP

RECOMMENDED FOR: Rock and Blues players.

RECOMMENDED FOR: Players looking to drive their tone a little harder.

SOUND AND VERSATILITY: With the drive control set lower, the oxblood does more a clean or edgy boost with the tone being a very useful and sensitive to control. Warm, round and almost slightly muted through to bright and sharp you can get some great tones just balancing these three controls. The drive control opens up really well for added saturation and the phat and clipping switches add some more tonal goodness.

VERSATILITY: The first pedal Dr.No ever produced. His directive was simple; build a box that would drive the tubes of the amp it’s running into that little bit harder in order to send solos screaming through the atmosphere. Mission accomplished, with the gain rolled off this is one of the classiest clean boosts I’ve come across. Clipping is kept to minimum, even at full tilt, but it still comes through with all the cracking overtones of a 70s Marshall or HI Watt full to the brim.

USABILITY: Good for clean boosting or kicking a slightly dirty amp and also as a standalone distortion pedal. The phat and clipping toggles really make a big difference, so it’s worth your while tweaking to check out the Oxblood’s full palette.

CONSTRUCTION: Keeley is a respected builder, so there are no doubts about the construction quality.

A recent revamp of looks and aesthetics (along with a slew of new designs) has seen the Keeley brand really funk things up. Good stuff!

nicely to pick and fingers and adds a little body to your overall tone.

BY NICK BROWN

USABILITY: Perfect for stacking on top of any number of other pedals, the Drive-O-Matic is essentially doing what a compressor would do without raising the noise floor. Drive tubes harder, max out the headroom of the other pedals in your chain or just make the damned thing louder; it’s simple, effective and a good trick to have up your sleeve for when rock needs you the most.

CONSTRUCTION: All Dr. No effects are hand built by the madman himself, and you can feel that Scandinavian care and attention to detail even through the rugged, sturdy steel

OVERALL: Keeley’s response to the ‘Mythical Beast’ clones out there is the OxBlood, and it’s quite a tasty pedal. At home in boost mode or as your dirty sound, it reacts

housing. The signature on the side is a vote of confidence that this unit will be strapped to your board for years to come.

OVERALL: Think Neil Young maxing out silver-face Fenders out in front of Crazy Horse. Confident as a roadie, kick it on and it’ll help you crack the sky.

BY LUKE SHIELDS

Tapestry Fab Suisse OD

Keeley 1962 British Overdrive

EFFECT: OVERDRIVE | RRP: $289 | DISTRIBUTOR: SIGNAL CHAIN

EFFECT: OVERDRIVE/BOOST | RRP: CONTACT FOR PRICING | DISTRIBUTOR: KEELEY ELECTRONICS

RECOMMENDED FOR: If you’re in the market for a crushing OD, equipped with low headroom for meteoric returns and tonal scope.

RECOMMENDED FOR: Guitarists in the market for a hefty tube amp distortion, or anyone wanting to reference vintage ‘60s tone.

SOUND AND VERSATILITY: This is a play on the renowned Marshall Bluesbreaker circuit, coupled with a 3-band EQ. The three-way toggle switch opens up a world of possibilities, bold clean boost and sweltering distortion both well within its arsenal. The distinctly low headroom paves the way for unbridled licks, and surging riffs.

SOUND AND VERSATILITY: By stacking the classic tonal character of Marshall’s Bluesbreaker with the ever popular Katana booster, this OD unleashes a complex, yet harmonically smooth tone.

The richness exuded by these hybrid circuits takes care of low and midrange vibrancy – exemplifying the Marshall sound - but also flourishes with higher gain settings.

USABILITY: The three-way toggle switch and EQ controls need to be fine-tuned to really make this pedal roar. When switched to hard clipping adding a generous amount of bass emphasises a commanding low end.

This width, created by less compression, is expansive and multifaceted. By running the switch in the centre the pedal allows for more headroom and increased gain, with no risk in overstepping.

CONSTRUCTION: A solid design, with neat and impeccable spacing. The knobs are equipped with tapestry knob stops that enable your settings to be locked in, preventing unwanted alterations during use – a great feature.

OVERALL: This is a pedal that isn’t going to disap-

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point. It has the versatility to fulfil a number of roles on your pedalboard and, above all else, brings to life classic tones with a remarkable level of control.

BY CHRIS SCOTT

USABILITY: Gain, Tone and Level. Like the best amps rocking a single tone knob it interacts beautifully with a diverse range of guitars, amps and setups. You can really make this sing with minimal application.

Don’t hesitate in coupling it with your Tube Screamer, the British OD heaviness a perfect complement for significant saturation.

CONSTRUCTION: A lot of love has been injected into this unit. The surface mount JFET transistors have been placed and soldered by hand, and it has been equipped with a distinctly low op-amp. The exterior is solid and will take whatever you throw at it.

OVERALL: This is a big game player housed in a small body. Crafted with care and advanced engineering, it brings to life age old tube amp distortion with a contemporary shine.

A one-two punch that hits hard.

BY LUKE SHIELDS

MIXDOWN #266 // JUNE 2016 // PG.45

PEDAL SPECIAL

Earthquaker Devices Acapulco Gold

Keeley Monterey

EFFECT: FUZZ | RRP: $185 | DISTRIBUTOR: GLOBAL VINTAGE

EFFECT: FUZZ + VIBE + ROTARY | RRP: $410 | MADE BY: KEELEY ELECTRONICS

RECOMMENDED FOR: Rock, punk, indie and experimental players.

SOUND AND VERSATILITY: Based on the sound of a cranked vintage Sunn Amplifier, the Acapulco Gold is an easy to use fuzz pedal in the rockin’ warmish retro camp. With only one control – level/output, it’s really up to your guitar and amp to tweak your overall tone. Rolling guitar volume off cleans up the AG a lot for retro type cleans.

Add some more volume and you’ll get a nastier driven sound that’s great for rock and punk. More extreme levels then take you into splatty mayhem and beyond.

USABILITY: One big knob that essentially controls the level/volume/output. If you’re talking usability in a playing situation then the AG gets a big tick. Fuzz can be an interesting beast at times and dependant on a range of factors. There’s a lot of tone asking to be found within this unit.

It’s screaming out to be experimented with.

CONSTRUCTION: Nothing ground breaking in terms of design or construction, but the Acapulco Gold looks cool and feels like it’ll survive just about any gig conditions imaginable. The big control knob is handy as it’s easy to manoeuvre with the added bonus that you can also tweak it some-

what with your foot from a standing position.

OVERALL: More fuzz from the Earthquaker Devices folks, this time in a straight up one knob design that has covers quite a bit of tonal territory. Great for that retro sound that just wants to kick out a little.

BY NICK BROWN

RECOMMENDED FOR: Rock, blues and psychedelic players.

little work to get your favourite settings – especially when combing effects together.

SOUND AND VERSATILITY: Serving up fuzz, vibe, rotary and wah, the Monterey evokes a certain classic gig thanks to its name as a starting point.

With the option of fuzz on the right side and then the left as the ‘modulation’ on/ off switch you’ve got a heap of classic ‘60s and ‘70s rock guitar tones available. Then add in the octave setting and expression pedal input and you can also take a futuristic take on Hendrix and the like.

CONSTRUCTION: Rugged with a psychedelic look to it, the Monterey should serve you for many a gig or jam session.

USABILITY: For some players this could be their sole gig pedal offering fuzz and a range of mod sounds at the stomp of a button and flick of a switch. The control layout is easy to become familiar with but it will take a

OVERALL: A cool combo from Keeley, the Monterey puts some classic effects together in a pedal and makes them work. The fuzz, auto wah, vibe and rotary are all very usable with the octave setting taking you into doubling and octave fuzz screamer territory. Although you may be thinking just Hendrix, it can do so much more – very hip!

BY NICK BROWN

Dr.No Effects Madfly Vintage Fuzz

Two Notes Le Lead

EFFECT: FUZZ | RRP: $299 | DEALER: TONE PROSHOP

EFFECT: PREAMP | RRP: $499 | DISTRIBUTOR: INNOVATIVE MUSIC

RECOMMENDED FOR: This is the beast in the range. For those of you looking for high gain, grinding overdrive and distortion, without that tied old solid state emptiness; the Le Lead is going to get your attention. Valve tone with High Gain ferocity in a pedal set for a range of recording and live applications.

RECOMMENDED FOR: People who wish music ended in 1979.

VERSATILITY: The Dr.No Madfly Vintage Fuzz isn’t exactly a box of tricks, but then, who really needs that out of a fuzz box anyway? All three dials, distortion, tone and volume, do exactly what they say they’ll do and leave it up to the player to find the tonal nooks and crannies. Dial down the gain and you’ll find yourself in that creamy warmth that makes people still believe in Clapton, push it up to 11 and you’re standing in an ankle deep pool of melted faces!

USABILITY: The functionality is achingly simple. If you want more of anything you can dial it in, but everything you get it filtered through that classic woofy, rolled-off, petrol soaked fuzz tone. Dr. No himself describes it as perfect for anything from “outright doom metal or a more subtle Stoner sound” and he’s absolutely spot on.

CONSTRUCTION: Hand built and numbered by the good Dr. himself in the Netherlands, the housing is immaculately decorated in swinging-sixties orange and blue and comes housed in some of the best packaging you’ll see (think pizza box meets a Jetsons-era tin toy robot.)

OVERALL: If you’re after a bowel-rupturing fuzz tone with one job and one job only then look no further. This is a pedal that plays you more than you play it, foot up on the fold back, tasseled leather jacket flailing in the wind. Just remember, don’t take the brown acid.

BY LUKE SHIELDS

PG.46 // MIXDOWN #266 // JUNE 2016

SOUND AND VERSATILITY: This is probably the most versatile of all the pedals in the range as it offers a front end channel that ranges from clean through to crunch in gain range, but then goes well beyond anything else when you jump into the second channel with a high gain tone that is truly in your face. Even running from the DI output with speaker emulation, it sounds like a big amp rig turned right up to eleven and an half. The Le Lead really makes itself known within the room.

USEABILITY: If controlling the unit from the extensive range on knobs on the top panel wasn’t enough, there is also the added benefit in all pedals in this range of MIDI implementation.

Set up all your effects and channel switching via MIDI and you won’t ever have to touch the Le Lead in a tap dance across the pedal board to change sounds.

CONSTRUCTION: I love the lengthy design of these pedals. It allows you plenty of room to stomp on the

A/B switches without fear of kicking any of the knobs at all. Even for those of you adorned with pointy toed shoes, like myself on this particular day, the recessed, far removed controls were safe from the reach of my extended soles.

OVERALL: Its’ red, it’s loud and it’s pretty mean. This pedal gives you all the high gain drive you might have been missing in your rig, whether added in front of another amp, or as a sole drive device in a full range setup.

