Mixdown Magazine 297

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#297 — JANUARY 2019

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BRIN ivea w G SIG ME TH ay!

E HO NED A RI MO SEN VINYZON NH L IN-E EISER AR M IE 4 ONI 0 PRO TOR S

INTERVIEWS — The Dandy Warhols, Switchfoot, Myles Kennedy, Anthrax

REVIEWED — Takamine EF341SC, Carl Martin Atlantic Chorus, Outlaw Effects Cactus Overdrive,

Back to School

Fender Player Series Tele, Cubase 10, Warwick Custom Shop Corvette $$ + many more

SALE

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SALE

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GIGMAKERC40 GUITAR PACK

Recommended by teachers, this full size classical guitar comes with a clip-on digital tuner.

SPIDER V 20, $219 Designed to sound great right out of the box, easy-to-use controls and compact size make it the ideal practice amp for any guitarist. Spider V 30 ($279) and Spider V 60 ($449) also available.

AMPLUG2 $59 Compact headphone amp with killer tones. Available in AC30, Classic Rock, Metal, Bass, Blues, Lead and Clean.

AmPlug2 Cabinet also available, $59.

STAGEPAS 400BT PA WITH BLUETOOTH, $999 400W portable PA system, 8 channel powered mixer, 2 x 8� speakers, Bluetooth audio connectivity. STAGEPAS 600BT also available, $1,399.

GIGMAKER10 ELECTRIC GUITAR PACK

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Includes Yamaha PAC012 guitar, VOX PATHFINDER10 amp, VOX cable, digital tuner, strings, picks, strap and

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string winder. Available in Dark Blue Metallic, Red

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The P-125 is the ideal portable piano for students and performance on stage, featuring 88 weighted keys with graded action, onboard speakers and dedicated audio outputs for connection to a PA system. Optional L-125 wooden stand ($149.99 RRP*) and LP-1 3-pedal unit ($129.99 RRP*) available. Limited stock.

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TERMS AND CONDITIONS. All offers and discounted prices in this catalogue are part of a national sales program conducted by Yamaha Music Australia Pty Ltd and are valid only between 1 January 2019 and 31 March 2019 at participating Yamaha dealers which can be found at livingmusicyamaha.com.au. Not all products listed in this catalogue are available at all Yamaha dealers. While stocks last. The prices as set out or referred to in this catalogue apply for the duration of the program and may be sold at this price or lower. The Yamaha dealer participating in this promotion may not have sold these products in the past and where it has sold these products it may have sold them at more or less than the advertised price. The Yamaha dealer participating in this promotion may not have sold these products in the past and where it has sold these products it may have sold them at less than RRP. Errors and omissions excepted. Only stands, stools and accessories outlined in the product description are included. Participating dealers may charge freight. Lifestyle images are for illustration purposes only. iPhone, iPod, are trademarks of Apple Inc., registered in the U.S. and other countries. iPad is a trademark of Apple Inc. App Store is a service mark of Apple Inc. *These are recommended retail prices (RRP) only and there is no obligation for Yamaha dealers to comply with this recommendation. Errors and omissions excepted.

CONTENTS 08 10 11 12 16 18 19 20 22 24 25 26 27 28 40 42

Giveaways Industry News Music News Product News Cover Story: Bring Me The Horizon The Dandy Warhols Switchfoot Myles Kennedy Anthrax Mixdown’s Best of 2018 Abbey Road Institute Musicology Electronic Music Production Guitar Bass Percussion Product Reviews Directory Show & Tell

/MIXDOWNMAGAZINE @MIXDOWNMAGAZINE @MIXDOWNMAGAZINE MIXDOWNMAG.COM.AU

For breaking news, new content and more giveaways visit our website.

The Dandy Warhols PG.18

Bring Me The Horizon

Switchfoot

PG. 16

PG. 18

Foreword We find ourselves again at the start of a new year, both looking back at the year we’ve had and looking forward to all the fun ahead. This month, we’re doing a bit of both. Bring Me The Horizon grace our cover in support of their huge new album Amo and pending return to our shores in April.

Our review section features some of our favourite products from 2018 and we also took a look back at our favourite albums of the year. Thanks for reading!

NICHOLAS SIMONSEN - EDITOR

PUBLISHER Furst Media Mycelium Studios Factory 1/10-12 Moreland Road East Brunswick VIC 3057 (03) 9428 3600

ONLINE EDITOR Jessica Over jess@furstmedia.com.au

MANAGING DIRECTOR Patrick Carr patrick@furstmedia.com.au

GRAPHIC DESIGNER Erica May

EDITOR Nicholas Simonsen nicholas@furstmedia.com.au

EDITORIAL ASSISTANTS Will Brewster, Josh Martin

CONTRIBUTORS Rob Gee, Christie Elizer, Nick Brown, David James Young, Adrian Violi, Michael Cusack, Augustus Welby, Luke Shields, Alex Watts, Jessica Over,

Aaron Streatfeild, James Di Fabrizio, Adam Norris, Will Brewster, Eddy Lim, Lewis Noke-Edwards, Josh Martin, Taylor Douglas, Matt Doria

VINYLREVIVAL.COM.AU

MADE BY MUSICIANS, FOR MUSICIANS

STREET: WEDNESDAY FEBRUARY 13 AD BOOKING: MONDAY FEBRUARY 4 EDITORIAL: TUESDAY FEBRUARY 5 ARTWORK: WEDNESDAY FEBRUARY 6 For more information on Mixdown Magazine contact us at: (03) 9428 3600 or email nicholas@furstmedia.com.au

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info@vinylrevival.com.au 405 Brunswick St, FITZROY. ph 03.9419.5070 128 Sydney Rd, BRUNSWICK. ph 03.9448.8635

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nt y: ra W (3 ith + E 2 ye xte ar nd s) ed * W ar

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GIVEAWAYS

Last Month’s Giveaway Winners

Bring Me The Horizon Signed Amo Vinyl Giveaway

Ron Avant Masterclass Ticket Giveaway

Bring Me The Horizon are back with new record Amo, the sixth studio album released by the metalcore heavyweights. If you’re a huge BMTH looking to add a priceless piece of memorabilia to your collection, you’re in luck because we’ve teamed up with our friends at Sony Music Australia to give away a signed vinyl of Amo absolutely free.

Abbey Road Institute in Melbourne and Studios 301 in Sydney are set to host three-time Grammy Award nominee Ron Avant (Anderson .Paak & The Free Nationals, Fergie) for two exclusive, three-hour workshops this month. Thanks to our friends at Amber Technology, we had a ticket to give away for each masterclass absolutely free and the winners are: Des from Sydney, NSW and Daniel from Melbourne, VIC. Congratulations!

sE Electronics V3 Microphone Giveaway The sE Electronics V3 Cardioid Dynamic Microphone is a true workhorse, offering supreme sound and a road-ready design at an affordable price, all without compromising on quality. Thanks to our friends at Sound & Music, we had one of these incredible microphones to give away and the winner is:

Sennheiser IE 40 PRO In-Ear Monitors Giveaway Finding the ideal stage in-ears isn’t always an easy task, but the Sennheiser IE 40 PRO in-ear monitors are one of the most advanced options yet. This dynamic design is the entry-level model in the esteemed company’s new range of professional in-ear monitors. Thanks to our friends at Sennheiser Australia, we’re giving away a pair this month.

Lea from Brisbane, QLD. Congratulations!

For your chance to win any of these prizes, head to our giveaways page at mixdownmag.com.au/giveaway and follow the instructions. *These giveaways are for Australian residents only and one entry per person. For full terms and conditions visit mixdownmag.com.au/terms-and-conditions

CONCERT SOUND TO GO. Introducing Shure Wireless Sound Isolating™ Earphones. Shure Sound Quality meets Bluetooth® Wireless Freedom.

RMCE-BT1

SE112

SE215 (Black)

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Bluetooth® is a registered trademark owned by the Bluetooth® SIG, Inc. and is used by Shure under license

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INDUSTRY NEWS Fender Boss on Why More Females are Picking Up Guitar Last October, studies showed that females now make up 50 percent of beginner guitar players in the UK and US. There are no studies in Australia, but it’s safe to assume the figure is high here as well, inspired by the likes of Missy Higgins and Courtney Barnett.

Fender CEO Andy Mooney said the trend began with Taylor Swift, and that “a temporary trend has now emerged to be something far more long-lasting.”

“Women’s interest in the guitar has sustained and has actually grown,” Mooney told NME. “A lot of those women who first picked up the acoustic guitar and mastered it then went, ‘OK, now I want an electric guitar’. The first couple of years I was here, the acoustic guitar was growing quicker, but now it’s flipped.” He said that the ‘intimidation factor’ of women in male-dominated guitar shops had decreased, with more females buying and learning the instrument online. In SE Asia, the trend is generated by K-Pop and J-Pop. “When you listen to bands like Scandal, they’re not unaccomplished musicians and they’re playing a really broad range of genres to a really high standard.”

Music Business Gets Ready For NSW Elections…

The live music sector has started to target the NSW government in the run up to the state elections in March. On December 15, 100 days before the election, twenty venues and bars across the state turned off their music at midnight to symbolically make a point about the lockout laws and how they’ve killed off 176 venues since they came into effect in January 2014. The unplugging of amps was coordinated by Keep Sydney Open, which is contesting as a political party.

David Abram, owner of Freda’s in Chippendale, said, “It’s more than just about music. We also stage art exhibitions, spoken word nights, talks and markets.

Venues provide an essential service to many Sydney communities and need to be valued higher than they currently are.” Darlinghurst Business Partnership chair, Stephan Gyory, added, “We have seen a massive decline in economic and job growth in Darlinghurst and surrounding suburbs, which can be directly correlated to the lockout laws and anti-competitive policies of the NSW government.”

…While NSW Labor Comes To The Party NSW Labor has thrown its support behind the 60+ recommendations made by the Music & Arts Economy in New South Wales parliamentary report last November. This included initiatives such as more grants for overseas touring, setting up a Music Development Office, and conducting a live music venue census every two years. The party promised, “We will create a home for the music industry, creating a music development hub that includes the Music Development Office, contemporary music organisations and businesses, rehearsal and performance space, community radio, writing and recording studios and a youth venue.” The noise complaints and planning processes will be simplified.

Australia in Spotlight at The Great Escape The Great Escape conference and showcase in England has a reputation for unearthing the best emerging acts from around the world. Every A&R, manager, promoter and booking agent high tails it there to get

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some signatures on dotted lines. Helped by export music body Sounds Australia, the likes of Courtney Barnett, Dean Lewis, DZ Deathrays, SAFIA, Gordi, Julia Jacklin, Methyl Ethel, Confidence Man, Middle Kids, Stella Donnelly, REMI, Skegss, and Amyl and the Sniffers used the conference as their global launching pad.

This May (9-11), the event has made Australia the spotlight country, due to a ten-year relationship with Sounds Australia.

As a result the acts chosen to play this year will get some major publicity and showcase opportunities. They are Allysha Joy, Body Type, Cable Ties, Emerson Snowe, JEFFE, Pagan, Psychedelic Porn Crumpets, Sons of the East, Tropical Fuck Storm and Skyned.

Learn to Play With Carlos Santana The legendary Carlos Santana turns professor, offering online guitar lessons through MasterClass, sharing his best tips and anecdotes throughout his 53-year career. He said, “My intentions, motives, and purpose with this online class are to help ignite a new wave of creative spirit around the world and inspire you to create music and carry yourself on and off stage the same way we try to navigate life – with passion and joy.

“In the class, you will learn about the influences, as well as the musical and spiritual moments in my life that have shaped my playing, songs, and heart throughout my career.” The program costs US$180 a year, is available on mobile or desktop, and includes 13 lessons with exclusive access to videos and materials.

First Roady4Roadies Set For March Roady4Roadies is an inaugural familyfriendly event to raise awareness and funds to help road crews and musicians in crisis.

It will be staged nationally in Sydney, Melbourne, Brisbane and Perth on Sunday March 10 and in Adelaide on Sunday March 24. Roady4Roadies is open to the public and industry alike, with 100 percent of all profits going to Support Act. The day begins with a leisurely 4-5km walk to a designated entertainment space where major bands will perform (we’ve seen the as-yet-unreleased list, and we mean major). There’ll also be roadie-type Olympics competitions such as the Cable Comp, Stage Manager Sprint, Lighting Crew Limbo and Sound Crew Shimmy, where the public can see first hand

the hard work the motley crews get involved in to ensure the show goes smoothly.

Second Malcom Young Tribute

APRA AMCOS Appoints 13 New Female Ambassadors

Following the first Malcolm Young Tribute raising $15,000 for the Dementia Foundation, a second is scheduled for Saturday February 2 at the Corner Hotel in Melbourne. The event will ensure the Foundation’s ‘Spark of Life’ can research better lifestyle options for people suffering from the disease. Those playing include present and past members of Rose Tattoo, Screaming Jets, The Angels, The Poor, The Choirboys, Electric Mary, James Reyne’s band, John Farnham’s band and Whole Lotta Rosie among many others.

APRA AMCOS appointed 13 new female ambassadors to help represent the organisation’s music creators. Their roles will be to promote the importance of music creators’ rights and APRA AMCOS’ role in administering those rights to all levels of government, the media and the wider community. As part of its commitment to gender parity, APRA AMCOS focused this year on inviting more women from different backgrounds, geographic regions, professions, and musical genres to be ambassadors.

The new 13 are Ainslie Wills, All Our Exes Live In Texas (Georgia Mooney, Hannah Crofts, Elana Stone, Katie Wighton), Alex Hosking, Anna Laverty, Jen Cloher, Juanita Stein, Justine Clarke, NGAIIRE, VASSY and Wafia.

2018 Lookback #1: 5 Seconds of Summer According to Spotify, Sydney band 5 Seconds of Summer were streamed over one billion times in 2018 – the equivalent to 5,847 years of summer.

2018 Lookback #2: Ed Sheeran Ed Sheeran set a new record for his Divide world tour. It generated US$423 million, a new achievement for a calendar year. This is according to figures from Pollstar. The report also showed that Sheeran’s four shows at Marvel Stadium in Melbourne were the third highest grossing for the year globally, generating A$26.7 million after shifting 256,622 tickets, and his three shows at ANZ Stadium in Sydney were the sixth largest, earning $19.9 million and attracting 231,185 patrons.

The Pollstar report saw that Aussie promoters, festivals and venues fared well in their respective categories. Frontier Touring ranked number seven with 2.26 million tickets, Bluesfest Byron Bay was the eighth best performing festival in the world with 101,729 ticket sales grossing A$12.9 million, and Melbourne’s Marvel Stadium claimed number ten of the Outdoor Stadiums category with 365,460 tickets sold.

Australian Music Prize Longlist The 21 judges from across the music and media industries donned headphones and ploughed through hundreds of entries for the most creative Australian album of 2018.

They decided on 86 for the longlist, with the shortlist announced in the next few weeks and the $30,000 AMP winner revealed in March.