BY ROB GEE

www.mixdownmag.com.au

PEDAL SPECIAL

Two Notes Le Clean

Two Notes Le Crunch

EFFECT: PREAMP | RRP: $499 | DISTRIBUTOR: INNOVATIVE MUSIC

EFFECT: PREAMP | RRP: $499 | DISTRIBUTOR: INNOVATIVE MUSIC

RECOMMENDED FOR: Guitarists looking for that classic Californian tone all crammed into one pedal for use in front of a PA system, recording device or clean amplifier will love the tones the Le Clean offers.

RECOMMENDED FOR: It doesn’t take much to guess what this pedal is offering and so, it isn’t hard to figure out what you are going to use this pedal for. The gold colour is synonymous with the fascia of a certain amplifier and a certain crunch tone that many look for in their overall rig and often can’t achieve without volume.

SOUND AND VERSATILITY: If you want a rich, warm 6L6 styled clean sound that sparkles without taking the skin off your nose, then this pedal is here to deliver that sound in spades.

As a front end to a recording device, this is a superb way to get a big amp sound without the big volume. Running the gain up in Channel B allows you to access some smooth, yet slightly gritty overdrive tones to add extra complexity to your sound.

USEABILITY: This pedal is right at home in front of a very clean amplifier. It really wants to go up front before a mixer and into a PA system with little or nothing else in its way for a truly pristine tone.

CONSTRUCTION: The French don’t do things by halves when it comes to clarity, construction and cool. This pedal exhibits all of those traits and stands proud doing so. All the controls are assembled with first rate components, so it doesn’t feel like it will crumble between your fingertips with overuse.

SOUND AND VERSATILITY: For those of you looking for that classic British crunch sound without the ear piercingly turbid volume, then this is one pedal worth looking into. The two channel design gives you are screaming Plexi tone and then, even more with the second. But it is not just a two trick wonder, as you are able to sculpt the sound to fit in with any mix.

OVERALL: Valve pedals can often have an overbearing affect and not offer the clean tone that many players a really looking for. The Le Clean lives up to its name and offers cleanliness and tone in one. Your guitar will thank you for going with a pedal like this.

BY ROB GEE

USEABILITY: Running this pedal in line with a clean guitar amp, or into a cabinet emulator or PA system, you will find a number versatile options for pulling a great tone.

The important thing is that you just need to alter the settings to suit the setup that follows the pedal in your rig.

CONSTRUCTION: A preamp valve is housed safely and securely within the solid metal framework of this beast of a pedal. Like the Plexi amps of old that seem to keep on kicking on no matter what sort of a

beating they get, this pedal is ready to take all the abuse you can give it in both the studio and on stage.

OVERALL: The Le Crunch is not trying to pretend to be anything. It is at its heart a classic Marshall emulation and it does just that pretty darn well. If the British stack is your thing, you’ll love the Le Crunch.

BY ROB GEE

Cioks Ciokolate 20th Anniversary

Voodoo Lab Pedal Power 2 Plus

EFFECT: MULTI- POWER SUPPLY | RRP: $749 | DISTRIBUTOR: AMBER TECHNOLOGY

EFFECT TYPE: POWER SUPPLY | RRP: $425 | DISTRIBUTOR: EGM DISTRIBUTION

RECOMMENDED FOR: People building or modifying a pedal board with a range of effects requiring a range of different power sources. Perfect for the heavy effects user with serious power demands.

SOUND AND VERSATILITY: It’s very quiet in operation and isolated outputs to keep signal noise down. The Ciokolate is able to deliver both AC and DC power in a range of voltages. Power from 4-24 volts and current draws up to 800 mA are available. There is very little this unit cannot power.

USEABILITY: With a huge range of power options and plenty of patch cables in various lengths and specifications, it is fairly easy to power any combination of pedals no matter what they demand or how they are

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laid out on your board. Mains power does not require a separate transformer either, it connects with a standard IEC cable.

CONSTRUCTION: The housing itself is a solid brick, deserving of such a unit. All the connections and dip switches are contained in a recessed area under the outer frame so no stray feet can damage them. Even the IEC power connector is recessed to ensure no interference with the units input power ever occurs. It’s a clever design and a well engineered build.

OVERALL: With so many different options housed in such a compact casing, there is very little that you would find on your pedal board that this unit cannot power.

BY ROB GEE

RECOMMENDED FOR: Anyone using a multitude of digital and analogue pedals, different pedal voltages, and looking for security and reliability in a power source. This is the power source that takes pedal power seriously.

SOUND AND VERSATILITY: It boasts eight isolated outputs with Standard 9V, 12V Boss ACA, high current 9V, Line 6 Modeler, standard 9V with battery sag control, 18V and 24V capability.

It’s a one size fits all solution which is what you want in a power supply. The fact that every output is isolated doesn’t simply quash unwanted hum. It also means you’re not sacrificing any tone as it travels between pedal after pedal, the importance of which can’t be overstated.

USABILITY: Plug in and you’re ready to go – depending on the types of pedals you are using.

There is an informative manual which we recommend going through thoroughly before getting started. Utilising the flexibility on offer here is, for the most part, a simple exercise.

CONSTRUCTION: The construction of this pedal is dependable and reliable. It’s fairly heavy considering compact build and, simply put, is tough as guts.

OVERALL: With a power supply you want dependability, a multitude of options and most importantly, for it to sound clean. The updated Pedal Power 2 Plus is all of these things, and more.

BY CHRIS SCOTT

MIXDOWN #266 // JUNE 2016 // PG.47

PEDAL SPECIAL

Ninevolt Pedals Bath Time Reverb

Outlaw 24K Reverb

EFFECT: REVERB | RRP: $194 | DISTRIBUTOR: HOT APPLE DISTRIBUTION

EFFECT: REVERB | RRP: $169.95 | DISTRIBUTOR: PRO MUSIC AUSTRALIA

RECOMMENDED FOR: Rock, country, funk and blues players.

RECOMMENDED FOR: Quick fire reverb changes on the run.

It’s a great fit for guitarists who want to add a few distinct reverb sounds to their arsenal, without overcomplicating the process.

SOUND AND VERSATILITY: Hall offers some big reflection for great ambient and live sounds. Spring does quite a realistic job with some warmth and boing that works nicely for blues comping and big chords, whilst the room setting offers size without getting too washy or over the top. You can tweak the mix and time controls for the reverb size and blend of clean and effect which lets you create a tone and then balance how much you want on your fundamental tone.

USABILITY: As easy as picking a setting on the toggle switch and then dialling in the mix and time controls. This would work for non-verb amps that need a little wet in the mix or as an out and out effect for bigger explosions and atmosphere.

CONSTRUCTION: Ninevolt are running a cool mix of quirk and hip with their pedal names, graphics and looks. Nice!

SOUND AND VERSATILITY: Three modes each provide a unique look at the reverberation of your signal. Room is the standout, simply because it’s the most organic mode of the bunch. The small room character ensures the reflections are smooth and fluid. Plate mode generates a vintage warble, curvy and wet. While spring mode sets off a metallic and watery stream of reverb. Having three distinguished modes is definitely a plus.

effects that are giggable and funky looks – what else do you want?

BY NICK BROWN

OVERALL: With a solid line of pedals as a starting point, Ninevolt seem to be offering some very nice sounding pedals at an even nicer price. Good tones, classic type

USABILITY: Navigating the decay, reverb and tone controls is stress-free. By using the reverb knob to limit the volume of reverberations the tone knob can be used to great effect. On room mode, push the tone up to 3 O’clock, with the decay dialled in at 12 for a sweet glistening shimmer. The metallic nature of spring mode, on the other hand, responds well to a dark bass-heavy tone. Saved mode allows you to save your favourite setting, which can then be loaded at any stage with a double-tap of the footswitch.

CONSTRUCTION: Another pocket-sized pedal, with a simple, common sense design.

OVERALL: By providing three unique reverb modes and a save mode the functionality of this pedal is impressive, particularly considering its small frame. This is a competent performer that satisfies the need for basic, solid reverb.

BY CHRIS SCOTT

Flux Liquid Ambience Plyphonic

Radial Bassbone OD

EFFECT: REVERB | RRP: $439 | DISTRIBUTOR: SIGNAL CHAIN

EFFECT: BASS PREAMP + OVERDRIVE | RRP: $749 | DISTRIBUTOR: AMBER TECHNOLOGY

RECOMMENDED FOR: Texturally-inclined guitarists, lovers of layered compositions and rich soundscapes.

SOUND AND VERSATILITY: This is an expansive and intricately constructed pedal that will elevate your ambience into another stratosphere. The DSP-based polyphonic voice and reverb effect expands and constricts like a living, breathing entity. In generating spaced out, ethereal hall reverb, fifth and octaves it plays on the constructs of sound; the clarity found in cascading and modulated sequences, extraordinary.

USABILITY: There’s a lot going on here – an undeniable strength of the pedal – with a fifths mode, octaves mode and the blend mode.

In just sticking to the blend, positioned at 12 o’clock, an ethereal shine comes to the fore. Turn both the mix and space

knobs to 3 o’clock and chords become saturated in colourful textures. In this mode stepping on the ‘more’ footswitch results in enrapturing oscillation. It all takes a while to get your head around, but it’s time well spent.

RECOMMENDED FOR: The serious bass player. While optimal for regular gigging and studio recording, it could also be an efficient and, ultimately, beneficial way to reduce the size of your pedalboard.

CONSTRUCTION: The Liquid Ambience looks stunning, dressed in a vintage sky blue finish.

There’s a certain sophistication to the pedal’s generous spacing. Yet, this is achieved without sacrificing durability.

SOUND AND VERSATILITY: Here is a pedal that can define the entire backbone of a bassists sound. The Bassbone has two EQ channels and an overdrive channel. With two inputs also, there’s the option of alternating between two different basses – each with their own EQ setting – or optimising the use of a single bass guitar with two different tones.

Each EQ channel additionally has a mid switch, the choice between three different central frequencies yet another way to personalise your tone.

OVERALL: The Rolls Royce of octave and reverb effect pedals – a high-performer inside and out. The Liquid Ambience, while a pedal that won’t always need to be engaged, will always make its presence felt when in use.

BY CHRIS SCOTT

PG.48 // MIXDOWN #266 // JUNE 2016

USABILITY: For a pedal that covers so many basses

it’s effortless to operate. The functionally and flexibility it provides when combined with other pedals is tremendous – it even boasts its own effects loop, which can be used by both inputs, and can be activated with the overdrive footswitch. The impedance of each input can also be optimised with the use of a screwdriver.

CONSTRUCTION: Considerably small and neatly designed.

The OD and two EQ channels are all colour coded, while the entire unit has been carefully distributed for ease of use. It’s tank-like in structure.

OVERALL: A well-oiled machine and high performer.

This can slot right into your pedal chain and immediately fine tune your sound, or comfortably replace an OD, EQ and preamp.

BY CHRIS SCOTT

www.mixdownmag.com.au

PEDAL SPECIAL

Eden CaliforniWAH

Eden Glow Plug

EFFECT: BASS FILTER | RRP: $199 | DISTRIBUTOR: ELECTRIC FACTORY

EFFECT: BASS TUBE WARMER | RRP: $289 | DISTRIBUTOR: ELECTRIC FACTORY

RECOMMENDED FOR: Bass and guitar players alike who want to add another freaky dimension to their sound.

VERSATILITY: Envelope filters are, to say the least, not everyone’s cup of tea. There are as many players out there that are trying to emulate Bootsy as there are those who are not but if you fall into the former category then the Eden CaliforniWah is probably the first and last place you should look. Not only is it great for saturating in that psyched out, classic envelope sound, with the ability to dial it back to sit behind your clean tone as much as is desired, but it also works great as a top boost if you wind the low point all the way to the top of the dial.

USABILITY: If ‘bao-baoow’ is what you’re looking for then that’s exactly what you’ll find,

along with every variation on that theme imaginable. The ‘voice’ toggle is great for adding width to the filter and the controls are simple. With the flick of a switch you are in control of one of the deepest Q’s imaginable.

CONSTRUCTION: It’s a tidy little unit; about as wide as a standard Boss pedal. Custom built to be stomped on in the most fevered moments of the set, it’s all finished off nicely with the calm, dreamy, California palm tree decal.

OVERALL: A sneaky little box containing enough wild and freaky tones to make you consider buying that sequined jumpsuit you’ve had your eye on.

BY LUKE SHIELDS

RECOMMENDED FOR: Players looking for that mythic halfway point between full dirt and clean tonality.

VERSATILITY: There’s a lot going on in this unassuming little black box. Housing a single 12AX7 tube, one of the most relied upon in the tube world, you have at your feet the most effective way to have the best of both worlds. Far from the typical set of controls the Glow Plug gives you the ability to regulate how much is pushed into the front of the tube, whereabouts you sit in the low-mid frequency range, the over all volume output and, most importantly, the balance between dry and wet signal.

This means that you can mix all the grit and power of the tube in with a good amount of definition from the direct signal for the perfect amount of rumbling, fireside, warmth.

USABILITY: Its less a question of usability and more about how essential the Glow Plug will be to your pedalboard once it’s locked in.

Simple controls give you as much flexibility as you could possibly ask for and, once dialed in you can be assured that sitting in front of even the nastiest solidstate head you’re going to sound warm as a mother’s love.

CONSTRUCTION: Low profile, solid steel chassis and the unflinching build quality David Eden is famous for.

OVERALL: The best way to warm up your tune without unnecessary heavy lifting.

BY LUKE SHIELDS

Two Notes Le Bass

Hotone Bass Press

EFFECT: TUBE BASS AMP TONE | RRP: $499 | DISTRIBUTOR: INNOVATIVE MUSIC

EFFECT: BASS VOLUME / WAH / EXPRESSION | RRP: CONTACT FOR PRICING | DISTRIBUTOR: NOISE TOYS IMPORTS

RECOMMENDED FOR: Many bass players take advantage of DI signals to the PA system for added volume and punch, but often miss out on tone and grit in that signal. This is the pedal that changes all of that, allowing you to leave the big rig at home and let the PA handle the volume. The Le Bass has you covered for the tone.

RECOMMENDED FOR: Bass players, when you have overloaded your pedal board with too many effects and still need some extra control, or if you are looking for a compact pedal solution for ease or portability, the Bass Press is going to come to the rescue offering wah, volume and expression options.

SOUND AND VERSATILITY: Both modern and classic sounds are readily available in this pedal. As a preamp designed specifically for bass, the Le Bass is ready to emulate those big amps you wish you were playing. A modern, hi-fidelity punch can be achieved in one instance, or a more classic, almost distorted and thick overdrive that enters into the realms of a synth tone can be found at the other end of the spectrum.

SOUND AND VERSATILITY: The Volume part of this pedal is excellent in that it does not ‘suck’ your tone as your pull the level back like many passive volume pedals can do. The wah function is quite the opposite and really goes to town on your tone with a fairly aggressive sweep tailored for bass, keeping the bottom end tight and unaffected.

USEABILITY: This is probably the most readily usable pedal in the entire range as bass player so often run a signal direct to the PA to begin with. What this offers over any other DI those is amp tone, loads of amp tone. It is like harnessing several great amp rigs and having them all fed into the PA from your bass. The only thing you need to do is choose the tone you’re after.

CONSTRUCTION: As bass players don’t always have pedal boards in their setup, there is every chance

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this unit might just end up on the floor by itself, and not on a pedal board. That said, it is ready to be left on the floor, trampled on, kicked about and generally abused without fear of anything.

OVERALL: This is a breath of fresh air for bass players who are so often left out of the pedal design process. Modern and classic tones, MIDI implementation and some serious growl to bring your instrument forward in the mix are all on offer here.

BY ROB GEE

USEABILITY: You can forget the concern about the size of the pedal being an issue in use.

It certainly takes up less space on your pedal board, but when you place your foot over it in the right position, it behaves and feels just like a full sized wah or volume pedal would. Keeping the heel forward to ensure you rock on the pivot point naturally.

CONSTRUCTION: It’s built into a compact yet tough little housing. The rocking motion is smooth and can be easily tighten to suit your

needs if you want more tension. The on/ off switch is easy to engage without needing to apply overly ridiculous amounts of pressure with your toes too.

OVERALL: This is a clever way to solve a number of solutions for bass players who have limited space. Although you can only set it to one of the three functions, there is no reason why you couldn’t have a couple of these on your board for both volume and wah without taking up too much room.

BY ROB GEE

MIXDOWN #266 // JUNE 2016 // PG.49

PEDAL SPECIAL

Earthquaker Devices Nightwire

Lehle Mono Volume

EFFECT: HARMONIC TREMOLO | RRP: $295 | DISTRIBUTOR: GLOBAL VINTAGE

EFFECT: VOLUME | RRP: $450 | DISTRIBUTOR: EGM DISTRIBUTION

RECOMMENDED FOR: Anyone who wants the smoothest volume swells imaginable, with a stylish, modern aesthetic.

RECOMMENDED FOR: Indie, rock, experimental and roots players.

SOUND AND VERSATILITY: A trem with some features extra features. The Nightwire has level, depth, rate and frequency controls plus added rate and frequency toggle switches to open up some additional sounds. The attack toggle setting reacts to your pick, meaning you can dig in and the trem will speed up accordingly. Controlling the frequency of the filter section the, assigned toggle also gives you manual, attack and LFO for plenty of variation.

USABILITY: With a lot of control on board, the Nightwire will serve the serious pedal tweakers well. It does some standard trem things and then some extra phasery, filter, swirly, throbby warble too. Good for rootsy country down home sounds, trippy throbs and pulses, slight modulation or all out insane Roland S. Howard style experimentation.

CONSTRUCTION: More of the same from Earthquaker. The pedal seems to be reliably tough and built to be gigged with. Hip graphics for the aesthetic conscious muso too.

VERSATILITY: Relative to most other large footprint volume pedals on the market, the Lehle Mono Volume sits somewhere around the mean for features. Having said that though, what more do you want? Set to unity (0db boost) and it is completely uncoloured, input and output stages are perfectly matched for impedance, leaving zero lag or buffer clip. You have the option of dialing in up to +10db of extra signal too, which is a great way to give the power tubes a nudge into blissful break-up.

OVERALL: Cool simple trem through to more involved tones, the Nightwire offers plenty of scope. The attack mode is a nice touch for really zoning in to your playing and control whilst the rest of the controls add to the sonic palette on offer.

BY NICK BROWN

USABILITY: By far one of the most seamless sweeps I’ve ever ridden with, the adjustable rod inside the base retains the perfect amount of tension for the life of the pedal. Find yourself at the perfect level half way up the arc and it’ll sit there obediently until you come back to charge back to full bore. It’s such a deft hand at its job that it feels like a secret weapon waiting patiently at your feet for the right time to shine.

CONSTRUCTION: Build quality is second to none here; the chassis is solid as a rock without sacrific-

ing even a speck of the sleek, quintessentially German aesthetic of the unit. You can feel the engineering excellence even before slipping it into your signal path.

OVERALL: Volume pedals are the unsung heroes of the tap-dancer’s tool kit, and this one in particular feels like a sleek, modern, graduation from its less refined predecessors.

BY LUKE SHIELDS

Hotone Vow Press

TC Electronic Bodyrez

EFFECT: SWITCHABLE VOLUME & WAH PEDAL | RRP: CONTACT FOR PRICING

EFFECT: ACOUSTIC PICKUP ENHANCER | RRP: $229 | DISTRIBUTOR: AMBER TECHNOLOGY

DISTRIBUTOR: NOISE TOYS IMPORTS

RECOMMENDED FOR: For anyone playing an acoustic guitar through a PA system or amplifier that is looking for a more natural sound to their amplified signal, the Bodyrez is here to give you what you are after.

RECOMMENDED FOR: First of all, for all lovers of purple pedals, this is a nifty addition to your collection.

But, beyond that, it is an ideal solution for anyone looking for either a volume or wah pedal, or both, when space on the pedal board is at a premium.

SOUND AND VERSATILITY: This is an odd pedal that doesn’t necessarily jump out at you when you engage it. It has a subtle affect to your acoustic guitar’s amplified tone that doesn’t in any way detract from the beauty of your instrument, but at the same time it doesn’t sound like you are running an effect in the chain. However, when you turn it off, you will certainly notice the difference as you’ll find there is a certain something missing all of a sudden.

SOUND AND VERSATILITY: When it comes to Wah tones, there is one pedal that comes to mind as the all-time classic wah. And it is that tone which Hotone has emulated with the Vow Press, giving that classic vocal weeping to your guitar signal with plenty of sweep in the EQ range. It doesn’t have to be big to get that big sound.

USEABILITY: In the Wah setting, it acts as a classic wah pedal should. In the volume setting, it retains the signal’s tone at any level due to the active design of the circuit.

When engaged in volume/wah monde, you get to use both options, with the bypass switch changing between the two. That is supper handy, as when you disengage the wah mode, it is set to full volume as it should be, but then allows you to pull back on the volume from that point on.

CONSTRUCTION: This is a tough little pedal. Don’t let the

purple housing fool you, the Vow Press is ready for you to stand all over it and press its buttons time and time again.

OVERALL: What we have here is a serious space saver. Many guitarists don’t have the space for a volume or a wah pedal on their board, but this unit offers both in much the same amount of space and most overdrive pedals take up.

BY ROB GEE

PG.50 // MIXDOWN #266 // JUNE 2016

USEABILITY: It couldn’t be simple, set it up in line between your acoustic guitar and amp, kick it on and wind up the amount to the desired level. Then, it is just a matter of letting your guitar sing and be heard in a more natural clarity.