Among the 86 are Courtney Barnett, Amy Shark, Kasey Chambers & The Fireside Disciples, Gurrumul, King Gizzard & The Lizard Wizard, Dead Can Dance, DZ Deathrays, East Brunswick All Girls Choir, Abbe May, Alice Ivy, Catherine Britt & The Cold Cold Hearts, Barney McAll feat.

Monash Art Ensemble, Camp Cope, Cash Savage and the Last Drinks, Confidence Man, Cosmo’s Midnight, Deaf Wish, Emily Wurramara, Emma Louise, Evelyn Ida Morris, Flowertruck, Fraser A Gorman, Gabriella Cohen, The Goon Sax, High Tension, Hockey Dad, Jack Ladder & The Dreamlanders, Jack River, Jonathan Zwartz and Joseph Tawadros.

Bank of Melbourne to Open Doors Bank of Melbourne has provided funding for a creative residency program to help emerging artists break into the industry.

The year-long residency is worth $30,000 and includes rent at the Collingwood Arts Precinct, a $10,000 Bank of Melbourne bank account, mentoring from industry leaders, and the opportunity to collaborate with tenants at CAP, which include PBS 106.7FM and new contemporary music hub the Music Market.

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MUSIC NEWS

Greta Van Fleet Prepare For Debut Australian Tour

John Mayer is Bringing His World Tour to Australia

Leon Bridges Hits the Road for East Coast Tour

Greta Van Fleet are preparing to hit the road for a whirlwind Australian tour, which has been met with enormous demand.

The band’s rapidly growing fanbase snapped up tickets to shows in Melbourne, Sydney and Brisbane, resulting in the addition of two extra dates. It’s been a busy time for GVF, whose debut album Anthem of the Peaceful Army continues to make headlines around the globe. Tickets are on sale now via Live Nation.

John Mayer is set to return to Australia early next year to kick off his world tour in style. Following an opening show in New Zealand, Mayer will travel to Melbourne, Sydney and Brisbane throughout March in what will be his first Australian tour since 2014. The tour news arrives off the back of Mayer’s most recent release, 2017’s The Search For Everything. For tour dates and tickets, visit livenation.com. au.

Leon Bridges is setting off on an east coast tour off the back of his acclaimed sophomore record, Good Thing. Bridges will take his deft mix of baroque soul and neo-R&B to Melbourne, Sydney and Brisbane this month for his fourth trip to Australia in two years, and will be joined on the road

by US singer-songwriter Noah Kahan. It all kicks off on in Melbourne on Monday January 14. Tickets are available via Ticketmaster.

Soundtrack Your Summer at Melbourne Zoo Twilights

Mumford & Sons to Embark on National Headline Tour

Progfest Returns for Tenth Anniversary Celebrations

Melbourne Zoo is pulling out all the stops for this year’s Zoo Twilights lineup, bringing together The Internet, Marlon Williams, Client Liaison, and Daryl Braithwaite for the summer series. Elsewhere, expect to hear unforgettable sets from Briggs, Archie Roach, Alice Sky, Rufus Wainwright, Mojo Juju, Sampa The Great, REMI and more on the pristine lawns of Melbourne Zoo over each weekend from Friday January 25 through to Saturday March 9.

UK indie folk quartet Mumford & Sons will soon grace Australian shores with a massive tour around the nation.

Kicking things off in Brisbane just a few weeks into the new year, the band will take their live show on the road with further stops in Sydney, Melbourne, Adelaide and Perth. The comprehensive run of Australian shows is part of a 60-date world tour in support of new album Delta.

Progfest is back for 2019 and has recruited some of the finest names in music for an unmissable prog celebration.

The Ocean, Monuments, Skyharbor, Circles, Chaos Divine and City of Souls are just some of the names you can expect to see at the 2019 one-day prog extravaganza. In celebration of its tenth anniversary, the festival will take over Melbourne, Sydney and Brisbane this January. Tickets are available via Wild Thing Presents.

Sennheiser Opens First Flagship Australian Store in Sydney

Catch Slash Feat. Myles Kennedy & The Conspirators on Tour

Brace Yourselves: UNIFY Gathering 2019 is Almost Here

Sennheiser have unveiled their brand new flagship store in Sydney’s CBD. Located at 5 Martin Place in the heart of the city, the regal heritage-listed building is the perfect venue to showcase the full extent of Sennheiser’s remarkable portfolio. The new Sennheiser store will provide customers the opportunity to test and purchase a wide range of consumer, gaming, business and professional audio products, with an expert team of Sennheiser staff on hand to offer advice.

Slash is getting ready to hit the road for an Australian tour with long-time collaborators Myles Kennedy & The Conspirators later this month. Returning to our shores in support of fourth solo album Living the Dream, Slash will treat fans to an unforgettable live music experience in Melbourne, Sydney, Brisbane and Perth. Catch Slash feat.

Myles Kennedy & The Conspirators from Monday January 28 to Friday February 1 around the nation.

UNIFY is set for a triumphant return in 2019, with a huge lineup led by industry heavyweights Underoath, Taking Back Sunday, and Karnivool. Elsewhere on the international front, expect to see the likes of Crossfaith, Dream State and State Champs, while Australia will be represented by Ocean Grove, Dream On Dreamer, Clowns and more. It all goes down from Friday January 11 to Sunday January 13 at UNIFY’s new home of Tarwin Lower, South Gippsland in Victoria.

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PRODUCT NEWS Radial KL-8 Keyboard Mixer Arriving Next Month AMBER TECHNOLOGY | AMBERTECH.COM.AU Earlier in the year, Radial Engineering announced the KL-8, a rackmount keyboard mixing station designed to provide complete control over a professional keyboard setup. The KL-8 can connect up to four keyboards in mono or stereo, with level controls, aux sends, and LED indicators for each. A stereo aux send/receive is available to feed rackmount reverbs and delays and effects pedals. You can expect to see the KL-8 in stores from next month.

Phil X Wows Audiences in Melbourne and Sydney

Markbass Shipping Michael League Signature Range

AMBER TECHNOLOGY | AMBERTECH.COM.AU

CMC MUSIC | CMCMUSIC.COM.AU

During Bon Jovi’s recent Australian tour, lead guitarist and Framus guitar artist Phil X performed at two exclusive clinics, one in Melbourne and one in Sydney. During these clinics, Phil X played a number of songs from his career, talked about some of the techniques he uses, relayed many stories of life on the road with Bon Jovi and spoke of his relationship with Framus guitars. His signature Framus guitars are available now.

Markbass artist and Snarky Puppy bassist/band leader Michael League has partnered with Marco De Virgiliis and the Markbass team to develop a signature amp with classic tone and impeccable sonic integrity. The Markbass CASA uses cutting edge technology to deliver vintage design. League’s signature range includes the 500W head as well as a 4x10 cabinet and an 8x10 cabinet. You can expect to see these in retail stores very soon.

Faith Guitars and Patrick James Eggle Continue to Garner High Honours CMC MUSIC | CMCMUSIC.COM.AU Faith Guitars have continued their winning style by being awarded second place in the Music Radar/Total Guitar Magazine ‘Best New Acoustic Guitar 2018’ awards. In a category containing nine guitars from leading acoustic brands, the Faith PJE Legacy Mars picked up second place, coming second to the winning guitar with a price tag of nearly $10,000 – over four times that of the Legacy Mars.

Faith is no newcomer to victory when it comes to the popularity of Patrick James Eggle’s designs.

RockBoard PatchWorks Cable System Arriving Soon AMBER TECHNOLOGY| AMBERTECH.COM.AU

FL Studio 20.1 Available Now INNOVATIVE MUSIC | INNOVATIVEMUSIC.COM.AU Image Line Software have announced a major update to their market leading DAW range FL Studio. FL Studio 20.1 contains many new features and improvements gathered from the extensive user base. Exciting workflow options include: grouping instrument channels, playlist tracks, and mixer tracks. FL Studio 20.1 is available now across all editions, Fruity, Producer and Signature Bundle.

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The RockBoard PatchWorks Solderless Patch Cable System features the first genuine twodirectional two-piece solderless plug design on the market designed and developed in Germany. The patented easy-to-use design is ideal for saving pedalboard real estate and can be changed from straight to angled simply by turning one part by 90 degrees.

Using professional-grade, high-quality cable and connectors with gold-plated tips, the RockBoard PatchWorks give you everything you desire for your hi-fi pedalboard.

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IE 400 PRO IE 500 PRO

More me.

Dynamic drivers reinvented.

To meet the most exacting monitoring requirements, we have reinvented the dynamic driver system. The TrueResponse transducer technology generates a natural sound with full phase linearity and without crossover effects. A distortion factor of just 0.08 % finally guarantees distortion-free reproduction, even at extreme sound pressure levels. The IE 400 PRO comes with noticeably more punch, while the IE 500 PRO offers phenomenal resolution for even more detail. Together, they represent a new standard in terms of sound, comfort and fit – whether on the stage or working on the next mix. sennheiser.com/moreme

PRODUCT NEWS

Fender Announces American Performer Series FENDER MUSIC AUSTRALIA | FENDER.COM.AU Fender has announced its latest stroke of genius, introducing nine new guitars and basses as part of the American Performer series. The series boasts a selection of affordable instruments designed to offer a host of improvements while retaining the premium quality associated with the Fender name.

The Stratocaster, Telecaster, Jazzmaster, Mustang, Precision Bass, Jazz Bass and Mustang Bass all feature in the new range. Expect to see these in stores in early 2019.

Aston Microphones Reveals Brand New Stealth Microphone

Ampeg Now Available in Australia Through Yamaha Music

Outlaw Effects Announces Nomad Rechargeable Pedalboard

LINK AUDIO | LINKAUDIO.COM.AU

YAMAHA MUSIC AUSTRALIA | AU.YAMAHA.COM

PRO MUSIC AUSTRALIA | PROMUSICAUSTRALIA.COM.AU

The Aston Stealth is a revolutionary broadcast quality microphone for studio and stage, with four switchable voices delivering unparalleled performance in almost any situation. The Stealth is the world’s first microphone with an auto detect function, which senses 48V phantom power and automatically switches the mic to active mode. A built-in, high quality, Class A Mic Preamp dispenses with the need for an external gain lifting device in active mode.

World-leading bass amplification brand Ampeg is now available in Australia via Yamaha Music Australia. Having announced their distribution partnership earlier in the year, stock has now landed and is in stores throughout the country. The iconic Ampeg brand and product lineup is a complementary fit with YMA’s existing suite of products and brands, broadening its offer of solutions for guitar and bass players.

The Outlaw Effects Nomad S128 Rechargeable Pedalboard offers the convenience of a fully powered board plus the noise-free advantage of not having to plug into an AC power outlet. It’s the ultimate in convenience and versatility. It’s ideal for playing on stages with limited outlet availability, quick changeovers, playing outdoors or busking while using a battery powered amp. You can expect to see these in stores in early 2019.

Yamaha Announces Australian Distribution of EarthQuaker Devices YAMAHA MUSIC AUSTRALIA | AU.YAMAHA.COM Yamaha Music Australia has officially teamed up with Ohio pedal experts EarthQuaker Devices for an exclusive national distribution deal. The change will be effective as of Tuesday January 1, 2019, making it a happy new year for guitarists around the country.

EarthQuaker Devices is constantly expanding its esteemed collection of effects pedals, releasing standout units like the Black Ash Endangered Fuzz, Pyramids Stereo Flanger and Westwood Overdrive in 2018.

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MusicNomad Tech Tools Are Available Now PRO MUSIC AUSTRALIA | PROMUSICAUSTRALIA.COM.AU If you’re a guitarist looking for a one-stop shop when it comes to setting up or repairing your guitar, MusicNomad have you covered with their Octopus Tech Tools. Coming in both an 8-in-1 and 17-in-1 model, the Octopus is designed to provide everything you could need to service your guitar without the need for multiple tools. These handy tools are available now.

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BRING ME THE HORIZON REDEFINE THEIR CORE Love them or hate them, you can’t deny that Bring Me The Horizon have carved out an extraordinary empire. Each new album has rebelled against the rules established by its predecessor, the band constantly in a state of flux, leaping from one scene-stealing sonic revamp to the next. Peaking with 2015’s That’s The Spirit, the South Yorkshire five-piece had effectively capped a decade in transition from basementthrashing deathcore hellions to chart-dominating poprock luminaries.

But alas, the primetime radio play and sold-out arenas have grown stale for Oli Sykes and co. Album number six, Amo, shows them pick apart the quirky pop ideals That’s The Spirit introduced us to, with hints of gnashing bass music and booming hip-hop, ultra-textural production and lashings of mosh-ready guitars scaffolding a record that is at once their most palatable and polarising. If their 2015 effort was Bring Me The Horizon dipping their toes into a new beach’s sand and testing the warmth of its waters, Amo has them charging headfirst toward a tsunami wave.

“I think it’s an album that we couldn’t have made until this point,” says Sykes. “When we did Sempiternal, that felt like our first step into really pushing ourselves sonically and doing a lot of new stuff with our sound. That’s The Spirit felt like the album we needed to make to be able to go from that point to what we really wanted to do, and I think this album is what we really wanted to do. No disrespect to That’s The Spirit, because I love that album and I’m really proud of it, but when we made it, the goal was very different.”

As tends to be the case with any band once they’ve had a taste of fame, Sykes explains that the touring cycle for Sempiternal – pegged by headlining slots at prestigious festivals and venues that made their fans look like ants from the stage – made Bring Me The Horizon eager to push the envelope.

“Around that time, people were talking about our band a lot more,” he says. “We were playing bigger shows, and there was a little bit of buzz around our band that we’d never had before. Until that point, nobody had ever talked about us being the ‘next big thing’ or anything like that. And I think… Not that it went to our heads, but you know, it made us hungry for that spotlight. We’d always been the underdogs, or whatever, and we’d never had that amount of attention before. And at least for me, anyway, I wanted to be like, ‘Yeah, let’s show them that we’re up to the challenge.’

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“WE WANT TO BE THE BAND THAT GETS PEOPLE INTO ROCK MUSIC, BUT WE DON’T WANT TO BE AN ELITIST BAND EITHER.” “So when we wrote That’s The Spirit, we just kind of set out to write 11 bangers – 11 songs that could all be singles in their own right. And it worked to a degree, but there’s songs on that album that we never play live, and I don’t think they’ll ever be someone’s favourite Bring Me The Horizon songs because they’re all competing to be the top singles, rather than have their own unique qualities. So going into this album, we were like, ‘We’re not going to do that again.’

Obviously we like to write those big, arena kind of songs, and songs that can be played on the radio. We’ve made no secret about the fact that we want to be the band that gets people into rock music, but we don’t want to be an elitist band either.”

The end result is a record that comfortably appeals to their newfound hordes of teen pop devotees (see ‘Nihilist Blues’, a buoyant, retro-tinged synthpop gem with Top 40 sheen), but also isn’t afraid to flip the script and slap its listener with a sonic 180 (as found in ‘Heavy Metal’, a crunchy, grime-laden snarler aimed at Instagram haters, pairing beatboxed sections with wall-rattling guitars).