CONSTRUCTION: Like all TC pedals, this little unit is built like a tank. A compact design with offset inputs and outputs to keep the pedal as narrow as possible and just one simple, smooth potentiometer. The silent switch is a delight to engage time and time again,

although, most users will simply leave it on at all items.

OVERALL: Once heard, it is pretty hard to go back to any guitar sound without the bodyrez included in the signal chain. If you want to get a more realistic and natural acoustic sound from your under-saddle pickup, this is the link in the chain that you cannot live without.

BY ROB GEE

www.mixdownmag.com.au

PEDAL SPECIAL

RMI Acouswitch Junior By Lehle

Earthquaker Devices Spatial Delivery

EFFECT: ACOUSTIC PREAMP + DI | RRP: $649 | DISTRIBUTOR: EGM DISTRIBUTION

EFFECT: VOLTAGE CONTROLLED ENVELOPE FILTER | RRP: $295 | DISTRIBUTOR: GLOBAL VINTAGE

RECOMMENDED FOR: Funk, experimental, pop and indie and players.

RECOMMENDED FOR: The discerning acoustic player, for whom only the best will do.

VERSATILITY: With its droll olive façade, the Acouswitch Junior looks like a simple piece of machinery. It appears however, that Lehle have taken every gripe you’ve ever had with a DI as a directive. It has an XLR out, ground lift, tuner and direct TRS outs and recessed dials so you won’t slip from the sweet spot. The 4-band EQ has deep enough Q’s that notching out annoying frequencies is a breeze. A and B inputs have individual boost controls for different signal strengths and the master boost allows for that bit of extra push. You can even run it at up to 15v if you feel the need to really push your folk band to new levels!

USABILITY: The chassis is super low profile so it’ll always be exactly where you left it and wide enough that tripping over one switch to get to the other is no concern.

CONSTRUCTION: As with all Lehle products, there’s no stone unturned as far as build quality is concerned. The switches are so quiet you barely know you’ve touched them, and are bound together by all gold circuitry meaning absolutely no degradation along the signal path.

OVERALL: Simply put, the best DI for any situation.

Guitar, keys, bass, strings, it’s got them all covered.

BY LUKE SHIELDS

SOUND AND VERSATILITY: Coming from the auto wah, envelope filter camp, the Spatial Delivery gets funky pretty easily. Balancing the range, filter and resonance controls - you can get some quacky auto wah. Resonance gives some more ringy type honk whilst the sample and hold toggle setting puts you into Commodore 64 glitch, whizz and whir. Seriously cool for random fit s of noise but also controllable for playing actual licks and phrases in time.

USABILITY: As an auto wah you can really get the Spatial Delivery to snap and quack. Good for funk and pop, but you can also head down the experimental road if required too. In terms of the synthy, glitch stuff I’m impressed that the SD is really useable and quite controllable. Often these type of sample and hold effects can sound impressive and quirky but can also be finicky when you want to really keep them in time. With a bit of work, the SD lets you lock in and can then get crazy too if needed.

CONSTRUCTION: A sturdy and sensible construction, which is exactly what we’ve come to expect from

all EQD products. Thumbs up here.

OVERALL: Filtered, wah type glitch sweep and oscillation sounds, the Spatial Delivery (cool name by the way) will give you a range of usable tones. Good for funk (and even electro, dance, pop and the like) or more experimental styles the SD covers you for envelope filtering with some extras thrown in.

BY NICK BROWN

Mooer Ge100 Guitar Multi-Effects Processor

PEDALpUNK!

EFFECT: MULTI-EFFECTS PROCESSOR | RRP: $169.95 | DISTRIBUTOR: JADE AUSTRALIA

EFFECT: PEDAL EFFECTS LOOP FOR RECORDING | RRP: CONTACT FOR PRICING | DISTRIBUTOR: NOISE TOYS IMPORTS

RECOMMENDED FOR: Anyone who is recording guitars and bass through their DAW, into a computer, and is keen to use pedals effects is going to love what this can do for them.

Essentially, every home and professional studio that is tracking or mixing guitar should have one of these handy.

RECOMMENDED FOR: Beginner and intermediate guitarists.

The user-friendly multi-effect system will suit players looking to improve their technique, and expand their sound.

The 80 user patches endear you to be creative and experiment with sounds.

Nifty features, like activating the tuner by pressing down both foot switches, are icing on the cake.

SOUND AND VERSATILITY: From ‘Jazz Clean’, to ‘Pantera Metal’, and ‘Octave Fuzz’, the 80 factory preset patches cover the essential sounds and most commonly used effects. Vintage overdrives are full-bodied and multi-dimensional, while brighter cleans remain verdant and play smoothly. For the most part it defies the multi-effects trap of sounding overly computerised and synthetic.

CONSTRUCTION: This is one of the smaller multi-effects pedals I’ve seen. So small, in fact, that it takes a little getting used to. The foot switches are sturdy and the expression pedal grips. Just be careful not to step on the LCD display when changing sounds.

USABILITY: A major drawcard is this pedal’s simplicity.

All of the central information is outlined on a high brightness LCD display. Engaging key features such as the loop function or learning a new scale/chord structure are each initiated by their own button.

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OVERALL: Between a plethora of unique patches, the loop function, drum machine and guitar lessons, this is a pedal that promises to enhance your guitar technique, diversify your playing style and give you a greater appreciation of tone. Ticks all the boxes for the guitarist still learning their craft.

BY CHRIS SCOTT

SOUND AND VERSATILITY: The PEDALpUNK offers perfectly matched output impedance and return input impedance for your computer recording setup to allow pedals to be inserted into the signal chain. What this means is that you can now have a ‘reamping’ option in your digital recording setup purely for adding pedal effects to your already recoded guitar and bass tracks.

USEABILITY: Connection from your interface to your pedals and back again is fairly simple.

Once the pedals are in the signal chain, you can drive the signal into them as needed and then balance the output volume back to an appropriate level to rerecord. The focus control gives you the ability to add a buffering process to retain signal through longer chains.

CONSTRUCTION: These pedals have that boutique, hand-made vibe about them. They are meticulously constructed and finished to

ensure that each unit delivers the quality that you need in such an important stage in your signal chain.

OVERALL: This may just be the missing link in so many recording setups. In fact, many musicians and engineers would have been searching for a solution like this and never really have had a simple option for matching the impedance for your pedals.

That is, until now, as the PEDALpUNK delivers the pedal side-chain your recorded guitar signal has been crying out for.

BY ROB GEE

MIXDOWN #266 // JUNE 2016 // PG.51

PEDAL SPECIAL

Xtomp

Mooer Baby Water Acoustic Delay And Chorus Pedal

EFFECT: BLUETOOTH MULTI-STOMP BOX | RRP: CONTACT FOR PRICING

EFFECT: ACOUSTIC DELAY/CHORUS | RRP: $129.95 | DISTRIBUTOR: JADE AUSTRALIA

DISTRIBUTOR: NOISE TOYS IMPORTS

USEABILITY: Bluetooth connectivity allows the Xtomp to talk with your device and load effects from your library. Initial loading of any effect takes one to two minutes depending on the complexity of the patch. After that, reloading said effect is super quick and easy to recall. Then, the six potentiometers allow a wide range of control specific to each effect.

RECOMMENDED FOR: Everyone using a guitar or bass looking for different pedal effects. Basically, this could and would work with all guitarists’ rigs, offering a vast array of effects with a continually growing library of models to choose from and import into your Xtomp.

SOUND AND VERSATILITY: The Xtomp offers you an almost unlimited supply of effects and sounds to add to your pedal chain. Classic effects that you may not have access to can now be downloaded and added to the Xtomp to give you the creativity you need in your guitar tone.

CONSTRUCTION: This low-lying pedal is built into a really tough casing that reminds me somewhat of some higher end audio interfaces. The pots are smooth and easy to operate and the engagement switch will happily take any pressure you apply with your foot. Stereo inputs and outputs are also supplied for use in a wide range of applications.

OVERALL: This clever little device puts just about any effect you want onto your pedal board. It’s not like a complex multieffects board that requires flipping through menus to program, it just offers all the control of any given stomp box on designated pots with visual representation through the app on your chosen device.

Best of all, it is only going to improve with new updates and effects.

BY ROB GEE

USABILITY: By squeezing so many functions into a single miniature pedal this pedal, to an extent, forgoes simplicity. One knob doubles up as rate/time, while another controls depth/feedback. As far as getting the most out of each mode, erring on the side of caution is the best method to finding a balanced tone.

CONSTRUCTION: Another addition to Mooer’s Micro Series, this is one considerably small pedal. The knobs are smaller again, but get the job done. The light blue finish is fresh, and reflective of its unique function.

RECOMMENDED FOR: The regular acoustic player and performer.

For folk, pop, alt-country or any other acoustic guitar-driven genre.

SOUND AND VERSATILITY: When working across the five modes – chorus, triple chorus, echo, chorusdelay, and delay-chorus – you can find everything from the slight roundness of a classic chorus, to a dry digital delay, and a more multi-layered sequencing of the two effects. What’s most pleasing across the board is that the sonic richness and earthiness of an acoustic tone remains largely intact.

OVERALL: This isn’t going to be for everyone. But for acoustic guitarists who want to add more dynamics – tone and effect – to their sound, this will more than suffice.

It offers a myriad of uses, and can create lush acoustic soundscapes that enrich and embellish the right acoustic frequencies – an impressive feat in its own right.

BY CHRIS SCOTT

TC Electronic Ditto X4 Looper EFFECT: LOOPER | RRP: CONTACT FOR PRICING | DISTRIBUTOR: AMBER TECHNOLOGY

RECOMMENDED FOR: Guitarists who want to get creative with their compositions or for those genres that conventionally utilise looping. Teachers will also get a kick out of this – it’s great for practising.

SOUND AND VERSATILITY: It builds on the same easy use and high audio quality of the original pedals with two loop tracks, two loop modes, seven effects, a loop decay feature, MIDI sync/CC, loop import/export and stereo ins and outs.

The MIDI control on a unit this flexible is great news for those who like to use more intricate guitar rigs. Tape stop is a really cool effect you can use for all sorts of dramatic musical transitions, while double and hold is especially great for building dramatic tension before crashing in with the next section.

USABILITY: There are foot switches for Loop 1 and Loop 2 plus a stop switch (hold it down to erase your previous loops), an FX switch, and each loop has up to five minutes of looping time. Intuitive functionality makes it easy to expand your creative potential.

CONSTRUCTION: Around the back you’ll find the stereo inputs and outputs, USB jack, MIDI jacks and a mode DIP switch with four adjustments. The entire unit is built with regular use in mind.

OVERALL: TC Electronic’s Ditto series of loopers are among the best you’ll ever find. This is a very creative, inspiring pedal which goes as far out as you want to take it, but can also behave in very practical, conventional ways.