“We like writing music for the mainstream,” says Sykes. “It’s a fun challenge for us,

but at the same time, I don’t even listen to the radio. I don’t like most pop music of today anyway, so I think with this album, we wanted to have those songs that anybody can pick up and get into, but also have this reason to do exactly what we want without any compromise. If we want a song to go on for six minutes, or work with all these new sounds and artists, or do things that we’ve never done before and might weird people out, then we’re going to do it.”

At their core, Bring Me The Horizon have always been at the curve of heavy music’s evolutions. When they burst on the scene with Count Your Blessings in 2006, deathcore bands were venerable royalty amongst the slew of nu-metal try-hards. 2008’s Suicide Season ushered in a new wave of grungy, synth-accentuated metalcore, and when Sempiternal landed in 2013, atmospheric bangers with ungodly amounts of phaser effects were suddenly all the rage. Amo merely continues the trend, with a smarter, more exuberant Sykes at the helm.

“For us and this album, it’s more than just showing people that heavy music doesn’t need to be this weird, scary world that you think it is – it can blow your head off, but it can also make you think. It doesn’t have to alienate you. There’s still so many different ways to express yourself, and we’re just trying to find those different ways of doing it that suits us. Because I think as rock music gets smaller as a genre, more than ever, people are diversifying their tastes. A lot of people don’t like that standard sort of rock music because it’s not really saying much or it doesn’t stand out so much, so I think people are looking for something with a bit more passion and a bit more heart.

“That’s why we felt like we could make an album like this, because people have much more open minds when it comes to music now.

They don’t want to be segregated or limited to just one subgenre.”

BY MATT DORIA

Amo is out Friday January 25 via Sony.

Bring Me The Horizon are touring Australia in April 2019.

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DIESEL SIGNATURE STRATOCASTER® LIMITED EDITION

"This guitar rings a lot of bells for me — visually and sonically speaking it's where it all started"

MUSIC INTERVIEWS This way, each Dandies recording is the product of a dialect between the grandiose, creative Taylor-Taylor present at midnight, and the introspective and critical Taylor-Taylor who emerges into the sober light of the following morning.

“You know what a great day is?” says Taylor-Taylor. “To get into the studio at 11am, bone-sober, and get some work done… We get all the taskmaster work done, and then in the evening, we’re gonna go out to a nice restaurant, we’re gonna throw some money at old European wine and we’re gonna smoke a fucking huge amount of pot before we walk into that restaurant. So, by the end, you’re pretty highed up and you’re in a different place. You have a two-hour dinner, and you walk back to the studio, be it rain or shine, and you get back in, highed-up, and you check your work.

The Art of The Dandy Warhols The Dandy Warhols started recording in 1998 and haven’t stopped since, sectioning off their output into albums that have delighted or annoyed critics in equal measure. Recording at the Odditorium, a cavernous Portland rehearsal/party space modeled on the factory of the original Warhol, frontman Courtney Taylor-Taylor has found a way to harness his songwriting to the ebb and flow of parties and hangovers.

“Now that you’re in this elated emotional space – and wine has a kind of wistful thing to it, too, to the drug itself – and you check your work, you’re like, ‘Look at this. This is fucking Dorksville. Get this done, do that. No way, that snare is not even obnoxious enough.’ And you start making cooler decisions as you’ve changed your own perspective on the work you’ve done. And then people start coming over. You’re like, ‘Oh, God. Get that distortion off. God, it’s embarrassing.’

With that social pressure, you’ll get rid of some really dumb stuff that you don’t notice if you’re just three dudes in a studio all day together.”

Taylor-Taylor, who has often burlesqued the behaviour of a rock star diva, grew as an equally picturesque version of the square – a well behaved kid who attended church and earned Boy Scout merit badges in the Portland suburb of Beaverton.

His avenue into rock ‘n’ roll was the four-track cassette recorder with which he conducted his first experiments in mixing.

“If you’re a mixer, if you’re a producer, this record is worth buying a $1,000 pair of headphones for,” says Taylor-Taylor.

“It is so fucked up. If you’re not a pot smoker, it’s worth smoking pot this once, just to listen to this record. It is a studio head dazzler.”

The latest project created in Taylor-Taylor’s quest to unify work and play is the Old Portland, a low-profile wine bar that pairs French and Italian reds with a soundtrack of Chet Baker and Serge Gainsbourg – natural selections for a proprietor who believes in the spiritual qualities of wine. The Dandy Warhols frontman is only moderately interested in fame – to be 50 percent more famous might be nice, he says, but to be twice as famous would mean an exponential increase in the number of managers and legal advisors, as well as sycophants and hangers on, all of them taking time away from exploring and experimenting with sound.

“The fame is the bummer,” says Taylor-Taylor. “The money is the fun. The money equals more free time, because that’s ultimately what you want. The stuff doesn’t matter. It’s the free time and doing shit you want to do that is the best thing you can achieve. The fame takes the fun out of being rich – that’s the fucked-up part.”

“For me, the recording process is everything,” says TaylorTaylor. “When you’re mixing down a record, it’s about structure versus character. You have to have things smacking and pumping in the correct way, but if everything’s pumping correctly, it has no character. It’s too professional, at that point.”

BY ZACHARY SNOWDON SMITH

“We kept the shows to a minimum, and we didn’t tour at all – which is highly unusual in this band. I mean, we’ve been touring for 15 years, that’s a long time to be doing anything. I think it was the right time for the five of us to just press pause for a second there. Instead, we pushed play on our family lives. It was something that we needed to do.”

The end result is certainly right up OneRepublic’s alley – a polished, sharply-conducted and pristine pop album, the likes of which Switchfoot has never really focused an entire record’s worth of songs on. It does, however, present a curious prospect – three of the five members of Switchfoot play guitar, and there’s barely a riff or lick to be heard among Native Tongue’s tracklist. When asked if he was at all concerned with being sidelined in the same way as, say, Maroon 5 or Imagine Dragons’ guitar players, Shirley expounds on the idea of being a team player.

Out of this well-deserved time off came Native Tongue, the band’s 11th studio album, which is set for release this month. Written in the band’s hometown of San Diego, the record is a radical reinvention of Switchfoot’s established sound. According to Shirley, this was contextually a greater response to the question of how to keep a band like theirs relevant to not only their listeners, but themselves. “This band’s been going a long time,” he says. “It’s outlived the shelf-life of your average rock band by a mile.

Reinvigorating Switchfoot

“When we found ourselves back in the studio after some time off, it was a different kind of vibe. We felt reinvigorated. It was exciting, but it was also kind of terrifying – like, have we made too many albums? Will anyone care if we make another one? Will this mean anything? We decided to shake things up. We knew if we were going to keep going, it had to be something different.” It was with this in mind that Shirley and co. opened up a dialogue with pop-rock band OneRepublic.

Switchfoot are working right up to Christmas.

When guitarist Drew Shirley takes Mixdown’s call, he and his bandmates are holed up in their rehearsal space making sure they’re ready to go once they hit the road in 2019 for the foreseeable future. They’re intending the New Year to be an equal and opposite reaction to the one just past – in which they did, for all intents and purposes, nothing at all. “We used most of the year to take a hiatus from Switchfoot stuff,” Shirley explains.

You probably remember their 2000s chart-buster with Timbaland, ‘Apologize,’ but you might not be aware that frontman Ryan Tedder is also a sought-after songwriter for the likes of Beyonce, Kelly Clarkson and Shawn Mendes. If anyone was going to know how to give Switchfoot a big pop edge, it was surely these guys. “We started sending tracks over almost as soon as they said yes,” Shirley recalls.

“We wanted to know how they would have done them. This wasn’t so we’d have something nice to tell people about, or so we’d be cool by association. We consider those guys our peers – they’ve been out here making records almost as long as we have. We wanted an outside perspective to see how it would challenge us as a band.”

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Why You So Crazy, the band’s forthcoming tenth studio album, is a prolonged experiment in recording technique.

Tracks like ‘To The Church’ cast the listener adrift in a sea of low-frequency synthesised warbling, while the sleek single ‘Be Alright’ is immediately reminiscent of Dandies’ earliest recordings. The album is unified by a sparing use of trebly instrumentation, with rock mainstays like the hi-hat appearing briefly, if at all.

Why You So Crazy is out via Cooking Vinyl Australia Friday January 25.

“I get why it might be cause for concern,” he says. “To me, as far as Switchfoot is concerned, the song itself is king. The five of us are never playing for ourselves – we’re playing for the song. If it sounds good with guitar, we chase that. If it sounds good without guitar, that’s okay too. That’s how we’ve worked for a while. Take a record like [ninth album, 2014’s] Fading West, for instance. A lot of songs on that record were intentionally written without guitars in mind, and even if they were added we tried not to double-track it and layer it on. That particular card of a wall of guitars has been played a lot by us in the past – it got old. Native Tongue is about something new.”

BY DAVID JAMES YOUNG

Native Tongue is out Friday January 18 via Fantasy Records/Caroline Australia.

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MUSIC INTERVIEWS After years of playing music at high volumes, Kennedy was left with tinnitus, a constant ringing in the ears that he likens to the whining of an old television set. Many tinnitus sufferers are vulnerable to anxiety and depression, and Kennedy is no different. But he has finally made peace with the intrusive ringing, and has used new volume-monitoring technology to avoid further hearing loss.

“I don’t want to say that I like it, but it’s been there for so long that it doesn’t really bother me,” says Kennedy. “I can still hear it now, but I’m really lucky… I had my ears checked out a few years ago – they just wanted to see how things were going – and the technician commented that, for how long I’d been doing it, my hearing was actually pretty good.

That made me smile.

“Had I come down with tinnitus 30 years ago, when we didn’t have the opportunity to use in-ear monitors and we had to rely purely on the wedges and stage volume, I would have been screwed.”

Myles Kennedy Keeps the Dream Alive Many successful rock artists struggle with substance addiction and the caprices of fame.

For Myles Kennedy, the music that earned him a spot next to Guns N’ Roses icon Slash also plunged him into a struggle that has proven more subtle, but no less challenging.

Touring with Slash, Kennedy’s band goes by “the Conspirators,” though perhaps “the Collaborators” would be more apt. Kennedy has contributed to all of Slash’s solo records and has helped Slash form a musical identity separate from Guns N’ Roses.

“There are people who know Slash from the ‘Sweet Child O’ Mine’ riff or ‘Welcome to the Jungle’, and there was certainly much more of that initially, when we started touring,” says Kennedy. “But now, we’re seeing signs that the newer music is resonating with people as well… It’s kind of like that saying from Field of Dreams: ‘If you build it, they will come.’

If you put in the time to the body of work, you’ll develop a fan base… And if you play your cards right and harness that collaborative effort, you can create some real magic.”

“When you have a certain amount of time in between the writing process and the recording process, it helps you gain a new perspective, almost like the first time you hear a song,” says Kennedy. “When we reconvened, it came together real quickly.”

The Living the Dream tour will incorporate classic Slash tunes, but the setlist will be weighted heavily in favour of material from the last decade.

“If you want some ferocious guitar playing, come to the show for sure. We’ve been a band now for coming up on a decade, and we love making music together. Hopefully, listeners can hear that vibe we have when we get together to make music.”

BY ZACHARY SNOWDON SMITH

“It seems like a fairly simple question to answer but it seems like the answer has many levels to it,” says Benante. “I feel like we’ve come from a strange time in the band’s career.

I think we’ve had a second chance to actually look on the outside in, and I think it gave us a perspective.

It’s a sign of the modern era, one in which there’s been such a change in the social makeup of the world today that unfortunately, money rules all and technology dominates. As much as people love the internet these days and praise its place in music, Benante feels it has damaged basic emotions.

He may laugh at the severity of the word “damaged”, but Benante’s sentiment rings true. “It’s damaged people, it’s damaged businesses, it’s damaged full-on, globally, so much,” he says.

“It’s not just resting on your past, your history,” he says.

“Yes, at the end of the day, a majority of people who are coming to see you are coming to see you because of your past, which is fine, of course it is. I can’t ignore the legacy, but it’s also important for us to be up there playing something fresh, interesting.”

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Most of Living the Dream was written around 2015, says Kennedy. As the group separated to work on other projects – Kennedy with Alter Bridge and Slash with Guns N’ Roses – they gained a new perspective that let them flesh out the album’s themes and work out kinks in problematic tracks like ‘Read Between the Lines’.

Slash, featuring Myles Kennedy and the Conspirators, will tour Australia from Monday January 28.

Living The Dream is out now via Snakepit/Sony Music Australia.

It’s important to Benante that Anthrax continue with new music that doesn’t exist just for the sake of it. It’s one thing to maintain a legacy, but another altogether to build upon it.

It’s been quite the year for metal monoliths Anthrax, what with the reissue of State of Euphoria, time on the road with their good friends Slayer as the latter say farewell for good, not to mention the 37-year career they’re celebrating before they head to Australia for Download Festival in March.

Still going strong into 2019, Anthrax drummer Charlie Benante takes his time to reflect on the secret to their longevity.

Slash, Kennedy and the Conspirators will bring their new album, Living the Dream, to Australia this February. What sets Living the Dream apart from the group’s prior collaborative release, 2014’s World on Fire, is that Dream was given more time to develop.

Kennedy was not a born collaborator; in his early 20s, he wrote and recorded mainly as a lone wolf. He found the value of collaboration both through songwriting with friends and working as a music instructor.

“Just speaking for myself, I pushed myself to the limit of, ‘I don’t want to make records anymore that are just okay.’ I want to make a record that from start to finish is the best music we can possibly make.”

Anthrax Retain Their Euphoria

“One of the best opportunities I had as a young musician was trying to convey that knowledge I had to somebody else,” he says. “It really helps you crystallise your approach and [learn] how to make music your own. It makes a big difference. In a lot of ways, teaching made me a better guitar player more so than going to school for guitar.”

Benante believes it’s a positive thing that younger fans come to the band’s meet and greets clutching the newer materials.

“I feel nowadays kids are so torn between playing shit on their phone that there are so many more outlets now…

When we were kids, it was a totally different playing field.”

There are two sides to how Benante feels about whether Anthrax had it easier in their early days than kids in music today. On one hand, the drummer admits that yes, it was easier, but it’s also harder, reflecting on the camaraderie of getting in a van and hitting the road with your friends, making music and bonding. “I think a lot of bands nowadays just don’t have that experience anymore, and I think it’s important for the longevity of the band that you do get in a bus and you live with each other and bond as a band.

“We found out early on when we did that who was going to last in the band and who wasn’t. I don’t know if people are making music because they want to make music. I think they’re doing it because they want to be famous.”

“I think it’s a terrible thing that while something could have been great, it really ended up being more of a negative, I think. People are going to read this and be like, ‘What the fuck is he talking about? The internet has helped so much.’ I’m saying with all the good it’s done, it’s also done a lot of bad.”

At the suggestion that the onslaught of the internet might be a contributing factor as to why Anthrax’s good friends Slayer, another of the Big Four, are calling it a day, Benante pauses before laughing. “I guess they’ve had enough,” he says.

“I haven’t thought about stopping. I think at some point we’ll have to call it a day, but Slayer’s not calling it a day because of any health issue or lack of ticket sales. I just think someone has reached a point where they don’t want to do it anymore and a decision was made.”

Anthrax seem to be operating in quite the opposite mindset to Slayer – it’s like an unquenchable thirst for Benante and co. to keep going, no matter the odds. “I would say I still enjoy this life that I’ve been so lucky to have,” says Benante. “Creating music is my favourite thing bar none.

That’s when I feel most alive.”

BY ANNA ROSE Anthrax will perform at Download Festival in March as well as performances in Adelaide and Brisbane alongside Slayer and Behemoth.

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FEATURES

MIXDOWN’S

BEST ALBUMS OF 2018

With 2018 drawing to a close, the Mixdown team decided to look back on the best releases from a monumental year in music. Our writers took the time to narrow down their top five albums of the year, and after much deliberation, we’ve ended up with one seriously impressive playlist to farewell 2018.

NICHOLAS SIMONSEN

JESSICA OVER

TOM PARKER

WILL BREWSTER

Rolo Tomassi

Rolling Blackouts Coastal Fever

Parquet Courts

Jon Hopkins

Time Will Die And Love Will Bury It

Hope Downs

Wide Awake!

Singularity

There’s something special about listening to a record that is instantly and inexplicably associated with a setting. In that vein, Hope Downs is the epitome of an Australian summer. The instrumental offerings and vocals portray just the right kind of easygoing vibe, and the ensuing effect is a record that plays like a summer’s day from start to finish. Talk about a strong debut.

Parquet Courts’ latest effort Wide Awake! is outrageous. Never has punk felt so oozy and effervescent. Never has punk felt so rhythmically fluffy. Never has punk felt so good, period. From top to bottom, the embellishments of producing wunderkind Danger Mouse confound. It feels like a disco without the schmaltzy ball gravitating above your head. It’s just so damn good.

Coheed And Cambria The Unheavenly Creatures Thrice Palms Silent Planet When The End Began Justin Courtney Pierre In The Drink

Arctic Monkeys Tranquility Base Hotel & Casino DMA’s For Now Khruangbin Con Todo El Mundo Beach House 7

Constant Mongrel Living In Excellence Rolling Blackouts Coastal Fever Hope Downs Emma Russack & Lachlan Denton When It Ends DJ Koze Knock Knock

I never would have expected Singularity to wedge itself in my head as hard as it did, but hey, there’s nothing like a good surprise, is there? The syncopated rhythms of ‘Neon Drum Circle’ and the pulsating, jittery chord progression of ‘Emerald Rush’ and ‘COSM’ are marvels in their own right, but nothing comes close to the production of the futuretechno belter ‘Everything Connected’ – ten minutes of pure electronic bliss? Yes please.

JOSH MARTIN

EDDY LIM

DAVID JAMES YOUNG

LEWIS NOKE EDWARDS

Earl Sweatshirt

Boygenius

The Presets

Watain

Some Rap Songs

boygenius

Hi Viz

Trident Wolf Eclipse

Twenty-four-year-old MC Thebe Neruda Kgositsile, better known as Earl Sweatshirt, suffered the hardest year of his life in 2018. His grief-warped psyche shot lightning through his 2018 comeback Some Rap Songs, but it wasn’t confessional in the traditional sense. The 15-song, 24-minute avant-jazz-hop odyssey has no edges, offering a frameless window into Sweatshirt’s subconscious. This record is defiantly apolitical and one of the decade’s best personal statements.

Remember how Marvel claimed Avengers: Infinity War was the most ambitious crossover event ever? Boygenius, a supergroup comprised of three indie powerhouses – Phoebe Bridgers, Julien Baker and Lucy Dacus – begs to differ.

With cascades of spine-tingling harmonies and varied instrumentation, their EP conceals a delicate microcosm of indierock encapsulated in just six tracks. While painfully short, the record’s length belies its range of depth, acuity and ingenuity.

Forget what they say about old dogs and new tricks; on their fourth album, The Presets radically and boldly reinvented themselves for a 2018 audience. Ten years on from their breakthrough album, Apocalypso, the duo are still finding innovative ways to take on Australian dance music – from the sweater underground nightclubs to the open-air festivals and back again.

Watain are an enigma in the fact that they’re a full-time touring band that somehow remains inherently underground and accepted by their peers. Black metal is notoriously exclusive, but Watain’s Trident Wolf Eclipse balances raw energy with monstrous production, with wellwritten songs that have become the band’s trademark.

Janelle Monae Dirty Computer Mitski Be The Cowboy MGMT Little Dark Age Yves Tumor Safe in the Hands of Love

Noname Room 25 Hop Along Bark Your Head Off, Dog Khruangbin Con Todo El Mundo Haley Heynderickx I Need To Start A Garden

This one completely floored me. It’s this wonderfully chaotic, vulnerable, frenetic and ethereal musical journey that has to be listened from start to finish every time.

Whilst I have enjoyed previous Rolo Tomassi records, this was the one that showed me just how good of a band they truly are. It’s just so damn perfect.

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Pianos Become the Teeth Wait for Love Mitski Be the Cowboy Courtney Barnett Tell Me How You Really Feel Deafheaven Ordinary Corrupt Human Love

Pusha T DAYTONA Kali Uchis Isolation Mac Miller Swimming SABA CARE FOR ME

Architects Holy Hell Hate Eternal Upon Desolate Sands James Bay Electric Light Tribulation Down Below

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PAGE HEADER

10 QUESTIONS TO ASK BEFORE STUDYING AUDIO Knowing how to get your foot in the door of the audio industry as a producer or sound engineer isn’t always easy. For most, the path of choice is to undertake further study to learn and refine the skills necessary to succeed in the world of audio. But how do you know where to begin? We caught up with Gianni Michelini, COO of Abbey Road Institute Australia, to find out which questions to ask before choosing somewhere to study.

1 . WHEN DO I GET ACCESS TO THE EQUIPMENT? Many institutions will make you wait several months into your qualification until you get access to the higher quality equipment.

If you’re not on the gear in the first month, I’d be questioning how you’ll develop the skills necessary to thrive in such a competitive industry.

2. HOW MUCH DO I GET TO USE THE GEAR? Mastery comes from practice, and practice comes from actually pushing the faders, setting up the microphones, and producing music. Theory forms the spine, but practice forms the hands to create great music. Each theoretical component should be married with a practical element if you’re interested in making a future working in the industry.

3. WHAT KIND OF MUSIC DO I GET TO WORK ON? When you’re developing a career in the audio industry, you’ve got to focus on a diverse range of music, as well as developing your own material. An institution should show you lecturers with a range of different musical backgrounds, and encourage you to work on your own portfolio of music.

4. WHAT EQUIPMENT WILL I NEED TO STUDY HERE? While having your own system can speed up your workflow, the combination of after-hours access and a computer stocked with all the software you need will facilitate your course and the development of your own work, without you having to spend a cent. You might want to look at a hard drive to backup all your hard work.

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AN INSTITUTION SHOULD BE LOOKING OUT FOR YOU WITH MENTORSHIP AND JOB OPPORTUNITIES, EVEN AFTER YOU GRADUATE. 5. WHAT KIND OF PLUG-INS DO YOU HAVE? Because of the rise of digital technology in the audio industry, it is just as important for a school to have a great plug-in collection as it is to have a great analogue collection. While all the big analogue consoles are nice, learning how to use plug-ins and hardware that actually exist in the industry is paramount.

6. WHAT ARE YOUR COURSE’S MAJOR FOCUS POINTS? A course can be deep or wide. A deep course focuses on specific skills, preparing you for one specific job. A wide course covers a range of potential applications of the skills being developed. Because of the changing jobs in the audio industry, the field you start the course in may not be the one you end up in, so it is important to be across multiple fields.

7. TAFE OR HIGHER EDUCATION? While a Bachelor’s degree offers a complete theoretical background to your industry of choice, a Diploma or Advanced Diploma can offer a hands-on, technical approach to your interests. If you’re looking into the depths of theoretical concepts and academic pedagogy, think Bachelor. If you’re looking to get onto the gear and develop the technical know-how to run a successful business, look at the Diploma course.

8. WHAT HAPPENS WHEN I GRADUATE? If your institution of choice doesn’t allow you any alumni access or access to current hosted masterclasses with the industry professionals they have coming in after you’ve graduated, run. An institution should be looking out for you with mentorship and job opportunities, even after you graduate.

9. HOW MANY STUDENTS ARE IN EACH CLASS? Gone are the days where a hundred students sit and take notes in a lecture theatre. In learning the secrets, a master-apprentice approach should be taken, where students work to develop a portfolio or body of work they are actually interested in. With too many students, lecturers will not be able to connect with the interests of any particular student. Small class sizes allow you to develop together, challenging and working with each other to further your skills and education.

10. HOW IMPORTANT IS A ‘PIECE OF PAPER’/QUALIFICATION IN GETTING A JOB IN THE INDUSTRY? While a Bachelor’s degree is technically a higher qualification, this is only relevant within academic circles. In audio, proficiency, competence and speed are crucial to success.

To pursue your dream career in the audio industry, build your skills at Melbourne’s Abbey Road Institute. Find out more at their Open Day on Saturday January 19 or visit abbeyroadinstitute.com.au.

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ADVICE COLUMNS

MUSICOLOGY:

THE HISTORY OF NO WAVE Difficult to define as a musical genre, ‘no wave’ was more about what it wasn’t than what it was. Born out of the underground art scene of New York City in the mid1970s, no wave was more about breaking the rules and pushing things out further than they had been before than any shared musical description. The bands involved seemed to be saying no to what had come before, including conventional song forms, arrangements, and melodies.

It was a true attempt at making art rock, while shifting the focus from melody, rhythm and blues towards noise, dissonance and texture.

The music created was supposed to be a break in many ways from punk’s origins in 1950s rock ’n’ roll, while still maintaining the spirit of punk.

If anything, the music of bands such as Suicide, Mars and Teenage Jesus & The Jerks can be seen as a purposeful deconstruction of rock ’n’ roll, reducing guitar and vocal sounds down to a basic noise, with a decidedly anticommercial attitude and European avant-garde leanings. Musically, inspiration came from The Velvet Underground, John Cale, Metal Machine Music, free jazz, Ornette Coleman, Sun Ra, Yoko Ono and Suicide themselves who, having formed in 1970, predated the rest of the no wave bands by

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several years. “If you have to find out who the godfather of no wave was, it was Alan Vega,” said Glenn Branca in Marc Masters’ book No Wave.

“No wave artists made art that was about boredom,” wrote Masters. “That dared to bore people, and that attacked people for being bored, jolting them out of complacency to confront the fact that convention was sedation. In the process, they insisted boredom could be interesting.”

The name itself came about when Brian Eno, who was in town to produce the second Talking Heads album, organised an album to be made featuring a collection of bands that he had witnessed performing there in 1978 to showcase a style of punk that was decidedly different to what the UK artist was used to in England. The record was titled No New York, a name taken from a song by James Chance & the Contortions that was subsequently distilled to ‘no wave’ and adapted for use in the scene of which it was spotlighting. It should be pointed out that the title has also been attributed to Lydia Lunch who, when asked in an interview if her music was new wave, reportedly responded, “More like no wave.”

“I think the aims and methods of each band were quite unique,” said Bad Seeds drummer Jim Sclavunos in No Wave, who was himself a former member of four different no wave bands. “However, one common aspect to all the bands was their auditory roughness: harsh, strident instrumentation, dissonance and atonality to some degree. All of the bands had somewhat alienating stage presentations. Audiences were subjected to random outbursts of violence or cool obliviousness or disdainful hostility, sometimes all of the above.”

Teenage Jesus & The Jerks chose to challenge expectations by refusing to move around onstage or incite the audience in any way. In fact, it has been said that frontperson Lydia Lunch kicked James Chance out of the band for being too entertaining, a decision which may have influenced the confrontationally physical style of his shows with subsequent band James Chance and the Contortions.

subsequent bands such as Sonic Youth, Swans, Einstürzende Neubauten and The Fall. The nihilistic and impressionistic attitude of no wave also influenced several notable visual artists, including Keith Haring, Jean-Michel Basquiat and Jim Jarmusch.

In recent years, Sonic Youth’s Kim Gordon has become one of the most vocal celebrators of no wave’s legacy, in particular with her experimental noise duo Body/Head, whose 2016 album No Waves references the genre.

“When I came to New York, I’d go and see bands downtown playing no wave music,” said Gordon in a 2013 interview in Elle.

“It was expressionistic and it was also nihilistic. Punk rock was tongue-incheek, saying, ‘Yeah, we’re destroying rock.’ No wave music is more like, ‘No, we’re really destroying rock.’ It was very dissonant. I just felt like, ‘Wow, this is really free. I could do that.’”

BY ALEX WATTS

By the early 1980s the bands, filmmakers and painters that had associated themselves with the no wave movement had largely moved on, though their influence can be easily traced through the noise rock of

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ELECTRONIC MUSIC PRODUCTION

Basic Chord Structure for Music Theory Beginners It’s 2019 and there are still no hover boards, but hey, at least we can make wicked music on devices that fit in our pockets. I’ll chalk that up as a win. Unfortunately, with that ease of access comes a lack of basic musical knowledge that traditional instrument learners tend to have a much firmer grasp on. Arguing whether or not that knowledge is absolutely necessary is a wormhole I’m not going to touch with an 88-key piano. However, one aspect that is actually quite helpful and fairly easy to learn and remember – even without any prior knowledge of music theory – is some basic structures of chords.

Major Chords Major chords are the bread and butter – the cheesy, happy-sounding starting point. They consist of three notes. The root note can be any key (including the black sharp keys) and is the lowest note in the chord. It’s also what your chord will be called i.e. C Major Figure A. To find the other two keys you need to press, you literally just count up four keys, and then another three keys. So root note + four + three. Easy as.

Minor Chords These chords are a bit moodier, but they’re only one note difference from a major chord; you just move your middle note down one back toward the root note. The formula is root note + three + four. See an F Minor chord in Figure B. Add a 7th In music theory mumbo jumbo, major and minor chords consist of a major or minor 3rd

and a 5th. That might seem confusing – and it kind of is – but it’s just what number note they are in a major or minor scale. But I won’t go into that; we’re talking strictly chord structures here.

Moving on to 7th chords. These are used in a lot of electronic music, particularly deep-house music, because they can have a really nice depth and complexity to them, without being too discordant and weird.

That complexity comes from simply adding a fourth note to your major or minor chord.

To make a major 7th chord, the formula becomes: root note + four + three + four. A minor 7th is root note + three + four + three (see our F minor 7th in Figure C). Notice a nice little pattern here? Well, I’m about to bugger it up. Here’s another one to play with: it’s called a Dominant 7th and it goes root note + four + three + three.

From here, the chord world is your oyster.

Yes, things get more complex with augmented this and diminished that, but

Figure A

Figure B

Figure C

you can accomplish an awful lot with what I’ve outlined above and by simply experimenting with arrangements and extra notes. Enjoy yourselves, fellow clueless piano roll warriors. I know I’ve likely just caused a rage-induced coma to a music nerd out there. Sorry (not really).