BY LUKE SHIELDS

PG.52 // MIXDOWN #266 // JUNE 2016

DISTRIBUTOR DETAILS DISTRIBUTOR/DEALER AMBER TECHNOLOGY AUSTRALASIAN MUSIC SUPPLIES EGM DISTRIBUTION ELECTRIC FACTORY GLADESVILLE GUITAR FACTORY GLOBAL VINTAGE HOT APPLE DISTRIBUTION INNOVATIVE MUSIC AUSTRALIA JADE AUSTRALIA NOISE TOYS IMPORTS PRO MUSIC AUSTRALIA SIGNAL CHAIN TONE PROSHOP

WEBSITE www.ambertech.com.au www.austmusic.com.au www.egm.net.au www.elfa.com.au www.guitarfactory.net www.globalvintage.com.au www.hotapple.com.au www.innovativemusic.com.au www.musocity.com.au www.noisetoysimports.com.au www.promusicaustralia.com www.signalchain.com.au www.toneproshop.com

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TouchMix digital mixers and K Series loudspeakers. Each remarkable products in their own right. Together, the combination of performance, versatility, ease of use and of course, genuine QSC reliability, is nothing short of amazing. Want to learn more? Go to QSC.com

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ROAD TESTS VOX AV15, AV30 and AV60 Guitar Amplifiers Yamaha Music Australia | (03) 9693 5111 | www.voxamps.com | RRP: Contact for Pricing

Being the self-congratulatory tone-tourist that I am, I must admit I approached the Vox AV range with a certain amount of trepidation. I’ve been burned before and so anytime I see the words ‘modeling amp’ in a description I become dubious, and I’d struggle to believe I was the only one to think this way. Having spent some time in front of the newest addition to the Vox oeuvre however, I must admit I am pleasantly surprised.

Being one of the most respected of the old guard of amp makers, Vox has - for better or worse not spent a lot of time resting on their laurels. Their Valvetronix series was one of the first digital modelers to go to market after Line 6 moved the goal posts for amp design by unleashing their Pod technology on the world.

These days, with customer focus shifted back to the bespoke, boutique and craftsman-like, it is understandable that Vox would try to bridge that new gap. The rubric here seems to be to find the exact midpoint between analogue fidelity and the plethora of options offered by the digital world.

THE LOOK

Aesthetically these amps take a huge cue from the 50s and 60s. The rounded corners of the cabinet and odd angled grill cloth look plucked out of the Bakelite Age and mirror a visual

sentiment offered up by Supro and other vintage makers. The façade wouldn’t look out of place propped up next to the fondue pot in the sunken lounge of a Peter Sellers go-go-party movie.

Far from aping other builders the effect is only slightly removed from the other famous faces in the Vox line-up and so narrowly avoids looking like a pale imitation.

UNDER THE HOOD

The AV30 and 60 are both powered by twin 12AX7 power tubes, while their little brother the AV15 only relies on one. This offers signature tonal warmth that is so sorely missing from other modelers and means that the length and breadth of the gain stage is far wider than most other amps offer. One clever feature is the presence of the ‘bias’ and ‘reactor’ switches.

Flicking the former to the right allows the player to shift the bias of the tubes so that they are ever so slightly out of phase with each other, an incredibly subtle effect but given that it takes a fraction of the sting out of the high end it is one that could definitely prove useful.

Tapping on the reactor switch seems to push a touch more power into the front of the tubes that lends some heat to the tone and finds a few more harmonics to throw into the pot.

Both these options seemed to be exaggerated more in the AV30

PG.54 // MIXDOWN #266 // JUNE 2016

than its bigger counterpart, but in both cases struck me as a clever touch.

You have the option of switching between two identical channels via a Vox VFS2/VFS5 footswitch (sold separately). Both channels boast 8 analogue power circuits, each designed to emanate a different type of gain character.

This is where Vox have really hit the nail on the head. Instead of relying on digital mimicry to emulate other amps, the AV series has actual copper and capacitors driving the variety of tones and the result is actually quite successful. The cleaner channels let the tubes do most of the heavy lifting; push the gain a touch and volume down and you get the kind of antique break up that melts the edges of your playing. Climb up the higher gain settings and you get that stacked to the point of feedback squall that made the AC30 the amp of choice for shred lords of yesteryear. Happily absent is the ugly, robotic, digital clip that was so maligned in the first wave of the digital revolution, and it is at this point where I started to realise they might actually be onto something.

WE’RE LIVING IN A DIGITAL WORLD

The one concession to the digital world offered by this amp is the in-built effects stage which, to be honest, feels a little tacked

on. The reverb is a dark ‘large room’ sound that only really arcs up at about 30% dialed in. Stack it on top of the delay, which is reminiscent of MXR’s Carbon Copy, things start to get interesting as the decay on both effects crash around each other resulting in some nice, rolled off tails. The chorus or ‘mod’ effect is a touch too binary and thin sounding on it’s own for my taste, but pushed in front of a bit of overdrive it affords you the kind of searing solo tone that will have you digging your leather pants out of the bottom drawer.

Another interesting design feature is the closed-back cabinet. Coupled with the fact that the speaker is mounted to one side of the front panel, leading to off axis resonant frequency inside the cavity of the amp itself, there is a sense of tidiness and control present.

I assume these details are another nod to 60s mod design but you end up in charge of a booming low-end reigned in by the crisp highs brought about by the tubes. Far from being unruly, it is either a happy accident resulting from the nifty aesthetic or a really clever bit of sonic alchemy. Either way, it drops in another piece missing from the modeling amp puzzle; individuality. It’s touches like these, design oddities, untamed electronic nuances

and unflinching tonal control, that really give the AV range its unique sense of character.

These amps are not emulators, as you know them, more like smorgasbords of colour not limited to a single pallet.

It is a rare pleasure to be proven wrong by equipment sometimes.

Cynical as the relentless quest for innovation has made me, I am nonetheless impressed by the choices Vox have made here.

The AV range is not trying to be everything to everyone, more trying to offer a range of options without sacrificing quality. On first glance they seem as light and flashy as their throwaway, digital contemporaries but plug in and feel out your own voice and they are streets ahead. They seem to under-promise and over deliver with a bounty of tonal opportunities that never veers into the trite or banal.

BY LUKE SHIELDS

HITS • Honest representation of tone • Aesthetically a classic Vox • Lightweight and sturdy build

MISSES • None

www.mixdownmag.com.au

ROAD TESTS

Ernie Ball Music Man StingRay Electric Guitar CMC Music Australia | (02) 9905 2511 | www.cmcmusic.com.au | RRP: from $3495

It’s over 40 years now since the luthiers at Music Man drew a line in the sand that marked the turning point between the ‘traditional’ and ‘modern’ eras of guitar design. Introducing active electronics to the fray is considered by many to be the moment that defined the next 20 years of exploration. When the Ball family bought the company out in 1984, they took that baton and steered guitars into the uncharted waters of quirk and nuance for which they remain infamous to this day. With this latest update to their extensive six string range Ernie Ball Music Man has clearly taken a look back through the yearbooks for a bit of inspiration.

The StingRay is every bit the modernist guitar peppered liberally with a traditional flavour.

The most striking thing about it is that as soon as you pick it up you can feel how meticulous the engineering is. The peak of the quilted maple neck is pitched sharply toward your thumb around the nut, resembling the deep V of a 60’s Fender, which then mellows out over the course of 25.5”s to a shallow C shape. This means that you can comfortably jump between chopping away at power chords, to flitting around up top and back again without too much readjusting of your grip. Standing up, the balance sways nicely towards the offset

tail of the guitar, meaning that if you absolutely have to wave your hands in the air like you just don’t care then you know exactly where it’ll be when you come to your senses.

Notoriously clean and mid-range focused, a lot of Ernie Ball Music Man’s catalogue caters to a pretty select type of player. John Petrucci peers up at me from the swing tag as if to say “Go on, play some Satriani licks. You know you want to!” Thankfully though Sterling Ball and sons have decided to give this guitar a bit of breathing space. The custom wound HH-2 Music Man humbuckers aren’t so unerringly tight and squashed sounding as

some of their peers, with the chrome covers even offering a smattering of bluesy break up for warmth. Razor-sharp tonal precision is still the backbone of the sound, but it’s that little bit of headroom and sparkle that really sets this build apart from its brethren.

It also allows the guitar to be extremely versatile and responsive to changes in technique. Slacken your grip on the pick and chime away on some chords up at the bridge and you will hear how well-stacked the harmonics are, as they go ringing around your head with all the crystalline clarity of a ‘52 Tele. Heavy up a little by kicking on some gain and you’ll start to hear the amount of control on offer. It’s almost like they’ve managed to carve 99% of the extraneous frequency out of

the tone and as a result you never feel like things are getting out of hand.

It’s next to impossible to get the thing to lose tune too! I spent way too long diving on the whammy bar and bending strings around like Hendrix on the brown acid and at the end not a note is out of place. Mastery Bridge systems are getting a lot of kudos lately for being at the forefront of bridge design, but they’re being given a solid run for their money with what the website describes as a “modern tremolo with vintage saddles.” Coupled with straight through strings at the headstock, there’s nothing new about the machinery at play, just another example of impeccable engineering by what it’s supposed to do.

Other builders that purport to

iZotope VocalSynth Plug-In RRP $249 (On sale for $185 until June 16)

I’ve always wanted a vintage vocoder, like a Korg VC-10 or something, so I was fairly excited to see how a premium modern plug-in meets expectations. VocalSynth is iZotope’s new vocal processing plug-in featuring four re-synthesis engines, a pitch correction engine and five effects modules, designed to help you create everything from subtle harmonies to wild robotic growls.

Providing 3 extra voices for harmonies, the Polyvox engine is your ticket to thickening up vocals. I found the trick here is subtlety; pitching 2 voices 7 semitones up and down, with another voice set to unison, and having them play at about 50% volume alongside the dry signal.

Things get emotional fast. The formant, character and humanize knobs let you really dial in your sound, or make it sound really whacky and alien-like. But if that’s your bag, then you’re gonna love the other 3 engines.

wicked Beastie Boys Intergalactic sounds, Talkbox does the Peter Frampton sounds (that most of us don’t want to admit we first discovered through his cameo on The Simpsons) and Compuvox is modelled after the lo-fi talking toys of the ‘80s and ‘90s. Pop culture references aside, it’s all there, every variant of a digital voice you could think of and it does it really well. The key difference between these 3 and Polyvox is that there are 2 extra modes aside from live that you can use them in – MIDI and sidechain.

what notes and chords you’d like to play. This is a super cool feature, certainly what I had the most fun with. With a MIDI keyboard connected you can have a vocal loop playing and tinker around with a melody, forcing your sample to your new melody.

Map a knob on your controller to a midi parameter like formant on the Talkbox, record your melody and tweaks, and you’ve got yourself a dynamic little phrase.