BY MICHAEL CUSACK

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ADVICE COLUMNS GUITAR

BASS GUITAR

Harmonic Minors

More Range

We spent some time with Mixolydian recently and applied it to Dominant 7th chords. Often these are the V chord in a song (the E7 in a 12 Bar Blues in A, for example) but are also used in a number of other ways including static jams (just jamming on a single Dominant 7th chord). Furthermore, you might see a consecutive progression of Dom 7th chords (E7 – G7 – Bb7) and then treat them all individually rather than as all belonging to a key. Mixolydian can be thought of as the fifth mode of the major scale or as a major scale with a flattened seventh. Like everything in music, there are a million other possibilities, outcomes and permutations. Let’s look at some options for playing over the V chord in minor keys.

Creating a line or part is a combination of notes and rhythm firstly. One often overlooked (or perhaps underutilised) aspect, however, is where the part is played. This can be true for many instruments, but I feel that it is especially prudent for bass players. Here are some possible scenarios.

Guitar and piano are playing thick voicings in the lower registers for both the pre-chorus and the chorus, but using long sparse rhythms. Perhaps you could play something slightly busier such as Figure A.

Figure A gets us started with a C Minor Blues progression.

C Minor pentatonic (C-Eb-F-G-Bb) will be a common choice for many when improvising over this. Another option is C (natural) Minor, which is played C-D-Eb-F-G-Ab-Bb. Give them both a whirl and see what you come up with. Let your ears tell you if there are notes that work better than others (which, of course, is totally subjective).

Rhythm-wise this might be fine as it creates momentum with the driving quavers, but perhaps it’s too muddy with guitar, piano and bass all hanging around the lower registers.

Moving the pre-chorus up an octave (Figure B) lets the line stand out a little without getting lost in the low end. This then adds emphasis to the chorus being played in the lower range of the instrument.

Digging into the theory behind this progression gives us some more information. Cm is played C-Eb-G, Fm uses F-Ab-C and G7 equals G-B-D-F. If we sort through those notes, do they all fit into the C Minor Pentatonic of C Natural Minor? You’ll notice that the B note in the G7 isn’t in either of those scales.

It might be worth playing a B natural and B flat note at the same time and have a listen. It can be rather clashy (especially in the context of the C Minor Blues and G7); however, you could also play over the progression and possibly not hit a Bb over the G7 too.

If you want to add some spice to your playing and want to hit some more chord tones, try playing C Harmonic Minor (C-D-Eb-F-G-Ab-B) over the G7 chord. C Harmonic Minor contains all the notes of G7 (G-B-D-F) so you can outline the chord, but also has the b9 (Ab) and the #5 (D#/Eb). These notes add some great additional colour to your sound.

Another situation might involve guitar and bass playing a unison riff up high for the verse before dropping down the octave for the chorus (Figure C). This could be played in a rock, metal or punk style at a medium tempo.

Try playing C Harmonic Minor over the G7 as a starting point (just as crotchets or quavers, ascending and descending) to get the sound into your head. Once you’re feeling comfortable, you can then start making phrases and playing the intervals, note choices and rhythms.

Figure B has three example licks to play over the G7 in the last bar of the C Minor Blues.

These outline some (or all) of the G7 chord and emphasise the B natural from C Harmonic Minor as well as the aforementioned Ab and D#/Eb. Try playing C Minor Pentatonic and C Natural Minor over the Cm and Fm chords, but use C Harmonic Minor over G7. You’ll hopefully start creating some cool sounds and licks pretty quickly.

BY NICK BROWN

BY NICK BROWN

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PERCUSSION

Christmas Cheer I was recently asked to play a great little Christmas Carols gig for a large community shire. Basically, it was one set, full backline and production, charts provided, good pay and with a well-known artist. There’d be one rehearsal and there was even parking close to the stage. It sounded like a great gig, but it’s funny how things work out. This isn’t a complete train wreck story, but more one of complete frustration for, well, me. Let me explain.

I got all the charts and the reference tracks for the gig on Dropbox. I had a little look and a listen, and it was all pretty sweet. Standard Christmas cheer, with some classic big band arrangements thrown in and even the old Mariah Carey for good measure. The band set to play the gig was killer and everything looked solid for rehearsal.

either look crap for being late or sound crap with other cymbals. Unfortunately, the studio only had some cracked cymbals left over as all the others were hired out. I graciously thanked the studio and accepted the cymbals, with the understanding that they’ll sound like, well, arse basically, while I rehearsed with a well-known artist. Fantastic.

I was teaching on the rehearsal day and nicked home quickly after work to grab my kit and park the car. I threw my laptop in the house and was chatting to my wife as I systematically placed the drums in the car. As many of you would know, you do it instinctively. I bid my family goodbye and took off knowing I’d be on time, as I hate being late – or worse, rushed. Approximately ten minutes from my destination, I was suddenly hit with the horrendous feeling that I’d forgotten something. It dawned on me – my cymbals. Crap. A bloody jazz set with no ride cymbal.

Thankfully, there was minimal speak of the cymbals at rehearsal and I felt that I was on top of the charts once more and had upheld my dignity overall. Fast forward to the gig itself and things got interesting again. I couldn’t make the daytime sound check due to a prior commitment and was informed I’d have a ten-minute changeover time. The stage manager approached me and said I could take my time and I’d be the last person they’d check with before we got under way. Nice.

Thinking quick, I rang the rehearsal studio to see if I could borrow some cymbals because heading home and back would have resulted in me being very late, so the choice was to

Cut to the actual changeover and by the time the other drummer took his cymbals off and I got behind the drums, I had about five minutes to get cymbals up, adjust drums and get comfortable. The stage manager told me to take my time, and proceeded to stand at the Perspex barrier around the drums like

a kid looking through a pet store window signalling, “Are you ready yet?” Rushed much?

I’m sure many drummers have been in this situation and it’s nothing new, but from this point on, things got worse. The bass drum pedal felt terrible, as did the hi-hat pedal. The drums were horrendously out of tune and of course, there was no time to make adjustments as the gig was under way. Sweating and anxious, I grabbed my brushes at the very last minute before the MD counted off the first tune. From the word go, it felt average – both kit and feel. Maybe it was the fact that I was behind a giant plastic screen, but there were some sound issues and tempo issues as a result. I’m not 100 percent sure the whole band could hear each other because it felt like everyone was struggling and the tempo never settled. All of these issues really affected my state of mind and the “easy” reading charts induced some silly mistakes amid lapses in concentration.

Overall, it wasn’t the greatest experience, as you can probably ascertain from my ranting.

Ho, ho, ho.

Well, it happens sometimes. Everyone has good and bad gig experiences. This time, the odds were stacked against me. But what could I have done differently? Some things were out of my control but firstly, being a little more organised and remembering my cymbals would have been one thing. More than that, knowing the charts backwards would have provided me a comfortable safety blanket to then combat the other things that were out of my control such as the drum kit, sound etc.

I shouldn’t have assumed I’d be comfortable enough to read the charts and feel the gig.

It couldn’t have been more the opposite of this. In hindsight, a better warm up and some water would have been beneficial. Coffee doesn’t always fix everything.

They say a tradesman shouldn’t blame his tools, but it was certainly a factor this time.

I should have been more on top of everything else, coupled with actually taking my time getting set up, and I might have had a better experience. Food for thought.

BY ADRIAN VIOLI

So, what to make of all this?

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PRODUCT REVIEWS POSITIVE GRID

BIAS MINI Bass and Guitar Head LINK AUDIO | LINKAUDIO.COM.AU | EXPECT TO PAY: $999

One of the most exquisite experiences known to humankind is the process of having an item of clothing tailored to fit your body.

Often subconsciously we express so much of ourselves with the choices we make in our dress before venturing out into the wild each morning. Some people take more pride in their appearance than others that’s for sure, and if the old adage ‘clothes maketh the man’ is anything to go by, those of us who do take that care have a distinct head start over those who lackadaisically slap on any old garb. All ‘what side does sir dress on’ jokes aside, when you don a vestment that fits you and you alone and the fabric and colour suit your mood exactly, you feel it in your soul. You walk taller, address situations more confidently, and you take things in stride that would usually get under your skin. Interestingly enough, this peacock instinct rings just as true in the gear world.

From the colour and wear of the finish of your favourite vintage Strat to the height of your stack, there are more variations on the theme of musical self expression than in most other facets of existence.

The digital age has brought about a number of products that play gleefully into the hands of this concept. Modeling amps and floorboard units abound, each promising unmitigated combinations and permutations, allowing you to dial in the entirety of sonic history at the click of a drop down box. Positive Grid was one of the first companies to bring this hive-mind mentality to the fingertips of smartphone and tablet users the world over in their BIAS Amp line of apps, which have now expanded to include Mac and PC users in their stable.

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They subsequently entered the world of hardware a few years ago with the BIAS Head. I had the pleasure of reviewing one as one of my first forays into the modeling world and was struck dumb by the limitless possibilities the physical product afforded me even before plunging into the software.

As such, I had a reasonable idea of what I was in for when faced with these two new miniaturised versions I see before me.

Before I get to the amps themselves, I have to make mention of the electronic brain of the enterprise, the software. This is, after all, where the vast majority of the tone shaping comes to life. Positive Grid’s software allows you to choose from hundreds of different amp models just as they appear in the real world, anything from the giants of the industry like ‘70s Plexis, British Class A Tube circuits, searing solid-state shredders and a plethora of others. Starting with those blueprints, you can swiftly and easily change out power transformers, pre and power tubes and their age and era of manufacture, capacitors that warm over time, tonal filtering and just about every possible thing there is to tweak about an amp. The cabinet well is just as deep. Speaker cone types and combinations, cabinet thicknesses, mic placement and even the parameters of the simulated room said cab is in are all up for grabs and ready to take with you wherever you’re playing. Whether you’re a guitar or bass player there are literally millions of different combinations on the menu even before you download the impulse responses designed by world-renowned artists and tone chasers. My head is spinning just thinking about it.

While it all sounds a lot, when you pour all of that infinite possibility into something as compact and lightweight as either of these heads, the whole thing becomes strangely easy and familiar. Both the bass and guitar MINI heads come loaded with 16 factory presets that start the smoke clearing as soon as you plug in. From glassy Princeton clean tones to bluesy break up to abject sonic destruction, there is enough in tow from the get-go to simply set up and start playing. At this point, possibility turns to functionality and renders either or both units a perfect choice for those of us looking to downsize a touring rig, especially when you realise just how much of the 300 watts of output power you’re ever going to need. Once you have designed your own Tonehenge in the app and assigned it a destination onboard, you can zero in on the specifics of the room with the staggeringly simple three-band EQ, input gain and master volume. This is where I genuinely preferred the MINI heads to their predecessor as this achingly simple final touchstone streamlines proceedings for those instances when there is just too much else going on. In sound check, this amount of distillation would prove a handy way to hone in without getting lost in the milieu and without proving to be little more than limitation. In many cases, this is where a lot of modeling units fall down. Any and all of them are, or at least should be, designed with the heady, anxiety inducing arena of live performance at the fore. The last thing anybody wants to do is spend a whole sound check reading a user manual or scouring the FAQs for answers when the drummer is pilfering the rider. Positive Grid has done

well to balance unmitigated possibility with on-the-fly functionality. This, combined with the surprisingly lightweight yet next to bulletproof all-metal housing, makes the MINI heads a particularly road-ready variation on the theme.

We all want to leave as distinct and individual a mark on the world as we can.

For many of us, looking to music as a chief means of personal expression is a direct reaction to this innate desire. While the digital age has opened up can after can of worms and the burden of choice weighs heavy on those who dare to wander down that rabbit hole, it is incredibly encouraging to know that companies like Positive Grid keep a watchful eye on real world application in designing their units. Both the guitar and bass versions of the BIAS MINI heads are two of the most user-friendly modelers I’ve come across, guiding you through the process of fully tailoring your sound to suit your every waking need.

BY LUKE SHIELDS

HITS ∙∙ Limitlessness, simplicity, power and portability MISSES ∙∙ None

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TAKAMINE GUITARS

EF341SC Acoustic Guitar PRO MUSIC AUSTRALIA PROMUSICAUSTRALIA.COM.AU EXPECT TO PAY: $2099 Black and white is a colour scheme so often associated with very regal and dignified things, the likes of tuxedos, grand pianos and the New Zealand rugby team (respect).

Upon opening the case for the Takamine EF341SC, I knew that I was dealing with a guitar to match the prestige of the aforementioned. Admittedly, I never really thought much of a gloss black finish when it comes to acoustic guitars, but I was pleasantly surprised by just how classy it looked matched with the subtle, yet refined white binding. Colour me surprised.

For those unfamiliar, the EF341SC is known for being Jon Bon Jovi’s guitar of choice and has been for over 20 years. The story goes that he bought his guitar from a local music store in New Jersey in 1994, and that same guitar has travelled with him the world over ever since. If that’s not a testament to the quality and roadworthy-ness of this guitar, then I don’t know what is.

The EF341SC is a dreadnought, single cutaway acoustic/electric guitar, handcrafted in Takamine’s Japanese factory.

It has a solid cedar top, mahogany neck, rosewood fingerboard and maple back and sides. The first thing I noticed when

playing the guitar was how well balanced it sounded. Most acoustic guitars that I’ve played through my years are very bright when brand new and take some time to mellow out. Fresh from the factory and out of the case, I was blown away by the rich low end when playing large chord voicings and how none of the notes were lost or muddy.

Acoustically, the EF341SC sounds great and has enough volume to get away with playing small solo shows in something like a café setting. With that being said, the CT4B II preamp system is absolute gold and should be used whenever the opportunity arises. The pickup is incredibly transparent and ensures the true sound of the guitar

isn’t lost. The onboard tuner is incredibly accurate and removes the need for either a pedal tuner or a clip on. Simply plug straight in and you’ve got a rich, clear and resonant acoustic guitar sound without needing any other bells and whistles.

The guitar market is full of great options when it comes to acoustics, but Takamine have really got something special here. As previously mentioned, I wasn’t sold on the idea of a gloss black acoustic guitar until I had it in my hands, and whilst it’s not the most traditional of aesthetics in the acoustic world, it makes one hell of a statement and looks sophisticated and elegant. Where some guitars feel like they were made for humble playing at home, the EF341SC is a guitar

made to be played and toured. At the end of the day, if it’s good enough for JBJ then it’s definitely good enough for everyone else.

BY NICHOLAS SIMONSEN

HITS ∙∙ Beautifully balanced sound ∙∙ Classy look and aesthetic ∙∙ Sturdy hardcase included MISSES ∙∙ Probably going to annoy those looking for a more traditional acoustic look

OUTLAW EFFECTS

Cactus Juice Overdrive PRO MUSIC AUSTRALIA | PROMUSICAUSTRALIA.COM.AU | EXPECT TO PAY: $89.95 Outlaw Effects are a fairly recent entrant to the guitar and bass pedal arena, boasting a range of almost 20 micro-sized pedals. After spending some time with their Tubescreamer-inspired Cactus Juice Overdrive, I’m as big a fan of the pedal as I am of their jokes (their tag line is “there’s a new sheriff in tone”, and their entire range is creatively western-style named.