VOCODER/TALKBOX/COMPUVOX

MIDI MODE

SIDECHAIN MODE

On these engines you’ve got 10 oscillator choices, 3 knobs and a chicken head knob with 3 settings to vary the darkness/ brightness. Vocoder does your

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With MIDI mode turned on, you can send MIDI information to VocalSynth. This disables the Polyvox engine, since you’re now manually telling the plug-in

BY LUKE SHIELDS

HITS • Near impossible to lose tuning • Extremely versatile • Vintage flavour

MISSES • None!

delay effect. If you’re into glitch music, you’re gonna love this – popping VocalSynth on your master track and toying with the shred is gonna get some wild results.

Electric Factory | (03) 9474 1000 | www.elfa.com.au

POLYVOX ENGINE

err on the side of vintage rely on intentional imperfection to remind of us guitars of yesteryear, often at the expense of clarity and originality. Ernie Ball Music Man on the other hand, have come out with a guitar that hand picks the best of both worlds. In a nutshell, The StingRay is extreme modern precision meets warmth and intimacy in a versatile and thoroughly enjoyable player. It might look a little alien but it plays just like you remember.

This mode lets you send audio to the plug-in as the carrier signal. For example, play your guitar on a separate track in your DAW, send that audio to the

VocalSynth track with a Talkbox setting active. Nothing with be audible until you sing or play a vocal sample, then you’ll get the famous talking guitar sound – minus the PVC piping and saliva.

FX

Distort, filter and delay do what they say on the tin – but are still a really handy addition.

We’ve got a couple more unique fx modules included though – transform and shred. Transform is a convolution speaker modeller, the most obvious use being those thin ‘down the telephone line’ type effects. Shred is something a little weirder, kind of a hybrid beat repeat/grain

Guitar pedal purists may not dig this plug-in, but for people like myself who dabble in a few instruments and styles of music, it’s bloody terrific. Consider how much these effects would cost to achieve in hardware form – literally thousands of dollars.

It is a little heavy on the CPU, but If you’ve got a high-ish spec computer I’d highly recommend at least giving the free trial a whirl, I can’t see how software of this kind can get much better.

BY MICHAEL CUSACK

HITS • Uhh...everything?

MISSES • Would be really cool if you could use each module as its own seperate plug-in, like you can with iZotope’s Ozone suite.

MIXDOWN #266 // JUNE 2016 // PG.55

ROAD TESTS DBX 500 Series Modules Jands | (02) 9582 0909 | www.jands.com.au | RRP: 510 $299 | 520 $299 | 530 $399 | 560A $399 | 580 $499

500 modules have taken off like wildfire over the last few years. The ability to swap in and out of lunchboxes in a modular fashion and the often relatively low price means they can be comparable to plugins with the beauty of having hands on outboard gear. Dbx know their way around signal processing and have been in the modular game for decades. To be honest, there’s probably not a decent level studio that hasn’t got (or had) some piece of dbx gear in its arsenal at some stage! It’s no surprise then to see their newest line of 500s starting to fill racks everywhere. Incorporating technology from their highly regarded 900 series and some new twists they’re suitable for live, studio and budgets of all levels.

510 SUBHARMONIC SYNTH

Designed to add extra low-end to any audio passed through it, the 510 module generates signal an octave below that’s perfect for adding punch to your mix.

An offshoot of the popular dbx Subharmonic Synthesis processor, the 510 is straight forward and easy to use. Controls include LF boost, subharmonics level and then two more frequency level controls handling 36Hz – 56Hz and 24Hz – 36Hz respectively.

Often utilised for electronic music or high-energy rock and pop, you can be subtle and just dial in a little subharmonic edge as needed or push it harder for thumping kick drum. It really is that easy, a dial to taste type scenario. And the subharmonic effect (as also often used on bass guitar) isn’t always about super heavy dripping low-end.

More so it’s about the slight bit of bottom-end thud that you feel in the mix – just adding a little something rather than mushing

everything together.

520 DE-ESSER

With frequency and dB Range controls, a mode switch and a series of monitoring LEDs the 520 De-Esser is another nonflashy unit from dbx. Perhaps not the most glorious of all effects, the De-Esser can definitely be handy for removing harshness – and not just on vocals. Overly tough percussion and drums can often be tamed making for a softer feeling sound. At a more than decent price, the 520 is a great unit for reducing sibilance and those little nuances on vocals that can make all the difference in the mix stage.

530 PARAMETRIC EQ

Splitting into three bands (low, mid and high frequency), the 530 works on these three overlapping EQ sections, which allows you to dial into anywhere from 20Hz to 20kHz with 15dB cut or boost. A nice EQ to really

add detail, the 530 is the kind of tool you can just play with to add some sweetness – be it vocals, guitar, drums or entire ensembles. An added feature is the ability to turn any band into a notch filter to really target problem frequencies. This might not be super musical but it can be a good tool for removing (or adding) ‘honkiness’ or removing some unwanted clutter. The 530 can be great in both the tracking and mix stages when you’re trying to zone in on a specific frequency or area.

560A COMPRESSOR/LIMITER

Every good setup needs a good compressor and (thankfully) these days you don’t have to fork out super huge $$$ to get the job done. The typical output

gain, compression ratio and threshold controls are present with clear LED metering and a mode switch for ‘hard knee’ or dbx’s ‘OverEasy’ setting. Hard knee can be a big threshold protector for full mixes or super hot signals whilst the ‘OverEasy’ mode works nice on vocals and softer sounds. Great for tracking or mix tone shaping, the 560A again comes in at a nice price whilst still delivering some tuneful goods.

580 MIC PREAMP

An essential studio tool, the Mic Pre can really take you from home studio sounds to serious quality detail and gain. No 500 series would be complete without a mic pre and again dbx have dropped

this 500 module into the nice price range. That’s not to say that it’s cheap or nasty – quite the opposite! Fairly versatile in application, it’ll handle vocals, acoustic guitars, drums, piano and almost anything you throw at it. Control wise you have high detail, low detail, low cut, gain and switches for phantom power, polarity and a 20dB pad. Top it off with a VU meter and you’ve got a warm sounding, flexible compact pre. Paired with a nice microphone the 580 will give you definition and warmth retaining quite a natural vibe.

BY NICK BROWN

Ernie Ball Music Man Cutlass Electric Guitar CMC Music Australia | (02) 9905 2511 | www.cmcmusic.com.au | RRP: from $3495

The Ernie Ball Music Man Cutlass has a small body fitted with three single coil pickups. It’s got a thin neck and the trademark Music Man Music Man headstock – a small pointy thing that resembles the head of a chihuahua. There’s not a great deal of bells and whistles as far as the bridge and tuning machines are concerned. But don’t let all these details deceive you: the Cutlass isn’t a delicate little biscuit. It’s no anvil either, but there’s a bulkiness to this guitar, which is reflective of the guts encased within.

THE LOOK

The body is a solid double cutaway, resembling a Fender Mustang but a bit more compact.

The reviewed product had a vintage sunburst finish with a shell pickguard. Akin to a Mustang, the pickguard is rounded at the top and covers much of the right hand side of the body.

THE FEEL

The Cutlass weighs roughly the same amount as a Strat, but

a lot of this weight seems to disappear once strapped over your shoulder. The top corner of the body has an ergonomic fold, giving greater comfort when resting against the torso or the waist. The neck is one of the guitar’s biggest assets.

It’s 41mm at the nut and 56mm by the time you get to the 22nd and final fret. There’s very little resistance all the way along.

Complex jazz chords, intricate lead licks and thrumming power chords all become a breeze

PG.56 // MIXDOWN #266 // JUNE 2016

on this thing. If you desire a bit more resistance – perhaps because you’re heavy fingered, or just like making things difficult for yourself – the bridge saddles can be adjusted.

The guitar will accommodate heavy strings, of course, but to see it at its peak we’d recommend something like 10-46 gauge or 11-48 gauge strings.

Whatever your preference, it facilitates plenty of nimble fretwork.

THE SOUND

The Cutlass comes with three single coil pickups. It’s also fitted with a Silent Circuit mechanism, which is effective in reducing the hum while

preserving the single coil sound.

Some people are apprehensive about these sorts of built-in enhancements, but we’re not goofing around by saying the Silent Circuit doesn’t reduce any of the full bodied single coil sound.

Plugging it into a clean amplifier, the level of sustain is immediately impressive. This is true not just in its versatility – giving you a gutsy bottom-end, fantastic treble distinction and clarity and warmth right across the board – but also in the quality of tone.

Kicking on the distortion pedal, this becomes even more evident.

You’ll get plenty of bang for your buck playing muted percussive riffs, jangly funk, circulating lead melodies, straight-up major chords

– you name it. There’s excellent definition and power, without the sound becoming crowded.

Cutlass is part of Music Man’s Modern Classic collection, harking back to an original design from the 1970s. However, it’s made worthwhile by the updated features and high performance capacity. There’s nothing nostalgic about this guitar.

BY AUGUSTUS WELBY

HITS • Great tone • Solid build • Stays in tune

MISSES • None

www.mixdownmag.com.au

ROAD TESTS

Denon MCX8000 DJ Player Electric Factory | (03) 9474 1000 | www.elfa.com.au | RRP: $1999

Denon have long been associated with Hi-Fi, electronics and digital audio technology. This includes record players, cassette decks and everything else along the way. The advent of PCs, software and digital media for DJing has also seen Denon keep up the pace. With many competitors in the market, the development of the MCX8000 seems like the logical the next step in DJ control.

STAND ALONE

With a huge amount of mixers, software, media players, controllers, samplers and effects, the MCX8000 offers an all-in-one solution for the live or bedroom DJ. Essentially two decks (digital platters), a 4 channel mixer with two mic inputs, onboard effects and control pads, the MCX8000 looks slick and comes in one fairly lightweight yet super sturdy metal unit. Two HD displays give you a clear representation of

your music input and Denon’s own ‘Engine’ software or ‘Serato DJ’ if you’re so inclined. Being a standalone system, the MCX8000 doesn’t need a computer to operate but obviously can interface with computers and outboard gear if required.

I/O

Getting started on the MCX8000 is easy. Outputs for speakers, monitors and headphones, USB connection to a PC (if needed),

two USB inputs for flash drives, Mic input, line inputs for other media sources and you’re away.

Hit the power and you’ll get a colourful bright glow from the console. You can then rock up to a gig that has powered speakers and just plug in or patch into a bigger system without the need for plugging in 37 different leads and devices. Going ahead without the manual, I was able to plug in, load some tracks via USB and instantly get playing. All the

standard cross fades, mixing and cueing is straight up and anyone with a little tech idea will delve much deeper with ease. Sampling, creating loops, sync’ing tracks and using beat grids lets you really get creative, and of course, if you want to connect with Engine or Serato you open yourself up to a whole extra level.

MR DJ

The MCX8000 really is an impressive unit. The displays are clear,

the platters are smooth and responsive, the mixer section is easy to navigate and the pads and effects are all solid. There is so much packed into it that you’d need four articles to scratch the surface (pun intended). A really nifty design that covers both computer based Serato action and manual USB work it’ll satisfy the DJ for hire crowd, work with controller type software DJs and sit nicely as a permanent install in a venue. Seriously good and seriously competitive.

BY NICK BROWN

HITS • All-in-one makes for easy setup • Well laid out • Plenty of features

MISSES • None

Mapex Daisy Cutter Snare it, but also tame it down for more relaxed settings and gigs.

Don’t worry about volume – it’s plenty loud! Good for rock, punk and aggressive music styles, but would also work for country and louder gigs where you need to be heard.

Electric Factory | (03) 9474 1000 | www.elfa.com.au | RRP: $449

With a heap of top level players and endorsees, Mapex has certainly turned itself into a serious mover in the drum market. Covering everything from entry-level kits to top line setups, they certainly put some product support behind their designs and are constantly on the move with new gear. Mapex have just released the ‘Daisy Cutter’ as a hand-hammered steel shell snare with plenty of guts. Let’s check it out.

HAMMERED

Cracking open the box you’re met with a damn cool hammered steel shell with a round ‘Daisy Cutter’ badge. Dark and shiny, it almost looks arty and gives the feeling of something fancy.

The tube styled lugs match the hammered finish superbly for a sophisticated, yet tough look.

These armory lugs also offer something more than just the cosmetic angle according to Mapex, with a greater tuning

accuracy and shell stability.

Coming as a 14” x 6.5”, the Daisy Cutter also features a piston strainer and throw off and 2.3mm power hoops. Overall it’s a classy and tough looking snare that gives the impression it’s gonna handle quite a bit of bashing.

EVERYBODY CUT, EVERYBODY CUT

The Daisy Cutter does have a little weight about it, but definitely wouldn’t be considered heavy. Starting with a mid-rangey type tuning, the DC pumped out a nice solid crack with some slight ring and overtones. There’s quite a bit of volume here, so you don’t have to give it much to get heard.

Cranking up the tuning you can

get into some snappier sounds that could handle rock and funk.

Being a louder sounding snare, it’ll also do lower tuned for the old school vibe but being quite dark it’s not super pronounced (which can be a good thing too).

DC

The Daisy Cutter gives you something more than just your typical Steel 14 x 6.5. It offers you plenty of ring if you want

PRS S2 Standard 22

• On the louder side of the spectrum • Great finish and looks • Fairly wide tuning range

MISSES • Not super versatile

The S2 Standard 22 is an allround player that’s standard, in namesake only. In terms of make PRS have produced a guitar that lives up to their high-end manufacturing badge, yet amazingly, is affordable for all types of guitarists. For all intents and purposes this is a working class guitar fit for a king.

PRS are responsible for populating the dreams of many guitarists.

Their quality of make and purity in tone is held in such high esteem that, for many, the dream of owning one is just that: a dream. Putting an end to this longstanding monetary barrier is the arrival of the S2 Standard 22 – an axe stocked with the same PRS ingenuity, but without the heavy price tag.

STOCK STANDARD

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HITS

IN WORKING ORDER

Electric Factory | (03) 9474 1000 | www.elfa.com.au | RRP: Contact for Pricing

The S2 Standard 22 is smaller than it’s 24-fret counterpart, measuring in at 22 frets with an all mahogany body and a set neck. The rosewood fretboard and trademark PRS headstock and logo are fierce and menacing – it definitely looks the part. The construction is compact and considerably light. The action follows suit, smooth and sleek. Built in the PRS Maryland factory, this guitar

BY NICK BROWN

has been constructed with the same care and attention that we could expect from their higher end Santana Signature or Artist Custom 24. The S2 has a thin neck profile and an asymmetrical bevel cut that make working your way high up the fretboard an effortless feat.

PRS have framed this guitar as “a workhorse guitar for gigging musicians,” which is a fairly accurate description. Quick-fire

chord changes and complex voicings are comfortable to play, while there’s nothing standing in the way of elaborate solos.

#7TH HEAVEN

On board this hard-nosed battle-axe are PRS S2 #7 Treble and S2 #7 Bass, coil-splitting pickups. Controlled by a standard 3-way blade pickup switch and a push/pull tone knob, they are responsible for a rich, full-bodied

tone. Highs resonate and chime, while lows are abundantly warm, and the mids subtly tailored for a resounding roundedness. Power chords and bar chords land with impetus, particularly when being played on the neck, and coated in a hi-gain crunch. The sweetness of the all-mahogany body really shines through when playing on the bridge, producing a full-bodied crimson twang that pairs beautifully with some added treble.

BY CHRIS SCOTT

HITS • Price • PRS quality construction • Versatile coil-splitting pickups

MISSES • Would like a hardcase

MIXDOWN #266 // JUNE 2016 // PG.57

ROAD TESTS Sennheiser MK8 Dual Diaphragm Condenser Microphone Sennheiser Australia | (02) 9910 6700 | www.sennheiser.com.au | RRP: $1069

One thing I love about my work is that I get to use some really great gear well before I often expect to. Not long ago I was looking at the Sennheiser website and reading about the new MK8 microphone and thinking about how popular the MK4 was to begin with. Not six hours later and I happened to have an MK8 sitting on my desk ready and waiting for me to test out. How good is that! Well, I’ll tell you how good it was. For those of you who own or used the popular MK4 microphone from Sennheiser, you will be glad to know that this one is a very good follow up and worthy of a product code that is twice that of the previous offering. Twice the microphone deserves twice the title.

DUAL DIAPHRAGM

What the MK8 brings to the table is a dual-diaphragm design that greatly broadens the range of options and polar patterns of the MK4. With five different patterns available, it works from

omni through to figure-of-eight with various degrees of cardioid shapes in between. Although not an infinitely variable selection, it doesn’t need to be. The MK8 offers users enough variety in polar pattern choices to use it

for any application that would suit a large diaphragm condenser microphone of this sort.

HEARING THE DIFFERENCE

The MK8 delivers a very clear and crisp response and sounds like a microphone of twice its price tag. A two-stage pad is in place for recording high sound pressure levels, although I didn’t

really get to make enough noise to put this to any great use. It will stand up in front of guitar amps with no worries, as up to 20 dB of gain can be reduced at this stage. A high pass filter also allows for the low-end to be rolled off at 100Hz or sharply taken out at 60Hz to further work along with the capsule’s suspension for isolating the microphone form unwanted lowend rumble.

When all is said and done, this is a really nicely assembled microphone that will work in a range of applications. It is designed and built in Germany, being from Sennheiser, so you know it will last. There is never any question to their craftsmanship, that is for sure.

As an all-rounder in any studio, this is a great microphone and

Audio Technica ATH-E40 In-Ear Monitor Headphones Audio-Technica | (02) 9519 0900 | www.audio-technica.com.au | RRP: $169

There has certainly been an increase in the use of wireless inear monitoring on stages just about everywhere in recent years.

Improvements in technology have finally made it a more affordable option and there is little doubt to the improvement of audio quality the performer is offered compared to traditional fold back speaker setups. Enter the Audio-Technica ATH-E40 professional in-ear monitoring headphones, the latest offering from AT that delivers the goods in a number of ways.

FULL RANGE

Something that is often overlooked with in-ear solutions is the actual sound. So much emphasis is placed on look, feel and aesthetic design, that the real purpose is sometimes left to last. Remember, the purpose of this product is to allow you to hear both yourself and the rest of the band clearly on stage. So, what good is it if

the clarity isn’t there to begin with? That is where the ATHE40s start, with a pristine, clear audio reproduction. There is a definite bottom end that allows you to hear the rhythm section in its fullest, when the earbuds are correctly seated and sealed within the ear itself. This is backed by a perfectly precise mid-range and a sparkling high frequency response. At both

low levels and seriously high volumes, these buds deliver what you need to hear. As well as an on-stage option, it is easy to see how these could be an attractive option in a very different realm, as a high end solution to personal music listening from portable devices. After all, just because you are listening to music in your everyday routine, it doesn’t mean you can’t be comfortable and hear with great clarity too.

FINDING YOUR FIT

Included in the package, along with the sturdy, zippered carry pouch is a selection of earbud endings in different sizes to suit each and every ear. Finding the right fit is essential to getting

Audio-Technica ATH-MSR7NC Headphones Technical Audio Group | (02) 9519 0900 | www.audio-technica.com.au | RRP: $549

Thee MSR7NC headphones are Audio-Technica’s new active noise-cancelling variant of their MSR7 set of hi-res over-ear headphones. I’ve never had the opportunity to try headphones with active noise cancelling before – to be honest, the whole idea sounded kind of bogus to me. For those not aware of the marketing spiel, the idea is that the headphones use a microphone embedded in the ear cups to pick-up ambient noise and block it with an audio wave signal that is 180 degrees out of phase with the ambient noise.

To me it sounds like one of those ideas that works in theory but in practice... not so much. wasn’t even consciously aware I HOLY MOLY… IT WORKS was hearing sounds before, but After charging the internal battery all of the low level ambient noise up for a few hours (via the included was suddenly silent. Turning active micro USB cable), I first tried mode off again, it’s like a slap in these while sitting in bed. I didn’t the face. How did I live with all think I’d be able to notice much this noise? The hum of the nearby difference between the active freeway, the sound of my own and passive modes in an already, breathing, neighbours squawking supposedly, silent environment. at their bratty kids, that faint However, the difference was akin sea shell-esque phenomenon of to someone turning off a light – I resonating frequencies rocking

PG.58 // MIXDOWN #266 // JUNE 2016

around in the cups over your ears; I turned it back on straight away.

OH YEAH, THEY MAKE SOUND TOO

Noise cancelling aside, with a frequency response of 5hz40,000hz, these cans cater for the audiophile hi-res crowd, so time

would be a great option for a home studio looking for one condenser microphone that can do it all. Seriously competitive.

BY ROB GEE

HITS • Solid German build • Great range of polar patterns • Smooth low frequency roll-off

MISSES • If only for the sake of nitpicking, a better cradle could be supplied instead of the basic stand mount

tricky. Once they are in, you barely notice they are there.

That said, for a pair of in-ear monitors that goes unnoticed when worn properly, these are a very good contender. They deliver plenty of volume and isolate stage noise quiet well, so all you need is a good fold back engineer to deliver a mix that is worthy of these buds and you are all set.

BY ROB GEE

the fullest of the low frequency response and capturing the isolation that these in-ear monitors can offer. The E40s offer a lengthened adjustable hook to wrap over the ear, but finding the right seating for the buds to begin with is a little

to really get the most from those lossless audio files. Teaming that insane frequency response with noise cancelling makes sense really, without the intrusion of ambient noise, you can truly appreciate the rich tapestry of frequencies in a good quality recording. In my opinion one of the most intensely creative albums ever in terms of sound design is Amon Tobin’s ISAM. I’ve listened to it hundreds of times, but with the FLAC files and silence… it’s truly an experience.