Brilliant.) While some manufacturers might blatantly ripoff another famed pedal, the Cactus Juice retains its own character of Tubescreamer, and has some handy additions that turn it into its own micro-sized beast.

The Cactus Juice features a red LED that is bright enough to be seen on a dark stage and in the daylight, and the on/off switch is smooth and solid. It’s powered by a 9V adaptor (the pedal itself is barely bigger than a 9V battery), and has familiar level, tone and gain controls, as well as a toggle switch between ‘Juiced’ and ‘Normal’ modes that makes for two pedals in one tiny unit.

Naturally, I went straight for the ‘Juiced’ mode.

The toggle switch on the Cactus Juice switches between a more familiar ‘Normal’ tone that breaks up nicely on a cleaner amp and ‘Juiced’, a creamier, thicker overdrive that brings the Cactus Juice into a league of its own. On a distorted amp channel, the ‘Juiced’ setting thickens up distortion,

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tightens bottom end and fills in gaps in tone while retaining a tight, noticeably modern dynamic. The ‘Juiced’ setting reacts and plays like a tone that is more finished and polished than a raw guitar sound, without completely colouring and altering your playing either, so it’s a win-win. The Tone knob is a bit more sensitive in the ‘Juiced’ mode, and the gain can be pushed hard without obliterating your tone. I’ve typically run Tubescreamers with all three dials at 12 o’clock, and even this as a starting point worked phenomenally and inspired some riffs (and a lot of chugs if we’re being honest).

Toggling over to the ‘Normal’ mode, the overdrive has more bite, with a snarl reminiscent of the original Tubescreamer.

On a distortion channel, this setting is the last 10 percent of a great tone, and the tone and level are perfect for minor tweaks to get things perfect. On a cleaner channel, however, the Cactus Juice can be used for either a bluesy snark and bite reminiscent of AC/DC or a creamy, luscious lead tone á la Stevie Ray Vaughan. A little gain and tone on a clean sound can pushed just enough, or drive your already driven amp to begin to break up beautifully. The ‘Juiced’ setting also works great on a cleaner guitar, as it thickens the tone without overpowering your cleans. It inspires blues licks that ooze attitude. The Cactus Juice is particularly

more responsive to player’s dynamics and feel than I’m accustomed to, but this is a welcome change. The pedal wouldn’t go astray on any pedalboard, and because of its tiny size, won’t take up much real estate.

Whether you own Tubescreamers or clones, the Cactus Juice Overdrive by Outlaw Effects would be a great addition to any signal chain, as this pedal really holds its own and brings some new features to the market. The dials are familiar, very usable and never unpleasant, no matter how hard you push them. Realistically, the toggle switch gives you two pedals, so you can push a cleaner tone or maximise a modern metal tone, and anything in between. The ‘Juiced’ channel gives a modern feel to a classic sound, with a more rounded, creamy feel and a controlled low-mid and bottom end response. The ‘Normal’ mode is a familiar snarky blues spank, or a clean amp pushed to break up to help you stand out, or sit back, in a mix. The pedal has inspired some music, as well as inspired me to check out the rest of the Outlaw Effects range.

BY LEWIS NOKE EDWARDS

HITS ∙∙ Familiar but fresh tone ∙∙ Two pedals in one ∙∙ Micro-size MISSES ∙∙ Too small to be run on a 9V battery

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PRODUCT REVIEWS VOX

AC30 S1 Amplifier YAMAHA MUSIC AUSTRALIA | AU.YAMAHA.COM | EXPECT TO PAY: $1499 As it’s defined by the Oxford Dictionary, in physics singularity is the “point at which a function takes an infinite value, especially in space–time when matter is infinitely dense, such as at the centre of a black hole.” Taken more figuratively, it is the position that a thing takes of absolute selfhood, where any given object is the most condensed version of itself, leaving little to no room for accouterments, addendum or paraphernalia; the one and only source of its own characteristic. Metaphorically speaking, there are a number of beings that exist in the musical world that could claim to have achieved this solitary state of being. Jimmy Page’s ancient Supro, the first Strat or Nocaster, and Keith Richards’ original skin all hold an absolutely singular place in the great hall of musical artifacts.

Given its pivotal role in defining the sound of generation after generation of guitarists, Vox’s inimitable AC30 guitar amplifier has been achingly close to achieving this holy one-ness for decades. Now, in one of the more closely kept secrets of recent times, the AC30 S1 takes this earth-shattering vibration to that higher plane.

We’ve all seen, heard, played through and tried to lift an AC before. We all know what they are there for. Heavier than hell and louder than your neighbouring nation could abide, that infamous hazelnut grille-cloth has long been the dream for anyone with

a thirst for tube transcendence. At the same time we’ve all scratched our heads wondering how and why channel jumping works as much as we have, whether or not we bother venturing down that path. This is where the new AC comes in. For what feels like the very first time Vox delivers a single channel, single 12” speaker variation on the theme and for me it immediately takes its seat at the top of the hierarchy.

Much like the models it joins in the AC council of elders, 12AX7 preamp and EL84 power tubes drive the beginning, middle and end of the S1 story. The expansive, chiming response of the former is beefed up and thrust forward by the latter in exactly the way you’d expect from a Vox build. For what it’s worth, I’ve never found an AC30 I’ve loved as much as I’ve wanted to. I’ve always found the voicing a little too dry and evened out for my taste and wanted more space in the reverb tank to splash around in. That is until now. Immediately the S1 has a vastness, harmonic richness and almost Fender-esque brilliance that I’ve yearned for from Vox for as long as I can remember. I feel like the distilled nature of the single channel design has trimmed a lot of fat from the voicing and allowed it to blossom gloriously, giving that famous tube combination a lot more breathing space.

Driven hard there is a luscious amount of natural compression to the gain stage that

opens up as you dig in while retaining a warmth, versatility and transparent grit that blues and jazz players will respond as favourably as your average rock pig.

I can now breathe an eternal sigh of relief, safe in the knowledge that Vox have perfected their historic AC line. While it might seem like me making a big deal over a simple modification, the proof is in the aural pudding. With a luxurious harmonic landscape and classic design features, the AC30 S1 is the Holy Grail amp that Vox have been promising for eons.

BY LUKE SHIELDS

HITS ∙∙ Harmonic richness like never before MISSES ∙∙ None

WARWICK

Custom Shop Corvette $$ Bass AMBER TECHNOLOGY | AMBERTECH.COM.AU | EXPECT TO PAY: $8499 In the November issue of Mixdown we reviewed one of Warwick’s Masterbuilt basses, the Streamer. This month we had the pleasure of sitting down with one of their Custom Shop Corvette basses, and this one was just as mind-blowing as the previous. The Corvette is one of Warwick’s more popular models, even at budget levels, with its iconic body shape, dual pickups and very playable neck. While the Masterbuilt Streamer we reviewed in November is a specialist bass, the Corvette is noticeably more playable as it feels more like a workhorse bass for a more modern player. The Warwick Corvette $$ fourstring is a 34” scale length, neck-through electric bass with active MEC pickups, an eye catching buck-eye burl finish and what is maybe the smoothest ebony fingerboard I’ve ever seen, let alone played. The hardware is black Warwick including the Warwick security locks for your strap. The active pickups are powered by a rechargeable lithium battery via the micro USB port on the electronics cover of the bass. The Corvette is inherently more suited to holding down a rhythm section of a band than the Streamer, which felt more like the instrument of choice for a band where the bass really shines through.

With a 34” scale length, the Corvette is a particularly long scale bass, but it doesn’t feel it. The first and second frets are a little bit of a reach, but not so much so that it’s uncomfortable. This is aided by the nicely rounded neck for playability and comfort,

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whereas some bass necks can feel more like a baseball bat. This model specifically features a bolt-on neck, allowing the back of the neck to be unfinished for speed and comfort.

Glossy finishes look great but don’t do well as a neck finish, as they become sticky and slow. The bass is fairly light, and could definitely be worn on stage comfortably for extended periods of time. It will safely stay attached to your straps thanks to the security locking strap pins included. It’s easy to play, and inspires smooth rhythms to sit perfectly in the pocket and remain the backbone of a mix. The Warwick tuning pegs and bridge tune easily, accurately and don’t let go.

While your lead guitarist is dancing around, shredding and noodling, you can remain confident your bass will hold tune and the band will remain anchored.

The pickups on the Corvette are more malleable than those on the Streamer, and I mean this in the best way. A clean DI is honest sounding. It’s rounded with enough attack when you need it, but not when you don’t. The splittable volume and tone knobs allow for a multitude of sounds and tones, even before a preamp or amplifier.

The DI tone is smooth and woody, and it feels organic. Warwick’s tagline, ‘The Sound of Wood’ really rings true (literally) with the Corvette. Amplified, the Corvette adapts to whatever you put after it. The pickups can give a lot more bottom end than I’ve heard on a bass before, but can easily be

adjusted on the bass itself, or on your amp.

Some EQ tweaks can easily make this an aggressive beast full of attack and spank, or a smooth, pocket sitting workhorse. The pickups take distortion well, whether through pedals or your amp; however, they clean up just as nicely. The organic tone is even and balanced, but a little compression can do wonders for any bass sound and the Corvette takes this nicely as well. The attack of the bass itself remains present with a nicely set compressor, bringing up the woody tone and retaining the spank and your note definition.

The Warwick Corvette $$ four-string really lives up to Warwick’s name as a top-tier bass guitar. The bass plays phenomenally thanks to world-class Warwick hardware and tuning pegs, and a very solid and calculated build. The bolt-on unfinished neck makes faster playing a breeze, and won’t get grabby with sweaty palms on stage. The pickups

themselves are the most adaptable and accomodating pickups I’ve ever played, in guitar or bass. Whatever you throw into the signal chain, they’ll respond well to, even before the multitude of tweaking that can be done on the bass itself. The Corvette is a home-run, but without the baseball bat neck.

BY LEWIS NOKE EDWARDS

HITS ∙∙ Phenomenal playability, masterful build quality ∙∙ Great sounding, adaptable pickups MISSES ∙∙ Price tag

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PRODUCT REVIEWS WALDORF

Quantum Synthesiser LINK AUDIO | LINKAUDIO.COM.AU | EXPECT TO PAY: $5899

Waldorf is the one synth brand that in my eyes can never do wrong. Although there was one desktop build from a number of years back that didn’t really float my boat, I am always excited when a new super-synth is announced and even more so when it bears the Waldorf insignia. You can imagine my joy when a couple of weeks back a giant box was wheeled in and I took delivery of the newest beast from Waldorf, the Quantum.

Originally announced at NAMM and discussed amongst synth users ever since, it has not been an easy synthesiser to get hold of as production has been slow from the getgo. But it is slowly coming to a point where stocks of Waldorf’s flagship synthesiser are looking to be heading Australia’s way very soon. For those of you who are looking for a real workhorse in sonic exploration, this is going to have you screaming to hand over your hard-earned cash. Straight out of the box, before I even powered the unit up, I was impressed. It is big. It is heavy.

It has beautiful timber inlays in each end of the metal housing. It looks like it has been built to last. And then you engage the power switch and realise it has been built to impress.

The keyboard comes to life with an LED at the base of every potentiometer on the top panel, of which there are more than 70 – yes, more than 70 knobs to play with, and every one of them has a smooth action that is a joy to adjust. The pitch bend and

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modulation wheels are cast in a slim metal design and have a really nice feel to them, with just the right amount of spring tension so that you have perfect control of your sound. There are a couple of dozen buttons to go with all of this and then, in the middle of the panel, there is a colour screen that brings it all together and makes working with the Quantum a real visual experience as well as an aural one. Move any controller on the top panel and the screen jumps to the relative window to show you exactly what is happening with your controller. Envelopes not only show the slope of the signal, but show animations of each of the eight voices and their positions through the envelope as the sound is played. You get a visual idea of how long notes are taking to decay and can really come to terms with how to better understand your sound sculpting with this added information. EQ and dynamics are shown visually too, along with waveform shapes, so you can see just how any parameter affects the visual representation of the sound.

The Quantum is backed by a 4GB internal flash memory that is preloaded with 1GB of samples, wavetables and presets. Being that Waldorf has become so well known for their wavetable synthesis over the years, it is to be expected that this would be the basis of the engine in the Quantum. When you add in the visual element of the colour display and are able to see the wavetable laid out in front of you, it really comes to life and changes one’s understanding of how this

style of synthesis works to bring a sound to life. So, yes there is plenty going on visually, but of course it all comes down to the sound in the end. The Quantum sounds, as one would expect of a Waldorf synthesiser, very German. Unlike limited German technomachines like the Pulse, this sounds like a German synth that has a very international feel. There is a bit of everything going on in there. It took me about an hour to stop jumping back and forth through the presets before I actually started looking at what it could really do. You could very easily work with just the presets and never go beyond them – aside from some minor tweaks – and get amazing results. But when you look at what is on offer with three stereo oscillators and up to eight simultaneous waves per oscillator, along with six LFOs and six envelopes, you really won’t get caught up on just the presets for too long.

The Quantum just cries out for you to experiment with your sound and it makes it so easy to do it. The top panel layout is very intuitive and well labelled for an ease of workflow that lends itself to creativity.

There is plenty going on with the I/O side of things too. With two pairs of stereo outputs, along with stereo inputs for sampling and real-time processing of external signals, all the sound is given the care it deserves with 24bit A/D converters to ensure the best quality both in and out. Of course, there are MIDI in, out and thru ports on five-pin DIN connections, along with both USB A and USB B connections for a host of

connectivity options. Did I mention it was built like a tank? Well, it is. Not the sort of keyboard you want to take with you to rehearsals three times a week, but certainly one you would want on stage for the sonic capabilities. For the many years I have played with, admired and owned Waldorf synthesisers, none have come close to this monster. The Waldorf Quantum is without a doubt one of the best digital synthesisers I have ever powered up – possibly the best.

BY ROB GEE

HITS ∙∙ Great design for both look and feel ∙∙ Big colour screen delivers critical information at all times ∙∙ Huge sonic capabilities ∙∙ It sounds freaking amazing MISSES ∙∙ I couldn’t fault it. Too good.

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FAITH GUITARS

Blood Moon Venus Cutaway Acoustic Guitar CMC MUSIC | CMCMUSIC.COM.AU EXPECT TO PAY: $1895 Faith Guitars have been a staple in the acoustic guitar industry for years, and the Faith Blood Moon Venus Cutaway Acoustic does nothing to tarnish this reputation.

The guitar was awarded UK’s Best Acoustic Guitar in 2016 by the Music Industries Association, and I can see why. The Blood Moon Venus is lightweight and comfortable, while still being very well-built and hugely resonant. A Fishman Ink pickup completes the guitar, with an onboard tuner and EQ. Right out of the luxurious, fur-lined hard case, this guitar is a winner.

The first thing I noticed was that the satin finished neck differs from the glossy body and headstock, and helps the player quickly change chords as glossy necks can get grabby. The guitar was well intonated out of the box, and the tuning was very stable thanks to the Grover Rotomatic tuners.

The Blood Moon is beautiful to look at, right down to the mother of pearl ‘F’ at the twelfth fret. The Fishman Ink pickup is practical, classy and out of the way.