To my ears, the sub bass end of things could maybe do with a slight EQ bump to balance out the wealth of bright frequencies on hand, but really that’s personal preference, otherwise they sound fantastic.

With an incredible battery life of ~30 hours and included airline headphone plug adapter, these cans are clearly aimed at the traveller who values good sound. I wish I had the opportunity to give these a try on a plane, I could imagine

HITS • Lightweight, unobtrusive styling • Excellent sound isolation • Big sound even at low listening levels

MISSES • A little awkward in fitting

myself just wearing them to escape the fatiguing whir of the plane and get some silence. They’re certainly on the pricier side of the headphones market, but these aren’t overpriced trendy plastic poseur cans, you get what you pay for, and sometimes it’s worth the investment. Or as Tom Haverford would say: “treat yo self.”

BY MICHAEL CUSACK

HITS • Active noise cancelling..it works!

• Battery life is bonkers good • Included airline adaptor, case & 2 x cords • Build quality • Balanced sound

MISSES • Fit might be a smidge tight for big heads/ears

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ROAD TESTS

Ormsby SX GTR 1st Run Electric Guitar

with round shoulders (otherwise known as a ‘Thin U’). The frets are stainless steel, and Perry Ormsby replaced the nuts on each of these guitars after they arrived, as part of the QC process. Perry’s paws are all over these guitars; each one was inspected, tweaked and set up to ensure it met his high quality standards before being sent out.

The bridge is custom-made by Hipshot and it feels great and seems extremely hard-wearing. The pickups are a pair of Ormsby-designed humbuckers: a Nunchucker in the bridge and an Old School single coil in the neck position. I reviewed the Lambo Orange (and if you dig hard enough you’ll find video of me playing it on the Ormsby GTR Facebook group), but other colours include Snow White, Seafoam Green, Rally Blue, Interceptor Black and Corsa Red. This is a really fun guitar to play; it’s very well balanced and it never

feels like it’s in your way. The upper fret access is great and you’ll forget you’re playing a multiscale soon enough. Sonically it has a really distinct character; the pickups are clear and punchy and yet there’s also some smoothness there. The pickups aren’t super-hot, so you’ll get lots of detail, which is great for pushing the aggression in high-gain tones and maintaining character and personality in clean tones. It is also extremely well suited for mid-gain tones – the kind where you might want to use the guitar’s volume knob to vary the gain. The humbucker is splittable to a clear, sharp, Tele-like voice, and the neck pickup has a little bit of sweetness to it, which is great on its own or in combination with the bridge pickup.

One thing that really stood out to me: this isn’t just a guitar for shredders or metal players; the comfort, great intonation and excellent note separation make it

a brilliant guitar for cleaner, more chordal styles. And it’s great for blues because the fretboard seems to invite you to really dig in. It’s pretty much a jack-of-all-trades guitar masquerading as one that on first glance might seem geared to a particular style.

course being a custom you can specify all sorts of inlays, and if you’ve seen the stone-inlaid Dragon Ball Z custom build, you’ll Ormsby Guitars | 0410 540 327 | www.ormsbyguitars.com | RRP: Contact for Pricing know Perry can do anything.

The fanned arrangement of the I’ve been lucky enough to play a bunch of Ormsby guitars over the past few multiscale fretboard creates scale lengths for each individual years. One of the coolest community-friendly things about Ormsby is their regular meet-ups (or meat-ups, if there’s food involved like the one I went to string. For example: 25.5”-27.5” a while back), where you can get hands-on experience with as many guitars (6-string), 25.5”-27.8” (7-string) or 25.5”-28.2” (8-string), or you as you can handle. Recently a meet-up was organised for Melbourne and a few dozen guitarists got to try out plenty of custom and production guitars, can select standard scales as well.

The body depth is 45mm thick for as well as check out the Line 6 Helix and Relay G10. flat top and carved top guitars, maple top. Other options include This particular SX Custom is one with a 12mm (1/2”) deep carve, Tasmanian blackwood, swamp that I’ve played on multiple but Ormsby can go as thin as ash or mahogany. Beyond those occasions and it always sticks in 38mm and still house push/pull more standard options, Ormsby my mind because it feels really, electronics. The pickups on this has a great collection of other really alive. There’s a great balance particular guitar are a Nunchucker body woods to choose from. Neck to the SX shape, and the carved humbucker with an Alnico 8 options include maple, Tasmaian top seems to work together with magnet, and an Old School single blackwood or plenty of exotic this sense of balance and the coil with Alnico 2. options. This particular guitar has general ergonomic nature of the This is a really great-sounding a laminated rosewood neck with multiscale design to create a guitar with an organic voice. an ebony fingerboard and jumbo really playable instrument; a real The Alnico 8 magnet gives the stainless steel frets. The inlay symbiosis of guitar and guitarist.

Nunchucker a nice fat voice that is made of aluminium and paua This particular custom has a remains beefy when you split abalone, and it looks great. Of black limba body with a flame to single coil mode, and makes

for a pretty damn special DevinTownsend-on-Terria tone when you use it in combination with the neck pickup. And because the neck pickup is a little closer to the middle compared to a conventional guitar, it’s a little brighter while still retaining some fullness. This gives it great attack for Yngwiestyle runs (and the subtle partial scalloping between the 12th and 21st frets gives off a bit of that vibe too, without being nearly as tricky to adapt to as a full scallop) but you’d be surprised at the quality of ‘strummy’, chordal tones too. At times it almost reminded me of Paul Dempsey of Something For Kate’s ringing, clear chord sounds, which you might not expect coming from a guitar like this. But back to that bridge humbucker setting… there are some really addictive harmonic overtones here, which invite big screaming bends and fat chunky low riffs alike. And if you play a lot of single-note lead stuff you’ll

definitely cut through the mix with that full midrange.

As a custom guitar this is a great example of what Ormsby can do.

If you had your own SX built you could go all out with options, from string count to bridge type to standard or multiscale, exotic woods, even more exotic finishes and way, way more. Keep an eye out for the next Ormsby meet-up in your area so you can try out a few different options and see what works for you.

Ormsby Guitars | 0410 540 327 | www.ormsbyguitars.com 6-String RRP: | 7-String RRP: Contact for Pricing

When word got out that Ormsby was releasing a production instrument (instead of one-offs and exclusive runs like the Hypemachine series), a cry of joy rang out across the entire guitar kingdom. Here was a chance for more players to get their hands on an Ormsby sooner, and a Facebook group even allowed potential customers to help refine the specs. The first run included Hype GTR and SX GTR models; we’ve already looked at a Hype in these pages, so here’s the SX. And just you wait ‘til you see what the second run involved… gives you better intonation and is The SX is a rounder, a little more more ergonomic; the spread of the Strat-like shape compared to the frets feels like it conforms to your Hype, although it’s still undeniably hand rather than the other way Ormsby, with an offset outline that around, and it really doesn’t take feels visually consistent with the more than ten minutes or so to feel fanned-fret design. The scale length comfortable with it. varies from string to string but the The body is made of alder with a six-string is 25.5” to 27.5”, and the laminated rock maple set neck, seven-string is 25.5” to 27.8”. This the dimensions of which are neck gives you a tighter feel on the lower shape: 20.3mm at the first fret, strings and a more conventional 22mm at the 17th, and a D shape one on the highest strings. It also

Ormsby SX Custom ustom Electric Guitar

www.mixdownmag.com.au

BY PETER HODGSON

HITS • Exceptional playability and intonation • Great note separation and clarity • Cool finishes

MISSES • Some players may prefer a noiseless single coil.

BY PETER HODGSON

HITS • Great custom look • Huge, flexible tone • Great playability

MISSES • None

MIXDOWN #266 // JUNE 2016 // PG.59

SHOW & TELL

WE CHAT TO MUSOS ABOUT THEIR MOST TREASURED GEAR

Rob Masterton OF SUPER MAGIC HATS

Anty Horgon OF THE BENNIES

What piece of equipment do you have to show us today?

My Vocaloid – a singing voice synthesizer that uses recordings of fragments extracted from real singing voices and processes these with various filters and dynamics to create synthesised vocals.

How did you come across this particular item?

I was checking out some music shops in Shibuya when I was over in Japan in 2014 and saw that they had Vocaloid set up on a computer. So I asked for a demo and got completely sold on it.

What is it that you like so much about it?

I like the cold, digital sound it can make and the feeling that this can impart to music. I like being able to chop up vocals and affect them to the ninth degree without the feeling that I am stepping on a vocalists toes.

How do you use it, and how has it shaped the way you write music?

It became really central to the sound of

What piece of equipment do you have to show us today?

A Microkorg.

How did you come across this particular item?

I had a really shitty and crappy keyboard that I borrowed/stole off an ex-girlfriend.

I eventually had to give it back… So I was like “I’ll go buy my own keyboard.”

Then when I was at the shop, I discovered synths. The Microkorg was the cheapest and easiest and fun…est.

What is it that you like so much about it?

It’s really accessible but also has limitless potential. It makes me feel like I’m playing a video game through music.

How do you use it, and how has it shaped the way you write music?

It is either a texture thing that gets added to try and add a bit more mood to certain parts. Either that or we find a sound that makes everyone laugh and then we go from there.

my album, because I wanted to push a few more vocal ideas to the forefront with these tracks. For someone who can’t really sing at all, it gives me the ability to use vocals that I create on my own tracks, rather than trying to fit in samples (which can be really fun) or trying to get friends to collaborate (which can also be fun, but tends to lack the immediacy of being able to open a program and go). It’s given me that ability to throw down vocal ideas relatively quickly, and means that I can incorporate this as part of my songwriting process rather than vocals being an afterthought or something that are written and produced separately and then retrofitted.

When’s the next show?

I just finished up a show at The Toff, so now I’m probably going into hibernation.

Any other interesting points/stories about it?

Once in Japan we were playing and after our set, this dude came up gave me two thumbs up then poured a beer all over the Microkorg. It still worked fine the next day, which was amazing!

When’s the next show?

We are just about to play Big Pineable.

We then chill out and get high for about 4 weeks before we head off on a massive Australian tour through the end of June and all of July with Clowns and Axe Girl.

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DUAL FUNCTION POTENTIOMETERS SERVE DIFFERENT FUNCTIONS IN DIFFERENT MODES. PG.60 // MIXDOWN #264 // APRIL 2016

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Proudly distributed by Electric Factory Pty Ltd | 188 Plenty Road Preston VIC 3072 lewittaudio@elfa.com.au | www.elfa.com.au

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DIRECTORY

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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)

(RECORDING STUDIOS)

A | 230 Crown St, Darlinghurst NSW P | (02) 9331 0666 E | bookings@damiengerard.net W | damiengerard.com.au facebook.com/damiengerardstudios

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? CONTACT PATRICK@FURSTMEDIA.COM.AU TO SECURE YOUR PLACE

314DI -AUDIOSTIX®

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PG.62 // MIXDOWN #266 // JUNE 2016

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