The Blood Moon Venus is made entirely of Indonesian Trembesi, and looks and

feels elegant. The rich stain and glossy finish, coupled with mother of pearl and abalone inlays, rosette and binding makes for a classy guitar. The body is resonant in the most pleasing way i.e. without being overbearing or boomy. The Macassan Fingered ebony fingerboard sounds and feels good, adding to the consistent sound produced acoustically. Chords are rich and strumming away at it is easy, while the cutaway provides good access beyond the 15th fret.

an onboard tuner, which isn’t as accurate as I’m used to, but it gets the job done (I don’t trust any tuner that tells me I’m perfectly in tune). The backlit LED flickers to green from blue when in tune so it can be easily read on stage. The EQ (bass, middle and treble) sounds great, producing a usable sound even when maxed out either way. The additional hard case is well made, fur-lined and lockable. It’ll keep this guitar at an even temperature when travelling and safe when knocked around.

The internal Fishman Ink pickup does a great job of reproducing the sound of the guitar and would be ideal for smaller gigs, recording, or using effects pedals without sounding spanky and produced like most other acoustic guitar pickups. The controls on the Fishman Ink are easy to tweak as well, with little handles on the pots for changing settings on the fly. It also features

Overall it’s a very comfortable guitar to play; however, while big chords sound full, fretted notes and more intricate playing begins to lose some definition. This may not be a deal breaker for all, but you’d struggle to use this for a lot more than strumming and rhythm playing. In saying that, the Blood Moon Venus sounds great for rhythm. The guitar reacts really well dynamically, and sounds

great whether playing big rich chords or plucking away at quiet chords and passages.

The Faith Blood Moon Venus Cutaway Acoustic Guitar is classy and elegant. It’s well built and solid, but lightweight and comfortable to play whether sitting or standing. The pickup sounds great, the EQ is there for a little boost or cut, and it’s simple to use. I wouldn’t hesitate to buy a Blood Moon, and neither should you.

BY LEWIS NOKE EDWARDS HITS ∙∙ Big, consistent sound ∙∙ Comfortable and lightweight ∙∙ Matte neck MISSES ∙∙ Notes and licks not very articulate

FENDER

Player Series Stratocaster FENDER MUSIC AUSTRALIA | FENDER.COM.AU | RRP: $1199 It feels like lately the kind folk at the Fender dream factories have decided to smarten up their already spiffy act. Gone are the modern appointments, nay quirks, of the Blacktop and Highway One series. Workhorse American Professional models have well and truly planted themselves in the hearts and minds of players from all walks of life and their classic era builds have those of us with nostalgia on the brain tied up in knots.

What next then for the biggest name in the game? Why not leave no stone unturned, take a trip south of the border and tweak the whole catalogue from the ground up?

It’s about time to close the gap between the made-in-Mexico standard riff sticks and the rest of the family. Say hello to the new and improved Player Series Stratocaster.

Over the course of the last few years of cleaning up, Fender have gotten very good at identifying their own faults. Standard Series guitars are probably one of their highest sellers, owing mostly to the price point, and it stands to reason that this is where they should look next in order to get that classic Fender sound into as many hands as possible. I’ve always had a lot of time for Mexican builds. With the Corona, California, factory mere miles from door-todoor there is no reason why anyone should snub one build in favour of another, aside from the obvious differences in spec sheets

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and the necessary variation from piece to piece. The Player Series picks a few cherries from their Mexican neighbours’ tree in order to sweeten its own pie.

The most obvious improvement by far is the way these things sound. Again, I’ve always had a lot of time for Mexican guitars but as soon as I picked up this aged Malmsteen yellow axe, I knew that something had changed. Side by side the old stock has something of a dimmed, sock-over-themic dullness that has well and truly been replaced by a light, crispy chime much more akin to an American Standard with Texas Special pickups on board. The neck too feels less like an imitation. It arcs gently across a

more vintage ‘C’ shape than its predecessor, making for a smoother ride that is as easy on intermediate hands as it is familiar to a more seasoned Strat-ophile. Simply put, it’s Strat-ier than ever before. twenty-two frets, a two-point anchored tremolo, ‘F’ stamped neck plate on the back of an alder body and some of the choicest vintage paint jobs you’ve seen, the only thing that reminds you that it’s not actually American is the MX at the beginning of the serial number.

Fender remind us once again that there’s classic, and there is classic. The improvements they have made to the entry point of their line are just enough to put the Player Series ahead of not only the old

Mexican Standard stuff, but streets ahead of any pretender to the throne. If this is where the story starts, more people than ever are going to be tempted to read on.

BY LUKE SHIELDS

HITS ∙∙ Improvements are actually improvements, not just changes for the sake of it MISSES ∙∙ None

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PRODUCT REVIEWS TC ELECTRONIC

EchoBrain, The Prophet and SkySurfer Effects Pedals AMBER TECHNOLOGY | AMBERTECH.COM.AU | EXPECT TO PAY: $109

EchoBrain Analog Delay

The Prophet Digital Delay

SkySurfer Reverb

As far as delay sounds go, most guitarists fall into one of two camps: the first being those who want crystal clear digital sounds, and the latter who are chasing a bit of warmth or grit. TC Electronic’s EchoBrain is designed with those players in mind, offering a classic all-analogue bucket brigade design that’ll keep your repeats nice and toasty — perfect for recreating the vintage tones of the ‘60s and ‘70s.

Some of the most iconic delay sounds of the 80s and 90s were created with the help of immersive digital delay, and the prophet has this in spades. From tight, reverberating snapbacks to long-reaching and mesmerising swells, this pedal will have you covered. An essential tool for players looking to add a touch of ambience to their playing, the Prophet offers nothing but a pitch-perfect recreation of your original guitar tone. That means no colouration, no tricks, just an honest to goodness method of fattening up your sound while staying true to the source.

There’s nothing that goes better with guitar than reverb.

From the classic spring reverb sounds that we all know and love to the hall and plate studio sounds that evolved with technology, it’s a subtle but essential effect for all guitarists to explore. TC Electronic’s SkySurfer aims to present a onestop-shop of basic reverb sounds that’ll prove an asset for any player looking to add width and depth to their sound.

The first thing you’ll notice about the EchoBrain is its satisfying weight and solid construction. With three large knobs to control time, mix and repeats, it’s a solid example of how keeping things simple is often best. Within today’s climate of endlessly tweakable delay pedals with copious amounts of knobs, it’s refreshing to see an effect that’s bucking the trend and doing its own thing.

With the time and repeat controls set at their shortest, you’ll get a tasty slapback delay that’s perfect for some old school twang, rockabilly and country.

Because of the analogue degradation of the repeats, you can crank up the mix without overwhelming the original signal.

This is particularly handy with longer delay settings, with the overall effect turning into a wash of sound. Once you find the sweet spot on the mix knob, the result is nothing but lush.

With up to 300ms of delay time on tap, the EchoBrain offers more than enough room to move for most players. Maxing out the repeats knob will get you into some gnarly self-oscillation, proving that this pedal can push things out into the experimental spectrum too. Messing with the time knob will alter the pitch of the oscillation, ranging from shrieking highs to a low-end rumble that sounds like a helicopter in full flight.

Lower settings on the time control with a light touch on the mix will offer a pleasing faux-reverb tone, while dialling up the mix a little more is enough to add a touch of warmth and width to an otherwise dry signal. Capping it off, the top mounted jacks are a nice touch, as is the EchoBrain’s compact size.

We’ve reached a point in guitar technology where modern day creations can represent the sound of the past in an easy to use, affordable format and the EchoBrain is a prime example of that.

HITS ∙∙ Simple design ∙∙ Solid Construction ∙∙ Faithfully recreates vintage tones that we all know and love

From atmospheric post-rock tones to punchy modern delays, the Prophet is well worth a look. Versatility is key here, with an added emphasis on intuitive controls and design. A handy toggle switch will let you instantly set the subdivisions of the delay, so you can easily jump from eighths and sixteenths to 3/8. This will easily allow you to recreate some of the most recognisable digital delay sounds from the guitar canon, particularly nailing that bouncing effect that comes from locking into the appropriate BMP and palm muting on the bride, albeit letting a few select notes ring out for added dynamics.

Utilising a basic control selection of time, mix and repeats, you’ll find that the simplistic design makes the Prophet a joy to plug in and play. Leaving the time selection at a lower setting will result in some tasty faux-reverb tones, as well as coming in handy for fattening up rhythm guitar parts. At higher settings, you’re able to create more atmosphere and drama within your playing, with simple chords transformed into a long-reaching chorale that lingers long after it’s first strummed.

At its lowest setting, the repeats knob can get you in the range of some classic country and rock tones — albeit, without the high-end roll off that comes standard with analogue or tape delays. For modern styles of heavy music or metal, this can be just what the doctor ordered.

Capping it off comes the all important mix setting. With three separate subdivision options, getting this control right will define whether those delayed arpeggios come off tight and right, or overbearing.

For crisp, pristine delays that are as immersive as they are three-dimensional, the Prophet is a hard choice to beat.

The SkySurfer offers three reverb options for you to choose from: spring, plate and hall. Within those three options, you’ve got three knobs to twiddle with. Reverb — which controls the level of decay — tone, and mix. Altering the tone knob will blend in or filter out the highs, while adjusting the mix knob will define whether you want to sound like you’re playing in a small room or a stadium arena.

When it boils down to it, this is really all you need to get a fantastic reverb tone.

Kicking things off with the spring setting, you’ve got yourself a one way ticket to the sounds of classic blues, funk and soul. A splashy spring reverb is one of the most iconic sounds in a guitarist’s arsenal, and the SkySurfer will get you in the ballpark of these classic tones without having to deal with a dedicated reverb tank or outmoded vintage gear.

The hall reverb setting adds a whole new layer of dimension to your tone, and is perfect for adding a thick ambience to your playing.

Plate is a dynamic setting that is touch sensitive, and responds well to dynamic playing. It’s a setting that’s well known for sounds covered within iconic albums such as Pink Floyd’s Dark Side of the Moon, but to say that it’s merely a recreation of old school sounds would be doing an injustice to it.

Overall, one of the greatest strengths of this pedal is how it refuses to overly colour your original tone. While there are parameters there to alter treble and bass if you see fit, the SkySurfer is truly a studio-grade reverb pedal that will keep your full signal intact. Lush, diverse and expansive, it’s truly a strong investment for any guitarist looking to flesh out their sound with a top-quality reverb pedal that won’t break the bank. Capping it off comes true bypass switching and sturdy construction, making this a pedal that’s well worth adding to any pedalboard.

BY JAMES DI FABRIZIO

MISSES ∙∙ A modulation knob would be a nice touch

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PRODUCT REVIEWS STEINBERG

Cubase 10 YAMAHA MUSIC AUSTRALIA | AU.YAMAHA.COM EXPECT TO PAY: PRO - $849 ARTIST $499 ELEMENTS - $149 Favourite DAWs are like opinions: everyone’s got one. At this point, most plug-ins work on both PC and Mac, and all DAWs will work great on most operating systems.

DAW choice comes down to workflow and clientele. Who will you be recording? What kind of monitoring options do you need for playback? Do you need multiple I/Os for mixing? Are you recording and mixing or using it solely for mastering? Steinberg is a company that has been slowly chugging away at professional, world-class software and hardware for years, a true underdog.

Steinberg’s standard for both film scores and television, Nuendo, and music composition and production, Cubase, are used the world over by leading professionals in their fields. November of this year saw the release of Steinberg’s new Cubase 10, an update that pushes Cubase to the forefront of software technologies. On top of a redesigned graphic interface, the new update sees features such as VariAudio for pitch correction, Audio Alignment for layers and samples, a Channel Strip overhaul, Groove Agent SE 5 virtual instrument and Mix Console Snapshots, that take a snapshot of the current Mix Console settings.

It’s almost unheard of for a mix to be right the first time around, at any level of profession. There are usually some tweaks

and revisions, and not uncommonly some going around in circles until you end up back at an earlier mix. Cubase’s new Mix Console snapshot allows users to take a snapshot of the Mix Console for instant recall within the same session. Not only does this alleviate the inconvenience of locating and loading up endless ‘Save As’ sessions for different revisions, but it makes the whole process faster, and allows professionals to flick between their older mixes (i.e. the rough) for reference in seconds. This way, you can tweak the new Channel Strip plug-in between mixes and get the mix right with ease. The updated Channel Strip plug-in features new noise gates, compressors, EQ, limiters, a de-esser/envelope shaper and saturation. In addition to these stock plug-ins, Cubase now includes a VariAudio suite for pitch correction.

Graphically, it’s very similar to Melodyne, but without the hefty price tag and additional software. Using this, and Cubase’s render in place features, vocal and bass (or any instrument really) takes can quickly be shifted into (creatively out of) pitch in seconds, and committed to. The Audio Alignment tool makes aligning different layers of takes a breeze, so drum samples can be phase perfect, vocal layers can be seamless, and double tracked guitars become thick walls of sound that can then be tweaked by the many plug-in

options included with Cubase.

Cubase has, and remains to be, incredibly usable. The interface is clear and professional, and the stock plug-ins are easy to navigate.

For non-Cubase users, it feels a bit like ProTools and Ableton combined, in that there are a lot of plug-ins and effects seemingly intended for electronic music that could come in handy for bands (i.e. the ‘DJ-EQ’ that is a handy mid-side EQ plugin). For recording, there are a bunch of different record modes that will be familiar, as well as MIDI-specific record modes for MIDI instruments and/or live triggers. There’s a dedicated VST tab for new virtual instrument tracks, as well as a Media tab for importing almost any kind of audio file. Cubase 10 also now features Workspaces that make navigating sample libraries a breeze, which you’ll need with the full Cubase download coming in at around 20GB including all the sample libraries and sounds. No matter which DAW you’re dedicated to, Cubase has something for you.

The new Cubase 10 is a massive improvement on a product that didn’t really need to be improved. Features such as the Workspaces have been added to compete with professional software such as ProTools, and Audio Alignment and VariAudio give you tools previously completed by third party software

in one comprehensive package. The new Channel Strip is a phenomenal one-stop shop for audio processing, with multiple routing and tonal colour options. I’ve been an avid ProTools (pardon the pun) user for years now, but this new Cubase update has me questioning my loyalty.

BY LEWIS NOKE EDWARDS

HITS ∙∙ No need for third party software for professional alignment and pitch correction ∙∙ Channel Strip plug-in has lots of colour and sound options MISSES ∙∙ Large download size may be a turn-off

MARKBASS

Little Marcus 800 Marcus Miller Signature Bass Head CMC MUSIC | CMCMUSIC.COM.AU | EXPECT TO PAY: $1695 It doesn’t get much bigger than Marcus Miller in the world of bass playing. His career boasts Grammy awards, platinum records, film scores, and playing/writing/ producing/recording with the likes of Miles Davis, Luther Vandross, Bill Withers, Chaka Khan, Herbie Hancock and so many more. He has an identifiable sound, serious chops and groove, and has been hugely influential as a musician (and not just for bass players).

So when someone with his status joins forces with a bass amp company, it really must be something they believe in. With Markbass being quite the innovator and one of the market leaders, it seems like a primo combination. Enter the Little Marcus series of bass heads with the 800 watt model sitting on our desk.

While there are definite Markbass indicators on the Little Marcus 800, such as the knobs, control layout, size and shape (and there are hints of the Markbass yellow all over), the head has definitely been ‘Millerized’ with a silver coloured faceplate, a stencilled picture of Miller himself, and some additional controls. Left to right, you’ve got a mute switch, input jack and gain control, then ultra low, low, mid, high mid, high (across the bottom row considered EQ 1), with EQ 2 above consisting of controls marked ‘Old School’ and ‘Millerizer’. Lastly, to the right

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you have a dedicated line out control and master volume. The back panel features a Speakon speaker out, footswitch input, tuner out, effects loop send and return, post/pre-EQ button, ground lift and XLR line out.

thud or brighter punch, and the Old School and Millerizer controls sound like they work on the typical Markbass filters (known as VPF and VLE). These add some extra options and can really help balance your sound in different rooms or with different cabs.

As a Markbass head, it’s got all the punch, headroom and EQ possibilities the amps are known for. At 800 watts there’s a lot of juice on tap, and the extension of this Miller line sees 250, 500 and 1000 watt versions giving you quite the selection depending on your tastes and requirements. For most players, I’d think 800 watts is more than enough for all your gigging and rehearsing needs, remembering the head also has a quality line out (with level control) for running to FOH. The EQ gives you lots of scope for rounder

Marcus Miller has basically done it all in the bass world, and it’s cool to see him hook up with Markbass with this line of amps. Of course, MM has the funk/jazz/fusion/pop/ R&B package down (amongst other things), but this 800 watter could easily work for rock, pop, heavier styles or whatever you want to try.

HITS ∙∙ Headroom and volume ∙∙ Typical tough Markbass construction MISSES ∙∙ Not everyone digs signature models

BY NICK BROWN

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PRODUCT REVIEWS FENDER

Player Series Telecaster FENDER MUSIC AUSTRALIA FENDER.COM.AU | RRP: $1149 Let’s use much loved ‘90s cartoon series Teenage Mutant Ninja Turtles as an analogy for a moment. Imagine Leo Fender’s famed Stratocaster is Leonardo, a wise leader, the oldest of the crew and ready, willing and able to take any situation in stride. That would make his Telecaster the equivalent to Raphael – an emotionally raw, younger upstart with as much anti-authoritarian angst as it has a tendency towards its softer side. Leo himself then becomes Master Splinter and a certain other rival builder with evil robotic attachments, The Shredder, but I digress. Since their inception the two at the top of every Fender catalogue have always had that hand-in-hand yet push/pull relationship. Even as individual as they are, you rarely think of one without thinking of the other.

Fender have taken aim at their entry point as the next in line for the continuing spring clean of their entire lineup. Replacing the old Standard models, the Player Series makes a blind comparison of American and Mexican builds next to impossible. The Player’s Telecaster bolts a 22-fret neck and either maple or Pau Ferro fretboard into a choice alder body with a newly ‘F’ stamped neck plate. The particular beast that I held

purring in my hands was as butterscotch blonde as the cover of a Springsteen record, just as I’d hoped, and with its three-ply black pickguard it is just as classic. I have had the distinct fortune of taking in just about every colour in this new branch of the family tree and I must admit that choosing between this and its black-on-black brother is the kind of thing that keeps a kid up at night.

As with the Strat, and indeed the entire line, the pickups are voiced much closer to their northern counterpart. Nowhere is this more apparent than in the unmistakable chiming nature of the lipstick pickup in the neck position. It is incredibly responsive to the nuances you conjure with your pick hand, almost to the point of leaning back with you

in your more delicate moments. Back at the bridge and there is just about enough punch and raucousness to wake up Joe Strummer without the harsh, ice pick sharpness that fader jockeys love to dial out. That amount of characteristic tonality coupled with the minor yet imperative adjustments to the spec sheet make the thing feel bigger and more alive in your hands too. It might be psychosomatic but the impact on the personality of the guitar has a direct connection to the way you approach playing it. Both you and your new guitar will play up to each other in a new and inspiring way.

Much like it’s Stratocaster counterpart, the Player Series Telecaster is more of what you deserve from that name without the limitations you’d expect from the price

point. It has all the personality and tonality of an American build and is just as full of songs. All I need to do now is figure out which one is Donatello and which is Michelangelo.

BY LUKE SHIELDS

HITS ∙∙ More Tele than the price point would have you believe MISSES ∙∙ None

CARL MARTIN

Atlantic Chorus Pedal INNOVATIVE MUSIC | INNOVATIVEMUSIC.COM.AU | EXPECT TO PAY: $199 Technological advancement in the guitar pedal world occurs at an exponential pace these days, just as in any other field. It’s why Danish pedal maestro Carl Martin has to preface the release of a new chorus pedal by acknowledging that perhaps the world didn’t need another one. The Atlantic Chorus strives to be more than your average stomp, however, offering a near unprecedented degree of sound control in an affordable price range. The design philosophy hinges on balance between new and old, not wanting to rock the boat, while pushing expectations of a meat n’ potatoes effect.

Out of the box, players won’t be surprised by the solid diecast chassis – it’s a vintage aesthetic, with a sleek ocean blue anodised finish and four off-white knobs. The Carl Martin typeface neatly adorns the side and face, giving it an austere cool. The pedal runs via a bog-standard 9V power supply, which is fine, although the option for battery power would have been nice.

The lack of battery does keep the Atlantic lightweight (340g) while its dimensions (60 x 115 x 50 mm) pack it tight enough to comfortably sit in a jacket pocket. Though the body itself is rugged, and the paint unlikely to scratch, the bypass switch often got a little loose with a heavy stomp.

All aesthetic misgivings are forgotten when the Atlantic is plugged in and a gut-busting

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and round sound unfurls. The analogue pedal has a remarkably transparent tone, one that feels more like the product of a restored Roland Chorus amplifier than mere FX. Carl Martin have included four controls, speed, depth, rate and level. The level control, unusual for a chorus pedal, is the most immediately practical improvement, offering a volume boost to nest the signal right in the mix. Regardless of your manipulation of the other settings, or even the addition of distortion on the wrong side of the FX chain, the control ensures a piercing clarity.

As per most chorus pedals, your depth and speed controls the amount and speed of the effect respectively. The rate function has a neat portioning of vibrato to dial in, widening the sound palette hugely.

Turning the rate and depth knobs completely clockwise produces a full vibrato effect, offering an impressive psychedelic tinge without conjuring background hiss. Putting depth, rate and speed at one o’clock gives you a classic grunge-chorus, while easing back the depth and speed to 11 o’clock produced a cleaner, janglier tone. With the depth of the effect turned completely clockwise and the rate and speed middled, I found the tone a little too crunchy if I wasn’t playing with an overdrive. Paired with a Big Muff fuzz, the Atlantic performed well, combining the creamy sustain with its own modulation seamlessly. Playing up

the fretboard, the fuzz’s scream was a little blunted, though it worked in favour of a warmer tone. Upon reflection, the Atlantic’s range matches the playing involved in atmospheric black metal surprisingly well, though it’s suited to practically any style.

Those searching for an affordable chorus pedal could skip the bare digital fare offered by competitors and head straight for the dynamic Atlantic Chorus. It’s designed for pedalboard economy and practicality, sealing the deal with an unusual degree of tonal control.

HITS ∙∙ Huge dynamic range thanks to the rate, speed and depth knobs ∙∙ Volume boost via level knobs ∙∙ Sound remains warm when paired with distortion/overdrive MISSES ∙∙ Loose bypass switch ∙∙ No battery power option

BY JOSH MARTIN

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PRODUCT REVIEWS MAPEX

Black Panther Snare Drums ELECTRIC FACTORY | ELFA.COM.AU | EXPECT TO PAY: CHERRY BOMB - $699 VERSATUS - $749 The Black Panther series of snare drums has been a staple in the Mapex world for a very long time. While the series has grown and expanded throughout the years, there are a few things that have stayed the same: high quality hardware, interesting wood selections and beautifully crafted drums. This month we got a chance to sit down with two of the newer models in the Black Panther series, the Cherry Bomb and Versatus.

CHERRY BOMB This snare was literally the bomb. Terrible puns aside, I was very impressed with the tone and response of this drum. I took it to an outdoor gig with a funky setlist and it excelled. My drum featured an Evans G2 instead of the factory Ambassador X, which suited the drum well in producing a well-rounded tone with the assistance of a Snareweight for muffling. The Mapex blurb says that the drum “boasts a cherry wood shell for warm, focused projection with an edgy, distinctly rock ‘n’ roll sound.” Honestly, I think they’ve undersold the versatility of this drum and the drum’s projection was absolutely perfect for an outdoor gig setting.

Regardless, I was rapt with the Cherry Bomb.

It’s great value for the price (considering it comes with Remo USA heads and PureSound wires, it’s even better value) and a unique yet versatile snare to add to your arsenal.

VERSATUS RUSS MILLER SIGNATURE Russ Miller is a phenomenal drummer and drum product innovator (he’s been involved with creating the sub-kick and groove wedge) so I was stoked to get my hands on his new signature “Versatus” (Latin for flexibility) snare. I took this one out to the same gig I took the Cherry Bomb to and whilst it sounded nice, it didn’t suit the loud outdoor style of the gig. I forgot to read the fine print on the drum; it’s a do-it-all snare for the studio. Whoops. I popped it on the kit in my studio and it came to life. The tuning range on this little 14x4-5/8 drum was huge, but I loved it at the medium-low and medium-high tunings where it really sang tonally and responded perfectly at all dynamics. The combination of mahogany and maple in the shell supports the low end range of the drum and the maple gives it the crack at higher tunings. This snare does everything the blurb on the Mapex site says it will perfectly and for the price, you’ll struggle to find something that competes. If you’re looking for a studio workhorse that won’t break your budget nor let you down, check this drum out.

HITS ∙∙ Great build quality ∙∙ Remo USA heads and PureSound wires

BY TAYLOR DOUGLAS

MISSES ∙∙ Nada

ELEKTRON

Digitone Digital Synthesiser INNOVATIVE MUSIC | INNOVATIVEMUSIC.COM.AU EXPECT TO PAY: $1099 The electronic music machine makers from Gothenburg in Sweden are at it again with a new offering in their ever-growing range of thoughtful synthesisers, sequencers, samplers and drum machines. For those of you who are not aware of Elektron, then you must have been living under a rock, or perhaps you’re a blues guitarist. Either way, it’s time to pop your head up and have a listen, because what’s on offer here is really going to change the way so many of us perceive FM synthesis.

It’s not just another grey box with a very Swedish design and cool colour palette; this is a new way of finding your sound within a machine and giving it life. Have a look at the Elektron Digitone with me and see if you can find some new inspiration from what it has to offer.

Elektron have delivered FM synthesis like no other in the Digitone. It takes additive and subtractive synth methods and brings them together for an FM synth engine that dispels some of the mystery of FM synthesis and makes it easy to understand. The compact yet rather crowded screen offers so much information, ensuring you can always see just how your movements on the controls are affecting the signal path at the same time as hearing the results. This eight-voice

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polyphonic synthesiser really does make synthplay fun again. It’s a slick European design, with controls that are easy to work with and thoughtfully laid out. Newcomers to sound synthesis and old hats will all find something to work with in this little box. It has plenty of those all too familiar sounds on offer with the wide range of presets that come loaded in the box, and a whole host of sounds that will challenge your perception of just what FM synthesis is capable of. It’s more than just an oscillator with a filter, and LFO and VCA. This is a complete engine designed to help you design sounds that work for your needs.

Something I really love about the Digitone is the complexity the Elektron sequencer delivers. There is really no limit to your imagination with this feature as it allows you

to program every step with total control. You can actually assign different presets to each step in the sequence, as well as assigning and adjusting EQ, filter and effects parameters for each step. Think about it: you can have totally unique sounds with every note as a sequence plays out, something that simply isn’t possible with an analogue synthesiser.

Plus, you can micro adjust each step to add a more human feel to the rhythm of the notes and give it less of a digital vibe. This means the Digitone is really working overtime when running the sequencer to deliver what can sound like several synthesisers operating together. It seems pretty complex, and I suppose it is, but the workings of the step sequencer make it very easy to adjust each individual note and create some truly diverse

patterns. Not only does the Digitone offer a great range of sounds, it delivers in ease of use too, so you have no excuse for serving up a boring sound.

BY ROB GEE

HITS ∙∙ Incredible expanse of sound possibilities ∙∙ Great control with the sequencer ∙∙ So much variety and so simple to operate MISSES ∙∙ None

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SHOW AND TELL

Ingrid Mae

Guitarist/Songwriter What piece of equipment do you have to show us today?

I’ve got my beloved Takamine EF450C-TT TBB, who I’ve nicknamed Smokey Amber. She’s the leading lady in Takamine’s range of Thermal Top guitars and has been front and centre at every major show I’ve played.

How did you come across this particular item?

Well, I certainly wasn’t short of guitars, put it that way. I’d started my own little guitar orphanage, picking up old and unwanted guitars. Growing tired of lacklustre necks and EQ issues, I started to pillage my father’s guitar collection to find something that sounded as good as it felt in the hand. I stumbled across a regular Takamine and basically didn’t put it down for six months. I knew I had to buy my own and when I asked my guitar tech, he recommended the Thermal Top range. As soon as I saw a picture of the guitar, it was game over. It was like somebody told me I could run a marathon in a pair of Manolo Blahniks. Sight unseen, I ordered it.

What is it that you like about it so much?

I’d heard about the Takamine preamps and the tone achieved by that “magical wood” process, but the proof was really on stage.

I christened her at a four-hour solo acoustic show at the rocks.

Nowhere to hide, a pushy inebriated crowd and, well, it was effortless. Even now I get sound techs giving me a bewildered look, like they are eager to boost or cut a frequency out of habit, but there’s nothing for them to do with my acoustic. “That sounds great, um, what EQ do you have set there on your dial?” and I say, “Nothing. This is just the way she sounds.”

How do you use it and how has it shaped the way you write music?

I use the Thermal Top at all live shows and in recording. It’s really changed the nature of my live performances as we can achieve such a full and vibrant sound as a three-piece band that more often than not is my Takamine, bass and drums – voila!

When it comes to how the guitar has shaped the way I write music, I’m finding I pick it up less and less in the actual songwriting stage.

I’ve always heard the song in my head, known where I wanted to take it, but didn’t trust myself to write it without a guitar in my hand. Now I’m much more confident and when I put the guitar in my hand I pretty much know what the bones of the song are. When I pick it up, it’s all cream.

Tell us a little about what you have coming up.

I’ve got a new album coming out in February which I’m really excited about. It’s called Holy Smoke. It’s a gutsy country album and the songs are recorded pretty much just how we play them live. I wanted something really authentic and kind of raw. I’ve also got more festivals coming up next year, even the Trundle Abba Festival in May, which I’m especially looking forward to.

For more information check out ingridmae.com

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